Melbourne’s Jackalope Pavilion designed by Australian architects March Studio. Photography: Sharyn Cairns

Elevating structural support material to new heights, March Studio’s Jackalope Pavilion – comprising a web of cross-hatched scaffolding cladding a rectangular white box – floats upon steel columns in Melbourne’s seaside suburb of St Kilda like a modular cloud. Within its confines, blackened space comprising 100 sq m continuously pelts with rain via recycling mechanisms that filter and pump some 2,500 litres of water though a grated floor back into the ceiling.

将结构支撑材料提升到新的高度，三月工作室的杰克洛普展馆-由一张交叉盖板的脚手架组成的网，覆盖着一个矩形的白色盒子-漂浮在墨尔本海滨郊区圣基尔达的钢柱上，就像一朵模块化的云。在它的范围内，由100平方米的黑空间组成的连续雨水通过过滤和泵出约2 500升水的循环机制，通过一个磨碎的地板回到天花板。

Yet those who dare to confront the treacherous downpour miraculously remain dry thanks to responsive sensors ceasing the heavy deluge to fall wherever they detect movement beneath. From the outside, the ‘cloud’ not so much as drips. Unlike past iterations of Rain Room – a seminal installation created by London-based collaborative art studio Random International – this marks the first time it has been presented as a privately owned piece contained within a purpose-built structure (albeit temporary).

然而，那些敢于面对危险的倾盆大雨的人奇迹般地保持干燥，这要归功于响应灵敏的感应器，无论他们在哪里探测到下面的运动，都停止了沉重的洪水。从外面看，“云”与其说是滴水，不如说是滴水。与以往的“雨屋”不同-这是由总部位于伦敦的合作艺术工作室兰登国际(RandyInternational)创建的一个开创性设施-这标志着它第一次被展示为包含在一个专门建筑结构(尽管是临时的)内的私有作品。

Random International’s Rain Room, installation view at Jackalope Pavilion in Melbourne

RandomInternationalsRainRoom，墨尔本JackalopePavilion安装视图。

Enter visionary Louis Li, founder of the Jackalope hotel in Victoria’s Mornington Peninsula (a fantastical lair inspired by mythology and alchemy). Mesmerised by his encounter with the installation at Los Angeles’ LACMA museum three years ago, he not only purchased the piece but was inspired to create his new Jackalope hotel in Melbourne’s Flinders Lane (scheduled to open in 2022) together with March Studio around the experiential work. So grand is his storytelling vision it will be granted its own permanent exhibition space, while everything – from the food and beverage concept through to room designs – will be themed around it.

进入富有远见的李路易，在维多利亚的莫宁顿半岛(一个受神话和炼金术启发的梦幻般的巢穴)杰克洛普酒店的创始人。三年前，他在洛杉矶博物馆(LACMA)遇到了这座建筑，这让他着迷。他不仅买下了这件作品，还受到启发，在墨尔本弗林德斯巷(Flinders Lane，原定于2022年开业)的杰克洛普酒店(Jackalope)与3月工作室(MarStudio)共同打造了这款体验他讲故事的愿景是如此宏伟，它将拥有自己的永久展览空间，而一切-从食物和饮料的概念到房间设计-都将围绕着它主题化。

‘City centres are concrete jungles where nature is a luxury, so I wanted to challenge the idea of using art to recreate and even exert nature,’ enthuses Li. But don’t expect damp, obsidian surrounds. It will incorporate meteorological references including rainbows. ‘Melbournians are obsessed with the weather; they’re always talking about the rain. It’s an urban foe. I want people to be in awe of its superpowers, its potent poetic and magical qualities,’ offers Li.

“城市中心是具体的丛林，这里的自然是一种奢华的，所以我想挑战使用艺术重新创造，甚至发挥自然的想法，李热情。但不要指望潮湿、黑暗色的周围。它将包含气象参考资料，包括彩虹。“Melbournians对天气很着迷，他们总是在谈论雨。这是一个城市敌人。我希望人们敬畏它的超级力量，它的强大的诗意和神奇的品质，提供李。

Simple in construct, the pavilion is complex in concept. ‘We had to house a precisely measured cube of rain – a pre-determined volume – so we frayed its edges by designing a porous-like skin to surround it. The row of commercial tenancies beneath it and the adjoining a low-rise carpark act as its concrete plinth,’ explains Rodney Eggleston, architect and co-founder of March Studio (the creative minds behind numerous Aesop store fit-outs).

展馆结构简单，概念复杂。我们不得不放置一个精确测量的立方体-一个预先确定的体积-所以我们设计了一个类似多孔的皮肤来包围它，从而磨损了它的边缘。3月工作室(Maty Studio)的建筑师兼联合创始人罗德尼·埃格莱斯顿(Rodney Eggleston)解释道：下面的一排商业租房和毗邻的一座低层停车场充当了它的具体平台。

From the street it rises some 15m, its all-white cumulous outlines piercing the sky and reflecting nature’s activities: the pinks of the setting sun and greys on overcast days. Strategically placed uplights allow it to glow like a faceted crystal at night, ‘a corner beacon’ enthuses Eggleston. ‘It’s a fantastic typology as it possesses no windows or main entrance so it intrigues passersby who wonder what’s getting built under the support scaffolding,’ he adds. Only the access lift in the carpark hints at its contents with patterns of concentric circles, like puddles of water, cladding its internal surfaces.

从街道上，它上升了大约15米，它全白的枯否轮廓刺穿了天空，反射了大自然的活动：在阴天的时候，夕阳和灰色的粉红色。在战略上放置的隆起使它能在夜晚像一个多面晶体那样发光，“一个角落的灯塔”把埃格尔斯顿下来。“这是个奇妙的类型，因为它没有窗户或主要的入口，所以让人好奇谁在支撑脚手架下建造了什么。”他补充道。只有停车场的进出电梯暗示它的内容有同心圆的图案，比如水的水坑，覆盖着它的内表面。

Presented in association with the Australian Centre for the Moving Image (ACMI), the ‘white cube’ is the antithesis of an exhibition space within. It’s dark, moist, smells of wet rubber and is incredibly noisy, granting no time for contemplation as visitors become its activating agents via movement, mindfully walking slowly to remain dry whilst curbing their instinct to run. Theoretically, the pavilion can be unbolted and re-erected on another site, though there’s hope that other pieces from the Jackalope Art Collection may make their way into the ethereal space when Rain Room prepares to be permanently installed in the CBD. §

与澳大利亚运动图像中心(ACMI)联合推出的“白色立方体”是内部展览空间的对立面。这是黑暗，潮湿的橡胶气味，是难以置信的嘈杂，没有时间沉思，因为游客成为它的激活剂通过运动，有意识地走慢，以保持干燥，同时抑制他们的本能奔跑。从理论上讲，展馆可以在另一个地方被拆除和重新建造，尽管当雨屋准备永久安装在CBD的时候，来自Jackalope艺术收藏的其他作品可能会进入虚幻的空间。§