水下文物博物馆/sparch SAKELLARIDOU

发布于：2023-07-23 17:56:26

Museum for Underwater Antiquities

设计方：sparch SAKELLARIDOU

位置：希腊

分类：文化建筑

内容：设计方案

图片：13张

设计师: Rena Sakellaridou， Morpho Papanikolaou(sparch SAKELLARIDOU/ PAPANIKOLAOU ARCHITECTS)， Chrysokona Mavrou
合作设计师: E. Papaevangelou， N. Tsompikou， E. Korompeli， G. Papanikolaou， F. Smouklis
建筑学学生: K. Moustakas， P. Tzannetakis
特别顾问: Pagonis – Polichronopoulos – Kinatos CO (Civil Engineers Consultants) J.Papagrigorakis & Associates (Mechanical Engineer Consultant)
年份：2013

SAKELLARIDOU和PAPANIKOLAOU两大建筑事务所合作将cerealsâ€™股票交易所建筑设施及其周边的露天空间重新设计，使之成为一个水下文物博物馆，并将比雷埃夫斯港务局海岸带的一部分进行重建，将其改造为一个户外活动的公共区域。因这两次合作，两大建筑事务所于2013年2月第四次获得了建筑学竞赛中的再设计奖项。水下文物博物馆成为一个以体验为基础的空间叙事载体；它将碎片从海底带到海平面，将它们变成一种知识，并用此种方法唤醒你的头脑和内心深处的幻想。博物馆以“持续不断的潜水和出水”为主题，既不断地从海平面到海底，再回归到知识层面。与这一主题相对应的是，持续不断的人流通过内嵌于建筑主体Silo中的自动扶梯，自下而上地到达位于建筑顶部的“海平面”部分。游客们在自下而上的途中可以领略到水平视野内的景色，而若要“潜入深海”，他们将进入博物馆内神秘的世界。该博物馆的博物馆学叙事载体的中心是一片大的内部空间，该空间仿照基西拉岛的构造，内嵌于垂直的混凝土肋中。一条斜面的传动皮带在这内部空间中蜿蜒穿梭，将游客带往更深处，直到抵达“海底”。自然光从建筑上方照射进来，光线、阴影和人流蜿蜒盘旋在搁浅的船只周围。建筑的顶部倒映在水面上并消失于远处的水平视线中，浮现出卷曲形分布的咖啡馆和餐厅。以博物馆现存的干船坞的鲜明形象和贯穿的理念为基础，在“海岸”区的自然与人工景象之间建造了一个新的狭长花坛，从而扩大了海陆之间的界面。

SAKELLARIDOU/PAPANIKOLAOU ARCHITECTS won the 4th Prize on the Architectural Competition Redesign of the existing cerealsâ€™ stock house building facilities (SILO) and its surrounding open space into a Museum for Underwater Antiquities and Regeneration of part of the Piraeus Port Authority (OLP) Coastal Zone–transformation into an open public space for outdoor activities，in February 2013. The Museum becomes a spatial narrative based on experience; it awakens mind and fantasy， it brings fragments from the depths to the surface and transforms them to knowledge.
The concept is a ‘continuous flow of diving and emerging’， from the level of the sea to its depths and back again to knowledge. A continuous flow of people， via escalators sculpted to the body of the Silo， gives rise to the ‘sea level’ placed on top. Visitors rise， enjoy the view of the horizon and enter the mysterious world of the Museum in order ‘to dive to the sea-depths’. A large internal void， sculpted through vertical concrete-ribs in reference to the Antikythira Mechanism， becomes the heart of the museological narrative. A continuous belt of ramps winds around the internal void， bringing visitors deeper to the ‘bottom of the sea’. Natural light enters from above， light， shadows and flows of people wind around the shipping-wrecks. On top of the building， mirrored in a water surface that dissolves to the horizon， emerge the winding forms of the cafe and the restaurant. For the Sea Front a new border between the natural and the artificial is created that multiplies the sea-land interface， based on the strong presence of the existing dry-docks and the notion of interpenetration.