综合体展馆/P+S建筑研究所

综合体展馆/P+S建筑研究所
COMPLUVIUM Pavilion / P+S Estudio de Arquitectura

独特的空间体验：COMPLUVIUM Pavilion 通过巧妙的设计，创造了一种独特的建筑体验。它不仅仅是一个静态的空间，而是一个能够让人深刻感知水的存在与意义的场所。设计师通过在空间内部构建与水相关的体验，升华了建筑的物质条件，将建筑转化为一种体验发生的必要支持，这种设计思路打破了传统建筑的功能性限制，赋予了建筑更深层次的精神内涵。

巧妙的几何与功能融合：该项目在几何形态上采用了基于5 x 5 x 5米虚拟立方体的设计，通过向内倾斜的屋顶收集雨水，形成了一个中心空隙。这种设计不仅呼应了罗马“中庭”的传统，也借鉴了塞内加尔南部迪奥拉社区的雨水收集方式，体现了跨文化的设计灵感。雨水收集的功能不仅满足了实际需求，也为建筑赋予了沉思的功能，使建筑成为了一个多功能的“空间人工制品”，在形式与功能之间达到了高度的统一。

材料与文化的深度对话：在材料选择上，COMPLUVIUM Pavilion 展现了极高的智慧。木材、亚麻和玻璃纤维这三种材料在建筑中形成了复杂的对话。木材和亚麻直接引用了诺曼底地区的建筑和文化传统，如裸露的木结构房屋和当地亚麻布生产，强化了建筑与地域文化的联系。玻璃纤维则提供了现代的保护和透明性，使建筑在传统与现代之间找到了平衡。这种材料的运用不仅提升了空间的感官体验，也定义了内外之间的精确联系，体现了设计师对材料、文化与空间关系的深刻理解。

建筑师提供的文字描述COMPLUVIUM象征着水，试图突出鲁昂最具特色的气候条件和坎特勒的树木繁茂的环境，全年降雨量充沛。它是一种具有永恒特征的“空间人工制品”，一方面，它似乎由可识别的几何形状定义，与自然环境形成明显对比，另一方面，试图通过亚麻和玻璃纤维皮的作品微妙地消失，这些材料在与光接触时会改变其外观，最终消失在景观中。
Text description provided by the architects. COMPLUVIUM stands as an allegory to water, seeking to highlight the most characteristic climatic condition of Rouen and the wooded environment of Canteleu, the heavy rainfall that abounds throughout the year. It is a ‘spatial artifact’ with a timeless character, which, on the one hand, appears defined by a recognizable geometry, in evident contrast with the natural surroundings, and, on the other, attempts to subtly disappear through a work of linen and fiberglass skins, materials which, on contact with light, transform its appearance and end up disappearing in the landscape.

因此，一个基本目标被定义为从空间内部构建一种建筑体验，通过这种体验，我们可以意识到森林中水的存在，从而升华其自身的物质条件；通过这种方式，悖论在于这样一个事实，即所寻求的不是对水的保护，而是相反，为水建造一个避难所。这就是我们所寻求的物质寓言原则，建筑只是被转化为体验发生的必要支持。
A fundamental aim is thus defined, as constructing an architectural experience from the interior of the space, through which it is possible to make us aware of the presence of water in the forest, thus sublimating its own material condition; in this way, the paradox lies in the fact that what is sought is not the protection from the water but, on the opposite, to build a refuge for it. Therein lies the principle of material allegory that we seek, and where architecture is simply transformed into the necessary support for the experience to happen.

Section

COMPLUVIUM是通过几何运算解决的，该运算基于一个5 x 5 x 5米的虚拟立方体，将一个中心空隙连接起来，其中向内倾斜的屋顶允许水收集在展馆的中心，就像罗马的“中庭”一样，或者就像塞内加尔南部的迪奥拉社区几个世纪以来用自己的家所做的那样，寻找必要的雨水收集。对这两个参考文献的引用综合了我们对“空间人工制品”概念的看法，在这种情况下，它通过水的激活除了沉思之外没有其他功能。
COMPLUVIUM is solved in a geometric operation that articulates a central void based on a virtual cube of 5 x 5 x 5 meters, where the roofs sloping inwards allow water to be collected in the center of the pavilion, in the same way as occurred in the Roman ‘atrium’, or as the Diola community of southern Senegal has done for centuries with their own homes, in search of the necessary collection of rain. The allusion to both references synthesizes our approach to the idea of ‘spatial artifact’, where, in this case, its activation by means of water has no other function than that of contemplation.

Plan - General

材料分辨率旨在通过使用最少的材料，最大限度地提高空间的感官和感知体验，在这种情况下，只能通过三种材料：一种松木结构框架，为“水上庇护所”提供身体；玻璃纤维和树脂，起到保护膜的作用，允许光线穿过，但提供了一个防水外壳，可以抵抗时间的流逝；最后，100%当地制造的亚麻布，以不同的方式形成展馆的外部和内部表皮，其外表面有黑色污渍保护，内部有自然表情，从而加强了外壳和内部之间的二元性，这是一种矛盾的运动，可以让空间体验达到标准。
The material resolution seeks to maximize the sensorial and perceptive experience of the space with the use of the minimum, in this case only through three materials: a pinewood structural framework that gives body to the ‘water shelter’; fiberglass with resin, which acts as a protective membrane, allowing light to pass through but providing a waterproof envelope that is resistant to the passage of time; and finally, the 100% locally manufactured linen, which forms the exterior and interior skin of the pavilion in a differentiated way, with black stain protection on its external face and with its natural expression on the inside, thus reinforcing the duality between shell and interior as an ambivalent exercise that allows the spatial experience to be qualified.

通过这种方式，木材、亚麻和玻璃纤维在不同性质的“皮肤”之间建立了一种复杂的对话，最终使空间氛围变得微妙，并定义了内外之间的精确联系。同样，木材和亚麻布直接参考了诺曼底的建筑和文化传统和身份，这可以在裸露的木结构房屋的“巨型”类型学和当地亚麻布生产中找到。因此，复杂性将自己分解为两种可识别材料之间的关系，这两种材料是鲁昂建设性记忆的一部分，试图在领土、建筑和记忆之间建立一种有意识的关系。
In this way, wood, linen and fiberglass establish a complex dialogue between ‘skins’ of different natures that ultimately nuance the spatial atmosphere and define a precise link between inside and outside. Similarly, wood and linen make direct reference to Normandy's architectural and cultural tradition and identity, which can be found both in the ‘colombage’ typology of exposed timber-framed houses and in the local production of linen. COMPLUVIUM thus resolves itself into a relationship between two recognizable materials that are part of Rouen's constructive memory, in an attempt to establish a conscious relationship between territory, architecture, and memory.