河北滦平凤凰谷山顶艺术馆(Hilltop Gallery )- dEEP Architects

编辑导读:用建筑的形态去继承和演绎中国古典精神中的“势”的概念,依山就势,建筑与山体相得益彰,相互融合。一条屋顶栈道则模糊了自然与人工的界限。这里,现代材料与传统材料采用数字技术的建造共同烘托了中国古典的传统氛围。(经典值评价:7.6)
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项目概况:
建筑设计:dEEP Architects
地点:中国河北省承德市,滦平(Luanping, Chengde, China)
主持建筑师:李道德
建筑面积:2600.0 m2
完工时间:2018
照片版权:Baiqiang Cao / ZERO
 
项目简介:
凤凰谷山顶艺术馆位于北京和承德交界处的燕山山脉之上,远眺金山岭长城。建筑占地面积1500㎡,建筑室内面积2600㎡。除作为美术馆展示艺术作品及相关文化活动之外,也承担凤凰谷整体开发项目的接待与展示功能。
 
凤凰谷山顶艺术馆在形态上寄托了我们对中国古典精神的思考和延展。我们注重“势”这一概念。势是古人对客观事物的一种感性而抽象的理解方式,涵盖了事物在时间和空间上的演进。用建筑的形态去继承和演绎“势”,依山就势,顺势而为,如此产生出一个与群山相得益彰的形体,反映了周遭连绵的山势和自然形态,与之融为一体。
 
由微微抬起的入口进入艺术馆,首层为开放的展览区域,视线通透,南北均可观远山美景、近处的松柏,自然始终相随。随着屋顶下沉的曲线,你会不由得关注到位于底层的高挑空间。沿一条环状大阶梯拾级而下连接着两层主要的艺术展台,三层通高的空间组成了大尺度艺术品展览需要的大厅。
 
底层的东侧,已深入山体,则是不需要采光的多媒体互动空间及影音厅。在底层的北侧区域,可观近出松林和远山,便是艺术馆的咖啡厅,并有室外的平台可供观景。除了电梯,此处还有个贯穿整个建筑的旋转楼梯,可直接到达顶层。顶层作为VIP客人的接待空间,包括茶室,休息,餐厅等区域,根据功能需求,空间尺度变化丰富。
 
南侧面向长城的区域是宴会区,有更高尺度的空间及通透的玻璃幕,开放的料理台也为与客人的互动提供可能。
 
西侧有一个混凝土的方盒子,作为连接室内外的入口,可通过屋顶栈道直接到达山顶,或翻越屋顶,到达建筑东侧的室外平台,将整个顶层的空间室内外联通起来。
 
这里栈道通过屋顶的起伏与自然山地联系起来,模糊自然与人工的界限,同时也象征性地呼应了与建筑遥望的金山岭古长城蜿蜒于山的形态及狭长的空间特色。成为一个很重要的空间载体,连接内与外,现代与未来。
 
屋顶形态的设计不仅仅是基于美学上的考虑,同样也是经过了一系列的雨水分析模拟与风洞试验,并在力学数字模型和实体模型上推敲优化的结果。数字技术同样被应用于施工的每一个阶段:例如建筑主体17根复杂的曲线钢梁得以精确加工和组装,保持屋面形态;大量异形建筑组件的精确加工和安装也成为可能。在现代化的钢材和玻璃之外,更多富有传统气息材料的应用,如竹材、木材,以及传统烧制的陶瓦,将建筑的整体氛围与中国古典精神联系起来。
 
与山水相连,与自然相融合,延续范山模水的中国古典精神,并以现代的建造技术使之成为现实,为现代人生活所用。山顶艺术馆的设计与建造,是我们在寻找数字建筑在中国本土语境下的呈现方式的又一次富有意义的探索。

Design Team:Yiying Wu, Yuan Zhou, Ding Kuai, Xinyuan Zhang, Jing Zhou, Wenmo Liu
Executive Architect:BIAD
Interior Design:dEEP Architects
Structural Engineer:BIAD Complex Structure Research Institute
Contractor:Kingsway Engineering Co. Ltd.
Lighting Consultant:Beijing Sign Lighting Industry Group
Landscape Consultant:ECOLAND
Client:Providence Enterprises Investment Holdings

Text description provided by the architects. Hilltop Gallery locates on Yanshan Mountains bordering Beijing and Chengde, where there is a perfect view to Jinshanling Great wall. With 1500㎡ construction area and 2600㎡ floor area, the building not only functions as an art gallery and venue for related cultural projects, but also a reception, dining and exhibition area for Phonenix Valley project.
 
 
The site of the gallery is at a saddle on the top of the mountain. We hoped to use the natural terrain to celebrate the idea that the building grows in conformity with the mountain. "Leaning hills and taking advantage of the trend" is the principle we followed in this project. The concept of “势”(potential) itself is also a traditional Eastern philosophy. It is the thinking that ancient Chinese faced in the construction within nature.
 
 
A slightly tilted entrance introduces the visitors to the museum’s main exhibition space on the Ground Floor, where it offers unobstructed views to the breathtaking mountainous landscapes in distance and the elegantly resting pine trees in the front, leaving the entire space constantly submerged in nature. Following the undulation of the roof, you will find the exhibitive high space located at the bottom level of the building. The two main floors hosting general art-pieces are interloped by the sweeping loop stairs, and a hall catering for super-scaled art installations is made from a triple-height space.?
 
 
To the East of the bottom floor where it has physically extended into the mountain is an interactive audio-visual room and a theatre, that do not require much lighting. To the North is the café with an outdoor terrace platform looking to the nature. Except for the elevators, the giant spiral stairs penetrating the whole building can take the visitors straight up to the top floor, which serves as a reception area for the VIP visitors, as well as tearooms and resting and dining areas. The space is flexible for different functional necessities.?
 
 
To the South is a multifunctional ballroom facing the Great Wall, with a larger scaled space and translucent glass curtains, and an open cooking area gives rise to interactive activities for the visitors.?
 
 
To the West is a concrete box that works as a connection to the inside and outside. People may approach the peak via the bamboo boardwalk on the roof or even arrive at the Eastern outdoor platform by climbing over the roof. The box melts the spatial boundaries of the entire roof area.??
 
 
The process of climbing and excursions, combined with the undulating hyperbolic tile roof, is like the winding path leading to a hidden place in the traditional Chinese gardens. At the same time, it resonates with the touring process of Jinshanling Great Wall coincidentally. There is a natural connection between the top and bottom, interior and exterior, and space of the entire Hilltop Gallery, where all the boundaries of spaces are blurred.
 
 
The shape of roof is not only in consideration of the internal functional space and aesthetic thinking, but also been subjected to rainwater analysis and wind tunnel experiments. Optimal results have been obtained through deliberation of the digital model and the structural performance of the physical model. In the actual construction stage, the application of digital technology has enabled the precise positioning and construction of complex building structures and forms. Definitely, besides high-tech digital support, it was also quite important to use the most primitive manual work, such as the laying of the bamboo slabs on the roof boardwalk and the traditional terracotta on the roof.
 
 
Localized material and construction make such a building belong to the digital era without losing the charm of traditional Chinese architecture. The design and construction of the Hilltop Gallery is another newer attempt to present digital design method in the Chinese context.
 





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