普拉達(dá)基金會(huì)，米蘭，意大利

建筑設(shè)計(jì)：OMA建筑事務(wù)所

Architects: OMA

普拉達(dá)基金會(huì)，米蘭，意大利

建筑設(shè)計(jì)：OMA建筑事務(wù)所

Architects: OMA

1.2外景/Exterior views

普拉達(dá)基金會(huì)的新總部位于米蘭最南端的拉爾戈·伊薩爾科工業(yè)建筑園，其前身是一座建于1910年的杜松子酒廠。該建筑群由新建建筑和改造建筑共同組成。改造建筑包括倉庫、實(shí)驗(yàn)室和筒倉，新建筑都布置在一個(gè)大中庭的兩側(cè)。

這座建筑群的改造模式聚焦于拓展藝術(shù)展陳空間的拓?fù)湔Z匯。建筑群包括倉庫、實(shí)驗(yàn)室、釀造筒倉等7幢現(xiàn)存建筑和3座新建筑——分別為Podium，一個(gè)臨時(shí)展廳；Cinema，一座多媒體禮堂和Torre（塔樓）——用于展示基金會(huì)藏品和活動(dòng)的9層常展空間。Torre目前還在施工中，未來將會(huì)對(duì)公眾開放。

在拉爾戈·伊薩爾科工業(yè)園內(nèi)留有兩棟單體建筑：一座方正扁平，一座相對(duì)高聳。在經(jīng)過仔細(xì)研究后，方形低矮建筑未能展現(xiàn)出吸引人的改造潛力，因而被拆除，從而擴(kuò)大了廠區(qū)中庭的面積，使之成為了一個(gè)核心性的空間要素。而Deposito（倉庫），這座位于園區(qū)西部的現(xiàn)存建筑則被巧妙地加以修改：建筑的地下空間擔(dān)負(fù)了藏品儲(chǔ)藏和展示的混合功能?？臻g被分隔成一些小室，供人們?cè)谄渲薪嚯x接觸如“藝術(shù)家車隊(duì)”這樣的藝術(shù)作品。

位于大會(huì)堂東側(cè)的單體建筑名為Cisterna（意為蓄水池）。建筑內(nèi)部包含3個(gè)小房間，分別通過“誦經(jīng)臺(tái)”與外側(cè)的陽臺(tái)相連。這種空間格局明顯旨在滿足工業(yè)建筑的功能需求，如今卻也沾染上了幾分宗教的意味。

綜合體中的Cinema是一個(gè)具有能動(dòng)性的單元。其一側(cè)的巨大雙折疊門開啟后，建筑室內(nèi)就能與院子聯(lián)通起來，成為一個(gè)半開敞空間。在其內(nèi)部，階梯式座位亦可變形為平地，使空間承擔(dān)室外活動(dòng)舞臺(tái)或有頂?shù)母郊诱褂[空間的職能。

中庭南部的4座小房子以及廢棄的庭院如今用作基金會(huì)的辦公室和長期展覽廳。它們的限定圈內(nèi)，矗立著“鬼屋”，一幢覆滿金箔的保留建筑。其內(nèi)部狹小的空間讓一些要求特殊的藝術(shù)作品可以在家庭式的空間氛圍中展出。

緊挨著的Podium 位于兩條貫穿場地的通廊交點(diǎn)處，成為了整個(gè)建筑群的中心。這座新建建筑整合了兩個(gè)風(fēng)格迥異的體量：一個(gè)全玻璃幕墻的無柱底座空間和一個(gè)位于二層的被斑駁的泡沫鋁外墻包裹著的體塊。兩個(gè)體塊內(nèi)部的空間格局相似，皆為多功能的臨時(shí)展覽大空間。

另一個(gè)主要的加建建筑位于廠區(qū)的西北角，是一幢9層高的塔樓。塔樓內(nèi)容納了場域藝術(shù)裝置、一家餐廳、接待空間和會(huì)客設(shè)施。隨著高度的變化，不同樓層給人們呈現(xiàn)出變幻的城市景觀和特定的場域藝術(shù)裝置。（張?jiān)Ｏ?譯）

Located in a former gin distillery dating from 1910 in the Largo Isarco industrial complex on the southern edge of Milan， the new home of Fondazione prada is a coexistence of new and regenerated buildings including warehouses，laboratories and brewing silos， as well as new buildings surrounding a large courtyard.

The complex aims to expand the repertoire of spatial typologies in which art can be exhibited. The project consists of seven existing buildings， and three new structures: podium， a space for temporary exhibitions； Cinema， a multimedia auditorium； and Torre， a nine-story permanent exhibition space to house the foundation's collection and activities. Torre， currently undergoing construction work， will be open to the public at a later date.

Within the perimeter of the Largo Isarco complex existed two freestanding structures: one flat and square and the second more vertical. On close inspection， the square building did not offer attractive possibilities and was demolished，enabling the courtyard to become a significant element for open-air uses. The Deposito， an existing building on the west edge of the complex， is adapted for curatorial ingenuity: in its basement，the Fondazione's collection is arranged in a hybrid of strict storage and partial display， creating "chambers" where work such as a fleet of artists' cars can be unpacked or half opened to the public

The freestanding object to the east of the Great Hall， dubbed by the Cisterna， is divided in three rooms with three interior "pulpits" connected to an exterior balcony. Its configuration suggests a precise industrial need that now reads as a quasi-religious environment.

The Cinema acts as an autonomous cell within the compound. With large bi-fold doors，it can be instantly connected to the courtyard. Inside， the raked seating can be converted into a flat floor， allowing the space to be used for staging outdoor events， or as additional， covered gallery space.

Four "houses" that face the courtyard to the north and an abandoned garden to the south accommodate Fondazione offices and permanent galleries. Within their confines sits the "Haunted House"， an existing building with its exterior covered entirely in gold leaf. Inside， the intimate scale of its interiors generates a "domestic" setting for specific works.

Adjacent， the podium forms the center of the compound， sitting at the intersection of the two perpendicular axes through the site. This addition combines two volumes of very different qualities: a fully glazed， column-free podium on the ground floor. Resting on the top is another gallery space cladded in aluminum foam， with a bubbled pattern. Both galleries provide large， multi-purpose areas for temporary exhibitions and events.

Another major addition to the complex is a nine-story tower in the north-west corner of the compound. The Tower houses site specific installations， as well as a restaurant， a reception space and guest facilities. The other floors， with gradually increasing heights， will accommodate site specific installations and provide alternating views of the compound and the city.

3-6外景/Exterior views

7總平面/Site plan

8地下一層平面/Floor -1 plan 9 首層平面/Floor 0 plan

10二層平面/Floor 1 plan

I-大會(huì)堂/Great HallII-裝置/InstallationsIII-畫廊、辦公室/Gallery， officesIV-“鬼屋”/Haunted HouseV-普拉達(dá)藏品館/prada ArchiveVI-盧娜·羅薩藏品館/Luna Rossa Archive1-podium2-Cinema3-Torre

11軸測/Axonometric

12模型/Model

13.14剖面/Sections

項(xiàng)目信息/Credits and Data

主持合伙人/partners in Charge: Rem Koolhaas， Chris van Duijn

項(xiàng)目負(fù)責(zé)人/project Leader: Federico pompignoli

初步設(shè)計(jì)/preliminary Design: Sam Aitkenhead， Doug Allard， Andrea Bertassi， Aleksandr Bierig， Eva Dietrich， paul-Emmanuel Lambert， Jonah Gamblin， Stephen Hodgson，Takuya Hosokai， Jan Kroman， Jedidiah Lau， Francesco Marullo， Vincent McIlduff， Alexander Menke， Aoibheann Ni Mhearain， Sophie van Noten， Rocio paz Chavez， Jan pawlik，Christopher parlato， Ippolito pestellini Laparelli， Dirk peters， Andrea Sollazzo， Michaela Tonus， Jussi Vuori， Luca Vigliero， Mei-Lun Xue

最終方案/Final project: Anna Dzierzon， Jonah Gamblin，Hans Hammink， Ross Harrison， Matthew Jull， Vincent

Konate， Taiga Koponen， Vincent McIlduff， Andres Mendoza，Susanan Mondejar， Sasha Smolin， Michaela Tonus

施工圖/Construction Documentation: Katarina Barunica，Marco Cimenti， Cecilia del pozo Rios， Anita Ernodi， Felix Fassbinder， peter Feldmann， Siliang Fu， Jonah Gamblin，Romina Grillo， Clive Hennessey， Taiga Koponen， Roy Lin，Debora Mateo， Vincent McIlduff， Andres Mendoza， Arminas Sadzevicius， Magdalena Stanescu， Lingxiao Zhang

施工管理/Construction Administration: Matteo Budel，Marco Cimenti， Andrea Giovenzana， Nicolas Lee， Victor pricop， pawel panfiluk， Caterina pedo'， Stefano Tagliacarne，Luigi Fumagalli， Andrea Vergani， Nicola panzeri， Simone Bart

合作方/Collaborators

駐場建筑設(shè)計(jì)/Local Architect: Massimo Alvisi

執(zhí)行建筑師/Executive Architects: Alvisi Kirimoto & partners， Atelier Verticale

結(jié)構(gòu)工程師/Structural Engineers: Favero & Milan， SCE project

機(jī)電工程師/MEp Engineers: Favero & Milan， prisma Engineering

成本咨詢/Cost Consultant: GAD

音響工程/Acoustic Engineer: Level Acoustics

透視圖/Scenography: Ducks Sceno

消防工程師/Fire Engineer: GAE Engineering

項(xiàng)目/program: 公用面積/public Area: 12，300m2； 私人區(qū)域面積/private Area: 6600m2； 總建筑面積/Total Floor Area: 18，900m2

攝影/photos: Bas princen （fig.1-6，15，16），Charlie Koolhaas（fig.18）

評(píng)論

李曉峰：位于米蘭南部工業(yè)園區(qū)的普拉達(dá)基金會(huì)新址，通過拆除與增建，完成了從廢棄舊廠房向藝術(shù)展示空間的“脫胎換骨”。和許多類似項(xiàng)目一樣，利用廠房空間的包容特性來打造藝術(shù)展示場所，是設(shè)計(jì)的主線。但OMA設(shè)計(jì)的這個(gè)保存與新建合成的項(xiàng)目，更注重利用這類空間環(huán)境的多樣性，主要目標(biāo)在于，拓展藝術(shù)展示空間類型的所有可能性。經(jīng)過改造，原廠區(qū)內(nèi)3個(gè)新建筑與7座舊建筑并存，相互獨(dú)立又密切相關(guān)?？梢钥吹?，差異性和關(guān)聯(lián)性并存于這個(gè)相對(duì)復(fù)雜多樣的空間環(huán)境中。除了藝術(shù)陳列外，重塑后的豐富多樣的建筑空間本身就是最重要的展品。建筑空間和藝術(shù)展示相輔相成，是普拉達(dá)基金會(huì)新址一大看點(diǎn)。

崔光海：廢棄的工業(yè)園區(qū)和享有國際聲譽(yù)的藝術(shù)畫廊之間有多遠(yuǎn)的距離？這個(gè)項(xiàng)目告訴大家：只差一次神奇的改造設(shè)計(jì)。3個(gè)新建的建筑以獨(dú)立的當(dāng)代建筑姿態(tài)插入到原建筑群中，解決空間使用的完整性；新舊之間保持自身個(gè)性，舊建筑僅施以表皮重新涂裝的輕微動(dòng)作，這種微妙的平衡默默地注釋了這個(gè)傳奇品牌的歷史并精確地把握住了這個(gè)活躍的當(dāng)代藝術(shù)機(jī)構(gòu)的性格。

15模型/Model

16.17外景/Exterior views

Comments

LI Xiaofeng： The new Fondazione prada， located in an industrial park in southern Milan， is completely "reborn" out of an abandoned factory building to become an art exhibition space through demolition and new construction. Like many similar projects， it is a principle line of design to create an art exhibition space by making use of the inclusive feature of the factory space. However， this project， designed by OMA，which combines conservation and new construction，pays more attention to utilizing the diversity of such a spatial environment. Its main aim is to explore all the possible types of art exhibition space.

After renovation， three new buildings and seven old buildings co-exist in the former factory， which are independent from each other but closely related as well. It can be seen that difference and relevance exist simultaneously in this relatively complex and diverse spatial environment. In addition to art exhibition， the rich and varied architectural space after renovation，in itself， is the most important exhibit. The way that architectural space and art exhibition complement each other is a highlight of the new Fondazione prada.

CUI Guanghai： How far is it from an abandoned industrial park to an internationally renowned art gallery？ This project tells us: the distance can just be a magical renovation design. Three new buildings， with a gesture of independent contemporary architecture， are added to the existing building complex， which keeps the integrity of the space use. Both new buildings and old buildings maintain their own characters， with old buildings just being slightly renovated through recoating the surface. Such a delicate balance not only silently interprets the history of this legendary brand，but also accurately grasps the nature of this active contemporary art institution.

18古典系列展品/Serial Classic

19由窗口望向“鬼屋”/Haunted house from window

Fondazione prada， Milan， Italy