发布时间:2022-01-18 11:24:53 {{ caseViews }} {{ caseCollects }}
设计亮点
自然采光、工业氛围、开放流动的空间布局

戈登画廊(Gordon Gallery)是特拉维夫最负盛名和历史最悠久的艺术机构之一。今年,画廊方委托Salty Architects将一座位于耶路撒冷的废弃工业车间改造为受欢迎的新展览空间,并宣布于2021年12月22日正式开幕。新画廊以两位以色列著名艺术家的个展为作为开幕礼:Ofer Lellouche的“Recent Works”(近期作品),以及Aviva Uri的小型回顾展“Death in God’s Realm”(神域之死)。

Gordon Gallery, one of Tel Aviv’s most distinguished and longstanding art institutions, has commissioned Salty Architects to transform a neglected, industrial workshop in Jerusalem into a new and highly anticipated exhibition space, opening on December 22, 2021. The inauguration of the space will feature two solo exhibitions by Israeli art luminaries, including Ofer Lellouche’s “Recent Works” and a mini-retrospective by Aviva Uri, entitled “Death in God’s Realm.”

▼画廊外观,Exterior view

画廊坐落在耶路撒冷西南部的Sapir Center工业区,这里一直是艺术爱好者们的朝圣地。画廊的空间使人联想到特拉维夫的Kiryat Hamelacha街区:大型的工业建筑坐落于此,主要服务于住房轻工业,其间分布着一些艺术家工作室、Yeshivas(一种犹太教育机构),以及贝扎雷艺术与设计学院下属的Oman分部——就坐落在新画廊的隔壁。

An area reminiscent of Tel Aviv’s Kiryat Hamelacha, the Gordon Gallery space is located in Jerusalem’s Sapir Center industrial area, in the city’s southwest, which has long been a pilgrimage site for art lovers. The area is home to large industrial buildings, mainly serving the housing light industry, but also several artist studios, Yeshivas (a Jewish educational institution), as well as Bezalel Academy of Art and Design’s ultra-Orthodox branch, Oman, located next door to the new gallery.

▼画廊位于耶路撒冷的Sapir Center工业区,The new gallery is located in in Jerusalem’s Sapir Center industrial area

戈登画廊的总监Amon Yariv委托Salty Architects作为改造项目的领导团队。改造的第一步是拆除既有建筑的工业化外墙并替换以大尺寸的窗户,使画廊的内部空间向外打开,同时为室内引入独特且粗犷的工业氛围。

一个全透明的玻璃入口为参观者提供了进入画廊的路径,画廊内没有设置任何门槛界限,因此参观者可以自由地进出展厅、图书馆和收藏空间,与戈登画廊在特拉维夫的开阔场馆十分类似。

▼改造示意,Diagram

Gordon Gallery Director Amon Yariv commissioned Salty Architects to spearhead the renovation. The process begins with the industrial façade being removed and replaced by large windows, which open the gallery’s interior to the outside, bringing the unique, rugged, industrial ambience into the space. The space itself is ensnared with a glass entrance that is accessible and purely transparent. It has no threshold areas that visitors are not allowed to enter, including a library and archive, much like the large and inviting Tel Aviv venue.

▼工业外墙被替换为大尺寸的窗户,The industrial façade is removed and replaced by large windows

▼展览空间,Exhibition area

Salty Architects建筑师Motti Rauchwerger和Hadar Menkes表示:“该项目的挑战是,在使空间区别于周围环境的同时维持其低调的氛围。我们在画廊内部设置了循环的动线,人们可以在其中持续移动并收获惊喜的体验,例如工业区并不常见的自然采光:当外墙打开的时候,整个空间将沐浴在美妙的自然光下。”

According to architects Motti Rauchwerger and Hadar Menkes of Salty Architects, “the challenge was to set the space apart from its surroundings without being ostentatious. Inside the gallery, we designed a circular space, and it is important that one can keep moving in the space and be surprised. One of the surprises was the natural light in this industrial area. Once we opened the façade, we realized that wonderful natural light permeates the space.”

▼图书馆和收藏空间,Library and archive

▼室内充满自然光线,Natural light permeates the space

▼空间细节,Interior details

▼图书馆书桌,Library desk area

原先的外墙被替换为透明的玻璃,并以钢作为框架,同时在后方安装了半透明的幕帘。画廊中的时光是宁静且不受打扰的,同时又不会与周围的环境脱离。走廊的深度避免了阳光直射,使位于前方的展览空间充满柔和的光线。画廊和独特的展品面向宽阔的走廊开放——这条走廊贯穿了整个建筑的长度,不断吸引着路人的进入。新的画廊成为了工业区中的一处独特存在:明亮的光线使其可以从远处望见,同时又不会疏远于Sapir Center的街区环境。

The old façade was dismantled, and replaced by transparent glass, framed in steel and with a semi-transparent curtain behind it. Time spent in the gallery is undisturbed and calm but is not detached from its surroundings. The depth of the corridor prevents the entry of direct sunlight, which illuminates the front display areas with softened light. The gallery and its unique exhibits are now open to a wide corridor which runs along the length of the entire building, inviting passers-by to enter. The gallery has a distinct presence in the industrial area. It both illuminates and is visible from a distance, but is not separated from or alien to the Sapir Center.

▼玻璃立面细节,Transparent glass facade

作为开馆项目,戈登画廊将首先揭幕以色列艺术家Ofer Lellouche和Aviva Uri的两场个展。其中Lellouche的“Recent Works”(近期作品)以巨大的青铜雕塑“拥抱”为中心,作品的土木色调与画廊透明外墙所展现的工业特征完美地融合在一起。此外,Lellouche还将展示11个小型浮雕作品,从不同角度描绘雕塑的工作过程。

展览“Death in God’s Realm”(神域之死)将展示以色列艺术家Aviva Uri从1960年代至其于1984年逝世期间的十副代表作。Uri被许多人评价为以色列艺术的伟大母亲,她的画作为几代艺术家营造出了一个抚慰心灵且充满神性的世界。

The new space will be launched in tandem with two solo exhibitions, presenting works by Israeli artists Ofer Lellouche and Aviva Uri, and will precede upcoming solo exhibitions for the gallery’s artists. Lellouche’s exhibition, “Recent Works,” is centered on a monumental bronze sculpture,

The Hug

, whose wooden-earthen tones blend perfectly with the industrial buildings revealed through the transparent gallery façade. In addition to the sculpture, Lellouche will present 11 small reliefs depicting the work process on the sculpture from different angles.

The exhibition “Death in God’s Realm” will feature ten of the deceased Israeli artist Aviva Uri’s iconic works, dating from the 1960’s until her death in 1984. Considered by many the Great Mother of Israeli art, Uri’s paintings have outlined a mental, spiritual, and metaphysical position for generations of male and female artists.

▼透过立面望向Ofer Lellouche的雕塑作品《拥抱》,View towards the

The Hug

by Ofer Lellouche

▼平面和模型示意,Plan and models

Location address: Gordon Gallery Jerusalem, Building 3, 3rd floor, Sapir Center

Opening: Wednesday, 22 December 2021, 6 pm – 10 pm

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耶路撒冷戈登画廊 | 工业风新展览空间
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