Castelvecchio 博物馆东楼改造
Castelvecchio Museum – The East Wing / Filippo Bricolo & Bricolo Falsarella Associates
由专筑网芮万里,韩平编译
来自建筑事务所的描述:Filippo Bricolo(Bricolo Falsarella Associates)的Castelvecchio博物馆东楼重建项目是卡洛•斯卡帕在1964年重建Castelvecchio博物馆时所遗留的未完成的部分,这个项目也是向卡洛•斯卡帕的杰作表达了敬意。
新设计的马赛克地板展厅是一个介入的支点,这个房间主要是展出一个巨大的不完整的罗马路面,这块路面来自于公元二世纪的一处住所,这个住所在古老的Via POstumia和阿迪杰河之间的城堡的东边的小型广场上被发现。
From the architect. Filippo Bricolo’s project (Bricolo Falsarella Associates) for the Castelvecchio Museum regards the restoral of the central part of the East Wing which was left unfinished by Carlo Scarpa’s masterful restoration in 1964.
The fulcrum of the intervention is the new Mosaic Room designed to host a large fragment of Roman pavement from a second century AD domus which was discovered in the little square located on the east side of the castle between the ancient Via Postumia and the River Adige.
© Nicolò Galeazzi
新的展览大厅通过一个很高的通道空间连接了城堡的主要庭院,这个空间同样也可以作为Sala Boggian的入口。
一个巨大的薄铁板决定了通道的双重性质:一方面它作为进入新的马赛克地板展厅之前的必要的过渡,另一方面,它在第一层指引了到达房屋的道路。
The new exhibition hall is connected to the main courtyard of the castle through a high access space that also serves as the entrance to Sala Boggian.
A large and very thin iron panel delimits the dual nature of the hallway: on the one hand it acts as a necessary filter leading to the new Mosaic room and on the other hand, it indicates the way to the room on the first floor.
© Nicolò Galeazzi
© Nicolò Galeazzi
这块薄板似乎在同地板和楼梯的台阶之间形成过渡,并且在相对的两侧都设有指导性的水平切口,指明了两种不同的方向。
在切口上方刻有“"Mosaic Room”和“Sala Boggian”的字样,这些由铁制成的字体是由斯卡帕为音乐厅的入口门厅而设计的,但是从来没有被使用过。
The panel seems to brush against the floor and the steps of the stairs and it bears two strategic, horizontal incisions on opposite sides thus indicating the two different directions.
Above the incisions the words "Mosaic Room" and "Sala Boggian" are written in iron out of the fonts designed, but never used, by Scarpa for the concert hall entrance.
© Nicolò Galeazzi
© Nicolò Galeazzi
平面图/Plan
图解/Diagram
第二层的面板是由四块拱门组成,这些拱门都均为厚10mm的黑色铁板。
拱门能够在进入Mosaic Room之前形成一种小小的仪式感。
这种处理手法很有必要,因为这样可以使人们在入口大厅和展览空间之间在情感上形成有梯度的变化。
关于照明,拱门使用的黑色铁材质的反射特性将使两个空间产生对话。站在入口大厅,拱门可被看见的一侧将会反射马赛克地板展厅中温暖的光线,并使得光线渗透进入口区域。
On a second level regarding the panel, is an archway formed by four, 10 mm thick, black iron plates.
The archway has the role of determining a small ritual of access to the Mosaic Room.
This is necessary in order to create an emotional gradient between the entrance hall and the exhibition space.
Regarding lighting, the archway makes use of black iron’s reflectance characteristics to create dialogue between the two spaces. Standing in the entrance hall, the visible side of the archway reflects the warm lights of the Mosaic Room casting them towards the entrance area .
© Nicolò Galeazzi
© Nicolò Galeazzi
铁材质还反映了一天不同时间段的光线的变化,直到它们被黄昏的光线映射成暖色。
在马赛克地板展厅中,同一侧的墙体会将博物馆庭院里的光线和颜色反射进入马赛克地板展厅。
通过这样的方式,通道将变成光线反射的枢纽。
这一新的入口变成了一种叙述手段,它既分散又完整,为你慢慢揭示出关于这里的一切,这虽然创造了距离但是却会将你慢慢地吸引进来走进这里的故事。
Iron also highlights the changing light at different times of day until they are unexpectedly warmed up by the onset of dusk.
In the Mosaic Room, the same vertical side reflects the lights and colours of the museum’s courtyard into the Mosaic Room.
In this way, the gateways becomes a hinge of reflections.
This new threshold becomes a narrative device that divides but unites, that reveals but slows down, that creates distance but invites you to walk through.
© Nicolò Galeazzi
在新的展览大厅的内部,巨大的马赛克仿佛漂浮在宽广的空间之中。
整个大厅被高耸的砖墙围合形成自身的特点。这些砖块故意留下了未被改变的印记以及被时间擦拭而留下的青铜色的痕迹。
这将有助于古老的罗马地板和墙壁之间形成物质性的对话。
Inside the new exhibition hall, the great mosaic seems to levitate in the bountiful space.
The hall is characterized by high walls made of brick. The bricks were deliberately left visible without changing or deleting the patina of time.
This helps to create a dialogue between the walls and the materiality of the ancient Roman floor.
图解/Diagram
© Nicolò Galeazzi
整个马赛克地板被对角地插入到整个空间,以便于在房间内部能够看见完整的地板。
这样布置也使我们能够从城堡外边欣赏到马赛克地板。
The mosaic has been inserted diagonally into the space so as to be seen in its entirety from inside the room.
This collocation also allows us to appreciate the view of the mosaic from outside the castle.
© Nicolò Galeazzi
© Nicolò Galeazzi
改造重新赋予了这个作为枢纽地带的房间的活力。
面对广场一侧的区域改变成为盥洗室,并且它通过被烧过的北美油松镶板所隐藏,这一材料斯卡帕也在罗盘上使用过,这个罗盘现在位于马赛克大厅中。
The renovation has restored dignity to this connecting room.
An area on the side facing the square has been converted into lavatories and it is concealed by burned pitch-pine panelling, the same materials used by Scarpa to make the compass now present in the Mosaic Hall.
© Nicolò Galeazzi
© Nicolò Galeazzi
© Nicolò Galeazzi
© Nicolò Galeazzi
© Nicolò Galeazzi
剖面图/Section
剖面图/Section
剖面图/Section
立面图/Elevation
立面图/Elevation
立面图/Elevation
轴测图/Axonometric
图解/Diagram
建筑事务所:Filippo Bricolo & Bricolo Falsarella Associates
地址:意大利,维罗纳省,维罗纳
建筑负责人:Filippo Bricolo
项目团队:Francesca Falsarella, Simone Sala, Elisa Bettinazzi, Giacomo Scabbio
建筑面积:161.0 m2
年份:2017
摄影:Nicolò Galeazzi
Architects: Filippo Bricolo & Bricolo Falsarella Associates
Location: Verona, Province of Verona, Italy
Architect in Charge: Filippo Bricolo
Project Team: Francesca Falsarella, Simone Sala, Elisa Bettinazzi, Giacomo Scabbio
Area: 161.0 m2
Project Year: 2017
Photographs: Nicolò Galeazzi
出处:本文译自www.archdaily.com/,转载请注明出处。
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