荷兰馆邀请您参观Narnia式更衣室
Dutch Pavilion invites you to explore a Narnia-like locker room

由专筑网王帅，邢子编译

在威尼斯双年展荷兰馆中，打开橙色更衣室的储物柜，人们将看到秘密的房间、窗户、一系列视频和图像。这次展览探索了体力劳动的未来发展。

荷兰馆的这个展览名为“工作、身体、休闲”，它由两边都是储物柜的一间单间组成。

但是当游客打开储物柜门后，就会发现一系列不同的项目，它们从简单的照片到充满整个房间的装置。

Orange lockers open to reveal secret rooms, windows, videos and images inside The Netherlands' Venice Biennale Pavilion, in an exhibition that explores the future of physical labour.
Called Work, Body, Leisure, the exhibition in the Dutch Pavilion appears to comprise a single room lined on all sides by lockers.
But as visitors pull open the doors, they discover a range of projects presented in different mediums, from simple photographs to installations that fill entire rooms.

这些项目由Het NeuWe 研究所的馆长Marina Otero Verzier挑选，它展示了当机器人承担许多传统上由人类承担的工作时，人类将如何在这样的时代转变。

Otero Verzier曾参与Dezeen拍摄的关于无人机的新纪录片，他解释说：“我们对未来劳动的转变，以及建筑和生活的转变都很着迷。”

他说：“展馆透过这些不同的空间，展开了一段旅程。一方面，他们似乎熟悉，甚至平庸，然而，当我们考虑到劳动力和我们城市的未来时，我们认为它们是我们要探讨的核心空间。”

The projects were selected by curator Marina Otero Verzier, director of research at Het Nieuwe Instituut, to show how humanity will be transformed in an age when robots are able to take on many jobs traditionally carried out by humans.
"We're fascinated by these transformations of labour in the future, and also the transformations of architecture and the bodies that live in that architecture," explained Otero Verzier, who also features in Dezeen's new documentary film about drones, Elevation.
"The pavilion charts a journey through these different spaces. On one hand they seem familiar and even banal, yet we think they are the core spaces to look at when we think about the future of labour and what our cities could be," she told Dezeen.

Otero Verzier选择设计了更衣室，因为在大多数工厂、办公室和健身房中，人们在这个地方改变自己的穿着，并准备好去运动。

更衣室是橙色的，这个颜色是荷兰的象征。

Otero Verzier说：“储物柜是时间和其他不同架构之间的接口。这是一个有分隔，但是有组织的空间。从某种意义上说，你正身处一个极其有限的平等社会。”

Otero Verzier chose to create a locker room, as these spaces – found in most factories, offices and gyms – are places where people's bodies are changed, ready for physical activity.
They are coloured orange, as this is the shade often used to symbolise the Netherlands.
"The locker is the interface between this moment and these other different architectures," said Otero Verzier. "It's a space that is completely organised and compartmentalised. You have an egalitarian society but in some sense it is very constrained."

储物柜内包含的项目有各种建筑类型，包括办公室、游乐场、农场和工厂、窗户、床、门和虚拟空间。当成群结队的打开储物柜的门后，营造足够的空间让门通向更远的隐藏空间。

在这些隐藏的空间中，有一个上面放着充气人的弹性棋盘平台，这个装置由Simone C Niquille设计，主要体现数字化装置是如何衡量工人的安全。

Projects contained within the lockers cover a range of architectural typologies, encompassing offices, playgrounds, farms and factories, windows, beds, doors and virtual spaces. Some open up in clusters, creating enough space for doorways leading through to the hidden rooms beyond.
In one of these hidden spaces, inflatable humanoid shapes in primary colours cavort on a bouncy chequerboard platform. The installation, by Simone C Niquille, looks at how digital avatars are used to measure safety for workers.

普林斯顿大学（Princeton University ）教授Beatriz Colomina设计了一个名为“Bed-In”的装置，它再现了约翰•列侬（John Lennon）和小野洋子（ Yoko Ono）在阿姆斯特丹希尔顿酒店902房间的床。她的目的是向大家展示这张床既是工作场所，也是睡眠场所。

另一个项目是哥伦比亚大学（ Columbia University）建筑系院长Mark Wigley的重访New Babylon，它是Constant Nieuwenhuys的作品，旨在反思机器人劳动中的暴力行为。

Elewhere, Princeton University professor Beatriz Colomina has created an installation called Bed-In, which recreates the "fucktory" of John Lennon and Yoko Ono's bed in Room 902 of the Amsterdam Hilton Hotel. Her aim was to show how the bed is now a place of work as well as sleep.
Another project sees Columbia University dean of architecture Mark Wigley revisit New Babylon, an artwork by Constant Nieuwenhuys, to reflect on the violence of robotised labour.

此外，还有一个由Liam Young设计的满是模型的房间，主要是展现印度的工厂工人是如何支持西方建筑工作室发布的未来建筑愿景的。

OteroVerzier认为，在“体系结构本身变得自动化的时候”，处理建筑的这些问题尤为重要。

她说：“我感兴趣的是，我们分析的大部分空间的设计中，建筑师是不参与的，所以技术似乎比建筑发展的更快。”

“因此，如果我们想继续做一份与城市转型相关的职业，并成为做出这些决定的积极推动者，我们就必须开始成为对话的一部分。”

There is also a room full of models, put together by Liam Young, which looks at how factory workers in India are sometimes behind the visions of future architecture released by western architecture studios.
According to Otero Verzier, it is particularly important for architecture to engage with these issues at a "time when architecture itself is becoming automated".
"What interests me is that most of the spaces we are analysing," she said. "Architects are mostly not present in the design, so somehow it seems that technology is faster than architecture."
"So if we want to continue being a profession that is relevant in the transformation of cities, and be an active agent in making those decisions, we have to start being a part of the conversations."

今年的双年展上，北欧展馆里充满了充气的小圆点，它们会因周围环境的波动而充气和放气。它象征人类如何与环境共生并创造建筑。

今年的金狮最佳馆是瑞士馆，他们通过一个充满了大大小小固定装置的复制品展示平面，为游客提供了爱丽丝漫游仙境般的体验。

2018年威尼斯建筑双年展已向观众开放，它将一直持续到2018年11月25日。

摄影：Daria Scagliola

Also at this year’s biennale, the Nordic Pavilion has been filled with inflatable blobs that inflate and deflate in response to fluctuations in their surrounding environment, to symbolise how humans can create architecture in symbiosis with the environment.
The Golden Lion for best pavilion went to the Swiss Pavilion, offers visitors an Alice in Wonderland-style experience as they venture through a replica show flat filled with both giant and tiny fixtures and fittings.
The Venice Architecture Biennale 2018 opened to the public yesterday and continues until 25 November 2018.
Photography by Daria Scagliola.

出处：本文译自www.dezeen.com/，转载请注明出处。