沉湖国际湿地艺术中心丨中国武汉丨迹·建筑事务所（TAO）

处于华夏地理版图中心的武汉，明清时期就有“九省通衢”的美称。从远古的云梦大泽，到大禹治水导汉江入长江，再到明成化六年汉水改道，这便有了“江城”武汉。武汉素有“百湖之市”的美誉，市内江河纵横、湖港交织，水域面积占全市总面积四分之一。显然，“水”与“城”的关系是密不可分。

Situated at the geographical center of China, Wuhan earned the title of the “Gateway to Nine Provinces” as early as the Ming and Qing dynasties. From the ancient Yunmeng wetlands, to Yu the Great diverting the Han River into the Yangtze, and later the river’s course shift in the sixth year of Emperor Chenghua’s reign, the city gradually took shape as today’s “River City.” Renowned as the “City of a Hundred Lakes,” Wuhan is interwoven with rivers, lakes, and waterways, with water areas occupying one quarter of its territory. Evidently, the relationship between “water” and “city” is inseparable.

▼建筑全景，Overall view of the building ©朱雨蒙

场地被桐湖省级湿地公园环抱，从武汉中心城区车程约一小时即可直达。桐湖辖区内，地广人稀，空气清新，土地肥沃。耕地、水域、山林及外滩各占1/4，自成一景。其远离城市喧嚣，隐匿于郊野，被湖泊林地包围。项目就在自然的水缘地带和人工的三岔路口的三角滩地，这里的地势平缓，风与水的力量长期作用在地表，形成了柔和的地形与曲折的水线。

The site is enveloped by the Tonghu Provincial Wetland Park and lies approximately one hour’s drive from Wuhan’s urban core. Within the Tonghu region, the land is expansive and sparsely populated, with clean air and fertile soil. Farmland, water bodies, woodlands, and riverbanks each constitute roughly one quarter of the landscape, forming a self-contained environment. Removed from urban noise and concealed within rural expanses, the site is surrounded by lakes and forests. The project stands on a triangular slip of land at the junction of a natural shoreline and an artificial road fork. Here, wind and water have long shaped the gentle terrain and meandering waterline.

▼区位分析，Site analysis diagram ©迹·建筑事务所(TAO)

▼场地分析，Site analysis diagram ©迹·建筑事务所(TAO)

2017年我们便在墙博物馆则是源于思考“墙”这一要素，墙成为空间生成的唯一主导，墙到上面的厚度变大让屋顶消失，转化为墙与墙之间的缝隙，光线由此进入。整个建筑犹如广袤的大地上的废墟，传递一种原始和厚重的感受。本项目场地所在的“滩”的特殊的在地性再一次唤醒了我们对墙体重新塑造空间和接地方式的思考。

In 2017, we developed the Wall Museum from an inquiry into the architectural potential of the “wall” as a generative element. In this project, the wall becomes the sole driver of spatial formation. As the walls thicken upward, the roof gradually dissolves, turning into fissures between wall surfaces through which light enters. The building appears like a ruin dispersed across an expansive landscape, evoking a sense of primal weight and tectonic solidity. The unique locality of the intertidal flat where the present project is situated once again prompts us to reconsider how walls can reformulate spatial relationships and articulate a grounded connection to the site.

▼场地风貌，Landscape Characteristic ©迹·建筑事务所(TAO)

▼概念草图，Concept sketch ©华黎 HUA Li

▼概念草图，Concept sketch ©华黎 HUA Li

而这座建筑便从这种自然形态中生长而来——下部弯折的墙体并非抽象的造型，而是对水的浮力的一种回应。它沿着水体轻微起伏，似被水流推动、浸润、塑形。建筑与水之间不设明显分界，墙体的弯折的底部谨慎的与水面接触，在水天交界线处形成特殊的反射，使得建筑与水成为湿地景观的一部分。这种“弯折”既是一种形态语言，也是一种时间的表述：它记录了水的拂动与浸润。建筑因此成为“水的记忆”的载体。

▼墙的多重场景与尺度分析，Wall’s scenario and scale ©迹·建筑事务所(TAO)

▼概念拼贴，Concept Collage ©迹·建筑事务所(TAO)

▼过程草图，Working sketch ©华黎 HUA Li

▼1:500 概念模型，Concept model ©迹·建筑事务所(TAO)

▼1:500 概念模型，Concept model ©迹·建筑事务所(TAO)

▼1:500 概念模型，Concept model ©迹·建筑事务所(TAO)

▼1:500 概念模型，Concept model ©迹·建筑事务所(TAO)

▼总平面图，Master plan ©迹·建筑事务所(TAO)

▼鸟瞰效果图，Aerial rendering ©迹·建筑事务所(TAO)

▼鸟瞰效果图，Aerial rendering ©迹·建筑事务所(TAO)

This project emerges from these natural conditions. The bending lower walls are not mere abstract form-making, but a response to the buoyant force of water. They rise and fall subtly along the water’s edge, as if pushed, saturated, and molded by the flow. No sharp boundary separates architecture from water; the folded wall bases lightly touch the water surface, producing a distinctive reflection at the horizon line and allowing the building to become part of the wetland landscape. This “folding” is both a formal language and a temporal expression—it records the gestures of water as it brushes against and permeates the land. The architecture thus becomes a vessel of “water’s memory.”

▼建筑俯瞰，Overlook to the building ©朱雨蒙

▼局部鸟瞰，Partial aerial view ©朱雨蒙

▼建筑鸟瞰，Aerial view ©朱雨蒙

▼建筑鸟瞰，Aerial view ©朱雨蒙

▼1:75 建筑模型，Physical model ©迹·建筑事务所(TAO)

▼1:75 建筑模型，Physical model ©迹·建筑事务所(TAO)

▼1:75 建筑模型，Physical model ©迹·建筑事务所(TAO)

▼1:75 建筑模型，Physical model ©迹·建筑事务所(TAO)

▼1:75 建筑模型，Physical model ©迹·建筑事务所(TAO)

常规美术馆的空间中，顶是光线的来源、墙是展览的背景、地面则是动线的承载。当墙体与地面之间的边界变得模糊，而屋顶被墙体刺破，天窗降下光线的同时，屋顶悬于难以捉摸的高度，人的感受归于悬置。这是一座只有墙的美术馆。

In conventional museum typologies, the roof admits light, walls serve as exhibition backdrops, and floors guide circulation. Here, the boundary between wall and ground dissolves. The roof is pierced by walls, skylights draw daylight downward, and the roof plane hovers at an indeterminate height, suspending one’s perception. This is a museum defined by walls alone.

▼1:75 建筑模型，Physical model ©迹·建筑事务所(TAO)

▼1:75 建筑模型，Physical model ©迹·建筑事务所(TAO)

▼1:75 建筑模型，Physical model ©迹·建筑事务所(TAO)

▼1:75 建筑模型，Physical model ©迹·建筑事务所(TAO)

建筑的平面并非连续的围合体，而是由墙体的自由散布组成。它们似乎随机，却衔接了城市空间的紧凑到自然水面的轻松。从高处俯瞰，建筑的布置犹如岸边漂浮的有机体，既分散又统一，既是人工构筑，也是自然生成的。平面的模糊性回应了湿地的生态逻辑——没有明确的中心与边界，而是开放、渗透、共生。

Its plan is not a continuous enclosure but a spatial field composed of freely distributed walls. They appear almost spontaneous, yet mediate between the density of urban form and the looseness of open water. From above, the configuration resembles organic bodies floating along the shore—dispersed yet unified, simultaneously artificial and naturally formed. This indeterminate plan echoes the ecological logic of wetlands: lacking fixed centers or boundaries, it is porous, open, and symbiotic.

▼建筑墙体，Wall of the building ©朱雨蒙

▼滨水入口处，Entrance near water ©朱雨蒙

▼建筑外立面，Façade ©朱雨蒙

▼街角入口，Entrance from road ©朱雨蒙

▼建筑外立面，Façade ©朱雨蒙

▼建筑外立面，Façade ©朱雨蒙

▼建筑外立面，Façade ©朱雨蒙

▼建筑外立面，Façade ©朱雨蒙

▼入口处，Entrance ©朱雨蒙

▼前台接待，Reception ©朱雨蒙

▼室内墙体，Interior walls ©朱雨蒙

墙体的散落平面使得展览空间的组织并非线性的游览路径。观者的行走路径在曲折的围合中被引导、分流，又不断被开放的水面吸引。这种布局创造了一个介于“室内与室外”、“展览与自然”之间的模糊地带。人们在此不仅“观看”展览，更“参与”展览，与墙体、光、水产生直接的身体经验。弯折的墙体成为引导行为与感知的界面，让“观看”成为一种流动的身体实践。

▼掀顶轴测图，Axonometric drawing without roof ©迹·建筑事务所(TAO)

▼首层平面图，Ground floor plan ©迹·建筑事务所(TAO)

▼屋顶平面图，Roof plan ©迹·建筑事务所(TAO)

▼1:75 建筑模型，Physical model ©迹·建筑事务所(TAO)

▼1:75 建筑模型，Physical model ©迹·建筑事务所(TAO)

▼散点剖透视，Scatter section perspective ©迹·建筑事务所(TAO)

▼1:75 建筑模型，Physical model ©迹·建筑事务所(TAO)

▼1:75 建筑模型，Physical model ©迹·建筑事务所(TAO)

▼1:75 建筑模型，Physical model ©迹·建筑事务所(TAO)

▼1:75 建筑模型，Physical model ©迹·建筑事务所(TAO)

The dispersed walls produce a gallery sequence that is not linear. Visitors navigate a path that bends, divides, and reconnects, continually drawn toward glimpses of the open water. The layout engenders a threshold between “inside and outside,” “exhibition and nature.” Here, one does not merely view the exhibition but participates in it, engaging bodily with walls, light, and water. The folded walls become interfaces that guide behavior and perception, allowing “viewing” to unfold as a fluid corporeal experience.

▼文创，Gift shop ©朱雨蒙

▼序厅，Preface Hall ©朱雨蒙

▼序厅，Preface Hall ©朱雨蒙

▼室内墙体，Interior wall ©朱雨蒙

▼展厅，Exhibition ©朱雨蒙

▼序厅，Preface Hall ©朱雨蒙

▼室内墙体，Interior walls ©朱雨蒙

▼室内外墙体，Interior and exterior ©朱雨蒙

▼咖啡简餐，Café ©朱雨蒙

▼展厅，Exhibition ©朱雨蒙

▼展厅，Exhibition ©朱雨蒙

▼展厅，Exhibition ©朱雨蒙

▼外墙挂板质感，Texture of the Exterior Cladding Panels ©朱雨蒙

外立面采用加入贝壳、海螺骨料的GRC挂板，其颗粒在阳光与水汽作用下呈现出细微的光泽与湿润质感。这种材料并非单纯追求装饰性，而是在宏观尺度上与场地“闪烁的水光”形成呼应；在微观尺度上，则传递出一种自然物性的温度。在不同时间的光照下，由于墙体本身的自由弯折，挂板表面由亮至暗、由干至湿地变化，成为时间流动的记录面。立面因此成为湿地气候、光线与材料共生的界面。

The exterior employs GRC panels incorporating shell and conch aggregates. Their granular texture produces subtle glimmers and a moist sheen under sunlight and humidity. This material choice is not decorative; at a macro scale it resonates with the site’s shimmering waters, while at a micro scale it conveys the tactile warmth of natural matter. Under shifting daylight and due to the wall’s varied curvature, the surface transitions from bright to shaded, from dry to damp, registering the passage of time. The façade becomes an interface where wetland climate, light, and material coexist.

▼1:15 构造模型，Detail model ©迹·建筑事务所(TAO)

▼1:15 构造模型，Detail model ©迹·建筑事务所(TAO)

▼1:15 构造模型，Detail model ©迹·建筑事务所(TAO)

▼1:15 构造模型，Detail model ©迹·建筑事务所(TAO)

武汉湿地艺术中心并不试图以造型取胜，而是以最温和的姿态嵌入环境。下部弯折的墙体让建筑屈身与水相对，散落的平面布局让空间在水面间呼吸，而具自然肌理的外立面让建筑表皮成为湿地的一部分。建筑不再是一个对象，而是一种过程——在光与风、水与时间的作用下，逐渐与环境融为一体。

The Chenhu Wetland Art Center does not seek visual dominance. Instead, it settles gently into its environment. The folded lower walls bow toward the water; the dispersed plan breathes between land and lake; and the textured façade makes the building’s skin part of the wetland itself. The architecture ceases to be an isolated object and becomes a process—one that gradually merges with its surroundings under the forces of light, wind, water, and time.

▼施工照片，Construction photos ©迹·建筑事务所(TAO)

▼剖面图A-A，Section A-A ©迹·建筑事务所(TAO)

▼剖面图B-B，Section B-B ©迹·建筑事务所(TAO)

▼剖面图C-C，Section C-C ©迹·建筑事务所(TAO)

▼东立面图，East elevation ©迹·建筑事务所(TAO)

▼西立面图，West elevation ©迹·建筑事务所(TAO)

▼北立面图，North elevation ©迹·建筑事务所(TAO)

▼南立面图，South elevation ©迹·建筑事务所(TAO)

项目基本信息

项目名称：沉湖国际湿地艺术中心

业主：武汉市城市建设投资开发集团有限公司

项目地点：湖北省武汉市蔡甸区

项目功能：展览空间

设计单位：迹·建筑事务所（TAO）

主持建筑师：华黎

设计团队：华黎、那昕怡、周畅、钟升、Jonatan García-Cervantes、鲁国喜、姚恬、钱锦、张鹏

结构工程师：朱雨、李忠

机电工程师：曾萃林

施工图团队：武汉市民用建筑设计研究院有限责任公司（丁凇、林凡、邬家琪、朱雨、吴立璋、徐开炼、曾翠林、高聪、黄梦清）

施工团队：武汉誉城千里建工有限公司

建筑面积：2774m2

结构系统：钢结构

设计时间：2024 - 2025

施工时间：2025

摄影：朱雨蒙

Credits & Data

Project title: Chenhu Wetland Art Center

Client: Wuhan Urban Construction Investment and Development Group Co., Ltd.

Location: Caidian District, Wuhan City, Hubei Province, China

Program: Exhibition Space

Principal architect: HUA Li / TAO (Trace Architecture Office)

Design team: HUA Li, NA Xinyi, ZHOU Chang, ZHONG Sheng, Jonatan García-Cervantes, LU Guoxi, YAO Tian, QIAN Jin, ZHANG Peng

Structural engineer: ZHU Yu, LIZhong

MEP engineer: ZENG Cuilin

Construction drawing: Wuhan Civil Architectural Design & Research Institute Co., Ltd. (Ding Song, Lin Fan, Wu Jiaqi, Zhu Yu, Wu Lizhang, Xu Kailian, Zeng Cuilin, Gao Cong, Huang Mengqing)

Construction team: Wuhan Yucheng Qianli Construction Co., Ltd.

Floor area: 2,774 sq. m

Structural system: Steel

Design: 2024 – 2025

Construction: 2025

Photograph: Yumeng Zhu