2016 年威尼斯雙年展西班牙館

2016 年威尼斯雙年展西班牙館

Spanish Pavilion Venice Bienale 2016

建筑師：伊尼亞基·加爾尼塞羅，Lorena del Rìo，Carlos Quintans

建筑工程師：Mecanismo Estructuras

業(yè)主：西班牙文化部

建筑預(yù)算：20萬(wàn)歐元

日期：2016年

西班牙是建筑業(yè)受經(jīng)濟(jì)危機(jī)影響最嚴(yán)重的國(guó)家之一。當(dāng)時(shí)在遍及中國(guó)的工業(yè)區(qū)內(nèi)，這種類型的企業(yè)不計(jì)其數(shù)。缺乏對(duì)這些項(xiàng)目是否必要或有效的反思，導(dǎo)致隨后發(fā)現(xiàn)其竣工或維護(hù)在經(jīng)濟(jì)方面不可行時(shí)，許多建筑物便被放棄。這些建筑物在整個(gè)西班牙領(lǐng)土上的大量出現(xiàn)，給人一種大量建筑物未完成的整體印象，其中時(shí)間因素在建設(shè)建筑物準(zhǔn)則中不作為考慮因數(shù)。

使用攝影作為過(guò)濾器來(lái)描繪這一現(xiàn)實(shí)，展館中心空間展現(xiàn)了那些曾經(jīng)批判最近建筑業(yè)發(fā)生各種不良現(xiàn)象的人的樂(lè)觀看法，認(rèn)為這些留存下來(lái)的未完成建筑倒是一個(gè)機(jī)會(huì)。

雙年展覽上，在西班牙館中推出的“未完成的”主題展覽，旨在引導(dǎo)人們關(guān)注過(guò)程而不是結(jié)果，試圖發(fā)現(xiàn)對(duì)建筑環(huán)境持樂(lè)觀態(tài)度時(shí)產(chǎn)生的設(shè)計(jì)策略。

展覽匯集了過(guò)去幾年建設(shè)的建筑實(shí)例，這些建筑物在西班牙過(guò)去幾年面臨經(jīng)濟(jì)的環(huán)境中產(chǎn)生，為發(fā)展和適應(yīng)未來(lái)需要而設(shè)計(jì)，同時(shí)信賴于時(shí)間流逝之美。這些項(xiàng)目吸取了過(guò)去的經(jīng)驗(yàn)教訓(xùn)，并認(rèn)為建筑是未完成的東西，處于一個(gè)不斷發(fā)展的狀態(tài)，真正服務(wù)于人類。目前我們?cè)趯I(yè)方面的不確定性，與我們?cè)诖擞懻摰脑掝}有較強(qiáng)關(guān)聯(lián)性。

Architects: I?aqui Carnicero Lorena del Rìo and Carlos Quintans

Building Engineer: Mecanismo Estructuras

Client: Ministry of Culture of Spain

Budget: 200.000,00 €

Date: 2016

Spain is one of the countries where the practice of architecture has been most affected by the economic crisis. There are few places on earth where such large numbers of buildings were built in such a short period of time. The lack of refection over whether these projects were necessary or valid resulted in the subsequent abandonment of many buildings when their completion or maintenance was discovered not to be economically viable. Their appearance throughout Spanish territories has generated a collection of unfnished buildings where the factor of time was eliminated from the formula for making architecture.

Using photography as a filter to portray this reality, the Pavilion’s central space represents the optimistic view of those who have fought back against this recent past, understanding these inherited constructions as an opportunity.

The "Unfnished" exhibition, presented in the Spanish pavilion at the Biennale, seeks to direct attention to processes more than results in an attempt to discover design strategies generated by an optimistic view of the constructed environment.

The exhibition gathers examples of architecture produced during the past few years, born out of renunciation and economy of means, designed to evolve and adapt to future necessities and trusting in the beauty conferred by the passage of time. These projects have understood the lessons of the recent past and consider architecture to be something unfnished, in a constant state of evolution and truly in the service of humanity. The current moment of uncertainty in our profession makes its consideration here especially relevant.