建築巨擘 César Pelli 最後遺作，阿根廷 Lola Mora 文化中心落成，水滴狀美術館收藏雕塑大師傳世巨作
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美國建築事務所 Pelli Clarke & Partners 在阿根廷西北部城市薩爾瓦多德胡胡伊（San Salvador de Jujuy）設計了 Lola Mora 蘿拉·莫拉文化中心，專門收藏已故藝術家 Lola Mora 的雕塑作品。建築坐落在郊區邊緣的林木山丘上，以一座橫跨山谷的橋銜接入口與展廳，主體為淚滴形平面，外觀混用白色懸挑量體與石材包覆的圓形附屬空間。建築聲稱達到淨零能耗，電力來自屋頂太陽能板與場地內的風力發電塔。這也是事務所創辦人 César Pelli 生前主導的最後一個計畫，Pelli 於2019年辭世，本身就出生在阿根廷西北部。
建築巨擘 César Pelli 最後遺作，阿根廷 Lola Mora 文化中心落成，水滴狀美術館收藏雕塑大師傳世巨作
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在介紹建築前，一起來先認識一下這位藝術家「Lola Mora」，她是阿根廷19世紀末、20世紀初的重要雕塑家，在當時以女性身分投身公共雕塑創作，留下許多至今仍矗立在阿根廷各地公共空間的紀念性作品；而薩爾瓦多德胡胡伊（San Salvador de Jujuy）是阿根廷最西北的省份胡胡伊省（Jujuy）的首府，靠近玻利維亞邊境，地形是安地斯山脈的前坡丘陵地帶。在這裡為 Lola Mora 蓋一座專屬的文化設施，背後有明確的地方認同意義。
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擔綱設計的是美國事務所 Pelli Clarke & Partners，創辦人 César Pelli 是知名建築師，代表作包括吉隆坡雙子塔（Petronas Towers）和紐約世界金融中心。
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César Pelli 本人就出生在阿根廷西北部，Lola Mora 文化中心是他生前主導的最後一項計畫，2019年辭世前完成設計，後來由他的兒子、事務所合夥人 Rafael Pelli 接手完工，這也是 Pelli Clarke & Partners 在阿根廷落成的第一座文化設施。
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建築坐落在郊區邊緣的林木山丘上，基地中間有一道山谷切過，設計的做法是往下開挖地形，用一座橋橫跨山谷，把入口和主展廳串聯起來。
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入口處有白色懸挑頂蓋從橋口伸出，乾淨俐落。旁邊是石材包覆的圓形量體，上面用鏤空金屬字標示機構名稱。兩種材料語言放在同個入口創造出相當直接的對比性格，一邊是太空時代的白色光滑面，一邊是厚重粗獷的在地石材。
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主量體的平面是淚滴形，橋是入口端的細頭，展廳是展開的寬頭，幾個石材包覆的圓形附屬量體分別掛在橋的中段和展廳旁邊，裡面分別配置了餐廳、圖書館和禮品店，這些附屬量體外觀統一，功能各自獨立，散落在山丘地形的不同位置。
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展廳內部是整棟建築最核心的空間，六件 Lola Mora 的巨型雕塑沿著落地玻璃排開，窗外是森林、山脈和河流。
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展廳中間另外設了一個深色木格柵包覆的獨立內部結構，用來展示需要控制光線的小型作品或使用人工光源的作品，天花板上有背光的圓形天窗，整個展廳的室內設計克制呈現，白牆、木地板，讓展出的雕塑做為主角說出想講的種種。
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景觀設計由 Balmori Associates 操刀，而這個事務所則是由 César Pelli 的已故妻子 Diana Balmori 創辦，步道和花園把幾個分散的量體串聯起來，讓人在建築和山林之間自然移動。
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永續方面是宣稱達到淨零能耗，電力主要來自所有量體屋頂上的太陽能板，基地內另設有一座風力發電塔，同時作為視覺地標，讓文化中心從遠處就能辨識出來；雨水收集系統和隔熱設計也納入其中，石材就地取用，減少運輸碳排，諸多手法加在一起，讓整棟建築在能源上完全自給。
Rafael Pelli 在竣工後表示，父親從小就欣賞 Lola Mora 的作品，能在自己家鄉附近的土地上為她建一座文化空間，對整個家族來說別具意義。
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#WindTurbineTower #SculptureMuseum #SanSalvadorDeJujuy #BalmorAssociates #SustainableMuseum
US-based studio Pelli Clarke & Partners has created a museum, with a futuristic bridge and tower embedded with wind turbines, dedicated to artist Lola Mora in Argentina.
Sited on a forested hillside on the edge of a suburban development in San Salvador de Jujuy in northwestern Argentina, the Lola Mora Cultural Centre was purpose-built to house the late artist's sculpture.
It is also significant as the final project led by Pelli Clarke & Partners founder César Pelli, who died in 2019.
The building has aspects of both the space-age and a more organic modern sensibility, with sheer white walls and glass in some places and rough-hewed stones in others.
Its main structure is teardrop-shaped in plan, with an elongated entry along a bridge that leads into a wide gallery space.
This bridge helps the structure navigate the topography, crossing a ravine that comes into the middle of the site.
Affixed outside are rounded structures clad in stone that feature auxiliary functions such as restaurants, libraries and gift shops.
The juxtaposition of the building's two material languages is best seen at the entryway.
Jutting out from over the door that leads to the bridge is a cantilevered, white overhang.
To the right of the entry is one of the stone-clad structures with the name of the institution featured prominently in cut metal letters.
One of the other oblong structures is attached to the main structure in the middle of the bridge, sitting at the crest of the ravine, and the other is adjacent to the fanned gallery volume itself.
The landscaping navigates the site, connecting the structures to a series of paths and gardens, carried out by Balmori Associates, a studio founded by César Pelli's late wife, Diana Balmori.
Pelli Clarke & Partners highlighted the sustainable aspects of the building, which it claims generates 100 per cent of its power on site, mostly through the arrays of photovoltaic panels on the roofs of all the structures.
A tower near the centre of the site "signals the cultural center's presence from afar" and features elegantly wrapped wind turbines that provide additional power to the facilities.
The studio also sited the insulation and rainwater-gathering systems as well as the sourcing of local stone, reducing transport emissions, as sustainable factors in the building, which it claims operates at net-zero energy usage.
While the building subtly signals its energy goals with that tower, it is ultimately a purpose-built structure for six monumental sculptures by Mora, which were previously outside.
The six sculptures feature along the floor-to-ceiling glass of the primary gallery space, which looks out at the forests, mountains and river beyond. Other works were placed in an interior structure in the middle of the gallery that was clad in dark-stained wood slats.
This interior structure provides a light-controlled space to showcase smaller works and works that utilise artificial light sources, and has a back-lit oculus in its ceiling.
Throughout the gallery spaces, the interior architecture is minimalistic, with smooth wooden floors and white walls.
In the auxiliary spaces, the ceilings were kept low with more backlit ceiling lighting and different window and flooring configurations depending on use. The library space has carpet and thin horizontal windows, while the restaurant has wooden flooring akin to the gallery and horizontal bar windows.
According to Rafael Pelli, who serves as a partner at the studio, the site and purpose of the building had particular significance to his father, César Pelli, who was born in northwestern Argentina.
And though the studio has projects worldwide, it is its first cultural building in the country.
"As one of César Pelli's final projects, the opening of the Lola Mora Cultural Center in San Salvador de Jujuy is both a professional and personal honor for our firm and my family," said Rafael Pelli.
"My father, a native of the Argentine northwest, admired Lola Mora's work from a young age. To create a space that celebrates and carries forward her legacy, in a community so close to my heart, is a true privilege."
The photography is by Jason O'Rear.
Project credits:
Client: Government of the Province of Jujuy
Design architect: Pelli Clarke & Partners
Design architect: Pelli Clarke & Partners; partner in charge: Susana La Porta Drago; design team leader: Axel Zemborain
Collaborators: Alejandra Alonso, Ileana Dumitriu, Tammy Monnin
Landscape design: Balmori Associates
Architect of record: Arturo Beccar Varela & Asociados
Structural engineer: Alberto H Fainstein SA
MEP: EGF-Estudio Grinberg (mechanical), Estudio Mackinlay Vignaroli (electrical), Estudio Labonia & Asociados (plumbing)
LEED: EGF-Estudio Grinberg
Lighting: Cappiello + Partners
Museography: MUDE
