龍美術(shù)館西岸館，上海，中國

Long Museum West Bund, Shanghai, China, 2014

建筑設(shè)計(jì)：柳亦春，陳屹峰，王龍海/大舍建筑設(shè)計(jì)事務(wù)所

Architects: LIU Yichun, CHEN Yifeng, WANG Longhai/Atelier Deshaus

1 內(nèi)景/Interior view

2 總平面/Site plan

龍美術(shù)館西岸館位于上海市徐匯區(qū)的黃浦江濱，基地以前是運(yùn)煤的碼頭，設(shè)計(jì)開始時(shí)，現(xiàn)場有一列被保留的1950年代所建的大約長110m、寬10m、高8m的煤料斗卸載橋和兩年前已施工完成的兩層地下停車庫。

新的設(shè)計(jì)采用獨(dú)立墻體的“傘拱”懸挑結(jié)構(gòu)，呈自由狀布局的剪力墻插入原有地下室與原有框架結(jié)構(gòu)柱澆筑在一起，地下一層的原車庫空間由于剪力墻體的介入轉(zhuǎn)換為展覽空間，地面以上的空間由于“傘拱”在不同方向的相對聯(lián)接形成了多重的意義指向。機(jī)電系統(tǒng)都被整合在“傘拱”結(jié)構(gòu)的空腔里，地面以上的“傘拱”覆蓋空間，墻體和天花均為清水混凝土的表面，它們的幾何分界位置也變得模糊。這樣的結(jié)構(gòu)性空間，在形態(tài)上不僅對人的身體形成庇護(hù)感，亦與保留的江邊碼頭的煤料斗產(chǎn)生視覺呼應(yīng)。建筑的內(nèi)部空間也得以呈現(xiàn)一種原始的野性魅力，而有著大小調(diào)節(jié)的空間尺度以及留有模板拼縫和螺栓孔的清水混凝土表面又會帶來一種現(xiàn)實(shí)感。這種“直白”式的結(jié)構(gòu)、材料、空間所形成的直接性與樸素性，加上大尺度出挑所產(chǎn)生的力量感或輕盈感，使整個(gè)建筑與原有場地的工業(yè)特質(zhì)間取得一種時(shí)間與空間的接續(xù)關(guān)系。

地面以上的清水混凝土“傘拱”下的流動(dòng)展覽空間和地下一層傳統(tǒng)“白盒子”式的展覽空間由一個(gè)呈螺旋回轉(zhuǎn)、層層跌落的階梯空間連接，既原始又現(xiàn)實(shí)的空間和古代、近代、現(xiàn)代直到當(dāng)代藝術(shù)的展覽陳列，這種并置的張力，呈現(xiàn)出一種具有時(shí)間性的展覽空間。

項(xiàng)目信息/Credits and Date

客戶/Client: 私人/Private

設(shè)計(jì)團(tuán)隊(duì)/Project Team: 大舍建筑設(shè)計(jì)事務(wù)所（建筑設(shè)計(jì)）/柳亦春，陳屹峰，王龍海，王偉實(shí)，伍正輝，王雪培，陳鹍（建筑師）/Atelier Deshaus (Architectural Design)/LIU Yicun, CHEN Yifeng, WANG Longhai, WANG Weishi, WU Zhenghui, WANG Xuepei, CHEN Kun (Architects)

用地面積/Site Area: 19,337m2

建筑面積/Floor Area: 33,007m2

設(shè)計(jì)時(shí)間/Design Period: 2011.11-2012.07

施工時(shí)間/Construction Period: 2014.03

攝影/Photos: 蘇圣亮/SU Shengliang

1

3 室外通道/Alley through the museum

Long Museum West Bund is located at Xuhui District in Shanghai along Huangpu River. The project site was previously used as a coal transportation wharf. Before the current design, there are a coal-hopper-unloading bridge and a two-story underground garage existing on site. The bridge was constructed in the 1950s, and is about 110m long, 10m wide and 8m in height. The garage was just completed two years ago.

The design adopts independent cantilever structures featuring "vault-umbrella". Freely arranged shear walls go all the way down to the existing basement and are integrated with the existing concrete structure frame. These shear walls transform the first level of the underground garage into an exhibition space. Above ground, the "vault-umbrellas" with various directions interconnect with each other and create a rich space with multiple orientations. All the electrical and mechanical system is integrated within the "vault-umbrella" structures. Within the ground level covered by the "vault-umbrellas", walls and ceilings are treated with ascast concrete finish. As a result, the geometric division between them is blurred. These structural spaces not only provide protection and comfort at the human scale, but also respond to the existing coal-hopper-unloading bridge at the wharf visually. Moreover, the interior space of the building presents a primordial and wild charm, while the spatial dimension, large or small, and the as-castfinish concrete surface bring a sense of reality with details such as the seams and bolt holes left by the molding boards. The directness and simplicity resulting from the combination of "straightforward" structures, materials and spaces, together with the powerful or light quality generated by the large-scale overhangs, achieve continuity between the building and the industrial character of the existing site, not only in space but also in time.

The flowing exhibition space on the ground level covered by the as-cast-finish concrete "vaultumbrellas" and the "white box" exhibition space in the basement are connected with a spiral staircase. The primordial but realistic space and the juxtaposition of the ancient, modern and contemporary art works create a tension and present an exhibition space with the dimension of time.

4 內(nèi)景/Interior view

6 橋、咖啡屋和江畔/Bridge, cafe and the river

5 結(jié)構(gòu)概念圖/Structure plan

評委評語

龍美術(shù)館西岸館設(shè)計(jì)構(gòu)思源自場地當(dāng)中一段1950年代的工業(yè)遺存。建筑簡潔純美、內(nèi)含弧線的方正形體，樸素、細(xì)膩而精致的清水混凝土與玻璃，由“傘拱”遮蔽而成的展廳，以及建造上從整體到細(xì)部極高的完成度，都在與所處地段的歷史相呼應(yīng)，共同組成既承載工業(yè)文明記憶又富于現(xiàn)代美感的城市空間。同時(shí)，設(shè)計(jì)巧妙地將設(shè)備管線隱蔽于結(jié)構(gòu)空腔中，使內(nèi)部展廳空間省卻了做作的裝飾，堪稱完美。

對公眾開放的公益屬性使美術(shù)館天然貼近城市生活，龍美術(shù)館西岸館在實(shí)現(xiàn)其本質(zhì)功能的同時(shí)，還續(xù)寫著城市環(huán)境的延續(xù)與變遷。

7 煤上傳橋和博物館/Coal-uploading-bridge and the museum

8 傘體單元/Detail of the vault-umbrella

9 內(nèi)景/Interior view

Jury Statement

The design of Long Museum West Bund was inspired by an existing industrial structure on site built in 1950s. The building is a simple and pure cube embedded with curves. The as-cast concrete finish and glass are plain, refined and exquisite. The exhibition halls are formed by the "vault-umbrellas", and the construction is of high level of completion, from the overall to the details. All of the above responds well to the history of the site, jointly creating an urban space with modern aesthetics that carries the memory of industrial civilization. Meanwhile, the design skillfully hides all pipelines in the cavity of the structure, thereby perfectly eliminating artificial decorations in the interior exhibition space.

With an open access to the general public, Long Museum West Bund is closely linked to the urban life of common people. While providing basic functions, it also documents the continuity and change of the urban environment.