Jan Shrem and Manetti Shrem藝術(shù)博物館

Jan Shrem and Maria Manetti Shrem Museum of Art

業(yè)主：加利福尼亞大學(xué)戴維斯分校

位置：美國戴維斯

面積：2 700平方米/ 29 000平方英尺

時間：2013年，競賽投標(biāo)，一等獎；2016年，建成

設(shè)計公司：SO–IL Architects

設(shè)計團(tuán)隊：

競賽：Florian Idenburg, Ilias Papageorgiou, Jing Liu, Danny Duong, Seunghyun Kang, Nile Greenberg, Pietro Pagliaro,Andre Herrero, Madelyn Ringo, Jacopo Lugli

落地: Florian Idenburg, Ilias Papageorgiou, Jing Liu, Danny Duong, Kevin Lamyuktseung

建筑合作:Bohlin Cywinski Jackson

攝影：Iwan Baan

Client: University of California, Davis

Location: Davis, USA

Area: 2 700 m2 / 29 000 sf

Status: Competition entry, 2013, First Prize; Completed 2016

Design company: SO–IL Architects

Team:

Competition: Florian Idenburg, Ilias Papageorgiou, Jing Liu, Danny Duong,

Seunghyun Kang, Nile Greenberg, Pietro Pagliaro, Andre Herrero, Madelyn Ringo,Jacopo Lugli

Realisation: Florian Idenburg, Ilias Papageorgiou, Jing Liu, Danny Duong, Kevin

Lamyuktseung

Associate Architect: Bohlin Cywinski Jackson

Photographer: Iwan Baan

Jan Shrem and Maria Manetti Shrem 藝術(shù)博物館位于加州大學(xué)戴維斯分校，是校園內(nèi)乃至戴維斯城的第一座當(dāng)代藝術(shù)博物館。設(shè)計團(tuán)隊SO–IL緊密關(guān)注博物館設(shè)計的語境，將其社會性與物質(zhì)性要素以一種創(chuàng)新的方式組合起來，為培育、滋養(yǎng)豐富的校園交流氛圍提供了可能性。最終的設(shè)計為未來的博物館提供了一種新的模型——不是孤立、排外的，而是開放、可持續(xù)的，它不是一個靜態(tài)的神社，而是一個不斷進(jìn)化的社會有機(jī)體。

The Jan Shrem and Maria Manetti Shrem Museum of Art at the University of California at Davis is the fi rst contemporary arts museum for the university and the city of Davis. Close attention to the museum’s many contexts led to an innovative organization of its social and physical components that enables the cultivation of relationships. The result o ff ers a model for the future museum that is neither isolated nor exclusive, but open and permeable; not a static shrine, but a constantly evolving public event.

SO–IL事務(wù)所的設(shè)計增強(qiáng)了博物館的多樣化藝術(shù)編排，反映出加州大學(xué)校園內(nèi)一脈相承的先鋒藝術(shù)創(chuàng)作精神——一所曾培養(yǎng)出諸如Wayne Thiebaud、Robert Arneson以及William T. Wiley的學(xué)校。除了擁有向大廳開放的常規(guī)教室與藝術(shù)工作室之外，博物館還像是一個進(jìn)行中的實驗，觸發(fā)教學(xué)、創(chuàng)作、藝術(shù)交流等活動：瓦楞狀屋面下的流動空間可以組織室外電影放映，玻璃圍合而成的庭院內(nèi)可布置室外雕塑展覽。

建筑上方拱形的大屋頂與鋁制的梁一起翻卷，向建筑與基地外延伸。這種對環(huán)境友好的形制，是設(shè)計對基地農(nóng)業(yè)文化語境的一種回應(yīng)，也宣告了校園內(nèi)新的社會交流節(jié)點和象征的誕生。

頂蓋之下是多樣性的、通透的空間，強(qiáng)調(diào)了博物館民主自由的姿態(tài)。博物館坐落于校園邊緣處，而其造型獨特的頂蓋吸引著外來的訪客。公共廣場上，光與影相互交織，有助于模糊城市與大學(xué)之間的界限。在室內(nèi)，玻璃圍合的大廳作為聚集討論、學(xué)習(xí)與創(chuàng)客區(qū)，促進(jìn)了交流活動。這些互相連接的室內(nèi)空間與室外空間，為人們創(chuàng)造出非同尋常的體驗以及學(xué)習(xí)藝術(shù)的機(jī)會，使之完成了博物館的使命——讓每一位到訪者成為這里的學(xué)生。

占地50 000平方米的頂蓋由定制的穿孔三角形鋁制梁組成，它是技術(shù)與制造相結(jié)合的產(chǎn)物。從對樣本反復(fù)進(jìn)行光線效果研究，到大比例實驗?zāi)Ｐ痛罱ǎ约癇IM建模，最終使材料的使用效率最大化，減少勞工成本，并且與設(shè)計、施工團(tuán)隊同步，確保了從數(shù)字模型到實際建筑轉(zhuǎn)化過程的快速、流暢與高效。此外，博物館超過了校方原本的預(yù)期，達(dá)到了LEED白金認(rèn)證的標(biāo)準(zhǔn)。

SO–IL’s design amplifies the Museum’s diverse arts programming and reflects the legacy of avant-garde art making at the University, where talents such as Wayne Thiebaud, Robert Arneson and William T. Wiley were nurtured. With formal classrooms and art studios that open into the lobby, the Museum is a living experiment for teaching, making and interacting with art. Smooth zones of the corrugated fa?ade allow for outdoor screenings and a glass-walled courtyard also functions as an outdoor gallery for sculpture.

The overarching ‘Grand Canopy’ extends a rolling form patchworked with aluminum beams over both site and building. An environmental silhouette, the design references the site’s agricultural context and announces a new social node and emblem for the University.

Beneath the canopy, the spatial qualities of diversity and transparency underscore the museum’s democratic stance. Casually taking root at the edge of the campus, the unique form of the canopy draws visitors from a distance. The subtle interplay of light and shadow across the public plaza helps blur the boundary between civic and institutional spheres. Inside, a glass-walled lobby invites interaction as the convergence of viewing, learning, and making areas. These interconnected interior and exterior spaces create informal opportunities for experiencing art and learning, supporting the museum’s mission to have all visitors become students.

The 50 000 square-foot Grand Canopy is composed of custom-built, perforated, triangular aluminum beams. It is the product of an intimate knowledge of both technology and craft. From light studies through iterative prototyping and large-scale mock-ups, BIM modeling aided to maximize material e ffi ciency, cut labor costs, and synchronize the designbuild team, ensuring fast-paced and smooth transitions between physical and digital modes. Exceeding university requirements, the museum achieves LEED Platinum rating.