建筑設(shè)計(jì)：妹島和世 + 西澤立衛(wèi)/SANAA

Architects: Kazuyo Sejima + Ryue Nishizawa / SANAA

金澤21世紀(jì)美術(shù)館，石川，日本
The 21st Century Museum of Contemporary Art, Kanazawa, Ishikawa, Japan, 2004

建筑設(shè)計(jì)：妹島和世 + 西澤立衛(wèi)/SANAA

Architects: Kazuyo Sejima + Ryue Nishizawa / SANAA

1 外景/Exterior view

金澤市位于日本北海岸，是一座歷史城市。這座21世紀(jì)當(dāng)代美術(shù)館坐落在金澤中心，除了博物館，還有圖書館、講堂和兒童工坊等集會(huì)空間。公共空間與博物館區(qū)域相互交融，意在用博物館區(qū)域周圍的公共空間激發(fā)潛在群體之間的交流。

場(chǎng)地將多種重要的城市功能聚集在一起。建筑采用圓形，不分前后，向四周敞開。展覽區(qū)分為多個(gè)展廳，分布在流通空間之中。這種手法賦予每個(gè)展廳不同的特征，并創(chuàng)造出靈活的博物館流線，形成在收張之間不斷變幻的參觀區(qū)。貫穿建筑的視廊又為分散的各個(gè)展廳營(yíng)造出一種通透性和開敞感。走在曲形玻璃室外立面之中，場(chǎng)地的360o全景便徐徐展開。

展廳空間的比例各不相同，并帶來了多種照明方式：從透過玻璃天花的明亮日光到無自然采光的空間。高度從4～12m不等。這個(gè)流通空間的材料和序列使它可以作為額外的展覽區(qū)。4座全玻璃窗的內(nèi)院各具特色，為建筑中央帶來了充足的日照，并為公共區(qū)域和博物館區(qū)營(yíng)造出一個(gè)流動(dòng)的邊界。盡管面積很大，這座建筑仍讓人感到明亮、通透、自由?！酰ㄉ袝x 譯）

Kanazawa is situated on the north coast of Japan, and is one of the nation's historical centres.The 21st Century Museum of Contemporary Art sits in the centre of Kanazawa and in addition to museum spaces includes community gathering spaces, such as a library, lecture hall, and children's workshop. The intertwined public and museum zones are designed to provoke interaction between potential user groups, with the public spaces encircling the museum zones.

The site links together the diverse but equally important municipal functions surrounding it.Circular in form, the building has no front or back, opening it for exploration from all sides. The exhibition area is fragmented into numerous galleries that are all embedded in a fi eld of circulation space.This approach provides individual gallery spaces with different characteristics while creating flexible museum circulation that allows for a variety of expanded or contracted ticketed areas. The scattered bulk of the galleries also creates transparency and a feeling of openness marked by long vistas through the entire depth of the building. A walk just inside the curved glass of the exterior facade smoothly unfolds a 360 degrees panorama of the site.

Gallery spaces have various proportions and provide diverse lighting options; from bright daylight through glass ceilings to spaces without natural light.The heights range from four metres to twelve metres.The materiality and sequence of the circulation space is geared toward use as additional exhibition area.Four fully glazed internal courtyards, each unique in character, provide ample daylight at the centre of the building and a fl uent border between public zone and museum zone. Despite its size, the building feels bright, open, and free.□

2 總平面/Site plan

3 外景/Exterior view

4 平面/Plan

項(xiàng)目信息/Credits and Data

客戶/Client: 金澤市/City of Kanazawa

主要功能/Principal Use: 博物館/Museum

設(shè)計(jì)團(tuán)隊(duì)/Design Team: Toshihiro Yoshimura, Yoshifumi Kojima, Koichiro Tokimori, Kansuke Kawashima, Tetsuo Kondo, Shoko Fukuya, Mizuki Imamura, Naoki Hori, Junya Ishigami, Erika Hidaka, Keizo Eki

結(jié)構(gòu)設(shè)計(jì)/Structural Engineer: Sasaki Structural Consultants / (Mutsuro Sasaki, Yasutaka Konishi)

機(jī)械設(shè)計(jì)/Mechanical Engineer: ES Associates

電氣設(shè)計(jì)/Electrical Engineer: P.T. Morimura & Associates, LTD停車場(chǎng)顧問/Parking Consultant: Central Consultant Inc.

景觀設(shè)計(jì)/Landscape Design: Kazuyo Sejima + Ryue Nishizawa / SANAA

家具設(shè)計(jì)/Furniture Design: Kazuyo Sejima + Ryue Nishizawa / SANAA

承建商/Builder: Takenaka Corporation, Sumitomo Densetsu, Ams Corporation, Taikisha Ltd.

結(jié)構(gòu)/Structure: 鋼框架及鋼筋混凝土/Steel frame and reinforced concrete

基地面積/Site Area: 26,010m2

占地面積/Building Area: 9379m2

總建筑面積/Total Floor Area: 27,920m2

攝影/Photos: SANAA

5 剖面/Sections

6 剖面/Sections

7 外景/Exterior view

8 內(nèi)景/Interior views

評(píng)論

胡戎叡：建筑采用圓形平面，外圍護(hù)結(jié)構(gòu)的玻璃幕墻構(gòu)成連續(xù)、勻質(zhì)的界面，旨在通過在建筑與環(huán)境的關(guān)系上的去等級(jí)化，突出建筑對(duì)周邊各方向平等對(duì)待的特性，這是該建筑最重要的特色之一。建筑師將4個(gè)入口均勻分布在4個(gè)方向上，也正是為了保證建筑在各個(gè)方向上都有很好的可達(dá)性。各入口大門都與周邊幕墻界面平齊，且外觀形象平和、不張揚(yáng)，盡可能保持建筑圓形平面輪廓的完整性，減少對(duì)連續(xù)、勻質(zhì)的幕墻界面的干擾。當(dāng)然，在門洞寬度、有無雨罩、雨罩大小等方面，4個(gè)入口也存在一定的微差。這樣，可以在確?？傮w形象完整的前提下具備一定的可識(shí)別性和方位感。范路：在金澤21世紀(jì)美術(shù)館項(xiàng)目中，向四周敞開的圓形大體量，包裹了多種功能的小體量。這些小體量或方或圓，或高或低，或?qū)嵒蛱?。它們聚集在一起，形成?xì)膩豐富的空間關(guān)系，帶來靈活多變的流線和收張變換的參觀感受。建筑的入口設(shè)置也符合總體設(shè)計(jì)意圖。占地面積近萬平方米的美術(shù)館只有4個(gè)不顯眼的入口。這既保持了圓弧外形的完整性，也強(qiáng)調(diào)出：其一，內(nèi)部空間體驗(yàn)才是重點(diǎn)；其二，盡管建筑外立面都是玻璃，但對(duì)場(chǎng)地的感知是以環(huán)繞圓弧立面的方式展開。

Comments

HU Rongrui: The circular plan of the building and the glass curtain wall of the exterior structure forms a continuous and even interface, aiming at eliminating the hierarchy in the relationship between the building and the environment, and highlighting the characteristics of the building's equal treatments to the surrounding areas in every direction. This is one of the most important features of the building. The architect arranged the four entrances evenly in four directions to ensure that the building has good accessibility from all directions. Each entrance door is aligned with the surrounding curtain walls, and looks plain and simple, so as to keep the integrity of the circular outline of the building as much as possible, and to reduce the interference to the continuous and even curtain wall interface. Of course, there are some slight differences between the four entrances on the width of the openings, the usage and sizes of the rain cover. In this way, a certain degree of recognition and orientation can be attained in the premise of ensuring the overall image integrity.(Translated by CHEN Yuxiao)

FAN Lu: In the project of 21st Century Museum of Contemporary Art at Kanazawa, the building is circular in form, with a group of small blocks embedded in it. Those blocks that house different functions have square or circular shapes, four to twelve metres heights, solid or void appearance.Gathering together, they bring about flexible circulation and rich spatial perception. Then the entrance placement embodies architect's design intention. The museum has a building area of nearly 10 thousand square metres, but is furnished with four unobtrusive entrances. This arrangement emphasises: firstly, interior space experience is more important; and secondly, although the building facades are completely transparent, the feeling for the site is acquired surround the curved fa?ade glass.

9 內(nèi)景/Interior views

10 內(nèi)景/Interior views