朱家角人文艺术馆_上海_中国_祝晓峰

设计团队/Design Team: 祝晓峰，李启同，许磊，董之平，张昊/ZHU Xiaofeng, LI Qitong, XU Lei, DONG Zhiping, ZHANG Hao

景观顾问/Landscape Consultant: Topo Design Ltd.结构与机电设计/Structure & MEP: 上海现代华盖建筑设计有限公司/Shanghai Xiandai Huagai Architectural Design Ltd.

业主/Client: 上海淀山湖新城发展有限公司/Shanghai Dianshanhu Newtown Development Ltd.基地面积/Site Area: 1 448 m

建筑面积/Building Area: 1 818m 2

建筑功能/Program: 美术馆/Fine Arts Museum 结构/Structure: 混凝土框架结构＋钢结构屋面/Concrete frame + Steel structure roof

材料/Material: 白色粉刷墙面，玻璃，锌板屋面，锈石/White painted wall, Glass, Zinc panel roofing, Granite

设计时间/Design Time: 2008.11建成时间/Built Time: 2010.09摄影/Photo: Iwan Baan

1 美周弄夜景/Night view from Meizhou lane

2 轴测图/Axonometric drawing

作为上海保存最完整的水乡古镇，朱家角以传统的江南风貌吸引着日益增加的来访者。人文艺术馆位于古镇入口处，东邻两棵470年树龄的古银杏。这座1 800m2的小型艺术馆将定期展出与朱家角人文历史有关的绘画作品。

我们希望在此营造一种艺术参观的体验，它将根植于朱家角，而建筑是这一体验的载体。

在空间组织中，位于建筑中心的室内中庭是动线的核心。在首层，环绕式的集中展厅从中庭引入自然光；在二层，展室分散在几间小屋中，藉由中庭外圈的环廊联系在一起，展厅之间则形成了气氛

各异的庭院，收纳着周围的风景，为多样化的活动

提供了场所。这种室内外配对的院落空间参照了古

镇的空间肌理，使参观者游走于艺术作品和古镇的

真实风景之间，体会物心相映的情境。在二楼东侧

的小院，一泓清水映照出老银杏的倒影，完成了一

次借景式的收藏。

在初期的设计方案中，艺术馆拥有一个地下展

厅，虽然地下室的边界距古银杏树的根系有超过

10m的距离，符合法规的要求，但为了更加慎重地

保护古树的安全，我们和业主最终决定取消整个地

下室，把建筑对古树根系水脉的影响减到最小。为

此，我们对建筑内部的空间和动线组织进行了很大

地调整。

艺术馆建成后，银杏树依旧长得很好，而人与

树的关系也生出了新意：从此，人与银杏树的对话不

止限于地面喧嚣的场所，而是扩展到了艺术馆的茶

室、水院和露台上。我们期望借助这些宁静的、亲切

的崭新体验，重新唤醒人与自然之间互敬互爱的相处

之道。□

3 南院/South courtyard

4 北院/North courtyard

As the most integrally preserved canal-town in

Shanghai, Zhujiajiao attracts an increasing number

of visitors every year with its authentic tradition of

eastern China. The site, located at the entry of the old

town, faces a 470-year-old gingko tree. This 1 800 sqm

museum will house paintings and other art works

related to the history of Zhujiajiao.

Our design approach is to delineate an art-

visit experience that is rooted in Zhujiajiao. The

architecture will be the carrier of this experience.

In the spatial allocation, the central atrium

becomes the heart of the circulation. On the

ground floor, the atrium brings natural light into the

surrounding galleries through carefully positioned

openings. On the second floor, a corridor around

the outskirt of the atrium links several dispersed

“small-house” galleries and courtyards, which absorb

surrounding sceneries and provide diverse spaces for

small exhibitions and events. This alternate building-

courtyard layout makes a clear reference to the

figure-ground texture of the old town, and orientates

the visitors to wander between art works and real

sceneries with an experience of intimate interactions

between matter and thought. A reflecting pool,

laid in the east courtyard on the second floor,

accomplishes an ultimate collection by borrowing the

reflection of the gingko into the museum.

In the earlier scheme, we had a basement

gallery in the museum. Although the 10+meter

setback met the historic tree reservation code from

the basement to the root periphery of the gingko,

the client and us finally decided to cancel the whole

basement, in order to protect the gingko in a more

prudent way of keeping its root nutrition paths from

being influenced by the construction. We then did a

thorough revision on reorganizing the interior spaces.

The gingko lives well since the museum

opened. A new relation also starts between the tree

and human. From now on, their dialogues not only

happen in the former noisy ground, but also expand

to the teahouse, the water courtyard and the

terraces of the museum. These new experiences

with calmness and intimacy are expected to re-

awake a harmonious co-existence between human

and nature with mutual respect and love.□

5 二层平面/Second floor plan

6 一层平面/First floor plan

7 剖面/Section

8 北向鸟瞰/Birdview from south

9 水庭/Water courtyard 10 茶室/Teahouse 11 中庭/Atrium