Serpentine Pavilion by SelgasCano

Serpentine Pavilion 2015 is re-built and re-opened in Los Angeles

Project Specs

Design:
Materials:

非常感谢来自 Selgascano 对gooood的分享。更多关于他们:Selgascano on gooood.
Appreciation towards Selgascano for providing the following description:

 

“对任何一个设计来说,无论在什么情况下,其结构和技术都不能将人类的生活与自然割裂开来。” —— Richard Neutra

“I resolved that the structural and technical dimensions of design must never divorce human life from nature”. —— Richard Neutra

 

本项目原是2015年的蛇形画廊。今年该蛇形画廊在美国洛杉矶重建,再次对外开放。
当Julia Peyton-Jones和Hans Ulrich Obrist对设计师提到他们有可能有机会设计蛇形画廊的时候,设计团队便开始思考该如何设计该展馆、该展馆在结构上需要有哪些独特之处、以及应该选用哪些材料等。最后,设计团队从一个简单的切入点着手,即该展馆的项目基地位于伦敦的皇家公园(Royal Park)内。在此基础上,设计团队开始构思:最能够代表伦敦这座城市的特点的当地材料是什么?应该在皇家公园内使用哪种材料?随后他们将这些设计上的思考与个人的风格和喜好结合在了一起,希望使用单一的透明材料来打造整个画廊建筑。因此设计团队最终决定仅使用树脂玻璃来建造展馆。

The project is Serpentine Pavilion 2015. This year, it has been re-built and re-opened in Los Angeles.
As soon as Julia Peyton-Jones and Hans Ulrich Obrist mentioned us the possibility to design the Serpentine Pavilion, we began to think about the main features that the structure needed to provide and the material that had to define it. Starting with something simple – that this Pavilion was to be built in a Royal Park in London – we asked: what are the local materials that represent London? Which material should be used in a Royal Park? Almost straight away, using this situation and mixing it with more personal interests, we decided that the pavilion would be entirely made of a single material, and transparency would be its motto. We therefore presented a pavilion only made of Plexiglas.

▼蛇形画廊外观,exterior view of the Serpentine Pavilion

但是俗话说得好,计划赶不上变化。由于当地的法规,特别是极为严格的消防安全标准,上文所提到的设计构思不得已胎死腹中,而这也完全否定了设计团队在材料选择上的意向。庆幸的是在那一刻所有的设计人员都瞬间意识到,实际上他们现在所在做的事情就跟以往设计建筑项目一样。现实生活中,任何一个建筑项目都面临着成千上万的限制条件,但与此同时,这些限制也正是成就一个设计的关键。

同时,设计团队也非常清楚,他们要参加的是蛇形画廊的15周年庆典,也就是人们俗称的“水晶”周年纪念。更为重要的是,这个专门为蛇形画廊15周年所设计的展馆必须是独一无二的,因为它是对以往所有展馆的一种赞扬,也是对所有发生在这些展馆中的故事的致敬。

But just as quickly as it came, it went. That first idea collapsed on account of the local regulations, especially the strict fire safety standards, which totally demolished the option of the chosen material. At that instant we woke up, opened our eyes and realized that we were in the same place as ever, doing the same thing as ever, just architecture, real architecture, where there are thousands of restrictions and, as usual at the end of every project, those restrictions are ultimately its real definers.

We were also very much aware that we were working on the pavilion’s 15th anniversary, the celebration of what is known as a “crystal” anniversary, and it had to be —without resembling anyone— a kind of tribute to them all, a sort of homage to all the stories told in those architectures.

▼蛇形画廊外观,采用半透明的彩色材料打造而成,exterior view of the Serpentine Pavilion that is made of translucent chromatic materials

因此设计团队决定采用更加严格的建筑技巧和工具来突出一个最本质的设计概念:一种纯粹的体验感。有了这个简单却包罗万象的概念,设计团队便开始寻求一种能够将其展现得淋漓尽致的方式,希望通过一系列最常见、最简单的元素如:结构、光线、透明度、阴影、轻盈度、形式、敏感度、变化、惊喜、材料等,让参观者能够沉浸式地体验建筑空间,其中材料仍然毋庸置疑地占据着绝对主导的地位。

So we then decided to use all the more strictly architectural tricks —or tools if you wish— that can be handled to accentuate the only concept that we finally wanted to use: pure experience. As a single encompassing concept, we sought a way to experience architecture through its most common, simple elements: structure, light, transparency, shadows, lightness, form, sensitivity, change, surprise, materials, materials, materials …

▼蛇形画廊内部空间,通过结构、光线、透明度、阴影、轻盈度、形式等简单的建筑元素来营造空间氛围,partial interior view of the Serpentine Pavilion, using the most common, simple elements including structure, light, transparency, shadows, lightness and form to create a pure experience

最终,如往常一样,在磕磕绊绊的摸索中,设计团队最终完成了这个展馆。说实话,从外形来看这个展馆多多少少有些奇怪,但它不仅是设计概念的极致表达,更是许多人共同努力的结果。它非常吸睛,但更为重要的是,它能让设计团队沉迷于其中,甚至是废寝忘食,因为它可能是迄今为止设计团队所做过的最具个性、最具生命力的项目了,这也是为什么设计团队一直在试图将自己从设计中抽离、从一个客观的角度来审视和描述它的原因。展馆的一切元素都暴露在人们的视野中,然而只有当亲身进入展馆、亲身体验之后,人们才能百分之百地体会到这个空间的奇特性。

And, stumbling along as usual, we finally arrived at this object, the sum of many, this strange pavilion, the sum of many. It partly attracts us, but for the most part makes us restless and intrigued, because it is probably the project with the strongest personality and life of any of the ones we have done so far. That’s why we are trying to describe it from a distance, without hiding the many doubts that will only be resolved when we can go in and visit it, like any other visitor.

▼蛇形画廊内部空间,不同颜色的半透明材料营造出不同的空间氛围,partial interior view of the Serpentine Pavilion, translucent materials in different colors create different atmosphere

事实上,这个画廊的初衷之一也是希望能够为所有的参观者提供一种与众不同的空间感受,一种他们在其他建筑中从未体验过的感受,而与此同时,这个画廊空间中也包含着一系列其他人的、参观者本人没有体验过的人生经历,在此时此刻此地,所有的人生和感悟交织在一起,营造出一种绝妙的空间氛围。

Because in fact it’s just that, a question of trying to provide a different experience to all the visitors who go through, something they have never experienced previously in any other building, but at the same time it is also something that encompasses each and every one of the experiences that others have had previously.

▼蛇形画廊内部空间,不同的结构和形式组成了这个展馆空间,partial interior view of the Serpentine Pavilion that consists of various structures and forms

但是在本项目中,设计团队的私心还是希望人们被唤醒的记忆首先是那些与自然界相关的部分,因为有一个事实注定是无法被忽视的,那就是这个蛇形画廊位于一个公园内,一个名为肯辛顿花园(Kensington Gardens)的公园内,因此,这个展馆就应该顺理成章地成为自然的一部分,不仅如此,自然还应该在这个蛇形画廊中继续蓬勃地生长下去。

Although our secret hope is that those memories are above all about things that were related to something called nature. Because we have never overlooked the fact that we are in a park, Kensington Gardens, and we think this object could be part, at the same time, of the nature that grows there and of the nature is lacking there.

▼蛇形画廊内部空间,partial interior view of the Serpentine Pavilion

▼蛇形画廊内部空间,透过外表皮可以隐约看到周围的自然环境,partial interior view of the Serpentine Pavilion, visitors can vaguely see the surrounding nature through the skin

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