© René de Wit

勒内·德维特

架构师提供的文本描述。Tschumi展馆最初是为1990年的全城展览“多么奇妙的世界”而建造的视频展馆。分散在城市各处的五个展馆将流行音乐视频带入了公共领域。它们是由当时的建筑前卫设计的，两年前被MOMA称为“解构主义者”。艾森曼、哈迪德和希梅布鲁的展馆消失了，而库哈斯和屈米的展馆却不见了。

Text description provided by the architects. The Tschumipavilion was originally built as a video pavilion for the city-wide exhibition-event “What a Wonderfull World” in 1990. Scattered around the city, five pavilions brought pop-music videos into the public realm. They were designed by the architectural avant-garde of the time, labeled two years earlier as 'deconstructivist' by the MOMA. The pavilions of Eisenman, Hadid, and Himmelblau disappeared, while the ones of Koolhaas and Tschumi remained.

 © René de Wit

勒内·德维特

值得注意的是，正是OMA和Tschumi的不同方案使他们的展馆得以延续。OMA的程序化炼金术，将展馆与公交站结合在一起，是它今天幸存下来的原因。屈米的展馆之所以坚持，恰恰是因为它缺乏任何精确的程序。作为一个透明的信封，它自1995年以来一直被用作公共/城市活动空间，用于临时艺术项目。

Remarkably, it is OMA and Tschumi's very different approach to program that have made their pavilions last. OMA's programmatic alchemy, pairing of the pavilion with a bus stop, is the reason it survives today. Tschumi’s pavilion has persisted precisely because of the opposite reason: its lack of any precise program. Being a transparent envelope, it has been used as a public/urban event-space for temporary art projects since 1995.

 Axonometric

在格罗宁根一个繁忙的环形交叉路口中间，Tschumi创造了有史以来最透明的建筑之一：它的正面、屋顶和结构都是由透明玻璃构成的。Tschumi选择了玻璃，因为它的反射质量，创造了“不稳定的正面”，将反映视频图像无休止。这些视频将“看不见的展馆”变成了一种“幻象奇观”，其中来自倒影的虚拟图像与来自监视器和城市的真实图像混合在一起。

In the middle of a busy roundabout in Groningen, Tschumi created one of the most transparent buildings ever built: its facades, roof as well as structure are made of clear glass. Tschumi chose glass for its reflective quality to create “instable facades” that would reflect the video images endlessly. These videos transformed the “invisible pavilion” into an "illusionistic spectacle” in which the virtual image from the reflections mix with the real image from the monitors and the city.

 © René de Wit

勒内·德维特

Shift的干预重新解释了“不稳定的正面”的概念。而不是使用玻璃信封混合视频，CMY展馆使用玻璃混合颜色。通过在玻璃上涂上蓝色、洋红和黄色的半透明薄膜，展馆变成了一个三维图形，并随着观众的移动而不断变化。

Shift’s intervention reinterprets the idea of "instable facades". Instead of using the glass envelope to mix videos, the CMY pavilion uses the glass to mix colors. By applying translucent films in the colors cyan, magenta and yellow onto the glass, the pavilion turns into a three dimensional graphic piece that changes continuously with the movement of the spectator.

环绕建筑物的对角线带的彩色图案是从结构的刚性镶板系统中推导出来的。由于平行透明的表面，色带开始根据相减颜色模型进行混合。玻璃上“真实”原色的重叠形成了第二种“虚拟色彩”：C-M=蓝，Y-C=绿，M-C=红。透明的展馆变成了一个充满活力的色彩空间，有着强烈的城市气息。

The colored pattern of diagonal bands that wrap around the building is derived from the rigid paneling system of the structure. Because of the parallel transparent facades, the color bands start mixing according to the subtractive color model. The overlap of the “real” primary colors on the glass create secondary “virtual colors": C + M = Blue, Y + C = Green, M + C = red. The transparent pavilion becomes a dynamic color space with a strong urban presence.

 © René de Wit

勒内·德维特

来自不同角度的CMY展馆有着不同的经验。在环形交叉路口上流通的人们将经历不断变化的颜色和图案。站在正方形面对它的长侧面，人们看到一个交叉舱口图案的六种颜色(CMYRGB)。一个用斜视角等待总线的人看到了三种颜色(CMY)对角线的“实际模式”。在另一种外观被发现：这里的颜色混合与城市，而不是彼此。由于没有更多的颜色重叠，对角线CMY色带是明显可见的。他们的对角线包装加强了不稳定，环带效应，Tschumi打算通过倾斜的建筑物。

From different angles come different experiences of the CMY pavilion. People circulating on the roundabout will experience continuously changing colors and patterns. Standing on the square facing its long side, one perceives a cross-hatch pattern in six colors (CMYRGB). One waiting for the bus with an oblique viewpoint sees the “actual pattern” of diagonals in three colors (CMY). Inside another appearance is uncovered: here the colors mix with the city rather than with each other. Since there is no more overlapping of colors, the diagonal CMY color bands are clearly visible. Their diagonal wrapping enhances the destabilizing, girating effect that Tschumi intended by tilting the building.

 © René de Wit

勒内·德维特

Architects Shift architecture urbanism

Location Hereplein, 9711 Groningen, The Netherlands

Category Renovation

Architect in Charge Thijs van Bijsterveldt, Oana Rades, Harm Timmermans

Photographs René de Wit