建筑师：Kieran Donnellan
地点：Ljubljana, Slovenia
建筑总管：Kieran Donnellan
项目年份：2012
摄影：由水上神殿工作室提供
项目面积：15平方米
合作伙伴：MEDS + DamaHaus
这个临时展亭建于2012年8月学生设计会议期间，位于卢布尔雅那。该设计团队包括来自MEDS的多学科的15名学生和年轻毕业生，两名项目发起单位的代表-DamaHaus和Slovenian建筑事务所。该团队爱尔兰大学导师Kieran Donnellan领导，展亭的名称涉及其空间配置和使用的各个方面。
该展亭是一个非“白色的墙”的展览空间，其特点是促使现有的和新的展品符合凉亭的概念。该概念的灵感来自于卢布尔雅那河的历史，特别是当地人与其相互影响随时间的变化。
该展亭坐落于一个狭窄的河滨公园，其弯曲和尖形的木结构使人联想到一条船似乎开始隐约显露在由Jose Plecnik建造的闸门旁的树间。
经进一步调查，其方向和偏心几何性质的细微之处变得明显。出于在此处行人散步的方向的考虑，展亭靠近水边同时延伸到路径外。它破坏了树径，展亭融入其中，激励人们进入展馆的入口，同时也框定了闸门的外观。带顶的入口是一个立有Plecnik的纪念碑的夸张的的门廊。并同时以正式和非正式的方式创建了强大的张力。
展亭的推拉门没有把手。槽纹雕刻符合纪念碑的特点，并可以推整个的门面。拉回来，它展示了内部的曲面。入口大厅的木地板一直铺就到内部展览空间的椭圆曲线。
其中人们可以发现该构想最有趣的方面-该展馆的地板是一池湖水。这是参考了卢布尔雅那河过去当地人的经历，那时，河接上了一些街道且小船的使用也是人们日常生活的一部分。水上神殿里模仿从干爽的陆地踏上船，当游客第一次试探性地踏上成堆的树叶-树干在整个水池都是没有固定安置的。展览空间里的运动都是经过仔细衡量和考虑的。
内部的椭圆形是为了试验声音的扩增。一个椭圆有两个焦点，任何发生在室内一定方向的声音都将在那两点是最响亮的。当门开着的时候，该效果在入口处的第一个聚焦点最明显。在这一点上，闸门的声音比里面的任何位置都响亮，似乎环绕着游客。
参展商可以自由决定木桩应该放在哪里，或使用替代品作为其自己的展品。可以将展品固定在钢支撑的直立主结构上，放置在池上或池里。展馆将保持在当前位置6个月到一年左右的时间。 反过来，一系列的参展商将被允许使用展馆。任何人有兴趣参展水之神殿可以咨询MEDS。
展馆采用数控技术和木材弯曲技术。 DamaHaus用自己的数控机床来制造主要结构成分，全部由松木制成。
这包括削减掉传统盲榫和外露的鸠尾榫的混合物。其弯曲的墙壁通过将双薄层的木材一起沉浸在卢布尔雅那河，随后进行现场冷弯和粘合而制成的。
该twelveplus团队由从不同的国家和学科的17人组成的。成员分别为：Agata Madurowicz; Agata Motyka; Andreas Von Knobloch; Anze Jagodic; Catriona Kinghorn; Florence Declaveillere; Irem Karadeniz; Kieran Donnellan; Luca Giacobazzi; Maria Prodromou; Marta Vrankar; Martina Zaman; Mitja Skerjanc; Paul O’ Brien; Sarah Mogensen; Valerio Bianchi; Zsolt Sarkadi.
该团队的名字考虑到了该团队的主设计是一个12人的核心小组，此外还有许多其他人的贡献，其中包括MEDS的组织者和DamaHaus团队。今年的MEDS 是由Can Baysal, Katarina Mravlja and Zana Kopitar组织的。
平面图01 Plan 01
场地平面图01 Site Plan 01
场地立体图01 Site Section 01
截面图01 Section01
立体图01 Elevation01
立体图02 Elevation02
立体图03 Elevation03
特别鸣谢 翻译一组10号 张晓丽提供的翻译，译稿版权归译者所有，转载请注明出处。
Architects: Kieran Donnellan
Location: Ljubljana, Slovenia
Architect In Charge: Kieran Donnellan
Project Year: 2012
Photographs: Courtesy of Water Temple Workshop
Project Area: 15 sqm
Collaborators: MEDS + DamaHaus
This temporary exhibition pavilion was built during the MEDS, Meeting of Design Students, in Ljubljana during August 2012. It was a collaboration by an interdisciplinary team of 15 students and young graduates from the MEDS community and 2 representatives of project sponsor DamaHaus, a Slovenian construction firm. The team was led by Irish tutor Kieran Donnellan and the name of the pavilion relates to aspects of its spatial configuration and use.
The pavilion is a non-’white wall’ exhibition space whose character is meant to inspire exhibits of both existing and new work, relating to the concept that shaped the pavilion. The concept was inspired by the history of the Ljubljanica river, and in particular the change over time in the ways that locals interact with it.
Located in a narrow riverside park, the curved and pointed form of the wooden pavilion evoke the atmosphere of a boat that has been placed, seemingly at first, loosely among a line of trees beside a sluice gate built by Jose Plecnik. Upon further investigation, the subtleties of the orientation and the nature of the eccentric geometry become obvious. Acknowledging the hierarchy in the directions of pedestrian movement on the site, the pavilion sits close to the waters edge while reaching out through the tree-line towards the path. As it breaks the tree-line, the pavilion dissolves, encouraging movement towards the entrance of the pavilion, while also framing views of the sluice gate. The covered entryway is an exaggerated portico that addresses Plecnik’s monument. This creates a strong tension in a way that seems at once both formal and informal.
The sliding door of the pavilion has no handle. Fluted carving, a reference to the features of the monument, offers grip over the entire surface of the door. Sliding back, it reveals the curved surfaces of the interior. The wooden floor of the entry lobby ends upon striking the elliptical curve of the interior exhibition space, where the most intriguing aspect of the concept is discovered – the floor of the exhibition space is a pool of water. This is a reference to the way in which the Ljubljanica river was experienced by locals in the past, when the river lapped right onto some of the streets and the use of small boats was part of daily life. That moment of stepping from dry land onto a water based vessel is imitated in the Water Temple, when a visitor takes their first tentative step onto the sliced tree-trunks which are placed, unfixed, throughout the pool. Movement in the exhibition space is carefully balanced and considered.
The elliptical shape of the interior was an experiment with the amplification of sound. An ellipse has two focal points, and any sound that occurs in the interior within certain directions will be loudest at those points. The effect is most obvious upon arrival at the first focal point inside the entrance when the door is left open. At this point, the sound of the sluice gate is louder than at any position on the journey inside, and seems to surround the visitor.
Exhibitors have the freedom to decide where the steps should be placed, or to use alternatives for their own exhibitions. Work can be mounted on steel supports fixed to the primary vertical structural members, and placed in or on the pool. The pavilion will remain in its current location for between 6 months to a year. A series of exhibitors will be allowed to use the pavilion in turn. Anybody interested in exhibiting in the Water Temple can make inquiries to MEDS.
The pavilion was built using CNC technology and wood bending techniques. DamaHaus used their CNC machine to manufacture the primary structural components, all made from pine. This included cutting a mixture of traditional blind tenon and exposed dovetail joints. The curved walls were made on-site by cold-bending and glueing 2 thin layers of wood together following immersion in the Ljubljanica river.
The twelveplus team was composed of 17 people from a variety of different countries and disciplines. The members were: Agata Madurowicz; Agata Motyka; Andreas Von Knobloch; Anze Jagodic; Catriona Kinghorn; Florence Declaveillere; Irem Karadeniz; Kieran Donnellan; Luca Giacobazzi; Maria Prodromou; Marta Vrankar; Martina Zaman; Mitja Skerjanc; Paul O’ Brien; Sarah Mogensen; Valerio Bianchi; Zsolt Sarkadi. The team name is a reference to the fact that while the principle design was developed by a core group of 12 people, there were contributions from many others including the MEDS organisers and DamaHaus team. This year’s MEDS was organised by Can Baysal, Katarina Mravlja and Zana Kopitar.
| 
