In and Out, Big from Small
——The “One or Two”vice art gallery

一二美术馆副馆位于湖北省宜昌市伍家岗区，隶属于伍家岗华鹏梧桐邑住宅小区内部的艺术馆建筑群，美术馆之名“一二”取自于“人生不如意事十之八九，常想一二”。馆内展品主要为私人收藏的具有重要历史价值的文物以及名人名家字画，馆内还设置了一定数量的活动教室，以丰富小区居民的业余生活。

创作理念

副馆的建筑面积约1000平方米，对于展览建筑来说体量较小，但由于其承载的文化重量，在设计上创作者更希望通过有限的建筑体量来展现一个无限的世界，使参观者在游览于建筑之中时，能拥有“天、地、人”共同对话的内心感受。因此，建筑师通过对展馆内外空间关系的处理，让这座建筑不仅仅具有展示和服务功能，而更多的是如海绵一般将室外空间吸纳进室内，使其本身亦成为一件艺术品。

承“外”启“内”

一二美术馆副馆入口正对广场莲池以及主馆的竹林甬道，入口宽度几乎占据了建筑长边的一半以上，并全部以一排旋转式折页门封闭，折页门同时具有书画展板的功能。当门全部开启之时，入口内外空间的界限也同时被打破，不仅将室外之景引入室内，同时也将室内的展览空间进一步向室外拓展，开启了室内展示性空间的序幕。

The “One or Two”vice art gallery is located in the Wujiagang district of Yichang, Hubei province，it belongs to the gallery building group of Wutongyi community, Many antiques with important historical value and lots of celebrity calligraphy, paintings are now on exhibition in this building. Besides the function of exhibition, the gallery still provides classrooms for people who live in the community to enrich their leisure activities.

Ideas of Design
The area of the vice gallery is about 1000㎡. Considering the cultural value of the exhibits in it, the architects of this gallery hope to show an infinite world through limited spaces. They imagine that when people wandering in this gallery, they may have the feelings like talking with the universe. Therefore, by dealing with the relationship between the interior and exterior, the architects make this building absorb the outer space into it, just like a sponge.

From“Out”to“In”
The entrance of the vice gallery faces directly to the square and the bamboo pave of the main gallery, the width of the entrance is more than half of the entire length. The entrance is covered by a row of wooden folding gates which also can be used as panels. The limit between interior and exterior disappears immediately while the gates are all open. This not only brings the outdoor view into the gallery, but also extends the indoor exhibition space to outside, and begins the prelude of the exhibition.


▲副馆入口对外空间

入口空间内，木质的墙面、转门、格栅与地面构成了美术馆的入口展厅，材料的一致性形成强烈的空间围合感，而其视觉中心正是中庭水院以及连桥，形成了强烈的引导性，引导参观者进一步探寻。

The entrance space is made by wooden wall, gates and grilles, which forms an enclosed space, and its optic center is the water courtyard in the next space, this scene will make visitors in this space walk on to explore.


▲副馆入口对内空间


▲对岸木格栅走廊


▲入口展厅与中庭水院


▲中庭水院与入口对岸走廊

以“外”为“内”

长条形状的水院位于中庭内，是整个美术馆的核心所在，水面两岸为林立的白色圆柱，水面生竹，水院上方即是天光，横向一端的尽头则是塔楼，自高塔而下的一束小型瀑布沿着玻璃窗流淌至水池，粼粼水面与天光相映，阳光透过对岸格栅又在水面上投下层层掠影，让整个中庭空间的氛围既庄严宁静，又轻盈通透。塔楼的纵向形态和水院两侧长廊的横向空间通过对比而相互衬托，而水院空间也正因与塔楼的相连而在纵向的界面获得了延展，形成了一个竖起来的院子，与外部空间相通，从而形成了接纳之势，将外部空间纳入内部，成为了展馆的一部分。

Make“Out”become“In”
An oblong pool is in the courtyard of the gallery, both sides of the pool stand rows of white columns, bamboos grow on the water and the daylight cast on it. A tower is on one side of the pool, along with the full-height glass window, there’s a small waterfall flows straight down to the pool from the top of the tower. The sunlight through the grilles in the corridor cast stripy shadows on the pool, this makes the entire courtyard space solemn and transparent. The high tower is in contrast with the long corridor, and because of attaching to the tower, the water courtyard has been extended in lengthwise direction, which forms a deep patio and communicate with the outdoor space. This also absorb the exterior into the inner space and make it become part of the gallery.


▲水院与塔楼


▲水院天光

沿高塔而下的流水，其形与声的动态属性与静谧的水院相接，由动至静，由静转动，象征了世间万物的轮回往复。老子云：“致虚极，守静笃。万物并作，吾以观复。”只有心灵保持平和宁静的至极状态，才能观察事物循环往复的规律，而这正是设计者希望人们在中庭水院之中所能获得的感受。

Waterfall from the high tower makes dulcet sounds in a quiet environment, it symbolizes the dialectical relation between dynamic and static.
Lao-Tzu said:” Attain the utmost in Passivity, hold firm to the basis of Quietude. The myriad things take shape and rise to activity, but I watch them fall back to their repose.” Only when their hearts are peaceful and mild, people can observe the circulation of the universe, and that is the feeling the architects hope the visitors can have when they are in the water courtyard.


▲水院与塔楼


▲塔楼流水近景


▲中庭水院仰视


▲走廊空间

似“外”实“内”

一二美术馆副馆实质上由两部分组成，在首层由中庭水院空间处一分为二，在二层的位置处理成不同的标高，又通过天桥楼梯相连，形成一个整体。天桥两侧可以相望却又形成了一定的距离感。二层的设计应用了外部空间内向化的手法，深色木质纹理的墙面衬托出了白色的廊与柱，房间的门以相同的材质隐藏在墙面中；

Seems “Out”actually“In”
The “One or Two”vice art gallery is actually made of two parts, they are divided by the water courtyard at the first floor and have different floor height, then they are combined by two stairs at the second floor and become one. The two parts have different floor level which make them have sense of distance with each other. The design of the second floor is to make the exterior become interior, the white corridor and columns are set off by the dark wooden texture walls, and the doors are all hiding in these walls;


▲二层室外庭院

推木门而入，往往会发现自己并非来到了一个传统意义上封闭的展示性空间，而是置身于一个室外庭院之中，似乎每一扇门后，都是一个不同的世界在等待探寻。不同标高的三层均为室外平台，而最高处的平台则被设计为最私密的屋顶花园，实现了外部空间内化的极致。

When people open these wooden doors they will find themselves walking into different exhibition space which are outdoor courtyards more than traditional closed space, and it seems that behind every door there is a different world waiting for someone to explore. The third floors with different level are outdoor platform, the highest one is designed to be the private garden for party.


▲走廊及天桥


▲屋顶错层

通过错层，副馆的设计将太极"阴阳鱼"的意向融入建筑的剖面设计中，形成室外——室内——室外——室内的关系。建筑如同“克莱因瓶”，当人行至任何一处，都无法界定自己是在室内还是室外，于是整个建筑围绕中庭的水院，形成了一个内外相通相承的哲理性空间。

Through different level, the section design of the vice building express the meaning of “Yin Yang Fish”—— the symbol of Tai Ji. This is a relationship of Outdoor——Indoor——Outdoor——Indoor, the whole building is like an Klein bottle : You can’t tell you are inside or outside the building no matter where you are. Embracing the center water courtyard, the gallery become a philosophy space.


▲走廊空间


▲塔顶仰视

除展示空间以外，首层还设置若干教室，教室之间依然通过天井小院相连，通过将白墙、黑瓦、格窗等中式意向的抽象融入，对小空间的匠心处理，与对大空间的设计理念一起，实现了对中国传统建筑以及文化的致敬。

Besides the exhibition space, there are several classrooms in the first floor, these rooms communicate with each other by small patios which have traditional Chinese elements like white walls, black tiles and lattice windows. Through these details of the small spaces, together with the ideas of the whole big space, the design of the gallery salute to the traditional Chinese culture and architecture.


▲活动教室之间的天井院落

“内外相承，小中见大”，这便是一二美术馆副馆的设计原则。通过对室内外空间辩证关系的把握，在满足了全部的功能需求的同时获得了最大化的空间感，让小体量的建筑能够包罗万象。美术馆建筑的作用不应仅限于展示，而是应通过空间语言让置身其中的人们能够与之对话，因之思考。当一座建筑被赋予灵性，才能从真正意义上承载得起历史与文化的重量和价值。

“In and Out, Big from Small”, this is the spirit of the vice gallery. Through dealing with the relation between exterior and interior, architects make the small building all-embracing and get the maximum sense of space after all the function needs has been satisfied. The function of a gallery is not only exhibition, but also should make people in it can talk with the whole architecture by language of space and have more thinking. Only when an architecture is given intelligence, it can carry the value and weight of the culture and history.


功能平面 PLANS ：


▲首层平面


▲二层平面


▲三层平面


剖面图SECTIONS:


▲剖透视


▲1-1剖面图


▲2-2剖面图


▲3-3剖面图

建筑概况：
项目名称  | 湖北宜昌一二美术馆副馆
地理位置  | 湖北宜昌伍家岗区
设计单位  | 深圳市道普建筑设计有限公司
设计团队  | 韦志远、吴凤辉、桑文、朱涛、唐峰、赖少艳、朱婧玮
建筑面积  | 1052㎡
建筑摄影  | 周硕斌
设计时间  | 2014.7
竣工时间  | 2016.9

Project abstract：
Project Name: The “One or Two” vice art gallery in Yichang, Hubei province  
Location: Wujiagang district of Yichang, Hubei province
Design firm: Shenzhen TOP Architecture Design Co.Limited.
Area: 1052㎡
Design team: Zhiyuan Wei/Fenghui Wu/Wen Sang/Tao Zhu/ Feng Tang/Shaoyan Lai/Jingwei Zhu
Photographer: Shuobin Zhou
Design time: 2014.7
Built: 2016.9


来源：本文由深圳市道普建筑设计有限公司提供稿件，所有著作权归属深圳市道普建筑设计有限公司所有。