Edition Office和澳大利亚玻璃艺术家Yhonnie Scarce合作设计了维多利亚州国立美术馆内部一个黑色的圆柱形展馆。展馆以“Absence（缺席）”为主题，探索了原住民在18世纪被剥夺土地所留下的物质遗产。
Edition Office and Australia glass artists Yhonnie Scarce cooperation design the national gallery of Victoria inside a black cylinder of the pavilion. Titled In Absence, the pavilion explores the physical legacy of Aboriginal people's dispossession as a result of colonial land theft in the 18th century.
Ngv Pavilion这个项目是维多利亚国家美术馆第五届建筑竞赛的获胜作品。展厅坐落在花园的路面区域，圆柱形的建筑由深色的塔斯马尼亚硬木制成，并被切割成两半。一条小路穿过间隙，与博物馆入口和通向花园的桥对齐。
Ngv Pavilion is the winner of the National Gallery of Victoria's fifth architecture competition. Sitting on a paved area of the garden, the cylindrical form of the pavilion are made of dark-stained Tasmanian hardwood and bisected with a full-height cut. A path runs through the cut, aligned with with both the entrance to the museum and the bridge leading into the garden.
在室内，数以百计的黑色玻璃洋芋排列在该展馆内部。两个相对的圆形房间里排列着由Yhonnie Scarce设计的手工吹制的玻璃洋芋，它们似乎正从黑色的地板间滴落下来。展馆每个部分的通道和空隙都是参照“无主土地”或“无人区”的殖民策略设计的。殖民者宣布澳大利亚的原住民居区空无一人，允许他们占领，剥夺原住民社区的土地和生计。
Inside,Hundreds of black glass yams line the interior of this cylindrical pavilion. Two opposing circular chambers are lined with hand-blown glass yams – designed by Scarce – that appear to be dripping down between the black planks of the interior. The cut-through and the voids within each half of the pavilion are intended as a reference to the colonial strategy of "terra nullius" or "nobody's land". Colonisers declared Aboriginal settlements in Australia empty to allow for their seizure, dispossessing indigenous communities of their land and livelihoods.
“在《Absence》中，思考建筑、农业和工业的丰富性对这片土地原住民的影响，而遗憾的是，这片土地的存在隐藏在这个国家历史的深度阴影中。” Edition Office说。玻璃洋芋的无定形和光滑的黑色纹理参考了澳大利亚的自然资源和从原住民那里偷来的土地。除了洋芋，他们还从鱼、药用树汁和鳗鱼中提取油，传统上，这些都是在烧焦的空心树里熏出来的，让人想起展馆的空隙。
"In Absence speaks directly to the richness of architecture, agriculture and industry of the traditional custodians of this land, the presence of which sadly lies hidden within the deep myopic shadows of this nation's history," said the Edition Office. The glass yams' amorphous shapes and glossy black texture reference Australia's natural resources and the land stolen from Aboriginal people. As well as yams, they invoke oil from fish, medicinal tree sap and eels – which are traditionally smoked inside charred, hollow trees reminiscent of the pavilion's voids.
当太阳在花园上空移动时，光线穿过空隙顶部的圆形开口，照射在这些光滑的黑色形体上。几乎没有人将这种效果描述为“数千年占领的记忆和回声所发出的耀眼光芒”。一条低矮的黑色木凳提供了一个沉思的地方。
As the sun moves over the garden, the light passing through the circular opening at the top of the void moves across these glossy black forms. Scarce described the effect as "the glittering light of the memories and echoes of thousands of years of occupation." A low black wooden bench offers a place for reflection.
平面及设计理念
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