戈登画廊在耶路撒冷的新场馆是一个不同寻常的步骤，也是一个总部设在特拉维夫的画廊–最古老和最成功的画廊–第一次在以色列首都开设一个额外的场馆。戈登画廊是由Yeshayahu (Shaya) Yariv于1966年在特拉维夫建立的。新场馆位于城市西南部的Sapir中心工业区，这个地区让人想起特拉维夫的Kiryat Hamelacha，那里长期以来一直是艺术爱好者的朝圣地。这是一个充满大型工业建筑的地区，大部分是轻工业，但也有一些艺术家工作室、神学院，以及Bezalel学院的极端东正教分部阿曼，位于新画廊的隔壁，3号楼的第三层。
The Gordon Gallery’s new Jerusalem venue is an unusual step and the first time that a Tel Aviv-based gallery—one of the oldest and most successful— opens an additional venue in Israel’s capital. Gordon Gallery was established in Tel Aviv in 1966 by Yeshayahu (Shaya) Yariv. The new venue is located in the Sapir Center industrial area, in the city’s southwest, an area reminiscent of the Tel Aviv’s Kiryat Hamelacha, which has long been a pilgrimage site for art lovers. It is an area steeped in large industrial buildings, mostly housing light industry, but also several artist studios, yeshivas, as well as Bezalel Academy’s ultra-Orthodox branch Oman, located next door to the new gallery, on the third floor of building number 3.
设计耶路撒冷戈登画廊的主要挑战之一是如何确定画廊与周围空间之间的理想关系。在我们与画廊业主Amon Yariv进行的初步规划讨论中，出现了对画廊附近繁华空间的开放程度的问题。更多的问题涉及到萨皮尔中心的工人和游客与新画廊之间的关系。
One of the main challenges in designing the Gordon Gallery in Jerusalem was in defining the desired relationship between the gallery and its surrounding space. In the preliminary planning discussions we had with Amon Yariv, the gallery’s owner, questions arose as to the degree of openness towards the bustling space in the immediate vicinity of the gallery. Further questions dealt with the relationship between the workers and visitors to the Sapir Center, and the new gallery.
画廊是长方形的，从其狭窄的肋骨处采光，其间的空间大约有20米长。出于这个原因，办公室、艺术品储藏室和厕所都位于画廊的中心，从而使前部和后部的展览区都有最佳的照明。画廊的入口是诱人的。它没有入口大厅或门槛区，而且几乎是通往它的开放式公共走廊的直接延续。画廊的设计允许循环运动，使人们能够从新的角度不断发现其各种空间。
The gallery is rectangular, and is lit from its narrow ribs, between which the space is some 20 meters long. For this reason, offices, the art storerooms and toilets were located in the center of the gallery, thus enabling optimal lighting for both the front and rear exhibition areas. The entrance to the gallery is inviting. It has no entrance lobby or threshold areas, and is an almost direct continuation of the open public corridor which leads toward it. The gallery is designed to allow circular movement, enabling continuous discovery of its various spaces from new angles.
旧的外墙被拆除了，取而代之的是透明的玻璃，以钢为框架，后面有一个半透明的幕布。在画廊里度过的时间是不被打扰的，平静的，但并不脱离周围的环境。走廊的深度阻止了阳光的直接进入，它用柔和的光线照亮了前面的展示区。画廊及其独特的展品现在向一个宽阔的走廊开放，这个走廊沿着整个建筑的长度，邀请路人进入。画廊在工业区里有一个独特的存在。它既能照亮，又能从远处看到，但并不与萨皮尔中心分离或疏远。
The old façade was dismantled, and replaced by transparent glass, framed in steel and with a semi-transparent curtain behind it. Time spent in the gallery is undisturbed and calm but is not detached from its surroundings. The depth of the corridor prevents the entry of direct sunlight, which illuminates the front display areas with softened light. The gallery and its unique exhibits are now open to a wide corridor which runs along the length of the entire building, inviting passers-by to enter. The gallery has a distinct presence in the industrial area. It both illuminates and is visible from a distance, but is not separated from or alien to the Sapir Center.
Architects : Salty Architects
Area : 240 m²
Year : 2021
Photographs :Gidon Levin
Lead Architect : Motti Rauchwerger
Contractor : Gideon Engineering and Construction Ltd
Architect : Hadar Menkes
Metalwork : K Y Energies, Yinon Arazi
Architects : Salty Architects
City : Jerusalem
Country : Israel