浙江台州当代美术馆建筑设计 / 大舍建筑

项目介绍
Project Introduction

美术馆位于台州具有独特历史底蕴的沙门粮库文创区内，粮库至今还拥有大面积的前苏联风格的厂房和库房，新的开发将通过合理的修缮与保留，重整和更新沙门粮库区。

美术馆试图以现浇混凝土的粗砺与平行筒拱空间的细腻营造崭新美术感的空间氛围，筒拱的结构非常好地结合了展厅的灯光设计，并且在空间上沟通着建筑的内外。在空间序列上，展览空间从面对广场开放的展厅开始，筒拱的方向也指向广场，逐层旋转而上，于顶层面对枫山一侧展厅再次开放，筒拱的方向也转向枫山，形成了结构与风景的对应。美术馆的南立面也被处理成浅凹的波形，仿佛内部天花的筒拱在外部的延展，构成了美术馆面对广场的正面性。
▼美术馆外观，Exterior view ©田方方

Taizhou Contemporary Art Museum is situated inside the Shamen Grain Depot Cultural and Creative Park with unique historical context. Taking advantage of a large area of existing factories and warehouses in the former Soviet Union style within the park, the new project aims at reintegrating and renovating the depot park with appropriate restoration and reservation.

The museum tends to form an innovative artistic spatial atmosphere through the comparison between the roughness of the cast-in-situ concrete and the exquisite space formed by the paralleled barrel vault structure. The barrel vault structure implies an integration of inside and outside, while perfectly integrating into itself the lighting system.As for circulation, the lobby (exhibition hall) connecting the square, to which the barrel vault structure directs, marks the prelude of the spatial sequence. With a helix movement the visitors ascend, layer by layer, in the enclosed structure, and ultimately reach the exhibition room on the top floor, where the prospect of Feng Mountain suddenly burst into through the opening and the orientation of the structure is also in line with the view. Thus not only a spatial trilogy has been accomplished, but the structure orientation has firmly linked and directed to the landscape.The south façade of the museum was also disposed as a series of slightly concaved curve, as if it were the external extension of the inner vault structure, constituting the frontality of the museum towards the square.

▼鸟瞰图，bird view ©田方方

即物的美术馆
ART MUSEUM AS OBJECT
文 / 柳亦春 Author / Liu Yichun

走在仿佛刚刚脱自泥胎的这个建筑的物体里，他在想可能没有比这更完美的建筑状态了。
Walking in the building, an object seemingly just out of kiln, he reckon if there could be a more perfect state of architecture.

▼现浇混凝土的粗砺立面，rough facade constructed by cast-in-situ concrete ©田方方

▼逐层旋转向上的筒拱，the barrel vault structure rotates up layer by layer ©田方方

看到经历种种挫折终于浇筑完毕的美术馆的墙和地的混凝土的坯体，尽管内部的设备和门窗都还没有安装，或者说，趁着内部的设备和门窗还没有安装，建筑师上上下下地走着。目光似乎并不聚焦在任何地方，经过不断的明暗交替，直到经过顶层面东的那个开口，看到扑面而来的被连续的拱形勾勒的那深绿的夹杂着浅绿的山色，建筑师觉得他心中的建筑已然完工。

Having seen the concrete body of the finally-completed art museum, after so many frustrations, though the interior equipment and windows have not been set up yet, the architect walks up and down. Eyes not fixed on anywhere until reaching the aperture facing east on the top floor, after constant alterations of light and dark, the architect feels the architecture in his mind has been finished. He sees the distant green mountains framed by the successive vaults in the front.

▼面对枫山的顶层展厅，The exhibition hall on top floor facing Feng Mountain ©田方方

▼经过顶层面东的那个开口，看到扑面而来的山色，He sees the distant green mountains framed by the successive vaults in the front ©田方方

因为许多浇筑的错误，因为并不精确的甚至是极其粗放的施工（甚至施工过程中因为模板支撑不够还有过局部的坍塌），在所有后面的工序没有开始之前，一切错误都不是错误，或者说，一切错误都不会显现。在一个建筑被建造的过程中，这样的时刻只有建筑师自己才能看到，因为只有他才能体会以及确定，从图纸变成实物的过程中，空间诞生的时刻。这一刻，他非常愿意称之为艺术。建筑的建造是为了他人而使用的，而这一刻，这个建筑只属于建筑师自己。

Errors occur during pouring, or as a result of imprecise, even wild construction. But before the start of succeeding procedures, all errors are not errors, or to say, not errors that show up. During the process when architecture is being built up, these moments belong to the architect alone. Only he can experience and assure, from sketches to object, the birth of a space. This shining moment, he would like to call it art. The construction of architecture is for use of others, but this moment, the architecture is for the architect.

▼筒拱下的展览空间，exhibition hall under barrel vaults ©田方方

▼连续的筒拱形成了天窗，Continuous arches form a skylight

▼阳光从天窗射入展厅，light enters the exhibition hall below the barrel vaults

▼远处的建筑和风景被纯粹的筒拱界定，The buildings and landscapes in the distance are defined by pure arches

因为项目资金的原因，这一刻保持了很久。所以这一刻也开始被更多的人看到。建筑师似乎心底里也更愿意让这一刻保持地更长久一些。结果即便在这样的仍然算是工地的建筑里，还没有成为美术馆的美术馆办了两次艺术展以及一次热闹的圣诞Party。还有即将新婚的情侣看中这样的地方，或者是逃课的学生在这里游荡。在这样的空间里摄影师裸身自拍，遇见披着婚纱的新娘，竟然相互点了点头而不觉得尴尬，也是非常令人惊讶了。是这废墟般的空间所赋予的人的身体的自由吗？还是俨然这其中的任何物体已然是艺术的一部分了？

Due to issues of fiscal support of the project, this moment lasts very long. Thus it starts to be seen by many more people. The architect seems to welcome this phenomenon. Therefore, even in such a building regarded still as a construction site, a not-ready art museum, two exhibitions and a Christmas party have been held. It is a place where bride-to-be meets truant; or nude photographer shooting self-portrait, to whom she nodes without embarrassment. How surprising it is. Does the ruin-like space endow people with freedom of the body? Or does everything in this building become part of arts?

这一刻，建筑几乎作为物自体的存在并不多见。所以萌生了以某种方式把它记录下来的想法，于是便有了殷漪和刘亚囡的声音与舞蹈的艺术创作，在名为《美术馆》的这两段一长一短的影像中，空间、声音、舞蹈，以及脱离这画面之外的艺术家本人的“凝视”，它们都各自独立存在，也当然相互依存。无数的片段被剪辑成为4分钟和15分钟的短片，它们还有无数的组合可能。这些凝视和空间本身的静默，谁可以更为久远呢？

The time when architecture exists as object itself is rare. That is why the architect gets this idea: to record it. Thus we have the artistic creations, with sound and dance, by Yin Yi and Liu Yanan. In these two short movies – “Art Museum,” space, sound, dance, and the “stare” beyond frame independently exists, yet being simultaneously inter-dependent. Footages used as the source for these 4-min and 15-min movies still have endless possibilities. The “gaze” and the silence of the space per se, which one can last longer?

▼《美术馆》静帧，建筑与舞蹈，Still frames of <Art Museum>, architecture and dance