新作 | 未名美术馆 No Name Art Museum（原吴大羽美术馆）

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: 10m² exhibition attic in No Name Art Museum

我们的建筑设计受到吴大羽的艺术的影响。他在明信片大小的画幅上追求“力”和“宁”的表达，促使我们反复推敲建筑空间的尺度。

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
美术馆建筑本质上提供的是“游”的体验，空间及空间关系自然成为设计焦点。除了透视设计，我们引入了“纯建筑空间”的概念：即一系列室外或半室外空间，构成功能空间之间的过渡；它们的形状具有戏剧性的张力，强化“游”的过程。建筑群总体的格局用“院”和“进”进行组织，形成与传统的对话，同时构成在透视游戏之上的又一体验空间层次。

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©FCJZNo Name Art Museum south elevation 
俯瞰南立面Overlooking south elevation
街景 ©FCJZStreet 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.

不同材质形成多样的质感Different materials form a variety of texture

青瓦花格墙

Tile-louvre wall

碎贝壳抹灰墙

Plaster with broken shells

瓦贴面墙

Tile wall cladding

未名美术馆与白墙灰瓦的乌镇建筑和谐相融No Name Art Museum is in harmony with the white walls and gray tiles of Wuzhen buildings

该建筑的室内及景观目前处于未完成状态。

At this point, the construction of landscape and interior of this building remain incomplete.

————————   图  纸   ————————

---

项目信息/ Project Info

客户/Client: 浙江雅达国际健康产业园/Zhejiang Yada International Health Ecologic Park    

地点/Location: 浙江省桐乡市乌镇/ Wuzhen, Zhejiang

主持设计/Principal Architect: 张永和/Yung Ho Chang

项目团队/Project Team: 李启悠，王玥，程艺石，李相廷，吴瑕，刘扬，陈尤优，侯佳利/ Simon Lee, Wang Yue, Cheng Yishi, Li Xiangting, Wu Xia, Liu Yang, Chen Youyou, Hou Jiali

工地监察与技术配合/Site Supervision and Technical Cooperation：胡有彬/ Hu Youbin

结构和机电/Structure & MEP: 同济大学建筑设计研究院都境建筑设计院/ 

Architectural Design (Group) Co., Ltd (Dujing Architectural Design Institute)

结构材料/Structure and Material: 混凝土剪力墙结构，钢结构/Reinforced concrete shear wall and steel structure

建筑面积/Building Area: 6159.59^m2

基地面积/Site Area: 124244.34^m2

占地面积/Footprint Area: 9152.7^m2

建筑高度/Building Height: 4.3m-12.3m

设计时间/Design Period: 2016

竣工时间/Completion Time: 2021

摄影师/Photographer：田方方/Tian Fangfang