架构师提供的文本描述。位于威尼斯的EMGdotArt基金会位于帕拉佐·扎恩(Palazzo Zen)的底层，这是一座建于1537年的历史建筑，坐落在意大利泻湖城市的一条典型运河上。在翻修和(重新)适应方面，390平方米的空间已改建为一个画廊，设有展览、会议和会议室，包括EMGdotART基金会的工作空间。

Text description provided by the architects. EMGdotArt Foundation in Venice is located on the ground floor of Palazzo Zen, a historical building from 1537, situated along a typical canal of the Italian lagoon city. Dealing with renovation and (re-) adaptation, the 390m² space has been converted into an art gallery featuring rooms for exhibitions, conference and meetings, including a workspace for EMGdotART Foundation.

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承重厚壁-项目的“基本原理”-定义了为上述公共和私人活动规划的三个主要空间。如何恢复和包括分散的历史元素存在于网站上？比如古老的十六世纪威尼斯地板，旧的十六世纪天花板装饰品，禅宗宫的旧门，不同类型的地板和翻新的外墙-这证明是最有趣的设计难题。

The load-bearing thick walls- the “fundamentals” of the project - define the three main spaces that are programmed for the aforementioned public and private activities. How to restore and include the scattered historical elements present on the site? Such as an original ancient XVI-century Venetian floor, the old XVI-century ceiling decorations, Palazzo Zen’s old doors, different kind of floors and the renovated façade - this proved to be the most interesting design dilemma.

 Floor Plan

这个项目通过新的金属装置-我们称之为微型建筑-将所有这些空间和物体连接起来，连接了组成EMG威尼斯画廊的众多历史建筑元素。作为一个混合走廊的设计，更大的金属装置把游客从入口大厅带到更多的房间。黑色金属盒代替门，充当不同空间和构造环境之间的界面，从而使时间/空间从一个时间/空间过渡到另一个时空。

The project links all these spaces and objects through new metal installations - which we call miniature architecture - that connect the multitude of historical building elements comprising the EMG Venice gallery. Designed as a hybrid corridor, the bigger metal installation brings the visitors from the entrance hall to further rooms. Instead of doors, black metal boxes act as an interface between different spatial and tectonic environments, thus making transitions from one time/space to another.

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中心的展区是石堆，由一个典型的白色石头来自伊斯特拉(克罗地亚)。这种特殊的致密的不可渗透的石灰石从一开始就被用于威尼斯的建筑中。展示历史连续性的中央展区-当代“考古”空间-展示了当地古石是如何为EMGdotART基金会的日常工作重新组织起来的，从而给画廊、建筑和当地的石材传统带来了新的生命。

The central exhibition area is stone-floored by a typical white stone coming from Istria (Croatia). This characteristic dense type of impermeable Istrian limestone has been used in the architecture of Venice since its very beginnings. Displaying a historical continuity, the central exhibition area – a contemporary “archaeological” space – shows how local ancient stone is newly organized for the EMGdotART Foundation’s daily work, thus bringing new life to the gallery, building and local stone tradition.

 Floor Plan

由于涨潮，入口处的两旁房间全年偶尔会被淹很多天。威尼斯人运河不自觉地渗透进禅宗宫，产生了一种特殊而奇特的光效应。其中一个关键空间也是展览的一部分。

Due to the high tides, the two side-rooms beside the entrance are occasionally flooded for many days throughout the year. This involuntary infiltration of the Venetian canals into Palazzo Zen generates a particular and curious light effect. One of these critical spaces is included as a part of the exhibition as well.

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帕拉佐禅宗现在正在主办威尼斯双年展2014，改编-中国建筑和变化，由马里诺福林和MovingCities策划，完成后不久。展览展示了11位中国建筑师及其独立的实践和思考。“适应的重点是中国建筑师如何协商由背景、客户和资本施加的不断变化的限制。他们的工作适合于变化，揭示了对传统空间概念的现代解释、工业遗产的振兴以及对偏远地区的反应所带来的对工艺和建筑文化的新理解。“

Palazzo Zen is now hosting the collateral exhibition of Venice Biennale 2014, Adaptation – Chinese Architecture and Change, curated by Marino Folin and MovingCities, soon after its completion. The exhibition showcases 11 selected Chinese architects and their independent practice and thinking. “Adaptation focuses on how Chinese architects negotiate shifting constraints imposed by contexts, clients and capital. Their work is apt for change, revealing a new understanding of craft and building cultures, imposed by modern interpretations of traditional spatial concepts, revitalization of industrial heritage, and reactions to remote geographies.”

展览的空间设计也是由O办公室根据“记忆和漂浮”的设计主题在宫禅进行的。在不同的空间展示了各种形式的展览媒体。入口大厅的砖墙上挂着印有城市形象和建筑元素的构图墙，象征着当代中国城市和建筑的复杂性。五张圆形透明亚克力桌子挂在边厅内，上面有中世纪大理石地板，展示了五种不同的建筑师的工作模式和相关的绘图和图片。这个超现实的场景被认为是中国建筑师在广阔的城市化海洋中个人努力的隐喻。其他形式的媒体，如视频和家具，也展示了中国建筑师的实验和实践的多样性。

The spatial design for the exhibition was also conducted by O-office, following the design theme of “memory and floating” in Palazzo Zen. Various forms of exhibited media were showcased in different spaces. A composition wall of printed urban images and building elements is hanged on the masonry wall of the entry hall, symbolizing the complexity of contemporary Chinese cities and architecture. Five circular transparent acrylic tables are hanged in the side hall with medieval marble floor, exhibiting five different architects’ working models and relevant drawing and pictures. This surrealistic scene is supposed to be a metaphor of individual efforts of Chinese architects in the vast urbanization ocean. Other forms of media, such as video and furniture, are also displayed to showcase the diversity of Chinese architects’ experiment and practice.

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“在中国，主要的挑战是了解这类适应性项目的寿命。我们中国的大部分翻新项目都是在开始阶段，应该持续5年以上，我们必须与时间竞争。相反，我们知道在威尼斯的EMG画廊-空间将永远存在。因此，设计的目标是如何处理，并指导这个空间剧院，基于遗址的现有历史层。同时，我们希望为其未来的节目、展览和干预提供一种开放的设计可能性。因此，我们设计、干预和预见这一体系结构的未来层。“O办公室比较了禅宗宫的改建和他们在中国的项目。

“In China, the main challenge is to understand the life span of such adaptive projects. Most of our Chinese renovation projects were in the beginning supposed to last more than 5 years and we must compete with time. In contrast, we knew that the EMG gallery-space in Venice would be there forever. So the design goal was focused on how to deal with, and direct this spatial theatre, based on the site’s existing historic layers. At the same time, we want to provide an open design possibility for its future program, exhibitions and interventions. Thus we design, intervene and foresee the future layers of this architecture.” O-office compares the reconversion of Palazzon Zen and their Chinese projects.