感谢 AACM 对gooood的分享。更多关于他们：AACM on gooood
Appreciation towards AACM for providing the following description:

Mosca.Bianca 是一个被设计为展览空间的工作坊——一个陶艺工坊，以单一的雕塑化手法呈现整套赤陶制作的过程。

Mosca. Bianca is a workshop designed as an exhibition space, A ceramic workshop where a single sculptural gesture portrays the entire process of terracotta crafting.

▼空间概览，Overall view © Marco Lumini, Catalogo

空间的形态如同陶轮上的黏土一般，从天花板处扭转塑形而下。设计手势的向心力为空间施加了张力，将氛围集中于唯一的顶光之下。犹如一个神圣的元素，与穿透上方实体形体的灯光完美对齐，一座似乎由整块材料雕成的展陈“祭坛”斜向突出于空间之中。

▼概念草图，concept drawing © AACM

The form is shaped like clay on the potter’s wheel, molded twisting from the ceiling. The space is tensed by the centripetal force of the design gesture, concentrating the atmosphere around a single zenithal light.Like a sacral element, perfectly aligning with the lamp that pierces the stereotomic shape above, a seemingly monolithic exhibit altar diagonally stands out in the space.

▼展陈“祭坛”，The exhibit altar © Marco Lumini, Catalogo

▼位于灯光之下，Under the light © Marco Lumini, Catalogo

仔细观察，这座“巨石”展现出自身的独立性，成为环绕的厚实体空间的对立面——它是一件构筑性的、轻盈的家具。当两侧打开时，一系列工作椅被呈现出来，展现出一种嵌合与叠合的特质。

▼轴测分析图，axo © AACM

Upon closer observation, the monolith declares itself autonomous, as an antithesis to the surrounding stereotomic space, a tectonic and lightweight piece of furniture, As soon as the sides open, revealing a series of working chairs, a nature of interlocking and overlapping is exhibited.

▼展桌近景，Close-up of the table © Marco Lumini, Catalogo

当椅子被收起，桌子本身便成为“建筑中的建筑”：由奥古曼胶合板制成的纤薄台面仿佛悬浮在空中，由一系列“T”形框架支撑，如同悬臂梁般挑战着重力。

Stripped of the seatings, the table presents itself as an architecture within architecture, a slender top of okumé sheets almost suspended in the air, supported by a series of’T-frames, like cantilevered beams that defy gravity.

▼陶艺作品展示，Art work display © Marco Lumini, Catalogo

如果说台面的材料回应了和面操作的实用需求，那么墙面与天花板的肌理则具有象征意味。由黏土与制砖废料组成的夯土抹灰，象征着赤陶生命的循环本质，传达出持续再利用与回收的理念。

If the top surface material responds to practical needs for dough workability, the texture of walls and ceiling is symbolic. The rammed-earth plaster, composed of clay and brick production waste, represents the cyclical nature of terracotta’s life, looking at continuous reuse and recovery.

▼材质细部，Material details © Marco Lumini, Catalogo

然而，并非所有功能都被直接表露。为了保持叙事的一致性，塑形工具被收纳于金属托板上，并由帷幕隐藏，如同舞台布景一般，只有在工作坊活动中需要时才被揭示。

However, not every function is stated. ‘To maintain a narrative coherence, the modeling tools are concealed on metal blades, hidden by curtains as in a scenic stage backdrop, revealed just as needed during workshop activities.

▼陶艺工具与作品，Pottery tools and works © Marco Lumini, Catalogo

▼夜览，Night view © Marco Lumini, Catalogo

因此，Mosca.Bianca 通过空间讲述了陶土的手工制作过程：最初的粗糙，如同抹灰；继而被塑形、加工，如屋顶的向心形态；最终在墙上或展陈祭坛上展出，沐浴在庄重的顶光之中。

The Mosca.Bianca space thus narrates the artisanal process of working with clay. Originally raw as the plaster, then shaped and worked as the roof centripetal form and fin ally displayed on the wall or on the exhibition altar, illuminated by the imposing zenithal light.

▼平面图，plan © AACM

▼立面图，elevation © AACM

▼剖面图，section © AACM

MOSCA.BIANCA
Padova, Italia
2025
Commercial, 50 sqm
Project: AACM
Arch. Nicolò ChinelloArch. Ing. Rodolfo Morandi
Client: Mosca Bianca Ceramics
Drawings: AACM
Photos: Marco Lumini, Catalogo
Texts: AACM

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Project Specs

Atelier Architettura Chinello Morandi

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