日本建築師 Sou Fujimoto 藤本壯介受邀設計2013年Serpentine Gallery Pavilion

文章由 **forgemind.news** » 2013-02-14, 19:53

日本建築師 Sou Fujimoto 藤本壯介受邀設計2013年Serpentine Gallery Pavilion

每年夏天，倫敦的蛇形藝廊 Serpentine Gallery都要為募集藝術基金而舉辦慈善派對，並在室外草坪搭建臨時展館以供使用；自2000年起，蛇形藝廊為探索現代展館建築的創新思維，邀請尚未在英國本土有過建築作品但已經在國際上享有盛名的建築師為蛇形藝廊設計打造戶外展覽亭(Serpentine Gallery Pavilion)，並賦予他們創作上充分的自由。

這項建築實驗計畫，迄今已邀得扎哈哈帝(Zaha Hadid)、萊比斯金(Daniel Libeskind)、伊東豊雄(Toyo Ito)、MVRDV、尼梅耶(Oscar Niemeyer )、庫哈斯(Rem Koolhaas)、法蘭克蓋瑞(Frank O. Gehry)、妹島和世+西澤立衛(Kazuyo Sejima + Ryue Nishizawa)、Peter Zumthor、Herzog & de Meuron 等建築師一試身手，其中11位得過建築界最高榮譽普立茲克獎(Pritzker Architecture Prize)。

2013年，蛇形藝廊邀請到日本建築師 Sou Fujimoto 藤本壯介來到倫敦肯辛頓花園大顯身手，以 20mm 鋼柱打造佔地約 350平方米的立體網格狀 Serpentine Gallery Pavilion，以其重新創造自然地形，讓花園中的植栽與幾何構造彼此交織成一片饒負生命力的景致。

AECOM 公司首次承擔蛇形藝廊的工程任務，此設計案的負責人David Glover 表示，會把這座透明的建築打造得生動有趣；在設計過程中，由於時間緊迫僅6個月時間，Glover 採用了Autodesk 的Revit 軟體，他曾在過去6年裏參與過蛇形畫廊的工程工作，當時他還是Arup公司的設計師。

2013年的蛇形藝廊 Serpentine Gallery Pavilion 將在6月4日晚舉辦開幕儀式。

>>相關網頁
::日本建築師 Sou Fujimoto 藤本壯介受邀設計2013年Serpentine Gallery Pavilion @ FACEBOOK::

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>>相關圖片

↗ Sou Fujimoto - 2013 Serpentine Gallery Pavilion - 手繪概念圖 concept sketch

↗ Sou Fujimoto - 2013 Serpentine Gallery Pavilion - rendering 電腦模擬圖 01

↗ Sou Fujimoto - 2013 Serpentine Gallery Pavilion - rendering 電腦模擬圖 02

歷年獲邀設計蛇形藝廊戶外展覽亭之建築師名單

出處

Sou Fujimoto to design Serpentine Gallery Pavilion 2013

The Serpentine Gallery Pavilion 2013 will be designed by multi award-winning Japanese architect Sou Fujimoto.

He is the thirteenth and, at 41, youngest architect to accept the invitation to design a temporary structure for the Serpentine Gallery. The most ambitious architectural programme of its kind worldwide, the Serpentine's annual Pavilion commission is one of the most anticipated announcements on the cultural calendar. Past Pavilions have included designs by Herzog & de Meuron and Ai Weiwei (2012), Frank Gehry (2008), the late Oscar Niemeyer (2003) and Zaha Hadid, who designed the inaugural structure in 2000.

Widely acknowledged as one of the most important architects coming to prominence worldwide, Sou Fujimoto is the leading light of an exciting generation of artists who are re-inventing our relationship with the built environment. Inspired by organic structures, such as the forest, the nest and the cave, Fujimoto's signature buildings inhabit a space between nature and artificiality. Fujimoto has completed the majority of his buildings in Japan, with commissions ranging from the domestic, such as Final Wooden House, T House and House N, to the institutional, such as the Musashino Art Museum and Library at Musashino Art University.

Occupying some 350 square-metres of lawn in front of the Serpentine Gallery, Sou Fujimoto's delicate, latticed structure of 20mm steel poles will have a lightweight and semi-transparent appearance that will allow it to blend, cloud-like, into the landscape and against the classical backdrop of the Gallery's colonnaded East wing. Designed as a flexible, multi-purpose social space - with a café sited inside - visitors will be encouraged to enter and interact with the Pavilion in different ways throughout its four-month tenure in London's Kensington Gardens.

Julia Peyton-Jones, Director, and Hans Ulrich Obrist, Co-Director, Serpentine Gallery, said:

"We are thrilled to be working with one of the most fascinating architects in the world today. A visionary, who has conceived an extraordinary response to our invitation to design the Serpentine Gallery Pavilion, Sou Fujimoto has designed a structure that will enthral everyone that encounters it throughout the summer."

Describing his design concept, Sou Fujimoto said:

"For the 2013 Pavilion I propose an architectural landscape: a transparent terrain that encourages people to interact with and explore the site in diverse ways. Within the pastoral context of Kensington Gardens, I envisage the vivid greenery of the surrounding plant life woven together with a constructed geometry. A new form of environment will be created, where the natural and the man-made merge; not solely architectural nor solely natural, but a unique meeting of the two.

The Pavilion will be a delicate, three-dimensional structure, each unit of which will be composed of fine steel bars. It will form a semi-transparent, irregular ring, simultaneously protecting visitors from the elements while allowing them to remain part of the landscape. The overall footprint will be 350 square-metres and the Pavilion will have two entrances. A series of stepped terraces will provide seating areas that will allow the Pavilion to be used as a flexible, multi-purpose social space.

The delicate quality of the structure, enhanced by its semi-transparency, will create a geometric, cloud-like form, as if it were mist rising from the undulations of the park. From certain vantage points, the Pavilion will appear to merge with the classical structure of the Serpentine Gallery, with visitors suspended in space."

Fujimoto is the third Japanese architect to accept the invitation to design the Serpentine Gallery Pavilion, following Toyo Ito in 2002 and Kazuyo Sejima & Ryue Nishizawa of SANAA in 2009

文章由 **eaGer** » 2013-02-15, 20:02

FACEBOOK 上的回應

Austin Chen

哇～又一次看到倫敦的翻轉密碼。城市，每天總不間斷的變化著。建築大師萊特（Frank Lloyd Wright）曾說：「我們不會有自己的特色，直到擁有屬於自己的建築」。換言之，假若城市為一本書的話，建築便是當中的詞句，透過具有歷史、文化且架構一致的詞彙，將讓書充滿了內涵。倫敦，可說是英國發展最快速的城市，但在面對全球化的挑戰時，如何改善其空間發展計畫，且降低所造成的社會、政治、經濟等面向所帶來的衝擊，變成了一大挑戰。倫敦計畫（The London Plan）成功的翻轉了一座城市，並使其充滿競爭力。

倫敦公私部門策略性的工作夥伴(特別在產業發展方面)，攜手準備規劃架構，在關鍵重要的區位推動開發並確保其投資，而策略性發展的優先權(如增加可負擔得起住屋的供給及建公共運輸等，需仰賴公共補貼及大量穩定的捐獻),是在全倫敦一致的準則下，透過規劃義務的協商來作成的。這整個過程,是透過好的設計去創造長期的價值、高品質的公共場域及環境的永續，及保持其價值能長期地成長，以便能再循環投資於此社區。

政府政策和資金投注的決策，切合倫敦各地區的需求，是非常重要的，諸如對交通運輸、住屋供給、鄰里更新、環境等方面的需求，以及對社會服務、健康、安全、教育、技能等方面的資助等。倫敦在公共支出上的分擔，在推動 The London Plan 期間，已經很恰當的反映了其需要性，以及其在整個國家經濟上所扮演的角色。

文章由 **eaGer** » 2013-02-15, 20:40

看到藤本壯介設計2013年Serpentine Gallery Pavilion的消息，讓我為藤本開心之餘，同時也為伊東豊雄感到憂心，如果下一位獲頒 Pritzker Architecture Prize 的日本建築師就硬生生地將伊東跳過而落到藤本身上，讓伊東情何以堪哪？！

然而我如此地替伊東憂心並不是沒有道理，在這樣一個講究刺激的年代裡，報章雜誌電視媒體充滿了五光十色的炫麗，會不會 Pritzker Architecture Prize 背後的大金主 Hyatt Foundation 也「暗示」評審們可以如此操作，伊東就會給撇到一邊去了。

台灣或許感覺不到，但以全世界的眼光來看這個時代，世代交替速度之快，讓人訝異且感嘆。

on my facebook

文章由 **forgemind.news** » 2013-05-31, 11:55

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 01

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 02

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 03

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 04

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 05

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 06

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 07

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 08

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 09 - 2013-0523 Photography by Laurence Mackman

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 10 - 2013-0523 Photography by Laurence Mackman

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 11 - 2013-0523 Photography by Laurence Mackman

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 12 - 2013-0523 Photography by Laurence Mackman

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 13 - 2013-0523 Photography by Laurence Mackman

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 14 - 2013-0523 Photography by Laurence Mackman

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 15 - 2013-0523 Photography by Laurence Mackman

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 16 - 2013-0523 Photography by Laurence Mackman

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 17 - 2013-0523 Photography by Laurence Mackman

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 18 - 2013-0523 Photography by Laurence Mackman

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 19 - 2013-0523 Photography by Laurence Mackman

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 20 - 2013-0523 Photography by Laurence Mackman

Sou Fujimoto 藤本壯介 - 2013 Serpentine Gallery Pavilion - construction 施工過程 21 - 2013-0523 Photography by Laurence Mackman

Admiseeaspice · 文章由 **Admiseeaspice** » 2013-07-12, 12:38

出處

Interactive Art: Serpentine Gallery Pavilion by Sou Fujimoto
All photos by Frank Kaltenbach

"The same procedure as every year." The legendary phrase of the traditional sketch "Dinner for One" broadcast in a number of European countries every New Year’s Eve could also apply to the Serpentine Gallery Pavilion. Director Julia Peyton-Jones and co-director Hans Ulrich Obrist have commissioned the thirteenth architect to construct a pavilion right in front of the gallery in London's Hyde Park.

But this year's Serpentine Gallery Pavilion by the Japanese architect Sou Fujimoto is different in many ways. At 41, Fujimoto is the youngest Serpentine architect so far. His pavilion does not rely on sensational visual effects or an overloaded theory. It is not yet another infusion of an ageing star. Fujimoto is not at the end, but nearing the peak of his career. This fresh and relaxed energy can be perceived by all, from aficionados of architecture to casual passers-by attracted by the aura of the diaphanous structure.

The simplicity of the means with which Fujimoto creates the most complex spatial effects through aggregation and disaggregation is absolutely fascinating. Two-centimetre-wide square-shaped steel poles form the three-dimensional coordinate system constituting the geometrical and constructive starting point of the welded structure. The basic modules of the construction are simple lattice blocks with sides of 40 or 80 cm.

Areas of the abstract grid designated to fulfil a specific function are fitted with hardly noticeable transparent elements. Fish scale-like polycarbonate disks arranged in clusters in the roof area serve as rain protection. The installation attempts to replicate the open structure of clouds, which works by varying the density of the modules admitting sunlight through the white steel construction. When the sky is overcast, the polycarbonate disks accentuate the appearance of the grey clouds with their curved contours.

Non-slip printed glass panels fill structures located near the ground, offering seating that is much more comfortable than one might expect. Transparent polycarbonate strips securing the sitting steps prevent small children from falling through the three-dimensional grid, and thin anti-fall guard rods are positioned inconspicuously.

The variation in the floor covering corresponds to the transition from inside to outside. Glass panel floor sections echo the polycarbonate disks in the roof. Viewed in an orthogonal direction, the structure has a clear and delicate appearance.

The transitions to the sky are frayed like the fringes of a three-dimensional carpet or the branches of a tree.

From a diagonal perspective, the various sections begin to oscillate with the bundles of light admitted through the grid – a dramatic constructivist-futurist scenery presents itself with the changing sunlight between the clouds. Friedrich Kiesler's "City in Space" at the Exposition des Arts Decoratifs 1925 in Paris springs to mind.

The structure is versatile in the sense that it is open and transparent, yet also as effective as barbed wire in screening off the public. For an event like a panel discussion with an invited audience the three entrances can easily be guarded with minimal staff.

Japanese film makers have also come to London with Sou Fujimoto.

The architect strives to create architecture in which material, construction, surface and usage form one entity, something that he feels only to have successfully achieved in the "Final Wooden House" so far. With the Serpentine Gallery Pavilion, Sou Fujimoto has however gone much further. The "Final Wooden House" also consists of only one basic module comprised of square-shaped natural-finish wooden beams, which are used as floor, platform, wall or roof. Here too, no additional furniture exists: the structure functions as envelope and furniture at the same time. In terms of spatial design, it focuses on the contrast between a closed rectangular exterior and a cavernous interior. The Serpentine Gallery Pavilion on the other hand knows no outside or inside, with nature and architecture merging, much like the topological character of the Klein bottle. The lattice structure moreover acts as a permeable membrane.

The circulation design of the construction is based on the existing layout of access paths, with the visitor led through the space in a serpentine up to the entrance of the historical gallery building, like through an open tunnel.

From the south, it appears as though Fujimoto wanted to continue the historical white lattice windows and the cross on the old building into infinity with his sculpture. Truth or conjecture? During a lecture, Fujimoto admitted with a smile that what amazed him most is when he saw that his pavilion goes really well with the white lattice structures of the gallery.

Although the ground plan of the pavilion is almost circular in shape, its appearance changes entirely with the position of the observer.

As in the sketches and model photos of Primitive House, visitors seem to float in the latticework.

In an often rainy London, the west terrace overlooking the Serpentine Gallery is a popular open-air solarium towards the end of the day.

People look for a quiet place to sit or position themselves near one of the entrances to be able to study newcomers and their usually emotional reactions to the pavilion.

The north exit to the gallery opens up to a tree, exemplifying the traditional Japanese principle of "borrowed scenery", with the surrounding area directly integrated in the composition.

The structure attracts children magically and it’s hard to stop them from climbing up to the highest level.

But there are also areas where the roof floats above the flat landscape cloud-like. Interwoven in nature and architecture like in a Japanese woodcut, the trees in the background, the clouds and the openings create a virtual, almost surreal depth.

Above the tiered seating, the space finally opens up to the sky, with roles inevitably alternating between being observed and observing.

One becomes very much aware of the horizon line up there, with complete slit-like views through the structure, but only straight ahead at eye level.

At the height of the tops of the trees, it is almost liberating to emerge from this open and yet stringent order. The grid structures are more than welcome to hold on to here, because this position is at a dizzy height on account of the glass floor. Sou Fujimoto has not reinvented architecture with the Serpentine Pavilion. But he has thought up a construction of edged steel profiles that looks as if it had been thrown on paper with a single brushstroke. The poetry inherent in this design is best felt up here, at the abyss between architecture and nature.

FAM TALK