讲述米兰大运河的过去、现在与未来的城市改造
Urban transformation about the past, present and future of the Grand Canal.
“米兰大运河”项目由钟喜明、Xu Penghui及Lin Jin协作完成。旨在于米兰的城市演变之中，重新建构米兰大运河及其周边各空间元素之间的关系，从而形成一种强调“过去-现在-未来”的空间序列。The Naviglio Grande project was completed by Zhong Ximing, Xu Penghui and Lin Jin.It aims to reconstruct the relationship between the Naviglio Grande and its surrounding spatial elements in the urban evolution of Milan, so as to form a spatial sequence that emphasizes "past, present, future".
项目类型: 城市改造
设计年份: 2019
基地位置: 米兰
设计团队: ZHONGXIMING\XUPENGHUI\LINJING
项目类别: 建筑-环境建筑-室内
从广场到博物馆，从河流到桥梁，本项目使用现代的方式去延续和诠释旧城的质感。
From the plaza to the museum, from the river to the bridge, the project continues and interprets the texture of the old city in a modern way.Step 1 城市读取 Urban Reading
<The canal's history and status quo><A new spatial sequence is created according to the boundary and threshold of the city>Step 2 重塑空间关系 Reshapes Spatial Relationship代表当代米兰城市精神的地拉那广场将被轻微地介入，强调与城市肌理的联系，并赋予序列方向性。桥梁的设计不仅是铁路和运河之间的物理连接，也是大运河基础设施记忆的再现。“过去”连接着现在和未来，为不同元素的融合提供了更多的可能性。博物馆的主体代表着“未来”，是我们提出的建筑和景观之间开放的关系。斜线的主要语言是对旧城肌理的当代延续和诠释，强调轴向的向心关系。当地的元素，如水和植物被再次复制。从地拉那广场到新的主博物馆可以看作是一个整体的博物馆系统。Piazza Tirana, which represents the spirit of the contemporary Milanese city, will be lightly intervened, emphasizing the connection to the texture of urban fabric and giving the sequence a directionality. The design of bridge is not only the physical connection between the rails and the canal, but also the reproduction of the naviglio infrastructure memory. The “past” links present and future and gives more possibilities for integration between divers elements.The main body of museum that represents the “future” has been proposed by us as an open relationship between architecture and landscape. The main language of the slash is the contemporary continuation and interpretation of theexture t of the old city, emphasizing the centripetal relationship in the axial direction. Local elements such as water and plants are reproduced again. From Piazza Tirana to the new main museum it can considered as a holistic museum systemarticle.▼空间关系的组织
<Organization of spatial relationships>
感慨于Guya教授（米兰理工大学城市设计学院的院长）从年轻时便开始研究运河坚持到年老的这种精神。我们营造了一个有关运河博物馆的故事，一个老人倒着沿着我们设计流线从大运河的桥走，越走越年轻，最后在博物馆里看到自己年轻画像 ，这画像的人没有眼睛。一个层面是致敬Guya教授一生的城市形态研究，另一个层面，这个没有眼睛的人表达的是Modigliani，一个意大利艺术家，一生贫困，死在年轻回家路上，死后人们才认可他的价值。他唯一的一幅带眼睛的画描绘的是他的妻子，寓意 ：when I know your soul I will draw your eyes。
I am impressed by professor Guya (dean of the School of Urban Design, Politecnio DE Milan), who has studied the spirit of canal persistence into old age since he was young.We created a story about the canal Museum, where an old man walks backwards along the line of our design from the bridge of the Grand Canal, getting younger and younger, and finally sees a young portrait of himself in the museum, with no eyes. On one level, we pay tribute to professor Guya's lifelong study of urban morphology, and on the other level, this man without eyes expresses Modigliani, an Italian artist who lived in poverty all his life and died on his way home as a young man before people recognized his value after his death. His only painting with eyes depicts his wife as when I know your soul I will draw your eyes.
(弗雷德里希,德国浪漫主义时期主要的风景画家；塔可夫斯基，伟大的俄罗斯导演)(Caspar David Friedrich, the main landscape painter in the German Romantic period, Takovsky, the great Russian director)从抽象的操作入手，剔除无用的东西，针对关键的景观和环境特征，重塑大运河设计的空间关系。让建筑回归真实，但真实不能通过简单的蒙太奇来揭示，它只能通过记录了对地球的测量的镜头引导的蒙太奇来呈现。通过蒙太奇镜头，利用运河周边建筑的肌理、历史、人工景观、自然景观、时间记忆，用尺度作为电影的连接镜头，创造新的空间和历史秩序。Start with an abstract operation, strip away useless things, aim at key landscape and environmental characteristics, and reshape the space relationship of the Grand Canal design. Return architecture to reality, and reality cannot be revealed through a simple montage, it can only be presented through a montage guided by a lens that records those measurements of the earth. Through the montage lens, we will create a new spatial and historical order by using the texture of the buildings around the canal, history, artificial landscape, natural landscape, time memory, and the film used as the connection lens.
<Boundary and Connection>博物馆建筑就像是城市照相机，通过重建建筑的物理空间来捕捉博物馆和水的场景，并将这种景观作为博物馆元素的一部分。The museum building is like an urban camera that captures the scenes of the museum and the water through the reconstruction of the physical space of the building, and uses this landscape as part of the museum elements.
<Past, Present and Future>建筑和景观建设与现实生活相联系，后者被描绘在背景中，创造了一个“略暖”的景观。新加入的建筑空间更像是描绘建筑背景的画框，在大运河的两个轴线上创造秩序。一条轴线连接着大运河两岸的人们，一条斜轴线介入了人们的生活空间。通过图纸我们可以看到建筑与天空、地面、大运河与水之间的肌理关系。Architecture and landscape construction are linked to real life, the latter being depicted in the background, creating a “slightly warm” landscape. The newly involved architectural space is more like a picture frame depicting the architectural background, creating order on the two axes of the Grand Canal. An axis connects the people on both sides of the Grand Canal, and an oblique axis intervenes in people’s living space. Through the drawings we can see the texture relationship between the building and the sky and the ground and the Grand Canal and the water.
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