為了獲取先進的設計理念，把中國國家美術館建設成國家級文化建筑的精品，中國國家美術館舉辦“國家美術館概念性建筑設計方案征集”活動，面向全球公開邀請具有文化建筑尤其是文化博覽建筑設計經驗的設計機構進行方案征集。本次介紹的方案來自弗蘭克蓋里建筑師事務所。gooood曾經報道過MAD和UNStudio的方案。
Gehry Partners的中國國家美術館方案已經進入第三輪。
The globalization of art is connecting the cultures of the world. Art can act as the instrument for breaking down the barriers to understanding between cultures. China is the focus of this global conversation at this moment. The Chinese contemporary art world is exploding at an unprecedented rate proportionate to the size of its population. People all over the world are flocking to experience Chinese art. This form of cultural engagement promotes cross cultural understanding and appreciation. This is the model for the future, and is central to the design of the National Art Museum of China
(NAMOC).
The competition for NAMOC involved three rounds that took place between December 2010–July 2012. Round One was the concept phase. Round two was the primary design phase. Round three addressed client feedback from round two, and advanced the technical development of the project.
Gehry Partners將這個坐落在奧林匹克公園北部的中國家美術館設計成為一個針對中國豐富歷史的獨一無二的創(chuàng)新建筑。中國國家美術館每天可以接待38400人次，每年可以接待超過1200萬人，這是世界最大接待率的博物館。博物館四處布置了游客中心，減少排隊幾率和時間。每個游客中心旁邊都安裝了一個快速高效的交通核。面向奧林匹克公園的西立面，頗有中國寺廟風范韻味。同時Gehry Partners還為博物館做了景觀總規(guī)，設計了室外開放空間和雕塑花園，還有屋頂上的屋頂花園—這是美術館的第五立面。
NAMOC will form the centerpiece of a new cultural district in Beijing. Located to the north of the city center in the Olympic Park, the district will be comprised of four museums. NAMOC will occupy the most important site facing the central axis of the Olympic Park. The primary goal of the competition brief was to create a design that addresses the concept of a 21st century Chinese architecture. We created a design that is uniquely tailored to China and its rich cultural history, evoking historical models without copying them, to create an innovative building unlike anything else in the world.
Throughout our projects we have been looking for a way to express movement with inert materials like the Greeks did with the horses and soldiers in the Elgin marbles and like the Indian Shiva dancing figures. Our effort to express subtle movement in the fa?ade is what leads us to studying glass.
此外，Gehry Partners開發(fā)了一種新的材料—透明石材。這種石材具有中國“玉”的一些特質，同時這種玻璃可以象征中國山水畫中潺潺流水，云霧山巒。它有情緒，并能影響游客。它的外觀莊嚴高貴，它是中國國家美術館。
The fa?ade is clad with a new material developed by Gehry Partners – translucent stone. Evocative of the most precious Chinese materials, it has the qualities of jade. Of all the materials we explored, we found glass to be the most transcendent and symbolic of Chinese landscape paintings, of moving water, of the mountains covered in mist. It has gravitas that creates an emotional impact on visitors. It gives the building a stately and noble appearance, appropriate for a national museum.
We experimented with the translucent stone in many different conditions and configurations, looked at it in various lights, and found that it has the ability to project movement. It changes beautifully with the light, becoming ephemeral, and allowing for different effects with artificial lighting, banners and projection. The glass allows the building to easily transform throughout the day and the seasons, as well as for festivals and for changing exhibitions.
The translucent stone is part of the innovative sustainable fa?ade concept that incorporates a ventilated airspace to reduce the heating and cooling loads of the building. In addition, the airspace is used to display art banners and projections, which provides the ability for the building’s fa?ade to change and remain current far into the future, even becoming a canvas for artist projects.
Gehry Partners對這種透明石材做了諸多嘗試，最后終于在透光性，折射性上找到完美的效果。這種石材能對天氣，季節(jié)做出回應，展示出變化的環(huán)境。外立面還能設置通風空間，減少了機械通風的負擔。此外，這種透明石材還能隨著人們距離美術館不同的遠近距離展現(xiàn)出美術館內令人遐想的內容。當然，它還能成為藝術家的畫布。
The building’s entries and interiors have been organized to accommodate an unprecedented number of patrons expected to visit the museum. The building has been designed to efficiently and comfortably accommodate 38,400 visitors per day and approximately 12 million visitors per year, enabling NAMOC to have the highest attendance of any museum in the world. Four distributed entries at each corner of the building facilitate the processing of a large number of visitors, and minimize any queuing of visitors. Each of the four entries is connected to one of four escalators systems thatprovide fast and efficient distribution of visitors to all parts of the museums. A ceremonial entrance is placed in the center of the west fa?ade, facing the Olympic Park. The articulation of this entrance evokes the silhouette of a Chinese temple.
所有的內部組織圍繞內部的大型公共空間，并有自動扶梯相連，這些空間的設計靈感來自寶塔和寺廟的形式，當人們站在內部時，這種感受會更加明顯。公共空間幫助觀眾定向，讓他們不迷路可以輕松閱覽各個展館。建筑的外墻要素也延伸至室內。美術館也將提供眾多展覽和活動。
60%的展覽空間用于當代中國藝術，書法，民間藝術，和國際藝術的永久展覽。其中2,3,4層為永久展區(qū)。1,5層以及天臺是臨時展區(qū)。此外博物館還有功能配套完善的學員，藝術研究室，保護機構，5個放映廳，零售店，餐廳，咖啡停，先進的儲存區(qū)。整個博物館的設計是高舒適，低能耗的。比相對的標準博物館減低了57%的能耗。
The building interiors are organized around a series of large public spaces, connected vertically by escalators. These spaces are inspired by pagoda and temple forms- rendered as occupiable voids; the shapes are only legible from the inside. The public spaces provide an orienting device for visitors to easily navigate the large museum, and establish a formal continuity between the shapes of the building fa?ade and the interior of the museum. In addition to providing access to galleries, the public spaces provide opportunities for large scale art exhibit spaces and events.
The organization of the galleries was developed through discussions with NAMOC. Sixty percent of the galleries are dedicated to the permanent collections of 20th century Chinese art, Chinese calligraphy, Chinese folk art, and international art. The permanent collection is housed on the second, third, and fourth floors in gallery types to align with the requirements of the art. The ground floor, fifth floor, and roof top galleries are dedicated to changing contemporary art exhibitions. They are taller in height and have a greater variety of shape and scale.
