GES-2莫斯科文化之家

由专筑网江鹏，小R编译

GES-2莫斯科文化之家的四个亮蓝色细长管道与莫斯科的大教堂、摩天大楼、喷出蒸汽烟雾的工业烟囱一起构成了天际线上鲜明的垂直元素。这座已退役的，建于1907年，具有俄罗斯复兴风格的电站矗立在城市中心莫斯科沼泽广场（Bolotnaya）的堤岸上。该建筑最初由建筑师Vasili Bashkirov设计的，由伦佐·皮亚诺（Renzo Piano）建筑工作室（RPBW）彻底改造成为一个充满活力的当代艺术空间，这里将是由总监Teresa Mavica和俄罗斯首富Leonid Mikhelson创立的V-A-C基金会的新永久住所，以此来推广这个国家和前苏联的当代艺术。

Joining Moscow’s cathedrals, skyscrapers, and industrial chimneys spewing steam and smoke as stark vertical elements on the skyline are four bright blue slender pipes of GES-2 House of Culture. This  decommissioned 1907 Russian Revival-style power station stands out on the Bolotnaya Embankment in the central part of the city. Originally designed by Vasili Bashkirov, the building has been radically reinvented by Renzo Piano Building Workshop (RPBW) into a glowing contemporary art space, the new permanent home of the V-A-C Foundation, founded by director Teresa Mavica and Russia’s wealthiest man Leonid Mikhelson, to promote contemporary art from this country  and former ones in the Soviet Union .



在12开放的GES-2文化之家是最近一个寻找新的空间设计手段来培育21世纪文化的博物馆，就像毕尔巴鄂古根海姆博物馆（Guggenheim Bilbao）和泰特现代美术馆（Tate modern）一样。

该项目是通过伦佐·皮亚诺建筑工作室（RPBW）和V-A-C基金会在2015年开始沟通决定共同开发的。它不是为了去被动地观察文化，而是为了鼓励游客见证并参与到艺术的生产中去。除了两个为常驻艺术家设计的可居住空间，另一个空间包括了多功能礼堂，图书馆和教室功能，是专用于未规划画廊的主要空间，旨在激发新的艺术产生。甚至在新种植的山毛榉树后面的地下停车场也可以进行创造性的活动，一月份它将举办一场有2000人参加的电子狂欢。

GES-2, which opened in December, is the latest museum—much like the  Guggenheim Bilbao and Tate Modern—to search for new spatial means to incubate 21st century culture. The approach here, totaling over 36,6000 square feet of space for art making and display, is particularly interesting.
The program was co-developed through dialogue between RPBW and the V-A-C Foundation that began in 2015. It is less geared to the passive observation of culture than to encouraging visitors to witness and participate in artistic production. In addition to two live-in spaces for artistic residencies, a multi-purpose auditorium, library, and classrooms, are the main spaces dedicated to vast un-programmed galleries designed to inspire new artistic processes. Even the subterranean carpark under a newly planted beech tree forest to the rear can be used for creative endeavors —in January it will host an upbeat electronic rave for 2,000 people.



这座建筑的设计过程经过了全面的重新构思，但保留了其外部表皮。三英尺厚的砖石外墙已经涂上了石灰泥和浅灰色油漆。屋顶采用全玻璃材质，正如建筑师Bashkirov设想但从未实现的那样，RPBW通过引入钢檩条和拉杆的二级结构加强了现有的主钢桁架结构。玻璃同样是一项复杂的工程：底层的三倍绝缘玻璃和上层的夹层玻璃覆盖着光伏电池网格，覆盖面积为54000平方英尺，可以产生建筑所需10%的能量。由于俄罗斯首都冬天多雪，屋顶可以支撑超过3英尺厚的积雪。这个特殊的屋顶系统也可以向P\V电极发送一个小的电流来帮助融化冰雪，减轻屋顶负荷。

The building has undergone an extensive re-imagination in which the external shell is the main survivor. The 3-foot-thick external masonry walls have been coated with lime plaster and light grey paint finish. The roof is now fully glazed, as Bashkirov intended but never implemented, and RPBW reinforced existing primary steel trusses by introducing a secondary structure of steel purlins and tension rods. The glazing is an equally complex piece of engineering: A lower layer of triple-insulated glass and an upper layer of laminated glass are covered with a grid of  photovoltaic cells, 54,000 square feet in size, that should produce up to 10 percent of the building’s energy. Because of the snowy long winters in the Russian capital, the roof can support over 3 feet of settled snow. This particular roof system can also send a small electrical charge into the p,v. cells to help melt the icy weight.



这些穿透莫斯科天际线的亮蓝色烟囱取代并重新定位了先前的发电站。皮亚诺说：“砖砌的烟囱太旧了，所以我们建造了新的作为象征，并把它们漆成马蒂斯的蓝色。你需要爬到230英尺高的地方才能得到干净的空气，新的烟道把新鲜空气引入大楼的被动通风系统，而不是散发出烟雾。

Those bright blue chimneys penetrating the Moscow skyline replace and reposition the power station’s previous ones. “The brick chimneys were too old, so we built new ones as a symbol and painted them Matisse blue. You need to go 230 feet up to get the clean air”, Piano says of the new flues that draw fresh air into the building’s passive ventilation system, rather than exuding fumes.



但复杂的工程不仅仅发生在建筑的顶部。在地下，RPBW设计了两层空间，用于停车场、露天仓库和展览功能。在挖掘新空间的过程中，建筑的整个外壳需要在2040个喷射灌注桩上被保持支撑一年多，这是一项艰难的工作。RPBW的保罗•卡里亚诺(Paolo Carignano)表示:“工程中使用的施工程序在俄罗斯还没有出现过。”

But the sophisticated engineering doesn’t only occur at the top of the building. Below ground RPBW carved out two levels for parking, open storage, and exhibitions. The painstaking effort involved digging down 16 feet, requiring the entire shell of the building to be supported on 2,040 jet grouted piles for over a year while the new spaces were excavated.  “The construction processes used in the engineering haven’t been done in Russia,” says RPBW’s Paolo Carignano.



在项目实施的整个运行周期中，电站被密集的工业建筑所包围，其中大多数已经被清除，以恢复GES-2曾经拥有的周边环境。建筑师Matthew Daubach解释说：“我们在拆除的同时进行设计。只有移除多余的工业建筑才能充分展示空间的潜力。没有比砖砌拱顶库房与主楼相邻更典型的例子了，主楼位于一个类似桥墩的人行平台下面。”当皮亚诺第一次来到这里的时候，这里有一座五层的办公大楼，他一进去就发现了曾经用来蒸馏皇冠伏特加的一层拱顶库房。RPBW拆除了上面的办公室，库房现在变成了3D打印、金属制品、纺织品、陶瓷和木制品的作坊。

Throughout its operating life, the power station had become hemmed in by a dense amalgamation of redundant industrial buildings, most of which have been cleared away to return the surrounding spaces GES-2  once had. “We were designing while demolishing,” explained fellow architect Matthew Daubach, explaining that only by removing industrial accretion was the full spatial potential revealed. There is no clearer example of this than with a block of brick vaults running adjacent to the main building, which sat underneath a pier-like pedestrian platform. When Piano first visited the site there was a 5-story office block here, and only upon entering did he discover ground-level vaulted rooms once used to distill Smirnoff vodka. RPBW demolished the offices above  and the  vaults now enclose workshops for 3D printing, metalwork, textiles, ceramic, and woodwork.



在将内部空间剥离出外壳后，RPBW开始构建新的内部体量。从河岸方向进入，游客站在一个巨大的内部广场上，从办公室、教室和图书馆都可以俯瞰到广场。楼梯通往衣帽间、厕所和传统的画廊空间。当游客继续进入室内，另一个洞穴般的空间被打开，这次是一个晶体似的空间，一个带有龙门和高层走道的轴向空间，所有这些空间都是可调节的和未规划的，供未来艺术家探索。

After stripping the space back to a shell, RPBW set about constructing new internal volumes. Entering from the riverbank a visitor stands in a vast internal piazza, which is overlooked by those in offices, classrooms and the library. Stairs lead down to the cloakroom, toilets, and traditional gallery spaces. As the visitor continues through the interior, another cavernous space opens up, this time a Crystal- Place- like axial space with gantries and high-level walkways, all available and un-programmed for future artists to explore.



尽管冰岛艺术家Ragnar Kjartansson的开幕作品以令人兴奋的方式展现了这座建筑的艺术性，但这些空间与特定想象的创意项目相结合还需要时间达到成熟。他的作品《圣巴巴拉——一个活的雕塑》复制了1984年至1993年在电视上播出的98集美国肥皂剧《圣巴巴拉》。它是1989年后俄罗斯的第一部西方肥皂剧，广受欢迎，催生了充满抱负、风格和希望的新兴资本主义观念。该作品由一系列舞台布景、制作套间和后台设施组成，从更衣室到道具和假发制作，沿着开放式平面轴线布置。在GES-2中，新一集克雅坦松的戏份将被拍摄、编辑和播放，公众可以在那里闲逛、观看，甚至可能被相机捕捉到。在过去三年的规划中，Kjartansson的作品是专门为这种环境和建筑而设计的，他解释道：“作为一名视觉艺术家，每件作品都可以试图逆转一种新的形式，这是一个尽力尝试去做的实验，实验对象可以是电影、戏剧或是行为艺术。”

It could take time for these spaces to mature in tandem with specifically imagined creative projects, though the opening work by Icelandic artist Ragnar Kjartansson plays the building in exciting ways. His project Santa Barbara – A Living Sculpture reproduces 98 episodes of the US soap opera that aired on television from 1984 to 1993. The first Western soap broadcast in post-1989 Russia, it was hugely popular, fostering emergent capitalist notions with ideas of ambition, style, and hope. The work is formed of a series of stage sets, production suites, and backstage facilities from dressing room to prop and wig making laid out along the open-plan axis. Within GES-2, a new episode of Kjartansson’s playful homage will be filmed, edited, and broadcast, with public allowed to wander around, observe, and perhaps even be captured in camera. Planned over the last three years, Kjartansson’s work is specifically designed for this context and architecture, “as a visual artist, each work can be trying to invert a new form, this is an experiment in trying to do that – film, theatre, performance art,”he explains.



或许皮亚诺的建筑设计试图以类似的方式将博物馆从静态的展示空间转变为文化参与的体验空间。它推进了蓬皮杜中心50年前设想的目标。皮亚诺坚信：“文化中心正是因为人的存在，才将提供其走向未来的力量。光之诗必不可少，运动之诗也是。我爱第四维度——运动。”

Perhaps in a similar way Piano’s building attempts to turn the museum from static space of presentation towards experiential space of cultural engagement. It advances the ambition of the Centre Pompidou conceived fifty years ago. Piano hopes that it is that very presence of people which will provide its future power. “Poetry of light is essential, but also a poetry of movement. I love the fourth dimension – movement.”