美国,阿肯色州,水晶桥博物馆商店 / Marlon Blackwell Architect

建筑师:Marlon Blackwell Architect

地点:水晶桥美国艺术博物馆,美国阿肯色州本顿维尔博物馆路600号,72712

设计团队:Marlon Blackwell, Meryati Johari Blackwell, Michael Pope, Bradford Payne, Jonathan Boelkins, Stephen Reyenga, William Burks, Angela Carpenter, Casey Worrell

项目年份:2011

摄影: Timothy Hursley

新的水晶桥美国艺术博物馆(Moshe Safdie,2011年)位于美国阿肯色州本顿维尔,博物馆商店就处在博物馆中央,是插入原有3040平方英尺曲线型混凝土空间中的一个加建结构,由Marlon Blackwell建筑师事务所设计。当地举办了一场设计竞赛,希望能找到合适的建筑师,设计出能增加博物馆整体体验效果的、功能性的、极具触感的博物馆商店。最后设计出的空间采用了重型结构,混凝土柱支撑着上方的绿色屋顶,屋顶将空间明显地分割成几个部分。朝西的店面面向入口广场开放,因此产生了眩光和过热问题。商店所有者希望商店温暖、自然、具有触感,博物馆赞助人则将商店理解为博物馆体验的延伸部分。

考虑到几位当地艺术家的作品将会成为博物馆商店中的特色商品,建筑师就将设计分析的重点集中在Leon Niehues(阿肯色州亨茨维尔)的作品上,Leon Niehues是著名的篮筐设计师,因用欧扎克地区白色小橡树手工制作漂亮的雕塑般的篮筐而闻名。篮筐的制作过程采用了传统的编筐技术、新的制作方法、简单重复的元素以及沿特定路线编制的形式感很强的挤压构件。这个过程正是建筑师围绕零售空间设计统一交通流线系统的灵感来源。

一系列平行的樱桃木胶合板肋条直接由当地的建筑信息模型制造,木材采自欧扎克本地,这些肋条共同组成了空间,形成了天花板和后墙上的木工产品。224根独特的木肋条由CNC铣削技术精确切割而成。建筑内表面的肋条很像蘑菇底面的一条条菌褶,被称为薄板,这些薄板高低起伏,形成了优雅的断面,同时也有实际作用——遮挡强烈的西晒。薄板系统的多孔性和规则性为供暖与制冷系统、照明灯具与悬挂商品提供了固有的灵活性。带有纹理的绿色织物覆盖的展示墙是零售店的端墙,也与樱桃木地板和薄板表面协调统一。薄板的形式与结构试图与博物馆的美感产生共鸣,协调原有粗糙的曲线型空间和零售店的实际需要。

独立支撑的定制欧扎克胡桃木和玻璃橱窗使空间更加完整,提供了一体化的展示与储存空间,同时还与感官效果强烈的弯曲天花板与后墙相呼应。平面的几何形状被转变成了三维的空间设计,其中渗透着当地的材料与工艺,表现了与美国艺术独特的感性之间的密切联系。


Architects: Marlon Blackwell Architect

Location: Crystal Bridges Museum of American Art, 600 Museum Way, Bentonville, Arkansas 72712, USA

Design Team: Marlon Blackwell, Meryati Johari Blackwell, Michael Pope, Bradford Payne, Jonathan Boelkins, Stephen Reyenga, William Burks, Angela Carpenter, Casey Worrell

Year: 2011

Photographs: Timothy Hursley

Located in the heart of the new Crystal Bridges Museum of American Art (Moshe Safdie, 2011) in Bentonville, Arkansas, USA, the museum store is an insertion by Marlon Blackwell Architect into an existing 3,040 square foot curved concrete space.  A local competition was held to find an architect that could contribute to the overall museum experience and provide the museum with a functional and tactile museum store.  The space provided was heavily structured with concrete columns supporting a green roof above which severely dissects the space. The west-facing storefront opened on to the entry plaza, making glare and heat gain an issue.  The owner desired a store experience that was warm, natural, and tactile and understood by museum patrons as an extension of the museum experience.

Mindful that several local artists would be featured in the museum store, our analysis focused on the work of celebrated basket maker, Leon Niehues (Huntsville, Arkansas), known for his beautifully crafted sculptural baskets made from the young white oak trees of the Ozarks.  His process of making uses traditional splint techniques together with new construction methods, simple repetitive elements, and strong formal profiles extruded along specific paths. This process was the source for developing a unified system of articulation that envelopes the retail space.

A series of parallel cherry plywood ribs, fabricated locally straight from the BIM model, harvested locally in the Ozarks, organizes the space and forms the ceiling and millwork on the rear wall.  A CNC machine provided the technology needed to cut 224 precise and unique pieces.  Likened to the ribbed underside of a mushroom known as a lamella, the surface undulates to create an elegant sectional profile while also serving the practical function of providing shade from the intense western sun. The porosity and regularity of the lamella system provide an inherent flexibility for heating and cooling systems, lighting and hanging merchandise.  Textured green fabric covered display walls terminate the ends of the retail store and compliment the cherry wood floor and lamella surfaces.  The form and structure of the lamella attempts to resonate the aesthetic of the museum, mediating between the given curved raw space and the practical needs of the retail shop.

Free-standing custom Ozark walnut and glass vitrines further organize the space, providing integral display and storage while serving as a counterpoint to the sensual curved ceiling and rear wall.  The geometry of the plan is transformed into a three dimensional spatial proposition imbued with local materials and craftsmanship, expressing a kinship with the unique sensibility found in American Art.