同济院新作：合肥美术馆，归异出同的艺术之潮

编辑：王子怡 | 校对：王子怡 | 2026.01.20 15:07

设计单位 同济大学建筑设计研究院（集团）有限公司

项目地点 安徽合肥

建成时间 2025年9月

建筑面积 3.6万平方米

本文文字由设计单位提供。

一座市立美术馆，往往代表了一座城市最高的美学积淀，其自身亦是一个献给城市，跨越时空坐标和社会维度的公众艺术品。

A municipal art museum often represents the pinnacle of a city’s aesthetic heritage; in itself, it is also a public art gallery dedicated to the city, transcending temporal, spatial and social boundaries.

合肥美术馆是合肥市打造“大湖名城、创新高地”公共文化设施布局中的标志性项目，是面向社会公众开展艺术熏陶、美学教育，展示安徽深厚艺术文脉和当代艺术繁荣的重要场所。

Hefei Art Museum is a landmark project in Hefei’s public cultural facility layout for building a “famous city by the great lake, a highland of innovation”. It serves as a vital venue for delivering artistic inspiration and aesthetic education to the public, showcasing Anhui’s profound artistic heritage and the thriving landscape of contemporary art.

▲ 项目视频 ©尹明

文博园的最后一块拼图

The Final Piece of the Cultural and Expo Park Puzzle

场地位于合肥政务区文博园东南角的最后一片空地，与现有安徽省博物院和安徽省古生物博物馆形成“品”字布局。设计将美术馆体量与地质博物馆相对应，以保持“三位一体”的平衡感，为缺失的“拼图”补上最后一角。

The museum is situated on the last remaining vacant plot in the southeast corner of Hefei’s Administrative and Cultural Expo Park. Together with the existing Anhui Museum and Anhui Museum of Paleontology, it forms a “pin-shaped” layout. We designed the museum’s volume to correspond with that of the Anhui Museum of Paleontology, maintaining the balanced sense of this “trinity” and completing the missing piece of the puzzle.

凝固的艺术之潮

The Frozen Tides of Art

美术馆以“两水相汇”为主要概念，灵感源于合肥“合于一源、分而为二”的地名由来。建筑主体由两个弧形切割体相互交叠，犹如被瞬间定格的“翻涌浪潮”。美术馆顶部略微起翘，呼应地质博物馆的起伏形态；又与省博物院的硬朗形成刚柔对比。

The core concept of the museum is “the convergence of two waters”, inspired by the etymology of Hefei’s name—“United in one source, divided into two Paths”. The main structure consists of two interlocking curved volumes, resembling surging waves captured in a fleeting moment of stillness. The slightly upturned roof of the museum echoes the undulating form of the Anhui Museum of Paleontology, while creating a striking contrast between softness and rigidity against the robust architectural style of Anhui Museum.

归异出同：因地制宜，一体四面

Reconciling Diversity with Universality：Context-Adaptive Design with Four Distinct Facades

根据场地四周环境的显著差异，合肥美术馆在保持整体性的同时于四个界面采取了各有不同的策略。

礼仪面——艺术之拱：北侧是美术馆的主立面，来访者通过长约百米的前广场，在穿过掩映的竹林后，合肥美术馆的全貌渐渐展露，如一块精心打磨的白色石樽端庄地坐落在广场尽端。立面下部一道向下的弧线切出了一座“艺术之拱”——它是美术馆的主入口。瓦片状吊顶由东立面的画卷幕墙延展而来，顺着“拱”的弧线营造了一个内敛而典雅的“华盖”。略呈低矮的入口，犹如微微打开的宝匣展露出艺术秘境的丰富和深邃，激发人们对美学世界的探索欲望。

The Ceremonial Facade – The Arch of Art

The north side serves as the museum’s main facade. Visitors traverse the 100-meter-long forecourt and pass through a cluster of shaded bamboo groves, where Hefei Art Museum gradually unfolds in full view—like an exquisitely polished white stone ritual vessel, standing gracefully at the end of the square. A downward-curving arc cuts through the lower part of the facade, forming the “Arch of Art“—the main entrance of the museum. The tile-shaped suspended ceiling extends from the copper scroll curtain wall on the east facade, following the curve of the arch to create an introverted yet elegant “canopy”. The slightly low entrance is like a gently opened treasure chest, revealing the richness and profundity of the artistic wonderland beyond, and stirring the visitors’ desire to explore the world of aesthetics.

展示面——巢湖金粼：建筑东侧直面主干道，是主要的城市界面。设计希望美术馆能够成为与城市对话、展示的界面与窗口。东立面设计大部悬挑，由9286片模块化铜“瓦片”组成的巨幅“铜画卷”幕墙——“巢湖金粼”，犹如徐徐展开的“长卷”浮悬在空中。其构图抽象自石涛《巢湖图》局部，以像素化的形式展现出“大湖名城”之巢湖的涌动波涛。东侧还设有一处带草坡和折线坡道的下沉庭院，进一步烘托出东立面悬挑的高度和气势，并使得来访者在进入庭院的过程中以动态仰视的独特视角近距离观赏画卷。

The Exhibition Facade – Golden Ripples of Chaohu Lake

The east side faces the main road directly, serving as the museum’s primary interface for dialogue and display with the city. Most of the east facade is cantilevered, dominated by the grand “Golden Ripples of Chaohu Lake“ copper scroll curtain wall composed of 9,286 modular copper tiles, floating in the air like an unrolling scroll painting. Its composition is abstracted from a section of Shi Tao’s Chaohu Lake Painting, presenting the surging waves of Chaohu Lake—the iconic water body of the “famous city by the great lake”—in a pixelated form. On the east side, there is also a sunken courtyard with a grassy slope and a folded-line ramp, which further accentuates the height and imposing manner of the cantilevered east facade. It also allows visitors to admire the scroll curtain wall up close from a unique dynamic upward-looking perspective as they enter the courtyard.

亲和面——美学之角：建筑南侧毗邻社区及支路，设有VIP入口。南立面UHPC表皮微微撩起露出底层铜色复合铜板，向社区居民展现出亲切与活力的界面。东南角有一处“艺术视窗”，让人们可沿街窥见展厅内部一角。内凹的次入口利用外凸曲线表皮形成可遮蔽的门廊空间，访客可以沿其穿过架空通道抵达下沉庭院和主入口广场。这条轻松的漫游路径进一步增加了南侧社区界面的公众可参与性，即使在美术馆非开放时段，仍然保留了一个向城市开放的美学之角。

The Approachable Facade – The Corner of Aesthetics

Adjacent to residential communities and branch roads on the south side, this facade houses the VIP entrance. The UHPC cladding on the south facade is slightly lifted, revealing the copper composite panels of the ground floor, presenting a warm and vibrant interface to the community residents. At the southeast corner, an Art Window enables passers-by to catch a glimpse of the exhibition hall interior from the street. The recessed secondary entrance leverages the outward-curving facade to form a sheltered porch space; visitors can walk through the elevated corridor to reach the sunken courtyard and the main entrance square. This relaxed wandering path further enhances the public accessibility of the south-facing community interface, retaining an open-to-city Corner of Aesthetics even when the museum is closed.

退隐面——城市留白：建筑西侧相对内向偏僻，同时又有一处现状办公建筑相邻，因而作为后场界面从简处理，设有地库出入口及地面卸货区。笔直的UHPC山墙从现状建筑及树木顶端升起，在天空中划出一道弧线，灰白色桂花浮雕在树梢的绿叶衬托下显得宁静素雅，犹如精彩之后给城市的留白。

The Retreating Facade – An Urban Blank Canvas

The west side is relatively introverted and secluded, adjacent to an existing office building. Thus, it is treated as a back-of-house interface with a minimalist design, accommodating the underground parking entrance/exit and the ground-level loading area. The straight UHPC gable wall rises above the roofline of the existing building and trees, drawing a graceful arc against the sky. The off-white sweet osmanthus bas-relief, set against the green leaves of the treetops, exudes a sense of tranquility and elegance—like an artistic blank canvas left for the city after the splendor of the main facades.

混凝土“卷筒”：空间、结构、功能的融合

Concrete "coiling blocks": Integration of Space, Structure and Function

美术馆的内核是四座巨大的混凝土“卷筒”，它们是由表皮向内延伸卷曲“形成”。这些混凝土“卷筒”通过“支撑、包裹”，在成为支撑美术馆结构的同时，也成为承载功能和塑造内部空间的核心。

At the core of the museum lie four massive concrete “coiling blocks“, formed by the inward curling extension of the building’s exterior cladding. Through “supporting and enveloping”, these concrete cylinders not only serve as the load-bearing structure of the museum but also act as the core elements for accommodating functions and shaping the internal space.

支撑—结构：四组“卷筒”犹如四根巨柱，提供了一个实用高效的基本结构体系——现浇混凝土框架-筒体剪力墙，并结合主要公共空间节点中的两大结构亮点——主入口桥式桁架和中庭大悬挑旋转钢楼梯，从而形成“多种类结构构件组合的复杂多层结构体系”。

Supporting – Structure The four sets of concrete “coiling blocks“ function like four giant pillars, providing a practical and efficient basic structural system—the cast-in-place concrete frame-core shear wall structure. Combined with two structural highlights at key nodes of the main public spaces—the bridge-type truss at the main entrance and the large cantilevered spiral steel staircase in the atrium—they form a “complex multi-story structural system integrated with various types of structural components”.

包裹—功能：四组“卷筒”囊括了美术馆主要的功能空间，它们被分为北大南小的格局——北侧“卷筒”内设有开幕大厅、大展厅、艺术商店和阅览室等公共大空间；南侧“卷筒”则布置小展厅及备展、办公、文创、后勤等辅助功能。地下一层在西侧设置藏品库；东侧设置下沉庭院，一个临时展厅、一座200人报告厅及餐厅贴临庭院布置。

Enveloping – Function The four concrete “coiling blocks“ encompass the museum’s main functional spaces, arranged in a layout of “large north, small south”. The north cylinders contain grand public spaces such as the opening hall, main exhibition halls, art shop and reading room. The south cylinders accommodate smaller exhibition halls and supporting facilities including exhibition preparation areas, offices, cultural and creative product stores, and logistics spaces. On the underground floor, a collection storage is located on the west side; on the east side lies the sunken courtyard, with a temporary exhibition hall, a 200-seat lecture hall and a restaurant arranged adjacent to the courtyard.

动态感知：交汇的中心与涡旋

Dynamic Perception: The Converging Hub and Vortex

我们希望通过对空间和路径的营造为来访者创造富有动态的空间感知。

作为“交汇的中心”主中庭25米×19.5米见方、24米通高，顶部满堂天窗引入的光束在混凝土卷筒的弧形表面上投下漫步的光影，使得自北侧主入口进入美术馆时便能感受到光的洗礼。

We aim to create a dynamic spatial perception for visitors through the design of spaces and circulation routes. As the Converging Hub, the main atrium measures 25m by 19.5m, with a full height of 24m. Beams of light streaming through the skylight that spans the entire ceiling cast wandering shadows across the curved surfaces of the concrete cylinders, allowing visitors to be embraced by a baptism of light the moment they enter the museum through the north main entrance.

中庭上空一座巨大、悬浮的黄铜色旋转楼梯犹如“翻涌的漩涡”，是合肥美术馆最为独特的空间、结构亮点。巨大的旋转楼梯半径约6.12米，从二层挑出旋转而上直达四层，最大外挑近10米；由8根钢索悬拉固定于两侧混凝土卷筒壁上。它的悬浮与巨大都令人震撼，在中庭上空熠熠生辉，引导着来访者在循迹而上中接近天空，在盘旋中回望与对视。

水平通廊嵌入在南北两侧高大的混凝土“卷筒”之间，犹如穿梭在“溪涧峡谷”之中。上方一连串细长的天窗引导天光顺着“峡谷”侧壁向下蔓延，光线漫射形成的朦胧光晕使人犹如在忽明忽暗的水墨峡谷之中漫游。水平通廊在1F西侧及3F东侧各设置有一对扶梯，在垂直空间上形成Z字形流线。其中3个两层通高的大型展厅也随着Z字流线错层布置，使得每一层都拥有大、小展厅的组合。从而在展览设置的灵活性、参观流线的节奏性及体验感的多样性上都得到了提升。

Embedded between the towering concrete “coiling blocks“ on the north and south sides, the horizontal corridor feels like a path winding through a mountain stream canyon. A series of slender skylights overhead channel natural light cascading down the canyon walls; the soft, diffused glow creates a hazy radiance, immersing visitors in a scene that evokes wandering through a flickering ink-wash canyon. A pair of escalators are installed on the west side of the 1st floor and the east side of the 3rd floor respectively, forming a zigzag circulation flow in the vertical space. Three large double-height exhibition halls are also staggered along this zigzag route, ensuring that each floor features a combination of large and small exhibition spaces. This design enhances the flexibility of exhibition layout, the rhythmic flow of visitor circulation, and the diversity of spatial experiences.

映射：传统美术技艺的当代“再现”

Reflection: Contemporary "Representation" of Traditional Artisanal Crafts

在合肥的传统美术技艺中，有一项“烙印葫芦”和“吴山铁字”别具特色。“烙印葫芦”是利用烙铁在葫芦上进行类似“凹浮雕”的创作。“吴山铁字”则是一种金属的锻打工艺，以锤代笔，以铁作墨。我们将两种地方特色的美术工艺进行转译“映射”到表皮的设计中。

Among Hefei’s traditional artisanal crafts, two stand out for their distinctive charm: Branded Gourds and Wushan Iron Calligraphy. Branded Gourds involves creating intaglio-like bas-relief patterns on gourds using a heated iron. Wushan Iron Calligraphy is a metal forging craft where a hammer serves as the brush and iron as the ink. We translated and "reflected" these two regionally distinctive art forms into the design of the museum’s facade.

“桂花”浮雕UHPC幕墙：合肥美术馆通体覆盖灰白色UHPC幕墙。设计充分发挥其新材料高强度的性能优势，单块UHPC尺寸为2.4米×6.0米，可无需龙骨仅靠上下端直接连接上下层板间。每块单元板包含10个1.2米×1.2米的正方形花格，花格选取合肥市花桂花为母题，其四孔交织桂花状凹浮雕造型与“烙印葫芦”的凹刻技艺异曲同工。

"Sweet Osmanthus" Bas-Relief UHPC Curtain Wall

The entire exterior of Hefei Art Museum is clad in an off-white UHPC curtain wall. The design takes full advantage of the high-strength performance of this new material: each UHPC panel measures 2.4m × 6.0m and can be directly connected between the upper and lower floor slabs without the need for keel supports. Each panel incorporates 10 square grids (1.2m × 1.2m each), with the sweet osmanthus—Hefei’s city flower—as the motif. The interwoven four-hole intaglio bas-relief pattern of osmanthus blossoms echoes the engraving technique of Branded Gourds in spirit and essence.

“巢湖金粼”铜画卷幕墙：幕墙由3种不同尺寸的纯铜板卷曲形成的“画卷”模块组成（尺寸为高300毫米，长度500—600毫米不等）。通过不同模块的组合形成虚实变化的图底关系，在美术馆东立面构建了一幅巨幅“铜画卷”幕墙，以抽象的形式表现了石涛《巢湖图》中独特的漫卷波涛。

"Chaohu Golden Ripples" Copper Scroll Curtain Wall: The curtain wall is composed of "scroll" modules formed by bending three types of pure copper plates of different sizes (measuring 300mm in height and 500–600mm in varying lengths). Through the combination of different modules, a dynamic figure-ground relationship with alternating virtual and real effects is created, forming a giant "copper scroll" curtain wall on the east facade of the art museum. This abstract design captures the unique surging waves depicted in Chaohu Lake Painting by Shi Tao. From different viewing angles and under varying light conditions, the scroll presents a dynamic visual effect that changes with time and space, resembling a "living scroll" where shimmering ripples seem to dance and flicker continuously.

画卷在不同视角和不同的光线角度下随时间和空间变化会呈现出动态感知效果，形成如粼粼波光翻腾闪动的“动感画卷”。

结语

Epilogue

合肥美术馆以崭新的姿态伫立于巢湖之滨，以极具辨识度的建筑语汇与空间形态激荡着现代艺术的创新活力。它是镌刻着城市印记的文化新地标，亦是绽放着当代艺术活力的美学新高地。

Hefei Art Museum stands brand new on the shore of Chaohu Lake, stirring the innovative vitality of modern art with its highly distinctive architectural language and spatial form. It is not only a new cultural landmark engraved with the city’s imprint, but also a new aesthetic highland radiating the vitality of contemporary art.