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  






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.




Architect Says



Liu Jiakun


Sketch手稿 家琨建筑

    草图Sketch  ©家琨建筑Jiakun Architects


力  |  Force


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


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. 


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


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.



©家琨建筑Jiakun Architects


弓  | Bow


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." 





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



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.



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".




Installation Introduction



Serpentine Pavilion Beijing


总平面图Master Plan  ©家琨建筑Jiakun Architects


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


东立面图East Elevation  ©家琨建筑Jiakun Architects


WF TALKBG RENDER2 JiakunArchitects

WF TALKBG RENDER3 JiakunArchitects

WF TALKBG RENDER4 JiakunArchitects



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






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






Serpentine Galleries



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.



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.



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



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




Serpentine Pavilion Beijing


Architectural Design: Jiakun Architects


Structure Scheme: Jiakun Architects


Artist: Liu Jiakun


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


Structure Consultant: Arup


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



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》




[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.









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