© Luis Asín

(LuisAsín)

架构师提供的文本描述。6月1日，诺曼·福斯特基金会(NormanFoster Foundation)在马德里的一座文物名录上正式开设了总部，总部位于马德里。诺曼·福斯特基金会(Norman Foster Foundation)在其院子里开设了一个新的展馆，展示了多年来一直是福斯特个人参考的物品和图像的变化。灵活的空间也将成为演讲和讨论小组的背景，并以FAÇADE为特色，可向庭院开放供户外活动使用。

Text description provided by the architects. The Norman Foster Foundation, which officially opened its headquarters in a heritage-listed residential Palace by Joaquín Saldaña in Madrid on 1 June, has opened a new pavilion in its courtyard that will show a changing display of objects and images that have, over the years, been personal references for Foster. The flexible space will also be the setting for talks and discussion groups, and features a façade that can open to the courtyard for outdoor events.

这座新建筑解决了室外区域不规则的几何形状，屋顶形状类似于飞机的机翼。这是由一个隐藏的钢结构支撑，悬挑在一个结构玻璃façade，没有任何可见的支持手段，所以屋顶似乎燕麦在它上面。其结果是一座建筑，它寻求光、光和反射的短暂特性。元素被减少到一个基本的最小与镜像天花板和筋膜，这进一步溶解体积的空间，以强调其内容。

The new building resolves the irregular geometry of the outdoor area with a roof shaped like the wing of an aircraft. This is supported by a hidden steel structure cantilevered over a structural glass façade without any visible means of support so the roof seems to oat over it. The result is an architecture which seeks the ephemeral qualities of light, lightness and reflections. Elements are reduced to an essential minimum with a mirrored ceiling and fascia which further dissolves the volume of space to emphasise its contents.

 © Luis Asín

(LuisAsín)

庭院和入口处的̧阿德亭是由一个遮阳由西班牙艺术家克里斯蒂娜伊格莱西亚斯创造的天篷。这项工作，电离层(静默风暴的地方)，是由互锁的轻碳BRE面板与模式产生的文本亚瑟C克拉克的天堂之泉。它把亭子上的景致定格，也把它沐浴在斑驳的阴凉处。

The courtyard and entrance façade of the pavilion is shaded by a canopy created by the Spanish artist Cristina Iglesias. This work, The Ionosphere (A Place of Silent Storms), is composed of interlocking light carbon bre panels with patterns generated from a text of Arthur C. Clarke’s The Fountains of Paradise. It frames the view of the court from the pavilion as well as bathing it in dappled shade.

 © Luis Asín

(LuisAsín)

从创新但低调地使用玻璃，钢和复合材料，展馆是对诺曼·福斯特几十年来开创的技术的进一步探索。入口旁边院子的宽玻璃板本身就是一扇巨大的门，重2.7吨，长6米。当这个门户被打开时，内部世界和外部世界被统一为一个，用于基金会聚会的空间。

From its innovative but understated use of glass, steel and composite materials, the pavilion is a further exploration of techniques that Norman Foster has pioneered over more than ve decades. The wide glass panel to the courtyard next to the entrance is itself a massive door, weighing 2.7 tons and 6 metres long. When this portal is opened up the interior and exterior worlds are united into one owing space for Foundation gatherings.

 Axonometric

通过与金属和玻璃的工匠密切合作，已经有可能开发一个组合的薄薄的珠爆不锈钢焊接在一起和镜面抛光边缘，这使大部分的支撑结构。

By working closely with the craftsmen in metal and glass it has been possible to develop a combination of slim bead-blasted stainless steel sections welded together and with mirror polished edges which dematerialise the bulk of supporting structures.

 © Luis Asín

(LuisAsín)

展馆的内容是从艺术、建筑和设计、飞机、汽车和机车等世界中挑选的各种物品、模型、摄影和雕塑。对诺曼·福斯特来说，这些并不是分开的世界，而是相互关联的，特别强调了他对光明的热情。这次展览也是一个机会，让我们认识到来自过去和现在的其他建筑师、工程师和导师对培养他们的重要性。

The contents of the pavilion are an eclectic selection of objects, models, photography and sculpture from the worlds of art, architecture and design, embracing aircraft, cars and locomotives. For Norman Foster these are not separate worlds but interconnected with a special emphasis on his passion for ight. The display is also an opportunity to acknowledge the importance to Foster of other architects, engineers and mentors from the past as well as the present.

 © Luis Asín

(LuisAsín)

第一时间展出的是一辆重要的、具有历史意义的汽车。这不是一个复制品-这是1927年新恢复和原始的航空公司Voisin C7，是由勒柯布西耶拥有，并在他的所有早期作品的照片。这辆车在当时非常先进，使用了Voisin发明的航空技术来制造他的驾驶机器。由于其巨大的玻璃空间，在其时代的新建筑中得到了回响，它被称为“光之用”(Lumineuse)。加布里埃尔·沃伊辛也是勒柯布西耶的赞助人，他把他对巴黎的激进建议命名为“Voisin计划”。

An important and historic car is displayed for the rst time. This is not a replica - it is the newly restored and original 1927 Avions Voisin C7 that was owned by Le Corbusier and featured in photographs of all his early works. The car was very advanced in its time using aviation technology pioneered by Voisin for his ying machines. Because of its large expanse of glass, echoed in the new architecture of its age, it was called the Lumineuse. Gabriel Voisin was also a patron of Le Corbusier who named his radical proposal for Paris The Voisin Plan.

 © Luis Asín

(LuisAsín)

经过六个月的详细设计和建造，展馆得以实现。之所以能够做到这一点，是因为预制了所有的要素，从而避免了工地上的挖掘和对邻居的破坏。高热性能的玻璃建筑围护，辐射加热和冷却通过OOR，慷慨的外部遮阳和最新一代LED照明都是其可持续发展议程的一部分。

The pavilion was realised through detail design and construction in six months. This was made possible by prefabricating all the elements which also avoided excavation on the site and disruption to neighbours. The high thermal performance of the glass building envelope, radiant heating and cooling through the oor, generous external shading and the latest generation of LED lighting are all part of its sustainable agenda.

诺曼福斯特基金会是独立于诺曼福斯特的实践-展馆的建筑师是一个设计工作室，总部设在马德里基金会内，由福斯特领导。当地技能和材料很重要-例如，12名顾问中有11名来自西班牙，9名承包商和供应商中有6名来自西班牙-其余来自意大利、德国和日本。

The Norman Foster Foundation is separate from the practice of Norman Foster - the architects for the pavilion are a design studio based within the Madrid Foundation and led by Foster. Local skills and materials have been important – for example eleven of the twelve consultants are from Spain and six of the nine contractors and suppliers are Spanish – the remainder from Italy, Germany and Japan.

 © Luis Asín

(LuisAsín)

Architects Norman Foster Foundation

Location Calle del Monte Esquinza, 48, 28010 Madrid, Spain

Category Pavillion

Project Year 2017

Photographs Luis Asín