联合国可以说是极其重要的全球性多边机构，它由193个成员国，按各个国家财富值得相对比例提供资金支持，以及特定的捐献；仰仗于卡塔尔州的慷慨捐助，联合国日内瓦XIX大厅经PEIA建筑事务所的精心改造和整修，得以于翻新后面貌回归全球人们的视野。

The UN, the most importantand multilateral institution of Planet Earth, lives and survives with theproportional contribution to its wealth by each of the 193 member states andwith specific donations. Thanks to the generous donation of the state of Qatar,the XIX Hall of the United Nations in Geneva has been completely renewed with theproject of the PEIA architectural firm.

新卡塔尔大厅的容量为800个席位，其中有320个席位和供各国代表使用的办公桌，再加上同等数量的助理、观察员和新闻媒体员使用的桌椅，使这个总共4000平方米的大会堂成为拥有联合国最先进技术的最大的会议厅。

The capacity of the new Hallis 800 seats, with 320 seats and desks for the delegates of the States, plussame number of assistants, as well as observers and the press, making this Hallfor Assemblies of 4000 square meters, the largest room and with the mostadvanced technology of the UN.

建筑设计方面，通过使用同心和放射状圆形的图案进而反映出联合国的理想目标：实现真正意义上的平等的核心信念。每为参会成员都被专属设计了独立存在且相等体积的办公桌，取代呈现不同半径变化的大型柜台，这一改良可以按照不同的几何半径进行排列，将参会成员聚合到一处，从而促进国家发展彼此的个性化，同时亦可以保持彼此间的同一性；时刻表达联合国作为一个整体，时刻具备解决世界所面临的共同问题的力量和信心。

The architectural designreflects the ideals of the United Nations through its concentric and radialcircular design that exemplifies the concept of equality. Instead of large counters with different radius, a single and equal moduleof desk is designed for each member to be aggregated to others in accordingwith the geometry of the different radius rows, in order to promoteindividuality and identity of nations, and at the same time express thestrength of the union as one body to solve together the world problems.

联合国按照项目最初设计要求，确认了这一项目的目标所具备的意义和价值：它不仅是为联合国会议室建立出了最理想化的矩阵，同时亦成为联合国今后任何设计项目的榜样和模板。

The United Nations confirmsthe achievement of the goal as per initial request: to build the ideal matrixof any conference room, a model for any future project for the United Nations.

这一处项目如同具象化民主概念的工具，最小化了维护成本和能源消耗，并最大化了持续性和灵活性；这一处空间的主要特点是其具有能够提供充足座位和轮椅通路的能力；同时它亦是首个配备10个同声翻译台的房间，其中包括世界首创的专门的手语翻译台，可以说它建立了一种组织内部关于包容性的新标准。

This democratic tool allowsto minimize maintenance and energy consumption and maximize sustainability andflexibility. The key features of this space are its ability to provide mostseats and wheelchair accessibility, being the first room equipped with 10simultaneous translation booths including, first in the world, a boothdedicated to the interpreters of the sign language, establishing new standardsof inclusiveness in the organization.

会议室配备高清大屏，先进的照明系统和最大的4K LED墙，以此来确保最高标准的通信技术水平。独立的400个音视频监视器皆配备最新翻译系统，为国家与国家之间的交流对话提供了最完备工具。XIX会议室又或者可以称卡塔尔大厅——一般而言由国家“捐赠”的房间按照传统会用捐赠国的名字来命名——都配备了全新的高清机动摄像机和先进的通信系统。因此UHD系统首次实现了为集会活动和大型会议提供最出色的图像质量。

The room is equipped withhigh-definition screens enhanced by a state-of-the-art lighting system and thelargest 4K LED wall, guaranteeing the highest technological levels forcommunication. The individual 400 audio and video monitors are equipped withstate-of-the-art translation systems, providing the most sophisticated tool forexchanging dialogues between all nations. The Room XIX, or Hall of Qatar, (the"donated" rooms are traditionally called even by the name of thedonor country) is equipped with new high-definition motorized cameras and a newsophisticated communication system. Thus, for the first time, a UHD systemenables the best image quality of the assemblies and conferences.

卡塔尔大厅是有史以来第一次被安装了创新独特的照明系统的会议室，这一设计也使得联合国代表们在长时间的会议期间，能够拥有最大程度的舒适体验。通过使用昼夜节律的照明系统，房间可以转换并呈现不同的照明场景——这些场景是通过高光或弱化天花板上如雕刻般的不规则纹理，进而模仿出日出和日落的自然风情。为了引入另一处舒适光源，室内安置了自动电动开启系统，从而使得各国代表能够欣赏公园，日内瓦湖和雄伟的勃朗峰的美景；不仅可以提供给人们更加宜人壮观的视野，还可以不断提醒与会者地球正在发生的环境危机，包括联合国正在监测的冰川、两极和冰山融化。

For the first time ever aninnovative and unique lighting system was installed in a conference room tomaximize comfort for United Nations delegates during long meeting sessions.Using the circadian lighting system, the room can pass through differentlighting scenarios that imitate the rising and setting of the sun thatemphasize the sculptural irregularity of the ceiling. In order to introduceanother comfortable light source, an automatic motorized opening system wasintroduced to offer a view of the park, Lake Geneva and the majestic MontBlanc. Not only to offer a pleasant view, but also to constantly remind theplanet's environmental emergencies, including the melting of glaciers, polesand Iceberg that UN is monitoring.

该空间的另一个特点是其出色的声学性能：借助参数化软件的帮助下，可将形状各异的7000块薄木生态板彼此接合后，利用特定技术从而使其形成不同的形状，进而完成对于天花板和室内墙面的动态木制建筑中高低频输出管理；建筑内部立面的，新木，覆盖了保留在内层中的原始旧木，以这种“考古分层”的技术表达对于历史遗产的尊重。

A further feature of thespace are its high acoustic performance: with the help of parametric software,the shape and aggregation of 7.000 thin wooden eco-panels aggregated with aparticular technology that makes them in different shape, allowing themanagement of high and low frequencies in the dynamic wooden architecture ofthe ceiling and internal walls, which covered the original wooden walls thatsurvive in the inner layers, as a respectful “archaeological stratification”for the heritage.

会议厅内的雕塑元素则代表了卡塔尔的自然之美：象征着沙漠，沙丘，天空和海洋的几何形状，打破了先前房间内部严格的圆形对称性，赋予了空间动感并丰富了其中隐喻的表达；这些筑板形成了一种另类的“波浪”，可以根据室内圆形空间的声音的大小起伏而改变形状，与此同时，也包含着高度的象征含义：通过人们接近总统台时风暴逐渐平息的概念设计，暗示着联合国为促进世界和平与外交决议而做出的种种努力和成就。

These sculptural componentsrepresent the natural beauty of Qatar: the geometries that represent desertdunes, the sky and the sea, break the rigorous circular symmetry of theoriginal room, giving spatial dynamism and providing a metaphoricalrepresentation. The panels form "waves" that change shape based onthe differentiation of the acoustics of the circular space, but also contain asymbolic meaning that alludes to the efforts of the United Nations to promoteand facilitate peaceful and diplomatic resolutions: stormy waters calm down asthey approach the presidential stage.

在此空间内，拱形天花板隐喻着“沙丘”，和隐喻着万国的天空呈现颠倒性概念化设计。沙丘一直被视为独特的自然现象，根据风的运动而变化和调整形成的线条，在复杂多变的沙漠地形的轮廓中蜿蜒曲折，呈现出难以抵抗的魅力。另一方面，沙子和水作为两种最重要的自然资源，也是最宝贵和最有活力的材料和商品。赞颂沙丘的同时，也是在赞颂进化，历史，传统和文化；同时这也是一项挑战，即通过发明，艺术和技术进步来引导必要的变革，以改善人类的未来，同时也是在提醒现代的我们，应该像我们的祖先一样意识到保护环境的意义和价值——因此，大厅的圆顶设计成为一个“倒立”的沙丘，利用室内空间昼夜照明系统，每天都能观赏日出和日落。

The dune (the vaultedceiling) and the sky (the nations) are conceptually reversed upside down. Thedune has always been seen as a unique natural phenomenon that is somehow a linewhich changes and adjusts based on the wind movement creating a meander ofeverchanging profiles of the desert terrain that has captured the fascination of mankind. Sand and water are the twogreatest natural resources, the most precious and the most dynamic materials,and commodities. Celebrating the dune is celebrating evolution, history,traditions and culture and at the same time a challenge to guide the necessarychanges to improve our future with inventions, progress of art and technology,while we realize value to preserve our environment, as our ancestors did. Thedome of the hall is an "inverted" dune with daily sunrise and sunsetof the surrounding and circadian lighting system.

该设计还具体参考了卡塔尔的文化价值：书法，传统上又称为伊斯兰书法——于当代视觉艺术文化中，实际上是没有详实的文本含义和与宗教关系的存在。设计的最终用户——联合国——其强制性世俗地位，理解了建筑团队以此书法文化作为雏形的图形设计提案，认为它是对这种艺术表达形式的当代化诠释——不再仅限于阿拉伯语言世界的范畴。

The design is also a clearreference to the cultural values of Qatar: Calligraphy (traditionally calledIslamic calligraphy) is actually within contemporary visual art culture,without textual meaning and relationship with religion. The end user, theUnited Nations, by compulsory secular status, has understood the graphic designproposal by our team as a contemporary interpretation of a form of artisticexpression that no longer belongs only to the culture of the vast Arab world.

新卡塔尔大厅形式上的丰富性还表现于它的矩阵和几何图案中（穆沙拉比亚），尤其是来自卡塔尔文化历史的原始形态的图纹部分——且在项目的不同组成中得到了重新诠释，譬如穿孔的木质隔音板，青铜格，织物，地毯和定制的瓷质马赛克。

Whose formal richness is alsoin the matrices and geometric patterns (Musharabya), in particular withoriginal types from Qatar, and has been reinterpreted in different componentsof the project such as the perforated wooden acoustic panels, bronze grids,fabrics, rugs and custom-made porcelain mosaics.

最后，设计师通过对椅子的重新设计来纪念联合国大楼的过往历史，这是对60年代E楼建设项目合作的CharlottePerriand的致敬。Perriand是现代运动大师勒·柯布西耶（LeCorbusier）的助手，他与奥斯卡·尼迈耶（Oscar Niemeyer）同属于纽约联合国总部的建筑师团队（1948-1952）。

Finally, the history of theUnited Nations building was honoured through the redesign of the chairs, with atribute to the work of Charlotte Perriand who collaborated on the project ofthe Building E in the 60s. Perriand was assistant of Le Corbusier, the masterof the modern movement who was with Oscar Niemeyer in the team of architectsfor the United Nations headquarters in New York (1948- 1952).

在一个建筑项目中，桌椅和家具的设计是极其复杂的特别挑战：必须符合人体工程学，根据整体空间功能规划节省空间，符合安全和疏散规则和策略，能提供给与会者长时间使用的稳定舒适度，为残障人士活动提供足够的灵活性和可达性，甚至需要满足要在几秒钟之内将任何椅子取下以替换成轮椅、并清除原始零件中的有害成分的要求——若是想要满足以上所有的标准，都要求必须使用新家具来替换原始家具。而由Perriand设计，修复和回收的30张原始椅子为来访者和学校团队提供了第二次生命，他们可以从夹层楼顶参加联合国大会，并通过使用这些原始家具以此纪念大会堂的过往历史。

Within the architecturalproject, the new chairs and furnishings are a very specific project of extremecomplexity due to the ergonomic requirements, saving space in accordance withthe functional planning of the entire space, in compliance with safety andevacuation rules and strategies, comfort for long sessions, flexibility andaccessibility for disabled people, even with the possibility of removing anychair in a few seconds to be replaced by a wheelchair and removing toxicmaterials from the original parts, all of which made it necessary to replacethe original furniture. However, thirty original chairs designedby Perriand, restored and reclaimed, now have a second life for visitors andschools that can participate at United Nations assemblies from the top of themezzanine with the reuse in memory of the past of the Hall.

以国家的身份和初衷进行捐助，是联合国这一地球上最重要机构的传统。这一种传统，实则代表着过去，现在和未来是连续的，超越国家本身的更为永恒的存在，也是新生一代能够理解的价值；只有当我们从自我代表的逻辑系统向后退一步，以更明确的象征意义和紧密的团结姿态，摆脱和拒绝夸张轻浮的粉饰和虚伪，提醒我们在面对为救助人类自身和地球家园努力取得进步的挑战时，必须要敢于直面它，敢于对抗它，并且不惧打败它，同时要许下于未来某日终将会取得立竿见影的成果的，共同的，长久的承诺。

The identity and roots of thecountry donor with the tradition of the most important institution on theplanet. Past, present and future are in a continuous and supranational andtimeless flow, as values that can be understood by the new generations, only ifwe step back from the logic of self-representation and giving explicit symbolicmeanings, not decorations, that always remind us of the emergencies we have toface, daring and winning the challenge through true progress for the peoples andthe salvation of the planet, in a common and constant commitment to immediateand tangible results.

项目位置: 联合国日内瓦总部，ONU in Geneva(UNOG)

项目类型：室内房间，The new ROOM XIX at United Nations of Geneva

项目完成: 2019

建筑团队：PEIA Associati

团队成员-Milan/Doha：GiampieroPeia, Marta Nasazzi, Ludovico Maestri, Alberto Maisano, Marta Dituri, AndreaPietro Mori, Pia Panosh, Katerina Dimova, Ilaria Baudino, Hiba Alnemer

项目主创: Giampiero Peia

合作伙伴: Marta Nasazzi

概念提出：Ibrahim Jaidah AEB

机电工程: AI Group - Enzio Bestazzi

结构工程: Studio Badolato

影频工程: Taiden / Media Vision

音响负责: AER – Francois Aballea

总承包商: CCM – 意大利

房屋面积: 4.000 sqm

相关材料类型

照明设计：FLOS

家具椅: MATTEO GRASSI

瓷砖: CASALGRANDE PADANA

木材：SWISSWOOD, TOPAKUSTIK,WOOD-SKIN

声壁纸: WALLPEPPER

办公家具：WILKHAHN

二氧化碳吸收剂材料：KRION

视频LED墙显示器：LEYARD

联合国可以说是极其重要的全球性多边机构，它由193个成员国，按各个国家财富值得相对比例提供资金支持，以及特定的捐献；仰仗于卡塔尔州的慷慨捐助，联合国日内瓦XIX大厅经PEIA建筑事务所的精心改造和整修，得以于翻新后面貌回归全球人们的视野。

The UN, the most importantand multilateral institution of Planet Earth, lives and survives with theproportional contribution to its wealth by each of the 193 member states andwith specific donations. Thanks to the generous donation of the state of Qatar,the XIX Hall of the United Nations in Geneva has been completely renewed with theproject of the PEIA architectural firm.

新卡塔尔大厅的容量为800个席位，其中有320个席位和供各国代表使用的办公桌，再加上同等数量的助理、观察员和新闻媒体员使用的桌椅，使这个总共4000平方米的大会堂成为拥有联合国最先进技术的最大的会议厅。

The capacity of the new Hallis 800 seats, with 320 seats and desks for the delegates of the States, plussame number of assistants, as well as observers and the press, making this Hallfor Assemblies of 4000 square meters, the largest room and with the mostadvanced technology of the UN.

建筑设计方面，通过使用同心和放射状圆形的图案进而反映出联合国的理想目标：实现真正意义上的平等的核心信念。每为参会成员都被专属设计了独立存在且相等体积的办公桌，取代呈现不同半径变化的大型柜台，这一改良可以按照不同的几何半径进行排列，将参会成员聚合到一处，从而促进国家发展彼此的个性化，同时亦可以保持彼此间的同一性；时刻表达联合国作为一个整体，时刻具备解决世界所面临的共同问题的力量和信心。

The architectural designreflects the ideals of the United Nations through its concentric and radialcircular design that exemplifies the concept of equality. Instead of large counters with different radius, a single and equal moduleof desk is designed for each member to be aggregated to others in accordingwith the geometry of the different radius rows, in order to promoteindividuality and identity of nations, and at the same time express thestrength of the union as one body to solve together the world problems.

联合国按照项目最初设计要求，确认了这一项目的目标所具备的意义和价值：它不仅是为联合国会议室建立出了最理想化的矩阵，同时亦成为联合国今后任何设计项目的榜样和模板。

The United Nations confirmsthe achievement of the goal as per initial request: to build the ideal matrixof any conference room, a model for any future project for the United Nations.

这一处项目如同具象化民主概念的工具，最小化了维护成本和能源消耗，并最大化了持续性和灵活性；这一处空间的主要特点是其具有能够提供充足座位和轮椅通路的能力；同时它亦是首个配备10个同声翻译台的房间，其中包括世界首创的专门的手语翻译台，可以说它建立了一种组织内部关于包容性的新标准。

This democratic tool allowsto minimize maintenance and energy consumption and maximize sustainability andflexibility. The key features of this space are its ability to provide mostseats and wheelchair accessibility, being the first room equipped with 10simultaneous translation booths including, first in the world, a boothdedicated to the interpreters of the sign language, establishing new standardsof inclusiveness in the organization.

会议室配备高清大屏，先进的照明系统和最大的4K LED墙，以此来确保最高标准的通信技术水平。独立的400个音视频监视器皆配备最新翻译系统，为国家与国家之间的交流对话提供了最完备工具。XIX会议室又或者可以称卡塔尔大厅——一般而言由国家“捐赠”的房间按照传统会用捐赠国的名字来命名——都配备了全新的高清机动摄像机和先进的通信系统。因此UHD系统首次实现了为集会活动和大型会议提供最出色的图像质量。

The room is equipped withhigh-definition screens enhanced by a state-of-the-art lighting system and thelargest 4K LED wall, guaranteeing the highest technological levels forcommunication. The individual 400 audio and video monitors are equipped withstate-of-the-art translation systems, providing the most sophisticated tool forexchanging dialogues between all nations. The Room XIX, or Hall of Qatar, (the"donated" rooms are traditionally called even by the name of thedonor country) is equipped with new high-definition motorized cameras and a newsophisticated communication system. Thus, for the first time, a UHD systemenables the best image quality of the assemblies and conferences.

卡塔尔大厅是有史以来第一次被安装了创新独特的照明系统的会议室，这一设计也使得联合国代表们在长时间的会议期间，能够拥有最大程度的舒适体验。通过使用昼夜节律的照明系统，房间可以转换并呈现不同的照明场景——这些场景是通过高光或弱化天花板上如雕刻般的不规则纹理，进而模仿出日出和日落的自然风情。为了引入另一处舒适光源，室内安置了自动电动开启系统，从而使得各国代表能够欣赏公园，日内瓦湖和雄伟的勃朗峰的美景；不仅可以提供给人们更加宜人壮观的视野，还可以不断提醒与会者地球正在发生的环境危机，包括联合国正在监测的冰川、两极和冰山融化。

For the first time ever aninnovative and unique lighting system was installed in a conference room tomaximize comfort for United Nations delegates during long meeting sessions.Using the circadian lighting system, the room can pass through differentlighting scenarios that imitate the rising and setting of the sun thatemphasize the sculptural irregularity of the ceiling. In order to introduceanother comfortable light source, an automatic motorized opening system wasintroduced to offer a view of the park, Lake Geneva and the majestic MontBlanc. Not only to offer a pleasant view, but also to constantly remind theplanet's environmental emergencies, including the melting of glaciers, polesand Iceberg that UN is monitoring.

该空间的另一个特点是其出色的声学性能：借助参数化软件的帮助下，可将形状各异的7000块薄木生态板彼此接合后，利用特定技术从而使其形成不同的形状，进而完成对于天花板和室内墙面的动态木制建筑中高低频输出管理；建筑内部立面的，新木，覆盖了保留在内层中的原始旧木，以这种“考古分层”的技术表达对于历史遗产的尊重。

A further feature of thespace are its high acoustic performance: with the help of parametric software,the shape and aggregation of 7.000 thin wooden eco-panels aggregated with aparticular technology that makes them in different shape, allowing themanagement of high and low frequencies in the dynamic wooden architecture ofthe ceiling and internal walls, which covered the original wooden walls thatsurvive in the inner layers, as a respectful “archaeological stratification”for the heritage.

会议厅内的雕塑元素则代表了卡塔尔的自然之美：象征着沙漠，沙丘，天空和海洋的几何形状，打破了先前房间内部严格的圆形对称性，赋予了空间动感并丰富了其中隐喻的表达；这些筑板形成了一种另类的“波浪”，可以根据室内圆形空间的声音的大小起伏而改变形状，与此同时，也包含着高度的象征含义：通过人们接近总统台时风暴逐渐平息的概念设计，暗示着联合国为促进世界和平与外交决议而做出的种种努力和成就。

These sculptural componentsrepresent the natural beauty of Qatar: the geometries that represent desertdunes, the sky and the sea, break the rigorous circular symmetry of theoriginal room, giving spatial dynamism and providing a metaphoricalrepresentation. The panels form "waves" that change shape based onthe differentiation of the acoustics of the circular space, but also contain asymbolic meaning that alludes to the efforts of the United Nations to promoteand facilitate peaceful and diplomatic resolutions: stormy waters calm down asthey approach the presidential stage.

在此空间内，拱形天花板隐喻着“沙丘”，和隐喻着万国的天空呈现颠倒性概念化设计。沙丘一直被视为独特的自然现象，根据风的运动而变化和调整形成的线条，在复杂多变的沙漠地形的轮廓中蜿蜒曲折，呈现出难以抵抗的魅力。另一方面，沙子和水作为两种最重要的自然资源，也是最宝贵和最有活力的材料和商品。赞颂沙丘的同时，也是在赞颂进化，历史，传统和文化；同时这也是一项挑战，即通过发明，艺术和技术进步来引导必要的变革，以改善人类的未来，同时也是在提醒现代的我们，应该像我们的祖先一样意识到保护环境的意义和价值——因此，大厅的圆顶设计成为一个“倒立”的沙丘，利用室内空间昼夜照明系统，每天都能观赏日出和日落。

The dune (the vaultedceiling) and the sky (the nations) are conceptually reversed upside down. Thedune has always been seen as a unique natural phenomenon that is somehow a linewhich changes and adjusts based on the wind movement creating a meander ofeverchanging profiles of the desert terrain that has captured the fascination of mankind. Sand and water are the twogreatest natural resources, the most precious and the most dynamic materials,and commodities. Celebrating the dune is celebrating evolution, history,traditions and culture and at the same time a challenge to guide the necessarychanges to improve our future with inventions, progress of art and technology,while we realize value to preserve our environment, as our ancestors did. Thedome of the hall is an "inverted" dune with daily sunrise and sunsetof the surrounding and circadian lighting system.

该设计还具体参考了卡塔尔的文化价值：书法，传统上又称为伊斯兰书法——于当代视觉艺术文化中，实际上是没有详实的文本含义和与宗教关系的存在。设计的最终用户——联合国——其强制性世俗地位，理解了建筑团队以此书法文化作为雏形的图形设计提案，认为它是对这种艺术表达形式的当代化诠释——不再仅限于阿拉伯语言世界的范畴。

The design is also a clearreference to the cultural values of Qatar: Calligraphy (traditionally calledIslamic calligraphy) is actually within contemporary visual art culture,without textual meaning and relationship with religion. The end user, theUnited Nations, by compulsory secular status, has understood the graphic designproposal by our team as a contemporary interpretation of a form of artisticexpression that no longer belongs only to the culture of the vast Arab world.

新卡塔尔大厅形式上的丰富性还表现于它的矩阵和几何图案中（穆沙拉比亚），尤其是来自卡塔尔文化历史的原始形态的图纹部分——且在项目的不同组成中得到了重新诠释，譬如穿孔的木质隔音板，青铜格，织物，地毯和定制的瓷质马赛克。

Whose formal richness is alsoin the matrices and geometric patterns (Musharabya), in particular withoriginal types from Qatar, and has been reinterpreted in different componentsof the project such as the perforated wooden acoustic panels, bronze grids,fabrics, rugs and custom-made porcelain mosaics.

最后，设计师通过对椅子的重新设计来纪念联合国大楼的过往历史，这是对60年代E楼建设项目合作的CharlottePerriand的致敬。Perriand是现代运动大师勒·柯布西耶（LeCorbusier）的助手，他与奥斯卡·尼迈耶（Oscar Niemeyer）同属于纽约联合国总部的建筑师团队（1948-1952）。

Finally, the history of theUnited Nations building was honoured through the redesign of the chairs, with atribute to the work of Charlotte Perriand who collaborated on the project ofthe Building E in the 60s. Perriand was assistant of Le Corbusier, the masterof the modern movement who was with Oscar Niemeyer in the team of architectsfor the United Nations headquarters in New York (1948- 1952).

在一个建筑项目中，桌椅和家具的设计是极其复杂的特别挑战：必须符合人体工程学，根据整体空间功能规划节省空间，符合安全和疏散规则和策略，能提供给与会者长时间使用的稳定舒适度，为残障人士活动提供足够的灵活性和可达性，甚至需要满足要在几秒钟之内将任何椅子取下以替换成轮椅、并清除原始零件中的有害成分的要求——若是想要满足以上所有的标准，都要求必须使用新家具来替换原始家具。而由Perriand设计，修复和回收的30张原始椅子为来访者和学校团队提供了第二次生命，他们可以从夹层楼顶参加联合国大会，并通过使用这些原始家具以此纪念大会堂的过往历史。

Within the architecturalproject, the new chairs and furnishings are a very specific project of extremecomplexity due to the ergonomic requirements, saving space in accordance withthe functional planning of the entire space, in compliance with safety andevacuation rules and strategies, comfort for long sessions, flexibility andaccessibility for disabled people, even with the possibility of removing anychair in a few seconds to be replaced by a wheelchair and removing toxicmaterials from the original parts, all of which made it necessary to replacethe original furniture. However, thirty original chairs designedby Perriand, restored and reclaimed, now have a second life for visitors andschools that can participate at United Nations assemblies from the top of themezzanine with the reuse in memory of the past of the Hall.

以国家的身份和初衷进行捐助，是联合国这一地球上最重要机构的传统。这一种传统，实则代表着过去，现在和未来是连续的，超越国家本身的更为永恒的存在，也是新生一代能够理解的价值；只有当我们从自我代表的逻辑系统向后退一步，以更明确的象征意义和紧密的团结姿态，摆脱和拒绝夸张轻浮的粉饰和虚伪，提醒我们在面对为救助人类自身和地球家园努力取得进步的挑战时，必须要敢于直面它，敢于对抗它，并且不惧打败它，同时要许下于未来某日终将会取得立竿见影的成果的，共同的，长久的承诺。

The identity and roots of thecountry donor with the tradition of the most important institution on theplanet. Past, present and future are in a continuous and supranational andtimeless flow, as values that can be understood by the new generations, only ifwe step back from the logic of self-representation and giving explicit symbolicmeanings, not decorations, that always remind us of the emergencies we have toface, daring and winning the challenge through true progress for the peoples andthe salvation of the planet, in a common and constant commitment to immediateand tangible results.

项目位置: 联合国日内瓦总部，ONU in Geneva(UNOG)

项目类型：室内房间，The new ROOM XIX at United Nations of Geneva

项目完成: 2019

建筑团队：PEIA Associati

团队成员-Milan/Doha：GiampieroPeia, Marta Nasazzi, Ludovico Maestri, Alberto Maisano, Marta Dituri, AndreaPietro Mori, Pia Panosh, Katerina Dimova, Ilaria Baudino, Hiba Alnemer

项目主创: Giampiero Peia

合作伙伴: Marta Nasazzi

概念提出：Ibrahim Jaidah AEB

机电工程: AI Group - Enzio Bestazzi

结构工程: Studio Badolato

影频工程: Taiden / Media Vision

音响负责: AER – Francois Aballea

总承包商: CCM – 意大利

房屋面积: 4.000 sqm

相关材料类型

照明设计：FLOS

家具椅: MATTEO GRASSI

瓷砖: CASALGRANDE PADANA

木材：SWISSWOOD, TOPAKUSTIK,WOOD-SKIN

声壁纸: WALLPEPPER

办公家具：WILKHAHN

二氧化碳吸收剂材料：KRION

视频LED墙显示器：LEYARD