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石上纯也的建筑模型于卡地亚基金会展览中展出
Junya Ishigami's architectural models feature in Fondation Cartier exhibition

由专筑网李韧,吴静雅编译

由日本建筑师石上纯也设计制作的二十余个建筑模型近期在巴黎卡地亚基金会展馆中展出,在Dezeen的独家采访中,策展人Isabelle Gaudefroy介绍了本次展览的5大亮点。

本次展览名为“Freeing Architecture”,是由卡地亚基金会举办的首次单个建筑师的大型展览。

展览通过模型、影片、绘画,展示了二十多个石上纯也设计的重点项目,这位建筑师在设计界享有极高的盛誉。

Gaudefroy是本次基金会展览活动的主要负责人,她告诉Dezeen记者,石上纯也的作品并没有特定的建筑风格,因为这位建筑师想要表达的是自由的设计理念。

她解释说:“在本次展览中,我们展示了石上纯也自由的建筑理念,从这个角度来说,每个项目都有其独特的背景,并且将景观、环境与项目本身相结合。”

同时馆长认为,建筑与自然的关系也是石上纯也作品中反复表达的主题。

“对我而言,不同项目之间有着不同的关系,在建筑中常常运用到的自然因素有云朵、岩石、森林等等。”

“这些来自大自然的诗意类比,不仅是建筑师的灵感源泉,也是一切设计的根源。”

“Freeing Architecture”展览将持续至2018年6月10日,接下来,Gaudefroy介绍了本次展览中的5个重点项目。

Twenty architectural models by Japanese architect Junya Ishigami have gone on show at Fondation Cartier in Paris. In a Dezeen exclusive, exhibition curator Isabelle Gaudefroy reveals her five highlights from the show.
Freeing Architecture is the first large-scale solo show that Fondation Cartier has dedicated to a single architect.
Presented through large-scale models, films and drawings, the exhibition brings together 20 key projects by Ishigami, an architect who has built a reputation on designs with dream-like qualities.
Gaudefroy, the foundation's director of exhibitions, told Deezen that Ishigami's portfolio of work cannot be pinned down to a particular architectural style, because the architect tries to conceive architecture as freely as possible.
"In this exhibition, we show how Ishigami approaches architecture freely, in the sense that every project is very different from the other and takes into context how every building is done and the landscape that is drawn into the project itself," she explained.
But the curator said that the relationship between architecture and the natural world is a reoccurring theme in Ishigami's designs.
"For me, there are different relationships with different projects, but one idea that comes up regularly is architecture being a natural phenomenon – architecture that resembles a cloud, a rock, a forest and so on," she said.
"These poetic analogies that come from nature are not only a source of inspiration but the basis for everything."
Freeing Architecture continues until 10 June 2018. Here, Gaudefroy describes five key projects on show:

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1. 森林幼儿园、项目地点:中国 山东、项目时间:2010年

“这是一座美丽的建筑,混凝土屋面通过切割形成异形体量,甚至无法从这些抽象的形体中读取背后的含义。”

“石上纯也希望通过孩子们的视角来设计这座建筑,因此这些异形屋顶很容易让人联想到孩子们单纯的世界,里面充斥着象征着童趣的动物与花朵,他通过各个步骤,最终形成这些抽象体量,从而形成了极具想象力的开放空间。”

“内外空间相互融合,建筑师并没有刻意规划其中的功能,而是让不同规模的房间与使用者相互适应,有些空间层高较高,那么就让教职员工来使用,而有些空间层高较低,那么这就是孩子们的专属世界。”

Forest Kindergarten, Shan-dong, China (2010)
"This is a beautiful project because it is a concrete roof that has been cut with all these shapes and you don't know what they are referring to.
"Ishigami tried to figure out how to conceive a building with a child's imagination, so the shapes of the roof evoke images linked to the children's world, including animals and flowers. He progressively stylised and abstracted them until he got these shapes, making it an open space for imagination and for play.
"Merging inside and outside spaces, he tried not to plan the building's functions but rather work with the scale of the different rooms and different inside spaces. Some are quite high and can serve as adult spaces, while others are really low so only children can use them, and they can become private spaces."

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2. 山谷教堂、项目地点:中国 日照、项目时间:2017年

“山谷教堂是一个神圣的场所,石上纯也受到委托负责该项目的设计工作,经过调研,他决定将这座教堂放置在小型的山谷之中,整体建筑就像岩石上的一个小开口。”

“他想要建造一座高而窄的建筑,因此这座教堂高度达到40米,由白色混凝土建造而成,有着强烈的视觉冲击力。”

“为了加强建筑拔地而起的感觉,他将建筑沉入地下20米,这让人感觉这座建筑就是从山谷中生长而出。”

Chapel of Valley, Rizhao, China (2017)
"The Chapel of Valley is a worship space that Ishigami was commissioned to build in China. He decided to locate the church in a very small valley at the top of a hill, which almost appears like a small cut in the rocks.
"He wanted to create a very narrow and very tall building. The chapel, which is 40 meters high, is made of white concrete and has a lot of visual impact.
"To enhance the impression of the building rising from the earth, he sunk the building 20 meters into the ground to give the impression that it really rose from this small valley."

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3. 餐厅、项目地点:日本 山口、项目时间:2014年

“我特别喜欢这座建筑,因为它与石上纯也的其他作品有着很大区别。通常来说,他的作品都是轻盈通透的浅色调,但他认为建筑并不应该拘泥于同一种风格之中。”

“该项目的客户是一位厨师,他希望自己的餐厅能够拥有舒适的酒窖,同时他也希望建筑与自然相结合。”

“为了满足这些需求,石上纯也在地面层设置了一些小孔,然后进行混凝土浇筑,当把空间的剩余部分挖掘开之后,这些浇筑的混凝土就成为了建筑的天花板。”

House and Restaurant, Yamaguchi, Japan (2014)
"I love this building because it is very different from Ishigami's other buildings, which are usually thin, light, very white and very transparent. Ishigami has always said it should not be the style that leads the architecture.
"This project was commissioned by a client who is a chef and wanted his restaurant to have the cosiness of a wine cellar. He also wanted something that was natural and organic.
"To do this, Ishigami used holes in the ground where he was building as a mould into which he poured concrete. When they dug out the earth underneath, the concrete that was poured became the ceiling of the structure."

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4. Kait工作室、项目地点:日本神奈川技术学院、项目时间:2008年

“这个项目是日本神奈川技术学院的Kait工作室,校方希望学生们能够在这个空间中运用金属和木材制作模型。”

“因此,建筑师希望设计一个纯粹开放的空间,甚至没有分隔墙体。想象学生们在这里工作就如同在森林中漫步,所以这个空间应运而生。石上纯也运用了308根细小的支柱形成整体空间,就如同森林中的大片树木一般。”

“支柱的排列方向各不相同,看上去似乎随机摆放,但事实上,它们在无序中仍然透露着有序,并且摆放的密度也如同在树林中一般,时而紧凑,时而疏松。总的来说,这片‘森林’相对密集,并且每根支柱都有着自己的支撑作用。”

Kait Workshop, Kanagawa Institute of Technology, Japan (2008)
"Kait Workshop is a workshop for a technical university in Kanagawa.  They needed a space for their students to work with metal and wood, to make their prototypes.
"Ishigami decided to create an open space that would have no walls. He wanted to create a space that would feel like wandering through a forest. The idea came quickly to make a space that was held by 308 thin columns – it's like having a plate of Mikado sticks.
"The columns are all oriented differently and appear seemingly random. But in fact, they all are positioned intentionally. Like a forest, it has different densities of trees depending on where you are. Out of necessity, the forest is very dense, but every column has a role to play in the stability of the building."

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5. 游客中心、项目地点:荷兰Vijversburg公园、项目时间:2017年

“这个项目对我来说非常重要,因为我认为它代表了石上纯也的特点,建筑师在设计时结合了这个遗址公园的各项复杂背景因素。”

“建造过程不应该砍伐森林中的树木,这样才能让建筑对环境的影响降至最低。”

“从侧面来看,建筑通体透明,空间中没有设置支柱,但实际上这座建筑的结构荷载由玻璃框架支撑。”

摄影:Giovanni Emilio Galanello、Luc Boegly

Visitor Centre, Park Vijversburg, Netherlands (2017)
"This is a very important project for me because I think it shows how Ishigami makes a gesture that's intelligently taking into account all the often complicated parameters when working at a heritage site.
"In this case, you couldn't cut down any trees in the park so he had to create a building that had the least possible visual impact, and the least possible impact on the environment.
"It is completely transparent when you see it from the side because it has absolutely no columns. It is actually the glass that is structural. The curve of the glass is what holds up the building."
Photography is by Giovanni Emilio Galanello and Luc Boegly.

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出处:本文译自www.dezeen.com/,转载请注明出处。

        
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