Tampa Museum of Art by Stanley Saitowitz|Natoma Architect

A jewel box housing art works inspired with vision.

Project Specs

非常感谢 Stanley Saitowitz | Natoma Architects 予gooood的分享。更多关于他们:Stanley Saitowitz|Natoma Architects on gooood. Appreciation towards Stanley Saitowitz | Natoma Architects for providing the following description:

博物馆起源于古代的神庙,为人提供冥想的空间。特权阶层曾经在这里进行娱乐活动,见证美丽的事物并在此学习知识。自文艺复兴时期之后博物馆面向公众开放,画廊建筑开始在这个时期出现,在空间中展示绘画和雕塑,扩大了建筑功能的范畴。再后来,博物馆逐渐成为集教育、研究、收集和思想碰撞交流的中心。通过展示人类在文化领域中的最高成就,它逐渐发展为社会中稳定和再生的力量,追求品质和卓越。现代博物馆兼具了美学、教学双重功能,既是神庙也是讲坛。

Museums began in ancient times as Temples, dedicated to the muses, where the privileged went to be amused, to witness beauty, and to learn. After the Renaissance museums went public with palatial structures where the idea of the gallery arose, a space to display paintings and sculpture. Later, museums became centers of education, researching, collecting, and actively provoking thought and the exchange of ideas. By presenting the highest achievements of culture, museums became a stabilizing and regenerative force, crusading for quality and excellence. The role of the modern museum is both aesthetic and didactic, both Temple and Forum.

▼Tempa 艺术博物馆,the Tempa Museum of Art


Photography by ©Richard Barnes

当代博物馆的设计通常有两种截然不同的方式。一种是作为独立的建筑,空间本身就是一部艺术作品,建筑像方尖碑一般体现了建筑师的艺术思想。新的罗马博物馆就是这样一个极端的例子,建筑开敞而空洞,任何多余的艺术品都会危及它本身的美感。另外一派设计是将博物馆作为集装箱一般的设施,唯一的目的就是用艺术品填满内部的空间,像首饰盒一样,正如现在要描述的 Tampa 艺术博物馆。

The design of contemporary museum can be characterized by two polar approaches. On the one-hand buildings which aim to be works of art in themselves, independent sculptural objects as signatures of their architects. The new Rome Museum is the most extreme example, where the building opened empty, without any art to compromise its architecture. On the opposite end of the spectrum are museums as containers, as beautiful jewel boxes, treasure chests whose sole purpose is to be filled with art, like the Tampa Museum.

▼坐落在河边的建筑,the building is located by the riverfront

这个博物馆是展示艺术品的空间,一个空白的画幅等待被艺术品填满。他是一个美丽的容器,像外部的脚手架,等待被完成的内容。建筑师对于未来空间中开敞、未知的可能有浓厚的兴趣。他们希望建筑能够作为基础设施,所以使用最谨慎的方式创造出引人注目的空间。他们利用空间和光想完善建筑,避免让它成为一个“遗世独立”的对象。

This museum is a neutral frame for the display of art, an empty canvass to be filled with paintings. It is a beautiful but blank container, a scaffold, to be completed by its contents. We are interested in openness, in unknown possibilities in the future, in Architecture as infrastructure. We have created compelling space in the most discreet way, avoiding the building as an independent sculptural object, and using space and light to produce form.

▼利用空间和光线塑造的建筑,the architecture is defined by space and light

建筑底层的玻璃底座支撑着上方的宝石盒,建筑好似漂浮在公园的景观中。建筑悬挑出的部分和反光的金属墙将景观纳入空间,像悬停在空间中的抽象几何体,又好像在地面上滑翔。建筑不仅在坐落景观中,而且是景观的一部分,反射着城市中的绿地,像水面一般闪烁。建筑模糊和统一了城市空间,使博物馆变为公园,公园也纳入了博物馆。

A glass pedestal supports the jewelbox of art above. The building floats in the park, embracing it with its overhanging shelter and reflective walls. It is a hovering abstraction, gliding above the ground. The building is not only in the landscape, but is the landscape, reflecting the greenery, shimmering like the water, flickering like clouds. It blurs and unifies, making the museum a park, the park a museum. 

▼景观和建筑融为一体,the building blurs the boundary of landscape and architecture

约12米长的悬挑区域为城市创造了一个巨大的公共走廊,将艺术节目带入整个区域。沿着门廊走去,公园景观在两侧展开,将人的视线汇聚在河流上,最后将人们引入入口大厅。走廊的存在帮助游客在观展之前创造一个安静、平和的心情。

The 40’ cantilever provides a huge public porch for the city, raising all the art programs above the flood plain. The walk along this porch, flanked by the park, focused on the river, leads to the lobby. The procession through this quiet and levitating space is the preparation for viewing art.

▼建筑向外悬挑空间创造了城市中的公共走廊,the cantilever provides a huge public porch for the city

条形的建筑空间在中央被分割成两个部分,一半是向市民开放的公共空间,另一侧是内向性的服务设施。两个部分由建筑中部的中庭组合在一起。大厅接待游客,另一侧的中庭是策展人和工作人员的办公空间。大厅外侧是宽敞的玻璃屋,里面设有咖啡馆和书店。

The long building is sliced in the center. This cut divides the programs in two, the one public and open, the other support and closed. Each of the two sections is organized around a court, one the lobby, the other a courtyard surrounded by the offices and curatorial areas. Off the lobby is a long glass room that houses the café and bookstore in a storefront along the riverwalk.

▼入口大厅,the lobby

入口大厅是水平、全玻璃的外观,一部分是纯透明的,另一部分是磨砂的。透明的墙壁让空间之间有着良好的连续性,将北部的艺术表演大楼与南部的 Tampa 大学联系在一起。玻璃上方,墙壁延续了建筑外部使用的穿孔金属板。从一个戏剧性的楼梯空间可以到达上层的展厅,楼梯下面的部分是鹅卵石铺就的空间。

The lobby is at first horizontal, with entirely glass walls, two clear, two etched. The clear walls allow the site to run through the space, linking the Performing Art Building on the north with the turrets and domes of the University of Tampa on the south. Above the glass, the perforated ceiling wraps from the exterior into vertical perforated walls that turn into an upper ceiling, perforated again by a series of skylights. The galleries are reached from the lobby below via a dramatic cinematic stair reaching up. Below the stair is a bed of river rock.

▼具有戏剧性的楼梯,the dramatic stair

▼空间中考尔德的雕塑作品,the artwork piece of Calder

▼通过穿孔板墙面可以看到展厅空间,view of the exhibition hall diffused from the perforated wall

建筑师为传播文化领域中最高成就创造了一个良好的平台,策展人可以借这个机会向全世界展示艺术作品。展厅中使用了纯白的色调,沉默、统一,像纯净的雪一样烘托出空间中的艺术作品。地板是白色混凝土,地板上网格状的分割线呼应了天花板的肌理。条状分割的天花板中隐藏着消防设施、新风和照明系统。

We have built the most expansive and generous field of galleries as instruments to enable, through curation, a world to expose art. They are arranged in a circuit, surrounding the vertical courtyard void. The galleries are blank, walls, floor and ceiling all shades of white, silent like the unifying presence of snow. The floors are ground white concrete with a saw cut grid to echo the illuminated white fabric ceiling above. Linear gaps in the ceiling conceal sprinklers, air distribution and lighting.

▼画廊中纯白的内饰衬托出艺术品的主要地位,the white interior brings out the superior position of art

▼展厅,exhibition hall

   

博物馆在天光中微妙的变化,外表皮的穿孔金属板上映出了天气、云彩、水和植被。博物馆就像一个闪烁着光彩的海市蜃楼,拥有广阔而虚幻的形象,它讲述了我们所不知的世界和我们前所未见的事情。晚上,建筑的外观变为展现斑斓光彩的画廊,内部空间中的艺术作品逃入城市的夜色中。外表皮上变化的颜色和图案揭示了建筑内部的秘密。

By day the surfaces appear to vary almost, but never quite. They are smudged and stammering, with moray like images of clouds or water or vegetation, a shimmering mirage of reflections. It is an expansive and illusive image of a museum about things we don’t quite know, about things we don’t quite see. By night the exterior become a canvass for a show of light. The art from within bleeds out onto the walls and escapes into the darkness. By night it is the magical illumination of the skin changing colors and patterns in endless variations which turn the building inside out, revealing it secrets as it broadcasts light, color and form into the city, duplicated in its reflection in the water.

▼晚上,光从表面散发出来,By night, light emanates from the surfaces

   

      

这个博物馆是永恒的,同时也代表了我们的时代,一个漂浮在玻璃底座上的珠宝盒,面向未来的标语,一个承载着愿景的容器。向我们展现出看待世界的各种可能。博物馆坐落在公园中,徘徊在大地和天空之间。博物馆用它中立、平和的形象展示在我们面前,不具有任何倾向性。这是一个品味自我的时刻。

This museum is both timeless and of our time, an electronic jewel box, floating on a glass pedestal, a billboard to the future, and a container to house works inspired with vision and able to show us other ways to see our world. The museum hovers in the park, a hyphen between ground and sky. The image of the museum results from the nature of its surface – it does not symbolize or describe. It disengages through neutral form, providing a kind of pit stop in the attempt to represent. It is a moment to savor things in themselves.

▼区位,site

▼平面,plan

▼剖面,section

More: Stanley Saitowitz | Natoma Architects. 更多关于他们:Stanley Saitowitz|Natoma Architects on gooood.

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