来自专筑编辑杨帆，刘庆新的报道。Tschumi展馆最初是在1990年作为全市会展活动“美妙的世界”的一个视频馆而建造的。分布在城市周围的五个展馆将流行音乐带到公共领域。该馆设计成当时很前卫的建筑，被贴上了两年前的现代艺术博物馆的标签。Eisenman, Hadid和Himmelblau设计的展馆被拆除了，Koolhaas 和Tschumi展馆仍被保留下来。
From the architect. The Tschumi pavilion was originally built as a video pavilion for the city-wide exhibition-event “What a Wonderfull World” in 1990. Scattered around the city, five pavilions brought pop-music videos into the public realm. They were designed by the architectural avant-garde of the time, labeled two years earlier as 'deconstructivist' by the MOMA. The pavilions of Eisenman, Hadid, and Himmelblau disappeared, while the ones of Koolhaas and Tschumi remained.
© René de Wit
值得注意的是，是OMA和Tschumi的非常不同的构造方案使得他们的展馆保留到最后。OMA采用程序化模式，与公交站亭配套，这是它至今还存在着原因。而Tschumi馆能一直坚持下来恰恰是因为相反的原因：它缺乏任何精确的程序。它就被当做一个透明的建筑，从1995年以来，被用来作为一个公共/城市活动空间的临时艺术空间。
Remarkably, it is OMA and Tschumi's very different approach to program that have made their pavilions last. OMA's programmatic alchemy, pairing of the pavilion with a bus stop, is the reason it survives today. Tschumi’s pavilion has persisted precisely because of the opposite reason: its lack of any precise program. Being a transparent envelope, it has been used as a public/urban event-space for temporary art projects since 1995.
© René de Wit
Courtesy of Shift architecture urbanism
Courtesy of Shift architecture urbanism
Axonometric/轴测图
在格罗宁根一个繁忙的环岛中间，Tschumi创造了有史以来最透明的建筑之一：它的外墙，屋顶以及结构都是由透明玻璃组成。Tschumi选择玻璃是要反射出一种“不稳定的门面”特点，并让视频图像从不间断。这些影像将一个不可视的展馆转变为一个将反射的虚拟图像和城市监控里的真实图像混合的梦幻奇观。
In the middle of a busy roundabout in Groningen, Tschumi created one of the most transparent buildings ever built: its facades, roof as well as structure are made of clear glass. Tschumi chose glass for its reflective quality to create “instable facades” that would reflect the video images endlessly. These videos transformed the “invisible pavilion” into an "illusionistic spectacle” in which the virtual image from the reflections mix with the real image from the monitors and the city.
Courtesy of Shift architecture urbanism
建筑物周围对角线的彩色带来自于刚性镶板系统结构。由于平行的透明立面，颜色带开始根据加减色法进行变幻。在原色玻璃上叠加其他颜色，创建了二次虚拟的颜色：青+品红=蓝，黄+青=绿，品红+黄=红。透明展馆成为一个具有强大城市存在感的动态色彩空间。
The colored pattern of diagonal bands that wrap around the building is derived from the rigid paneling system of the structure. Because of the parallel transparent facades, the color bands start mixing according to the subtractive color model. The overlap of the “real” primary colors on the glass create secondary “virtual colors": C + M = Blue, Y + C = Green, M + Y = red. The transparent pavilion becomes a dynamic color space with a strong urban presence.
Diagram/示意图
Courtesy of Shift architecture urbanism
Courtesy of Shift architecture urbanism
从不同的角度来体验CMY馆都会有不同的感受。当你在这个环岛上走动的时候将体验到不断变化的色彩和图案。站在面临着长边的广场，人们能感知六种颜色（CMYRGB）交叉填充的图案。等车时从斜视点能看见三种颜色（CMY）呈对角线的真实图案。在里面还有另一个发现：这里的色彩也与城市相搭配，而不是限于彼此。由于没有更多的重叠的颜色，对角线的CMY颜色条带清晰可见。Tschumi意在通过倾斜的建筑提高对角线环带的不稳定、回旋的效果。
From different angles come different experiences of the CMY pavilion. People circulating on the roundabout will experience continuously changing colors and patterns. Standing on the square facing its long side, one perceives a cross-hatch pattern in six colors (CMYRGB). One waiting for the bus with an oblique viewpoint sees the “actual pattern” of diagonals in three colors (CMY). Inside another appearance is uncovered: here the colors mix with the city rather than with each other. Since there is no more overlapping of colors, the diagonal CMY color bands are clearly visible. Their diagonal wrapping enhances the destabilizing, girating effect that Tschumi intended by tilting the building.
Courtesy of Shift architecture urbanism
Courtesy of Shift architecture urbanism
Site Plan/场地平面图
建筑设计：Shift城市化建筑
项目位置：荷兰 格罗宁根
主建筑师：Thijs van Bijsterveldt, Oana Rades, Harm Timmermans
摄影：René de Wit, Courtesy of Shift architecture urbanism
彩色影像设计：Sign Up, Groningen
照明设计： Lichtpunt Theatertechniek, Groningen
委托人： Stichting Tschumipavilion, Municipality of Groningen
Architects: Shift architecture urbanism
Location: Hereplein, 9711 Groningen, Netherlands
Architect In Charge: Thijs van Bijsterveldt, Oana Rades, Harm Timmermans
Photographs: René de Wit, Courtesy of Shift architecture urbanism
Color Film: Sign Up, Groningen
Lighting: Lichtpunt Theatertechniek, Groningen
Client: Stichting Tschumipavilion, Municipality of Groningen
出处：本文译自www.archdaily.com/，转载请注明出处。
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