中国,南京四方当代美术馆/ Steven Holl

这座新建的美术馆位于中国南京珍珠泉苍翠优美的风景区内,坐落在当代国际建筑艺术实践展的大门口位置。美术馆设计充分发掘多变的视角、不同的空间层次、大片的薄雾和辽阔的水域,表现出早期国画深深交错的空间神秘感。南京四方当代美术馆将于今年秋天面向公众开放。

下面列出了线图、照片和手绘图。

建筑师:Steven Holl Architects

设计建筑师:Steven Holl, Li Hu

地点:Nanjing, China

合伙负责人:Hideki Hirahara

项目建筑师:Clark Manning, Daijiro Nakayama

项目组:Joseph Kan, JongSeo Lee, Pei Shyun Lee, Tz-Li Lin, Richard Liu, Sarah Nichol

合作建筑师:Architectural Design Institute, Nanjing University

结构顾问:Guy Nordenson and Associates

照明设计:L’Observatoire International

甲方:Nanjing Foshou Lake Architecture and Art Developments Ltd

项目面积:20,000 sqf

项目年份:2011

摄影:Li Hu, Shu He, Steven Holl Architects

中国西方绘画之间的根本历史差异是透视方法。13世纪之后,西方绘画在固定透视方法中发展出了消失点。中国的画家虽然也知道透视法,但却拒绝使用只有一个消失点的方法,而是利用“平行透视”创造风景,这种方法可以让观赏者在画中“漫步”。

美术馆是由平行透视空间组成的一个“域”以及用竹子制成的黑色混凝土花园墙共同形成的,花园墙上方悬浮着一个轻质的结构体。地面一层笔直的通道逐渐变化成上方轻质结构体中蜿蜒的通道。上层的画廊悬浮在空中,以顺时针方向逐渐展开,在终端处可以眺望到远处南京市的景色。选择这个乡村场地的意义由于这条能看到明代都城南京的视觉轴线而变得更加具有城市特点。

庭院地面铺设的砖是从南京市区老胡同破败的院子里回收来的。美术馆只使用了黑和白两种颜色,与古老的绘画联系起来,但也给其中展示的艺术品和建筑作品的颜色和纹理提供了合适的背景。原来就生长在项目基地上的竹子被用在了竹子混凝土中,通体染成了黑色。美术馆采用地热资源制冷和供暖,还充分利用了回收雨水。


The new museum is sited at the gateway to the Contemporary International Practical Exhibition of Architecture in the lush green landscape of the Pearl Spring near Nanjing, China. It explores the shifting viewpoints, layers of space, and expanses of mist and water, which characterize the deep alternating spatial mysteries of early Chinese painting. This coming fall the Nanjing Sifang Art Museum will open to the public.

Drawings, photographs, and sketches following the break.

Architects: Steven Holl Architects

Design Architect: Steven Holl, Li Hu

Location: Nanjing, China

Associate-in-Charge: Hideki Hirahara

Project Architect: Clark Manning, Daijiro Nakayama

Project Team: Joseph Kan, JongSeo Lee, Pei Shyun Lee, Tz-Li Lin, Richard Liu, Sarah Nichol

Associate Architects: Architectural Design Institute, Nanjing University

Structural Consultant: Guy Nordenson and Associates

Lighting Design: L’Observatoire International

Client: Nanjing Foshou Lake Architecture and Art Developments Ltd

Project Area: 20,000 sqf

Project Year: 2011

Photographs: Li Hu, Shu He, Steven Holl Architects

Perspective is the fundamental historic difference between Western and Chinese painting. After the 13th Century, Western painting developed vanishing points in fixed perspective. Chinese painters, although aware of perspective, rejected the single-vanishing point method, instead producing landscapes with “parallel perspectives” in which the viewer travels within the painting.

The museum is formed by a “field” of parallel perspective spaces and garden walls in black bamboo-formed concrete over which a light “figure” hovers. The straight passages on the ground level gradually turn into the winding passage of the figure above. The upper gallery, suspended high in the air, unwraps in a clockwise turning sequence and culminates at “in-position” viewing of the city of Nanjing in the distance. The meaning of this rural site becomes urban through this visual axis to the great Ming Dynasty capital city, Nanjing.

The courtyard is paved in recycled Old Hutong bricks from the destroyed courtyards in the center of Nanjing. Limiting the colors of the museum to black and white connects it to the ancient paintings, but also gives a background to feature the colors and textures of the artwork and architecture to be exhibited within. Bamboo, previously growing on the site, has been used in bamboo- formed concrete, with a black penetrating stain. The Museum has geothermal cooling and heating, and recycled storm water.