意大利米蘭

時(shí)間：2005年—2006年

建筑設(shè)計(jì)：Piuarch

家具設(shè)計(jì)：Ron Arad

結(jié)構(gòu)設(shè)計(jì)：FV Progetti

機(jī)電設(shè)計(jì)：GTEC Sas — Andrea Zanotti

建筑面積：5 000 平方米

攝影：?Andrea Martiradonna, ?Matteo Piazza,?Alberto Piovano ?Ruy Teixeira

Time: 2005-2006

Architectural design: Piuarch

Furniture design: Ron Arad

Structural design: FV Progetti

M & E design: GTEC Sas — Andrea Zanotti

Built surface: 5.000 mq

Images: ?Andrea Martiradonna, ?Matteo Piazza,?Alberto Piovano ?Ruy Teixeira

杜嘉班納（Dolce&Gabbana）辦公樓和展示廳位于米蘭維亞布羅吉，距離布埃諾斯阿依雷斯大街（Corso Buenos Aires）僅數(shù)百米。建筑是古典與現(xiàn)代的結(jié)合，與周?chē)某鞘芯坝^融為一體。Piuarch建筑師事務(wù)所在兩座不同時(shí)期建筑的基礎(chǔ)上，進(jìn)行了巧妙的翻新設(shè)計(jì)，打造出一個(gè)時(shí)尚綜合體。針對(duì)這兩棟原有建筑，建筑師采用了多種方法進(jìn)行加強(qiáng)和翻新，以突出兩者之間的對(duì)比。其中二十世紀(jì)20年代的一棟建筑，設(shè)計(jì)為辦公和接待樓，翻新過(guò)程以結(jié)構(gòu)為重點(diǎn)，保留其原有的優(yōu)雅古典風(fēng)格。另外一棟二十世紀(jì)60年代的建筑作為展示廳，采用中空設(shè)計(jì)，形成三層高的開(kāi)放空間，上面是一家家餐廳圍合成的小型露臺(tái)。建筑表皮也進(jìn)行了徹底翻新，覆蓋以緊密排布的玻璃，形成模塊形狀。這種設(shè)計(jì)營(yíng)造出一種現(xiàn)代感，也在兩棟建筑之間形成一條微妙的分割線(xiàn)，或者說(shuō)就是一條連接線(xiàn)。由于選用反光材料（玻璃及亮面鋼板），玻璃結(jié)構(gòu)變成了夢(mèng)幻的棱鏡體，圍成一個(gè)光環(huán)。而在白天，通過(guò)光影效果形成簡(jiǎn)潔的圖案。建筑正面營(yíng)造出大面積漫射光，沿著透明墻面，可以看到展示廳內(nèi)部的時(shí)裝展品。這種透明設(shè)計(jì)，是希望將展廳內(nèi)部完全展示給觀眾。展示廳后面部分與鄰近建筑相連。展示廳正面采用乳白色玻璃建成標(biāo)準(zhǔn)的垂直百葉窗。設(shè)計(jì)靈感源于1996年英國(guó)藝術(shù)家Damien Hirst名為“在萬(wàn)物本真中尋找慰藉”的作品。Hirst將兩頭奶牛分割成數(shù)段，進(jìn)行展示。同樣，Piuarch建筑師事務(wù)所也采用了這種方法，尤其是外觀上，將沿街（via Broggi）展示廳廣闊的開(kāi)放式空間分割成一扇扇獨(dú)立的窗子，每一扇窗展示不同類(lèi)別的時(shí)裝。建筑綜合體形成一個(gè)L形庭院式結(jié)構(gòu)，鋪有白色石塊，周邊綠化風(fēng)景帶蜿蜒排布，上方有兩座建筑的連接結(jié)構(gòu)：全玻璃樓梯間。樓梯間內(nèi)部是酸洗金屬搭建的樓梯。整個(gè)項(xiàng)目中，基調(diào)、光線(xiàn)、和簡(jiǎn)單的造型，交錯(cuò)在一起，別具特色。在選材上，盡可能營(yíng)造出多感官效果，傳統(tǒng)、文化、地中海風(fēng)情的融合，體現(xiàn)出杜嘉班納兩名時(shí)裝設(shè)計(jì)師的風(fēng)格。

Situated just a few hundred metres from Corso Buenos Aires, the Dolce&Gabbana offices and showroom in via Broggi, Milan, is a combination of classical and contemporary, smoothly interacting with the surrounding cityscape. Working around two existing buildings from different periods, Piuarch has cleverly designed the fashion house’s new complex. The architects have used miscellaneous methods for the two constructions, basing the reinforcement / renovation process around the contrast between the different structures. The 1920s’ building, used for offices and reception spaces, is enhanced by focusing on its architecture and maintaining its elegant, classical style. The 1960s’building, used as a showroom, has been completely hollowed out to create a 3-storey open space crowned by small terraces constructed out of the restaurant structures. It completely changes skin on the outside, cladding itself with glass in a very tightly-knit modular pattern. This gives it a much more contemporary feel, which seems to create a subtle line of rupture between the two buildings, whereas it is merely a junction line. The glass structure turns into an almost immaterial prism, thanks to the choice of refiective materials (glass and shiny steel sheets) enveloping it in an aura of eclecticism by means of simple forms described by the effects of shadow and light during the day. The building creates a large front of diffused light offering glimpses of garments from the fashion house’s collection,which run along the perimeter of the fa?ade. The building’s transparency opens it up to the city and passers-by, stitching it back together with the neighboring building. Transparency emerges from the fa?ade design featuring a regular pattern of vertical sunscreen shutters made of opaline glass,partly inspired by a work by the British artist Damien Hirst entitled “Some Comfort Gained from the Acceptance of the Inherent Lies in Everything” from 1996. Hirst showcases the bodies of two cows.In the same way, Piuarch seems, at least on the outside, to be sectioning the showroom’s large open spaces into lots of separate windows, focusing on every individual item of clothing from the collection in via Broggi. The complex creates a sort of L-shaped courtyard paved with white stone and bordered by sinuous landscaped areas overlooked by the new structure connecting the two buildings: an all-glass stairwell shaped by the pickled metal of the stairways inside it. The project is an intricate combination of fully-defined spaces made of air, light and simple forms. Once again, the Milanesefirm has chosen the materials with great care to focus on the multiplicity of sensations, traditions, culture and Mediterranean style characterizing the work of these two fashion designers.