主持建筑師：李立

山東美術(shù)館，濟(jì)南，山東，中國

主持建筑師：李立

場地南部的泰山余脈在此與城市平緩交接，形成泉城濟(jì)南的重要地理特征。于是，植根于特定的場地暗示和齊魯大地深厚的歷史人文內(nèi)涵，我們確立了以“山、城相依”為概念、從3層的具有山形特征的形體逐漸切削過渡到5層方整體量的基本構(gòu)思。

外部的場地分析確定了“山、城相依”的建筑概念，內(nèi)部的空間塑造則緊扣形體特征并繼續(xù)在概念引導(dǎo)下完成設(shè)計(jì)。首層大廳是以“山”為主題的空間，展廳的適當(dāng)扭轉(zhuǎn)出挑提供了多層次的展示平臺。漫步而上的坡道、扭轉(zhuǎn)的形體、架空的天橋賦予人們不期而遇的空間體驗(yàn)，這里將與當(dāng)代藝術(shù)作品一起構(gòu)成生動(dòng)的立體景觀。二層大廳是以“城”為主題的空間，北向的大型天窗塑造出均勻柔和的光環(huán)境，這里將為觀賞近、現(xiàn)代藝術(shù)作品留下安靜沉思的空間。

大型美術(shù)館的參觀極易導(dǎo)致疲勞，不斷克服單一空間的束縛并在空間中加大景深是調(diào)整視覺的重要手段。我們首先拓?fù)溲诱沽嗽泄袒目臻g界面，在梯形平面南側(cè)的兩個(gè)轉(zhuǎn)折位置，使公共空間與展覽空間相互包裹、滲透，這里也對應(yīng)著建筑山形外觀的兩個(gè)缺口。其次，在空間轉(zhuǎn)折的重要位置強(qiáng)化對角空間的設(shè)計(jì)，提高了公眾對拓?fù)淇臻g的感知度。此外，參與空間構(gòu)建的實(shí)體彼此間錯(cuò)動(dòng)、扭轉(zhuǎn)，加強(qiáng)了空間的流動(dòng)感。在材料選擇上，干掛洞石墻面與石膏板墻體的分層布置從豎向界定空間的同時(shí)強(qiáng)化了空間走勢。

The site is where Mount Tai ranges smoothly join the city on the south, which forms a distinctive geographical character of Jinan, the Spring City.Therefore, rooted in specific site implication and the historical-cultural connotation of Shandong Province, we established the basic concept of "mountain-city interdependence", in which the mountain-like form of the 3rd level gradually sharpens and transforms into the cubic volume of the top 5th level.

The "mountain-city interdependence" concept is generated from exterior site analysis; the interior space is shaped in close response to formal characters while carrying out the design in the guidance of the concept. The entrance hall expresses the "mountain" motif, its exhibition rooms twisting and projecting appropriately to provide multilayered exhibition platforms. Slowly rising ramps, twisted body, suspended overbridge, all provide chance spatial experience; together with contemporary artworks, they create a vivid 3-dimentional spectacle. The hall on the 2nd floor expresses the "city" motif, its evenly gentle light atmosphere shaped by large north-facing louvers; here is the space for quiet contemplation on modern art.

Visiting large museums can easily cause boredom; an important approach to visual adjustment is to constantly overcome restrictions of uniform space and to increase depth of field. We first played with topology to expand originally solidified spatial interface: the public space and exhibition space at two key positions on the south of the trapezoid plan are made mutually embracing and interpenetrating, which also correspond to the two gaps in the building's mountainlike exterior. Secondly, particular stress is given to design for diagonal spaces at important spatial turns, thus improving the visitors' perceptivity of topological space. Besides, space-shaping bodies shift and twist about one another, which enhances the sense of spatial mobility. In terms of material selection, dry travertine wall finish and plasterboard wall are arranged in an alternating manner, which helps define space vertically while strengthening spatial orientation.

項(xiàng)目信息/Credits and Data

設(shè)計(jì)單位/Design Institution: 同濟(jì)大學(xué)建筑設(shè)計(jì)研究院（集團(tuán)）有限公司/Tongji Architectural Design (Group) Co., Ltd.

業(yè)主/Client: 山東省文化廳/Shandong Provincial Department of Culture

設(shè)計(jì)團(tuán)隊(duì)/Design Team: 王文勝，周峻，馬溪茵，王騰，陳捷，高山，汪一寧，章珺珺，鄭聰，梁力，章雯，程

宇/WANG Wensheng, ZHOU Jun, MA Xiyin, WANG Teng, CHEN Jie, GAO Shan, WANG Yining, ZHANG Junjun, ZHENG Cong, LIANG Li, ZHANG Wen, CHENG Yu

場地面積/Site Area: 20,700m2

建筑面積/Floor Area: 52,138m2

設(shè)計(jì)時(shí)間/Design Period: 2011

攝影/Photos: 姚力/YAO Li

Shandong Art Museum, Jinan, Shandong, China, 2013

Principal Architect: LI Li

1 平面軸測/Diagram axonometric

2 剖面/Section

3 內(nèi)景/Interior view

4 外景/Exterior view

5 內(nèi)景/Interior view