Marfa 画廊

德州西部的旷野平坦、荒芜、一望无际，地面向远处延伸，直到遇见同样浩瀚而无边际的天空。开阔的空间反衬出人类的渺小，却也带来了源源不绝的自然能量。

项目地块位于原野上的小镇Marfa，自艺术家Donald Judd斥资在此买下了数栋建筑并将其改造为极简艺术装置后，Marfa也渐渐闻名于世。狭窄而伸长的地块极具美国小镇特色，一侧临着主街，另一侧与后侧的小路相接。

Marfa is famous for the artist Donald Judd who bought up many buildings and turned them into spaces for permanent installations of minimalist art.

The lot is typical small-town American. Fairly deep and narrow, positioned between a main street and a back alley.

The soul of the West Texas landscape lies in its vastness, scale and relative lack of vegetation. Flat and open. Or in other words: You can see the horizon. It’s almost like being on the open sea. The sky is always big and the horizon long. It gives you a great, positive feeling.

▽ 建筑北向沿街立面，external view

▽ 建筑与城镇，building and its surroundings

小巧的中庭将建筑空间划分为两个部分－画廊和小住宅，而长长的侧墙又将空间整合成一个整体。在建筑的东侧，独立式的围墙界定出建筑的外部空间。围墙微微倾斜，利用人的视错让其看起来略长于实际长度。

为了强化这种“错误”的透视体验，建筑的侧墙高度亦向后街逐渐下降，墙上的门窗也按比例缩减，以契合整体观感。这些微妙的畸变如非刻意寻找，几乎难以发现。

整个建筑正是围绕着这种透视上的“错误”而建。

The building is actually two, the gallery and a private house, separated by a shared courtyard. By connecting the long façade walls, the two buildings are perceived as one long structure. Opposite is a long, freestanding wall to define the space alongside the house. By putting the wall slightly off angle, a false perspective is created, making the space seem longer seen from the street.

Also, to further stress the perspective, the long façade has a very slight slant toward the back alley. The one large gallery window and the one large house window change size proportionally. As do the doors. These “distortions” are very subtle; they border on the unnoticeable unless you’re watching out for them.

The idea is the perspective.

▽ 建筑体量模型，bird view model

▽ 建筑外侧庭院与微微下降的侧墙，long façade slight slants toward the back alley

在画廊中，储藏室和一个半围合的天窗空间将大空间划分为数个小空间。天窗空间的墙体微微悬空，而储藏室的墙体则略低于天花，巧妙的设计让在功能上有所区分小空间彼此相连，空间连贯而畅通。

The gallery is one large space and at the same time a series of smaller spaces. A storage room and a skylight punctuate the space. The three walls around the skylight do not touch the floor. The walls around the storage do not touch the ceiling, defining different spaces for different exhibition needs, but at the same time leaving the spatiality free to flow.

▽ 画廊， the gallery

▽ 悬浮的天窗空间，the skylight

▽ 略低于天花的储物室墙体，the storage

▽ 连贯畅通的整体空间，the space is free to flow in the gallery

而在中部，封闭的中庭既是为居住空间所用的户外活动小花园，同时也作为画廊的户外延伸部分，盛放着各式雕塑。

The two parts open to a secluded, inner courtyard. This place serves equally well as a garden for the private house or as a sculpture garden extension to the gallery.

▽ 中庭作为画廊的户外延伸部分，courtyard as a sculpture garden extension to the gallery

▽ 中庭作为居住空间所用的户外活动小花园，courtyard as a garden for the private house

▽ 居住空间，interior of the house

Donald Judd与1994年与世长辞，但Marfa的发展却并未止步，逐渐成为了世界知名的抽象艺术中心。然而，由于多数创作都利用城镇中的空置建筑改造而成，Marfa的城镇面貌并未发生太大的变化。inde/jacobs画廊实则是此地第一批出现的新建建筑。

Since Donald Judd’s death in 1994, Marfa has transformed into a center for abstract art of international rank. Yet, Marfa’s face hasn’t changed much, since most development has consisted in renovating empty, existing buildings. In fact, the inde/jacobs gallery is one of the first new structures of its kind to be erected.

▽ 平面图，plan

▽ 立面图，elevation

▽ 剖面图，section

▽ 建筑形态与流线分析，diagram

▽ 手绘分析图，sketch

Drawings: Claesson Koivisto Rune Architects

English Text: Claesson Koivisto Rune Architects