设计目的

DESIGN INTENTION

 Courtesy of Refik Anadol

Refik Anadol提供

盐研究中心被设想为一个研究、交流、参与和创造内容的公共工具和工具。历史建筑的独特性和阿夫鲁号的空间体积是值得一看的，因此我们的设计方法都是在对话中追求的。作为设计材料和形式选择的基础，19世纪后期的建筑风格是折中主义风格，是另一位设计师创造建筑的当代特征的方法，也是与Beyolu建筑共同定位的方法。对于潜在用户和访问者的多样性，“社会参与”是用户群体提供的空间组织简报。我们的反应是在周边创建一个熟悉的阅读和研究点的堆叠场，然后定义8个不同的设置-每个设置都建议不同的选择。最后是“展示”学院独特的收藏和服务的基本要素。这些“要点”是为了定义阿夫鲁的一个新的多孔边缘：罕见的书柜，艺术家的档案，新的，前台和搜索站。尤其重要的是包容性的概念；每件家具都是专门挑选出来的，用来说明伊斯坦布尔先驱设计师在过去几代的手工制作工艺的传统，以及家具制造在当地尚未达到的某些性能品质。

The SALT research center was envisioned as a public tool and a vehicle to research, exchange, engage, and create content. The uniqueness of the historic building and the spatial volume of the Avlu was something to behold and therefore our design approach pursued both in a dialogue. Underpinning the material and formal choices of the design is the building's eclecticism style of the late 19th Century, the other designer's approaches to create the building's contemporary character, and to co-locate with the Beyoglu building. 'Socially engaging' to the diversity of potential users and visitors was the spatial organization brief given in by the user group. Our response was to create a field of stacks with familiar reading and research points around the perimeter and then define 8 distinct settings -- each to suggest different alternatives for engagement. And, last was to 'put-on-show' the essentials of the institute's unique collection and services. These 'essentials' are arranged to define a new porous edge to the Avlu: the rare book case, the artist archive, the newness, the front desk and search stations. And not least, is the notion of inclusiveness; each piece of furniture was specifically selected to tell a tradition of the hand-manufactured craft of Istanbul pioneering designers in the last generations as well as certain performance qualities of furniture manufacturing not yet achieved locally.

 Courtesy of Refik Anadol

Refik Anadol提供

作为我们所有作品的签名，这个过程开始于一系列与图书馆员、文化中心的内容团队以及修复设计和协调团队的代表的密集研讨会。这些系列讲习班共5期，阐述了环境概念、期望和空间规划的特殊性。结果描述了气氛>看谁在那里找到了我的收藏博客/宣布影响活动从我们/其他人投票支持共享的未来游戏享受，参与，创造，影响，舞蹈….…玩得开心学习，发现，成为整个“展开”/“分层”、面向世界、融合城市、花园、大堂、avlu、Isticlal、“从上”、持续流动的光、空气、人、内容、视图、视线-近、远、整体、框架、集中分享-的体验和体验的一部分。接收，交换。

As signature to all our works, the process began with a series of intense workshops with the librarians, the cultural center's content team and representatives from the restoration design and coordination team. The workshops, 5 in a series, framed the specificity of the environmental concept, expectations and spatial program. The result described the ambience> see who’s there finding my collection blog/announce/proclaim influence activities learn from being w/ others Vote for a shared future Play enjoy, participate, engage, create, influence, dance….have fun….learn, find, be an integral part of place-making and the experience> collection as whole ‘unfolding’ / ‘layering’, orientation to world, Blending city, garden, lobby, avlu, Istiklal, ‘from above’, continuous flows light, air, people, content, views, sight-lines near, far, whole, framed, focused sharing announce, receive, exchange.

 Courtesy of Refik Anadol

Refik Anadol提供

这个方法是关于整体的，也是关于各个部分的-可以改变、增加或消失的部分-但作为一个整体，它有一种“存在”的存在。在我们的贡献中，独特的是叙述的概念和那些创造了“位置感”的概念。我们的设计叙述是最清楚地阐述在三个不同的对象。每个对象在与其他人的对话中充当触觉的故事讲述者。一个是声音和纹理(Poofpuf)，一个是光和光圈(电影42号)，另一个是几何结构和比例(艺术家档案)。每一个都是为了吸引那些超出研究中心边界的人，无论是室内还是室外，进来看看那里有什么。每一个尝试超越胶合板的固有性质，却只是简单地表达了这样一种普通材料的优雅。第二个统一的叙事是在为空间设计的室内装潢中找到的。具体来说，它是“从上面”的看法，在加拉塔椭圆形窗口的佩尔şEMBE帕扎里和历史半岛。连接城市和研究中心的经验从上面的avlu楼层总是被考虑。我们希望会有更多的故事出现，学院使命的墙壁，刚刚开始运作的几个月里的盐事件，事件的门户网站，在线目录，以及一堵空白的黑墙来讲述更多。

The approach is a place that is as much about the whole as it is about the individual parts -- parts that can change, be added or fade-out -- but which as a whole has a presence of 'being there'. Unique in our contribution is the notion of narratives and those that create the 'sense' of place. Our design narratives are most clearly articulated in the 3 distinct objects. Each object acts as tactile story tellers in a conversation with the others. One is of sound and texture (poofpuf), One is of light and aperture (cinema4two), and One is of geometric construction and scale (artist archive). Each are also placed to entice those beyond the boundaries of the research center, indoor and outdoor, to come in and see what is there. Each attempts to transcend plywood's inherent nature, and yet simply express the elegance of such an ordinary material. The second uniting narrative is found in the upholstery designed for the space. Specifically, it is the view 'from above' in the Galata oval window of Perşembe Pazari and the historic peninsula. The connection back to the city and the experience of the research center from the upper avlu floors was always considered. We hope more stories will come, the walls host the institutes mission, the events of SALT in its nascent months of operation, the portal to events, the online catalogues, and a blank black wall to tell more.

具体参考资料

SPECIFIC REFERENCES

 Courtesy of Refik Anadol

Refik Anadol提供

波夫雕刻的胶合板表面的声音取样的Istikal Cadessi在2007年，但也表达了装饰图案的华丽历史，指的自然发现在整个加拉塔地区。电影42号是造型和造型的太阳运动，因为它只是在冬季和夏季的早晨窥视，通过核心的空间。角度反射光线，给出一个角落的气氛和孔是位置的秋分和冬至。图像本身就是我们的身体使用的手框架。而且，艺术家档案是创建从圆形几何亚历山大瓦劳里用来创建装饰科林斯首都的avlu，比例/-4x。几何图形是进一步构建的，因此在库中，视觉优先级是艺术家的存档集合，但从上面看，视觉优先级是卷与avlu的共享几何图形。选择使用胶合板，是为了让游客们感到兴奋，在像胶合板一样普通的木匠作品中仍然可以找到无尽的可能性，但故事讲述的是，这三人都积极参与了在萨特·贝穆特鲁的展览中发生的事情的未来潜力。

The poofpuf carves the surface of the plywood from sampling of sound on Istiklal Cadessi in 2007, but also expresses the ornate history of decorative patterning referring to nature found throughout the Galata district. The cinema4two is shaped and sculpted to the movements of the sun as it peeps only slightly in winter and summer mornings through the core of the space. The angles reflect the light to give a the corner atmosphere and the apertures are position to the equinox and solstices. The image itself is of our bodies use of the hand to frame. And, the artist archive is created from the circle geometry Alexandre Vallaury used to create the decorative Corinthian capitals of the avlu, scaled +/-4x. The geometry was further crafted so from the library the visual priority is the artist archive collection, but when seen from above the visual priority is the volume's shared geometry with the avlu. The choice to use plywood was to both to excite visitors of the endless possibilities still to be found in something as ordinary as plywood for 'fine' carpentry, but the narrative is about the three being active in the future potentials of what occurs in the exhibitions at SALT Beyoglu.

 Courtesy of Refik Anadol

Refik Anadol提供

我们的伟大成就之一是，从20世纪50年代到今天，设计师们以其独特的方式，直接为图书馆环境做出了贡献。设计师面临的挑战是在研究中心的特定环境和社会需求中思考他们的作品，他们都认为性能标准和人的舒适度不是要避免的“问题”，而是以知识为中心的设计中的参数。萨迪奥兹ş的苏菲椅子面向城市；阿齐兹萨里耶的托特桌将容纳主要的研究站-以及他们所有的东西；德林萨里耶的平板椅子使阿夫鲁充满活力-用于阅读、工作、讨论；

One of our great accomplishments was the diversity of designers directly contributing into the library environment for their unique approaches from the 1950's to today. Challenging to the designers was to think of their pieces in the specific context and social requirements of the research center, all of whom view performance criteria and human comfort not as 'problems' to be avoided, but as parameters in knowledge centric design. Sadi Öziş's SUFI chairs face to the city; Aziz Sariyer's TOT tables will host the primary research stations -- with all their stuff; Derin Sariyer's FLAT chairs animate the avlu -- for reading, working, discussing;

 Courtesy of Refik Anadol

Refik Anadol提供

超级池的波澜起伏的工作站继续支持“盐的处理的本质”；我们与ersa共同创建的库堆栈系统设计是其中的一些亮点。也有独特的、非常触觉的信息和平面设计方法奥兹根设计的空间导航和图书馆馆藏灵感也从图案材料表达的历史背景。作为邀请和微妙改变空间纹理的雄心的一部分，“讨论轮”的第一个视觉设计是Refik Anadol的数字作品，尚未执行。照明设计和建筑物修复超出了我们的范围或说服。然而，我们的愿望是，更多伟大的头脑将为未来千年空间的触觉体验作出贡献。

Superpool's rippling workstations continue to support the 'essential's of SALT's processing; and our library stack system design co-created with Ersa are some of the highlights. There is also the unique and very tactile information and graphic design approach of Ozgen Design for the navigation of the space and the library collection inspired also from the pattern material expressions of the historic setting. As part of the ambition to invite and subtly change the texture of the space the first visual design for the 'discussion round' is the digital works of Refik Anadol, yet to be executed. The lighting design and building restoration was outside our scope or persuade. Yet our aspiration is that many more great minds will contribute to the tactile experience of the space in the millennium ahead.