吳大羽美術(shù)館，烏鎮(zhèn)，中國

Wu Dayu Art Gallery, Wuzhen, China

評論

李翔寧：我始終認(rèn)為非常建筑的平面是中國建筑師中最考究的：從北京大學(xué)晨興數(shù)學(xué)中心嚴(yán)謹(jǐn)而收放有度的“微型城市”，到西岸的垂直玻璃宅最小化居住的簡約與功能的概念化，理性的控制和模度化的韻律感始終是非常建筑作品的魅力所在。而這次的設(shè)計(jì)任務(wù)，或許是一次逾矩之旅，一次突破現(xiàn)代主義桎梏的冒險(xiǎn)。

從吳大羽的繪畫中，可以讀出尼斯時(shí)期的馬蒂斯的色彩和線條。斑斕和靈動(dòng)的色塊構(gòu)成了對一切先驗(yàn)形式原則的破壞。在江南的水鄉(xiāng)小鎮(zhèn)設(shè)計(jì)一座吳大羽美術(shù)館，無法回避的必然是江南濕潤的建筑氣質(zhì)和將要呈現(xiàn)的作品透明的藝術(shù)氣韻。建筑，應(yīng)當(dāng)如何呼應(yīng)這樣的挑戰(zhàn)？

這座只有一層的建筑是非常建筑的實(shí)踐中非常少見的，沒有了多層重復(fù)的韻律感和理性規(guī)則，簡直獲得了少有的自在。建筑單元體現(xiàn)了非常建筑對于單純的空間要素或者說小原型的著迷，如盒體空間、帶有透視感的廊道、相機(jī)暗盒式的錐體空間、單坡屋頂?shù)拈L條形建筑。如果說海杜克假面舞會(huì)建筑裝置是將這些小的空間單元通過網(wǎng)格的理性系統(tǒng)組合在一起，那么非常建筑的平面則打破了路易·康醫(yī)學(xué)中心中服務(wù)與被服務(wù)空間的分野，而賦予了連接這些小單元的廊道以神圣的地位：廊道成為了兼具功能性空間和連接空間的更高層次的“純粹空間”。它既是串聯(lián)和圍合空間的靈魂，又成為可以讓多種不同功能發(fā)生的開放場域：觀看、交通、游憩、表演、呼吸、冥思的一切行為在這樣的純粹/復(fù)雜空間中得以發(fā)生。

同樣，非常建筑擅長的結(jié)構(gòu)/材料的理性表達(dá)，也被極大地抑制了。隨著空間和基地持續(xù)變化的空間深度與透視角度，建筑的戶外空間似乎具有了大地藝術(shù)家邁克爾·海澤隨手撒下的幾根火柴那樣隨機(jī)性的空間特性，結(jié)構(gòu)形式也變得可以信手拈來。在擺脫了理性柱網(wǎng)和模數(shù)的限制后，隨性而布的異形混凝土柱和少數(shù)隱藏的鋼框架結(jié)構(gòu)賦予了建筑平面自由伸展的可能性。

在這座美術(shù)館中，非常建筑為我們營造的江南建筑的素色氣韻和不斷變化的靈動(dòng)空間，和藝術(shù)家吳大羽色彩斑斕的繪畫作品一道，自由地飛翔。

Comment

LI Xiangning:I have always thought of FCJZ's plan design as the most elegant among Chinese architects. From Peking University's Morningside Center for Mathematics' rigorous and in-depth study on micro-cities, to the conceptualization of functionality and frugality of minimalist living in Vertical Glass House on the West Bund, control of rationalism and harmony of modularisation has always been exactly where the beauty of FCJZ's works lies. However, this time, in facing this one design project, FCJZ may have derailed the path,touching the edge and breaking the shackles of contemporary art.

Looking at WU Dayu's paintings, we can easily find the same colours and lines of Matisse Nice period. The bright and life-like colour blocks completely break away with the a priori formal principles. In designing WU Dayu' Arts Musuem,located in the small township of riverside in Southern China, it is impossible not to be influenced by the watery architecture flavour typical of the Jiangnan area, as well as by the see-through artistic charm of the buildings about to be realised. How should architecture respond to these challenges?

One-storey buildings like this one are particularly rare among FCJZ's practices: in fact,this building does not show the rhythmic sense and logical norms as produced by the repetition of floors in multiple-story buildings, and, because of this,it simply enjoys a very rare freedom of expression.The architectural unit shows how FCJZ seems to be mesmerized by pure spatial elements, i.e. smallscale prototypes, such as the box space, the seethrough corridor, the camera obscura-like pyramidal space, and the mono-pitched glass-roofed linear buildings.To draw a parallel, if Hejduk's Masque Ball architectural installation has succeeded in connecting small spatial units through a network rational system, FCJZ's plan design has been able to go beyond Louis Kahn's Richards Medical Research Laboratories' division between service-providers and service-receivers space, and even to confer a privileged sacred role to the corridors connecting these micro space units: with the double identity of functional and connecting tool, the corridors have acquired a higher spatial rank, becoming a pure space area. The corridor is no longer a mere connecting and surrounding spatial soul, but has also become a multi-functional open space: all actions of looking, moving, resting, entertaining,breathing, thinking happen within this pure and yet complex space.

In the same way, rationalistic expression of structures and materials, in which, in the past, FCJZ has proven to be particularly skilled at, have been extremely constrained. Following the continuous changes of space and site in spatial depth and perspective, architectural outdoor space has also changed, in a tangible way, its random spatial characteristics and structural formality, in a fashion very similar to those matches dropped by and dispersed from the hand of the land artist Michael Heizer. Once abandoned the rationality of the column grid and the limits of modularity, the concrete columns, of different shapes and disorderly distributed, together with the very few and well hidden steel framework structures,offer the architecture surface the possibility to stretch out freely.

In this art museum, the natural color traits and atmosphere of Southern China architecture and the ever-changing dynamic space created by FCJZ, as well as the series of bright-colored paintings by the artist WU Dayu, mingle together, floating in the air.(Translated by Milena Lazzaretti)

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空間

這個(gè)設(shè)計(jì)聚焦空間。因?yàn)槊佬g(shù)館建筑本質(zhì)上提供的是“游”的經(jīng)歷，空間及空間關(guān)系自然成為主題。我們引入了“純建筑空間”的概念：純建筑空間是一系列室外或半室外空間，構(gòu)成功能空間之間的過渡；它們的形狀具有戲劇性的張力，強(qiáng)化“游”的過程中的時(shí)空變化。建筑群總體的空間格局用“院”和“進(jìn)”進(jìn)行組織，形成與傳統(tǒng)的對話。

內(nèi)容

同時(shí)，我們的設(shè)計(jì)也受到此美術(shù)館的內(nèi)容，即吳大羽先生的藝術(shù)的影響。他在小畫幅上追求“力”和“寧”的表達(dá)，促使我們反復(fù)推敲建筑空間的尺度問題。吳大羽的詩《金剛》更是生動(dòng)地描述了動(dòng)態(tài)和變化的建筑經(jīng)驗(yàn)，可以說是“游”的定義：

影子想騙過形體

時(shí)間在嘲笑空間

我沒聲又沒蹤影

出入光陰的黑暗

形式

對空間和經(jīng)驗(yàn)的關(guān)注使其擺脫了靜態(tài)的構(gòu)圖，即解除了立體的建筑體量之間及平面的立面元素之間的形式關(guān)系。在此，瑞典建筑師萊弗倫茨的工作對我們的啟發(fā)是巨大的。

結(jié)構(gòu)

此項(xiàng)目的結(jié)構(gòu)體系相對常規(guī)：部分采用無梁無柱的混凝土板墻體系；部分為鋼結(jié)構(gòu)框架體系。

地域+材料

除了在空間上，我們也在建筑的材質(zhì)和色彩上尊重烏鎮(zhèn)，也即江南民居的傳統(tǒng)，用水泥瓦屋頂、水泥瓦墻面及素混凝土墻面構(gòu)成黑白灰的含蓄色調(diào)。

目前階段

開始施工?！?/p>

Space

This design focuses on space. Due to the essence of an art museum is to provide a "You"or wandering experience, space and spatial relationship naturally become the main design theme. We introduced the concept of "pure architectural space": a series of outdoor or semioutdoor spaces serving as transitions among programs. Their forms possess dramatic tensions,intensifying the temporal and spatial dynamics during the "You". The overall spatial structure of this building complex is arranged in "Yuan"(courtyards) and "Jin" (layers), generating a dialogue with the Chinese traditions.

Content

Our design was also influenced by the content of the art museum - WU Dayu's art. His pursuits of "Li" (force) and "Ning" (serenity) in his small paintings urged us to contemplate the scale of architectural space. WU's poem, King Kong, further portrays the fluidity of architectural experience,which can be said as a definition of "You":

Shadow wants to fool figure.

Time is laughing at space.

With no sound and no trace,

I come in and out of the darkness of time.

Form

Paying attention to spatial 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,gave us great inspirations.

Structure

The structural system of this project is relatively conventional: partly concrete slabs and load-bearing walls without beams and columns; and partly steel frames.

Region + Material

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.

Current phase

Under construction.□

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項(xiàng)目信息/Credits and Data

客戶/Client: 北京勢象空間文化藝術(shù)有限公司/Shixiang Art

地點(diǎn)/Location: 浙江省桐鄉(xiāng)市烏鎮(zhèn)/Wuzhen, Tongxiang,Zhejiang, China

建筑設(shè)計(jì)/Architets: 非常建筑/Atelier FCJZ

項(xiàng)目主持設(shè)計(jì)/Principal Architect: 張永和/Yung Ho Chang項(xiàng)目團(tuán)隊(duì)/Project Team: 王玥，李啟悠，尹舜，程藝石，李相廷，陳優(yōu)優(yōu)，候佳利，吳瑕，劉揚(yáng)/WANG Yue,Simon Lee, YIN Shun, CHENG Yishi, LI Xiangting, CHEN Youyou, HOU Jiali, WU Xia, LIU Yang

結(jié)構(gòu)設(shè)計(jì)/Structural Consultant: 同濟(jì)大學(xué)設(shè)計(jì)院都境分院/Dujing Institute, Tongji Architectural Design (Group)Co., Ltd.

結(jié)構(gòu)材料/Structure and Material: 混凝土剪力墻結(jié)構(gòu)，鋼結(jié)構(gòu)/Reinforced concrete shear wall and steel structure

建筑面積/Building Area: 6159.59m2

基地面積/Site Area: 9152.7m2

基底面積/Footprint Area: 3975.82m2

建筑高度/Building Height: 4.3m-12.3m

設(shè)計(jì)時(shí)間/Design Period: 2016.12-至今/2016.12-Present

預(yù)計(jì)竣工時(shí)間/Estimated Completion Time: 2019

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