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专访:建筑作为一种呈现的(de)媒介

专访:建筑作为一种呈现的媒介

  • 分类:新闻资讯
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  • 发布时间:2022-02-26
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专访:建筑作为一种呈现的媒介

【概要描述】快速(su)的(de)城(cheng)市(shi)化,不(bu)(bu)仅为我们创造了(le)物(wu)质文明的(de)遗产,也为我们身后制造了(le)大(da)量的(de)废弃物(wu)。我们喜新厌旧(jiu)的(de)心理(li),让众多老建(jian)筑遭到(dao)遗弃。798 地区的(de)松下显(xian)像管厂(chang)已不(bu)(bu)再有过(guo)去近30 年的(de)辉煌,遍体鳞(lin)伤,满(man)目(mu)疮痍,虽然破(po)旧(jiu),不(bu)(bu)美(mei),但却透出(chu)工业建(jian)筑的(de)粗犷,质朴与真实(shi)。

  • 分类(lei):新闻资讯
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  • 来源:
  • 发布时间:2022-02-26
  • 访问(wen)量:0
详情

民生美术(shu)馆是基于一个80 年代的工(gong)业(ye)建筑改造(zao)而成(cheng)。它以(yi)开(kai)放性(xing)、多元性(xing)、灵(ling)活性(xing),对今天(tian)美术(shu)馆的封闭性(xing)、单一性(xing)及固定性(xing)提出了挑战,将会成(cheng)为中国当(dang)代艺术(shu)的最大(da)的公共平台(tai)。

 

Minsheng Contemporary Art Museum is a renovation of an old factory from the 1980s. Its openness, diversity, flexibility make it different from typical galleries, which are always monotonous and secluded. It will be the largest public dedicated exhibition space for Chinese contemporary art.

 

▼美术馆外观(guan),external view

 

 

 


 

▼入口,entrance

 

 

快(kuai)速(su)的(de)(de)城(cheng)市(shi)化,不仅为我(wo)们创造(zao)了物(wu)质(zhi)文(wen)明的(de)(de)遗产,也(ye)为我(wo)们身后制造(zao)了大量的(de)(de)废弃物(wu)。我(wo)们喜(xi)新(xin)厌旧的(de)(de)心理,让(rang)众多老建(jian)筑(zhu)遭到遗弃。798 地(di)区的(de)(de)松(song)下显像管厂已不再有过去近30 年的(de)(de)辉煌,遍(bian)体(ti)鳞伤,满目疮(chuang)痍,虽然破旧,不美(mei),但却透出工业(ye)(ye)建(jian)筑(zhu)的(de)(de)粗犷(guang),质(zhi)朴与真实(shi)。这些特征恰和当(dang)代艺(yi)术的(de)(de)的(de)(de)态度(du)不谋而合。民(min)生现代美(mei)术馆(guan)的(de)(de)想法(fa)正是在这种基(ji)础上诞生,它尊重工业(ye)(ye)建(jian)筑(zhu)朴素,真实(shi)的(de)(de)特质(zhi),顺(shun)势而为,无用(yong)之用(yong),直指当(dang)代艺(yi)术空(kong)间的(de)(de)未来,挑战传统美(mei)术馆(guan)的(de)(de)冠(guan)冕(mian)堂皇(huang)。

 

The rapid urbanization brings us not only material civilization heritage, but also a huge amount of wastes. The propensity of love the new and loathe the old causes many old buildings being abandoned. The Panasonic factory at 798 area is devastated and ruined, but its rough, plain and real industrial building features happen to coincide with the attitude of contemporary art. The concept of Minsheng Contemporary Art Museum derives from the above, it respects the simplicity and reality of industrial buildings, aiming at the future of contemporary art space, challenging the high-sounding traditional art museum.


 

1. 空间(jian)多元,替代(dai)“白立方”单一空间(jian)模式(shi)

 

与传统(tong)艺术(shu)相比,当代艺术(shu)的(de)一(yi)个(ge)显(xian)著特(te)征是其表现形(xing)式(shi)的(de)多元,为了成(cheng)就这种(zhong)特(te)征,民(min)生(sheng)现代美术(shu)馆(guan)不(bu)(bu)仅塑(su)造了传统(tong)美术(shu)馆(guan)中(zhong)5米(mi)净高(gao)的(de)经典空(kong)(kong)间(jian)(jian),更有(you)大小不(bu)(bu)一(yi),尺(chi)(chi)寸各异,层高(gao)显(xian)著不(bu)(bu)同的(de)空(kong)(kong)间(jian)(jian):大盒(he)(he)子(zi),中(zhong)盒(he)(he)子(zi),小盒(he)(he)子(zi),经典空(kong)(kong)间(jian)(jian),院(yuan)落展(zhan)览(lan)空(kong)(kong)间(jian)(jian),黑(hei)盒(he)(he)子(zi)(多功能表演,会议(yi),展(zhan)览(lan)空(kong)(kong)间(jian)(jian))去应对不(bu)(bu)同艺术(shu)形(xing)式(shi)的(de)需求。它们(men)有(you)机地组(zu)织在一(yi)个(ge)充满张力的(de)中(zhong)心空(kong)(kong)间(jian)(jian)周围,结合美术(shu)馆(guan)前装置公园,屋(wu)顶展(zhan)览(lan)平台,中(zhong)心院(yuan)落等开放式(shi)展(zhan)览(lan)空(kong)(kong)间(jian)(jian),构(gou)成(cheng)一(yi)组(zu)尺(chi)(chi)度(du)不(bu)(bu)同,形(xing)态各异的(de)空(kong)(kong)间(jian)(jian)组(zu)群。

 

1. diversity of spaces, replacing single space pattern of “white cube”

 

Comparing to traditional art, a distinguishing feature of contemporary art is the diversity form of representation. In order to facilitate this, Minsheng Contemporary Art Museum not only has the 5 meters clear height space of traditional art museum, but also has spaces of different sizes and dimensions: big box, middle box, small box, classic space, courtyard exhibition space, black box(multi-function performance, convention, exhibition spaces). They are organized organically by the central space full of tension, combining with open exhibition spaces such as installation park in front of the art museum, exhibition platform on the rooftop, and central courtyard, forming a group of spaces with different dimensions and shapes.

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