馬西米利亞諾·富克薩斯/Massimiliano Fuksas

新羅馬Eur區(qū)會議中心及酒店，羅馬Eur區(qū)，意大利

馬西米利亞諾·富克薩斯/Massimiliano Fuksas

New Rome-Eur Convention Centre and Hotel, Rome-Eur, Italy, 2016

1 草圖/Sketches

新羅馬Eur區(qū)會議中心及酒店“云”內(nèi)設(shè)禮堂、展廳和酒店——新建公共空間5.5萬m2。其中體現(xiàn)了三種截然不同的建筑概念：基底，“膜”和“云”，以及“刃”。基底部分可從哥倫布大道經(jīng)通向建筑大堂和問訊處的樓梯進(jìn)入?！澳ぁ笔且粋€(gè)效果震撼的外殼，又是會議廳和酒店的立面。它由金屬、玻璃和預(yù)應(yīng)力混凝土組合而成。懸掛在“膜”內(nèi)的是“云”，這兩個(gè)空間的相互關(guān)系對于建筑綜合體是至關(guān)重要的，它代表著羅馬城與會議中心的關(guān)系。最后一個(gè)建筑概念是“刃”，即獨(dú)立的建筑。它分為17層，有439間客房，是為會議中心和羅馬的游客提供住宿的酒店。

這些圖是在項(xiàng)目的施工圖階段、綜合體即將動工前畫的。在最初概念、方案設(shè)計(jì)和擴(kuò)初階段，富克薩斯工作室也畫了很多圖紙，其類型和細(xì)節(jié)因比例而異。馬西米利亞諾·富克薩斯的創(chuàng)作過程從繪畫開始，而這可以表達(dá)在任何表面或介質(zhì)上。實(shí)際上，為了表達(dá)清楚，他會親手畫圖。隨后這種表達(dá)會轉(zhuǎn)化為模型，然后在圖中繼續(xù)深化。這三個(gè)階段必須相互融合，因?yàn)樗羞@些條件都會決定這個(gè)項(xiàng)目?！酰ㄉ袝x譯）

2.3 外景/Exterior views

4 內(nèi)景/Interior view

The New Rome-Eur Convention Centre and Hotel "the Cloud" hosts auditoriums, exhibition spaces and a hotel -amassing 55,000 square metres in new public space. It comprises three distinct architectural concepts: the basement, the "Theca"and "Cloud", and the "Blade". The basement is accessed on Viale Cristoforo Colombo, via a staircase that leads into the building's main foyer and information point. The "Theca" is the stunning outer shell and fa?ade of the convention Hall and Hotel, which has been made from a combination of metal, glass and reenforced concrete. Suspended inside the "Theca" is the "Cloud" –the interplay between these two spaces is essential to the complex –symbolising the connection between the city of Rome and the convention centre. The fnal architectural concept is the "Blade" –an autonomous building split into 17 foors and containing a new 439-room hotel built to provide accommodation to visitors to the centre and the city of Rome.

The drawings were developed during the Construction Document Stage of the project, shortly before the construction began on this complex. During the Initial Concept, Schematic and Design Development Stage, Studio Fuksas also produced many drawings, but they varied in type and detail depending on the scale. Massimiliano Fuksas' creative process begins with paintings, which can be expressed on any type of surface or medium. In fact, to express himself he paints. Subsequently this expression is translated into a model, which then is further refined in drawings. These three moments, then, must be completely amalgamated with each other, because all of these conditions defne the project.□