未名美术馆 · 吴大羽艺术灵感的空间诠释丨中国浙江丨非常建筑

2022/08/19 16:00:00

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乌镇，浙江，中国

（未完成）

Wuzhen, Zhejiang, China (Unfinished)

由于该美术馆不再专门用于展出吴大羽的作品，“吴大羽美术馆”这一名称已不使用，此建筑暂时处于未名状态。然而，这座建筑的设计灵感很大程度上源自于吴大羽。

Since a collection of Wu Dayu’s work might not be exhibited at this museum, the name of Wu Dayu Art Museum has been discontinued. We use No Name Art Museum only as a temporary measure. However, the design of this piece of architecture was very much inspired by him.

吴大羽

1903-1988

画家、美术教育家、诗人，中国抽象绘画奠基人。他出生于江苏宜兴，1922 年赴法国留学，学习油画和雕塑。回国后与林风眠等在杭州共同创办国立艺术院（现中国美术学院），并任西画系主任。他于 1950 年代早期失去教职，从此在上海家中一个十平米的阁楼里作画，直至逝世。

Wu Dayu

(1903-1988)

was a painter, educator, poet and considered the

founding father of Chinese abstract painting. He was born in Yixing, Jiangsu,

and went to France in 1922 to study oil painting and sculpture. After returning

to China, he established the National Art Academy (now China Academy of Art) in

Hangzhou along with Lin Fengmian and others and headed its Department of

Western Paintings. Wu lost his teaching position in 1950’s and painted in a

ten-square-meter attic at home until his passing.

左：吴大羽的画室©张永和；

右：未名美术馆的十平米阁楼展室

Lift: Wu Dayu’s studio；Right: 10m

exhibition attic in No Name Art Museum

Our architectural design was influenced by Wu Dayu’s art. His pursuits of ‘Li’ (force) and ‘Ning’ (serenity) in his small postcard-size paintings urged us to contemplate carefully the scale of architectural space.

吴大羽作品

Wu Dayu’s paintings

吴大羽的诗《金刚》更是生动地描述了动态和变化的建筑：

Wu’s poem, King Kong, further portrays vividly the dynamics and volatility of architectural experience:

影子想骗过形体

时间在嘲笑空间

我没声又没踪影

出入光阴的黑暗

Shadow cheats on figure

Time laughs at space

With no sound and no trace

I come in and out of the darkness of time

时间 |Time

吴大羽的诗进而引发了我们去探究建筑中的时间维度。

时间可以被设计吗？

Wu’s poem inspired us to explore the temporal dimension of architecture.

Can time be designed?

借法国哲学家弗郎索瓦·朱利安《论“时间”》一书作为理论引导，我们对中西时间进行了比较：

经典西方时间：

观察者在时间之外；时空分离；时间是匀质、可分割、单向离去、有始有终；明确定义过去与未来，几乎无法定义现在；可称为客观时间。

传统中国时间：

观察者在时间之内；时空一体；时间是变化、连续，迎面而来、无始无终；这个时间永远是现在；可称为主观时间。

Borrowing French philosopher Francios Jullien’s book On Time for a theoretical guideline, we compared the time of China and Europe：

The classic Western time: The observer is without time; time and space are separated; time is evenly paced, dividable, one directional, with beginning and end. Past and future are clearly defined but not present. This is the objective time.

The traditional Chinese time: The observer is within time; time and space cannot be separated; time varies, is continuous and oncoming, without beginning and end. This time is always present and can be named as the subject time.

中西时间比较：西上中下©张永和

Comparison of Chinese and Western time.

Top: Western, Bottom: Chinese

中国时间的富有弹性可以被转化为设计的可能性。

The elasticity of Chinese time offers design possibilities.

九曲桥案例：如果一条水面直接跨过去需走 3 步，折了 9 次，可能就要走 27 步，时间也就延长 9 倍，空间的感受也随之扩大。

The case of Bridge with Nine Bends: If a body of water can be crossed with 3 steps, with a Nine-Bend Bridge, it may take 27 steps, which means the time is 9 times longer, consequently the space feels much larger.

九曲桥

Chinese

Zigzag bridge

我们把中国时间观和西方透视法结合，设计了一系列楔形空间，包含功能空间和纯建筑空间：这些空间从一个方向被透视夸大，又在另一个方向上又被压缩；于是时空感知不断变化，显现了时空的不可度量性，带来的是更丰富的时空体验。访客在时空中迷失，步入一个发现之旅。

We combined the Chinese time and Western perspective and designed wedge-shaped spaces, including both programmed one and pure one: These spaces are stretched by perspective in one direction and compressed in the other; thus, the temporal-spatial perception changes with every move of the visitor. It demonstrates the immeasurability of time and space and enriches the experience to the point where one may get lost and embark on a journey of discovery.

空间张力对比©张永和

Spatial tension contrast

概念草图©张永和

Concept sketches

空间功能关系草图©张永和

Space-function sketch

未名美术馆是一个时空游戏场。

No Name Art Museum is a playground of space and time.

鸟瞰未名美术馆及周边环境

Bird’s-eye view of No Name Art Museum and surroundings

空间 |Space

The essence of an art museum is to provide a You or wandering experience. Spatial relationship naturally become the main design focus. Therefore, besides perspectival manipulation, we introduced the concept of “pure architectural space”: a series of outdoor or semi-outdoor spaces serving as transitions among programs. They are configured to possess dramatic tensions, intensifying the temporal and spatial dynamics during the process of journey through the architecture. The overall spatial structure of this building complex is arranged in Yuan (courtyards) and Jin (layers), generating a dialogue with the Chinese architectural traditions and overlaying another layer of experience onto the perspectival play.

主入口及接待区

Main Entrance and Reception Area

鸟瞰入口及接待区

Bird’s-eye view of main entrance and

reception area

左：主入口；右：主入口室内

Lift: Main entrance

Right: Interior space of the main entrance

从主入口看接待区走廊

View of passage to reception area from main entrance

锐角水院（水景待施工）

Water triangle (waterscape to be constructed)

透过楔形窄院的门廊看延续的茶室前廊

Through the doorway of wedge-shaped courtyard looking at the continuing overhang of tea-room

多功能厅与接待区之间的走廊

Corridor between multi-functional hall and reception area

沿河一侧的接待区和交流中心

Reception area and tea-room along riverside

院 Yuan

楔形窄院

Wedge-shaped courtyard

俯瞰楔形窄院（右）及水院（左）

Overlooking the Wedge-shaped courtyard（right）and the Water-court（left）

从茶室檐下的半室外空间看楔形窄院

Looking at the Wedge-shaped courtyard from semi-outdoor space under the eaves of the tea-room

回看楔形窄院门洞

Look back the doorway of wedge-shaped courtyard

左：楔形窄院的一端通往画廊主入口，一个楔形天井引入自然光

Art gallery main entrance at one end of the wedge-shaped courtyard, and a wedge-shaped patio bring in natural light

右：楔形窄院沿河一端的狭长开口

A narrow opening at riverside end of the wedge-shaped courtyard

从河对岸看楔形窄院尽头

End of the wedge-shaped courtyard viewed from across the river

工作室区

Studio Area

俯瞰水院及工作室区

Overlooking the Water-court and studios

工作室入口

Studio entrance

室外走廊及半室外走廊交汇

The outdoor corridor and the semi-outdoor walkway converge

院 Yuan

水院

Water-court

俯瞰水院 Overlooking the Water-court

水院设计效果图

Water-court design rendering

水院（水景待施工）

Water-court (waterscape to be constructed)

水院沿河一端

View of the riverside end of Water-court

沿河步行道

Footpath along the river bank

从河对岸看水院

Looking at the Water-court from the other side of the neighboring river

商业区

Commercial Area

鸟瞰商业区和工作室

Bird’s eye view of the commercial building

and studios

三角院内檐下的半室外空间

Semi-outdoor space under the eaves in triangular courtyard

展览区

Exhibition Area

俯瞰展览区 Overlooking the exhibition area

画廊次入口 Art gallery secondary entrance

左：画廊室内空间；右：画廊室内效果图

Left: Art galleries interior space;Right: Art gallery exhibition rendering

左：小展厅入口的弧形走廊；右：展厅室内空间

Left: Arc corridor to small exhibition hall entrance; Right: Interior space of small exhibition hall

多功能展厅入口

Multi-functional hall entrance

多功能厅室内

Multi-function hall interior space

院 Yuan

梭形窄院 Spindle-shaped courtyard

俯瞰梭形窄院

Overlooking the spindle-shaped courtyard

梭形窄院及相邻的小展厅入口弧形走廊

Spindle-shaped courtyard and adjacent arc corridor to small exhibition hall entrance

梭形窄院内

In the spindle-shaped courtyard

居所

Residence

鸟瞰艺术家居所及多功能厅

Bird’s-eye view of artist’s residence and multi-functional hall

艺术家居所客房

Artist’s residence

guest house

艺术家居所 Artist’s residence 院 Yuan

月牙形窄院

Crescent-shaped courtyard

俯瞰月牙形窄院

Overlooking the crescent-shaped courtyard

在月牙形窄院中看艺术家居所

View of the artist’s residence towards the end in the crescent-shaped courtyard

形式 | Form

对时空和体验的关注使摆脱了静态的构图，即解除了立体的建筑体量之间及平面的立面元素之间的形式关系。在此，瑞典建筑师莱弗伦兹的工作对我们的启发是巨大的。

Paying attention to time-space 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, provided us with great inspirations.

莱弗伦茨，圣彼得教堂东立面

Lewerentz，St. Peter’s Church east façade

未名美术馆南立面

©FCJZ

No Name Art Museum south elevation

俯瞰南立面 Overlooking south elevation

街景©FCJZ

Street view

从河对岸看交错的建筑

View of the staggered buildings from across the river

结构 | Structure

此项目的结构体系部分采用无梁混凝土板柱体系，部分为钢结构框架体系。

The structural system of this project is partly beamless concrete slabs with irregular-shaped columns without beams and columns; and partly steel frames.

混凝土无梁板+异形柱结构体系

Structural system of concrete slab with irregular-shaped columns

钢结构框架

Steel frames

地域+材料

Regional Culture + Material

除了在空间上，我们也在建筑的材质和色彩上也尊重乌镇，尊重江南，用水泥瓦屋顶、水泥瓦墙面，及素混凝土墙面构成黑白灰的含蓄色调。

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.