萨洛瓦·拉乌达·楚凯尔基金会/卡里姆·贝达什工作室

萨洛瓦·拉乌达·楚凯尔基金会/卡里姆·贝达什工作室
Saloua Raouda Choucair Foundation / Karim Bekdache Studio

独特的艺术展示空间：萨洛瓦·拉乌达·楚凯尔基金会作为一个混合存储和展览空间，独具特色。从长达200米的混凝土围栏，其由浇注模块组成向艺术家堆叠雕塑致敬，到穿过大门、走下楼梯后迎来的五米高混凝土天花板下展示五百多件各类艺术品的主厅，再到定制设计的存储元素参与场景布置，整个空间为展示楚凯尔的世界知名作品提供了绝佳环境。

与自然景观的融合：该建筑在设计上充分考虑与景观的融合。一组手臂状结构从主房间伸出，玻璃立面框架可欣赏周边自然景观。建筑立面涂有手工涂抹的灰泥，窗框保留原始混凝土饰面，且坐落在混凝土柱上避免繁重挖掘，保存了地下地质和自然特征，屋顶覆盖绿化融入景观。同时，小型作品在建筑内展出，纪念性作品在周边景观展示并通过专用路径相连，实现了建筑与自然的和谐共生。

建筑师提供的文字描述Saloua Raouda Choucair基金会位于黎巴嫩Ras El Matn，以20世纪中东抽象艺术领域的先驱艺术家命名，是Choucair世界知名作品的混合存储和展览空间。
Text description provided by the architects. Located in Ras-El-Matn, Lebanon, the Saloua Raouda Choucair Foundation, namedafter the pioneering artist in the 20th-century Middle Eastern abstract art scene, serves as a hybrid storage and exhibition space for Choucair’s world-renowned works.

朝着地基行驶，一道200米长的混凝土围栏标志着通往大门的道路。为了向艺术家的堆叠雕塑致敬，围栏由一系列浇注的混凝土模块组成，这些模块组装在一起形成了一个引导游客进入入口的周界。
Driving down towards the foundation, a 200-meter-long concrete fence marks theapproach to the gates. An homage to the artist’s stacking sculptures, the fence iscomposed of a series of cast concrete modules assembled to form a perimeter thatguides visitors toward the entrance.

Mass Plan

穿过大门，走下一段铺着石板的混凝土楼梯，我们到达了基金会的入口，那里有一扇巨大的黑色钢门守卫着。刻在建筑物灰泥上的标志引导游客进入主厅。参观者抵达后，会受到五米高的混凝土天花板下的静物画的欢迎，展示了五百多件艺术品，包括绘画、雕塑、挂毯和家具，展示了Choucair作品的各个方面。定制设计的存储元素参与了场景设计，存放和展示了这些作品。
Walking through the gate down a slabbed concrete staircase, we reach the foundation’sentrance, guarded by a monumental black steel door. Signage etched into the building’splaster leads the visitor into the main hall. The visitor is greeted upon arrival by ascenography, set under a five-meter-high concrete ceiling, presenting more than fivehundred artworks including paintings, sculptures, tapestries, and pieces of furniture,showcasing all facets of Choucair’s work. Custom-designed storage elementsparticipate in the scenography, holding, and showcasing the works.

一组手臂从主房间向外伸出，在地块上百年松树之间交织。在每只手臂的末端，一个落地玻璃立面框架可以看到周围的自然景观，进一步将基础与环境连接起来。两扇类似于箭头狭缝的窄窗分别突出了建筑后部松林中的一座大型雕塑，以及主立面悬挑阳台上的另一座雕塑，朝向地块的下部和周围的山谷。
A set of arms articulate outward from the main room, weaving between the plot’scentenarian pine trees. At the end of each arm, a floor-to-ceiling glass facade framesviews of the surrounding natural landscape, further connecting the foundation to itsenvironment. Two narrow windows akin to arrow slits are placed to respectively highlighta large sculpture within the pine grove at the back of the building, and another sculptureon a cantilevered balcony at the main facade, looking towards the lower parts of the plot and the surrounding valley.

该建筑的立面涂有手工涂抹的白色水泥基灰泥，而窗框则保留了原始混凝土饰面。
The building’s facade is coated in a bush-hammered white cement-based plaster,applied by hand, while the window frames retain a raw concrete finish.

该项目与景观融为一体，最大限度地减少了对现有地质和自然特征的影响。该建筑坐落在混凝土柱上，以避免繁重的挖掘工程，使保存完好的岩石和橡树灌木在结构下保持可见。抬高建筑物也有助于保护它免受潮湿。
The project melds into the landscape and minimizes the impact on existing geological and natural features. The building sits atop concrete columns to avoid heavy excavation works, allowing preserved rocks and oak shrubs to remain visible under the structure.Raising the building also helps to protect it from humidity.

Elevation

由于屋顶是道路行驶时基础的第一个可见部分，因此决定用绿化覆盖它，将其融入景观中。
As the roof is the first visible part of the foundation while driving down the road, it wasdecided to cover it in greenery to integrate it into the landscape.

虽然Choucair的小型作品在建筑内储存和展出，但更具纪念意义的作品在周围的景观中展出，通过一条从主楼开始的专用路径相互连接。
While Choucair’s smaller works are stored and exhibited inside the building, the moremonumental pieces are on display throughout the surrounding landscape, connectedtogether via a purpose-built path originating from the main building.