TSE2025｜WINDOW SCAPE

展覧会名｜ヴェネチアビエンナーレ2025 国際建築展関連企画 'Time Space Existence 2025'

作品名　｜WINDOW SCAPE－Practical use of windows’ motion in historic architecture－

所在地　｜ヴェネチア，イタリア

主要用途｜インスタレーション

施工　　｜Europe Cultural Center

建築面積｜ー

竣工日　｜2025.05.10〜2025.11.23

写真家　｜NI&Co. Architects

デザイン｜NI&Co. Architects＋船橋研究室（小木曽力斗, 福田羽和）

TIME SPACE EXISTENCE, WEB CATALOGUE, VIRTUAL TOURS

窓の可動域が生み出す風景－歴史的建造物の窓を活用した展示空間の実践－

展示会場における展示室の全室調査を経て、PALAZZO BEMBO2Fの展示室#1を選択した。既存の連続アーチ窓を計画対象とし、窓の機能を超えた新たな展示空間の創造を目指す。

窓の開閉に伴う軌跡は、窓の機能と可能性を示唆する重要な要素である。一方で、視認できないため、そこに意識を向ける人はほとんどいない。私たちは、この「窓が生み出す軌跡」に着目し、窓が描く風景を創出する。

窓は室内に光や風を取り込む開口部であるのと同時に、人々が外の世界を知ることを可能にする。すなわち、内と外を隔てるとともにつなぐものであるとも言える。当該窓を調査した結果、120㎡の展示室内に十分な採光をもたらす開口部であることがわかったが、その窓自体は開かずの窓であり、存在感はほぼない。私たちは、この窓の捉え方次第で、当該展示室の空間特性が大きく変化すると考えた。私たちの提案は、この美しい連続アーチ窓を新たな空間要素として再生することである。

人が窓を開けるという行為は、ごく一般的で自然な所作である。来場者が窓に触れることで、窓がそれに応答し、軌跡が風景となって現れる。窓に対する来場者のふるまいによってその風景は刻一刻と変化していくのである。展示空間は、出展者と来場者の間に双方向の関係を構築することが難しく、一方通行の情報提供にとどまる傾向が強い。来場者が見て、体験し、参加できる展示空間をデザインすることで、新たな展示空間の可能性を示した。

WINDOW SCAPE－Practical use of windows’ motion in historic architecture－

The trajectory is an important element that implies the function and potential of the windows, but it is not visible, and almost unrecognizable. Therefore, we focus on the trajectories drawn by the windows and create the landscape drawn by them.

When a visitor opens the windows, a ‘landscape drawn by the trajectory of them’ ap-pears. Another visitor see it. Depending on how the windows are opened, the landscape changes one after another, and the visitors relate to each other in various ways. As soon as the exhibition is closed, the windows are closed by the organizers and the landscape temporarily re-turns to its usual appearance, until the next day when visitors open the windows again.

The continuous arch windows that exist in the exhibition room are the subject of research to cre-ate a new exhibition space that goes beyond the function of the windows. Windows are open-ings that take light and ventilation into the internal space, but also allow people to see and rec-ognize the outer space. It can be said to separate and connect the outside and the inside at the same time.

Research into this window shows that it is an opening that provides sufficient light within the 120 square meters exhibition room, although those windows themselves are an unopened, and few visitors will be able to imagine the beautiful landscape of continuous arches that is often seen along the canals of Venice. We considered that the spatial characteristics of the exhibition room could change dramatically dependence on how this window is perceived. Our proposal is to regenerate these beautiful continuous arch windows as a new spatial element.

The behavior of a person opening a window is a very common and natural. When a visitor touches the windows, then the windows respond to it, a landscape changes from moment to moment is created by the visitor's action.

Exhibition spaces are often one-way information, as it is difficult to create an interactive relation-ship between exhibitors and visitors. By designing exhibition spaces in which visitors can see, experience, and participate, the aim is to ‘provide new spatial values.’ In fact, in many cases, the visitor views the artists' work unilaterally. In this context, we believe that proposing an exhibi-tion space in which visitors can see, experience, and participate will lead to the creation of new values.