有方

充满能量,引而不发:蛇形美术馆北京展亭正式亮相 / 家琨建筑

编辑:原源;校对:杨春(实习生) | 2018-06-02 14:00 | 分享  

家琨建筑

 

 头图弓

 

夜深人静,射手双脚站定,调整呼吸,举起长弓,他的双臂拉开,弓弦转折绷紧,弓身优美地弯曲——他停留在满弓点,视而不见,引而不发,他和弓箭已经合为一体。不必放箭,保持恒定比射出那一箭意味深长。在他表面的静止中,力却融会贯通无处不在。

In the quiet of night, the archer secures a firm foothold, breathes steadily and raises his bow. Pulling his hands apart, he stretches the string to its full extent and draws into a graceful crescent shape. He remains in this pose at the point of highest tension. Standing still, he seems to efface his own movement. However, concentration is greater than firing the shot. Behind his external motionlessness flows an immense inner strength.

 

 

建筑师说

Architect Says

 

刘家琨

Liu Jiakun

 

Sketch手稿 家琨建筑

    草图Sketch  ©家琨建筑Jiakun Architects

 

力  |  Force

力没有形状,但无处不在,并且塑造了世界的形象。怎样对待力——对抗?顺从?还是因势利导?——它不光是一种技术的态度,也是一种文化的态度。“力”是蛇形美术馆北京展亭的主题。在北京王府井这样一个近乎中国中心的象征性地点做设计,我希望能超越中国表象符号,揭示一种更内在的东方意识。

Force is shapeless but exists everywhere, and it shapes the image of the world. How to treat Force? - fight against it? comply with it or take advantage of it? - It is not only the attitude towards technology, but also about culture. "Force" is the theme of this project. When I need to design at a symbolic site near the heart of China, I hope to transcend the Chinese symbol and reveal a more internal sense of the East. 

 

“弓拱”结构  |  "Bow-arch" Structure

临时性,草坪不允许下挖基础,7周的施工安装工期......这些初始条件引导了设计的走向。观众将会看到一组极简的力学装置:它是一组层数自下而上逐次递减,由螺栓连接在一起的叠合弹簧钢板,被端头的钢索强力拉弯,又通过底部钢梁保持恒定,利用材料的弹性和张拉力形成无支撑的自稳定结构,就像一张拉开的弓,而弓的重复排列形成了空间,放置于地面的钢梁形成了高起的地台。

A temporary installation; no digging of the lawn; 7-week construction period... these initial conditions lead the direction of the design. Visitors will see a minimalist mechanical installation, which is composed by a series of layered spring steels with a decreasing number from the bottom to top that are merely connected by bolts. Their tips are dragged down by strong steel cables and simultaneously balanced by the beams on the bottom. It is like a piece of bow, taking advantaging of elasticity and tension from material to form a unsupported self-stabilizing structure. The repetition of bow components forms the arcade. 

钢板组合

弓构件组成Layered Bow Compoent  ©家琨建筑Jiakun Architects

模型正视图 

受力示意图The Diagram of Force  ©家琨建筑Jiakun Architects

 

由于具体到王府井这个地点,因此我在地面上用到了“金砖”—— 一种江南烧制,故宫专用的铺地大方砖,这种简洁独特的材料提示了地点和传统。灰黑色的结构纵向曲线也和传统屋顶有某种呼应。由于每张弓可以根据拉力大小调节高度,因此屋檐的轮廓可以适应所在现场,产生从垂拱、水平到反翘的变化。这一次挨近故宫,所以用了反翘,呼应了传统屋顶的飞檐。

Because of the specific location of Wangfujing, I used "Jin Zhuan" - a special floor tiles especially used for the Forbidden City in ancient China and fired in the southern region of Yangtze River - for the ground. This succinct and unique material hints the location and tradition. The gray - black structural longitudinal curves also correspond to the traditional shape of roof. Since each bow can be adjusted according to the tension, the contour of the eave can be adapted to the site, resulting in the change from the vertical arch to the horizontal, or the anti-warping. On this occasion, the Pavilion is close to the Forbidden City, so it used anti-warped to echo the cornice of Chinese traditional roof.

 

Picture14

©家琨建筑Jiakun Architects

 

弓  | Bow

《弓拱》这个作品的原理来自弓,同时也是我在2015年威尼斯艺术双年展上的作品《随风》的延伸深化。《随风》是用钓鱼竿和悬挂的剑做成的不稳定装置,我想用它表达一种“牵一发而动全身的危险的平衡”,以此呼应“全世界的未来”这一当年展览主题。

The theory of the "Bow-arch" structure is from the bow, which is also an extension of my work "With the Wind" at the 2015 Venice Biennale. "With the Wind" is an unstable installation that is composed by fishing rod and hanging sword. I want to express a "dangerous balance of one change that makes all changes", to echo the theme of 2015 Venice Biennale, which is "the Future of the World." 

 

Picture12

旧装置1

旧装置

随风2015·由你选择With the Wind 2015 · It Is Your Call  ©家琨建筑Jiakun Architects

 

而《弓拱》则表达出一种内在紧张,各方角力的有弹性的静定姿态——充满能量,引而不发。拱,曲线,单一构件的重复排列……乍一看这两个作品是相似的,但那只是表面上的相似,力的状态巳经迥然不同。前者是不稳定的重力弯垂,后者是稳定的拉力赋形。

The "Bow-arch" illustrates an internal tension, an elastic and static posture of all sides -- full of energy but in a graceful crescent shape. Arches, curves, repetition of a single component... the two works may be similar at first glance, but the status of force is widely different. The former is an unstable gravitational bend; the latter is a figurative and stable tension.

 

如果说《随风》还是一种临时状态的艺术装置,《弓拱》则已经发展为一种全新的、稳定的、可以成为建造实践系统的弹性结构体系。创造新结构——这是我作为建筑师经常思考的主题,而蛇形美术馆一直以来的目标也正是“探索当代建筑学实践边界”。

If "With the Wind" is a temporary art installation, "Bow-arch" has developed into a new and stable hierarchy of elastic structure for practical construction system. Creating a new structure -- this is the subject that I constantly consider as an architect. The goal of Serpentine Galleries is also to "explore the boundaries of contemporary architecture practice".

 

 

装置介绍

Installation Introduction

 

蛇形美术馆北京展亭

Serpentine Pavilion Beijing

 总平面图

总平面图Master Plan  ©家琨建筑Jiakun Architects

屋顶平面

屋顶平面图Roof Plan  ©家琨建筑Jiakun Architects

东立面

东立面图East Elevation  ©家琨建筑Jiakun Architects

正立面模型

WF TALKBG RENDER2 JiakunArchitects

WF TALKBG RENDER3 JiakunArchitects

WF TALKBG RENDER4 JiakunArchitects

Nightview2

Nightview1

渲染图Rendering  ©家琨建筑Jiakun Architects

BEN 0388

现场图On Site, 王府中环摄影  ©王府中环WF CENTRAL

Picture7

Picture6

Picture8

Picture9

Picture10

现场图On Site, 家琨建筑摄影PC JiakunArchitects  ©家琨建筑Jiakun Architects

 

简介

Introduction

 

蛇形美术馆

Serpentine Galleries

 

自1970年于伦敦成立以来,蛇形美术馆作为一个非盈利艺术机构,以其卓越表现建立了国际声誉,展示了现代和当代艺术,并自2000年起在建筑和设计方面进行开创性展览。蛇形美术馆是伦敦当代文化的核心,也是国家最受欢迎的公共美术馆之一。它展示了当代艺术和设计的优秀展览国际项目,创新教育项目和公共项目,并且通过年度建筑委员会向不同的国际观众介绍了开创性建筑师的作品。

Since it was founded in 1970 in London, the Serpentine, as a non-profit gallery, has established an international reputation for excellence, presenting pioneering exhibitions of modern and contemporary art and, since 2000, architecture and design. The Serpentine Gallery is at the heart of contemporary culture in London and is one of the country’s most popular public galleries. Its remit is to present an international programme of outstanding exhibitions of contemporary art and design, innovative education projects and public programmes, as well as to introduce a diverse international audience to the work of ground-breaking architects through its annual architecture commission.

 

蛇形美术馆展亭(2000-2017)

Serpentine Galleries' Pavilion

 

自2000年起,蛇形美术馆每年都会委托不同的国际知名或新兴建筑师在英国创建他们的第一个建筑结构,为建筑师们提供了进行建筑实验的国际舞台,并完成了一些世界上最重要的建筑项目。迄今为止受委托设计蛇形美术馆展亭的建筑师或者事务所包括但不限于Kéré Architecture,2017;Bjarke Ingels Group(BIG)以及Asif Khan、Barkow Leibinger、Yona Friedman和Kunlé Adeyemi设计的4座夏日凉亭(Summer Houses),2016;SelgasCano,2015;Smiljan Radić,2014。蛇形展亭系列在全球开创了先例,推动并呈现了当代建筑实践极限。

Since 2000, the Serpentine has commissioned internationally renowned and emerging architects to create their first built structure in England. The Pavilion commission has become an international opportunity for architectural experimentation and has presented projects by some of the world's greatest architects. The architects selected to date includes but not limited to Kéré Architecture, 2017; Bjarke Ingels Group (BIG), 2016 alongside four commissioned Summer Houses designed by Asif Khan, Barkow Leibinger, Yona Friedman, and Kunlé Adeyemi; selgascano, 2015; Smiljan Radić, 2014 and so on. The Serpentine Pavilion series was the first scheme of its kind worldwide at this level of ambition and presents commissions that push the boundaries of contemporary architectural practice.

 

伦敦蛇形美术馆和北京王府中环的此次国际艺术合作,标志着18年来蛇形美术馆首次在英国以外的地区建造蛇形美术馆展亭。

The international collaboration between Serpentine Galleries (London) and WF Central marks the first pavilion built outside the UK in 18 years.

   

团队照

家琨建筑工作团队Jiakun Architects Team  ©家琨建筑Jiakun Architects

 

 

蛇形美术馆北京展亭

Serpentine Pavilion Beijing

建筑设计:家琨建筑

Architectural Design: Jiakun Architects

结构方案:家琨建筑

Structure Scheme: Jiakun Architects

作者:刘家琨

Artist: Liu Jiakun

团队:刘速、杨鹰、温锋、朱维昆、李振亚、王重锦

Team: Liu Su, Yang Ying, Wen Feng, Zhu Weikun, Li Zhenya, and Wang Chongjin

结构顾问:奥雅纳

Structure Consultant: Arup

合作机构:蛇形美术馆(伦敦);香港置地(北京)

Partners: Serpentine Galleries (London); HongKong Land (Beijing)

地点: 中国北京东城区王府中环王府井

Location: Wangfujing, WF Central, Dongcheng District, Beijing China

展览时间:2018年5月29日 - 10月31日

Duration: May 29th - October 31st 2018


版权声明:本文由家琨建筑授权发布,禁止以有方编辑后版本转载。

投稿邮箱:

作为整个孟加拉首都综合体的核心部分,国会建筑(National Assembly Building)的设计时间几乎同整个综合体同样长久。它完整的类型构成包括了九个经过简化的类型建筑:北面的入口花园、南面的清真寺、西面的来访贵宾室、东面的议员休息室、四个办公建筑。该建筑集合了康晚期作品中所有的类型学特质:理想集会建筑模式、层状空间、从结构中的结构到房间中的房间一致性、皮达内西式的迷宫空间。该建筑最明确的体现了康纯熟的类型操作技巧:类型的简化和重组。[i]

虽然平面关系在合同签订之后的两年之后就已经基本确定,但困扰康的问题却一直是国会建筑的顶部结构。康和包括奥古斯特·考曼顿特(August Komendant)在内的结构工程师合作先后实验了多种结构方案。在第一集的图集中仅仅重新制作了其中的三个方案分析(它们分别产生于1963年、1964年和1970年代初),其中包括最终实现的钢结构方案。有一条线索从一开始就非常明确,康和考曼顿特倾向于采用混凝土的折板结构形式,而不是框架形式。这一新思路既是考曼顿特战后独特的工程创建,也能够在诸如沙克生物研究所(Salk Institute, La Jolla, California)等多个项目中得到印证。

国会建筑具有多层次的空间结构,它既是类型之间重组的结果,又是康一直的命题。它是早期以唯一神派教堂(First Unitarian Church and School, Rochester, New York)为代表的理想集会建筑模式在深度上和竖向上的复杂化。在现代建筑中失去的进深逐渐被层状空间所代替,虽然没有交错的内部路径但回环的层次塑造了诗意的迷宫。



[i] 以上命题的论述请参看《静谧与光明之间——孟加拉国会综合体主体建筑的类型学分析》

 

 

参考文献:

[1]Robert McCarter. Louis I Kahn. London: Phaidon. 2005.

[2]H. Ronnner, S. Jhaveri. Louis I·Kahn Complete Work 1935-1974. Boston: Birkhauser. Jan.1,1988.

[3]David B. Brownlee. David G. De Long. Louis I Kahn In the Realm of Architecture. New York: Rizzoli. Oct.5,1997.

[4]Kazi Khaleed Ashraf. Saif UI Haque. Sherebanglanagar: Louis Kahn and the Making of a Capital Complex. Dhaka: Loka Publication. Sep.9,2002.

[5]Vincent Scully. Jehovah On Olympus: Louis Kahn and the End of Modernism. Monografias de Arquitectura y Vivienda. Feb. 2001.

[6]Sarah Williams Ksiazek. Architectural Culture in the Fifties: Louis Kahn and the National Assembly Complex in Dhaka. The Journal of the Society of Architectural Historians. Vol.52. No.4. 1993.

[7]Sarah Williams Ksiazek. Critiques of Liberal Individualism: Louis Kahn’s Civic Project, 1947-57. Assemblage. No. 31. 1996.

 

 

图版说明:

2346,7由作者绘制.

1来自http://www.panoramio.com/photos/original/3192328.jpg.

5来自http://www.wallpaper.com/gallery/art/louis-kahn-dhaka/17050083/2#16516.

发表评论

提交评论

点击更换验证码 点击图片更新验证码
验证码:
订阅有方最新资讯