一二美術(shù)館

The “One or Two” Art Gallery

項目名稱： 湖北宜昌一二美術(shù)館主館

地理位置：湖北宜昌伍家崗區(qū)

設計單位：深圳市道普建筑設計有限公司

建筑面積：1150m2

建 筑 師：韋志遠、吳鳳輝、桑文、賴少艷

建筑攝影：周碩斌

設計時間：2014年4月

竣工時間：2016年6月

創(chuàng)作歷程

一二美術(shù)館位于湖北宜昌伍家崗區(qū)，是宜昌首個私立美術(shù)館，館內(nèi)藏有許多具有重要歷史價值的文物、名人名家書畫以及印章。

在對美術(shù)館的初步方案創(chuàng)作過程中，與館主的精神交流，成為了參與創(chuàng)作的建筑設計師們獨特的經(jīng)歷。

Project Name :The main hall of the “one or two” art gallery in Yichang, Hubei province

Project location : Wujiagang district of Yichang, Hubei province

Design firm :Shenzhen TOP architecture design Co.Limited.

Area :1150 square meters

Design team :Zhiyuan Wei/Fenghui Wu/Wen Sang/ Shaoyan Lai

Photographer :Shuobin Zhou

Design time :2014.4

Completion time: 2016. 6

Process of design

The “one or two” art gallery is located in the Wujiagang district of Yichang, Hubei province, it’s the frst private art gallery in Yichang and there are many cultural relics with important historical value and lots of celebrity calligraphy, paintings and seals.

At the inception phase of design, some intellectual communication with the owner of the gallery made this program very peculiar.

入口平臺

“由于高強度的工作壓力和快節(jié)奏的生活，使得我本身性格偏于浮躁”設計師坦言。

“但館主的性格卻安靜、寡言且泰然，他的閱歷使得他擁有獨特的處事原則。出于基礎(chǔ)的禮節(jié)，我們會遵從他的節(jié)奏來進行對設計的交流。但很快我就發(fā)現(xiàn)，往往只是同館主坐下品一品茶，聊幾句天，如此度過一個小時，就可收獲從前需要花費半天至一天時間才可達成的默契，對我來說這是一種收獲?！?/p>

也正因如此，設計師的效率也通過這種以慢為快的方式提升了。

通過不斷感悟，方案團隊決定以中國最本源的道家思想作為設計指導，但與此同時也帶來了更大的問題：僅有1000平米的美術(shù)館，要怎樣詮釋道家“天、地、人”這樣大的概念？它又是否承載得起這樣的概念？這些問題在創(chuàng)作過程中，都曾讓設計師們反復擔憂。

老子《道德經(jīng)》有云：“萬物之始，大道至簡，衍化至繁”。如今人們對于思想的解讀，往往都是復雜而個體化的，很多人也容易迷失在這種解讀之中而偏離最簡單的本質(zhì)。在嘗試過以復雜而隱晦的建筑語言去演繹道家思想之后，設計師們又經(jīng)過了反復的探索，最終他們說服自己：不再去過多進行額外的詮釋，而是以最自然、最愚直的方式，把道學原理直譯成空間語言，交給使用它的人來解讀。最終，按照這種以拙代巧的設計方式所完成的美術(shù)館空間，讓之前的擔憂都顯得片面而膚淺，因為當置身其中時，他們驚喜地發(fā)現(xiàn)，正是由于對道家思想的直譯，這座美術(shù)館的每一個空間甚至可以承載多重立意而互不矛盾。同一個空間根據(jù)觀賞者不同的選擇，亦能得到不同的感受，而這種“似是而非”的體驗感，也正好印證了老子所說的那句：道可道，非常道。

于是，隨著心之所向，設計人、建筑、觀賞者最終都得以自在，這就是最好的結(jié)果。

“The high pressure from work and the fast-pace life make me sometimes impatient.” said the chief architect. “But the owner of the gallery is a quiet, unassuming man, what he experienced gave him the unique personality. Because of the respect, we followed his pace to communicate the scheme, and soon we found that, most of the time we just sat down and tasted some tea for about an hour, then we got more understanding, while this kind of situation will cost us more than half a day in usual. That was really a special experience and gain for me. This is a way which seems slow but can make things develop fast , and in this way , the efciency of design was promoted . "

Through the apperception about the project, the creative team decided to be guided by the Taoism, which is the most indigenous Chinese ideology. But it also brought other problems: How could a gallery express the Taoism? How could a limited space carry the conception of "universe, world and human"? These problems did confuse architects a lot during the process of creation.

The “Tao Te Ching" said:" From the origin of the universe, the way which can achieve great deed is the simplest, while the derivative ways are always tedious."People now unscramble the ancient ideas often make it complicated and one-sided, most people lost themselves while unscrambling and deviate far from the truth. After several tedious ways had been tried, the architects fnally convinced themselves that there was no need to unscramble more, what they need to do is to translate the Taoism into space language in the simplest and straightest way, people who come into the gallery will have their own reading about the space. At last, after the gallery was build up, the architects found that just because of the straight and simple way they used in design, every space of this gallery can express more than one meaning. According to different choices of different visitors, they will get different feelings, and the uncertain feelings from space just comes from the Taoism which said: “The Tao that can be told is not the eternal Tao”

Following the choice of heart, the architects, the gallery and the visitors set themselves free in the end, and this should be the best result.

美術(shù)館（主館）入口廣場

美術(shù)館（主館）外院——“水院”

中庭內(nèi)院——“竹院”

一層明展廳

一層明展廳

是“無”亦是“有”

從外部觀看，美術(shù)館（主館）的立面可以說是幾近虛無的，僅用景觀的一方水、一道墻、一片竹林，映襯出一個白色盒子的體量。

雖無立面，建筑外部廣場以青色花崗巖為路，以竹為廊，以強烈的導向性將來客引向美術(shù)館外墻的一處缺口。來訪者可由此而入，見石道竹林。身伴竹香，穿林而過，而小徑的遠端便是美術(shù)館（主館）室內(nèi)入口，頗有“大隱于市朝”的韻味。

是室內(nèi)也是室外

山門之外的室外乃是塵世，山門之內(nèi)的室外卻是自給的一方禪境。

進入主館，最先映入眼簾的是明亮的“水院”。水院中一方黑色鏡面水池浮于白色空間內(nèi)，池內(nèi)魚蹤，池上樹影，陰陽相生，動靜相宜?！俺厣洗猴L動白蘋，池邊清淺見金鱗“，身處這樣一個空間之內(nèi)，城市喧囂在這一瞬已然遠離，靈魂得以洗凈，心也隨之豁然。

主館中間為一個半室內(nèi)半室外的中庭，庭中有水池與青磚鋪就的平臺各自位于院中四角，水上生竹，相鄰相對，互為虛實。

是光線亦是陰影

中庭的東端是明亮的“水院”，而西端各層則是黑暗的展覽廳。

一墻相隔，北面是黑色的走道，南面卻是明亮的過廊。黑色展廳內(nèi)的白色天光，與白色水院空間中的黑色水池相互呼應，這樣的關(guān)系也恰好對應了道家太極的哲學思想——一黑一白對立統(tǒng)一，互為陰陽；白極而黑，黑極而白的魚眼，相互獨立又相互依存。

每當太陽升起，室內(nèi)中庭和黑暗展廳內(nèi)的天井投射下來的光束由淡變亮，由亮變黃，而到了晚上，燈光將竹影與樹影投射于地面，斑駁而迷離。光影與黑白，時間與空間相互交織，仿佛這座館擁有了生命。

是傳統(tǒng)也是現(xiàn)代

美術(shù)館主館的建筑都是通過現(xiàn)代材料及工藝塑造，游走于館內(nèi)，人卻可以感受到由抽象化的巷、山門、甬道、廳、廊、榭、階梯等這一連串空間所帶來的傳統(tǒng)空間氣息。

設計師認為，真正對于傳統(tǒng)的尊重，并非照搬傳統(tǒng)，在對于這座館的設計過程中，所有符號化與具象化的語言，都是他們想要摒棄的。對于道學思想的領(lǐng)悟，最終讓設計師將“道”融入了現(xiàn)代的工藝與材料之中，實現(xiàn)了對傳統(tǒng)的致敬。

是建筑亦是人生

游覽罷這座“似是而非”的美術(shù)館，你會發(fā)覺，其實人生亦如此：或黑或白，孰是孰非，往往并不如此絕對，人生之不如意十之八九，常想一二。黑與白、明與暗、動與靜，都能在一瞬間發(fā)生反轉(zhuǎn)。我們眼中所見，不過都是來自我們內(nèi)心的選擇而已。

美術(shù)館（主館）入口甬道

It’s both Being and Nonbeing

Views from outside, the facade of “one or two” gallery is nearly nothing, the building is just a white box set of by a square of water, a wall and a piece of bamboo forest.

Although it seems nothing on the facade, the dark granites used as road on the entrance square and the bamboo forest designed as corridor still give visitors a strong guidance to the entrance. Visitors can go into the gap on the wall and then fnd a path with bamboo forest.Going through the forest with the smelling of bamboos, following the path to the entrance of gallery, it express the meaning of “The great reclusion”.

It’s both indoor and outdoor

The outdoor space outside the front gate represents the “ordinary world”, while the outdoor space on the other side is the” zen space”made by the gallery.

Going inside the main gallery, the bright “water courtyard” will be seen at first. A black mirror pool “float” at the center of the white space, the fshes and the shadow of the tree make the sense of Yin and Yang, dynamic and static.Standing inside the space of outer court, the noisy of city has been far away, spirits can be cleaned and heart will be set free.

In the middle of the main gallery, there is a atrium which can be both indoor and outdoor, pools and platform made by black bricks are in the four corners of the atrium. The bamboos grow on the pools, they are on relative directions but become view of each other.

It’s both light and shadow

The bright “water courtyard”is on the east side of atrium, and the foors on the west side are dark and black exhibition rooms.

One wall separated, the north side is a dark black aisle, while the bright white corridor on the south side. The white skylight in the black exhibition room echo the black pool in the white water courtyard space.

When sun rises every day, the light which falls down on the atrium and dark exhibition room get brighter and brighter with time. At night, the lamplight cast the shadow of bamboo and trees on the ground, it is mottled and misted. The light and shadow, the black and white space, time and the space interact each other, it seems the gallery come to life.

It’s both tradition and modern

The gallery is built up by modern materials and technology, when people walking in it, they can feel the traditional culture brought by the space made by abstract alley, door, paved path, atrium, corridor, shed and stair.

The architects consider think that the real respect to tradition is not copy the tradition, all the symbolic and concrete architectural languages are the ones they want to abandon during the design process of the gallery. Through the comprehension of the Taoism, the architects finally put the “Tao” into the modern material and technology, tribute to the Chinese tradition.

It’s both architecture and life

After visiting the gallery, you will find the life is just the same as architecture, black or white, being or nonbeing, they are usually not so absolute. “The unpleasant things are eight or nine of ten in our life, but we should know we have the part of one or two.” What we see in our eyes are all come from our choice of inside heart.

天光走廊

一層中庭展臺

一層中庭展臺

一層中庭展臺

黑色走道

一層明展廳

黑白空間分界

二層平面 2nd foor

一層平面 1st foor

負一層平面 basement floor

剖面1 section1

剖面2 section2

剖面3 section3