威尼斯雙年展的北歐館內(nèi)有一根據(jù)大氣條件膨脹和收縮的巨型氣球
Huge balloons inflate and deflate based on atmospheric conditions inside Nordic Pavilion
威尼斯建筑雙年展上的北歐館，布置了巨型的氣球，隨著環(huán)境條件的變化，它們會慢慢膨脹和收縮。
這次展覽叫做“Another Generosity”，探索自然與建筑環(huán)境之間的關(guān)系。策展人Eero Lundén和Juulia Kauste想通過這個(gè)裝置，展示人類如何創(chuàng)造與環(huán)境共生的建筑。
The Nordic Pavilion at the Venice Architecture Biennale has been filled with huge inflatable blobs that slowly expand and contract in response to changing environmental conditions.
The exhibition, called Another Generosity, aims to explore the relationship between nature and the built environment. Curators Eero Lundén and Juulia Kauste wanted to show how humans can start to create architecture that is symbiotic with the environment.
他們在展館內(nèi)安裝了四個(gè)巨大的充氣設(shè)備，這些裝置有著細(xì)胞形態(tài)，并通過傳感器監(jiān)測周圍的二氧化碳含量、濕度和溫度。
細(xì)胞響應(yīng)這些環(huán)境條件而“呼吸”。 它們要么根據(jù)二氧化碳的含量膨脹或收縮，要么改變顏色來表示溫度差異。
“我們的裝置根據(jù)環(huán)境變化而存在，和與人類一致?！盠undén告訴Dezeen記者，“所以它們會呼吸?！?br/>
“它們在不同的條件下呼吸的方式也不同?！彼忉屨f，“然后顏色會根據(jù)溫度而變化，它們就像一個(gè)有生命的獨(dú)立個(gè)體。而我們最初的想法是想制作一些類似動物的東西。”
“這個(gè)理念來源于自然與建筑的關(guān)系，因?yàn)槲覀兘?jīng)常看到的建筑就是如此。”
這些細(xì)胞也可以注入水分，但只有在組織者降低歷史建筑的風(fēng)險(xiǎn)時(shí)才會產(chǎn)生這樣的效果，這座歷史建筑由Sverre Fehn于1962年設(shè)計(jì)建造。
They have installed four huge inflatables – designed to look like cells – inside the pavilion, with sensors that monitor the surrounding carbon-dioxide levels, humidity and temperature.
The cells "breathe" in response to these environmental conditions. They either fill or empty themselves of air, depending on the carbon-dioxide levels, and change colour to indicate temperature differences.
"Essentially what we're doing here is we have structures that live according to the changes in their environment, like me and you do," Lundén told Dezeen. "So they breathe."
"They breathe differently in different conditions," he explained. "And then the colours change according to the temperature. They have a little bit of their own life. The original idea was that we wanted to make something that is close to an animal."
"It's this idea about reestablishing a relationship with architecture, because quite often we see buildings and that's it."
The cells could also be filled partially with water, but this will only happen if organisers are able to mitigate the risk of the historic building, constructed by Sverre Fehn in 1962.
展覽主題“Another Generosity”來源于雙年展策展人Yvonne Farrell和Shelley McNamara的宣言。設(shè)計(jì)師解釋說，他們選擇自由空間的主題，要求在建筑中采用“精神上的慷慨”理念。
“我們一開始認(rèn)為，也許這個(gè)想法能夠引發(fā)深入思考，例如我們?nèi)绾慰创约号c自然的關(guān)系，這種觀念也許與人類世界觀相反，同時(shí)思考什么樣的建筑可以與它的環(huán)境擁有更加和諧共生的關(guān)系?！癓undén說。
“從60年代到70年代，人類逐漸確立了這樣一個(gè)自然觀，即我們并沒有用盡所有的資源。而建筑是我們世界觀的實(shí)踐結(jié)果，因此我們需要一些不同的表達(dá)方式?！?br/>
The exhibition title, Another Generosity, is taken from the manifesto Yvonne Farrell and Shelley McNamara compiled as curators of the biennale. In it, they explain that their chosen theme of Freespace calls for a "generosity in spirit"in the approach to architecture.
"We started to think that maybe the idea is maybe a much deeper question of how we see ourselves in relation to nature – sort of as an opposition to this anthropocenic world view to try to think of what architecture could be in a more symbiotic relationship with its environment," said Lundén.
"I think gradually from the 60s and 70s we have started to reestablish our position towards nature – we're not using all the resources that we can, and eating everything," he said. "Architecture is a consequence of our world view. We need to be something different."
在今年的雙年展上，Caruso St John建筑事務(wù)所和藝術(shù)家Marcus Taylor在英國館的屋頂上安裝了一個(gè)巨大的“島”，蘇黎世建筑師在瑞士館設(shè)計(jì)了一個(gè)與眾不同的房間，吸引眾多眼球。
2018年威尼斯建筑雙年展于2018年5月26日向公眾開放，并持續(xù)到2018年11月25日。
Also at this year's biennale, architecture firm Caruso St John and artist Marcus Taylor have installed a huge "island" over the roof of the British pavilion, and at the Swiss pavilion, a group of Zurich-based architects have created a warren of unusually scaled rooms to draw attention to the ubiquitous interior design of rental properties.
The Venice Architecture Biennale 2018 opens to the public tomorrow and continues until 25 November 2018.
Photography is by Andrea Ferro.
攝影：Andrea Ferro
來源：專筑網(wǎng)，縷夕，李韌編譯自www.dezeen.com/。轉(zhuǎn)載請注明出處。
