設(shè)計(jì)負(fù)責(zé)人：Nader Tehrani & Monica Ponce de Leon

項(xiàng)目協(xié)調(diào)：Michael Tunkey, Timothy Clark

設(shè)計(jì)團(tuán)隊(duì)：Kristen Giannattasio, Tali Buchler, Hansy Luz Better,Christine Mueller, Achille Rossini, Jeff Asanza, Julian Palacio

Principals: Nader Tehrani & Monica Ponce de Leon

Project Coordinators: Michael Tunkey, Timothy Clark

Project Team: Kristen Giannattasio, Tali Buchler, Hansy Luz Better, Christine Mueller,Achille Rossini, Jeff Asanza, Julian Palacio

在距北京三十英里的地方，一個(gè)由200多名具有國(guó)際知名度的中國(guó)藝術(shù)家組成的社區(qū)，缺乏一個(gè)互動(dòng)吸引點(diǎn)、藝術(shù)展示區(qū)或接待場(chǎng)所。一個(gè)由藝術(shù)家、評(píng)論家和代理人組成的財(cái)團(tuán)收購(gòu)了一處地產(chǎn)，準(zhǔn)備為通州的藝術(shù)組織建設(shè)一個(gè)這樣的項(xiàng)目。這是一個(gè)分期項(xiàng)目，已完工的首期是門(mén)樓，包括定居在此的藝術(shù)家們的住房和工作室。項(xiàng)目場(chǎng)址被一堵現(xiàn)有的磚墻隔開(kāi)，一邊是一片樹(shù)林，另一邊是一片貧瘠的工業(yè)場(chǎng)地。雖然藝術(shù)中心位于工業(yè)場(chǎng)地一側(cè)，但該方案將主要公共庭院面向樹(shù)林，在磚墻上拆除部分墻體，以便形成框景。該建筑復(fù)合體是圍繞著一系列密集的庭院布置的，這些庭院組織了到達(dá)空間、服務(wù)空間、雕塑空間和集會(huì)空間——以及私人專(zhuān)享的戶外空間。連接庭院的一系列小巷，布置為裂縫和縫隙形式。按照客戶的要求，規(guī)劃布局是為了實(shí)現(xiàn)相互矛盾的目標(biāo)，即居民之間最大限度的互動(dòng)以及一定程度的隱私。水循環(huán)、排水和照明的規(guī)定，在解決傳統(tǒng)建筑問(wèn)題基礎(chǔ)上，為創(chuàng)造新空間和尋求變化提供了機(jī)會(huì)。通過(guò)計(jì)算通道所需的高度空間、樓梯必要踏面和踏步豎板之間的關(guān)系，以及隨后將任何其他浪費(fèi)的相鄰空間降到最低，這些建筑物被視為經(jīng)過(guò)縮減包裝或真空成型的磚砌結(jié)構(gòu)。在中國(guó)這種設(shè)計(jì)技巧與給定的預(yù)算和經(jīng)濟(jì)狀況可能存在著至關(guān)重要的關(guān)系。

Thirty miles from Beijing, a community of over 200 Chinese artists of international recognition lacked a public institution or space that served as a magnet for interaction, a place for the presentation of art, or a setting for receptions. A consortium of artists, critics and agents acquired a property to put together a program for Tongxian Art. A multi-phase project, the completed Phase 1 is the gatehouse, which consists of housing and studio space for artists-in-residence. The site is divided by an existing brick wall, which separates a grid of trees on one side from a barren industrial field on the other. While the art center is located on the industrial side, the scheme orients the main public court towards the trees, making a cut into the brick wall to frame a view of the landscape. The complex is configured around a dense series of courtyards that organize spaces of arrival, service,sculpture, and congregation –as well as private outdoor spaces. A series of alleyways, configured as cracks and slots, connect the courtyards. As mandated by the client, the layout of the program is organized to achieve contradictory aims: maximum interaction between the inhabitants, and a level of privacy. Mandates of circulation, drainage, and light provided an opportunity to invent new spatial and tectonic variations on traditional architectural problems. By calculating the necessary headroom for passageways, the necessary tread and riser relationship of the stairs, and the minimization of any other subsequent wasted adjacent space, the buildings are conceived as brick monoliths that have been shrink-wrapped or vacuum formed into shape. The techniques adopted for this design bear a critical relationship with what was possible with the given budget and economy in China.