Project Name | 項目名稱湖美術館

Location | 項目地址成都市雙流區(qū)湖畔路北段

Area | 項目面積600㎡

Chief Designer | 首席設計師姚曉冰

Design Company | 設計師公司YDS姚曉冰設計事務所

Start time | 開始時間2019.09

Completion Time | 完工時間2020.01.20

Photography | 攝影竇強

疏林草坡，悅動水岸

Sparse forests and grass slopes, pleasant water banks

這里是都市中的一片綠洲

This is an oasis in the city

繁華中的一縷清音

A voiceless sound in the bustling

興隆湖位于天府新區(qū)“一中心三城”中的成都科學城，作為集防洪、灌溉、生態(tài)、景觀等為一體的綜合性水生態(tài)治理項目，這里喬灌相擁，碧波蕩漾，是市政規(guī)劃建設的一座“生態(tài)之腎”。Xinglong Lake is located in Chengdu Science City in the "one center and three cities" of Tianfu New District. As a comprehensive water ecological management project integrating flood control, irrigation, ecology, landscape, etc., it is surrounded by trees and beautiful mountains and rivers, which is an "ecological kidney" for municipal planning and construction.

湖美術館坐落于此處青草如茵的綠地之上，其前身是家小型咖啡廳，設計師在現(xiàn)代的基調上注入國際文化交流的使命，呈現(xiàn)出創(chuàng)新而恒久的視覺感受。通過百姓生活與世界藝術的高度結合，激發(fā)城市藝術創(chuàng)作活力。 The Lake Art is located on the grassy green space here, and its predecessor was a small coffee shop. The designer injects the mission of international cultural exchange on the modern tone, presenting an innovative and permanent visual experience. Through the combination of people's life and world art, it stimulates the vitality of urban art creation.

改造過程中，建筑外部空間有了顛覆性的創(chuàng)新表現(xiàn)。圍繞原有的三個集裝箱式的鐵皮建筑，基礎的幾何形體結構在二維及三維空間中相互穿插切割，形成散落于空間中的造型，且由此劃分出不同區(qū)域。The appearance of the reconstructed building has a subversive and innovative performance. Surrounding the original three container-style iron-clad buildings, the basic geometrical structures are interspersed and cut in two-dimensional and three-dimensional spaces, forming shapes scattered in the space, and thus dividing different areas.

空間該有的功能屬性一應俱全，從接待區(qū)、沙龍區(qū)再到展陳區(qū)，動線是呈沉浸式連貫的，只是戲劇化地增加了更多五感可能性，用解構的方式讓整個美術館有了室內、半室內以及戶外的空間關系。The functional attributes of space are very rich. From the reception area, the salon area to the exhibition area, the flow of movement is immersive and coherent, but it dramatically increases the possibility of five senses. By means of deconstruction, the whole gallery has a spatial relationship of indoor, semi indoor and outdoor.

此外，入口的設計緊抓美術館的客群調性，探索出一個與“時空”、“藝術”有關的幾何空間。設計師以“隧道”為概念，用極其有張力的材料、形態(tài)組合裂變，為空間的縱深感塑造層次，聚焦人們的視覺落點，也連接著室內與室外、過去與未來、中國與世界。In addition, the design of the entrance firmly grasps the audience tone of the art gallery and explores a geometric space related to "space-time" and "art". Based on the concept of "tunnel", the designer uses extremely tense materials and forms through combination and fission to shape the depth of the space and focus on people's visual points. At the same time, it also connects indoor and outdoor, past and future, China and the world.

隨著城市建筑與發(fā)展的高速迭代，想要創(chuàng)建一種超前的國際化空間觀感，必然要與周邊環(huán)境以及人文生活發(fā)生關聯(lián)。設計將山、木、云等成都意象釋放在空間形態(tài)中，試圖喚起人與建筑、人與自然之間的感知與想象，引領市民從空間中體會藝術的同時，也見證這座城市的現(xiàn)代與未來。With the rapid iteration of urban architecture and development, if the designer wants to create an advanced international space view, it must be associated with the surrounding environment and human life. The design releases images of Chengdu, such as mountains, trees and clouds in the spatial form, trying to arouse the perception and imagination between people and architecture, human and nature, and to lead the citizens to experience art from the space, and to witness the modern and future of the city.

由于成都梅雨氤氳、氣候潮濕，藍天白云似乎已成為市民心中難得一見的憧憬。因此，建筑上方的防水頂棚是對“云彩”幾何化的現(xiàn)代設計語匯的演繹，用以回應氣候特性的同時也代表了大眾對未來的期許，令整個場景操縱著光與影、虛和實，并最終實現(xiàn)與建筑的無縫融合。Due to the dense plum rain and humid climate in Chengdu, the blue sky and white clouds seem to have become a rare longing in the hearts of citizens. Therefore, the waterproof ceiling above the building is the interpretation of the geometric modern design vocabulary of "clouds", which not only responds to the climate characteristics, but also represents the public's expectation for the future, so that the whole scene manipulates light and shadow, virtual and real, and finally realizes the seamless integration with the building.

下方采用強化力量感的線條和切割變化的體塊把原建筑圍合起來，達到一種空間的獨立感。黑與白的色彩碰撞，石與云的結合，亦形成一種山與天的對話。打造這樣一座具有實體切割感的石頭雕塑，讓整個建筑在立面的標識性上極具可辨性，同時，矗立于草坪之上與自然風光相得益彰。Under the "cloud", the original building is surrounded by lines that strengthen the sense of strength and volume of cutting changes to achieve a sense of spatial independence. The collision of black and white colors and the combination of stone and cloud form a dialogue between mountain and sky. The creation of such a stone sculpture with a sense of solid cutting makes the whole building very recognizable in terms of the identity of the facade, and stands on the lawn and complements the natural scenery.