建筑設(shè)計：安尼·霍爾特洛普工作室

Architects: Studio Anne Holtrop

極簡墻面：巴林館

Minimalist Walls: Bahrain Pavilion

建筑設(shè)計：安尼·霍爾特洛普工作室

Architects: Studio Anne Holtrop

1 內(nèi)景/Interior view

2 屋頂/Roof view

巴林館的獲獎方案從設(shè)計邀請賽中的4個方案中脫穎而出，由安尼·霍爾特洛普工作室與景觀設(shè)計師阿努克·沃格爾合作設(shè)計。

建筑和景觀作為一個相互關(guān)聯(lián)的整體，形式達成統(tǒng)一，回應(yīng)巴林典型的郊區(qū)風(fēng)貌。按照圖紙的幾何形狀，拆分出350塊不同的白色預(yù)制混凝土板，展館設(shè)計一開始就考慮了從組裝到拆分到運回巴林的過程。混凝土構(gòu)件通過干作業(yè)方法組裝在一起，一塊疊在另一塊之上，并以銅制配件連接。世博會結(jié)束后，這些構(gòu)件將被拆解，運回巴林，并重新組裝起來，作為展示國家農(nóng)業(yè)遺產(chǎn)的植物園。□（葉揚 譯）

3 概念圖/Concept drawing

4 模型/Model

The winning design for the pavilion designed by Studio Anne Holtrop in collaboration with landscape architect Anouk Vogel, was selected amongst four other design proposal that were presented as part of an invited competition.

The pavilion is conceived as a succession of walled fruit gardens, intersected by roofed exhibition spaces, and a café. The forms are loosely inspired by those found in the archaeological ruins of the temple of Barbar in Bahrain, the temple built for Enki, the god of sweet water, that consequently permitted the development of a lush vegetation and agriculture in an otherwise arid region. The resulting plan of the pavilion is an abstract geometric drawing, of arcs and straight lines that creates a richness of spatial experiences within the defined boundaries of the walled perimeter.

The architecture and landscape are conceived as one interconnected entity that forms a whole, evoking the typical suburban landscapes of Bahrain. Made of 350 different pieces of white prefabricated concrete that follow the geometry of the drawing, the pavilion has been designed from its onset to be dismantled and transported to Bahrain. The concrete elements are assembled to one another through dry-joints, stacked one on top of the other, and finished with brass fittings. At the end of the Expo, the elements will be dismantled, and shipped to Bahrain where they will be reassembled to serve as a botanical garden displaying the agrarian heritage of the country.□

5 內(nèi)景/Interior view

6 首層平面/Floor 0 plan

7 內(nèi)景/Interior view

8.9 立面/Elevations

10.11 內(nèi)景/Interior views

項目信息/Credits and Data

客戶/Client: 巴林文化與遺跡管理局/Bahrain Authority for Culture & Antiquities

總負責人/General Commissioner: Sh. Mai Al Khalifa

列車的停站時間由開門時間、乘客上下車時間和關(guān)門時間3部分組成[8]。停站時間越長，車站的通行能力越強。停站時間較短時，乘客前往目的地的旅行時間可能會變長，并極有可能引起推搡事故。因此，每個車站的停站時間應(yīng)根據(jù)年平均客流量進行初步限制，為每個車站做出參考的停站時間范圍，且停站時間要求為5 s的整倍數(shù)。設(shè)車站編號為1,2,3，…,i,…,N，則每個車站對應(yīng)的停站時間為D1,D2,D3,…,Di,…,DN。 第i個車站的停站時間下限為Di,min，停站時間上限為Di,max，則每個車站的停站時間約束為：

副總負責人/Deputy General Commissioner: Noura Al Sayeh建筑設(shè)計/Architect: Studio Anne Holtrop

景觀設(shè)計/Landscape Architect: Anouk Vogel

景觀工程/Landscape Engineer: Francien Van Kempen

結(jié)構(gòu)工程/Structural Engineers: Gilbert Van Der Lee, Mario Monotti

意大利當?shù)亟ㄖO(shè)計/Local Architect in Italy: SCE projects總承包/Contractor: Restaura SRL

時尚設(shè)計/Fashion Designer: Hind Matar

食物創(chuàng)意總監(jiān)/Creative Director for Food: Narise Kambar

平面及標識設(shè)計/Graphic Design and Signage: Mevis & Van Deursen

網(wǎng)頁及程序設(shè)計/Website Design and Programming: Mevis & Van Deursen with Paul Bernhard

家具設(shè)計/Furniture Design: Muller Van Severen

電影裝置/Film Installation: Armin Linke Giulia Bruno, Giuseppe Ielasi

電影顏色校準及后期制作/Film Color Correction and Film Postproduction: Giulia Bruno

聲音后期制作及裝置/Sound Postproduction and Sound Installation: Giuseppe Ielasi, Attila Faravelli, Nicola Ratti

調(diào)研協(xié)調(diào)/Research Coordination: Sarah Poppel, Arianna Visani

技術(shù)服務(wù)/Technical Service: Daniele Milani, Calembour; Neither Sound Design

考古策展人/Archaeology Curator: Dr. Nadine Boksmati Mounting ICPM

攝影/Photos: Iwan Baan(fig.5,7,10,11,12), Armin Linke and Giulia Bruno(fig.1,2)

評論

蘇丹：巴林館的建筑和園林是相互限定并緊密交織的兩種空間形態(tài)，是自然和人工兩種語言并存，控制與釋放兩個不同詮釋世界觀的途徑并行的有機整體。設(shè)計者選擇了一種能夠統(tǒng)合二者的獨特方式——使用圖案來暗喻世界的矛盾與復(fù)雜性。這個迷宮一般的花園反而為我們揭示了一個神奇的謎底，即圖案本來就是富于空間感的一種想象。阿拉伯的傳統(tǒng)文化中圖案繁復(fù)而又縝密，這些構(gòu)圖嚴謹?shù)膱D形或許就是空間邏輯性的一種投射，一種尋求視覺和空間體驗、迷惑和明晰之間的平衡的思維方式。巴林館的空間從這種圖形上浮現(xiàn)而成，為我們還原了那種隱藏起來的文化密碼。

范路：巴林館以清晰的構(gòu)成邏輯，造就了一個人工融合自然的神秘花園。從平面上看，來自某個考古遺址的“器物碎片”拼成了簡潔的長方形。其中缺失幾塊，但可以用“綠色”填補。站在地面感知，這些“碎片”又拼出了游廊和景框構(gòu)成的迷宮。迷宮屬于未來，其間的花園卻來自久遠的過去。此時，迷宮花園化為觀者的第一千零二夜之夢。

12 內(nèi)景/Interior view

Comments

SU Dan: The architecture and gardens of Bahrain Pavilion are two spatial existences that are interconfined and yet closely interweaved. They are the coexistence of both natural and artificial languages, they make up an organic whole that controls and releases two different interpretations of values and approaches. The architect chose one unique way to unify both－by using patterns to imply the contradiction and complexity of the world. However this maze-like garden revealed an answer to the riddle－the pattern per se is an imagination full of spatial quality. In the traditional Arabian culture, patterns are rich of complication and intricacy. These rigorous compositions can be seen as a projection to the logics of space, and a way of thinking that seeks the visual/spatial experiences and the balance between puzzles and clarity. The spaces within the Bahrain Pavilion emerged from these patterns, and restored for us the cultural cipher that was long hidden.

FAN Lu: The Bahrain Pavilion can be regarded as a kind of geometric structure with logical clarity, and at the same time as a mysterious garden with high integration of artifacts and natural elements. In the plan, the elemental pieces seem as if they were "fragments" from certain archeological site and, together with some "green pieces", could form a simplified rectangle. In perspective view, those elements are assembled into a labyrinth consisted of galleries and picture frames. The labyrinth belongs to the future, while gardens in it are from the distant past. Then in this maze garden, the visitors feel like wandering in a contemporary Arabian myth.