來(lái)自專筑編輯孫云鵬的報(bào)道。SET Architects事務(wù)所（Onorato di Manno, Andrea Tanci, Lorenzo Catena, Gianluca Sist, and Chiara Cucina）在博洛尼亞大屠殺紀(jì)念館的國(guó)際競(jìng)賽中獲得了一等獎(jiǎng)。
SET Architects (Onorato di Manno, Andrea Tanci, Lorenzo Catena, Gianluca Sist, and Chiara Cucina) have won first prize in the Bologna Shoah Memorial international competition.
View from Via Carracci/從Via Carracci看本項(xiàng)目
當(dāng)我們談?wù)撘粋€(gè)紀(jì)念館時(shí)，對(duì)紀(jì)念的定義便顯得非常重要：它是關(guān)于人與事的紀(jì)念豐碑，同時(shí)它也代表著引導(dǎo)群眾集體意識(shí)的通用信息。一個(gè)不容忘卻的空間，成為我們?cè)诟?jìng)賽中對(duì)大屠殺的認(rèn)知：在第二次世界大戰(zhàn)期間的大規(guī)模屠殺。
The definition of memory is essential when we talk about a memorial: it is a monument of the remembrance of people and events and at the same time it represents a universal message directed to the collective consciousness. A space that doesn't allow you to forget, that in our competition, becomes the acknowledgment of the Shoah: a massive genocide during the Second World War.
Concept/概念設(shè)計(jì)
浩劫并不是某個(gè)人的悲慘經(jīng)歷，而是遭受了不公平待遇的一個(gè)團(tuán)體的共同經(jīng)歷。
該項(xiàng)目的目的是給博洛尼亞一個(gè)可識(shí)別的紀(jì)念碑，同時(shí)也能成為歷史中心的一個(gè)獨(dú)特記憶的和一個(gè)新的參考。歷史中心是指一個(gè)具有里程碑意義，突出城市的天際線，讓人們喚起對(duì)過(guò)去的記憶中遭受那些可怕的事件的地方。
這樣，集中營(yíng)木質(zhì)床鋪成為建筑的主要結(jié)構(gòu)，就是在這里，囚犯的尸體被成群捆在一起；也是在這里，他們最后的想重新回到城市去生活的求生意志徹底被粉碎。所以，建筑極大地增加了在尺寸和伸入空間上面的尺度，同時(shí)強(qiáng)調(diào)可以無(wú)限重復(fù)的模塊，就像是一個(gè)個(gè)單元宿舍。
路人可以通過(guò)在兩個(gè)平等和對(duì)稱元素之間的狹窄和陰冷的通道行走來(lái)體驗(yàn)紀(jì)念館。在那里，他們的思想迷失方向，并且會(huì)被大規(guī)模滅絕的記憶吞沒(méi)。
The Shoah was not the experience of a single person but of a community who suffered a common injustice.
The aim of the project is to give to Bologna a recognizable monument as a unique and a new reference for the historical center: a landmark that will highlight the skyline of the city and allow people to evoke the memory of the past in the remembrance of those who have suffered horrible events.
This way, the structure of the wooden bunks in the concentration camps, where the bodies of prisoners were clumped together and their will to live was crushed by the feeling of the end, comes to life in an urban setting. It dramatically increases in size and projects into the space an infinite repetition of a module, appearing like a single cell of the dormitory.
Passers-by can experience the memorial by walking through the narrow and cold passage between the two equal and symmetrical elements. There, their thoughts become disoriented and merged with the memory of a mass extermination.
Plan/平面圖1:500
紀(jì)念館被放置在靠近高速火車站的一個(gè)新的廣場(chǎng)附近，在de’ Carracci和Matteotti街道的十字路口。因?yàn)樗拇蟪叨冉Y(jié)構(gòu)，它從周邊城市環(huán)境中脫穎而出，同時(shí)吸引了路人的注意。
The memorial is placed on a new square, located near the high-speed train station, at the crossroad of via de’ Carracci and via Matteotti. Being a massive structure, it distinguishes itself from its urban environment, attracting attention of the passers-by.
Diagrams/示意圖
它是由兩個(gè)10×10米，且彼此相鄰的平行六面體組成。在平面圖中兩個(gè)部分都具有兩個(gè)短側(cè)邊1.30米和長(zhǎng)側(cè)邊1.80米的梯形形狀。兩個(gè)體塊之間的1.5米的通道縮減到了50厘米的尺寸。
以此方式，該項(xiàng)目在視覺(jué)上保證了完整的統(tǒng)一性，但是無(wú)論怎樣也不排除其內(nèi)部空間的多樣性。模仿木制鋪位的結(jié)構(gòu)中，水平和垂直的金屬片的交叉點(diǎn)提供了穩(wěn)定的結(jié)構(gòu)條件。
為了給路人突出紀(jì)念館的存在，了解其與城市環(huán)境的關(guān)系同樣重要。競(jìng)賽的場(chǎng)地是新火車站的建設(shè)時(shí)出現(xiàn)的一個(gè)正方形地塊。因此該區(qū)域并沒(méi)有被設(shè)計(jì)成任何特定功能的建筑，而是成為一個(gè)尚未定型的新形式，并向人行通道開(kāi)放。
It is made up of two parallelepiped blocks of 10x10 meters placed next to each other. Both elements in plan view have a trapezoidal shape with the two small sides 1,30 m and 1,80 m long respectively. A passage of 1,50 meters between the blocks narrows to a size of 50 cm.
This way, a visual unity of the project is ensured, that however does not exclude the multiplicity of its interiors. Emulating the structure of the wooden bunks, the intersection of the horizontal and vertical metal sheets allow a stable structure.
In order to highlight the presence of the memorial to the passers-by, it is also important to understand its relationship with the urban context. The competition site is a square which emerged from the construction of the new railway station. The result is an area which is not designed for any specific functions, inclined to a new identity yet to be shaped and opened to the passage of people.
Plan/平面圖 1:200
這并不是一個(gè)普通的廣場(chǎng)形態(tài)，而是兩條供汽車、行人和自行車使用的大街之間的交界，位于城市歷史中心的邊界及一個(gè)多元文化社區(qū)的門戶。作為在鐵路上真正的平臺(tái)，這是一個(gè)具有很高的知名度和可達(dá)性的區(qū)域，并作為城市樞紐發(fā)展的中心。廣場(chǎng)區(qū)域位于高于道路的平臺(tái)上，該道路通過(guò)樓梯與高處連接。項(xiàng)目現(xiàn)有兩堵高5.5米用石頭覆蓋且對(duì)角布置的墻壁，這種結(jié)構(gòu)在空間中穿插，部分限制了游客對(duì)它的使用。
為了使人們的行動(dòng)更加輕松，并提高兩條道路的交叉點(diǎn)位置的活力，設(shè)計(jì)師決定拆除奧蒂大橋的原護(hù)欄的最后一部分。
This is not a common configuration of a square but a junction between two big streets open to cars, pedestrians and bicycles, on the border of the historic center and at the gate of a multicultural neighborhood. Being a real terrace on the railroads, it is an area of high visibility and accessibility as well as an urban hub in development. The square is located at a higher level than the road one linked to the upper part with a staircase. There are two existing stone covered walls each 5.5 meters high arranged diagonally, this structure penetrates the space and partially limits its use for the visitors.
In order to ease people’s movement and to improve the dynamics of the position at the intersection of the two roads, we decide to demolish the final part of the original parapet of the Matteotti Bridge.
Elevations/立面圖
根據(jù)該項(xiàng)目，將在現(xiàn)有基礎(chǔ)上增加一個(gè)新的石板路系統(tǒng)：直徑在2和3厘米之間的不同型號(hào)的石材面層。這種形式的石材路面，其質(zhì)地和因石頭而產(chǎn)生的聲音會(huì)讓行走其上的游客去感受，去發(fā)現(xiàn)。 6厘米寬度的金屬元素被放置在鋪石路上，以此喚起對(duì)所謂Judenrampe的記憶。這些元素也有一個(gè)技術(shù)功能--限制石頭掉出方形的邊界之外。
為游人打開(kāi)它的空間，紀(jì)念館從僅僅是一個(gè)雕塑物轉(zhuǎn)化為人與歷史的交匯空間，在這里每個(gè)人都可以從日常生活隔離出一個(gè)真正的自我，沉浸到記憶之中。
According to the project, a new paving system will be added to the existing one: a layer of stones of various sizes, between 2 and 3 cm in diameter. This kind of paving, with its texture and noise produced by the stones while walking on them, allow the visitors to reflect and discover. The metallic elements of 6 cm width are placed on the stone pavement to evoke the tracks of the so-called Judenrampe. Those rods also have a technical function which is to confine the stones within the borders of the square.
Opening its space for visitors, the memorial transforms itself from being just a sculptural object into a livable space for interaction with people and history, where everyone can isolate one’s self from everyday life and immerse into memory.
Sections/剖面圖
因此，紀(jì)念館允許封閉的堅(jiān)固外表開(kāi)放出來(lái)，將其內(nèi)部暗室的空寂向人們展示。每個(gè)內(nèi)部單元均為2米長(zhǎng)、1.35米高，就像是在沒(méi)有終點(diǎn)的無(wú)限重復(fù)之中的無(wú)人居住的相同的盒子。這樣的單元形式象征集中營(yíng)某處的屈辱、對(duì)值得尊重的生命的否定，以及失去選擇機(jī)會(huì)的痛苦。
石頭的外部噪聲會(huì)被內(nèi)部感知，它在盒形模塊中傳播并且音量會(huì)因?yàn)楸旧淼慕饘俳Y(jié)構(gòu)而擴(kuò)增。緊跟著由碎石鋪成的通道之后是兩個(gè)巨大的金屬體塊，由粗糙的生鐵制成，在人們心中定格。急劇減少的通道會(huì)令參觀者有壓迫、幽閉恐懼和痛苦的感覺(jué)。他們想知道自己在聯(lián)覺(jué)路中間是應(yīng)該繼續(xù)作進(jìn)一步的思考或者馬上從這個(gè)地方離開(kāi)。
因此，該項(xiàng)目被賦予了生命，雕塑變成了紀(jì)念館。
Therefore, the memorial allows the closed solid exterior to open up and reveal the interior emptiness of the darks cells. Each one of them is 2 m long by 1,35 m high and resembles uninhabited identical boxes in a relentless repetition going to infinity. The cells evoke the degrading concentration in one place of the victims, the denial of a respectable living and the suffering of the absent opportunities of choices.
The outside noise of the stones is perceived inside, it resonate in the box-shaped modules and it’s amplified by the metal structure itself. Following the passage paved with crushed stones between the two monolithic metal constructions, made from rough and raw iron, the minds of people freeze. The visitors have a feeling of oppression, claustrophobic and anguish accentuated by the drastic reduction of the passage size. They wonder in the middle of the synesthetic path to continue further reflection or leave all of a sudden to detach from this place of memory.
The object has therefore come to life, the sculpture becomes the memorial.
Night view/夜景
一切重新歸為一體。
最后，光在整個(gè)項(xiàng)目中起著重要的作用。紀(jì)念館可以在白天和夜間參觀。白天，當(dāng)廣場(chǎng)溫暖而陽(yáng)光充足的時(shí)候，內(nèi)部通道在黑暗中，像是在沒(méi)有光線的洞穴里面的上下床鋪。
陰影覆蓋著游客并把他們放在一個(gè)二維的暫時(shí)空間里，這種感覺(jué)是不明確的，但關(guān)于對(duì)兩個(gè)體塊之間的內(nèi)部空間的感受卻是明確的。
而到了晚上，廣場(chǎng)上會(huì)被沿著邊界布置的燈光照亮，而紀(jì)念館由更強(qiáng)烈的光照亮，使得它從周圍的建筑物中脫穎而出。即使在夜間，這也是一個(gè)里程碑。
采用斜燈和放置在道路入口的聚光燈創(chuàng)建燈光帶來(lái)的單元空間的生命力和突然充斥在黑暗的對(duì)比。這使得觀眾感受到對(duì)比，并獲得對(duì)空間多層次的感覺(jué)。照明保證了紀(jì)念館隨時(shí)可達(dá)，同時(shí)確保安全。
Everything is now brought back together.
Finally, the light plays an essential role in the project. The memorial can be visited during the day and night. During daytime, when the square is warm and sunny, the interior passage is under the darkness like the bunk beds were delved into the absence of light.
The shadow covers the visitor and throws him into a secondary temporal dimension: the view is not well-defined but the thoughts are clear, taking shape in the interior empty space between two blocks.
At night instead, the square is flooded with spread light produced by spotlights set along its borders, while the memorial is illuminated by a strong light that makes it recognizable from the surrounding buildings. It is a Landmark even at night.
The use of oblique lights and a spotlight placed at the beginning of the path create a contrast of lights that bring the cells to life and suddenly flood them into darkness. This makes the viewer reflect and have a multi-sensory relation with the space. The lighting guarantees that the memorial is constantly accessible and at the same time a safe place.
Model view/模型視圖
本項(xiàng)目是博洛尼亞的新地標(biāo)，同時(shí)為人類歷史上一個(gè)悲劇性的事件賦予了形狀和生命。
It is the new Landmark of Bologna, giving shape and life to a tragic event in the history of the humankind.
Model view/模型視圖
項(xiàng)目信息：
名稱：博洛尼亞大屠殺紀(jì)念館
類型：國(guó)際競(jìng)爭(zhēng)
獎(jiǎng)項(xiàng)：一等獎(jiǎng)
項(xiàng)目：SET Architects/ Onorato di Manno, Andrea Tanci, Lorenzo Catena, Gianluca Sist, Chiara Cucina
地點(diǎn)：意大利 博洛尼亞 Via Matteotti
年份：2015年
模型：弗朗西斯科·穆尼奧斯阿爾巴拉辛
攝影：烏戈·薩勒諾/另一個(gè)工作室
結(jié)構(gòu)工程：Ing. Daniele Sansoni
科技與材料研究：Alessandro Mirigliani
PROJECT CREDITS
Name: Bologna Shoah Memorial
Type: International Competition
Prize: First prize
Project: SET Architects / Onorato di Manno, Andrea Tanci, Lorenzo Catena, Gianluca Sist, Chiara Cucina
Location: Via Matteotti, Bologna Italy
Year: 2015
Model: Francisco Mu?oz Albarracín
Photographs: Ugo Salerno / Another Studio
Structure engineering: Ing. Daniele Sansoni
Tecnology and material research: Alessandro Mirigliani
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