照片：Oleksandra Topolnytska
密歇根大学Taubman学院学生团队：Ariel Poliner, Michael Sanderson and Nate Van Wylan

空亭子脱离了底特律的城市风格，是一种以建筑激活城内潜在公众的沉思。方案希望仅仅以够用的材料使空间变得清晰和富于互动感。方案使得旁观者在一定距离外如置身于视觉游戏稍纵即逝的画面中。

亭子被看做是画在空间里的建筑图样。从某些观看点看，而且是暂时性的，方案重新使用那些熟悉的可能唤起记忆的建筑元素，想房屋的顶线，烟囱，玄关或者楼梯。

其他优点在，方案呈现出一个清晰但不是很熟悉的场景。近距离观察，亭子刻意鼓励吸引实质性的互动。设计中的元素区分不同用处，比如坐凳，休憩点，攀爬处。通过弯曲的钢管，泡沫和橡胶的应用，亭子反映出一个柔软的触感。

构筑物和设计地块的关系在于，给这块周围单一空旷的地块以定义，隐隐唤起这块地的历史。空亭坐落的地块非常空旷，曾经被分割成许多块居住区，方案大致描述了之前这里的房屋体量。

地面平面设计想起已经被移除的房子，把构筑投射的影子画在沙砾新构筑周围的沙砾上。

从内部来看，亭子将历史上重要的民用建筑框入视觉范围之内。举例来说，通过步道穿过亭子，设计引导使用者从亭子空荡的外壳向外看到底特律值得纪念的密歇根重要铁路站。在相反的方向，设计框出了文艺复新中心的景，通用汽车底特律总部。

以一年为周期，亭子和周围环境的关系将被用照片和录像存档。因此，设计在吸引公众方面的成功与失败将会成为研究的一部分。空亭由密歇根大学Taubman学院建筑系的一项研究筹款。

特别鸣谢翻译一组7号 叶闻博 提供的翻译，译稿版权归译者所有，转载请注明出处。

---

The Empty Pavilion is a meditation on Detroit’s evacuated urban context and an experiment in architecture’s ability to activate a latent public in the city. The project aspires to distribute just enough material across empty space – an element Detroit has in excess – to make that space legible and promote interaction. From a distance, the project engages the onlooker in a visual game of fleeting figuration. The pavilion is conceived as a collection of architectural figures drawn-in-space. From certain vantage points, and only momentarily, the project recalls familiar architectural elements that may entice memory – like the roof line of house, a chimney, a hallway, or a staircase. From other vantages, the project presents clear, and yet unfamiliar, architectural figures – thus soliciting projective association. Up-close, the pavilion is meant to encourage physical interaction. Elements within the design suggest differing modes of occupation, such as seating, lounging and climbing. Constructed of bent steel tubing, foam and rubber, the pavilion is counter-intuitively soft to the touch, begging tactile engagement.

The relationship between the pavilion and its site is meant to lend definition to the otherwise unvariegated surrounding emptiness and vaguely recall the site’s history. Located in an empty field that was once divided into a series of residential lots, the project loosely describes the volume of the house that once sat in its place. The design of the ground plane further recalls the absent house, drawing the shape of its shadow in gravel surrounded by the painted profile of that cast by the new pavilion. From within, the pavilion frames views out to historically important civic buildings. For example, traversing a passage carved under and through the pavilion, the project directs one’s view out to the empty shell of Detroit’s monumental Michigan Central Railroad Station. From the opposite direction, the project frames a view of the Renaissance Center, General Motor’s headquarters in Detroit.

Scheduled to remain in place for a year, the relationship between the pavilion and its surrounding public will be documented in video and photography. Thus, the project’s successes and failures in soliciting a latent public will become part of the research. The Empty Pavilion was funded by a Research Through Making grant from the University of Michigan Taubman College of Architecture.

Photos: Oleksandra Topolnytska
University of Michigan Taubman College student team credits: Ariel Poliner, Michael Sanderson and Nate Van Wylan