“纸浆出版社(Kistefos)2013”是斯堪的纳维亚最大的当代雕塑公园之一，它是一个永久性的特定地点艺术家-Kistefos博物馆的建筑师委员会。这座博物馆位于挪威奥斯陆以北一小时的杰夫纳克(Jevnaker)的一座19世纪造纸厂的场地上。

‘Pulp Press (Kistefos) 2013’ is a permanent site-specific artist-architect commission for Kistefos Museum - one of Scandinavia's largest parks of contemporary sculpture. The museum occupies the grounds of a 19th century paper mill in Jevnaker, an hour north of Oslo, Norway.

 © Jiru Havran

c Jiru HAVRAN

浇铸混凝土展馆是一个开放的体积，长度为13米，宽度为6.5米，高度为5米，其中一个开放的立面面向前造纸厂，另一个面向河流。它位于一个角度，形成一个紧绷的集群与一个现有的船屋和一个浇铸混凝土码头。展馆与桥墩共用其抛光的混凝土地板水平，而桥墩也同样从五十年的洪水水位中得到启示。它的混凝土形式就像一个不稳定的嵌入在一个倾斜的河流草甸上。

The cast concrete pavilion is an open-ended volume, 13m in length, 6.5m in width and 5m in height with one open façade facing the former paper mill and another facing the river. It sits at an angle to form a taut cluster with an existing boathouse and a cast concrete pier. The pavilion shares its polished concrete floor level with the pier that likewise takes its cue from the fifty-year flood level. Its concrete form is embedded like an erratic onto a sloping river meadow.

一个人来到展馆时，会看到一个像照相机一样的快门，它由三扇预紧的胶合板门组成。在进入漆黑的内部之前，这些门会被凹进展馆，以创造一个预先的空间。在里面，展馆的混凝土墙被一种黑色颜料涂黑，使原来的印刷机的巨大投影运动图像得以恢复生机，尽管它是一种由军事和游戏程序员更典型使用的软件建造的数字模拟设备。原始印刷机使旧造纸厂的工业机器恢复了生机。投影仪被凹进屋顶厚度的口袋中，从而允许将投影的工作接收到亭内的独立浇铸混凝土墙上。

One arrives at the pavilion to be presented with a shuttered, camera-like front consisting of a trio of pivoting pre-stressed plywood doors. The doors are recessed into the pavilion in order to create an ante space before entering the darkened interior. Within, the concrete walls of the pavilion are darkened with a black pigment to enable a large projected moving image of the original press that has brought the industrial machine of the old paper mill back to life, albeit as a digital simulacrum built with software that is more typically used by the military and gaming programmers. The projector is recessed into a pocket in the roof thickness thereby allowing for the projected work to be received onto a freestanding cast concrete wall within the pavilion.

 © Jiru Havran

c Jiru HAVRAN

里面的投影作品是这台机器(1950年退役)的超现实写实的写照，并精心改造成一个虚拟形式。重要的是，它甚至在虚拟环境中进行了更新，以再次发挥功能。管道已经更换，阀门来源，缺少的部件由生产团队研究了一年多，所有在模拟重建。预计的工作的实际存在也是固有的，每天增加的“库存”的数字纸张纸浆-数字文件的灵感来自历史图像。它们聚集在展馆内的预制混凝土和黄铜架子上的金属硬盘单元中，模仿磨坊曾经生产的成堆的木浆包。当每个硬盘都被填满时，需要另一个硬盘，因此该项目将永远扩展更多。

The projected work within is a hyper-realistic portrait of the machine (decommissioned in 1950) and painstakingly remade as a virtual form. Importantly, it has even been renovated within the virtual to function once more. Pipes have been replaced, valves sourced, missing components researched by the production team for over a year and all recreated in simulacra. The projected work's physical presence is also inherent in the daily increasing 'stock' of digital sheets of paper pulp it produces - digital files that are inspired by historic images. They accumulate in metal hard-disk units on a nest of precast concrete and brass shelves inside the pavilion, emulating the piles of wood pulp bales that the mill once produced. As each hard disk is filled, another is required, and so the project expands forever more.

 Floor Plan

沿着独立投影墙的两边走来走去，形成了一个外部阳台，将一个新的景物架在兰德河上。一个无框玻璃栏杆是详细的，以不妨碍这一点。一个铸造抛光混凝土长凳，让公众休息和放松，同时重新适应现实世界，经历了投影的虚拟世界的展馆。

Walking around either side of the freestanding projection wall an external balcony is made that frames a new view onto the River Rand. A frameless glass balustrade is detailed so as not to hinder this. A cast polished concrete bench allows the public to rest and relax while re-adjusting to the real world having experienced the projected virtual world of the pavilion.

 © Jiru Havran

c Jiru HAVRAN

虽然我们可能生活在一个“无纸化”的世界，但这项工作强烈提醒我们，即使是数字数据也存储在一个物理世界中。这座亭子坐落在河湾的边缘，水力发电为展馆内的预计工作提供动力-1889年，正是这条河流造就了最初的造纸厂。

While we may live in a 'paperless' world, the work is keen to remind us that even digital data is stored in a physical world. The pavilion sits along the edge of the River Rands that powers the projected work within the pavilion by hydro-electrics - the very same river that gave rise to the original paper mill in 1889.