嘉德艺术中心,北京 / 奥雷·舍人事务所

以中国式的融合叠加手法打通文化空间和公共职能

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非常感谢 Buro Ole Scheeren 予gooood分享以下内容。Appreciation towards Buro Ole Scheeren for providing the following description:

嘉德艺术中心是世界上第一个量身定制的拍卖行总部,在北京的中心创建了一个全新的多元艺术机构类型。建筑提供博物馆硬件质量的展示空间和最先进的艺术品保护设施,同时也是一个灵活丰富的文化空间,与餐馆、酒店、公共交通基础设施结合在一起。 “嘉德艺术中心远比一家博物馆更丰富,”总建筑师奥雷·舍人(Ole Scheeren)表示, “这不是一个封闭的机构,而是直接开放回应当代文化多元混合的现状,以中国式的融合叠加手法打通文化空间和公共职能,通过文化活动和生活方式揉合艺术和文化。”

An auction house is a hybrid between museum, gallery, market – culture and trading. An auction house links past, present, and future. Ultimately, an auction house celebrates and passes on awareness of history and traditions; it provides a stage for cultural values: respect and responsibility, valuation and prediction, beauty and meaning. An auction house attracts and gathers people and auctions are social events for the appreciation of art and culture. The building acts as a social catalyst for cultural exchange and imagines a home for the arts in a broader sense – a home for its makers (the artists) and its keepers (the collectors).

▼北广场视角,view from north plaza ©Iwan Baan

 

新旧平衡 | History and Modernity

嘉德艺术中心的建筑风格取得了新旧之间微妙的平衡,将新建筑置入北京古城肌理的同时,和谐地与周围环境协调。建筑的下方如石材叠置的假山,与相邻的传统胡同四合院的规模和感觉相呼应,建筑上方的悬浮玻璃四方环则体现北京作为全球大都会的现代化。元代中国著名山水画家黄公望的《富春山居图》通过抽象提炼,像素化地以圆形透镜嵌入灰色玄武岩中,如旋律般环绕点亮建筑外立面,亦画亦窗,也为室内注入自然光线。 建筑的石材底座上方,是由玻璃砖墙形成的悬浮四方环。四方环处于像素石材的顶部,赋予建筑一种厚重的质感,并与北京的建筑特色相互关联。石材与玻璃两种材质的对比和互补创造了一种张力,回应当代都市的复杂性和多元化。

How to resolve the everlasting tension between the old and the new, the historic and the modern, the contrast of architectural scales and languages? This project is centered on the question of how to synthesize the presence and values of the past with the potentials and realities of the contemporary. The design carefully inscribes the building into its surrounding context, in a sensitive architectural interpretation that fuses history and tradition with a contemporary vision for the future of a cultural art space. The ‘pixelated’ volumes of the lower portion of the building subtly refer to the adjacent historic urban fabric, echoing the grain, color and intricate scale of Beijing’s hutongs, building upon its surroundings and ‘layering’ into its base the sediments of history. The upper portion of the building responds to the larger scale of the surrounding contemporary city in the form of a foating ‘ring’ that creates an inner courtyard to the building and further resonates with the prevalent typology of the courtyard houses in Beijing. By combining both the intimate and the monumental, and creating a diverse collection of spaces within this structure, the massing integrates itself into the sensitive historical and cultural environment and resonates with Beijing’s strength and imposing presence through an explicitly understated monumentality.

▼主入口楼梯视角,view from grand staircase ©Iwan Baan

▼《富春山居图》通过抽象提炼,像素化地以圆形透镜嵌入灰色玄武岩中,如旋律般环绕点亮建筑外立面,the grey stone-like pixels of the lower portion of the building are perforated by several thousand circular openings – generated by projecting one of China’s most important historic landscape paintings, Dwelling in the Fuchun Mountains, onto its facades ©Iwan Baan

“建筑的两种尺度和纹理存在着一种反转的、辩证的关系,”舍人表示,“通常情况下,青砖是普遍的灰色建材,但在这里被放大成巨大的悬浮玻璃窗格。四方环的体量和玻璃材质与当代城市进行对话,而构成四方环的砖墙带有重要的象征意义,砖墙呼应着毗邻的胡同,也代表民间的视角,在紫禁城的皇家宫殿旁,显得谦虚和内敛。这座建筑中嵌入了多个层面和抽象的文化和历史概念,恰到好处地与北京城的复杂语境相切合,谦逊而又富有纪念意义。”

The building’s facades take on a specifc role in its cultural expression and Chinese integration: Materiality, color, and texture establish abstract and subtle correspondence with Chinese symbols and meaning. The upper ring of the hotel is made of foating, over-sized glass bricks, resonating with the textures of the adjacent hutongs and courtyard houses. In contrast to the imperial motives of the nearby Forbidden City, the brick represents civil society and values – a humble and non-elitist symbol in Chinese culture. The grey stone-like pixels of the lower portion of the building are perforated by several thousand circular openings – generated by projecting one of China’s most important historic landscape paintings, Dwelling in the Fuchun Mountains, onto its facades and thereby creating a subtle light flter through an abstracted landscape silhouette. The Guardian Art Center creates a new civic destination for arts and culture that fosters the exchange, study, and appreciation of cultural artifacts and activities – a vehicle for cultural dissemination and collection, a new center for art, in the center of Beijing.

▼北入口视角,view from north entrance ©Iwan Baan

 

文化机器 | A Cultural Machine

嘉德艺术中心被设计成文化和艺术活动的发生器。其空间构成非常简洁和直观,但同时具有许多细微差别和不同风格,以适应拍卖行的多样需求和宏大规划。 建筑的核心是一个1700平方米的无柱展示空间,设计赋予空间最大的灵活性。通过多样配置的隔板和天花系统的组合,空间可以快速组建配合多种用途,为展览、活动和拍卖等活动创造相应的环境。

At the center of the Guardian Art Center, a 1,700 square meter column-free exhibition space allows for maximum fexibility and versatility, while expansive exhibition areas on the second foor further extend the museum. Two large auction/exhibition halls in the basement provide a more specifc and formal setting, completing the typological variety of spaces. The surrounding matrix of smaller, interconnected rooms of the architectural pixels accommodates support functions and liberates the building’s central halls from secondary obligations. The building is, at its core, a machine for exhibitions and events. The two main column-free spaces are stacked in the center of its footprint and enable a multitude of uses – simple, yet versatile ceiling and foor mechanisms provide easy adaptability. These two spaces create a sectional courtyard within the building at the scale of a hangar – a space so large that virtually anything can happen. 

▼艺术中心大厅,ground floor lobby ©Iwan Baan

▼从室内望向入口主楼梯,interior view to grand staircase ©Iwan Baan

▼拍卖前厅,auction pre-function hall ©Shuhe

博物馆的组合功能围绕着中央展厅布置。一系列小型、私密的房间可以容纳拍卖行的其他需求,并提供额外的画廊空间。与此同时,位于地下一层的两个大型拍卖厅配备各种严格的设施,同时整个楼层都采用最先进的艺术保护设施。 建筑的石材像素部分提供了许多独立的空间,如艺术中心的餐厅,行政办公室和书店。建筑上方的四方环设有酒店,中央的一座小型塔楼提供研讨会和讲座等教育设施。 对多样性的强调反映了嘉德艺术中心作为一个多元包容的公共空间的职责。舍人说:“建筑物的配置和设计是为了将所有功能互连起来。 这是一个博物馆,也是一个催生和容纳文化活动,并融合生活方式和教育设施的空间,项目的落地宣告着一个新型多元文化机构的诞生。”

The building stages and accommodates auctions/exhibitions throughout the seasonal auction calendar, but for most of the year expand the cultural programming into special exhibitions, symposiums, and events of diverse nature – a public/private museum with a cultural and educational mission. Surrounding the central halls is an extended realm of smaller gallery spaces and supplementary support functions. The building navigates between the neutral and the specifc, combining aspects of both by providing large scale spaces that are fexible and convertible; along with a collection of interconnected more intimate spaces for specifc functions of distinct character.

▼室内展厅,interior view of exhibition space ©Alex Fradkin

▼主拍卖厅,main auction hall ©Buro Ole Scheeren

▼管理人员办公室,guardian office ©Shuhe

 

艺术北京 | Chinese-ness

嘉德艺术中心位置显赫,位于北京最著名的王府井商业街和新文化运动发源地五四大街的的交汇处,是一个汇集北京传统与未来的综合体,引领著文化与商业的发展。 嘉德艺术中心紧邻紫禁城,正对中国美术馆(建国十大建筑之一),作为北京城中心的一座非官方的艺术和文化空间,塑造和改变着城市的发展。 在奥雷·舍人事务所的设计获得批准并落成之前,由于基地的重要性,北京规划局和历史文化名城委员会在过去二十年中拒绝了几十个建筑设计提案。 “我们的建筑以一种当代的方式来弘扬中国的特色,在历史和现代都市之间提出一个新的视角, 并很好地融入到这个城市的复杂叙事之中。” 舍人表示:“嘉德艺术中心的建成,是将建筑与艺术和文化相结合,这对城市的未来至关重要。”

Located in close proximity to the Forbidden City on No. 1 Wangfujing Street, at the intersection with Wusi Avenue, the new headquarters for China’s oldest art auction house is symbolically located at the crossroads between commerce (Wangfujing) and culture (Wusi Avenue). Embedded in the historic fabric of central Beijing, the building forms a new institution between museum, event space, and cultural lifestyle center. The Guardian Art Center represents a new hybrid concept for a cultural institution that transcends the traditional defnitions of a contemporary art space. Merging the display and presentation of art in its museum spaces with the multifunctional capacities of its exhibition and auction rooms allows virtually any type of usage and event to take place. The seamless integration of several restaurants and a 116-room hotel in the foating ring of the building with views to the Forbidden City creates an encompassing lifestyle concept centered on the experience of art and culture. Through the addition of educational facilities in its central ‘club tower’ and art conservation departments in its basements, the Guardian Art Center further manifests its position as the world’s first custom-designed auction house headquarters.

▼窗洞中的胡同景致,view to the Hutong through the perforation ©Buro Ole Scheeren

▼从艺术中心望向紫禁城和景山公园,view to the Forbidden City and Jingshan Park ©Buro Ole Scheeren

▼场地环境示意图,context diagram

▼立面构思示意图,facade concept diagram

▼透视剖面图,perspectival section

GUARDIAN ART CENTER
DESIGN TEAM DESIGN ARCHITECT:
Buro Ole Scheeren
PRINCIPAL / DESIGN:
Ole Scheeren
PARTNERS:
Eric Chang, Dan Cheong
ASSOCIATE IN CHARGE:
Virginia Chiappa Nuñez
TEAM:
Marcel Holmberg, Sun Ke, Emily Liang, Cecilia Lei, Yingda Liu, Anna Pierotello, Nina Sattler, Olaf Turck, Lin Wang; with: Benjamin Ahrens, Mark Biemans, Kim Bjarke, Catarina Canas, Alicia Casals, Michael Cavander, Jeffrey Cheng, Patrick Conway, Dyno Du, Nicolaz Frez, Brian Fung, Daniel Hawkins, Xinran Ji, Philipp Kramer, Emeline Laurencon, Yuyang Lin, Mavis Liu, Wymen Lo, Max Ma, Rafael Merino, John Murphey, Marcin Olszowski, Kevin Ou, Kevin Park, Yanyadech Phornphong, Aaron Powers, Klementina Savickaite, Jim Shi ,Chiara Storino, Joseph Tang, Yang Tao, Elena Yang, Quentin Yiu, Francis Young, Lei Yu, Danny Zhang, Bruno Zhao, Weiwei Zhang, Yi Zhu
CONCEPT TEAM:
Catarina Canas, Brian Fung, Paloma Hernaiz, Marcel Holmberg, Tait Kaplan, Jaime Oliver, Joseph Tang
CONSULTANTS:
Local Design Institute: Beijing Institute of Architectural Design (BIAD), Beijing
Structural Engineer: Thornton Tomasetti, New York; Arup, Beijing (Concept)
Building Services Engineer: WSP, Hong Kong/Shanghai
Façade Consultants: Front Inc., New York/Hong Kong; PFT Construction Consulting, Shanghai Interior Design: Buro Ole Scheeren, MQ-Studio, Shanghai (Hotel)
Lighting Consultant: ZDP, Beijing

More:Buro Ole Scheeren



发表评论

8 评论

  1. Profile Photo

    没建成的时候路过这里,说实话挺丑的,跟周围极其不搭

  2. Profile Photo

    为什么要用《富春山居图》为题材没看懂,“新旧之间微妙的平衡”也没看懂,将新建筑置入北京古城肌理的同时,和谐地与周围环境协调不知道体现在哪里,建筑的下方如石材叠置的假山,与相邻的传统胡同四合院的规模和感觉相呼应,建筑上方的悬浮玻璃四方环则体现北京作为全球大都会的现代化,也没看懂,

  3. 大师拍的照片,好像有好几张都不是两点透视。拍的太急了。

  4. 大小不一的圆,实在有点太多了

  5. 作为一个不喜欢拿审美说事的人,不得不说实在是太丑了!!!

  6. 富春山居图这个ip已经凉了。。。。

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