“共同的洞穴”坐落于远望巴米扬大佛废墟的高地上，它将当地社区的新生活渗入到原有的地貌中，由诸多嵌入陡坡的地下和半地下的巢穴和通道共同组织。一系列新与旧、明与暗，材料的粗糙与细腻的强烈对比，充满这个新的文化中心场所。我们强调原有地形的特质：它的浑厚、坚实，而对当地材料混凝土的使用则强化了这种特殊的纪念性。在特定的角度和位置，室内外的视线和光线被连通起来，形成了一系列步移景异的序列。自然光在一些地方渗透进来，邀请来访者沉浸在对阿富汗当地景观的历史与文化的凝视中。

Con-cave is a spatial intervention that shapes the steepterrainof the site playing with the infiltration of the light: gathering, concentratingand dissipating it through the earthy sinuosity of interconnected underground passageways and tunnels.The varying chiaroscuro embraces the spaces, highlighting the materiality of the terrain, the solidity, and the different levels of humidity of the concrete walls. The light, blooming locally, becomes a sublime wave investing the visitor and inundating the gaze with the history and the culture of the Afghan landscape. The building opens towards the outside with rooms and terraces only in specific locations, offering an intentional selection of belvedere and sublime points of view.

一系列洞穴和隧道随自然山势而展开。建筑至此已经成为自然和人工的一种中间状态，成为从景观地貌中涌现的一种形态的、结构的有机整体。在这样一种“不完美的拟态”中，人工与自然相互掩映，从西南到东北的一系列各异的地形剖面中可看到两者交互产生的丰富变化。

这不是一座自成一体的建筑，而是室内功能、开放空间和公共基础设施组成的综合体，一部连贯的构筑物。在这里，室内空间被缩减到满足功能需求的最小化。它们嵌入山体，用轻盈的步道连接山丘上下，并串联了一系列性格、尺度不同、处于不同标高的，开放、半开放的空间：它们不仅允许参观者经过有趣的空间序列参观展览、观看演出、参与课程，也供附近的社区休息、聚集、玩耍，欢庆。

The exploration of the cavities and tunnels shows the adherence of the volume to thenatural conditions of the hill. Its topology is a modulation betweennaturalness and artificialness. It isnot the stage of a naïve hypocritical camouflage but it is instead a synthetic morphological and structural unity that emerges from the landscape. Such imperfectfusion results in a series of perceptible longitudinal cuts that consciously declare, at points, the presence of the artefact.

It is not a self-contained building but a piece of public and open infrastructure where the indoor spaces are reduced to the minimal programmatic requirements. Cutting the land, it connects the valley with the hilltop, forming a variety of open, protected and enclosed spaces: gathering areas for the everyday uses of the local community and the visitors.

这些交错相连的流线与掩映在地形起伏中的构筑物一同构成了一个整体。顺应地段的原始地形，一系列坡道和洞穴被布置在朝向巴米扬大佛废墟的坡地上，形成连续的观景步道和开放画廊，作为室内展览区的室外延伸。整个构筑物的体形和建构是建筑功能需求和当地条件（阿富汗当地穴居类型，地区气候，光照条件，朝向巴米扬大佛的视野等）相互作用与对话的结果。

在空间序列上，“洞穴”和“隧道”组织了这个充满连续与突变的综合体。形态、尺度、明暗各异的“洞穴”承载室内的各个功能空间，而“隧道”则允许“融合”的发生，让看似独立的各个功能空间串联成一个连贯的系统。从西南到东北，不同剖面形态适应场地上不同地点的光照、视野、空间等需求，而这个空间序列中各剖面间的相互转接，时而平滑，时而突变，制造了一种戏剧性的起承转合，而充满动态和趣味。

The maze of connections emphasizes the isomorphism of the building with the topography of the site. Taking advantage of the existing hill, its slopes and caverns are placed in accordance to the morphology of the terrain and its structural resistance. The built volumes result as a negotiation between the programmatic requirements,the autochthonous Afghan cave typologies, theregional climate, the lighting conditions, the selection of views, etc.

Taking all the previous factors at its premise, the spatial configuration of the building generates its continuity and discontinuities by the hybridization of two typologies:the chamber and the tunnel. The chamber locally defines the program and controls the space; the tunnel allows the blend to happen, the intentional connection of several cavesinto one system.The morphological metamorphosis between the “singularities” of local conditions is assessed and definedat each point, resulting in an “imperfect continuity”. This almost seamless interconnectedness, the transition between the specificity of several places is not a simple merging operation but an act of decision, a play made of a continuous lighting and spatialmodulation, protrusion,invasions and interruptions.

“洞穴” The “Cave”

设计的初始则在关注当地穴居的特殊空间类型，通过研究不同穴居类型的剖面条件及其具有的不同功能属性（采光，视野，交通等），我们探索如何通过剖面来组织在场地对室内空间的引入和景观地形的重塑。

“转接”将不同的“洞穴”剖面通过过渡而形成一个连贯多变的空间整体：从南侧展览区的高窗折射顶部阳光而形成柔和光环境的“采光器”，到中部开放画廊朝向西北大佛方向的“景框”，再到北侧与楼梯结合的“坡道”，不同的“洞穴”剖面在每个不同的功能区域塑造着独特各异的空间气氛与体验。

整个构筑物继承巴米扬民居的传统并回应当地的特殊气候特征，室内外空间不断交互流动，其界限时而模糊时而消解，并提供了大量阴凉的灰空间。

Starting from the study of local inhabited caves, we developed a morphology that engages with the views and dramatic lighting effects, where the program and the circulation merge and the building marks a new edge condition on the topography.

“Lofting” different sections results ina continuous sequence of unique spatial experiences: in the exhibition area in the Southern end the “cave” collects and reflectsindirect natural light through a gap in the top, while in the outdoor open gallery in the central segment the “cave” framesthe views towards the Buddhasat specific angles and heights (in this case the gap is on the side, facing North-West)

Such unique morphology creates an interesting and ambiguous relationship between indoor and outdoor spaces and provides numerous shaded areas for outdoor activities.

景观与开放空间 Landscape / outdoor spaces

建筑与景观的概念在这里不再清晰，两者互为借用彼此融合。在一些地形陡峭的区域，建筑结构同时作为景观的挡土墙；室内空间的体量塑造了一系列高低错落的景观台地，并为当地社区提供了丰富的多功能室外活动设施：室外观影、露天剧场、聚会、运动、市场、都市农田等。

建筑的体量尽量嵌入原有地形以最小化其对联合国遗产区景观的消极影响。对地形的塑造尊重原始地貌并维持填挖平衡。建筑的体量兼顾雨水收集以备旱季景观灌溉使用。对当地植物的使用在强化生态多样性的同时，试图用最经济、低维护的方式稳固土壤，防止水土流失。

There is no clear differentiation between the building and the surrounding landscape as the two interweave in an integrated system, taking advantage from each other.The building structure reinforces the steep slopesof the hill and the new built volume creates a terracing system that provides a diversity of multi-functional public outdoor activities for the community: movie projections, theatre and social gatherings, sports, market, community farming.

The volume of the building is inserted into the terrain respecting as much as possible its original conditions and the earthwork needed for its construction is the result of a cut and fill balance. The building also works as a rain collector to provide irrigation water during the dry season. The local ecology and biodiversity are strengthened by the implantation of local species that also help stabilize the terrain.

功能与流线 Program / Circulation

一系列室内外坡道创造了一个覆盖整个场地的连续慢性系统，实现所有功能区的无障碍设计。场地和建筑出入口的布置为室外空间、室内公共区域及室内私密区域提供了分时管理的可能。

低地部分（2544.50米标高）面朝西北方向的巴米扬大佛而具有最佳视野，布置了接待区、展览区和演艺中心。高地部分（2555.50米标高）具有来自东南向的最佳自然光照条件而布置了半公共及私密的工作坊、研究中心、教室、会议室和行政办公。

A series of outdoor and indoor ramps generates a continuous loop allowing easy accessibility to the entire program. The gates and the routesare designed in a way that outdoor spaces, public and private programs and can be managed separately to allow different operational times.

The lower level (elevation: 2545.00m)facing the best views towards North-West hosts the public programs: reception, exhibition and performance.The upper level (elevation: 2555.50m)that has the best solar exposure towards South-East hosts the semi-public and private programs: workshop, research, classrooms, conference room, administration.

材料  Materials

整个文化中心采用当地材料建造：混凝土（承重结构），碎石（室外铺地），木材（室内铺地和主要步道的铺地）以及生土砖（矮墙及场地围墙）。

裸露混凝土的粗糙和纪念性回应当地极强的自然与历史文脉，试图树立一个属于当地的社区生活的新地标。

The centre would be entirely built with local materials: concrete (for load bearing structure) gravel (for the outdoor paving), wood(for the deck that marks the main exhibition route), mud bricks (for the lower walls and the perimetral fence).

The use of exposed concrete confers roughness and monumentality, respondingto the strong context and the important social function of the new building.

可持续性 Sustainability

由于当地能源基础设施的短缺，社区中心需要在很大程度上成为一个自给自足的系统：当地每日市政供电六小时外的电力消耗由屋面的太阳能光伏电板提供；雨水在各个屋面和平台被收集后通过生态调节沟的排与沉淀并最终储藏在地下蓄水池，以供旱季的灌溉用水需求。

The centre would work as a self-sustained system, extracting thermal and electric energy fromthe solar panels on the roof. The water is collected and cleansed in bioswalesand stored in underground tanks,providing water for irrigation.

Year |年份: 2015
Type | 类型: cultural center competition |文化中心国际设计竞赛
Size | 规模: 2,200 sqm | 2,200平米［26,000 sqmsite area ｜ 26,000平米场地面积］
Location | 地点: Bamiyan, Afghanistan | 巴米扬市，阿富汗