禅宫——威尼斯双年展/ O-office Architects-文化建筑|展览馆-专筑网

禅宫——威尼斯双年展/ O-office Architects

2014-08-06 21041 Views iarch003

建筑, 文化建筑, 展览馆, 意大利, 威尼斯, 2014年, 源计划建筑师事务所, 砖, 威尼斯双年展, 威尼斯风格

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© Interpress Photo & O-office

建筑师及展览设计：源计划建筑师事务所
主持建筑师：何健翔蒋滢
设计组：Thomas ODORICO，刘洋
地点：意大利威尼斯 Cannaregio 4924
面积：390平方米
建成时间：2014
摄影：Interpress Photo，源计划

Architecture & Exhibition Design: O-office Architects
Principal Architects：Jianxiang HE & Ying JIANG
Project Team: Thomas ODORICO, Yang LIU
Location: Cannaregio 4924 Venice, Italy
Area: 390 m2
Year: 2014
Photographs: Interpress Photo & O-office

© Interpress Photo & O-office

威尼斯的雅伦格文化艺术基金会位于禅宫的首层，这是一个源于1537年的历史性老建筑，毗邻意大利城市中一条典型的运河。该项目作为翻新和改建项目，占地390平方米的空间被转换成一个艺术画廊，包含展览，会议等功能，还包括一个雅伦格文化艺术基金会的办公空间。

EMGdotArt Foundation in Venice is located on the ground floor of Palazzo Zen, a historical building from 1537, situated along a typical canal of the Italian lagoon city. Dealing with renovation and (re-) adaptation, the 390m2 space has been converted into an art gallery featuring rooms for exhibitions, conference and meetings, including a workspace for EMGdotART Foundation.

© Interpress Photo & O-office

承重砖墙——作为项目的“基础框架”分割成三个主要空间，分别是前面提到的公共和私人活动空间。如何恢复和体现基地原有的历史符号？例如一个十六世纪留下来的威尼斯风格的地板，一个古老的十六世纪的天花板装饰，空间内古老的门结构，不同种类的地板和翻修过的表皮，这些都是设计中所要面对的最有意思的难题。

The load-bearing thick walls- the “fundamentals” of the project - define the three main spaces that are programmed for the aforementioned public and private activities. How to restore and include the scattered historical elements present on the site? Such as an original ancient XVI-century Venetian floor, the old XVI-century ceiling decorations, Palazzo Zen’s old doors, different kind of floors and the renovated façade - this proved to be the most interesting design dilemma.

© Interpress Photo & O-office

© Interpress Photo & O-office

设计通过新的金属装置——也就是我们所称的微建筑——连接所有这些空间和物体，穿插众多不同层次与点滴的历史遗迹与元素，形成这一包容新旧的雅伦格威尼斯画廊空间。其中较大的一个金属装置被充当复合型的走廊，它将入口大厅的游客引入到内部的房间，门结构由黑色金属盒子取而代之，作为不同空间及构造环境之间的过度界点，形成从一个时间／空间到另一个时间／空间的动态流动。

The project links all these spaces and objects through new metal installations - which we call miniature architecture - that connect the multitude of historical building elements comprising the EMG Venice gallery. Designed as a hybrid corridor, the bigger metal installation brings the visitors from the entrance hall to further rooms. Instead of doors, black metal boxes act as an interface between different spatial and tectonic environments, thus making transitions from one time/space to another.

© Interpress Photo & O-office

中心展厅是由典型的来自伊斯特里亚（克罗地亚）的白色石头铺装地面，这种密度较大不易渗透的伊斯特拉石灰石很早就应用于威尼斯的建筑当中。再次采用这一材料是为了体现一种历史性的延续，中心展厅——一个当代的“古代遗迹”空间——展示了当地古老的石材如何过度和应用到雅伦格文化艺术基金会的日常工作当中，进而为空间，建筑和传统石头工艺增添新的气息。

The central exhibition area is stone-floored by a typical white stone coming from Istria (Croatia). This characteristic dense type of impermeable Istrian limestone has been used in the architecture of Venice since its very beginnings. Displaying a historical continuity, the central exhibition area – a contemporary “archaeological” space – shows how local ancient stone is newly organized for the EMGdotART Foundation’s daily work, thus bringing new life to the gallery, building and local stone tradition.

© Interpress Photo & O-office

因为潮水的原因，入口旁两侧的房间在一年中会有很多天被水浸没。而这种无意识的安排——威尼斯运河河水侵入禅宫——恰好形成一种独特好奇的光效。这种自然的现象也被包含其中作为展览的一部分。

Due to the high tides, the two side-rooms beside the entrance are occasionally flooded for many days throughout the year. This involuntary infiltration of the Venetian canals into Palazzo Zen generates a particular and curious light effect. One of these critical spaces is included as a part of the exhibition as well.

© Interpress Photo & O-office

Palazzo Zen落成之处便作为2014年威尼斯双年展外围展《应变——中国的建筑和变化》的场地，展览由马里诺-福林和动态城市策展。展览展示了11个当代中国建筑事务所的独立实践与思考，展现他们在快速城市化进程中所采取的应变策略与由此而产生的建筑作品。“《应变》关注中国建筑师如何协调社会条件、客户和资金等变量的各种限制。他们的作品善于应对调整，展现一种对工艺和建造文化的全新认知，而这种认知是在对传统空间观念的现代阐释、对工业遗产的复兴以及对偏远地理环境的回应过程中强化的。展览借助模型、摄影和视频的形式跨越几代中国建筑师，力图展现这个发展中的职业的真实状况。”

Palazzo Zen is now hosting the collateral exhibition of Venice Biennale 2014, Adaptation – Chinese Architecture and Change, curated by Marino Folin and MovingCities, soon after its completion. The exhibition showcases 11 selected Chinese architects and their independent practice and thinking. “Adaptation focuses on how Chinese architects negotiate shifting constraints imposed by contexts, clients and capital. Their work is apt for change, revealing a new understanding of craft and building cultures, imposed by modern interpretations of traditional spatial concepts, revitalization of industrial heritage, and reactions to remote geographies.”

© Interpress Photo & O-office

© Interpress Photo & O-office

展览的设计工作仍然由源计划负责，设计延续了源计划原有建筑介入“记忆”与“漂浮”的主线，将展览按照不同的展示媒介分别在由新的“微建筑”所串联的不同时空中展示。入口大厅的整个砖墙面为悬挂的虚拟影像和实体建造元素杂交而成，貌似连续却又断裂，象征中国变化混杂的当代中国城市和建筑状态，作为整个展览的前言和导览。与入口大厅相连有着古老的中世纪大理石地面的侧厅则悬浮着5个透明亚克力圆盘桌面，上面构筑着5个建筑师各自的作品模型和信息，隐喻了中国建筑师们在泛城市海洋中创建建筑（学）场所浮岛的努力。此外，展览还通过视频、家具等多种媒介向观众展示当下中国建筑师们的多元化实践探索和尝试。

The spatial design for the exhibition was also conducted by O-office, following the design theme of “memory and floating” in Palazzo Zen. Various forms of exhibited media were showcased in different spaces. A composition wall of printed urban images and building elements is hanged on the masonry wall of the entry hall, symbolizing the complexity of contemporary Chinese cities and architecture. Five circular transparent acrylic tables are hanged in the side hall with medieval marble floor, exhibiting five different architects’ working models and relevant drawing and pictures. This surrealistic scene is supposed to be a metaphor of individual efforts of Chinese architects in the vast urbanization ocean. Other forms of media, such as video and furniture, are also displayed to showcase the diversity of Chinese architects’ experiment and practice.

© Interpress Photo & O-office

“在中国，主要的挑战是理解这种改造项目的生命周期。我们大部分改造项目在项目设计阶段能预设超过5年的时间的周期，我们要与时间竞赛。与此相反，EMG在威尼斯展厅的永久存在是肯定的事实。因而设计的目标是在场地既有的历史纹理中导演未来的空间剧目，并保留日后扩展、展示和新介入的可能性和开放性。因此我们同时设计、介入、且预见空间的未来层次。”源计划如此表述他们在中国和在威尼斯所进行的改造项目的具体差异。

“In China, the main challenge is to understand the life span of such adaptive projects. Most of our Chinese renovation projects were in the beginning supposed to last more than 5 years and we must compete with time. In contrast, we knew that the EMG gallery-space in Venice would be there forever. So the design goal was focused on how to deal with, and direct this spatial theatre, based on the site’s existing historic layers. At the same time, we want to provide an open design possibility for its future program, exhibitions and interventions. Thus we design, intervene and foresee the future layers of this architecture.” O-office compares the reconversion of Palazzon Zen and their Chinese projects.