惠斯勒森林中的艺术宝库——Audain 美术馆_家装空间_设计案例作品

发布时间：2020-07-23 18:20:00 {{ caseViews }} {{ caseCollects }}

设计亮点

内敛设计与温暖木质肌理的完美融合，打造自然与艺术和谐共处的空间。

建筑和室内设计使用了内敛的手法，将周围自然景观作为空间中最重要的主体，为建筑提供一个安静的、低调的环境背景。

外观的形式十分简约，深色金属外表皮包层将建筑融入了周围森林的阴影中。

但对外连接的门廊和玻璃大厅中却使用了耀眼的原木内饰。

从外部可见的室内公共空间延续了这种温暖的木质肌理，温暖又明亮。

The form and character of the Audain Art Museum is deliberately restrained to provide a quiet, minimal backdrop to the art within and the surrounding natural landscape. The simple form of the exterior is clad in an envelope of dark metal which recedes into the shadows of the surrounding forest. Where this envelope is opened, to provide access in the entry porch or view from the glazed walkway to the galleries, the dark metal is overlaid by an inviting luminous wood casing. Public spaces in the interior, which are visible from the exterior, continue this warm luminous materiality.

Audain美术馆是一个56,000平方英尺的私人博物馆，位于不列颠哥伦比亚省的惠斯勒。它将展出 Michael Audian 的私人收藏，这些藏品可以帮助游客在视觉上体验英属哥伦比亚省从18世纪末至今的发展过程；

同时还展出一系列世界级的收藏，古老的第一民族制作的面具，Emily Carr的画作，以及加拿大战后艺术家的作品，包括：Jack Shadbolt，E. J. Hughes 和 Gordon Smith，以及一系列国际知名的当代艺术家作品，如 Jeff Wall，Rodney Graham，Stan Douglas等。

The Audain Art Museum is a 56,000 square foot private museum located in Whistler, British Columbia. It will house Michael Audains personal art collection which traces a visual record of British Columbia from the late l8th century to the present day. It includes one of the worlds finest collections of old First Nation masks, a superb collection of Emily Carr paintings, and works by some of Canadas most significant post-war artists including Jack Shadbolt, E. J. Hughes, and Gordon Smith, as well as works by internationally regarded contemporary artists such as Jeff Wall, Rodney Graham, Stan Douglas and others.

美术馆的设计由三个因素决定：

第一个决定因素是在永久展出 Michael Audain 个人收藏的同时，也能展出从加拿大甚至世界各地到来的各种临时展品；

第二个因素是场地本身优美但富有挑战性的自然环境，虽然项目坐落在壮观的常绿林带中，但这也是Fitzsimmons Creek河流泛滥的区域；

第三个因素是当地典型的大雪天气，项目所在地平均每年累计深达15英尺的雪。

The design of the museum is shaped by three powerful determinants. The first determinant is the need to house both the permanent exhibition of Michael Audains collection and, in juxtaposition with this collection, temporary exhibits of all kinds from across Canada and around the world. The second determinant is the beautiful but challenging site in Whistler which, although blessed by magnificent evergreen forest vegetation, is located within the floodplain of Fitzsimmons Creek. The third determinant is the enormous snowfall typical of Whistler which averages nearly 15 ft annual accumulated depth.

建筑师将通过空间设计回应场地中的制约因素，创造一系列连续的公共空间和画廊，在周边的森林中投映出一个线性空间。

整个建筑被抬高了整整一层，并以陡峭的坡屋顶为建筑创造了引人注目的外形，同时还设计了管理和后勤保障的支持性设施。

Our design responds to these determinants, simply and directly, by projecting a volume of sequential public spaces and galleries into an existing linear void within the surrounding forest. It is elevated a full storey above the ground and crowned with a steeply sloped roof, containing administration and back-of- house support functions.

建筑的设计和选址在场地内协同进行，以建立公共行人通道，从_village strolF行人桥（惠斯勒村），到穿过Blackcomb Way 大道，最后穿过美术馆，然后从另一侧进入Firzsimmons Creek 公园。

人行桥从 Blackcomb Way 路开始上升，结束在美术馆入口大厅的天窗下。

从那里，游客可以从大厅另一侧的楼梯走入森林深处的中央草地，或者进入博物馆大厅和展览空间。

进入内部后，映入眼帘的就是玻璃窗外的草地，之后可以看到画廊中的永久展厅，最后是展出临时作品的展廊。

The building design and siting work synergistically within the context of the site to create a public pedestrian link, beginning from the _village strolF, the pedestrian spine of Whistler Village, across Blackcomb Way, leading to and through the Museum and then across the site to Fitzsimmons Creek park. A bridge from Blackcomb Way rises through the forest to arrive at a sky lit museum entry porch. From there, visitors can either descend to the forest floor and central meadow to continue passage through the site, or enter into the museum lobby and event space. Once inside, visitors proceed along a glazed walkway overlooking the meadow below, to gain access first to the galleries which contain the permanent collection and then to the galleries which contain temporary exhibits.