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贫穷艺术与混凝土的结合会产生什么样的效果?第1张图片

纽约北部的意大利艺术展馆
Crisp concrete forms house galleries for radical Italian art in Upstate New York

由专筑网李韧,HYC编译

建筑师Miguel Quismondo将哈德逊河畔的一座20世纪60年代的仓库进行了改造,为这座仓库扩建了一座全新的混凝土体量,用于收藏意大利贫穷艺术的作品。

这座展览馆的名字“Magazzino”来源于意大利语中“仓库”,它位于Cold Springs村,这是哈德逊河畔的一个村落,距离曼哈顿约一个小时车程。

建筑师需要将这个面积约11000平方英尺(约1022平方米)的仓库进行全面的翻新,然后再扩建一座面积约14000平方英尺(约1300平方米)的新建筑。

Architect Miguel Quismondo has transformed a 1960s warehouse in the Hudson River Valley and created a new concrete addition to house a collection of work from the Italian Arte Povera, or "Poor Art", movement.
Taking its name from the Italian word for "warehouse", Magazzino is located in Cold Springs – a village in the Hudson Valley situated about an hour outside of Manhattan.
The project entailed the full renovation of an 11,000-square-foot warehouse (1,022 square metres), along with the creation of a new building encompassing 14,000 square feet (1,300 square metres).

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该项目的委托方是Olnick Spanu机构,这个机构由夫妻档收藏家Nancy Olnick 和Giorgio Spanu共同组织管理,西班牙籍的美国建筑师Miguel Quismondo主要负责这个项目的设计工作,他是Olnick Spanu机构的建筑施工负责人员。

这个展览馆的作品主要来源于意大利贫穷艺术运动,这是一个盛行于上世纪60年代的意大利组织,当时的设计师们主要通过例如布与树枝等常见材料来进行艺术创作,从而对建筑设计产生一定的影响。

The project was commissioned by Olnick Spanu, an organisation led by husband-and-wife collectors Nancy Olnick and Giorgio Spanu. Spain-born and New York-based architect Miguel Quismondo, who serves as the organisation's director of architecture and construction, oversaw the design.
The gallery presents work by members of Arte Povera, or "Poor Art" – a radical art movement that emerged in Italy in the 1960s. The artists were known for using mundane materials such as rags and tree branches, which influenced the building's design.

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项目团队负责人说:“虽然这些艺术家的作品都通过简单、劣质,容易取得材料,但我们仍然希望通过这些简单的原料来表达内在的设计理念。”

现有建筑材料为混凝土和钢结构,平面呈L形,建于1964年,主要用作日常用品的分发与派送。在L型体量的内侧,建筑师设计了一座庭院,然后将艺术展馆放置于此。新旧建筑通过玻璃走廊相连接,这样让建筑看上去更加轻盈。

"While the artists worked with elements considered to be poor, low-quality or readily available, we wanted to pursue this philosophy by using simple components and building techniques," the team said.
The existing steel-and-concrete building, which is L-shaped in plan, was constructed in 1964 to serve as a distribution centre for dairy products. For the inner side of the "L", the team created a courtyard and then placed the rectangular addition alongside it. The old and new buildings are linked by glass corridors, which help reinforce a sense of "lightness".

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“两个体量形成的中部院落就如同一个虚空的场所,而庭院中的水池在形体上则是新旧建筑之间的过渡。”

新建筑的高度高于旧建筑,主要是为了收藏较为高大的艺术品,在建筑外部墙体上,建筑师使用了风化混凝土材料。

"The juxtaposition of the two volumes makes the central courtyard became a virtual room, an extension of the lobby, while the reflecting pool that regularises its geometry facilitates the transition between the existing building and the addition," the team said.
The addition rises higher than the older building, enabling it to accommodate larger pieces of art. For the exterior walls, the team used concrete with a weathered appearance.

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项目团队负责人说:“建筑混凝土墙体通过木质面板而成型,这些木质面板都经过了苯酚的处理,然后形成了建筑的表皮。建筑屋顶的结构较为简单,下方由金属桁架支撑。”

在建筑内部,光线是设计的主导因素,天窗是主要采光,其他辅助光源则比较微弱,另外,建筑师还设置了一些人工轨道照明系统。

"The 'in situ' formwork concrete wall, shaped with phenol-treated wood panels, makes up the skin of the new container," the team said. "The roof cover is solved by using a simple structure involving metal gable trusses."
Within the building, quality of light was a central concern. Skylights in the repurposed warehouse bring in "specific, solid light", while the new addition offers light that is "uniform and faint". Artificial track lighting was also integrated into the galleries.

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建筑的室内流线舒适流畅,在有的区域参观者能够看到室外景观。

项目团队负责人继续说:“为了让参观流线尽量简化,因此我们设计了简单循环的建筑流线,并且为了不让参观者感受到压抑的氛围,我们将有的空间对外敞开,让人们适当地得到放松与休息。”

The interior circulation is meant to feel fluid and comfortable, with certain areas offering a view of the outdoors.
"The flow was reduced to a simple circle in order to make the visitors follow an intuitive sequence of rooms," the team said. "To keep guests from being weighed down by the burst of art, the spaces open to the exterior to help people rest their eyes throughout the tour."

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美国的许多艺术展览馆与博物馆都在旧的工业建筑改造中,其他类似项目有:位于曼哈顿的Tina Kim展览馆,由SO-IL设计,该项目位于一座上百年的建筑之中,而在墨西哥则有一座当代艺术展览馆,由SHoP Architects主持设计,项目则是在原啤酒仓库里。

摄影:Javier Callejas

A number of art galleries and museums in the US are housed in old industrial buildings. Others include the SO-IL designed Tina Kim Gallery in Manhattan, which occupies a century-old structure in the Chelsea neighbourhood, and a contemporary art gallery in New Mexico designed by SHoP Architects, housed in a former beer warehouse.
Photography is by Javier Callejas.

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项目信息:
建筑设计:Miguel Quismondo
主创建筑师:Jesús Aparicio Alfaro
合作方:Rocío Calzado López and Miguel Bello Escribano, students
结构工程:Michael Carr
机械/电气/管道工程:CES Engineers
照明顾问:M.a.p. Design Studio
造价顾问:Stuart-Lynn Company
土木工程:Badey & Watson
勘察工程:PC
平面设计:Waterhouse Cifuentes Design
施工管理:Miguel Quismondo
施工监理:Mario Gregorio
混凝土承包商:Malt Construction
土方工程:Harold Lyons and Sons
砖石工程:Gregorio & Gregorio
结构框架与木材工艺:Van der Koos Construction
钢材承包商:301 East
屋顶天窗:Glassolutions
幕墙设计:Proinller
屋顶承包商:Vanguard

Project credits:
Architect: Miguel Quismondo
Project architect: Jesús Aparicio Alfaro
Collaborators: Rocío Calzado López and Miguel Bello Escribano, students
Structural engineer: Michael Carr
Mechanical, electrical, plumbing: CES Engineers
Lighting consultant: M.a.p. Design Studio
Cost consultant: Stuart-Lynn Company
Civil engineer: Badey & Watson
Surveying and Engineering: PC
Graphic design: Waterhouse Cifuentes Design
Construction manager: Miguel Quismondo
Construction supervision: Mario Gregorio
Concrete contractor: Malt Construction
Earthwork: Harold Lyons and Sons
Masonry: Gregorio & Gregorio
Framing and carpentry: Van der Koos Construction
Steel contractor: 301 East
Skylight roof: Glassolutions
Curtain walls: Proinller
Roofing contractor: Vanguard


出处:本文译自www.dezeen.com/,转载请注明出处。

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