未名美术馆 | 吴大羽艺术灵感下的动态空间设计_公共建筑_设计案例作品

发布时间：2022-08-26 09:36:48 {{ caseViews }} {{ caseCollects }}

设计亮点

该设计将吴大羽的诗《金刚》中描述的动态和变化融入建筑空间，创造出富有弹性和时间感的独特空间。

由于该美术馆不再专门用于展出吴大羽的作品，“吴大羽美术馆”这一名称已不使用，此建筑暂时处于未名状态。然而，这座建筑的设计灵感很大程度上源自于吴大羽。

Since a collection of Wu Dayu’s work might not be exhibited at this museum, the name of Wu Dayu Art Museum has been discontinued. We use No Name Art Museum only as a temporary measure. However, the design of this piece of architecture was very much inspired by him.

▼鸟瞰未名美术馆及周边环境，Bird’s-eye view of No Name Art Museum and surroundings

▼未名美术馆与白墙灰瓦的乌镇建筑和谐相融，No Name Art Museum is in harmony with the white walls and gray tiles of Wuzhen buildings

我们的建筑设计受到吴大羽的艺术的影响。他在明信片大小的画幅上追求“力”和“宁”的表达，促使我们反复推敲建筑空间的尺度。

Our architectural design was influenced by Wu Dayu’s art. His pursuits of ‘Li’ (force) and ‘Ning’ (serenity) in his small postcard-size paintings urged us to contemplate carefully the scale of architectural space.

▼吴大羽作品，Wu Dayu’s paintings

吴大羽的诗《金刚》更是生动地描述了动态和变化的建筑：影子想骗过形体

时间在嘲笑空间

我没声又没踪影

出入光阴的黑暗

Wu’s poem, King Kong, further portrays vividly the dynamics and volatility of architectural experience:Shadow cheats on figure

Time laughs at space

With no sound and no trace

I come in and out of the darkness of time

《金刚》诗句与建筑空间推敲（动图），Architectural space analysis, echoing the poem by Wu Dayu (gif.)

▼空间功能关系草图，Space-function sketch

▼鸟瞰艺术家居所及多功能厅，Bird ‘s-eye view of artist’s residence and multi-functional hall

俯瞰水院及工作室区，Overlooking the Water-court and studios

时间 | Time

吴大羽的诗进而引发了我们去探究建筑中的时间维度。

时间可以被设计吗？

借法国哲学家弗郎索瓦·朱利安《论“时间”》一书作为理论引导，我们对中西时间进行了比较：经典西方时间：观察者在时间之外；时空分离；时间是匀质、可分割、单向离去、有始有终；明确定义过去与未来，几乎无法定义现在；可称为客观时间。

传统中国时间：观察者在时间之内；时空一体；时间是变化、连续，迎面而来、无始无终；这个时间永远是现在；可称为主观时间。

中国时间的富有弹性可以被转化为设计的可能性。

Wu’s poem inspired us to explore the temporal dimension of architecture.

Can time be designed?

Borrowing French philosopher Francios Jullien’s book On Time for a theoretical guideline, we compared the time of China and Europe.

The classic Western time: The observer is without time; time and space are separated; time is evenly paced, dividable, one directional, with beginning and end. Past and future are clearly defined but not present. This is the objective time.

The traditional Chinese time: The observer is within time; time and space cannot be separated; time varies, is continuous and oncoming, without beginning and end. This time is always present and can be named as the subject time.

The elasticity of Chinese time offers design possibilities.

▼中西时间比较：西上中下，Comparison of Chinese and Western time. Top Western, Bottom Chinese

九曲桥案例：如果一条水面直接跨过去需走3步，折了9次，可能就要走27步，时间也就延长9倍，空间的感受也随之扩大。

The case of Bridge with Nine Bends: If a body of water can be crossed with 3 steps, with a Nine-Bend Bridge, it may take 27 steps, which means the time is 9 times longer, consequently the space feels much larger.

九曲桥，Chinese Zigzag bridge

我们把中国时间观和西方透视法结合，设计了一系列楔形空间，包含功能空间和纯建筑空间：这些空间从一个方向被透视夸大，又在另一个方向上又被压缩；于是时空感知不断变化，显现了时空的不可度量性，带来的是更丰富的时空体验。访客在时空中迷失，步入一个发现之旅。

吴大羽美术馆是一个时空游戏场。

We combined the Chinese time and Western perspective and designed wedge-shaped spaces, including both programmed one and pure one: These spaces are stretched by perspective in one direction and compressed in the other; thus, the temporal-spatial perception changes with every move of the visitor. It demonstrates the immeasurability of time and space and enriches the experience to the point where one may get lost and embark on a journey of discovery. Wu Dayu Art Museum is a playground of space and time.

概念草图，Concept sketches

01. 主入口及接待区

Main entrance and reception area

主入口及接待区，Main entrance and reception area

▼鸟瞰入口及接待区，Bird ‘s-eye view of main entrance and reception area

沿河一侧的接待区和交流中心，Reception area and tea-room along riverside

▼主入口室内，Interior space of the main entrance

▼从主入口看接待区走廊，View of passage to reception area from main entrance

▼多功能厅与接待区之间的走廊，Corridor between multi-functional hall and reception area

▼回看楔形窄院门洞，Look back the doorway of wedge-shaped courtyard

▼楔形窄院，Wedge-shaped courtyard

俯瞰楔形窄院（右）及水院（左）Overlooking the Wedge-shaped courtyard（right）and the Water-court（left）

▼楔形窄院的一端通往画廊主入口，一个楔形天井引入自然光，Art gallery main entrance at one end of the wedge-shaped courtyard, and a wedge-shaped patio bring in natural light

▼楔形窄院沿河一端的狭长开口，A narrow opening at riverside end of the wedge-shaped courtyard

透过楔形窄院的门廊看延续的茶室前廊，Through the doorway of wedge-shaped courtyard looking at the continuing overhang of tea-room

▼从茶室檐下的半室外空间看楔形窄院，Looking at the Wedge-shaped courtyard from semi-outdoor space under the eaves of the tea-room

▼从河对岸看楔形窄院尽头，End of the wedge-shaped courtyard viewed from across the river

02. 工作室区

Studio area

▼工作室区，Studio area

▼工作室入口，Studio entrance

▼室外走廊及半室外走廊交汇，The outdoor corridor and the semi-outdoor walkway converge

▼水院，Water-court

俯瞰水院，Overlooking the Water-court

▼水院（水景待施工），Water-court (waterscape to be constructed)

▼水院设计效果图，Water-court design rendering

▼水院沿河一端，View of the riverside end of Water-court

沿河步行道，Footpath along the river bank

▼从河对岸看水院，Looking at the Water-court from the other side of the neighboring river

空间 | Space

美术馆建筑本质上提供的是“游”的体验，空间及空间关系自然成为设计焦点。除了透视设计，我们引入了“纯建筑空间”的概念：即一系列室外或半室外空间，构成功能空间之间的过渡；它们的形状具有戏剧性的张力，强化“游”的过程。建筑群总体的格局用“院”和“进”进行组织，形成与传统的对话，同时构成在透视游戏之上的又一体验空间层次。

The essence of an art museum is to provide a You or wandering experience. Spatial relationship naturally become the main design focus. Therefore, besides perspectival manipulation, we introduced the concept of “pure architectural space”: a series of outdoor or semi-outdoor spaces serving as transitions among programs. They are configured to possess dramatic tensions, intensifying the temporal and spatial dynamics during the process of journey through the architecture. The overall spatial structure of this building complex is arranged in Yuan (courtyards) and Jin (layers), generating a dialogue with the Chinese architectural traditions and overlaying another layer of experience onto the perspectival play.

▼空间张力对比，Spatial tension contrast

03.展览区

展览区，Exhibition area

俯瞰展览区，Overlooking the exhibition area

▼多功能展厅入口，Multi-functional hall entrance

▼多功能厅室内，Multi-function hall interior space

▼梭形窄院，Spindle-shaped courtyard

俯瞰梭形窄院，Overlooking the Spindle-shaped courtyard

▼梭形窄院及相邻的小展厅入口弧形走廊，Spindle-shaped courtyard and adjacent arc corridor to small exhibition hall entrance

梭形窄院内，In the spindle-shaped courtyard

▼小展厅入口的弧形走廊，Arc corridor to small exhibition hall entrance

画廊次入口，Art gallery secondary entrance

画廊室内空间，Art galleries interior space

画廊室内效果图，Art gallery exhibition rendering

▼展厅室内空间，Interior space of small exhibition hall

形式 | Form

对时空和体验的关注使摆脱了静态的构图，即解除了立体的建筑体量之间及平面的立面元素之间的形式关系。在此，瑞典建筑师莱弗伦兹的工作对我们的启发是巨大的。

Paying attention to time-space experiences allows us a break away from static compositions, which means the formal relationship between stereoscopic volumes and planar elevations are dissolved. Hereto, the work of a Swedish architect, Sigurd Lewerentz, provided us with great inspirations.

▼莱弗伦茨，圣彼得教堂东立面，Lewerentz，St. Peter’s Church east façade

俯瞰南立面，Overlooking south elevation

▼从河对岸看交错的建筑，View of the staggered buildings from across the river

04. 商业区

商业区，Commercial area

▼鸟瞰商业区，Bird’s eye view of the commercial building and studios

三角院内檐下的半室外空间，Semi-outdoor space under the eaves in triangular courtyard

05.居所Commercial area

▼居所，Residence

▼艺术家居所，Artist’s residence

▼艺术家居所客房，Artist’s residence guest house

▼月牙形窄院，Crescent-shaped courtyard

俯瞰月牙形窄院

Overlooking the crescent-shaped courtyard

在月牙形窄院中看艺术家居所，View of the artist’s residence towards the end in the crescent-shaped courtyard

结构 | Structure

此项目的结构体系部分采用无梁混凝土板柱体系，部分为钢结构框架体系。

The structural system of this project is partly beamless concrete slabs with irregular-shaped columns without beams and columns; and partly steel frames.

混凝土无梁板+异形柱结构体系，Structural system of concrete slab with irregular-shaped columns

▼钢结构框架 Steel frames

地域+材料 | Regional culture + Material

除了在空间上，我们也在建筑的材质和色彩上也尊重乌镇，尊重江南，用水泥瓦屋顶、水泥瓦墙面，及素混凝土墙面构成黑白灰的含蓄色调。

Besides space, we also pay tribute in our design to the vernacular houses in Wuzhen, which is part of Jiangnan (south of the Yangtze River), in terms of material and color. Hence, using clay tiles on the roofs and concrete tiles on the walls as well as exposing concrete walls constitute a rich and subtle color scheme of black-white-gray.

▼不同材质形成多样的质感

Different materials form a variety of texture

▼从左至右：青瓦花格墙；碎贝壳抹灰墙；瓦贴面墙，From left: Tile-louvre wall;plaster with broken shells; tile wall cladding

该建筑的室内及景观目前处于未完成状态。

At this point, the construction of landscape and interior of this building remain incomplete.

▼锐角水院（水景待施工），Water triangle (waterscape to be constructed)

▼主入口，Main entrance

吴大羽 | Wu Dayu

吴大羽（1903-1988）画家、美术教育家、诗人，是中国抽象绘画奠基人。他出生于江苏宜兴，1922年赴法国留学，学习油画和雕塑。回国后与林风眠等在杭州共同创办国立艺术院（现中国美术学院），并任西画系主任。他于1950年代早期失去教职，从此在上海家中一个十平米的阁楼里作画，直至逝世。

Wu Dayu (1903-1988) was a painter, educator, poet and considered the founding father of Chinese abstract painting. He was born in Yixing, Jiangsu, and went to France in 1922 to study oil painting and sculpture. After returning to China, he established the National Art Academy (now China Academy of Art) in Hangzhou along with Lin Fengmian and others and headed its Department of Western Paintings. Wu lost his teaching position in 1950’s and painted in a ten-square-meter attic at home until his passing.

▼左：吴大羽画室；右：未名美术馆的十平米阁楼展室

Left: Wu Dayu’s studio

Right: 10㎡exhibition attic in No Name Art Museum

▼总图，Site plan

▼平立剖，1st floor plan, Elevation, Section

未名美术馆（原吴大羽美术馆）No Name Art Museum

项目信息/Project Info

客户/Client: 浙江雅达国际健康产业园/Zhejiang Yada International Health Ecologic Park

地点/Location: 浙江省桐乡市乌镇/ Wuzhen, Zhejiang

主持设计/Principal Architect: 张永和/Yung Ho Chang

项目团队/Project Team: 李启悠，王玥，程艺石，李相廷，吴瑕，刘扬，陈尤优，侯佳利/ Simon Lee, Wang Yue, Cheng Yishi, Li Xiangting, Wu Xia, Liu Yang, Chen Youyou, Hou Jiali

工地监察与技术配合/Site Supervision and Technical Cooperation：胡有彬/Hu Youbin