© OMA - Albert Vecerka

OMA-Albert Vecerka

架构师提供的文本描述。大都会艺术博物馆2016年春季服装研究所展览，Manus x Machina：技术时代的时尚，从5月5日到8月14日展出，探讨设计师如何在高级时装和前卫服装的设计中将手工制作和机器制造结合起来。Manus x Machina拥有170多件服装，在设计、技术和细节方面各不相同。展览是在罗伯特雷曼联队，一个双高，八角形加法博物馆的中心轴线，建于1975年。为了保持对永久画廊的访问，展览空间位于雷曼联队的中央中庭和走廊。这一空间给服装研究所的展览带来了一些独特的环境挑战：过度的采光不利于纺织展览、分层、缺乏专用展示墙的走廊条件和折中的材料调色板。

Text description provided by the architects. The Metropolitan Museum of Art’s Costume Institute spring 2016 exhibition, Manus x Machina: Fashion in an Age of Technology, on view from May 5 through August 14, explores how designers are reconciling the handmade and the machine-made in the creation of haute couture and avant-garde ready-to-wear. Manus x Machina features over 170 garments, diverse in their designers, techniques and details. The exhibition is presented in the Robert Lehman Wing, a double-height, octagonal addition on the museum’s central axis constructed in 1975. In order to preserve access to the permanent galleries, the exhibition space is located in the Lehman Wing’s central atrium and corridors. The space posed a number of unique environmental challenges for The Costume Institute’s show: excessive daylighting unconducive to textile exhibition, split levels, a corridor condition lacking dedicated display walls and an eclectic material palette.

 © OMA - Brett Beyer

OMA-Brett Beye

 Axonometric

 © OMA - Albert Vecerka

OMA-Albert Vecerka

一个白色，半透明的卷被插入到现有的砖石走廊的雷曼翼，软化其坚硬的几何图形。由此产生的幽灵大教堂呼应了中央牧师与周边腹地之间的分段关系，与相邻的中世纪艺术画廊的经典语言产生了共鸣。位于双高中庭的一个高耸平台提供了持续的流通和2300平方英尺的中央画廊-这是对雷曼之翼的前所未有的干预。抵达后，这座圆顶的教堂向游客展示了一件由卡尔·拉格菲尔德(KarlLagerfeld)设计的2014年香奈儿(Chanel)婚纱，它体现了展览的主题。20英尺长的巴洛克模式的细节被投射在穹顶黑色的外面，回忆起西斯廷教堂。四个小教堂式的素食主义者提供了一个专注于个案研究的领域。

A white, translucent volume was inserted into the existing brick and stone corridors of the Lehman Wing, softening its hard geometries. Echoing the sectional relationship of a central clerestory and perimeter naves, the resulting ghost cathedral resonates with the classical language of the adjacent Medieval Art gallery. A raised platform built across the double height atrium provides continuous circulation and a 2,300 square foot central gallery– an unprecedented intervention in the Lehman Wing. Upon arrival, this domed clerestory orients visitor’s with a 2014 Chanel wedding dress by Karl Lagerfeld that embodies the exhibition’s theme. Details of the 20-foot train’s baroque pattern are projected on the dome’s black out scrim, recalling the Sistine Chapel. Four chapel-style pochés provide an area to focus on case studies.

 © OMA - Brett Beyer

OMA-Brett Beye

展览设计师ShoheiShigiatsu评论说：“多样化的服装需要一个中性的、完整的环境来集中于手工和机械过程的配对。一个脚手架的电枢包裹着半透明的织物，在一个历史机构中引入了一种独特的时代性。“

Exhibition designer Shohei Shigematsu commented, “The diverse range of garments required a neutral, integrated environment to focus on the pairings of manual and mechanical processes. An armature of scaffolding wrapped with a translucent fabric introduces a unique temporality within a historic institution.”

 © OMA - Brett Beyer

OMA-Brett Beye

 Lower Level Plan

低级计划

 © OMA - Albert Vecerka

OMA-Albert Vecerka

作为一种高性能的戏剧剧本，鬼大教堂的穿孔膜材料提供了穹顶几何所需的拉伸灵活性以及不同程度的透明度。当从正面照明时，抄写片看起来足够不透明，可以作为服装细节的投影背景。从背后的灯光，抄写似乎是透明的，暴露了雷曼之翼现有的材料调色板和语言的感觉。意料之外的空间深度的抄写允许视觉连接到婚礼礼服从所有象限雷曼翼，同时也揭示了临时脚手架框架内的轮廓。在较低的层次上，抄写加密为每种技术提供了一个可渗透的分隔器。作为照明、标牌和投影的集成系统，Scrim无缝地满足了多种管理需求，否则这些需求将依赖于强大的媒体屏幕。

As a high-performance theatrical scrim, the perforated membrane material of the ghost cathedral offers the tensile flexibility required for the dome geometries as well as varying degrees of transparency. When lit from the front, the scrim appears opaque enough to function as a projection backdrop for garment details. Lit from behind, the scrim appears transparent, exposing a sense of the Lehman Wing’s existing material palette and language. The unexpected spatial depth of the scrim allows for visual connections to the wedding dress from all quadrants of the Lehman Wing, while also revealing silhouettes of the temporary scaffolding framework housed within. In the lower level, scrim enfilades provide a permeable divider for each technique. As an integrated system for lighting, signage and projection, the scrim seamlessly serves multiple curation needs that would otherwise rely on overpowering media screens. 

 © OMA - Brett Beyer

OMA-Brett Beye

 Upper Level Plan

高层规划

 © OMA - Albert Vecerka

OMA-Albert Vecerka

Architects OMA

Location Metropolitan Museum of Art, New York, NY 10028, United States

Category Installation

Partner in Charge Shohei Shigematsu

Client The Costume Institute at the Metropolitan Museum of Art

Area 18300.0 ft2

Project Year 2016

Photographs Albert Vecerka, Brett Beyer, Naho Kubota

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