EX Unione Militare建筑翻新

地點：意大利羅馬

建筑師：馬希米亞諾?福克薩斯，多麗安娜?福克薩斯

面積：6,116平方米，4層樓

攝影：?Gianni Basso

SITE: Rome, at the corner between Via del Corso and Via Tomacelli

PERIOD: 2008 - 2013

ARCHITECTS: Massimiliano and Doriana Fuksas

AREA: 6,116 sq.m., 4 floors

PHOTOS: ?Gianni Basso

城市景觀的新架構(gòu)根據(jù)當(dāng)代口味重新定義了羅馬歷史中心的城市景觀。由鋼鐵和玻璃《燈籠》建造的“Ex Unione Militare”建筑，位于Via del Corso和Via Tomacelli之間，以圣安布羅斯和卡羅阿爾?科索圓頂教堂為目標(biāo)，跨越四層建筑底層的全景露臺。

構(gòu)景要素以自然、人文為主線，交通為紐帶，民俗文化為趣味點，形成主題各異、形象鮮明的旅游精品線路，造出“同飲黃河水，共賞民俗情”的主題式旅游[10]。民俗文化有著獨特的文化內(nèi)涵、濃烈的原始?xì)馕丁⒑裰氐臍v史氛圍、顯著的地域差距、歡愉的生活情調(diào)及豐富多彩的表現(xiàn)形式，對游客產(chǎn)生強(qiáng)大的吸引力和感召力。

當(dāng)代歷史中心的解釋導(dǎo)致建筑的外部受到輕微干預(yù)，其原始建筑可以追溯到十九世紀(jì)，那時候建筑專注于內(nèi)部和屋頂?shù)母脑臁Ｍ庥^的改造一直專注于恢復(fù)和穩(wěn)定原始建筑特色的建筑。外墻的架構(gòu)一直強(qiáng)調(diào)要通過最小光線設(shè)計干預(yù)，當(dāng)代的建筑把它運用到與城市的連接中。

大《燈籠》是項目的象征，也是干預(yù)的核心。鋼鐵和玻璃三角形結(jié)構(gòu)，跨越整個建筑，包含垂直連接、服務(wù)和輔助房間以及植物的一部分。由“燈籠”創(chuàng)造的完全高度的實體引發(fā)了各種地板的結(jié)構(gòu)一瞥，這些都是通過過道緊密相聯(lián)系的。

《燈籠》的部分功能是在離地面最大高度的750米的屋頂上，容納了一個面積達(dá)300平方米的全景餐廳空間。從城市的全景視角看，《燈籠》受到自然光的刺激，外觀呈現(xiàn)出不規(guī)則的鏡子狀而不像冰冷的湖泊，而晚上燈籠點亮的時候，形狀看起來就像一盞大燈。

到了晚上，建筑物的外墻亮起來，看起來像一個大劇院，隨著氣氛的變化，觀眾可以享受從外到內(nèi)光影色彩的變幻之美。

每層樓為參觀者提供了一個獨特的空間，以白色地板裝飾，不同大小和顏色的《泡沫》，由紅色漸變到橙色乃至紫色。在一樓，開辦了一個色彩斑斕、物品豐富的集市，是連接Tomacelli和相鄰廣場的寬廣的開放空間。

福克薩斯室內(nèi)設(shè)計的閃亮元素的靈感來自兒童玩具。它們類似流體雕塑，主要由玻璃纖維制成，以閃亮的白色為特征。桌子、辦公桌、蒲團(tuán)、陳列架，《抽陀螺》的服裝和配件都被輕輕放入展區(qū)。《抽陀螺》成扇形散開，像花瓣，像藝術(shù)。橢圓形的鏡子反射了內(nèi)部，光線和色彩成為一個整體。《燈籠》充當(dāng)一個劇院的翅膀，在每層盡情綻放。假吊燈通過一系列與地板顏色一致的燈光亮起。每一級發(fā)光玻璃樓梯的臺階，表面閃閃發(fā)亮，與內(nèi)部空間相聯(lián)系，交相輝映。

接下來的早期土方工程，在地窖里發(fā)現(xiàn)了一座陰森森的紀(jì)念碑，該紀(jì)念碑要追溯到公元前二世紀(jì)。墳?zāi)估镞€有一座建筑物，由凝灰?guī)r塊和石灰華板制成，底座高度超過4.5米，建筑物認(rèn)為是被部分其他物體覆蓋了。Tomacelli的前部分是一個重要的細(xì)節(jié)，因為現(xiàn)在的街道對應(yīng)的舊路線就是沿著臺伯河一直到“Portus Vinarius”。為了保護(hù)和強(qiáng)調(diào)文物的重要性，玻璃地板的設(shè)計令游客能有幸一睹古建筑的遺跡。

A new architecture rede fines the urban landscape of Rome historic centre according to contemporary taste. It's the steel and glass ?Lantern? of the "Ex Unione Militare" building, situated between Via del Corso and Via Tomacelli, that crosses the four floors of the building from the ground- floor up to the panoramic terrace with a view of the dome of the Basilica of Saint Ambrose and Carlo al Corso.

A contemporary interpretation of the historic centre has led to a minor intervention on the outside of the building, whose original construction dates back to the end of the XIX century, focusing on the renovation of the interiors and roo fing. The restoration of the outside has focused on the recovering and valorization of the original architectural features of the building. The architecture of the facades has been highlighted through a minimal light design intervention, which gives a touch of contemporary to the building whilst putting it in connection to the city.

The large ?Lantern? is the symbol of the project, the heart of the intervention. A steel and glass triangular-shaped structure that crosses the entire building and contains the vertical connections, the service and accessory rooms as well as part of the plants. The full-height void created by the “Lantern”generates a glimpse along the structure of the various floors, which are interconnected through gangways.

The part of the ?Lantern? functioning as roofing reaches a maximum height of 7,50 metres from the floor and accomodates a 300-square-metre panoramic restaurant space. From the panoramic viewpoints of the city, the ?Lantern? hit by natural light takes on the appearance of an irregular mirror rather than an icy lake, whereas at night it lights up and takes on the shape of looks as a large lamp.

In the evening, the facades of the building light up and look like a theatre set, the atmospheres change and the audience can enjoy from the outside the internal show of lights and colours.

Each floor offers visitors a unique space characterized by white floors decorated with ?bubbles? of different size and colour, ranging from red shades to orange and violet tones. The ground floor, set up as a large bazar full of colours, objects and accessories is a wide and porous open space connecting via Tomacelli to the adjacent square.

The interiors have been designed by Fuksas as shiny elements inspired by children toys. They are sculptural objects with fl uid shapes mostly made of fi berglass and characterized by a shiny white colour.Tables, desks, pouf, display racks, ?spinning top? for garments and accessories that gently fitinto the exhibition areas. The ?spinning top? fan out like petals like artistic installations. Oval-shaped mirrors reflect the interiors, lights and colours as a whole. The ?Lantern? acts as a theatre wing that opens on each floor. The false ceilings light up through a range of colours recalling those of the floors. A stair of led-light-lit glass steps, with shiny surfaces, connects and embellishes the spaces.

Following early earthwork, a sepulchral monument dating back to the first half of the II century B.C. has been brought to light in the basement. The sepulcher has a structure made of tuff blocks and travertine slabs, with a pedestal higher than four and a half meters where the cell, which was supposed to be partially covered, rests. The front facing via Tomacelli is an important detail, since the present street corresponds to the old route leading to the “Portus Vinarius” along the Tevere. In order to preserve and highlight the relics, a glassy flooring has been devised, allowing the visitors a glimpse over the archeological remains.