全球設計風向感謝來自 Studio A+ 的公共空間/藝術館項目案例分享：
關鍵詞 Key Words：
藝術館、漂浮、藝術與自然、人工與自然、藝術烏托邦、平行線、光與色彩、場所、開放性與社會性
Art gallery, floating, art, nature, manmade, utopia, parallel, light, color, place, openness and sociality
摘要 Summary：
中環藝術館旨在搭建平台，讓藝術、藝術家與大眾相遇。通過對場地景觀的整體梳理，打造一片人工化的“自然”，一個藝術與自然共同造就的“小氣候”，一個都市裏的藝術烏托邦。為了場地上統一而延續的風景，建築以漂浮的姿態存在。這一由建築與景觀構建的“場所”具有高度的開放性及包容性。
A floating art gallery together with its large ‘manmade nature’ landscape surroundings creates an urban art utopia where art and artists meet the public. The place created by both the architecture and the landscape, is a highly welcoming and inclusive public space, where people can easily access, experience, and celebrate art while feeling inspired and enlightened.
設計背景故事 Background information
中環藝術館的設計圖紙於2008年完成，十年之後得以建造，已於2019年七月底竣工。
The design was finished in 2008. 10 years later, the construction started and was completed by the end of July, 2019.
中環集團CEO餘竹雲先生是一位有著藝術情懷和責任擔當地產人。十多年前，他在走訪了安徽一帶民間藝術家的工作室後，看到那些造詣精深的藝術作品在狹窄的空間中無處安放，更無緣為世人所知後，痛惜之餘萌生了要為它們搭建平台的想法。他在找到我們時說，希望這個低密度、小規模的藝術館園區成為藝術及藝術家與大眾相遇的場所，並以其獨特的能量輻射周邊，成為造訪這座城市的遊客們必打卡之地。而與這個地塊比鄰的將是高樓大廈的叢林（當時還是一片平地），如何實現他這個既單純又頗有難度的理想呢？
12 year ago, the CEO of the Central Ring Real Estate Group, found us after visiting poor folk artists in the rural area of An Hui province. Seeing so many outstanding art works stacked inside humble residences with no opportunity to be shown to the public, he decided to build an art gallery in a new urban district in the capital city of the province.
He envisioned this low density and low-rise art district to be the place where art and artists meet the public, to radiate its unique energy to the surrounding neighborhoods, and to become a must-visit attraction. To do so, the site must stand out from the backdrop of a typical urban jungle – high-rises.
設計思考起點 Concept
對場地形態深入思考後，我們很快決定，在這個以高密度的建築、超寬度的機動車道為顯著特征的現代都市新區中引入一片人工“自然”，以成片的開花樹木為主要元素，將這個地塊打造為一個藝術與自然共同造就的小氣候，一個關於藝術的烏托邦，一個都市裏的藝術童話。我們相信沒有一個生活在城市裏的人會拒絕一片“世外桃源”，並且，一片美好的自然很有可能在鋼筋混凝土的叢林中脫穎而出，成為致命吸引力。我們希望以這樣一個難得的“自然”場所為舞台來容納甚至強化各類藝術品及藝術活動的意境與價值。讓藝術與自然在這裏平行自在地並置、流動，彼此獨立存在而又處處相融。在燦爛的季節裏，藝術更能成為與自然相應成趣的大型活動內容。整個場地洋溢出不同於這個城市那些標準街區的獨特氣質。
我們倡導以步行為主的區域內“漫步”。並不希望藝術館僅僅是一個關起門來獨自美好的藝術品容器，而是像紐約當代藝術館館長Glenn D. Lowry所說，“藝術館把作品和參觀者置於時間與空間當中，並在藝術作品與欣賞者之間搭建起一個架構”，成為“一個公眾參與的教育機構，一個文化基地，在其更廣泛的城市與地區的範圍內，會在塑造城市的、地區的或國家的文化生活方麵發揮更大的作用。”因此我們希望藝術館成為一個具有強烈開放性、社會性，容納並積極影響人們日常生活的場所。對於漫步其間的主體——人而言，則隨時在自然與藝術之間進行多層次、多維度的切換與審美聯想。
原則很快被製定下來：一切以景觀至上，建築作為大景觀的一部分融入整體環境。
How do we turn this simple but idealistic goal into reality? After analyzing the site and its surroundings, which were totally vacant at the time, we decided to introduce a ‘manmade nature’ into this new urban area that will be typically occupied densely by tall buildings and super wide motorways according to the planning. We believed that no one who lives in the city would refuse a land of idyllic beauty – a land full of cherry blossoms may have a better chance to be more attractive than a tall concrete forest. We wanted to create a micro-climate characterized by art and nature, or an urban oasis with an art utopia within it.
Such invaluable setting of nature becomes a stage to accommodate art and art activities. Art and nature, though independent from each other, juxtapose, flow, connect and fuse with each other at the same time. In the spring time during the flowering period, activities such as special art festivals can even give the place a one-of-a-kind signature, which attracts people near and far.
The main expected activity on site is promenading, through which people can enjoy and contemplate art and nature on multiple levels. The gallery in turn is not an isolated inward-looking art container. Together with the settings, it becomes a welcoming and inclusive public place, where people can easily access, experience, and celebrate art while feeling inspired and enlightened.
景觀至上原則 The priority of landscape design
藝術，是與自然平行的和諧世界。——保羅·塞尚
Art is a harmony that runs parallel to Nature. —— Paul Cézanne
這個項目的景觀設計先行於建築設計。我們首先用一係列簡約的平行線沿場地的長軸展開，對場地進行“初始格式化”，意在建立一套MATRIX，對萬變的自然進行梳理。平行線的格局強調此處自然的人工性，並方便為將來的種植進行色彩上的布局。
Landscape design was the first step of the design work. A series of parallel lines are adopted as the matrix of re-formatting the site. Upon this configuration, colors from different local vegetation were mapped out to articulate the manmade nature.
在後續的景觀設計深化中，這些平行線內的區域演化成為下沉廣場的階梯型大看台、靜水麵淺水池、大型坡道、室外和半室外平台、櫻花樹陣、以及顏色各異的灌木叢。灌木叢樹種既有紅花繼木、紅葉石楠，也有金葉女貞、茶梅、毛鵑等，甚至還預留了區域可以季節性耕種油菜以供春季賞花。
The areas defined by the parallel lines later become a sunken plaza, stepped seating stands, reflecting pool, giant sloping walkway, terraces on different levels, array of cherry trees, and bushes of different local species with various colors.
在這個大格局中，中環藝術沙龍作為本項目一期於2009年（十年前）落成並投入使用。其後院綠坡上佇立著以參與此項目的建築工人為原型的真人尺度雕塑，在新落成的藝術館背景的映襯下，以藝術的形式和語言致敬著普通勞動者。
Within this configuration, there situates the Central Ring Art Saloon, the first phase of this project which was completed 10 years earlier in 2009. A group of human scale sculptures based on real construction workers of this project stands on the sloping lawn in the backyard. With the façade of the new art gallery as the backdrop, the sculptures commemorate ordinary workers in a special language of art.
建築與室內空間 Architecture and Interior Space：
為了場地上統一而延續的風景，建築以漂浮的姿態存在，給地麵上的景觀讓路。藝術館沿場地短軸展開、垂直於景觀平行線的走向，正對東側地塊步行商業街的街口，邀請來訪者進入並開始一段與藝術有關的漫步。
Positioned at the point where a pedestrian shopping street ends from across the road, the gallery building invites people in and engages them with a pleasant journey with art.
進而，我們希望建築本身也成為一個漂浮的風景。從枝杈繁茂的森林截取一個片段，成為建築的外觀形象。因為“漂浮”，建築與大地之間形成一係列供各種活動展開的室外及半室外空間，如入口廣場、與其相通並通向下沉庭院的大台階看台、與入口廣場隔下沉庭院相望並與大型坡道相連的西側平台，等等。同樣因為“漂浮”，入口大廳被抬至二層，人們在建築內部的藝術漫步需開始於一個充滿舞台戲劇效果的大型樓梯。
Perpendicular to the parallel lines of landscape, the gallery building floats above the ground and gives way to the landscape that runs through the site. The building becomes a floating scene, with a specially designed envelope derived from a fragment of ‘forest’. The floating structure forms a series of semi-outdoor space that hosts various art activities.
大型樓梯將來訪者直接引入二層的接待區和開敞的多功能大廳，貴賓廳、會議室均與大廳直接相鄰。大廳與環廊共同構成了這一層的自由流動空間，可以舉辦活動和引入非專業性小型展覽。
The indoor journey begins at a grand entry stairway, leading visitors directly to the lobby and an open multifunctional space on the second floor. The VIP lounge and conference room are immediately adjacent to the open space, where activities such as opening ceremonies can take place.
主要展廳均位於三層。大小兩個展廳成為建築的“內核”，是兩個僅局部屋頂對天空開敞的內向型盒子；“內核”之外的空間則被最大程度地“釋放”，並被獨特的建築外皮統一包裹。建築的外皮成為室內與室外之間一道具有強滲透性的界麵。遊走於其中的人則在虛實之間欣賞被並置的自然景致（窗外）和藝術作品（窗內）。
Two exhibition halls – one large and one small – are placed on the 3rd floor and only open to the sky partially. Space around these two boxes is liberated in such a way that the building skin is highly permeable and the indoor and outdoor are blended instead of being separated via this interface. The spaces can accommodate temporary non-official art shows. Walking along it, people can enjoy both the indoor art exhibition and the nature beyond.
光與色彩 Light and Color：
建築的主要內部空間分為兩類，一類是展廳空間，自然光從屋頂垂直進入內部；另一類是展廳外空間，自然光從側麵水平進入室內。大型垂直交通樓梯間則介於兩者之間，主要采光從屋頂天窗獲得，兼備少量側窗洞，從相鄰空間獲得借景，及水平向間接采光。
There are three major types of interior spaces in the gallery: the core spaces, i.e. the exhibition halls, where the daylight gets in vertically from above through the skylight; the spaces outside of the core, the promenade corridors and free spaces they connect, where the daylight gets in horizontally from side windows; and the grand staircase, somewhere in between. Inside the grand staircase, the daylight is sourced mainly from the skylight above, while horizontal daylight and views can also be borrowed through side openings from adjacent spaces.
建築外表皮的顏色為灰與白，取自徽州民居的黑白素色。容納主館與副館的“核體”，外表皮為彩色（粉色和黃色分別取自徽州春季的特色植物——桃李及油菜花的顏色），內表皮為純白色用以展示多彩的藝術作品。而垂直交通核的內、外表皮均為新葉綠色，明亮而新鮮，令穿梭於其間的人如入畫中，成為“舞台”的主角。
The color of the exterior, the white and dark grey, are from the local ‘Hui’ style traditional building (mainly black and white). Pink (cherry blossoms), yellow (rape flowers) and green (young leaves) are applied to interior skin to echo the local landscape in spring time. The inside of the exhibition halls is painted white to ensure best lighting quality and artworks are best displayed. A fresh and bright green color is applied to both inside and outside of the grand staircase to give the space a character intentionally. When people start the journey with art on the first step, they would feel like they stepped into a painting to become the leading role of the stage.
這些室內空間的色彩將從白色鏤空外牆麵隱約滲出，在白天和夜間，為建築增添一抹含蓄的神秘色彩。
Interior colors permeate through the architectural skin, and are illuminated at night, rendering a mysterious atmosphere for the place.
∇ 地下一層平麵圖
∇ 一層平麵圖
∇ 二層平麵圖
∇ 三層平麵圖
項目信息
項目名稱: 中環藝術館（The Central Ring Gallery）
項目類型：建築 /景觀/室內
項目地點：安徽省 合肥市
設計單位：Studio A+
主創建築師: 王敏
設計團隊名單：王敏，丁梅，李輝，張雯雯，王崇碩，竟昕，魏玉偉等
甲方：安徽中環地產有限公司
造價：1.5億元
建成狀態：建成
設計時間（起迄年月）：2008年5月-2008年12月
建設時間（起迄年月）：2018年3月-2019年7月
用地麵積（平方米）：30017㎡
建築麵積（平方米）：16525㎡
合作單位：CCDI（悉地國際）
照明：北京寧之境照明設計有限責任公司
施工：安徽中環創新綠色建築產業有限公司
攝影：陳溯，方淳
Project Name: The Central Ring Gallery
Architecture Firm: Studio A+
Firm Location: Beijing, China
Completion Year: 2019.7
Gross Built Area: 16525 sqm
Site Area: 30017 sqm
Project Location: Hefei city, Anhui province, China
Lead Architect: Min Wang
Design Team: Min Wang, Mei Ding, Hui Li, Wenwen Zhang, Chongshuo Wang , Xin Jing, Yuwei Wei
Project Type: architecture, landscape and interior
Project Status: Built
Design Period: 2008. 05 – 12
Construction Period: 2018.03- 2019.07
Collaborator: CCDI
Client: An Hui Central Ring Real Estate Group
Cost: 150 million RMB
Photo credits: Chen Su, Fang Chun
