经受火灾洗礼的利马市剧院秘鲁利马，伊卡街

建设单位：秘鲁天主教大学

设计单位：隆吉建筑师事务所

主持设计师：路易斯·隆吉

设计团队：Veronica Schereibeis,Carla Tamariz,Christian Böttger

施工单位：Héctor Suasnabar

监理：隆吉建筑师事务所

摄影：Mayu Mohanna,Miguel Carrillo,Cecilia Larrabure,路易斯·隆吉

Client:Catholic University of Peru

Architect:Longhi Architects

Principal in charge:Luis Longhi

Project Team:Veronica Schereibeis,Carla Tamariz,Christian Böttger

Construction:Héctor Suasnabar

Supervision:Longhi Architects

Photography:Mayu Mohanna,Miguel Carrillo,Cecilia Larrabure,Luis Longhi

对话这位受伤的“长者”

建筑并不仅仅是建筑师与客户之间需求沟通的结果，而是设计者基于现实所建立的一种形而上的抽象对话。这种深层意义上的对话，就像你面对一个能言善辩却始终保持沉默的对话者，需要你拥有足够的敏感度去感知他默不做声却渴望被了解的内心。你必须用心去理解它，体会它，向他们展示你的同理心。

在用自然做为媒介进行终极创造时，最大的挑战是要维持它本来的平衡，基于这个理念尽可能地去尊重它的创造本心。几个世纪以前，人们从印加人那里学到了造物的真理，并超越其效打造了属于人类特有的风景线。

另一方面，你需要理解并聆听它的建造之美、与之契合，才能将这些理念完美地融入人类的建筑之中。即使是曾经做为间接冲突受害者的利马市立剧院也不例外。

1998 年，这名“长者”在遭受大火的洗礼后，却依旧渴望涅槃重生。作为秘鲁首都最重要的舞台，他必须要以往日的姿态再次站立起来。

他还未愈合的伤口虽然还需要小心呵护，但此时他需要的并不是同情。在舞台之上，被撕开了一个巨大的口子。天花板和舞台都已不复存在，但是众多艺术家们的艺术过往仍然在此间壁上回响，于是有人提议在这个空间的斜道上继续表演。可能是这样的想法在冥冥之中得到了认同，让我们在这座建筑物斜坡的尽头发现了一扇用砖砌成的门。这曾是演员们进出剧院的路经之处。

坡道上的金属管和金属网成为了不同于以往演出的新鲜元素，既为公众提供了安全保障，也融入场景，成为了场景的一部分。历史与真知往往相辅相成。

在这里上演的第一部作品是《李尔王》，在坡道、雅座和包厢间穿梭进行的表演，让整个舞台空间呈现出一种立体感。

《浮士德》的场景需要一座桥和一个表演平台和一个巨大的围挡，围挡是用剧院的瓦砾堆砌而成的。而《奥赛罗》则要需要搭建立一个平台，以及确定一个与表演主线平行的故事表现空间。“音乐剧”是一个例外，因为要让公众站在过去的舞台上，而表演则在另一个布满了薄纱的房间里进行，满屋覆盖的薄纱象征着保护伤者伤疤的纱布，使整个剧场空间贯穿表演始终。

In dialogue with the injured

Architecture does not arise from the mere human conversation between the client and the architect but from the metaphysical dialogue that the designer establishes with the reality in which he has to intervene.A dialogue in the deepest sense of the word,as it requires you to show sensitivity with an eloquent but silent interlocutor.You must understand and interpret it,demonstrate what they call empathy.

When the medium is Nature,the ultimate creation,the challenge is to find how to intervene without disturbing it,how to honor it with an object foreign to it.Centuries ago,the Incas gave the guideline of how human creation can exceed its usefulness and come to belong to a landscape.

On the other hand,intervening in a man-made building means listening to it,understanding it,meeting its demands and enhancing its virtues.Even when it comes to spaces victimized by a circumstantial conflict such as the Municipal Theater of Lima.

This "old man" wanted to return to activity one year after being killed by fire in 1998.He had to be helped to stand up with the dignity that the capital's most important stage deserved.

His still open wounds required attention,moved,but he did not want compassion.Where his stage was,there was a huge void in the open air.The ceiling and the stage had disappeared,but the energy of all the artists who had passed through it remained in its walls,so it was proposed that this space be performed on a ramp.As a sign of their approval of our idea,the building let us discover a bricked-up door in the wall at the point where the ramp headed.It was the pass that was needed for the entrance and exit of the actors.

The metal tubes and mesh of the ramp were the vocabulary of the added elements,both those that offered security to the public and those that were part of the scenography.The energy and the history of the true materials were always the allies.

The first work mounted was "King Lear." The performance took place both on the ramp and on the surface of the stalls and boxes,with which the stage space took on a threedimensional character.

"Faust" required a bridge,a platform and a gigantic skirt made from the rubble of the theater."Othello" demanded to build new platforms and define spaces in which events parallel to the main action would take place."The musical" was a peculiar case,since the public stood on the old stage and the performance took place in a room,which was covered with fabrics that symbolized the gauze that protect the wounded man's scars and that involved the entire theater space on the action.

七年后，这样的改变一直持续着，并一再被要求用于其他用途，有些甚至是与文化艺术无关的用途。但从一个侧面也反应出它不俗的实力和地位。因为这些不仅仅是为临时戏剧而准备的临时场景。

Seven years later,the interventions persist and are repeatedly requested for other uses,even other than cultural ones.This confirms its potency and its belonging to the site.They are much more than pertinent incidental sets mounted for temporary plays.