10 installations from the first Tbilisi Architecture Biennial
由专筑网邵红佳，李韧编译
在首届第比利斯建筑双年展上，建筑师们在Gldani郊区创建装置作品。以下是小编们选出的10个装置，其中既有“migrating”这样的建筑，也有建筑师亲自建造的色彩斑斓的构筑物。
第一届建筑双年展于10月26日到11月3日举行，由于没有足够的主题建筑，举办方为建筑师提供了平台，主要讨论格鲁吉亚首都的现状。
通过这些作品，揭示了这座城市的建筑混乱现状。同时，这也让人们更加相信，这座城市会越变越好。
建筑记者India Block展示了展览上的10个最佳装置：
The inaugural Tbilisi Architecture Biennial saw architects create installations across the city suburb of Gldani. Here are 10 of the best, from a group of "migrating" sheds to a series of colourful self-made structures.
Held between 26 October and 3 November, with the theme Buildings Are Not Enough, the Tbilisi Architecture Biennial 2018 offered architects a platform to discuss the current state of the Georgian capital.
It revealed that the city is in the midst of architectural chaos, but that there are reasons to be optimistic about the future.
Architecture reporter India Block reveals 10 of the best installations on show:
Mainstream by Alexander Brodsky
俄罗斯建筑师Alexander Brodsky，是20世纪80年代莫斯科纸质建筑师协会的创始成员。建筑师在Gldan的DKD大桥的屋顶上建造了一些细长的小屋。
“nomadic sheds”旨在评论城市的过度发展。表面是水洗灰色，使构筑物看起好像与桥梁表面融为一体。这些临时建筑群的屋顶为山字型，像是从桥梁上长出来的萌芽。
Russian architect Alexander Brodsky, a founding member of the Paper Architects collective in 1980s Moscow, built a caravan of slender cabins "migrating" over the rooftop of the DKD Bridge in Gldani.
The "nomadic sheds" were intended as a comment on the overdevelopment of cities. Washes of grey paint were added to make the structures appear as if they were melded with the surface of the bridge, and tips of gabled roofs created the illusion the horde of temporary buildings were sprouting from the bridge itself.
To Be Constructed by Adrian Judt and Helen Schaurer
在建筑社会实验中，Austrain与Adrian Judt、Helen Schaurer合作，在一块亮蓝色的板子上放了一些建筑材料，如煤渣砖和桶装油漆。他们鼓励当地居民免费拿走任何需要的东西。但作为回报，居民们需要提供使用这些建筑材料的照片和细节。
这个项目的灵感来自于Gldani的传闻，居民会自己动手来修补摇摇欲坠的苏联时代公寓楼。Judt和Schaurer对建筑材料被拿走的速度感到十分吃惊，为居民们的建筑材料多样用途而感到惊讶。
In an architectural social experiment, Austrain collaborators Adrian Judt and Helen Schaurer covered a bright blue pallet in building materials such as breeze blocks and cans of paints. Local residents were encouraged to take anything they needed for free, in return for a photograph and details of what they planned to do with the items.
The project was conceived in response to Gldani residents' gonzo DIY approach to augmenting their crumbling Soviet-era apartment blocks. Judt and Schaurer were surprised by the speed with which the materials were collected and the diversity of uses their new owners had determined to put them to.
Mausoleo by Babau Bureau
位于威尼斯的建筑景观事务所Babau Bureau，将位于罗马Gldani的四世纪大教堂Mausoleo de Santa Constanza的一层平面图转移到了一个被公寓环绕的庭院。 工作室创始人Marco Ballarin、Stefano Tornieri和Massimo Triches通过在Google地图上查看卫星图像找到了这个合适的庭院。
他们用粉红色的油漆和彩色的石块勾勒出教堂的形状，在庭院的中央竖立了木结制构筑物，象征教堂圆形的拱顶。双年展期间，在这块场地上举办了涂鸦课程和家具改造工作坊，儿童将会在场地上玩耍。
Venice-based architecture and landscape office Babau Bureau transposed the floor plan of the Mausoleo de Santa Constanza, a fourth century basilica in Rome, onto a courtyard surrounded by apartment blocks in Gldani. Studio founders Marco Ballarin, Stefano Tornieri and Massimo Triches found the appropriate spot for their project by looking at satellite images on Google Maps.
Pink paint and painted blocks outlined the chapel's shape, with a wooden structure erected in the centre of the courtyard to evoke a domed apse. Graffiti classes and furniture up-cycling workshops were held on site during the biennial, and local children adopted the floor shapes as a playground.
Living Forms, Copy Paste
“Living Forms, Copy Paste”由团体制作。成员有ezi Gabunia、Ivane Ksnelashvili、Nika Maisuradze和David Tsanava，他们作为团体参加比赛和展览，作品融合了艺术、生活和建筑。
为了向Gldani“自发自制的建筑风格”致敬，该团队设计了一系列作品，它们由充满对比的材料制作而成，是相互交错的墙体。在活动期间，这些墙体随时可以重新整理和布置。
Copy Paste, a collective made up of Tezi Gabunia, Ivane Ksnelashvili, Nika Maisuradze and Davit Tsanava, comes together for competitions and festivals to work on projects that fuse art, activity and architecture.
In recognition of Gldani's "spontaneous, self-made architectural style", the team devised a series of interlocking walls made from contrasting materials, which could be gradually re-arranged and re-located throughout the event.
Inhabit! post-Soviet Tbilisi by Thomas Ibrahim
这个作品不仅仅是一座建筑，同时又是一个无政府主义的所有物。在第比利斯，建筑学生和难民接管了一座废弃的苏联时代现代主义建筑，将其作为城市的公共空间，尤其是对居住在那里的格鲁吉亚内战中流离失所的人来说，更是一个避风所。
在Zurab Tsereteli的Icarus雕像被毁坏的地方，Abseilers在正面安装了白色的柱子，表明“理想主义的衰落不是理想的衰落”。
美国建筑研究生Thomas Ibrahim设计了一座楼梯，它融合了传统Abkhazian建筑和Shida Kartli建筑风格。楼梯就在雕像下方，为居民提供了方便干净的社区空间。
Part architecture, part anarchic occupation, Inhabit! saw architecture students and refugees take over an abandoned Soviet-era modernist building in Tbilisi to reclaim it as a public space for the city, but in particular the internally displaced people of Georgia's civil wars living there.
Abseilers fixed white rods to the facade where Zurab Tsereteli's sculpture of Icarus has been partly destroyed to show "the fall of idealism is not the fall of ideals".
American architecture graduate Thomas Ibrahim designed a staircase, based on a blend of traditional Abkhazian and Shida Kartli architecture, to provide the inhabitants with easy access to a newly cleared community space under the statue.
Xulula by XOPA
这是来自第比利斯、莫斯科和伦敦的年轻建筑师的作品。XOPA乐于接受非正式的建筑项目。他们用Gldani货车停车场找到的材料搭了这座临时棚屋，也是一个非正式的实验作品。
当城市议会拒绝给整座建筑提供电能时，XOPA与隔壁DKD大桥的鞋匠达成了合作关系。铁匠给他们提供电缆，作为回报，双年展结束后铁匠可以得到这座建筑物。
A practice formed of young architects from Tbilisi, Moscow and London, XOPA readily embraced the theme of informal architecture with their project. A makeshift shed erected from found construction materials in a Gldani truck carpark, the structure is an experiment in unofficial infill architecture.
When the city council failed to provide a source of electricity, XOPA struck up a friendship with a shoemaker based in the DKD Bridge next door, who ran a cable in exchange for keeping the structure once the biennial came to a close.
Boiler by David Brodsky
这个双年展的社交中心无疑是项目“Boiler”，这个项目来自Alexander的儿子兼建筑师David Brodsky和他的妹妹Kura的合作，这座工期一年的建筑项目是双年展的高潮。他们兄弟姐妹一直住在第比利斯市中心废弃的19世纪砖房里，他们把它改造为虽然混乱，但功能齐全的家，成为智力沙龙和深夜家庭聚会的场所。
木制楼梯从街道通向二楼立面的开口，无需任何传统入口，体现了项目的开放特点。
The official-unofficial social hub of the biennial was Boiler, the culmination of a year-long project from architect David Brodsky, son of Alexander, and his sister Kura. The siblings had been living in the abandoned 19th-century brick house in central Tbilisi while turning it into a chaotic-yet-functional home that operated as an intellectual salon and a late night house party venue.
A wooden staircase leads straight from the street to a gap in the first-floor facade, bypassing any need for a traditional entrance and embodying Boiler's open-door policy.
Habitat by Maria Kremer
在双年展期间，如果你穿过DKD大桥，会遇到一个树屋式的平台，它建在拱道上。
莫斯科建筑大学毕业生Maria Kramer将建筑中的空地改造成一个可以休息的空间，路过的人可以登上木材楼梯找到遮风挡雨的建筑物，在这里行人可以俯视Gldani，对望第比利斯。
Those crossing the DKD Bridge, a Soviet modernist take on Venice's Ponte Vecchio, during the biennial would have come across a treehouse-style platform built into an archway.
Muscovite architecture graduate Maria Kramer converted the empty space in the architecture into a habitable space, where passersby could ascend the timber stairs to find a sheltered cocoon looking down over Gldani towards Tbilisi.
Scarlet Window by Reijiro Wada
现居于柏林的日本雕塑家Reijiro Wada用他的装置Scarlet Window将第比利斯的天际线变成了红色。Wada在一栋废弃的公寓的顶层安装了三扇双层玻璃窗，并装上了Gldani特产的红葡萄酒。
从希腊神话到基督教圣餐，葡萄酒它在格鲁吉亚历史中有着重要的地位。装置为城市景观蒙上了一层令人愉悦、刺激的迷幻感觉。
Berlin-based Japanese sculptor Reijiro Wada turned the Tbilisi skyline red with his installation Scarlet Window. Wada installed three double glazed windows in an abandoned top-floor apartment and filled them with red wine, a Georgian specialty.
The symbolism of wine, from Greek mythology to Christian sacrament, and its place in Georgian history provided a psychedelic – and pleasingly pungent – overlay to the cityscape.
To Protect My House Whilst I'm Away by Nika Kutaledze
这是一座非常规的居住建筑，双年展并没有让它变得更加宜居。艺术家Nika Kutaledze用小柠檬树枝把房间全部填满，把家变成了互动式的童话梦魇。
这个装置是Guria地区一栋房子的复制品。在那里，去城市工作的业主会用荆棘填满他们的房间，防止小偷的到来，也阻止野生动物筑巢。
Rather than making the informal habitable, one biennial project made the habitable inhospitable. Artist Nika Kutaledze transformed a home in Tbilisi into an interactive fairytale nightmare, filling every room with the spiny branches of lemon trees.
The installation was a replica of a house from Georgia's Guria region, where absent property owners who'd gone to work in the city filled their rooms with thorns to deter potential thieves and wild animals who might be tempted to nest there.
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