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BUREAU：Plaster（石膏），是石膏的提取物，主要成为是二水硫酸钙，它很好地体现了 BUREAU 公司对于建筑的总体态度。如果我们按照 Jill Stoner 的著作《迈向小建筑》（Towards a minor architecture）将自己定义为小建筑师，那么使用被认为是小材料的材料进行创作似乎非常合适。在世界各地众多的“石膏艺术馆”中，石膏被用来预示（展示）大师作品，制作特定雕塑的象征性正模，永远“刻在石头上”。石膏似乎更具延展性、弹性和脆弱性。
BUREAU: Plaster, the extracted form of gypsum, essentially composed of calcium sulphate dihydrate, appears as a good figuration of the BUREAU’s general attitude towards architecture. If we were to define ourselves as minor architects, following Jill Stoner’s book «Towards a minor architecture», working with what is considered a minor material seems quite d’à-propos. It is one that has been utilised to prefigure and anticipate master pieces in the numerous “galéries des plâtres” around the world, fabricating figurative positive moulds of definite sculptures, forever “graved in stone”. The plaster seems more malleable, elastic, fragile.
石膏的同义词是硒化石，这种矿物充满了许多奇妙的故事，因此它还具有引发神话遐想的能力。这种看似平淡无奇的建筑材料隐藏着丰富多彩的生活，它是 Rodin 和其他许多人的基本伴侣，是水晶，也是超越世界和神话轨道的精神景象。在另一种形式中，这种材料被用于治疗骨折、软组织损伤、骨科疾病和炎症，使身体受伤部位得到安宁和休息。
It also possesses the ability to trigger mythological reveries as gypsum’s synonym is selenite, a mineral that has filled many wonderous stories. La Cueva de los Cristales in Naica, Chihuahua, Mexico, materializes the dreamy spheres of Selene, goddess of the moon. The seemingly banal construction material hides many facets of a rich life, weather as a fundamental discrete companion of Rodin and so many others, as a crystal or as a mental scape beyond the world and in mythological orbits. In yet another form, the material is used for bone fractures, soft tissue injuries, orthopedic diseases and inflammatory processes, to bring peace and rest to wounded parts of the body.
1939 年，Salvador Dalí 参加了“明日世界”博览会，这是一个以未来为主题的世界博览会，参展者包括 SOM、Norman Bel Geddes 以及当时的其他现代主义者和空想家。Dalí 以超现实主义的基调激起了那些先锋派演员的流线型未来主义预见，他用一种类似石膏的建筑风格实现了这一点，从而预示着装置艺术、Gesamtkunstwerk 作品将在 20 世纪的艺术界大行其道。他的作品《一个独角兽展馆》，自由地重现了 Botticelli 的维纳斯画作，并将其转化为一种三维的整体体验。在社会主义乌托邦和壁纸之父 William Morris 的建议下，这座建筑被搬到了纽约。
In 1939, Salvador Dalí participated to the World of the Tomorrow, a world’s fair that featured the future, with prospective designs from SOM, Norman Bel Geddes and other modernists and visionaries of the time. Dalí provoked the streamline futuristic foresight of those avant-garde actors with a surrealist tone and he made it so with a plaster-like architecture anticipating thus installation art, Gesamtkunstwerk works that would largely populate the 20th century art world. His intervention, an oneiric pavilion, freely reenacts Botticelli’s painting of Venus and transforms it into a three-dimensional and total experience. It constituted minor major piece of architecture that found its way to New York with the advice of no other than William Morris, father of socialist utopias and wallpapers.
规模小得多的石膏和其他相当琐碎的历史环境与当代公认的现代主义企业设计的豪华环境形成鲜明对比：Bjarke Ingels Group。尼娜-拜尔（Nina Beier）、拉蒂法-埃查赫（Latifa Echakhch）、拉斐尔-赫夫蒂（Raphael Hefti）、奥利维尔-拉里奇（Olivier Laric）和克里斯托多洛斯-帕纳约托（Christodoulos Panayiotou）等人的艺术作品在展览中被展示在一个洞穴中，观众可以潜入一个看似不明确的白色洞穴中进行观赏。为了激发这种体验，现有空间被完全改造到石膏墙和穹顶后方，让参观者与艺术作品近距离接触。作为对Dalí 虚妄艺术的回应，通常为白色立方体状态的石膏墙似乎略微“融化”，在空间连续性或变化过程中产生了不清晰的边缘。
A much smaller scale and other rather trivial historical circumstances confronts the modest plaster to a luxurious context designed by a recognized modernist corporate practice of our time: Bjarke Ingels Group. In an exhibition dedicated to the very presence of materials and its transformation, the art pieces of Nina Beier, Latifa Echakhch, Raphael Hefti, Olivier Laric and Christodoulos Panayiotou (among others), are found in a cave condition that the viewer discovers by diving into a seemingly undefined white grotto. To stimulate the experience, the existing space is totally transformed to behind the plaster walls and vaults, bringing the visitor into close contact with the art pieces. The usual white cube condition seems to have slightly melted as an echo to Dali’s delusive art, producing unclear edges in a spatial continuum or topological deformation.
以次要模式进行建筑实践“需要对导致其不断复制的权力结构进行部分解构”（Jill Stoner）。在这样的背景下，对于这样一个准微型干预项目来说，这可能是一个相当宏伟的议程。
Practising architecture in minor mode “requires a partial deconstruction of the structures of power that lead to their incessant reproduction” (Jill Stoner). Given the context, might be a quite (or too?) ambitious agenda for such a quasi-miniature intervention.
▽设计图纸 Design drawings
项目名称：SELENITE DREAMS
地点：瑞士 布拉苏爱彼美术馆（CH）
项目类型：展览设计
面积：24平方米
状态：已完成，2022年
项目设计：BUREAU（Daniel Zamarbide、Carine Pimenta、Galliane Zamarbid）
网站：www.BUREAU.ac
社交平台：@Daniel_Zamarbide
概念设计：Daniel Zamarbide、Carine Pimenta、Jolan Haidinger
项目执行：Carine Pimenta（项目经理）、Jolan Haidinger、Laëtitia Chauveau、Malak Abdelhady
施工监理：Daniel Zamarbide、Galliane Zamarbide
图纸：Malak Abdelhady、Rui Da Silva
摄影：Dylan Perrenoud
Project Name: SELENITE DREAMS
Location: Musée Atelier Audemars Piguet, Brassus, Switzerland (CH)
Program: Exhibition design
Area: 24 m2
Status: Completed, 2022
Project: BUREAU (Daniel Zamarbide, Carine Pimenta, Galliane Zamarbide) | www.bureau.ac | @daniel_zamarbide
Concept design: Daniel Zamarbide, Carine Pimenta, Jolan Haidinger
Project execution: Carine Pimenta (project manager), Jolan Haidinger, Laëtitia Chauveau, Malak Abdelhady
Construction supervision: Daniel Zamarbide, Galliane Zamarbide
Publication drawings: Malak Abdelhady, Rui Da Silva
Photography: Dylan Perrenoud
“ 看似平淡无奇的建筑材料背后隐藏着丰富多彩的生活。”
审稿编辑：SIM
更多 Read more about：BUREAU
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