秦皇岛UCCA沙丘美术馆(UCCA Dune Art Museum )- 李虎(OPEN 建筑事务所)

编辑导读:这是一座消隐的美术馆,如同藏于沙丘之下的神秘洞穴,建筑师受启发于孩童们在海边挖沙的游戏,尝试在沙丘里“挖掘”创造出形态各异又互相连接的一些“洞穴”,最终形成了一系列细胞状的连续空间,这里有别样的光空间,有能够被触摸、被感知的壳体肌理,这里与自然融为了一体。(经典值评价:7.9)
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项目概况:
建筑设计:OPEN Architecture
地点:秦皇岛,昌黎县,黄金海岸(Qinhuangdao, China)
主持建筑师:李虎,黄文菁(Hu Li, Wenjing Huang)
建筑面积:930.0 m2
完工时间:2018
照片版权:Qingshan Wu, Nan Ni

项目简介:
在中国北部渤海湾昌黎县一段被称作黄金海岸的沙滩上,OPEN设计了一座消隐的美术馆,如同藏于沙丘之下的神秘洞穴。
 
海岸沙丘经历了漫长的时间累积和风沙推移而自然形成,并被原生低矮灌木深扎的根系固化下来。将美术馆选址于沙丘之下,既是对自然的敬畏,也是一种保护:因为沙丘美术馆的存在,这片沙丘将永远不会人为“被推平”,从而维护了千百年累积下来但也十分脆弱的沙丘生态系统。
 
受启发于孩童们在海边挖沙的游戏,建筑师尝试在沙丘里“挖掘”创造出形态各异又互相连接的一些“洞穴”——这也是人类最原始的居住形态和最早的艺术创作场所。一系列细胞状的连续空间,构成了沙丘美术馆里丰富的功能,包括大小形态各异的展厅、接待厅和咖啡厅等。
 
建筑的主入口是嵌入沙丘里的一个隧道般的洞口。经过长长的、幽暗的隧道,进入到一个圆顶有柔和天光的接待厅,然后空间豁然开朗——人们步入中央展厅,那里,一束光线从高高的穹顶上倾泻而下,光线在墙壁地面间跳跃折射,空间弥漫着静谧而神圣的精神光辉。
 
从沙丘美术馆内部看海,透过不同的洞口、在不同的时间里,大海都是不一样的风景。一部通往沙丘顶部观景平台的螺旋楼梯,引领人们从洞穴的暗处循着光线拾级而上,直到突然置身于天空与大海的广袤之间。在永恒的沙与海之间,建筑营造了一个隐匿的庇护所,将人的身体包裹其中,聆听自然与艺术的回响。
 
沙丘美术馆复杂的三维曲面壳体,是由秦皇岛当地擅长造船的木工,用木模板等小尺度线性材料手工编织出的模板定型,并用混凝土浇筑而成。建筑师保留了混凝土壳体上留下的不规则甚至不完美的肌理,让手工建造的痕迹可以被触摸、被感知。
 
除此之外,沙丘美术馆里突破常规形态的门窗、接待台、吧台、卫生间洗手台均为手工打造,甚至连咖啡馆的8张桌子也由建筑师依照各个展厅不同的平面形状而设计定制。
 
这座美术馆不仅在形态上与自然融为一体,其建造体系中运用的一系列节能措施,也尽可能地实现了建筑的可持续性。由植被和沙土覆盖的屋面大大降低冬夏两季的能源负荷;各个朝向不同、大小不一的天窗为美术馆提供全天候的自然采光;低能耗、零排放的地源热泵系统代替传统空调,为艺术空间提供恒温恒湿的室内环境。
 
另:
该美术馆的开幕首展“后自然”于2018年10月13日至2019年4月7日进行中。展览囊括了李山、梁绍基、刘雨佳、娜布其、杨心广、杨沛铿、于吉、郑波、庄辉&旦儿这九位/组出生于1942至1988年间,跨越数个代际的艺术家的创作。这些作品探讨人类是如何发现——或者从某种角度来说,如何发明——自然世界的;这一问题随着本周联合国政府间气候变化专门委员会发布的一份报告而显得愈为紧迫,该报告预测,如果碳排放量继续维持当前水平,全球气候危机将在2040年之前到来。本次展览特依据UCCA沙丘的独特空间而设计,由OPEN建筑事务所李虎和黄文菁主持设计的沙丘美术馆隐于距北京约300公里的阿那亚黄金海岸社区内的沙丘之下。展览由UCCA策展人栾诗璇策划,展览作品、容纳作品的细胞状展览空间、四周的沙滩与远处上升的海面形成独特的对话。
 
开馆时间
五月至十月 周二至周日 10:00-19:00(18:30停止入场)
十一月至四月 周二至周日 10:30-17:00 (16:30停止入场)
元旦期间周一(12月31日)照常开馆
春节期间闭馆日期:除夕(2月4日)、初一(2月5日)、初二(2月6日)、初七(2月11日)
 
票务信息详官网(本站与其无利益关联)

Design Team:Tingting Zhou (Project Architect), Mengmeng Wang, Boji Hu, Kuanyin Fang, Joshua Parker, Di Lu, Bong Lin, Qing Ye, Steven Shi, Han Jia

Client:Aranya
Operator:UCCA
Local Design Institute:CABR Technology Co., Ltd

Text description provided by the architects. On a quiet beach along the coast of northern China’s Bohai Bay, the UCCA Dune Art Museum is carved into the sand, where it gently disappears.
 
 
 
Countless years of wind have pushed the beach’s sand into a dune along the shore several meters high, stabilized by low-rising shrubs and other ground cover. Inspired by children’s tireless digging in the sand, the museum lies beneath this dune. “Digging” creates a series of interconnected, organically shaped spaces which, enveloped by sand, resemble caves—the primeval home of man, whose walls were once a canvas for some of humanity’s earliest works of art. Hidden between the sea and the sand, the design of the Dune Art Museum is simple, pure, and touching—a return to primal and timeless forms of space.
 
 
The decision to create the art museum underneath the dunes surrounding it was born out of both the architects’ deep reverence for nature and their desire to protect the vulnerable dune ecosystem, formed by natural forces over thousands of years. Because of the museum, these sand dunes will be preserved instead of leveled to make space for ocean-view real estate developments, as has happened to many other dunes along the shore.
 
 
A series of cell-like contiguous spaces accommodate the Dune Art Museum’s rich and varied programs, which include differently-sized galleries and a café. After passing through a long, dark tunnel and a small reception area, the space suddenly opens up as visitors enter the largest multifunctional gallery. There, a beam of daylight from the skylight above silently yet powerfully fills the space.?
 
 
Looking through different openings framed by the building, museum-goers can observe the ever-changing expressions of the sky and sea throughout the day. A spiral staircase leads to a lookout on top of the sand dune, guiding curious audiences from the dark recesses of the museum’s cave-like galleries to the vast openness above. Hidden between the sea and the sand, the museum emerges as a hidden shelter, intimate to the body and soul—a place to thoughtfully contemplate both nature and art.?
 
 
The complex three-dimensional geometry of the Dune Art Museum’s concrete shell was shaped by hand by local workers in Qinhuangdao (some of whom were former shipbuilders), using formwork made from small linear strips of wood and other materials. The architect deliberately retained the irregular and imperfect texture left by the formwork, allowing traces of the building’s manual construction to be felt and seen. In addition, the building’s doors and windows, reception desk, bar counter, and bathroom sinks are all custom-designed and made by hand. The eight tables in the café are also designed by the architect, each with a distinct shape matching that of the floor plans of the eight main gallery spaces.
 
 
The building’s many skylights, each with a different orientation and size, provide natural lighting for the museum’s spaces at all times of the year; its sand-covered roof greatly reduces the building’s summer heat load; and a low-energy, zero-emission ground source heat pump system replaces traditional air conditioning.
 
 
In the near future, a long walkway will be built opposite the Dune Art Museum, extending into the ocean. At low tide, when the pathway is accessible, visitors will be able to walk to the Sea Art Museum, which will rise out of the sea like a solitary rock. Together, these two museums will form a “Dialogue by the Sea”.
 





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喜欢! 但是施工质量真的是。。。。。