New museums and art galleries have been opened throughout China.
Constantly set off the carnival of architects and artists.
Designed by well-known foreign and domestic architectural companies,
What is the charm of these newly opened pavilion buildings?
01
Suzhou Museum West Building
Design unit: gmp architects in Germany
(Opening in 2021)
At the end of September 2021, the West Hall of Suzhou Museum was officially completed, and all exhibitions are open to the public free of charge. The project is located under the Lion Rock in Suzhou New Town, and the West Pavilion is designed by the German gmp architectural firm, and the "Ten Square Boxes" displayed is modern and concise, which echoes the Su Bo Museum designed by I.M. Pei in the old city of "one tradition, one contemporary, one Jiangnan, one international".
The main body of the building is ten cubes, each cube block, the side length is 25 meters. Three floors above ground and two floors below ground. The building area is 48,300 square meters, which is equivalent to 2 Subo main halls, and the exhibition area is 13,400 square meters, which is almost 4 times that of the main museum. From the roof to the underground, natural stone runs through the building's interior and exterior facades.
The seemingly independent "boxes" on the outside are actually interconnected on the inside. A series of glass curtain walls connect ten boxes. The viewer can freely walk through it, evoking a memory of walking in the narrow alleys of traditional houses. A box on each floor is an exhibition hall unit, connected to each other through the atrium. An exhibition space can be flexibly combined with horizontal or vertical exhibition hall units to meet various exhibition needs.
Not far from the main museum, outside the ZhongwangFu Woqiu Hall, there is a winding ancient wisteria planted by the Ming Dynasty calligrapher Wen Zhengming (1470-1559), elegantly known as "Wenteng", which has been nearly 500 years ago. During the construction of the West Pavilion, Su Bo's team also transplanted a branch of Bunteng. This "living" cultural relic, together with the Taihu Stone, is now placed in the terminal exhibition hall of the Suzhou History Exhibition, "hoping to bloom on the old tree of Suzhou's traditional culture, full of vitality." ”
02
Hong Kong M+ Museum
Designed by: Herzog & DeMelon
Asia's first museum of visual culture, it covers an area of 65,000 square metres, twice the size of London's Tate Gallery, and was designed by Herzog & de Meuron Architects. In addition to the 33 exhibition halls, there are also cinemas, learning centers, restaurants, roof gardens and more.
In addition to the 17,000㎡ exhibition space, the 65,000㎡ museum building features a range of facilities, including lecture halls, multimedia centers, museum shops, libraries, libraries, and research centers. In the exhibition hall, the gaze can also pass through the artworks and fall into the sparkling waters of Victoria Harbour in the distance, where nature, architecture and artworks rely on each other.
03
Jingdezhen Royal Kiln Museum
Design unit: Zhu Kai Architectural Design Office
Jingdezhen Royal Kiln Museum is designed by Zhu Kai Architectural Design Office, the work takes the arch of the "kiln" as the design element, adopts a simple, primitive and infectious abstract kiln arch form, and draws on the rounded, simple curve shape of porcelain, through the combination, twisting and gathering of multiple single arches, the long-standing royal kiln culture has become within reach, with a construction area of about 10,400 square meters, divided into 8 hyperboloid arch structures, part of which is half hidden underground, just like the real porcelain kiln, connecting the above ground and underground space.
On the one hand, the scale of the arch structure is not only close to the traditional wood kilns in the surrounding areas, but also makes a good transition between large-scale factories, residential buildings and traditional houses. On the other hand, the arch structure of different lengths and free expansion and contraction cleverly produces organic stitching with the jagged surrounding lot boundaries.
There are many gray spaces formed between museum buildings and nature, they are virtual and real, inside and outside, intertwined with each other, and the overall spatial experience of people walking inside the museum reflects the unique oriental aesthetic characteristics of traditional Chinese architecture of "hiding, resting, repairing and traveling".
Through the sunken square, landscape pool, folk kiln ruins, landscape greening, clear water concrete wall top, cyan granite ground, the museum integrates the building, landscape and ruins into a number of sunken courtyards of different sizes, with bamboo forest landscapes, creating an environment full of poetry and natural light, and has a strong Jiangxi imagery, shaping the chimney effect and achieving good natural ventilation.
04
Shanghai Pudong Art Museum
Designed by: Jean Nouvel Architects
Located in the core plot of Lujiazui, Shanghai, facing the Huangpu River and close to the Oriental Pearl Tower, the museum covers an area of 13,000 square meters, with a construction area of 40,000 square meters, and the building was designed by Pritzker Prize winner Jean Nouvel.
Jean Nouvel called the base a "poetic geography." The height limit of the building is 30 meters, and he is trying to expand as far as possible in the horizontal direction, "I hope that the Pudong Art Museum is like a sculpture that quietly merges on the vast land." "The surface, the ground and the landscape extending to the riverside are all polished with Shandong white linen marble, and the building, the earth and the water surface are integrated.
The interior space of the building is a light experience, in addition to artificial lighting, the designers combined with natural light to create three modes of full dark breath, all-day light and partial occlusion filter, providing various possibilities for curators and artists to create.
05
Qingdao Xihai Art Museum
Xihai Art Museum is a non-profit art institution located on the south bank of Tangdao Bay in Qingdao's West Coast New Area, in The Artists' Garden, an international comprehensive art community, and is the core institution that constitutes the community's art ecology.
The art museum covers an area of 5837.5 square meters, the main building is 17000 square meters, and 12 exhibition halls are built by the sea. It is committed to presenting various art forms such as classic and contemporary, fashion and design, music and performance to the public through cross-cultural and cross-media artistic innovation.
The museum's 12 exhibition halls are interconnected and relatively independent, and each exhibition hall is carefully placed in the base, with different shapes and inclusiveness. It can not only meet the display needs of participating artists, but also fully stimulate the creative inspiration of artists, maximize the release of the wisdom of curators and the energy of artists, and provide the public with a new architectural experience and artistic experience. Let the people who come to the art museum see art in architecture and see architecture in art.
06
Shunde and Art Museum
Design unit: Tadao Ando Institute of Architecture
Hem Museum of Art (HEM), located in Shunde, Guangdong Province, is a non-profit private art museum initiated by the family and designed by Tadao Ando. HEM pays attention to the process of contemporary art from modern cultural and artistic trends to international perspective, and through presenting unique exhibitions and diversified and open cultural activities to the public, hoping to establish a hub of communication and explore cross-cultural pluralism by virtue of its own uniqueness.
In fact, the "harmony" in the art museum not only represents "harmony", but also has the mixed meaning represented by the verb "and (huò)". Because Tadao Ando hopes to "integrate Chinese Lingnan architectural culture in design", and one of the characteristics of Lingnan architecture is "spatial integration".
The "circle" designed for the art museum spreads from the center to the surrounding area like a ripple of water, constituting the effect of the architectural space, and at the same time naturally forming the core of the architectural form. Specifically, these "circles" gradually expand from bottom to top at a certain eccentricity, and the four layers of rings overlap and intertwine. The three-dimensional "circle" is shifted accordingly, giving each space a clear central symmetry while enriching the effect of this sequence of changes.
07
Shanxi Datong Art Museum
Designed by: Foster Offices
The Datong Art Museum covers an area of 77 acres and was designed by the world-famous British Foster Architects and the China Architectural Design Institute. A series of pyramids are arranged in a dynamic, gradually rising manner to form a huge and spacious exhibition hall that can be used to place oversized works of art.
The main body is connected by four triangular cones ranging in height from 36 to 24 meters, forming a majestic pyramid architectural layout. One of the most unique design elements is the pyramid geometry. The concept is novel and functional. The main body of the museum is a fully underground structure, and the upper part adopts a steel structure space truss system.
08
Majiabang Cultural Museum
Design unit: Zeng Qun Architectural Research Office
(Opens in 2020)
The Majiabang culture is a Neolithic culture in the lower reaches of the Yangtze River in China, named after the site of Majiabang in Tiandaiqiao Village, Nanhu Township, Jiaxing City, Zhejiang Province, where archaeology has found a primitive settlement life dating back 7,000 years, known as the "source of Jiangnan culture". The design of the museum extracts the original living picture of the settlement and the pattern of jiangnan housing courtyard, and establishes a tacit understanding across time and space with distant civilizations through the reorganization and interpretation of "settlements and courtyards".
A large area of native wilderness and water resources are retained in the site, and the natural texture of the surrounding environment is integrated into the architectural form through reasonable translation, so the entire building is hidden in the natural environment in a low-key posture, which fully reflects the architecture's respect for the Majiabang cultural site.
The pottery excavated from the site around the base is a typical feature of the Majiabang culture, and we have restored a "container" of an ancient civilization with a pristine texture by using clay-colored clear water concrete. Sunlight helps to portray delicate architectural details, bringing changes to the building all the time in several simple courtyard spaces. Unlike the polished modern façade material, this rough, originally treated material makes it more receptive to the influence of time and nature. In different climates, with the difference in temperature, humidity, and time, the walls also change different colors. As if with life, it melted into this field.
09
The new museum of Zhengzhou Art Museum, the Archives and History Museum
The new museum of Zhengzhou Art Museum and the Archives and History Museum project fit the planning structure with a complete form with a sense of power, forming an equal volume and dialogue with the two main buildings in the surrounding area. The design traces back to regional culture with abstract charm, and the origin of the prototype is to explore the morphological commonalities of the original Chinese aesthetic from the local Shang zhou artworks and central plains historical buildings, and to create a vague image of "god-likeness" between "similar and unlike".
On the east façade of the building facing the city square, the design creates a transparent and huge cable mesh glass curtain wall, forming a huge frame in the atrium, showing the bustling spatial landscape in the east side of the city square. According to the independent function of the two museums, the design is clearly and unambiguously divided into two volumes, and the two halls are connected at the base and top roof panels on the first floor, anchored into a whole in form, and at the same time form an urban public space in the middle.
The art museum organizes the space through the atrium, combines with the external inverted sloping wall corresponding to the external twisted shape and the staircase of the boardwalk image, picks up the steps, and as the number of floors rises, the space becomes more spacious and open, and with the passage of time, the light and shadow sprinkled by the top skylight constantly change the angle, breaking the dull environment of the traditional art museum and the "black box" exhibition atmosphere full of artificial lighting.
10
Chengde Museum
Design unit: Tianjin Huahui Engineering Architectural Design Co., Ltd
(Opened in 2019)
The project is located in the "embrace" of ancient buildings and scenic spots - the north of Puning Temple, the south of the summer resort, the west of the Temple of Sumi Fushou and the Temple of Putuo Zongcheng, the east of the Hammer Peak and Anyuan Temple, belongs to the third-level cultural relics protection area, the construction conditions are very strict, in addition to the control of the general planning department, but also by the State Administration of Cultural Heritage, Hebei Provincial Bureau of Cultural Relics and other cultural relics protection units, of which the most influential constraints on the building is limited to 7m.
Due to its close proximity to Mengliao, Chengde is rich in landforms – grasslands and forests. The rulers of the Qing Dynasty, who developed from the "people on horseback", used to hunt on horseback in the Mulan grassland in the north of Chengde for many years, so they chose "horseshoe", which is a very historical and regional element, to translate it into the courtyard, and embellished with two oil pines representing the characteristics of the forest and the mountain villa, which have a leisurely ancient meaning. Even people feel that the courtyard itself is also an exhibit - showing the historical context and artistic conception of Chengde with the attitude of "seeing the big in the small, and being close to the mountains and forests".
The Qing rulers believed in Lamaism and built many Tibetan temples outside the summer resort, this large-scale Tibetan architectural complex is unique outside the Tibetan area, which can be described as the most special form of ancient Chengde architecture, and the most classic element of Tibetan architecture is the trapezoidal window. As a result, this element was abstracted into a new design language, using sloping clear water lines on all masonry walls, and directly using "trapezoidal" on some walls.
The material of this article originated from the Internet, and the landscape week was organized and edited