Stathis Stylidis在雅典设计了一个虚拟现实实验空间
Stathis Stylidis proposes a virtual and augmented reality experimental space in Athens

由专筑网黎旭辰，李韧编译

Stathis Stylidis的论文项目通过设计将雅典的“Evripides酒店”转化为具有虚拟和增强现实技术的研究和应用实验空间的建筑作品，名为“Rapturehood studios”。 在这个新空间内，设备齐全的车间可用于研究和创作，而酒店房间则主要用于出租，为客人提供探索和设计新技术所需的设备。建筑内还设有展览空间、小用餐区、酒吧和露天电影院。建筑师还设计了独特的金属结构，从而成为新建筑的一部分，为建筑赋予具有创新意义的用途。同时，建筑的阳台形态呈现出独特的VR眼镜形式，就好似建筑的眼睛。

Stathis Stylidis’ thesis project proposes through designs the conversion of the ‘Evripides hotel’ in Athens into a building with experimental space of research and applications for technologies of virtual and augmented reality, named ‘rapturehood studios’. Inside this new space, properly equipped workshops are available for research and creation, while the use of hotel is preserved through rental rooms that offer guests the necessary equipment for exploring and designing the new technology. An exhibition space, a small dining area / bar and an open-air cinema are also included. Addable metal structures create spaces that ‘plug into’ the existing building, co-creating the new uses. Simultaneously, they form open and closed balconies, in the shape of VR masks / headsets, that are the only ‘eyes’ of the building.


该建筑的立面让“Rapturehood studios”成为该地区的标志性建筑／The facade of the building defines ‘rapturehood studios’ as a landmark in the area

希腊建筑师Stathis Stylidis通过虚拟现实技术，将该酒店定义为城市标志物，这与传统的研究公司的建筑性格相反。人们的积极参与及反馈为新兴技术科学提供了珍贵的体验记录。另外，这些体验空间也将积极推动人类与真实世界之间的关系变化。

Greek architect Stathis Stylidis‘ intention of ‘demystifying’ the technology of virtual reality, set the location of the workshop / hotel into the urban fabric, in contrast with the usually secluded and introverted similar research companies. The active participation of the visitor / researcher and the narrations / recorded experiences that will emerge, will be a valuable manual for the upcoming technological and philosophical quests. In addition, they will contribute to the development of the necessary safety measures concerning the changes that will occur in the relationship between humanity and the world we accept and define as ‘real’.


建筑物上的三维QR码能够通过高科技设备实时转变建筑的立面形态／Three dimensional QR codes on the building transform its facade through augmented reality devices

“这是一种重要的模拟环境体验产品，为客户带来多种刺激的体验，但却十分安全，不会在现实生活中造成客户的困扰。”在《未来的冲击》（1970年）这本书中，作者预示了现代社会的演变，美国作家阿尔文•托夫勒（Alvin Toffler）分析了未来的脱机产品以及主要依赖于艺术的“经验产业”所带来的不同体验， 如果上述的几个概念在未来能够应用于剧院、电影院、主题公园、电子游戏以及各种艺术和娱乐形式的商业之中，那么人们便可以认为，虚拟现实技术离人类并不遥远。

‘One important class of experiential products will be based on simulated environments that offer the customer a taste of adventure, danger, sexual titillation or other pleasure without risk to his real life or reputation.’ In ‘future shock’ (1970), a book that predicts the evolution of modern societies, the American writer Alvin Toffler analyzes the emergence of the experience as a standalone product and the subsequent development of an ‘experiential industry’, based largely on art. If this concept, summarized in the above excerpt, describes the commercial aspect of theater, cinema, theme parks, videogames and possibly of every form of art and entertainment, then we can assume that in our era acquires its most representative manifestation through the technologies of virtual reality.


建筑的一层部分通过展示虚拟世界的生活，从而吸引了许多路人驻足观看／The portals on the ground floor attract the passersby, showing life in virtual worlds

目前最新的VR设备和应用程序主要运用于家庭娱乐市场，然而这些设备向公众重新引入了这种创新媒体的概念，这给人们留下了深刻的印象，并且激发了大众对此的兴趣，但人们对于这种技术所运用的范围还很模糊。如果虚拟世界有存在的目的，那就是让人们重新考虑人类的自然可能性，甚至质疑人们曾经所定义的所有概念。“真实的”世界永远客观存在，人们只能通过想象力来无限接近真理，因此世界上诞生了许多科幻小说与电影。这些作家与编剧们通过现有的世界，假象了一个可能存在的场景，最终改变了人类的发展进程。这是人们对于未来生活的美好愿景。

The recent reappearance of VR devices and applications, mainly in the market of home entertainment, re-introduced this innovative medium to the public, managing undoubtedly to impress and generate interest, but without making clear its range of possibilities. If virtual worlds have a purpose of existence, that is to make us reconsider our natural possibilities. They question all kinds of boundaries upon which we developed our identity. The ‘real’ world is always our reference point and the ‘not-so-real’ excites and fuels our imagination. Based on this notion are always the science fiction novels and films appreciated. They narrate a plausible extraordinary situation. The result is the discovery / invention of new parameters that change and enrich established ways of living and ultimately transform our world. This is the desiderata.


“Rapturehood studios”是现实世界与虚拟世界之间的过渡空间／‘Rapturehood studios’ is a transitional space between our world and new realities, mixed or virtual


不同类型的房间提供各种VR / AR工具，如全方位跑步机模拟器／Different types of rooms provide various VR/AR tools, like omnidirectional treadmill simulators


建筑顶部有屋顶电影院和“V-Bar”／The top of the building has a rooftop cinema and a ‘v-bar’


建筑轴测图（5层） ／Floor plan of the workshop, 5th floor


建筑轴测图（6层） ／Second floor of workshop, 6th floor


地下室C.A.V.E.的互动地图 环境灵感来自著名VR艺术家的作品／Interactive map of the basement’s C.A.V.E. environments inspired from installations of famous VR artists


现有建筑的窗户被替换为金属结构/功能空间的“端口”／The windows of the existing building are replaced with ‘ports’ where metal structures / functional spaces plug-in


一层平面／Floor plans


剖面／Section

该项目的视觉效果包括：
a）Masashi Wakui夜景照片的元素提取。
b）来自以下游戏的图片：来自Marc Laidlaw 的“Half-Life 2”（2004年–2007年）、来自Jenova Chen 的“Journey” (2012年)、来自Ken Levine 的“Bioshock infinite”(2013年)、来自Neil Mcfarland 的“monument valley”(2014年)、来自Jonathan Blow, Thekla inc 的“the witness”(2016年)
c）来自以下电影的图片：来自Ridley Scott 的《Blade Runner》(1982年)、来自Baz Luhrmann的《Romeo + Juliet》 (1996) 、来自Stanley Kubrick 的《Eyes Wide Shut》(1999年) 、来自James Gunn 的《Guardians Of The Galaxy》(2014年)

The visuals of the project include:
a) Elements from Masashi Wakui’s night photos.
b) Images from the following videogames: ‘half-life 2’ (2004 – 2007) by Marc Laidlaw, Valve Corporation ‘journey’ (2012) by Jenova Chen, that game company ‘Bioshock infinite’ (2013) by Ken Levine, 2k games & irrational games ‘monument valley’ (2014) by Neil Mcfarland, ustwo ‘the witness’ (2016) by Jonathan Blow, Thekla inc.
c) Images from the following movies: ‘blade runner’ (1982) by Ridley Scott, warner bros. ‘romeo + juliet’ (1996) by Baz Luhrmann, twentieth century fox film corporation. ‘eyes wide shut’ (1999) by Stanley Kubrick, warner bros. ‘guardians of the galaxy’ (2014) by James Gunn, marvel studios


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