'aura-L'
設計案：AURA 裝置
設計者：Zaha Hadid + Patrik Schumacher
設計團隊：Fulvio Wirz, Mariagrazia Lanza
展出地點：義大利威尼斯 Vlla Foscari la Malcontenta
展出時間：2008.09.14 ~ 2008.11.23
Andrea Palladio 是義大利文藝復興接近晚期，一位從出身卑微的石匠，卻成為當代最具影響力的建築師。1570 年，Palladio發表了對西方建築發展影響深遠之《建築四書 Quattro Libri dell'Architettura》(Four Books on Architecture﹞，這是一部與軍事工程師維特魯威(Vitruvius) 所著《建築十書》(De architectura)具有同樣影響力的鉅著。在這部著作中，他收錄了各種古典柱式，其中有許多樣式是取材自古典羅馬，書中也包括了他自己作品的平面圖、立面圖與剖面圖，並附有尺寸與說明。在實際建築方面，帕拉迪歐將古典神廟之門面與教堂之圓頂應用至一般建築上，成為一種帕拉迪歐風格﹝Palladianism﹞。這種風格不只侷限於義大利，甚至遠播到英國和北美地區，至今在這些地區仍可看見許多這種風格的建築。
Palladio 的作品大都集中於威尼斯﹝Venice﹞與威欽察﹝Vicenza﹞，尤其在威欽察市區，到處都看得到有他為富有市民所建的府邸豪宅，因此威欽察又稱為帕拉底歐之城。雖然帕拉迪歐的建築看似相當簡單，但絕對不是簡化到只有門廊加上巨大古典柱的應用而已，他根據文藝復興重視比例的原則，十分巧妙的將建築的機能性與美學融合而為一體的。
為了顯赫 Andrea Palladio 五百年誕辰(1508年11月30出生)，Zaha Hadid 和 Patrik Schumacher 創作了以「AURA」為名的雕塑，擺設在威尼斯的 Vlla Foscari la Malcontenta，作為第11屆威尼斯建築雙年展參展作品，該作品分為兩件「'aura-S」與「aura-L」，陳列在兩個房間當中。
以下文字描述由 Zaha Hadid 建築師事務所提供：
'aura' is an experiment in translating villa foscari’s palladian design, which relies on a defi nite set of harmonic proportions, into a contemporary space whose elegance and dynamism is generated through a process defined by a non-linear set of rules elicited from palladio’s theories. since the renaissance architects tried to embed in their compositions the musical concept of harmony and the mathematical relations that un-derlie notes, intervals and chords while producing a sound.
'aura-L'
palladio used this concept of harmonic proportion to link his villa’s rooms, aiming for a global system of harmony.
the process of generating aura’s form brings these linear proportions into their musical meaning. each of them corresponds to a musical harmonic that in turn can be described as a frequency wave: a half is an octave interval, four thirds is a fourth and so on. by overlapping all the frequency curves generated from villa malcontenta’s proportional system and progressively changing them with mathematical algorithms it is possible to define a genotypic elementary space whose form contains in its DNA the whole Palladian set of rules.
'aura-S'
at the same time the parametric nature of the process makes the form able to adapt itself to multiple environments within the villa, keeping track of every single variation or 'phenotype'. the result is a new and more complex order that retains at the same time classical proportions but is not enclosed in a rigid and unique solution. in fact, like in lorentz attractor’s equation, every small change in the value of parameters will result in a different morphological configuration that will keep the same order but with altered proportions. this dynamic of differentiation helps in giving to the whole installation a spatial relationship whilst keeping every single space independent. this gives enough flexibility to create different scenarios within the villa and to configure a set of multiple relationships between two, three or four rooms. aura‘s design gives form to an ethereal space that doesn’t collide with the beauty and harmony of palladian interiors nor does it hide the perception of its frescoes. its proportions in plan are part of villa malcontenta’s harmonic system and allows to experience its spaces both walking through and circulating around.
'aura-S'
this puts in context the humanistic anthropocentric vision of architecture with contemporary spacial values tending to emphasize the skin, the interface, the environment rather than the interior. aura doesn’t claim to reinvent palladian space nor to perform as a tool for reading hidden meanings through its gaps. its stream of thin elongated curves painted in a glossy reflecting finish catches the atmosphere and the colours of villa malcontenta bridging the past with the future.
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::Zaha Hadid 建築師事務所::
::Vlla Foscari la Malcontenta::
::威尼斯建築雙年展 | venice architecture biennale::