黄公望博物馆——业余建筑工作室
中国富阳
Huang Gongwang Museum by Amateur Architecture Studio
Fuyang, China

由专筑网缕夕，杨帆编译

在职业生涯早期，当他在建筑工地上工作，取得了乡土建筑手法的实践经验，王澍在更广阔的景观背景下，对传统的中国建筑进行了灵感探索。所以他与既是其妻子也是业余建筑工作室合伙人的陆文宇是设计黄公望博物馆的不二人选，这座黄公望博物馆是以1269年至1354年生活的重要景观画家命名的。项目位于杭州西南约20英里的富阳，这个16万平方英尺的博物馆纪念的是“元四家”之一，在几个世纪以来深深地影响了中国艺术家的黄公望。巧合的是，他的大作——富春山居图所描绘的画面就在该新建博物馆附近。建筑物的一部分穿着崎岖的砖石，由多层屋顶覆盖，博物馆类似于一个村庄或一系列的山脉，形成对场地的呼应。

随着中国在过去30年中经历了前所未有的城市化进程，越来越多的人们开始把农村从大城市的压力和混乱中解脱出来，就像黄先生看到的富阳，当时是一个困倦的村庄，现在却是700万人口的城市，摆脱了宫廷政治的生活。在传统山水的艺术下，黄公望所画的亭子舒适地坐落在山区，富春江流淌，雾缭绕着树林。

Since early in his career, when he worked on construction sites and got hands-on experience with vernacular building methods, Wang Shu has drawn inspiration from traditional Chinese attitudes toward architecture’s place within the larger context of landscape. So he and Lu Wenyu, his wife and partner in Amateur Architecture Studio, were logical choices to design the Huang Gongwang Museum, named after an important landscape painter who lived from 1269 to 1354. Located in Fuyang, about 20 miles southwest of Hangzhou, where Wang and Lu practice, the 160,000-square-foot museum honors one of the “Four Masters of the Yuan Dynasty,” whose work influenced Chinese artists for centuries. Appropriately, Huang painted one of his most famous works,Dwelling in the Fuchun Mountains, in the vicinity of the new building. Part of an assemblage of buildings dressed in rugged masonry and topped by multipeaked roofs, the museum resembles a village or a range of mountains, evoking community and geology in equal measure.
As China has experienced unprecedented urbanization over the past 30 years, a growing number of its people have begun to look at rural areas as retreats from the stress and chaos of big cities, much as Huang saw Fuyang—which was then a sleepy village but is now a city of 7 million—as an escape from the intrigues of court life. Following a long tradition of shanshui (mountain and water) art, Huang painted pavilions comfortably ensconced in a mountainous setting, with the Fuchun River flowing nearby and mists clinging to trees.

王澍在2012年赢得普利茨克奖，他是唯一一位获得该奖项的中国建筑师，富阳市领导请他和陆文宇设计了一系列文化设施，包括黄公望博物馆，一个13万平方英尺的现代景观画廊以及一个86,000平方英尺的档案馆。建筑师接受委托，条件是可以翻新文村（一个距离富阳30公里的小村庄），更换村民破旧的房屋。这里对重新连接城乡有着很重要的作用。在富阳和文村两地，王澍和陆文宇将建筑作为建筑与景观整合的手段，让人们通过项目进行一种叙事体验。

After Wang won the Pritzker Prize in 2012, the only Chinese architect to do so, city leaders in Fuyang invited him and Lu to design a cultural complex that would include the Huang museum, as well as a 130,000-square-foot gallery for contemporary landscape painting and an 86,000-square-foot archive. The architects accepted the commission on the condition that they could renovate a portion of Wencun, a small village 30 miles from Fuyang, and replace dilapidated houses for the villagers. Reconnecting the urban and rural here was important to them. In both Fuyang and Wencun, Wang and Lu approach architecture as a means of integrating building with landscape, creating a narrative experience as people move through the projects.

大部分黄公望博物馆将于今年9月开放，随馆的画廊、档案馆预计在年底前完成。

这些结构展现为一系列的亭子，围绕着庭院，并通过曲折的路径相连接。“当你进入建筑物时，”陆文宇说，“你会感觉好像走进了山水画，就像卷轴一样，通过一个场景而不是从一个固定的角度来观看。”富阳文化中心通过室内外空间的连接，在路上创造了许多惊喜，建筑师设计了这个项目，让游客从不同的深度、高度和角度看待它。通过在斜坡上安置各种部件，王澍和陆文宇建立了一个人造山，与其背后的真实山脉相提并论。

Most of the Huang Museum opened this past September, along with the gallery (the archive should be completed by the end of the year).
The structures unfold as a series of pavilions that wrap around courtyards and are connected by zigzagging pathways, including one atop the rolling roofscape. “When you step into the building,” says Lu, “you feel as if you walked into a landscape painting.” Just as scroll paintings give the sense of wandering through a scene rather than viewing it from a fixed perspective, the Fuyang Cultural Complex takes visitors on a journey through outdoor and indoor rooms. Creating surprises along the way, the architects designed the project so you see it from different depths, heights, and angles, says Lu. And by arranging the various parts on a sloped site, Wang and Lu built an artificial mountain that speaks to the real ones behind it.

在内部和外部，建筑为游客提供了不同层次的观感。浇筑混凝土建筑物——一些覆盖着与宁波历史博物馆和中国美术学院象山校园等项目类似的业余建筑的回收砖、瓷砖和石材相同的砖块，并与水池相呼应。水、梯田和楼梯，交相辉映。在里面，你可以在一个宽敞的大厅持续徘徊，或穿过厚厚的混凝土墙，进入由帐篷屋顶的画廊。陆文宇指出，她和王澍认为富阳文化中心是文村的一部分。“它们在更大的空间里形成一幅完整的、连续的画。”她说。

Both inside and out, the architecture presents visitors with a series of layers. Poured-concrete buildings—some clad with the same bricolage of recycled brick, tile, and stone that Amateur Architecture famously used in projects such as the Ningbo History Museum and the Xiangshan Campus of the China Academy of Art—ascend the site in concert with pools of water, terraces, and stairs. Inside, you keep wandering, from a spacious lobby, through cutouts in thick concrete walls, and into galleries topped by the multiple peaks of the tentlike roof. Lu notes that she and Wang saw the Fuyang Cultural Complex as part of a landscape that includes Wencun village. “They form a new painting in a larger geographical space,” she says.
      

项目信息
建筑师：王澍/陆文宇
设计团队：业余建筑工作室/ Cheng lichao/Cheng Hao/ Wang Tiantian
工程：Shentu Tuanbing (结构)、Sun Mingliang (电气) Cheng Chunji (机械)
现场质量管理：Lin Mi/Yan Hongbo
其他顾问：中国美术学院风景建筑设计研究所
客户甲方：美术馆、历史博物馆、档案馆
材料：地面、当地石材、竹、木、混凝土、瓦、玻璃、钢材
摄影：Iwan Baan

Credits
Architects: Wang Shu / Lu Wenyu
Design team: Amateur Architecture Studio/Cheng lichao/Cheng Hao/ Wang Tiantian
Engineering: Shentu Tuanbing (structural), Sun Mingliang (electrical), Cheng Chunji (mechanical)
Site supervision: Lin Mi/Yan Hongbo
Other consultants: The Design Institue of Landscape & Architecture China Acadmey of Art
Client: Art Gallery/History Museum/Archives

Specifications
Materials: Earth; Local Stone; Bamboo; Wood; Concrete; Tile; Glass; Steel ; and etc
Photo by Iwan Baan


出处：本文译自www.architecturalrecord.com/，转载请注明出处。