爱尔兰诗人西默斯·海尼的这些话对建筑师希拉·奥唐奈(Sheila O‘Donnell)和约翰·图米(John Tuomey)的作品产生了深远的影响，他们把这首诗作为他们对格勒克斯曼画廊(GLucsman Gallery)的灵感之一，这是科克大学(University Of Cork)在千年初委托的展览空间。以其赞助人刘易斯·格拉克斯曼(一位华尔街交易员和慈善家)的名字命名的格鲁克斯曼画廊于2005年建成，同年被提名为斯特林奖。由于其出色的特定地点设计，该建筑已成为当代爱尔兰建筑中最著名的作品之一。

These words by Irish poet Seamus Heaney have had a profound impact on the work of architects Sheila O’Donnell and John Tuomey, who cited the poem as one of their inspirations for the Glucksman Gallery – an exhibition space commissioned by the University of Cork in the early millennium. Named for its patron Lewis Glucksman (a Wall Street trader and philanthropist), the Glucksman Gallery was completed in 2005 and nominated for the Stirling Prize that same year. Thanks to its outstanding site-specific design, the building has since become one of the most celebrated works of contemporary Irish architecture.

 © Alice Clancy

爱丽丝·克兰西

在通往大学校园的大门上，在李河畔一座观赏园的石灰岩悬崖旁，这份简报要求建造一座对其绿色环境敏感的建筑。事实上，以前的发展建议由于环境问题而遭到拒绝。O‘Donnell Tuomey的解决方案是一座垂直方向的建筑，占地面积小，可以最大限度地减少对自然景观的破坏。他们向大学校长Gerry Wrixon保证，该建筑的足迹将仅限于场地上现有的两个网球场的区域，他们不会砍掉一棵树。

Located at the gateway to the university campus, adjacent to a limestone escarpment in an ornamental garden on the bank of the River Lee, the brief required a building that would be sensitive to its green surroundings. Indeed, previous proposals for development had been rejected due to environmental concerns. O’Donnell + Tuomey’s solution was a vertically-orientated building with a small footprint to minimize disruption to the natural landscape. They assured the President of the university, Gerry Wrixon, that the footprint of the building would be restricted to the area of the two existing tennis courts on the site, and that they would not cut down so much as a single tree.[2]

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爱丽丝·克兰西

由此产生的建筑包括三个层次的开放展览空间，举办临时展览，以及为大学的永久艺术收藏提供家园。它还设有讲座设施、一家咖啡馆和一家商店。在地面上，石灰石平台带领游客来到玻璃大厅，提供通往画廊的通道。这座讲台还继续穿过大楼，通往河流，将校园小径与河畔步道连接起来，在大学与环境之间建立了一种物理联系。领奖台，建筑师形容为“景观和建筑，平台和道路”，[3]回顾詹姆斯斯特林的Neue Staatsgalerie的建筑长廊，一个项目，O‘Donnell Tuomey之前，建立他们自己的实践。

The resulting building comprises three levels of open exhibition space which host temporary shows as well as providing as a home for the university’s permanent art collection. It also houses lecture facilities, a café, and a shop. At ground level, a limestone podium leads visitors to a glass lobby which provides access to the galleries. This podium also continues past the building to the river, connecting the campus path with a riverside walk to establish a physical link between the university and its environment. The podium, which the architects describe as “both landscape and building, plinth and pathway,”[3] recalls the architectural promenade of James Stirling’s Neue Staatsgalerie, a project which O’Donnell + Tuomey worked on before establishing their own practice.

 © Alice Clancy

爱丽丝·克兰西

 Third Floor Plan

三层平面图

他们在斯特林手下工作的时间对他们的职业生涯产生了很大的影响。O‘Donnell Tuomey是在都柏林大学学院学习期间认识的(他们后来都在那里成为教授)，毕业后不久就加入了Stirling的办公室。尽管仅仅几年后，他们就离开了奥唐纳·托米(O‘Donnell Tuomey)建立了建筑合作伙伴关系(取得了巨大的成功-他们在2015年获得了RIBA金奖，至今已经五次被提名为斯特林奖)，但他们的作品仍然体现着斯特林实践中孕育的理念。例如，他们继承了他“对丰富的色彩、材料和纹理的热情”，[4]这些品质继续成为他们设计的特点，尤其是格勒克斯曼画廊的设计。

Their time working under Stirling had a formative impact on their careers. Having met while studying at University College Dublin (where they both later became Professors), O’Donnell + Tuomey joined Stirling’s office shortly after qualifying. Despite leaving after just a few years to establish the architectural partnership O’Donnell + Tuomey (with great success – they were awarded the RIBA Gold Medal in 2015 and have been nominated for the Stirling Prize five times to-date), their work continues to embody ideas incubated in Stirling’s practice. They inherited, for example, his “passion for a richness of color, material and texture,”[4] qualities which continue to characterize their designs, not least that of the Glucksman Gallery.

 © Alice Clancy

爱丽丝·克兰西

 Fourth Floor Plan

四层平面图

每个建筑的建筑构件都是通过使用对比材料来区分的。画廊的钢框架依偎在树木中间，用一种可持续来源的硬木(一种可持续来源的硬木)包裹起来，以反映建筑物的自然环境，而窗框则使用镀锌钢来减少风化的影响。上立面的联锁平面位于一个混凝土平台上，该平台在飞行员的地面上方。这个平台有12米深的悬挑，图米解释道，“我们可以把画廊靠在树的旁边，而不会损坏树根。”

Each of the building’s architectural components are differentiated through the use of contrasting materials. Nestled amongst the trees, the steel frames of the galleries are wrapped in Angelim de Campagna timber (a sustainably-sourced hardwood) to reflect the building’s natural context, while the window frames use galvanized steel to reduce the effects of weathering. The interlocking planes of the upper façade sit on a concrete platform which is raised above the ground on piloti. The platform features dramatic cantilevers twelve meters deep which, Tuomey explained, “allowed us to place the galleries close up against the trees without damaging their roots.”[5]

 © Alice Clancy

爱丽丝·克兰西

混凝土平台由花岗岩集料组成，喷砂后露出云母的斑点，使其在吸收阳光时发光。下面玻璃大厅的透明度有助于将画廊的质量与地面分开，从而减少建筑对景观的影响-无论是在物理上还是在概念上。石灰岩平台，同时，参考了地质现场和传统石灰石建筑物的软木。

The concrete platform is composed of granite aggregate, sandblasted to reveal flecks of mica which allow it to glisten as it catches sunlight. The transparency of the glass lobby below helps to separate the mass of the galleries from the ground, thereby reducing the impact—both physically and conceptually—of the building to the landscape. The limestone podium, meanwhile, references both the geology of the site and the traditional limestone buildings of Cork.

 © Alice Clancy

爱丽丝·克兰西

画廊设有大窗户，将周围的环境吸引到展览空间，邀请参观者在展出的艺术品的同时，反思大自然的形式品质。正如肯尼思·弗兰普顿(Kenneth Frampton)所指出的那样，“这个空间不断迫使人们转移和调整自己的注意力，在文化的稳定性和自然的波动性之间分而治之。”[6]几扇窗户仔细地对齐，以形成特定的景观，即河流、大学和城市。根据Tuomey的说法，这是为了将观众置于一个更广阔的背景中：“无论你身在何处，你都永远不会忘记自己在这个世界上。”

The galleries feature large windows which draw the surroundings into the exhibition space, inviting visitors to reflect on the formal qualities of nature alongside the artworks on display. As Kenneth Frampton observed, “this space constantly compels one to shift and adjust one’s attention, ever divided between the stability of culture and the volatility of nature”.[6] Several of the windows are carefully aligned to frame specific views, namely the river, the university and the city. According to Tuomey, this was intended to place the viewer within a wider context: “you never forget that you are in the world no matter where you are.”[7]

 © Alice Clancy

爱丽丝·克兰西

与他们迄今为止的大多数项目一样，O‘Donnell Tuomey一直满足于允许格勒克斯曼画廊的项目优先于其建筑，这符合他们的信念：“事件是发生在建筑物里的事情，而不是建筑物本身。”[8]例如，展览馆的广阔窗户充满了自然光-这是一种令人愉快的空间体验，但同时也给馆长和艺术保护者带来了挑战。光线敏感的作品很容易被阳光破坏，空间太亮，无法放映电影作品。为了解决这个问题，O‘Donnell Tuomey创建了位于大楼核心的“严密控制”画廊(所谓的环境条件可以很容易地调节)。在建筑周边的大型画廊的包围下，密闭控制的画廊被室内墙壁遮挡阳光，使展览内容更加多样化。

As with the majority of their projects to date, O’Donnell + Tuomey have been content to allow the program of the Glucksman Gallery take precedence over its architecture, in keeping with their belief that “the event is what happens in the building, not the building itself.”[8] For instance, the expansive windows of the galleries flood the exhibition spaces with natural light – a pleasant spatial experience but one which poses challenges for both curators and conservators of art. Light-sensitive works could be easily damaged by the sun’s rays and the spaces are too bright to show film work. To solve this problem, O’Donnell + Tuomey created ‘close control’ galleries (so-called as their environmental conditions could be easily regulated) located in the core of the building. Enveloped by the larger galleries around the periphery of the building, the close control galleries are shielded from sunlight by the interior walls, allowing for a greater diversity of exhibition content.

建筑师们一再将格勒克斯曼画廊称为“天器”，暗指海尼的上述诗。Tuomey将这首诗的意象描述为“我们的建筑理念中的直接视觉参照物-一艘在石头地形上吃力的船”。[9]两者之间的相似之处很明显：画廊的木材覆盖层的光滑曲线与船体非常相似，结构位于石灰岩基座上。另一个，也许更直接的灵感来源来自于参观都柏林一艘海盗船的展览。这艘船悬挂在树木中间，让游客可以在下面行走。图米形容这艘船是他所见过的最美丽的东西之一。

The architects have repeatedly referred to the Glucksman Gallery as a “celestial vessel,” alluding to Heaney’s aforementioned poem. Tuomey described the imagery of the poem as a “direct visual reference for us in our idea of the building – a ship straining above a stone terrain.”[9] The parallels are clear: the smooth curve of the galleries’ timber cladding bears a strong resemblance to the hull of a ship, and the structure sits on a base of limestone. Another, perhaps more direct, source of inspiration came from a visit to an exhibition of a Viking ship in Dublin. The ship, suspended amongst the trees to allow visitors to walk beneath, was described by Tuomey as one of the most beautiful things he had ever seen.[10]

 © Alice Clancy

爱丽丝·克兰西

参考文献[1]海尼，谢默斯。“照明八”。诺贝尔奖。2016年8月16日查阅。[2]O‘Donnell，Sheila和John Tuomey。O‘Donnell Tuomey：精选作品。纽约：普林斯顿建筑出版社，2007年。第160页[3]“格拉奇曼画廊大学科克学院”。奥唐纳·图米。2016年8月16日查阅。[4]“建筑师背后的故事”。RIBA。2016年8月17日查阅。[5]同上。图米。第58页[6]“格拉奇曼画廊”。奥唐纳·图米。2016年8月16日查阅。[7]同上。[8]Lappin，Sarah A.Full爱尔兰语：爱尔兰的新建筑。纽约：普林斯顿建筑出版社，2009年。P.210[9]同上。图米。第59页[10]O‘Toole，Shane。“看到更大的画面”。“星期日泰晤士报”。2005年3月27日。第18页[11]Tuomey，John。建筑、工艺与文化：O‘Donnell Tuomey作品的反思。金赛尔：甘地版，2008年。工艺，第30页

References [1] Heaney, Seamus. “Lightenings viii”. Nobel Prize. Accessed 16 August, 2016. [access] [2] O’Donnell, Sheila and John Tuomey. O’Donnell + Tuomey: Selected Works. New York: Princeton Architectural Press, 2007. p.160 [3] “Glucksman Gallery University College Cork”. O’Donnell + Tuomey. Accessed 16 August, 2016. [access] [4] “The Story Behind the Architects”. RIBA. Accessed 17 August, 2016. [access] [5] Ibid. Tuomey. p.58 [6] “Glucksman Gallery”. O’Donnell + Tuomey. Accessed 16 August, 2016. [access] [7] Ibid. [8] Lappin, Sarah A. Full Irish: New Architecture in Ireland. New York: Princeton Architectural Press, 2009. p.210 [9] Ibid. Tuomey. p.59 [10] O’Toole, Shane. “Seeing the bigger picture”. The Sunday Times. 27 March, 2005. p.18 [11] Tuomey, John. Architecture, Craft and Culture: Reflections of the work of O’Donnell + Tuomey. Kinsale: Gandon Editions, 2008. Craft, p.30

建筑师O‘Donnell Tuomey建筑事务所地点路易斯·格勒克斯曼画廊，大学学院，科克，爱尔兰科克，主管希拉·奥唐奈，约翰·托米建筑面积2300.0平方米，2005年项目年照片爱丽丝·克兰西

Architects O’Donnell + Tuomey Architects Location Lewis Glucksman Gallery, University College, Cork, Ireland Category University Architects in Charge Sheila O'Donnell, John Tuomey Area 2300.0 sqm Project Year 2005 Photographs Alice Clancy