垂直瑰宝陈列室 -Vertical Wunderkammer│Archi

Vertical Wunderkammer

垂直瑰宝陈列室

Kasia Piekarczyk & Asmund Skeie

Project/项目

In 1966 the city of Madrid invited to an unprecedented, public exhibition.The multimedia event presented the ambitious plans for a brand new city centre at AZCA that would brand Madrid as a modern metropolis and launch the city into the 21st century. At the heart of the proposal were the plans for a new cultural landmark, the national concert hall, that would bind together and unify its various parts and planned programmes. Over the course of the next several years, however, the plans were repeatedly redrawn to the point where the cultural landmark was eventually dropped. Contrary to the initial intentions, AZCA developed in line with the interests of private and commercial stakeholders. The resulting homogenous mix of office space and retail has left AZCA as dysfunctional island within the city, with little on offer to the general public.

1966年，马德里市被邀请了举行一场史无前例的公开展览。拥有多媒体技术的技术中心向人们展示了AZCA一个全新的城市的雄心勃勃的计划，该中心将把马德里作为一个现代化的大都市，并将这座城市带进了21世纪。提议的核心是一个新的文化里程碑，也就是国家音乐厅，它的功能将结合并统一各个部分和计划节目。然而，在接下来的几年里，这些计划一再被重新划定，直到文化里程碑最终被放弃。恰恰与最初的意图相反，AZCA的发展更加符合私人和商业利益相关者的利益。由此产生的办公空间和零售的同质混合，使得AZCA在城市内部成为一个功能失调的区域，几乎没有向公众提供服务。

Analysis & Aim/分析与愿景

Taking the failure of the original plans as our point of departure, the project seeks to address two issues in particular: AZCAs function as an urban space, and AZCAs function within the city of Madrid.

以原计划的失败作为我们的出发点，该项目寻求解决两个问题:AZCA作为城市空间的功能，以及AZCA在城市的功能。

AZCA today suffers from being disconnected from the surrounding urban fabric, as well as from poor connectivity within the site itself. We propose to remove the top layer of walkways under which there are today only temporary parking lots. Our intervention opens up a whole new ground floor on all the buildings affected, which then can be used for commercial and cultural purposes to enrich public life in the area, as well as improves the access to the site.

如今，AZCA面临着与周围城市结构的脱节，以及该地区糟糕的路网。我们希望移除最顶层的人行道，而现在只有临时的停车场。我们将所有受影响的结构开辟了一个全新的地面，它可以用于商业和文化目的，丰富该地区的公共生活，也改善了对该地区的流线。

The second issue deals more directly with the loss of the originally planned cultural landmark. Inspired by the visionary thinking of the original design, we therefore propose to reinstitute this cultural landmark in the form of the Vertical Wunderkammer.

第二个问题更直接地解决了最初计划中的文化里程碑的丢失。我们的灵感来自于最初设计的前瞻性想法。因此我们建议将这个文化地标以垂直的地标式建筑的形式重新设计。

Concept – The Wunderkammer/概念-瑰宝陈列室

Wunderkammers were collections of objects belonging to anything from natural history and geology to religious or historical artefacts. Patrons would exhibit their Wunderkammers to a chosen audience or to the public at large with the explicit intention of inspiring awe and amazement in the viewer, who would reflect on the strange and wonderful world in which we live. Wunderkammers were thought of as microcosms of the world, and in many respects are considered as precursors to museums.

从自然历史和地质学到宗教或历史文物的任何东西，都是属于他们的物品。观众们会向观众或公众展示他们的“初心”，游客们会被展品激发敬畏和惊奇，他们会反思我们所处的这个奇妙的世界。在许多方面，人们都把它看作是博物馆的前身，它也被认为是世界的缩影。

Our project aims to take the Wunderkammer into the 21st century, whereby a Robot, an objective machine of artificial intelligence will portray to the visitor a mirror image of our contemporary societies.

我们的项目旨在把这种“小聪明”带入21世纪，通过这个机器人，一个人工智能的机器，将向游客展示我们当代社会的镜像。

At its disposal are the many artefacts stored within its archive, no longer limited to the traditional physical object, but now also as expressed in their many and varied analogue, digital and virtual forms. The Robot, and its role as a curator, is what makes the Wunderkammer unique.

Directly plugged to the internet, it can access, process and analyse an almost infinite amount of information on which to base its exhibition on, using any and as many of the artefacts available to it as necessary.

它可以直接连接到互联网，它可以访问、处理和分析几乎无限量的信息，并根据需要使用任意数量的文物来进行展览。.

它的处理方式是储存在其档案库中的许多文物，不再局限于传统的物理实体，而是以模拟多种多样、数字和虚拟形式表达。这个机器人，正是这个独一无二的东西，它作为策展人的角色。

Furthermore, the Robot represents an objective logic, which, in the end, is what makes it different from any other curated exhibition or programme; whether in the form of national museums or art galleries, newspaper and TV documentaries, or any other attempts at fairly portraying our society.

此外，机器人代表了一种客观逻辑，最终，他会展示出有别于其他任何精心策划的展览或节目;无论是国家博物馆、艺术画廊、报纸、电视纪录片，还是其他形式对公平地描绘我们社会的一些尝试。

The Robot stores the objects in whichever way is more efficient at any given time. It means that the arrangement of objects within the repository, as well as the exhibition in the Wunderkammer, will be constantly changing.

机器人在任何既定的时间里可以以任何一种更有效的方式存储对象。这意味着，仓库里的物品的安排，以及在瑰宝陈列室的展览，将会不断的改变。

The Experience – Narrative Concept/经验-概念叙述

The organisation and conceptual narrative of the interior experience of the building can be thought of as something akin to Plato’s Allegory of the Cave. The passage through the building traces the journey from the dark depths of the Cave, here represented by the Subterranean Archive, passing through the material world, as expressed by the artefacts within the archive, to the final stage of enlightenment, which Plato ascribes to his Forms or Ideas as “possessing the highest and most fundamental kind of reality”.

This ideal state is embodied in the Robot, whose objective sense of reality is presented to us in the form of the Wunderkammer.

这座建筑的内部体验和概念的叙述可以被认为是类似于柏拉图关于‘洞穴’的寓言。通过建筑痕迹的旅程从黑暗的洞穴到达深处,这里由地下档案,通过物质世界,表达档案内的文物,启蒙运动的最后阶段,柏拉图认为他的形式或思想”拥有最高和最基本的现实”。

从这个理想的状态体现在机器人身上，它客观地将现实意义以“陈列室”的形式呈现给我们。

Part 1_Exterior/外景

The Vertical Wunderkammer essentially consists of five parts, where the first part is the experience of the exterior envelope and the building in its urban context. Apart from its function as an effective climate barrier, the building envelope relates to – and respects its immediate surroundings both by way of its rectangular form and height, as well as through its dignified and sober facade in concrete. Finally the envelope serves to safeguard and hides the Wunderkammer inside, and its closed facade and monolithic appearance seeks to install in the viewer a sense of curiosity for what lies inside, thereby marking the starting point for the experience of the Wunderkammer, both physically and spiritually.

垂直的陈列室基本上由五个部分组成，第一部分是外围结构的体验和城市背景的建筑。除了它作为一个有效的气候屏障的功能外，建筑外围与它的周围环境有关，既通过它的矩形的形式和高度也通过它在混凝土中显得庄重而严肃的外观。最后，结构的作用是保护和隐藏了它的内部，它封闭的表面和整体的外观，试图在观众中衍生一种对内在的好奇感，从而标志着在身体和精神上的体验的起点。

Part 2_Lobby & Perimeter Walk/大厅，外围走廊

Visitors enter the building through the lobby where behind the massive outer walls is revealed an entirely different structure. The Archive of Artefacts rises through the building from its underground levels, which are exposed to the visitor through the glass floor of the Lobby.

通过建筑进入到大厅，人们可以通过大的空间来进入，这是一个完全不同的不同的结构。文物的陈列从地下的建筑往上排列。透过大厅的玻璃幕墙向客人展示。

The Perimeter Walk offers unique perspective views of the Archive, as the distinction between the inner and outer structures creates soaring voids in the four corners of the building.

在这一过程中，我们可以提供一个非常特别的视角，因为内部和外部结构之间的不同，所以建筑物的四个角落产生了高耸的空间。

Part 3_Archive/档案馆

Centrally located elevators wait to take the visitor directly through the middle of the Archive to the Wunderkammer at the top level. This exhilarating journey, hanging only from a steel cable in mid-air, is meant to be a thrilling experience. It provides the visitors with an initial immersive and emotional experience and prepares them for the experience of the Wunderkammer.

中央的电梯等着把参观者直接从中央带到瑰宝陈列室顶层的档案馆。这段令人振奋的旅程，仅仅从空中的钢缆上悬挂下来将游客升上，注定是一段令人激动的经历。它为参观者提供了一种最初的沉浸式和情感体验，并为他们的最后体验做准备。

Part 4_Wunderkammer/瑰宝陈列室

Visitors step out of the lift into the Wunderkammer, into an ever-changing experience. By means of its objective logic, for each exhibition, the Robot will compose and curate a display of artefacts, in a manner that is meant to confront us with an unfiltered, true depiction of facets of society.

The Wunderkammer itself can be arranged and rearranged in a variety of ways, the Robot is able to take full advantage of the size of the room, sometimes installing new, temporary parts to the permanent load bearing structure. One day a labyrinth of artefacts, the next an empty arena of digital projections; each exhibition is a different, a new theme, an entirely different arrangement of space.

游客们从电梯里走出来，进入到另一个变化的体验中。通过它的方式，每一场它都将以一种不被人接受的、对社会的社会主义的一种不被人接受的方式来与我们进行交流。

机器人本身可以以多种方式进行排列和重新排列，机器人能够充分利用房间的大小，有时还会在固定的承重结构中安装新的临时部件。这天，它可能是一个迷宫，次日有可能是一个新的舞台，每一个展览都是不同的，一个新的主题，一个完全不同的空间安排。

Part 5_Panorama Deck/全景平台

Visitors leave the Wunderkammer by taking one of two spiral staircases down past the technical floor to the final part of the building, the Panorama Deck. As the first of its type in Madrid, this raised public space offers phenomenal panoramic views over the city and beyond.

It’s intended function is akin to the traditional panorama buildings that were popular in the late 19th century. These buildings would bring visitors into a large circular room where on the wall was painted a panoramic view of some far-away place, in effect taking the visitors on a journey.

游客们离开了陈列室，两个螺旋楼梯从设备层向下走到到建筑的最后一部分，既是全景甲板。这一公共空间为游客们提供了城市的全景视野。

它的功能类似于19世纪晚期流行的传统全景建筑（panorama buildings）。这些建筑会把游客带进一个大的圆形房间，在那里墙上描画了一个遥远的地方的图像，意象着是带着游客去旅行。

The Panorama Deck works according to the same principle, but from a more subjective perspective. While it doesn’t offer up any other views than the one right in front of you, having experienced the Wunderkammer the visitor will now gaze out and look upon the panorama of Madrid with new eyes and a fresh perspective.

As the only floor in the building which is open to its surroundings, Panorama Deck serves as a space to contemplate and to reposition yourself in the city, before returning to it.

全景平台的工作原理是相同的，但从更主观的角度来看。虽然它没有提供任何观点，但在你面前的一个人，经历了陈列室，参观者现在将会看到，并且会以新的视角来看待马德里的全景地图。

作为建筑中唯一开放的楼层，全景甲板是一个空间，在返回之前，它是一个可以让你重新思考和重新定位在城市扮演着一种什么样的角色。

About/关于作者

KasiaPiekarczyk has previously worked at BIG Copenhagen and Henning Larsen HongKong. She is currently finishing her Masters in Architecture at TU Delft in theNetherlands and looking forward for the next steps.

KasiaPiekarczyk此前曾在哥本哈根大哥本哈根和亨宁·拉森(Henning Larsen Hong Kong)工作过。目前，她正在荷兰的代尔夫特(TU Delft)完成她的建筑学硕士课程，并期待着下一步的发展。

ÅsmundSkeie is due to finish his Master in Architecture at The Oslo School ofArchitecture and Design. He has previously studied at TU Delft and is currentlydoing an internship at BIG in Copenhagen.

AsmundSkeie将在奥斯陆建筑设计学院完成他的建筑学硕士学位。他之前曾在代尔夫特大学学习，目前在哥本哈根的BIG公司实习。

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