沃思堡现代美术馆,德克萨斯州,美国
MODERN ART MUSEUM OF FORT WORTH, TEXAS, USA, 2002
38由于赢得了1997年的国际设计竞赛,我们被指定负责这一项目的设计实施。
建筑位于德克萨斯州沃思堡郊区,是一个占地近44 000m2的城市公园的一部分。它最显著的特征是毗邻路易・康的杰作——金贝尔美术馆。
很自然,设计竞标过程中的主要问题是,如何处理新博物馆与金贝尔这个现代经典作品的关系,以及如何处理大面积的基地特征的问题。
我的确希望能与康伟大的灵魂对话,以汲取他设计的简约而清晰的空间的精华,并使新建筑充满这种力量。
此外,考虑到基地面积很大,我运用了“艺术凉亭”的概念,有意地消除内外空间之间的差异,使整个区域都成为适合展示艺术品的空间。
首先,基地东侧的一部分被改造为一个水的庭院,在交通繁忙的十字路口前设置了一小片树林,从而创造出一个被水和绿色植被环绕着的基地环境。在这个区域内,6个长方形建筑排成一行,每个建筑都由一个双重结构组成,玻璃盒子包裹着混凝土盒子。这6个长方形建筑中两个较长的内部是公共活动区,4个较短的内部是展区。
玻璃和混凝土是20世纪最具代表性、也是我们最熟
悉的材料,我试图仅仅利用这两种材料创造出一座具有空前魅力的建筑。通过反复试验,我们开发出玻璃和混凝土这种双层表皮结构。在混凝土外包裹玻璃可以更加突出玻璃的透明性。相反,玻璃表皮则减轻了混凝土的重量感,在周围环境中创造出一种宁静的氛围。混凝土结构的稳定性可以使艺术品免受沃思堡恶劣气候的伤害。混凝土盒子可以确保结构的安全性,而外层的玻璃盒子可以降低外部环境对展示空间的直接影响,从而增加艺术品的安全性。玻璃表皮和混凝土表皮之间的地带类似日本的“缘侧”空间。水、绿色植被和光被引入室内,而玻璃表皮又使内部展示空间的状况得以传达到外部。
虽然总体构成很简单,但通过将这些双层的矩形体量排成一行,并利用各种方法将自然光引入建筑之中,使得展示空间可能容纳多种平面布置方案。
除了满足艺术欣赏和项目研究的需求外,这座博物馆更将成为普通民众的社区核心。这 里可举行音乐会、草地聚会、节日庆典或类似的娱乐活动。参加这些活动的人的确能感觉到那些艺术品的存在,因为它们就点缀在草坪和水的庭院之间。
我衷心希望博物馆对公众开放所具有的最基本的意义就是在恶劣环境中创造出一片绿州,同时无论现在还是将来都有利于延拓人们的想像力。□
(安藤忠雄 文 刘小波 译)
1.2
构思草图/Sketches
世界建筑 2003/06
1
2
We were nominated for this project as the resultof an international design competition held in 1997.
The site is located in the suburbs of Forth Worth,Texas, part of a city park occupying approximately44,000m2. The most significant characteristic is thatit adjoins Louis Kahn's masterpiece, the Kimbell ArtMuseum.
Naturally, the major issues in the competitionwere the relationship of the new museum to theKimbell, a Modern classic, and how to deal with thecharacter of such a vast site.
I also wished to attempt a dialog with Kahn, toextract the essence of his simple and clear spacesand imbue the new architecture with this strength.
Furthermore, with regards to the large site, Iintended to remove the distinction between interiorand exterior so the whole area would feel like asuitable environment for the display of art, using theconcept of an arbor for art .
An environment surrounded by water andgreenery was first prepared by turning the easternpart of the site into a water garden, and placing agrove of trees in front of the busy traffic intersection.
3 入口外观
/View of Entrance
Six rectangular volumes were then arranged in arow within this area, each one a double structurecomprised of a concrete box enveloped by a glassbox. The six volumes are divided into two longerblocks of public space and four shorter blocks ofexhibition space.
Using only glass and concrete, two highlyfamiliar materials that are representative of the20th Century, I wished to create an architectureof unprecedented charm. The double skinstructure of glass and concrete was developedvia a process of trial and error. Wrapping theglass around concrete exaggerates thetransparency of the glass. Conversely, the glassskin mitigates the massiveness of the concrete,creating a tranquil impression in its surroundings.The stability of the concrete protects the artworksfrom the harsh climate of Fort Worth. The concretebox assures structural safety, and the addition ofthe glass box increases the safety of the artworksby reducing direct influence from the exteriorenvironment on the exhibition spaces. Theresulting space between the glass and the
concrete is similar to the Japanese engawaspace. Water, greenery and light are broughtinto the interior, and the glass skin may also allowthe condition of the exhibition spaces to betransmitted to the exterior.
Although the overall composition seems verysimple, by aligning these double skin rectangularvolumes and using various systems to introducenatural light, the exhibition spaces may contain avariety of planning layouts.
In addition to meeting the requirements forboth art appreciation and research purposes, thismuseum will become the nucleus of a communityof ordinary citizens. The site is a possible venue forconcerts, lawn parties, festivals or similarentertainment, and the attendees would still beaware of the artworks which punctuate the lawnand water garden.
It is my hope that the opening of this museumto the public, in the most literal sense, will create anoasis within a harsh climate and serve to expandthe imagination of people, both now and in thefuture.□(摄影/Photo:松冈满男/Mitsuo Matsuoka)
设计选例/ SELECTED WORKS39
4.5 内部水庭/Water courtyard6
从室内看水庭/Courtyard viewed from interior
0世界建筑 2003/06
4
设计选例/ SELECTED WORKS41
42世界建筑 2003/06
设计选例/ SELECTED WORKS43
44世界建筑 2003/06
基地位置/location: 美国德克萨斯州沃思堡/Fort Worth, Texas,USA
设计时间/Term of planning: 1997/01-1999/09施工时间/Term of construction work: 1999/10-2002/06基地面积/Site area: 45 585 m2占地面积/Building area: 7 000 m2
总建筑面积/Total floor area: 14 290 m28.9 展示空间/Gallery
10 总图/Site plan 1:7 500
10
设计选例/ SELECTED WORKS45
46
世界建筑 2003/06
11 首层平面/First floor plan 1:80012 二层平面/Second floor plan 1:800 1-入口大厅/Entrance hall 2-咨询处/Information desk 3-商店/Museum shop 4-快餐厅/Cafe restaurant 5-坡地/Terrace
6-报告厅/Auditorium
7-展厅/Gallery
8-艺术工作室/Art workshop9-装货区/Loading dock10-储藏/Storage11-办公/Offices
12-艺术教室/Art classrooms13-雕塑花园/Sculpture terrace14-机房/Mechanical plant
15-停车/Parking
13 西立面/West elevation 1:80014 东立面/East elevation 1:80015 北立面/South elevation 1:80016 南立面 /North elevation 1:80017 剖面A/Section A 1:80018 剖面B/Section B 1:80019 剖面C/Section C
1:800
设计选例/ SELECTED WORKS47
沃思堡现代美术馆,德克萨斯州,美国
MODERN ART MUSEUM OF FORT WORTH, TEXAS, USA, 2002
38由于赢得了1997年的国际设计竞赛,我们被指定负责这一项目的设计实施。
建筑位于德克萨斯州沃思堡郊区,是一个占地近44 000m2的城市公园的一部分。它最显著的特征是毗邻路易・康的杰作——金贝尔美术馆。
很自然,设计竞标过程中的主要问题是,如何处理新博物馆与金贝尔这个现代经典作品的关系,以及如何处理大面积的基地特征的问题。
我的确希望能与康伟大的灵魂对话,以汲取他设计的简约而清晰的空间的精华,并使新建筑充满这种力量。
此外,考虑到基地面积很大,我运用了“艺术凉亭”的概念,有意地消除内外空间之间的差异,使整个区域都成为适合展示艺术品的空间。
首先,基地东侧的一部分被改造为一个水的庭院,在交通繁忙的十字路口前设置了一小片树林,从而创造出一个被水和绿色植被环绕着的基地环境。在这个区域内,6个长方形建筑排成一行,每个建筑都由一个双重结构组成,玻璃盒子包裹着混凝土盒子。这6个长方形建筑中两个较长的内部是公共活动区,4个较短的内部是展区。
玻璃和混凝土是20世纪最具代表性、也是我们最熟
悉的材料,我试图仅仅利用这两种材料创造出一座具有空前魅力的建筑。通过反复试验,我们开发出玻璃和混凝土这种双层表皮结构。在混凝土外包裹玻璃可以更加突出玻璃的透明性。相反,玻璃表皮则减轻了混凝土的重量感,在周围环境中创造出一种宁静的氛围。混凝土结构的稳定性可以使艺术品免受沃思堡恶劣气候的伤害。混凝土盒子可以确保结构的安全性,而外层的玻璃盒子可以降低外部环境对展示空间的直接影响,从而增加艺术品的安全性。玻璃表皮和混凝土表皮之间的地带类似日本的“缘侧”空间。水、绿色植被和光被引入室内,而玻璃表皮又使内部展示空间的状况得以传达到外部。
虽然总体构成很简单,但通过将这些双层的矩形体量排成一行,并利用各种方法将自然光引入建筑之中,使得展示空间可能容纳多种平面布置方案。
除了满足艺术欣赏和项目研究的需求外,这座博物馆更将成为普通民众的社区核心。这 里可举行音乐会、草地聚会、节日庆典或类似的娱乐活动。参加这些活动的人的确能感觉到那些艺术品的存在,因为它们就点缀在草坪和水的庭院之间。
我衷心希望博物馆对公众开放所具有的最基本的意义就是在恶劣环境中创造出一片绿州,同时无论现在还是将来都有利于延拓人们的想像力。□
(安藤忠雄 文 刘小波 译)
1.2
构思草图/Sketches
世界建筑 2003/06
1
2
We were nominated for this project as the resultof an international design competition held in 1997.
The site is located in the suburbs of Forth Worth,Texas, part of a city park occupying approximately44,000m2. The most significant characteristic is thatit adjoins Louis Kahn's masterpiece, the Kimbell ArtMuseum.
Naturally, the major issues in the competitionwere the relationship of the new museum to theKimbell, a Modern classic, and how to deal with thecharacter of such a vast site.
I also wished to attempt a dialog with Kahn, toextract the essence of his simple and clear spacesand imbue the new architecture with this strength.
Furthermore, with regards to the large site, Iintended to remove the distinction between interiorand exterior so the whole area would feel like asuitable environment for the display of art, using theconcept of an arbor for art .
An environment surrounded by water andgreenery was first prepared by turning the easternpart of the site into a water garden, and placing agrove of trees in front of the busy traffic intersection.
3 入口外观
/View of Entrance
Six rectangular volumes were then arranged in arow within this area, each one a double structurecomprised of a concrete box enveloped by a glassbox. The six volumes are divided into two longerblocks of public space and four shorter blocks ofexhibition space.
Using only glass and concrete, two highlyfamiliar materials that are representative of the20th Century, I wished to create an architectureof unprecedented charm. The double skinstructure of glass and concrete was developedvia a process of trial and error. Wrapping theglass around concrete exaggerates thetransparency of the glass. Conversely, the glassskin mitigates the massiveness of the concrete,creating a tranquil impression in its surroundings.The stability of the concrete protects the artworksfrom the harsh climate of Fort Worth. The concretebox assures structural safety, and the addition ofthe glass box increases the safety of the artworksby reducing direct influence from the exteriorenvironment on the exhibition spaces. Theresulting space between the glass and the
concrete is similar to the Japanese engawaspace. Water, greenery and light are broughtinto the interior, and the glass skin may also allowthe condition of the exhibition spaces to betransmitted to the exterior.
Although the overall composition seems verysimple, by aligning these double skin rectangularvolumes and using various systems to introducenatural light, the exhibition spaces may contain avariety of planning layouts.
In addition to meeting the requirements forboth art appreciation and research purposes, thismuseum will become the nucleus of a communityof ordinary citizens. The site is a possible venue forconcerts, lawn parties, festivals or similarentertainment, and the attendees would still beaware of the artworks which punctuate the lawnand water garden.
It is my hope that the opening of this museumto the public, in the most literal sense, will create anoasis within a harsh climate and serve to expandthe imagination of people, both now and in thefuture.□(摄影/Photo:松冈满男/Mitsuo Matsuoka)
设计选例/ SELECTED WORKS39
4.5 内部水庭/Water courtyard6
从室内看水庭/Courtyard viewed from interior
0世界建筑 2003/06
4
设计选例/ SELECTED WORKS41
42世界建筑 2003/06
设计选例/ SELECTED WORKS43
44世界建筑 2003/06
基地位置/location: 美国德克萨斯州沃思堡/Fort Worth, Texas,USA
设计时间/Term of planning: 1997/01-1999/09施工时间/Term of construction work: 1999/10-2002/06基地面积/Site area: 45 585 m2占地面积/Building area: 7 000 m2
总建筑面积/Total floor area: 14 290 m28.9 展示空间/Gallery
10 总图/Site plan 1:7 500
10
设计选例/ SELECTED WORKS45
46
世界建筑 2003/06
11 首层平面/First floor plan 1:80012 二层平面/Second floor plan 1:800 1-入口大厅/Entrance hall 2-咨询处/Information desk 3-商店/Museum shop 4-快餐厅/Cafe restaurant 5-坡地/Terrace
6-报告厅/Auditorium
7-展厅/Gallery
8-艺术工作室/Art workshop9-装货区/Loading dock10-储藏/Storage11-办公/Offices
12-艺术教室/Art classrooms13-雕塑花园/Sculpture terrace14-机房/Mechanical plant
15-停车/Parking
13 西立面/West elevation 1:80014 东立面/East elevation 1:80015 北立面/South elevation 1:80016 南立面 /North elevation 1:80017 剖面A/Section A 1:80018 剖面B/Section B 1:80019 剖面C/Section C
1:800
设计选例/ SELECTED WORKS47