Pascale Marthine Tayou 工作室
Ateliers of Pascale Marthine Tayou / BC architects
由专筑网王沛儒,小R编译
来自建筑事务所的描述。艺术家Pascale marthy Tayou希望可以将一组相互连接的仓库进行创意性改造,构成可以工作、接纳客人的场所。
Text description provided by the architects. The artist Pascale Marthine Tayou wishes to convert a group of interconnected warehouses into a place for work, creativity and hospitality.
建筑师在仓库的屋顶上新建了一层防水层,进行了改造,对所有的内墙进行清理,裸露出不同时期的钢结构,仓库经过规划构成连续的开放空间,用来举办展览和工作。
The warehouses are renovated minimally by means of a new floor and a new waterproofing layer on the roof, and the stripping of all interior walls, laying bare the steel structures of different times. The warehouses open up to become one continuous open plan to host exposition and work area's.
建筑师在仓库中设计了一个隔热的长棱镜,将开放的平面空间按照公共和私人区域分开布置。棱镜可以容纳小型工作场所、办公空间、接待处、小工作室等设施,其结构就好像是两排长长的“托盘架”,外部可以用作储藏空间,内部可以放置厨房、床、工作台、橱柜、沙发。
In the warehouses, an insulated long prism is designed, which structures the open plan into a public and private zone. The prism accommodates small workplaces, an office space, a reception, a small studio, and facilities. Its structure is two long rows of 'pallet racks', serving as storage space on the outside and serving as kitchen, bed, workbench, cupboard, sofa on the inside.
隔热材料采用的是麻岩、石灰和大麻的混合物,用作饰面,采用以生物为基础的材料与实用重复的设计方法相结合,为艺术家Pascale Marthy Tayou创造了功能强大、纹理丰富的基础设施。
The insulation is hempcrete material, a mixture of limes and hemp, which serves as a finishing. The combination of bio-based material with a pragmatic and repetitive design approach results in a highly functional but textured infrastructure for the artist Pascale Marthine Tayou.
棱镜通过“城市建设营”而制作,该活动由BC建筑事务所主办,一些志愿者会在现场生活、工作,以及学习。
The prism was made mostly within an 'Urban Construction Camp' of 5 weeks, hosted by BC architects & studies, in which several volunteers worked, ate, slept and attended lectures on site.
建筑设计:BC建筑事务所
项目位置:比利时,根特
项目类型:办公室
工作室排布:BC建筑事务所
项目面积:1650平方米
项目年份:2018年
照片摄影:Thomas Noceto
Architects: BC architects
Location: Ghent, Belgium
Category: Offices
Workshop organization: BC studies
Area: 1650.0 ㎡
Project Year: 2018
Photographs: Thomas Noceto
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