Glass Gallery at the Kadar Media Lab Building Geotectura Studio

2015-12-09 20:00

 © Lior Avitan

.Lior Avitan

架构师提供的文本描述。Michal和Avraham Kadar媒体实验室是由神卡尔学院的Geotectura设计的，有90年的历史。该项目有许多实验室和车间，作为改造和附加设计的一部分，但主要内容是现有织物中的浮动钢和玻璃结构。该项目包括一个交互设计和技术中心、一个计算机游戏实验室、一个塑料车间和一个3D打印实验室。

Text description provided by the architects. The Michal and Avraham Kadar Media Lab was designed by Geotectura for Shenkar College within an 90 years old building. The project has many labs and workshops as part of a retrofit and add-ons design but the main element is a floating steel and glass structure within the existing fabric. The project includes a center for interaction design and technology, a computer gaming lab, plastic workshop and 3D printing lab.

申卡设计与工程学院位于以色列特拉维夫市的拉马特甘市。校园由几座建筑组成，一些较老，另一些较新，位于该地区密集的城市结构内。从20世纪20年代起，塑料部门就被安置在这座老建筑里。

Shenkar College of Design and Engineering is located in the city of Ramat Gan, bordering Tel Aviv, in Israel. The campus is composed of several buildings, some older and some newer, within the dense urban fabric in the area. The department of plastics is accommodated within the old building from the 1920’s.

 © Lior Avitan

.Lior Avitan

申卡学院组织了一次建筑竞赛，为这座包含塑料系的建筑提出解决方案。获奖的提案来自建筑办公室Geotectura，通过查看现有结构及其遗产，建议进行改造，而不是用新建筑取代旧结构。对拉马特甘市档案馆的研究显示，这个遗址是20世纪20年代戈德堡橘子园的一部分。最初的小树林是伊茨切克·莱布·戈德伯格(1860-1935)慈善活动的结果。在成为一座城市之前，它一直是这个地区人民的主要收入来源，从那时起，这一遗产就被遗忘了。这座位于遗址中央的老建筑实际上是该国第一个现代化的包装结构，建于1928年。木屋面结构，从里面暴露出来，再加上墙壁上的薄硅酸盐砖，使建筑呈现出独特的外观，无论是出于审美原因，还是由于其历史价值，都应予以保留。

Shenkar College organized an architectural competition to propose a solution for the building that contains the department of Plastics. The winning proposal was from architectural office Geotectura that by looking at the existing fabric and its heritage, suggested a retrofit, rather than replacing the old structure with a new building. Research into the Ramat Gan City Archive revealed that the site was part of Goldberg's orange orchard that was established during the 1920's. The original grove was the result of a philanthropic action by Yitzchak Leib Goldberg (1860-1935). It was the main income source for the people in this area long before it became a city, a legacy that was forgotten since. The old building in the middle of the site was actually the first modern packing structure in the country, built in 1928. The wooden roof structure, exposed from the inside, together with the thin silicate bricks in the walls are giving the building a unique appearance that should be preserved for aesthetic reasons, as well as for its historical value.

 Exploded Diagram

爆炸图

有意识地决定，历史应该是所有设计干预的主要发起者。过去将反映在每一个角落，即使它是与一个新的设计结合。在一堵内墙上，设计团队放置了一个印刷图像，这张照片是100年前从同一地点拍摄的，作为对这个地方所包含的遗产的提醒。这一遗产代表着先锋和现代的方法，也是申卡尔当今方法的一部分：学院一直在寻求将学术和专业实践与尖端技术、创造性和可持续思维结合起来。由于在保存的包装建筑旁边的新建筑计划，被遗忘的果园将被重新引入工地。新建筑由两个圆形的形状组成，最大限度地扩大了一个新的橘子林的外部面积，并消除了在公共区域和校园场地之间分隔栅栏的需要。

A conscious decision was made that the history should be the main initiator of all the design intervention. The past would be reflected in every corner, even when it was combined with a new design. On one of the interior walls, the design team put a printed image that was taken from the very same spot almost 100 years ago, as a reminder of the legacy that this place contains. The legacy represents pioneering and modern methods that are also part of Shenkar's approach to nowadays: the college is always seeking to combine academia and professional practice with cutting edge technology, together with creative and sustainable thinking. The forgotten orchard will be reintroduced to the site thanks to the new building plan next to the preserved packing building. The new building is composed by two circular shapes that maximize the exterior area for a new orange grove and will eliminate the need for separating fences between the public area and the campus site.

 © Lior Avitan

.Lior Avitan

对具有历史建筑价值的建筑物进行保护、保护和再利用的第一步是对其现有状况进行全面调查，并参考其历史记录。记录文化遗产遗址的数字方法是建筑和调查领域的最新成果。约瑟夫·科里博士和雷贝卡博士在这个项目中使用了两种主要的数字化记录建筑物的方法：激光扫描和摄影测量。

The first step to preservation, conservation and re-use of a building that has a historical architectural value is to create a comprehensive survey of its existing condition, as well as a reference of its historical record. Digital methods in documenting cultural heritage sites are the latest endeavor both in the field of architecture and survey. Two main methodologies for digitally documenting the building were used in this project by Dr. Joseph Cory and Dr. Rebeka Vital: laser scanning and photogrammetry.

渴望尊重现有的内部围护的主要空间，导致了一个设计干预，抵消了所有的内部表面。研究结果之一是制造了INP 300钢梁和玻璃墙，这些钢梁和玻璃墙在不接触或破坏原始和脆弱的硅酸盐墙的情况下形成了一个漂浮的画廊，并使用了可在未来回收利用的材料。三维扫描的实现为每一个需要进行的设计决策提供了极大的信心。点云进一步显示了建筑物内现有车间机械的分布和高度，从而避免了大型机器与拟议展厅的碰撞。

The desire to respect the existing interior envelope of the main space, led to a design intervention that was offset of all interior surfaces. One of the results was a INP300 steel beams and glass walls that shaped a floating gallery without touching or damaging the original and fragile silicate walls and using materials that can be recycled in the future. The implementation of 3D scanning gives great confidence to each design decision that need to be taken along the way. The point cloud helped further by showing the distribution and heights of the existing workshop machinery inside the building, so to avoid collisions of large machines with the proposed gallery.

 © Lior Avitan

.Lior Avitan

虽然使用BIM数据库和流程开始成为新建筑的既定做法，但很少有案例研究使用BIM对现有建筑进行设计干预，而数字调查则成为BIM数据库的一个组成部分。将数字化测量纳入BIM数据库，为该建筑的设计干预决策奠定了坚实的基础。数据库中的数字调查将设计决策定位于建筑物特征的真实性，并有助于尊重所有团队成员对其历史和建筑要素的尊重。

While using BIM databases and processes starts becoming an established practice for new buildings, one encounters few case-studies where BIM is used for design interventions for existing buildings and where the digital survey becomes an integral part of the BIM database. Incorporating the digital survey into the BIM database, gave a solid foundation to the decision making for the design intervention of this building. The digital survey within the database anchored the design decision to the authenticity of the character of the building and contributed to the respect of all team members of its history and architectural elements.

 © Lior Avitan

.Lior Avitan

“我自己将继续住在我的玻璃房子里，在那里你总能看到谁来拜访我，天花板上和墙上挂着的一切都停留在那里，就像魔法一样，晚上我睡在玻璃床上，睡在玻璃床单下，在那里，我迟早会被一颗钻石蚀刻出来。”安德烈·布雷顿

“I myself shall continue living in my glass house where you can always see who comes to call, where everything hanging from the the ceiling and on the walls stays where it is as if by magic, where I sleep nights in a glass bed, under glass sheets, where who I am will sooner or later appear etched by a diamond.” André Breton