Tree Art Museum / Daipu Architects

深度日常项目,附对谈。位于北京宋庄的树美术馆,独特的公共艺术空间。

Project Specs

Design Firm:
Location:
Materials:

非常感谢 戴璞建筑事务所 予gooood的分享 。更多关于他们:Daipu Architects on gooood 。 Appreciation towards Daipu Architects for providing the following description:

他们正在招聘人才,欢迎进入戴璞/DAIPU ARCHITECTS招聘页面了解更多

对一些机会和条件合适的项目推出深度报道,希望更立体的将项目展现给大家。大章建筑事务所创始人戴璞是一位年轻的建筑师,他在自己29岁时收获了人生中的第一栋
建成作品。该项目的更多照片请见2013年6月3日报道的项目增补。

树美术馆位于中国北京宋庄。位于一条主公路的路边。原有的村落景观逐渐消失,被大尺度的适合车行的地块划分取代。虽然这里有艺术村的名声在外,但没有当地朋友的引荐,
很难在这一区域停留,对艺术氛围有深入的探访。因此,最早的想法是在基地上创造一个不同于周遭的环境的,适合人们在这里停留,约会,以及交流的公共艺术空间。

Located in Songzhuang, Beijing China, Tree art museum lies beside the main road of the area. Original village has vanished, replaced by big scale blocks which better fit for cars. Even if renowned as artist village, it’s difficult to stay or enjoy art exploration without local artist friend’s introducing. So, the first idea was to create an ambient, a public space where people would like to stay, date and communicate.

我希望人们一开始被友好的形象吸引,视觉和身体可以不自觉的跟随弧形的楼板线进入到美术馆的内部来。人们可以选择从入口倾斜的楼板首先进入二层,也可以选择被第一个庭
院的水池吸引,经过平静的水面过滤掉外界的心绪,进入一层的展厅。天空也被映射到地面上来,让人不经意忘掉外界的环境。

I hope people might be attracted into the museum by the view at the entrance. Their eyes would follow the curvy floorslab coming from the ground all the way up to the roof. People could choose getting into the space either through the ramp or the courtyard with a pool and tree on the first floor. Sky is reflected onto the ground, with reflecting pool together, helping people to filter their mind and forget the environment out there.

第一个庭院由一堵暴露的混凝土墙体将外界的马路,灰尘隔离开来。在这里人们可以选择坐在庭院的树下聊天,或是给水池里的鱼儿喂食,透过巨大的幕墙可以看到室内的艺术品和人在室内游走。在裸露的混凝墙土墙体的内部是一个微妙变化着曲率的走廊,可以作为书廊或者展示一些绘画和小型雕塑。

The first courtyard was separated with the main road and dust outside by a bare-concrete wall. People would stay and chat under the tree in the courtyard, or, just feed fishes by the reflecting pool. Meanwhile, they could enjoy artworks and watch other people lingering inside the building through curtain wall. In the bare-concrete wall, there is a corridor which could be utilized to exhibit books and small sculptures. The curvature varies slightly along the path.

第二个院子为后面的展厅和二层的大会议室提供采光,同时把公共和私密的需求隔离开。同时第二个庭院的弧形展墙可以自然地将人们引向另一边的展厅,引向屋顶开放的台阶式广场。在那里人们可以坐下来晒太阳,俯瞰一楼的池塘,或者和一层庭院的人聊两句。

The second courtyard introduces nature light to the back exhibition hall and meeting room on 2nd floor, while separating the public and privacy needed. The curvy wall implies people to the other side of the building, and introduces them to come to the public stairs-plaza on the roof, where people could enjoy sunshine and have a break, or look down to the pool.

2695平米的用地上一共有6个半院子,除了展示区的两个,后面的4个隐藏在空中:两个为后面的设施提供静谧的氛围和阳光,同时为下面的展厅提供天光照明,另外两个更小的院子位于顶楼向天空开敞。

There are six and half courtyards on 2,695 square meters site. Besides the two bigger ones for exhibition, there are four more courtyards lying on the upper part. Two yards apply sunlight to the back space and introduce skylight to the exhibition hall below. The other two yards are on the top of the floor, which also open to sky.

这个美术馆希望透过真实的材料,纯净的空间表达,为当地和外来的参观者提供一个与自然光,绿树,水体以及当代艺术互相对话的场所。这个朴素而简单的想法,将借由这样一个项目向更多的人传播出去。

By taking real and pure expression, this project hopes to create a place where local people and visitors would communicate with nature light, trees, water, and contemporary art. This simple and plain idea will spread out through their experience.

▼1F

▼2F -3F

▼RF,4F,5F

▼West E

项目名称:树美术馆
地点:宋庄,北京
总高:18.78 m
层数:展厅:2F,功能区:5F
建筑面积:3,200 m2
占地面积:2,695 m2
业主:华人当代艺术发展基金
设计单位:大章建筑事务所
建筑师:戴璞
设计团队:戴璞,冯静,刘毅
结构师:黄双喜
给排水: 雷鸣
暖通: 王鸽鹏
电气: 王翔
设计时间:2009.11
施工时间:2010.11-2012.09
摄影:舒赫

Project title: Tree Art Museum
Location: Song zhuang, Beijing, China
Height: 18.78 meter
No. of floors: Exhibtion part: 2 stories , Function part: 5 stories
Building Area: 3,200 square meters
Site area: 2,695 square meters
Client: Chinese Contemporary Art Development Foundation
Design Architect: Daipu Architects
Director : Dai pu
Design Team: Dai pu, Feng jing, Liu yi
Structural Engineer: Huang shuangxi.
Water Engineer: Lei ming
Mechanical Engineer: Wang Gepeng
Electrical Engineer: Wang xiang
Design: 2009.11
Construction: 2010.11 – 2012.09
Photo © SHUHe

 

王田田对话戴璞王田田
Conversation between WANG Tiantian and DAI Pu

王田田 建筑师 中国美术学院建筑艺术学院在读研究生
戴 璞 建筑师 大章建筑创始人
gooood团队参与,旁听

Wang tiantian  architect
Dais  architect, founder of Daipu architects

W:Why do you insist a small team?
D: Not really. For architects, what‘s most important is to put your ideas into drawings and finally realize it. No matter you work all by yourself or work with your team when you are unable to solve it, in fact, there is no difference, for what you do is just to realize it.

王:你为什么一直坚持小型团队工作?
戴:没特意坚持啊。对建筑师来说,最重要的是把你的这个想法变成图纸,最后实现。那至于你是一个人来解决这个问题,还是说当你力量的不够的时候,一个团队。其实目的就一样的,能把这个事做了就行了。

W:A typical mode of bigger studio,. Would you take a approach that is to follow that kind of mode, I mean, expand your studio?
D:  That is a must. Because if you want to accomplish your work better, you need to have a strong team. But I don’t think there is a mode, no matter Wang Shu, or FCJZ, or aiweiwei’s studio, in which every member has his own play. I would never think it’s a good idea to follow some certain mode. But their braveness and courageous divine nature of architects is a common characteristic.

王:像大事务所的模式,你有没有可能往那个方向发展呢?就是扩大你的工作室的团队?
戴:这是必须要走的一条路。因为你要想盖更好的项目,然后把你的想法更好地完成实现的话,你还是需要一个很强的团队。但我不认为那些是一个模式,不管是王澍,还是非常工作室,还是aiweiwei的工作室,他们都有他们很个性的地方。我从来不认为有一个固定的模式可以学习。但是那种勇敢的,大无畏的建筑师神圣的天性,是成功的一个特质。

W:What is the reason of your curvy shape?
D: Before we start our design, the north and south of our site had already been built. So I prefer solving light problem with courtyards. If we make courtyard a square shape, the shadow will be like a knife cutting into the space, so I use a curve, you won’t notice the straight dividing line between light and dark shadows, and natural light will diffuse evenly all over the space. Meanwhile, people would be led by rising curves to the second floor and top of the roof, unconsciously.

王:这个房子的曲线的缘由是什么?
戴:在这个立项的时候,别人南北两侧已经是盖好的。解决采光得用内庭院。但是内庭院如果做一个方形的的话,阴影是会像刀一样切进这个空间里,于是我就用这样一个弧线,你不会看到明显的明暗阴影分界线,整个光线是均匀散布在这个空间中。然后曲线又把人们自然而然引向了二层的屋顶。

W:In this house, which do you most concern about?
D:  When I first went to the site-Songzhuang, a strong sense of depression came to me. Songzhuang is very famous, and is one of the most avant-garde art village in China. But when you got there, you would find new houses with all kinds of bricks like regular bricks, fake bricks, black bricks, grey bricks and tiles. They are all there. There is no public space, and no place to accommodate you in winter unless you have some local friends. So I was thinking how to make local people enjoy the quality of space and people would love to come and stay by architectural means. So we need some change and accomplishment in this building. For that, I have been visiting the construction site for over 100 to 200 times during last three years.

王:你自己最重视的、最在意的是什么?在这个房子里面。
戴:当我第一次去基地-宋庄的时候,有一种很强的失落感。宋庄非常有名,是我们中国最前卫、最大胆的一个艺术村落。但去了那发现那儿挺萧瑟的,全都是砖,各种各样的真砖、假砖、青砖、灰砖、面砖都在那儿,让你有一种很失落的感觉。没有公共空间,冬天也几乎没有地方可以待得住人,除非你认识当地的朋友。于是我就想能不能够在这儿让人体会到一个空间的品质,能留得住人。所以这个房子在完成度上有点追求。所以这个愿景就推动了我,三年去了工地一两百次。

W:Did you choose the white color of the façade on your first visit?
D:  The earliest idea did not consider white color, but bare concrete and silver metal panels.

For in that case, it would conceal rain-drainge pipes and rain stains inside. But for cost sake, we turn to white paiting. White color can cover up some unnecessary rough details, and also conducive to maintenance. The outcome is still pleasing. Because, here the perfection does not depend on skin materials but space.

王:第一次去现场的时候就想到要用白色吗?
戴:最早的设计效果是没有白色的。是用混凝土的灰调子以及金属板外挂系统。因为这样的话,可以把那个漏水管和雨水的污渍全都隐藏在里面。后来考虑到造价,用了白色。用白色可以掩盖一些不必要的一些施工粗糙的地方,同时也利于维护。最后出来的效果还是很让人愉悦,因为我这个项目并不依赖表皮材料,是靠空间来说话。

W:Concerning about space, which part do you most want to achieve?
D:  I hope people can enjoy a flowing, free atmosphere. From the ground, the second floor to the roof it can reach some kind of free flow, and this is not only flowing in plans, but flowing in whole space with 6 yards. Two large front yards are open to the public, and in the behind, four small yards serve as guest room and air courtyard. I have been there many times and lots of people passing by will be attracted in.

王:在空间上你最想实现的是哪一部分?
戴:我希望人在里面的活动是一个贯穿的,很自由的状态。从地面到二层到屋顶可以自由的流动,而且这种流动不只是在平面流动,是整个在这四亩半地含六个院子里流动。前面两个大院子是对公众开放的,后面有四个小院子分别客院和空中庭院。我去过很多次。看见好多这个路过的人会不自觉的会被吸引进去。

W:I know workers in Songzhuang are not that professional. With a high perfection demand, it is really difficult there. Next time will you continue to pursue that?
D:  Yes, a high degree of perfection. For it is not only presented to users, but would also affect social environment and producers-system, and promotes industrial upgrading.  For example, after it is finished, a lot of people came and asked about the manufacturer of glass curtain wall. So it is also a very good opportunity for them as branding. As you can see, our society has spent large amounts of resources, labor and money to shape our city, but the result is far from satisfactory. On the contrary, these young entrepreneurs and owners who don’t have much rights or resources have to struggle and strive to make our world better. This is exactly what we need.

王:在宋庄这样的地方,就是因为它的工人我知道不是太专业。然后要这样高的要求,肯定有困难。如果让你下次做,你还会求这么高吗?
戴:还是会追求这样一个高完成度的状态。因为这不仅是呈现给使用者,而且通过建造也能够影响到我们所在的社会环境和生产体系,对产业升级也是一个推动的作用。比如,像这个房子盖好以后,就有不少这个人来问这个玻璃幕墙的厂家是哪家,所以对他们也是一个很好的宣传作用。你可以看到,我们这个社会花了那么大的资源,人力,金钱来塑造我们城市主要面貌,结果却不能让人满意,相反这些并没有权利,没有多少资源的这些年轻的企业,业主,这些个体却是一直在社会里面在挣扎着,努力把事情做好。这正是我们需要的。

W:You have fully involved in this project in the past three years. Wouldyour next project need such a long span?
D:  In fact, it takes us only three months to design and accomplish construction drawings. At that time, I was extremely excited and thought everything is possible just like you step on the moon surface. Thus we are working fast in this project. But it is still a small project here in China and some disadvantages in contractor’s construction  management, etc. So it took nearly one and half year to finish it.

王:这三年时间你完全投入在这一个项目里面。如果你下一个项目你觉得还需要这么长的时间吗?
戴:其实这个方案设计到施工图出来我们只花了三个月的时间。当时就是一种绝对的亢奋状态,好像到了月球上面似的,什么都有可能。所以我们整个进度都推的很快,但是更主要的是,因为这种小型项目,它在项目管理上和相关施工团队的施工能力上,还是会有所欠缺。所以是很客观的现实造成了它盖了接近一年半的时间。

W:What technological problems do you most want to solve?
D:  Beamless floor slab. Because there is no need to invest too much money to do re-decoration. At the same time, in such a space without beams, it is very pure and suitable for art exhibition.

王:那在这个房子里面你最想解决的技术问题是什么?
戴:清水无粱楼板。清水无粱楼板的后期是不需要投入过多的资金来做二次装修的。同时这样一个空间又没有粱的存在,所以它是一个很干净的,很适合做展览的空间。

More: Daipu Architects,更多关于他们:Daipu Architects on gooood

他们正在招聘人才,欢迎进入戴璞/DAIPU ARCHITECTS招聘页面了解更多

Post a Comment