The Velvet State——表演和建筑的融合（ by Shjworks Architectural）

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Architects: ShjworksArchitectural


Location: Darupvej,Roskilde, Denmark


ArchitectIn Charge: Simon Hjermind Jensen


Design Team:Christian Bøcker Sørensen


Photographs:SimonHjermind Jensen, ChristianBöcker Sörensen, LasseRyberg

建筑师：ShjworksArchitectural

位置：Darupvej, Roskilde, Denmark  丹麦
建筑负责人：Simon Hjermind Jensen

设计团队：Christian Bøcker Sørensen

摄影：SimonHjermind Jensen, ChristianBöcker Sörensen, LasseRyberg

The Velvet State came up as an ambition to combine performance and architecturein a project at the Roskilde Festival 2013.

The Velvet State 的设计意图来自于想要在2013的帆船节上将表演和建筑融合在一起。

The core ofthe project emerged via an ongoing dialogue between the performers and thearchitects, adopting and merging the two disciplines into one universe.

通过正在进行的表演者和建筑师之间的对话，这个项目得出了这样一个核心——将各自的两个领域之间相互采纳融合从而形成一个统一体。

SimonHjermind Jensen from SHJWORKS (DK) was the architect behind the concept and thedesign of the building. The performance part was developed in a dialoguebetween Fiction Pimps (DK) and Collective Unconscious (UK), and directed byInga Gerner Nielsen.

来自SHJWORKS (DK)的Simon Hjermind Jensen是这一设计的概念提出者及设计者。而表演部分则由Fiction Pimps (DK)（丹麦）和Collective Unconscious (UK)（英国）交流推进，并由Inga Gerner Nielsen导演。

Theperformance explored the idea of a sensuous society – a possible society wherethe sensual and poetic perception of the world is at the center.

表演对感官社会的想法进行了探索，在这样的社会下感觉和诗化的观点是世界的中心。

The physicalstructure covered an area of 794 square meters with the highest point of 7meters. It consisted of seven parts, which together created one unitedstructure that framed the performance and together with it formed a paralleluniverse.

这以构筑物体占地794平方米，最高处达7米。其由7部分组成，7个部分又构成一个整体，为表演提供遮盖于此同时也想成互相平行的空间。

The sevenparts of the structure were The Ring, The Stage, The Ridge, The Reactor, TheBarn, The Dressing Room and The Courtyard. All parts were built in shells ofplywood assembled with bolts and “sewings” in polycarbonate. Each part wasdesigned over the same catenary curve as the section itself. And each partconsisted of a sequence of sections which were variations of this one curve. Inthis way every part became individual with its own appearance and spatialqualities, and at the same time it was part of a greater whole.

构筑物的7个部分分别是Ring(铃)，舞台，山脊，反应器，仓库，更衣室还有院子。所有的部分由用螺栓和聚碳酸酯制成的“缝制线”连接胶合板并组装成贝壳的形状。每一部分都是依照自己剖面悬垂线的曲线去设计的。同时，各个部分又组成了一系列与自己曲线不同的剖面。通过这种方式，每一部分都成为了有自己形态和空间品质的个体，于此同时，它还是伟大整体的一部分。

The plywoodshells acted both as façade and as support for the structure. 12, 9, 6 and 4 mmthick plywood was used. The thick plywood was placed in the bottom and the thinin the top. Each plywood shell was bent into a singular curve and all togetherthese curves created the structural support for the whole project. The shellswere fastened to a leveled base which was attached to the ground with one meterlong earth spikes.

这些贝壳形状的胶合板不仅是构筑物的立面，同时也是构筑物的承力体。这里使用了12、9、6还有4mm厚的胶合板。厚的板用在底部，而薄的板则用在顶部。每一块胶合板都被弯成特定的曲度，而所有的曲度又为整个构筑物提供了支撑力。这些贝壳状的胶合板被牢牢捆在一起形成（有）一定（受力）程度的基础，通过一米长的大钉子把基础牢牢打入土地。

Part of thearchitectural unfolding was to investigate how variations of the same curvecould create a rich spatial appearance. Also the unfolding tested thestructural concept and assemble methods in a large scale.

一些建筑（形态）上的褶皱是为了研究同一曲线能够创造何种多样的丰富的空间形态。同时，这些褶皱也在更大尺度上检验了构筑物的建造概念并和集合方法。

Theperformance acts took departure in rituals and in anthropologist Arnold VanGennep′s concept of liminality. This liminality was incorporated in the physicalstructure. The courtyard and thereby the inside of the structure was onlyaccessible via three spaces. These spaces acted as thresholds and liminalspaces towards the performance.  Inside the structure in the sensuoussociety was formed by 10 archetypes: The Bewinged, The Alchymist, The Dictator,The Killer, The Pink Narcissus, The Fetichist, The Critic, The Idealist, TheVoyeur and The Creature. The society was also inhabited by maintainers thatmaintained the archetypes and engaged the festival participants with thearchetypes.

表演的行为从节日礼仪还有人类学家Arnold Van Gennep关于开始的概念出发。这种开始也被融合进实体建筑中。建筑的院子还有内部只能通过三个空间进入。这些空间就像是门槛或者说是去看表演的开头。而在建筑内部，感官的社会由10个原型组成：训鹰的人, The Alchymist？,独裁者，杀手，粉红色的水仙，The Fetichist?,评论家，空想主义者，偷窥者还有创造者。这个社会同时还由一些维护者居住。这些维护者维护原型，并用这些原型吸引节日的参加者。

The stagewas unconventional in the festival setting. The floor was only 30 cm tall andthe stage was accessible from both sides. The guest performers at the stagecould therefore easily manoeuvre towards the festival or towards the sensuoussociety.

这个舞台并不是传统的节日设置。台板只有30厘米高，而舞台可以从两边到达。因而，表演者们可以轻易地移动到节日区域或是到达感官社会。

一层平面图：


剖面图：

这一篇文章，个人翻译的过程中还是发现好多问题，感觉专有的一些名词比较多，文化背景那块也没有跟上。

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好久没更新翻译了，这次一下子增了3个，刚研究完这个，翻译的很不错

这个设计得挺有爱的，好可爱的构思！

夜雨心静 发表于 2013-9-3 01:48

                               
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这个设计得挺有爱的，好可爱的构思！

嗯嗯，以前只看图片，后来看了解说，发现还是挺有想法的

能不能叫做野兽派的作品？

感觉有些超现实呢。。。。

好可爱的构思！

以人的举动进行象形的造型  比较可爱！

不知用于其他地方能否合适

真的是一個很棒的建築設計

可以看做是对童话城堡的转译么 哈哈

有想法就是好滴嘛

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