© Jesús Granada
为了满足塞维利亚港灵活使用功能的特征，需要搭建一个新的邮轮码头。这个码头必须具有灵活的特征，且多用途，可扩展，易于拆卸，甚至移动。同时也是为了适应港口乘客的弹性数量，保证Muelle德拉斯亚斯市区中间的联系。整个建筑物重复使用集装箱的组合。同时采用悬臂结构，使建筑具有动感，避免单调。
© Jesús Granada
整个建筑的现场施工只有15天，主要由回收的海运集装箱组成，这种模块化结构大部分工作已在工厂里完成，这样不但确保现场工作精度，也会保证按时完成工程。
© Jesús Granada
最终的可持续设计要得益于这种重复使用的集装箱可塑造性优势，保证了环境和对气候的适应性。在塞维利亚，炙热的阳光照射到钢铁上，金属外壳的热量可以把它变成一个烤箱。因此，建筑的隔温处理也成为了关键因素。
© Jesús Granada
这些“高立方体”集装箱平行地放置在一起，相邻两个集装箱之间留有一个集装箱的间距。而这些空隙上面又放置着另一排集装箱，所以，从外观上看，该建筑的一层和二层是交错分布的，而且这种双层空间能使室内看起来更宽敞。该建筑的二层两端墙壁上分别开有窗户，能使室内空气流通，驱除高温。建筑的白色外观能反射百分之九十的太阳直射。而且，该建筑采用的特殊陶瓷结构能避免它过度升温。
楼层平面图
为了创造一个开放的大厅，为了避免取消集装箱宽度的限制，集装箱采用横向摆放。在较低的立方体集装箱侧面，开启了最大的房门，在运输、组装、拆卸过程中都保持了建筑的稳定性。这样，一个满足其功能性需要的大而统一的空间就建成了。
© Jesús Granada
二楼的集装箱朝北开有窗户，像是一个个天窗。其灯光和色调以及结构呈现出了一个内部不同的并列集装箱空间，让人不禁想到传统的港口建筑。二层建筑是独立的，和一层相比突出来，犹如伸向河边的悬臂，每一个悬臂都能让人一眼认出来。
© Jesús Granada
© Jesús Granada
建筑的一层相对二层，规模更大，比小镇周围地势略低，但仍高出地面一定高度，这样河水可以从下面流过，也很鲜明地表现了它们的海上集装箱特性。从河对岸的Los Remedios看，该建筑象棋棋盘形式的地下室，和后面的地方建筑风格迥异。设计中重新利用了原有建筑的内部及其地板。墙面涂饰透过细节的处理，仍能辨认出集装箱的形态，为访客提供了一个与众不同的空间。
© Jesús Granada
该建筑由23个重新利用的集装箱组成，据统计，每一个集装箱都经历过1150公里的旅程。这些里程加起来相当于从地球到月球距离的三倍或围绕地球旅行29次。
目前，这个游船码头还未投入使用，它计划将被租出去作为一个展览馆、陈列室，甚至可以作为音乐厅。
© Jesús Granada
© Jesús Granada
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项目信息：
设计事务所：Hombre de Piedra, Buró4
地点：西班牙，塞维利亚港口
Buró 4 Arquitectos事务所设计师：Jesús Díaz Gómez,
José Luis Sainz-Pardo Prieto-Castro, Ramón de los Santos Cuevas Rebollo, Jorge Ferral Sevilla
Hombre De Piedra事务所设计师：Juan Manuel Rojas Fernández, Laura Domínguez Hernández
占地面积：508 平米
建成时间：2013年
摄影师：Jesús Granada
设计团队：Juan Manuel Rojas Fernández,
Jesús Díaz Gómez
, José Luis Sainz-Pardo Prieto-Castro, Ramón de los Santos Cuevas Rebollo, Jorge Ferral Sevilla, Laura Domínguez Hernández, Francisco Javier Carmona Stamatis Zografos
, Cristiano Rossi, Angelene Clarke
工料测量师：Manuel J. Cansino Conejero
*本文由专筑网编辑刘庆新译自www.archdaily.com，转载请注明出处。*
Cruise Ship Terminal in the Port of Seville / Hombre de Piedra + Buró4
From the architect. The Port of Seville needed a new Cruise Ship Terminal with a flexible character, multipurpose, extendable, easily removable and even movable. This would permit to accomodate the unpredictable number of passengers in the port and it would not limit the possibilities of the urban-port valuable space of the Muelle de las Delicias. Re-using shipping containers was proposed. On the other hand, the place, near the historic centre, was claiming an object of architectural quality to dialogue with its urban environment.
The on-site construction work could only last 15 days, the maximum time between two consecutive cruises docking. The modular construction with recycled shipping containers would be mostly finished in workshop, it will ensure the precision of the on-site work and it would guarantee to finish the works on time.
The terminal’s sustainable design takes advantage of the constructive and plastic potential of the re-used containers, adapting them to an environment and to a concrete climate. The heat of the sun in Seville over the metal envelope could turn the terminal into an oven. The bioclimatic strategies are, therefore, essential.
The “high cube” containers are placed in parallel separated one-container distance, and over these spaces between them, the standard containers are placed. The floor of these ones is cut out and placed down at the level of the high cube ones. The double-height spaces obtained make the inside volume bigger. On the west and east side of these upper containers, opening windows allow the winds to clear the heat, that comes up by air stratification. The exterior white painting reflects up to 90 per cent of the solar radiation and its special composition with ceramic microspheres avoids its excessive warming.
To get the big open hall required in spite of the width container limitation, the space is designed transversally to them. In the side ribbed sheet of the lower high-cube containers, the maximum openings are cut out, taking care not to compromise structural stability both in the final phase and during transport, assembly and dismantling. This way, the big unified space, functionally-needed, is obtained.
The upper standard containers are open to the north and they act like skylights. The generated lights and shades as well as the structural remains of ribbed sheet show internally the different juxtaposed container spaces, remembering the succession of the traditional port buildings. As the upper containers are separated and projected beyond the lower ones as a cantilever towards the river, each one of them is clearly recognized.
The lower level, more massive, is lower than the immediate town surroundings. The separated skylight-containers allow to contemplate both sides of the river in between them. Closely, they clearly show their sea-container nature. From the other shore, Los Remedios, they seem a low basement in form of checkerboard, not competing against the regionalist architecture behind them. The doors removed from the upper containers are reused inside the building. The original flooring is also reused, once restored. The wall finishing does not try to conceal the industrial details that make possible to recognize the containers, giving a distinctive personality to the space.
According to the registrations, each one the 23 re-used containers has covered 1.150.000 km. This is equivalent to three times the trip from the earth to the moon or to 29 trips around the world.
While the terminal is not being used by the port, it can be rented to be used as an exhibition pavilion, as a showroom or even as a concert space.
Project Credits:
Architects: Hombre de Piedra, Buró4
Location: Port de Séville, Seville, Sevilla, Spain
Architect In Charge Buró 4 Arquitectos: Jesús Díaz Gómez,
José Luis Sainz-Pardo Prieto-Castro, Ramón de los Santos Cuevas Rebollo, Jorge Ferral Sevilla
Architect In Charge Hombre De Piedra: Juan Manuel Rojas Fernández, Laura Domínguez Hernández
Area: 508 sqm
Year: 2013
Photographs: Jesús Granada
Design Team: Juan Manuel Rojas Fernández,
Jesús Díaz Gómez
, José Luis Sainz-Pardo Prieto-Castro, Ramón de los Santos Cuevas Rebollo, Jorge Ferral Sevilla, Laura Domínguez Hernández, Francisco Javier Carmona Stamatis Zografos
, Cristiano Rossi, Angelene Clarke
Quantity Surveyor: Manuel J. Cansino Conejero
*Appreciation towards www.archdaily.com for providing the project description.*
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