以色列 Ein Keshatot 遗址游客中心(Visitors Center Ein Keshatot - Umm el-Kanatir )- Raz Architects

编辑导读:粗野的混凝土,原始的石柱,嵌入山体的建筑,开敞的玻璃幕墙,柔和的木制天花,现代与古老、原始在这里进行了调和……(经典值评价:7.2)
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项目概况:
建筑设计:Raz Architects
地点:以色列(Unnamed Road, Natur, The Golan Heights, Israel)
建筑面积:400.0 m2
完工时间:2018
照片版权:UZI PORAT
 
项目简介:
这是一个沟通游客与考古遗址的场所,参观者可以在空间内来回移动,在不断变化的裸露自然以及建筑师的作品之间来回穿梭,在遗址的室外景观之间,于火山的土壤之中慢慢浮现,同室外相比,室内设计体现了轻松、柔软的特征。在这里,游客进行跨越时间的移动,这座遗址跨越了1500多年,成为古老的宗教礼拜场所同以色列努力重建其民族认同的当代政治背景之间的调和。
 
考古遗址内有一座古老的犹太教堂,据判断建于5世纪,在749年的一次地震中损毁,最近对其又进行了部分修复。遗址名为Ein Keshatot(阿拉伯语:Umm el-Kanatir),是希伯来语“拱形之泉”的含义,意为古代犹太教堂后方于拱形结构中流淌着的一汪泉水。本案建造想法是在场地规划的后期阶段提出的,由于场地入口,访客流量控制中心,必要服务设施以及场地预展等均作为满足游客需求的必要功能纳入到解决方案之中,因此游客中心的建设成为了旅游综合体的重要组成部分。
 
在这里,野生的自然、地形、地质、戏剧性景观、历史故事以及重要景点等要素均需要一个结构进行调解中和。本案的主要挑战就是将所有这些要素进行整合,尽可能保持原始场地的真实性。通常,建筑方案的规划始于水平方向进行的功能排布,然而在这里则是从垂直方向的剖面图开始的。因此,新的空间于场地的地形之中呈现,只有一个透明的立面向西而立。由内向外看,不需与场地内原有“明星”相争就能一览室外所有的主要景点。
 
西立面将有趣的透明性同不透明的、轻盈与体量感相结合,为人们提供全景视野。立面由框架进行分隔,通过置入一排由当地玄武岩制成的巨柱实现,并通过独特技术处理使这些支柱作为支撑的结构要素。玻璃幕墙绕过巨柱对空间进行围合,透过巨柱,游客可于石框与幕墙之间行走,体验景致。在室内条件不便的情况下,入口空间将为参观人群提供场地的初步介绍,通过借助视听引导装置,在那里游客可以欣赏到古老犹太教堂的拱形结构。
 
如果说开敞的玻璃幕墙犹如山中之眼,那么顶部木制天花就仿佛睫毛一样,光线透过天花柔和地充满室内空间。裸露的混凝土,玄武岩以及锈蚀钢板等材料的选择反映了将结构嵌入自然的意图,凸显着该地区的特点。材料的原始特点伴随着凉爽无声的氛围,在暗淡的光下,古代遗址的涵义显露无遗。参观的旅程在这里开始,也在这里结束,人们从不同的方向回到大厅,总结并回味着所看到的一切,通过“隧道”悉数散去,离开开阔的戈兰高地。

Engineering:Alroy Yonatan
Archeological Restoration:Yeshu Dray
Landscape: Grinstein:Har Gil Landscape Architects
Building Supervision:Mark Bendit Eng\'
Contractors:Ronir Construction Company
Clients:Golan Regional Council

Text description provided by the architects. It is a site of mediation. The visitor moves back and forth across spaces, between the constant evolving of bare nature and its integration within the architect’s work. Between the outdoor spectacle of the archeological site emerges out of the volcanic soil and the relaxed, soft design characterizes the facilitated indoor area. The visitor moves also across times. This site bridges over more than fifteen hundred years of historical significance. It mediates between an ancient site of religious worship and its possible interpretations within the contemporary political context of Israel’s efforts to reconstruct its national identity.
 
 
 
The archeological site includes an ancient synagogue. Estimated to be built in the 5th century - demolished by an earthquake in 749, recently partly restored. The Hebrew name Ein Keshatot? (Arabic: Umm el-Kanatir) means ?Arches Spring“, is after the ancient synagogue by a spring that flows out of an arched structure. The idea to build it came up in a later stage of the site’s planning. As a suitable solution for visitors needs, such as a site entrance, visitors flow control hub, necessary services, and a site preshow. Thus the building of the Visitors Center became an essential component in the touristic complex.
 
 
The natural wild area, the topography, geology, the dramatic view, the historical story and the location of the focal points of interest, - all those required a mediational structure. The main architectural challenge was to integrate a stranger body with as little distortion as possible of the original authentic site. Usually, an architectural planning process begins with a layout plan arranges functions horizontally. However, the process here was initiated in a vertical cross-section view. The new space is thus embodied within the topography and appears with only one transparent fa?ade towards the west. The view from within the structure, reveals all main sites without competing with the original “stars”.
 
 
The west facade combines playfully transparency and the opacity, lightness massiveness. It offers simultaneously a panoramic view and its framed fragmentation. It does so by placing a row of pillars made of massive, local Basalt stones. By utilizing a unique technology these pillars are serving as structural elements that support the structure. In addition, they define the space and at times frame the view. Between the row of the Basalt pillars, the visitor sees an all-glass wall turning around it, allowing access to walk and experience the view also from behind the stones frame. The entrance space offers an initial introduction for the planned tour, inconvenient indoor conditions, facilitated with an audiovisual guiding show, from where the visitor can see the ancient synagogue and the spring arched structure.
 
 
If the glazed facade reminds an open eye in the mountain, the wooden ceiling seems like its eyelashes that are softening the sunlight penetrates the indoor space. The chosen materials reflect the intention to embed the structure in the natural environment. Exposed concrete, Basalt stone, rustic steel, are characteristical to the area. Keeping these materials raw, with rather dimed light, in a cool and overall silent atmosphere, highlights the significance of the ancient site. The site tour starts and ends in the structure. But when completing the tour, one approaches the space from different direction to the hall to summarize and “digest” the experience, to enjoy the cafeteria, the toilets, and to leave gradually through the "tunnel" to the open East view of the Golan Heights.





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