國家建筑博物館BIG迷宮，華盛頓，美國

設計：BIG建筑事務所

國家建筑博物館BIG迷宮，華盛頓，美國

設計：BIG建筑事務所

一覽無余是迷宮？

一座迷宮往往越是深入，路線就越曲折。假如我們將這種套路反轉(zhuǎn)過來，創(chuàng)造一座讓人在達到迷宮中心時豁然開朗、一目了然的龍門陣會怎樣？從外面看，迷宮的立方體造型將最終的觀賞點隱藏在約5.5m（18ft）高的墻之后。從里面看，墻體緩慢向中心降低，以開闊的觀賞點終結(jié)——讓人360°環(huán)視自己的來龍去脈。（尚晉 譯）

Can a Maze Reveal Itself?

As you travel deeper into a maze, your path typically becomes more convoluted. What if we invert this scenario and create a panopticon that brings clarity and visual understanding upon reaching the heart of the labyrinth? From outside, the maze's cube-like form hides the final reveal behind its 18 foot tall walls. On the inside the walls slowly descend towards the center which concludes with a grand reveal – a 360 degree understanding from where you came and where you shall go.

1 鳥瞰/Aerial view

項目信息/Credits and Data

客戶/Client: 國家建筑博物館/National Building Museum

責任合作伙伴/Partners-in-Charge: BjarkeIngels, Kai-Uwe Bergmann

項目負責人/Project Leader: Chi-Chi Lin

項目團隊/Project Team: ZiadShehab, Thea Gasseholm, Annette Miller, Iben Falconer

合作方/Collaborators: CoStar Group, Clark Construction Group, DAVIS Construction, Glass Construction, Grunley Construction Company, SIGAL Construction Corporation, GCS, The Home Depot Foundation, ACECO, Robert Silman Associates, Cumming Construction, VJ Associates, Hargrove面積/Size: 346m2

展覽時間/Exhibition Time: 2014.7.8-2014.9.1

攝影/Photos: Kevin Allen

2 分析圖/Diagram ?BIG

3 平面/Plan ?BIG

4 剖面/Section ?BIG

5 墻較矮的區(qū)域/Area where walls are relatively slow

6.7 墻較高的區(qū)域/Area where walls are relatively tall

評論

陳屹峰：按BIG建筑事務所的解釋，大迷宮像他們其他很多的設計項目一樣，兼顧了兩種看上去不可調(diào)和的狀態(tài)。構(gòu)成迷宮的膠合木板墻的高度從迷宮邊緣的5m多，逐漸遞減至迷宮中心的1m多。參觀者剛進入迷宮時視線受限，但隨著向迷宮中心趨近，知覺的明晰性在不斷增強，而迷宮本身則在逐漸顛覆自身；參觀者離開迷宮的知覺體驗過程則正好相反。這種近似手法主義的思路和做法，給形式借鑒自歷史案例、原本靜止穩(wěn)定的迷宮帶來了足夠的張力和節(jié)奏變化，參觀者也會因迷宮的這種矛盾狀態(tài)而倍感新意。

Comments

CHEN Yifeng: According to the explanation by BIG, the BIG Maze, like many of their other projects, achieves a balance between two seemingly irreconcilable positions. The height of the maze wall that is made of plywood gradually decreases from more than 5m at the perimeter to over 1 m at the center. When the visitors enter the maze, their field of vision is limited, but traveling deeper into the maze brings more clarity; and when they reach the heart of the labyrinth, the maze reveals itself. This kind of Mannerism creates tension and rhythm in the originally static and stable maze that borrows its form from historical precedents. The typical maze-like scenario is inverted. Moreover, visitors will walk out of the BIG maze looking at their world differently.

朵寧：BIG建筑事務所的迷宮是個有意思的悖論：一個異化的迷宮設計，使得迷宮在被探索的途中變成一目了然的通途。如同比亞克·英厄爾斯本人所說，把迷宮的卷曲盤繞轉(zhuǎn)換成清晰引導。

剝離了傳統(tǒng)神話中穿迷宮打怪獸的神秘背景，迷宮這種建筑類型的樂趣可能只剩下卷曲盤繞和路途的不確定性。但是一個概念的反轉(zhuǎn)——視覺引導的迷宮——成功地消解了這種迷宮的空間張力。或者說，BIG建筑事務所用抽象智識的樂趣取代了具體空間的樂趣。

這是一種非常具有BIG建筑事務所特點的設計手法。對于大部分沒有辦法親身體驗設計成品現(xiàn)場，只能在屏幕前閱讀圖片和設計說明的觀眾來說，這樣的設計無疑更具有傳播性。

DUO Ning: The Maze by BIG is an intriguing paradox: a maze that reveals itself in a journey of discoveries. The inverted design transforms the convolution of a labyrinth into a clarity and visual understanding, said BjarkeIngels.

Without the Minotaur waiting at the center of the labyrinth, the excitement of explorations is the convoluted journey into a maze and the uncertainty along with it. In BIG's Maze, an inverted design concept dissolves the tension by creating a visually guided form. In other words, BIG replaces the spatial entanglement with intellectual enjoyment.

This is a very "Bigamy" design strategy. For millions of absent audience who can only browse the images and read the description on screen, this kind of design is more favorable.

BIG Maze at National Building Museum, Washington, USA, 2014

Designers: BIG