纪念荣耀圆形展亭
The Rotunda of Memory and Glory Pavilion / Kovalevsky & Maryasov

由专筑网小R编译

来自建筑事务所的描述：2020年的夏天，建筑师在一个平台上设计建造了一座临时建筑，它靠近博物馆中心“Ploshchad Mira”(Mir place)的大台阶，它象征着“战争与和平”，当前的公共艺术作品是一个展览的室外部分，这项展览反应了二战的悲惨阶段。河畔镂空的形象让人联想到经典的圆形展亭，建筑通过12根柱子组成的框架所制成，主要由白色的木材建造，这是在表达对于节日景观建筑的敬意，这些建筑环绕着室外乐队和在“战后6点”见面的恋人，而这座西伯利亚建筑还有着更加古老的前身，即雅典卫城里的雅典娜Nike神庙。

Text description provided by the architects. Summer of 2020 saw an erection of an evanescent structure on the podium, adjacent to the grand staircase of Museum Center “Ploshchad’ Mira”(Mir place) – a polysemic symbol of “war and peace”. The current public art object is an exterior part of an exhibition that reflects on the tragic period of the Second World War. The shape of the riverside ethereal object brings to mind the classic round pavilion. The framework of 12 columns supports the multilevel round entablement. The entablement is constructed from white timber, paying homage to festive landscape architecture that surrounded the outdoor orchestras and sweethearts arranging to meet “at 6 o’clock after the war”. This Siberian structure has a more ancient precursor: Temple of Athena Nike on the Acropolis.









传说中，希腊雕像的翅膀被砍掉，防止女神飞走，“胜利之巢”是为长着翅膀的女神而建，而其中的翅膀则和“纪念碑”的主体结合在一起，“羽毛”则是长廊，概念中最为美好的部分是云朵，但是需要通过绳子来固定。展亭通透的主体就如同海市蜃楼，也像是现代环境中的神灵，经典的原型通过新世纪的策略来表达，结合了虚拟且“像素化”特质。

A legend says that the Greek statue had its wings cut off to prevent the giddy goddess from flying away. Our “nest of victory” is made for a wing-bearing goddess, although here the wings are incorporated into the very body of the “monument”. The “feathers” are a continuation of the colonnade. But the finest of all associations is the cloud… That needs to be held down by rope. The transparent body of the pavilion rises over the river like a mirage against the hermetic shape of the museum building, like a specter of the past in the contemporary environment. The classic archetype is passed through the XXI century optical filter, taking on virtual qualities and slightly “pixelated” character.





最为重要的美学特征则是视觉上的感受，当从不同的方位来观察，其空间也会发生变化，当阳光普照时，整体的视听效果也会得以强调。白色的框架有着木材肌理，而木质露台则是其特殊的象征，人们可以在任何位置坐下、甚至躺下，这里构成了连续的休闲区域，建筑的中央是“空柱子”，连接着地平线与天空。

Probably the most important aesthetic quality of the object is its visual vibration. It constantly changes its density when looked at from the side, from above and from the bottom. When the sun enters the stage, the effect of the aural construction is magnified. The white framework is covered by the boardwalk. Wooden decks are a special feature of the structure: they allow to sit, or even lay down, anywhere on the platform. This is a continuous recreational surface. In the center of the structure is an “empty pillar”, connecting the underfloor horizon to the skies.







地面上的开口覆盖着防碎玻璃，下方则是能够“反射星星”的镜面，方形的开口能够表达整个挖掘过程，相反也是如此，过往云烟出现在柱头中央的孔洞里。每个人都可以进入到这个圆形管道里，人们的记忆也会在天地的轴线中延续。博物馆装置的结构有着描述性的主题，即两个被囚禁的水雷，博物馆给人们带来了和平的映射，除此之外，多维度入口空间成为了声音景观的共振器，地下空间的声音是河流的特殊音乐。漂浮在河边的“记忆与荣耀云朵”成为了人们行走于河畔的象征路标，就如同一盏明灯般闪耀。

The opening on the floor if covered by shatterproof glass and on the bottom of the well is a mirror which “reflects the stars”. The square oculus looks into the excavation and vice versa: the past looks up from the hole in the center of the stylobate. Any person can enter this optical tube and attempt to string his memory on the axis of eternity “between the earth and the sky”. The museum installation’s structure carries an expositional-thematic gesture: two imprisoned water mines. The museum gently offers the public a reflexively pacifistic situation of recreation “on the bombs”. Besides, the entirety of the multidimensional portal acts as a sort of “resonator” for the soundscape: the acoustics of the underfloor space broadcasts the special music of river oratorio. Floating over the riverfront, the “cloud of memory and glory” becomes a symbolic waymark for people walking along the Yenisei River. Like a leading light, shining day and night.



























建筑设计：Kovalevsky & Maryasov
地点：俄罗斯
类型：展亭
面积：290 m2
时间：2020年
摄影：Dmitry Shtifonov, Sergey Kovalevsky, Olesya Pozdnyakova
主创建筑师：Sergey Kovalevsky,Vadim Maryasov
客户：博物馆中心“Ploshchad’ Mira”(Mir place)

PAVILION
KRASNOYARSK, RUSSIA
Architects: Kovalevsky & Maryasov
Area: 290 m2
Year: 2020
Photographs: Dmitry Shtifonov, Sergey Kovalevsky, Olesya Pozdnyakova
Lead Architects:Sergey Kovalevsky,Vadim Maryasov
Clients:Museum Center “Ploshchad’ Mira”(Mir place)