Six Vaults Pavilion Gijs Van Vaerenbergh

2018-11-13 01:00

其他参与者Lama景观设计师更多规格规格的规格

Other Participants LAMA landscape architects More Specs Less Specs

Other Participants LAMA landscape architects More Specs Less Specs

 © Matthijs van der Burgt

c Matthijs van der Burgt

 © Matthijs van der Burgt

c Matthijs van der Burgt

架构师提供的文本描述。在纪念第一次世界大战一百周年的框架内，建筑师Gijs Van Vaerenbergh受到胡格勒德市的委托，为德国军事公墓建造了一个接待亭。在第二次世界大战期间在该地区倒下的8000多名德国士兵被埋葬在德国军事公墓。这个墓地可以追溯到1917年，当时该地区仍在德国人手中。今天，墓地位于典型的佛兰德郊区，周围是农田和传统的土地。

Text description provided by the architects. In the frame of the centennial commemoration of World War I, the architect duo Gijs Van Vaerenbergh was commissioned by the municipality of Hooglede (BE) to realize a reception pavilion for the German Military Cemetery. More than eight thousand German soldiers who fell in the region during the Great War are buried at the German Military Cemetery. The cemetery dates from 1917 when the area was in still German hands. Today, the cemetery is located in a typical Flemish suburban context, surrounded by agricultural lands and traditional allotments.

Text description provided by the architects. In the frame of the centennial commemoration of World War I, the architect duo Gijs Van Vaerenbergh was commissioned by the municipality of Hooglede (BE) to realize a reception pavilion for the German Military Cemetery. More than eight thousand German soldiers who fell in the region during the Great War are buried at the German Military Cemetery. The cemetery dates from 1917 when the area was in still German hands. Today, the cemetery is located in a typical Flemish suburban context, surrounded by agricultural lands and traditional allotments.

 © Matthijs van der Burgt

c Matthijs van der Burgt

 © Matthijs van der Burgt

c Matthijs van der Burgt

具体的展馆作为一个接收基础设施-取决于观看方向-框架不同的环境碎片。这座亭子受到古典拱形建筑的启发，在历史悠久的墓园礼堂中也可以看到，但同时也对这一历史建筑白话有了新的诠释。GijsVanVaerenbergh从9x9x5m的巨大体积中以不同的角度切割了6个对角线拱顶。一个复杂的拱顶和柱结构的形状和尺寸的变化决定了覆盖的空间。一个尺寸过大的柱容纳一个微妙的集成厕所空间。

The concrete pavilion functions as a reception infrastructure that - depending on the viewing direction - frames different fragments of the environment. The pavilion is inspired by classical arch architecture, which can also be seen in the historic Honor Hall of the cemetery but also presents a new interpretation of this historical architectural vernacular. Gijs Van Vaerenbergh cut six diagonal vaults at different angles out of a massive volume of 9x9x5m. A complex vault and columns structure of varying shapes and dimensions define the covered space. An over-dimensioned column accommodates a subtly integrated lavatory space.

The concrete pavilion functions as a reception infrastructure that - depending on the viewing direction - frames different fragments of the environment. The pavilion is inspired by classical arch architecture, which can also be seen in the historic Honor Hall of the cemetery but also presents a new interpretation of this historical architectural vernacular. Gijs Van Vaerenbergh cut six diagonal vaults at different angles out of a massive volume of 9x9x5m. A complex vault and columns structure of varying shapes and dimensions define the covered space. An over-dimensioned column accommodates a subtly integrated lavatory space.

 © Matthijs van der Burgt

c Matthijs van der Burgt

每一个拱形空间构成了周围环境的另一部分：公墓、周围的景观和另一边的分配。然而，取决于观景台的方向，展馆也是自己的碎片。这就创造了弧线上的弧线图案，使光的发挥成为影响拱顶的最主要的方式。因此，展馆作为一种观景机，将自己和环境都摆在了最前面。展馆周围的地板被认为是一个空间装置，反映出希望使入口区成为一个空间，作为墓地整体舞台的重要补充。

Each vaulted space frames another fragment of the surroundings: the cemetery, the surrounding landscape and the allotments on the other side. Yet, depending on the viewing direction - the pavilion also frames fragments of itself. This creates a pictorial play of arc in the arc that brings to the fore the way the play of light affects the vaults. As such, the pavilion functions as a kind of viewing machine that brings both itself and the environment to the fore. The floor around the pavilion was conceived as a spatial installation that reflects the wish to make the entrance zone a space that functions as an important addition to the overall staging of the cemetery.

Each vaulted space frames another fragment of the surroundings: the cemetery, the surrounding landscape and the allotments on the other side. Yet, depending on the viewing direction - the pavilion also frames fragments of itself. This creates a pictorial play of arc in the arc that brings to the fore the way the play of light affects the vaults. As such, the pavilion functions as a kind of viewing machine that brings both itself and the environment to the fore. The floor around the pavilion was conceived as a spatial installation that reflects the wish to make the entrance zone a space that functions as an important addition to the overall staging of the cemetery.

 © Matthijs van der Burgt

c Matthijs van der Burgt

 © Matthijs van der Burgt

c Matthijs van der Burgt

一个黑暗的混凝土表面被一个裂缝模式划分，它指的是战争时期破碎和变黑的景观。各种混凝土碎片被移除在战略位置，为绿化和种植腾出空间。景观设计是与喇嘛景观建筑师合作实现的。有了六个跳台馆，GijsVanVaerenbergh继续他们的工作主题，这对二重奏在其他装置试验的早些时候。在他们的思维和设计过程中，“切割”是一个重要的策略，但在这项工作中，它是以一种全新的方式应用的。

A dark concrete surface was divided by a fracture pattern, which refers to the broken and blackened landscape at the time of the war. Various concrete fragments were removed at strategic locations to make space for greenery and planting. The landscape design was realized in collaboration with LAMA landscape architects. With Six Vault Pavilion, Gijs Van Vaerenbergh continues their work on themes the duo experimented with earlier in other installations. The 'cutting' is an important strategy in their thinking and design process, yet in this work, it is applied in a completely novel way.

A dark concrete surface was divided by a fracture pattern, which refers to the broken and blackened landscape at the time of the war. Various concrete fragments were removed at strategic locations to make space for greenery and planting. The landscape design was realized in collaboration with LAMA landscape architects. With Six Vault Pavilion, Gijs Van Vaerenbergh continues their work on themes the duo experimented with earlier in other installations. The 'cutting' is an important strategy in their thinking and design process, yet in this work, it is applied in a completely novel way.

 © Matthijs van der Burgt

c Matthijs van der Burgt

 Floor Plan v.1

平面图五.1

 © Matthijs van der Burgt

c Matthijs van der Burgt

之前，GijsvanVaverenbergh实现了国际知名的项目，如直线、迷宫、倒置圆顶、框架和拱廊之间的读数。DuoGijsvanVeverbergh的作品不可避免地需要在建筑或视觉艺术中建立框架，但这两个框架都没有完全令人满意。创建建筑师PietterjanGijs和ArnoutvanVeverbergh是自他们的研究中发展起来的，他们采用了它们的技术和理论上的专有技术来进行实验研究。该研究的输出从公共空间和建筑结构中的作品到雕塑和更小的作品而变化。

Previously, Gijs Van Vaerenbergh realized internationally acclaimed projects such as Reading between the Lines, Labyrinth, Upside Dome, Framework and Arcade. The works of duo Gijs Van Vaerenbergh inevitably demand to be framed within architecture or the visual arts, and yet neither of both frameworks are fully satisfactory. Founding architects Pieterjan Gijs and Arnout Van Vaerenbergh developed since their studies a parallel practice in which they employed their technical and theoretical know-how for an experimental research. The output of that research varies from works in the public space and architectural structures to sculptures and smaller work.

Previously, Gijs Van Vaerenbergh realized internationally acclaimed projects such as Reading between the Lines, Labyrinth, Upside Dome, Framework and Arcade. The works of duo Gijs Van Vaerenbergh inevitably demand to be framed within architecture or the visual arts, and yet neither of both frameworks are fully satisfactory. Founding architects Pieterjan Gijs and Arnout Van Vaerenbergh developed since their studies a parallel practice in which they employed their technical and theoretical know-how for an experimental research. The output of that research varies from works in the public space and architectural structures to sculptures and smaller work.