三寶蓬藝術(shù)中心

SanBaoPeng Art Museum

位置：江西景德鎮(zhèn)

時間：2015年-2017年

功能：藝術(shù)館及配套

建筑設(shè)計:大料建筑

設(shè)計團(tuán)隊：劉陽，胡驀懷，孫欣曄，鄧華暉，張銳逸，王坤，陸旭文，鮑蕙

夯土墻技術(shù)顧問: 郭鵬宇，賴爾遜

庭院植物及外部景觀：UAO瑞拓設(shè)計

園區(qū)規(guī)劃：聯(lián)創(chuàng)國際 / 曼景工作室

攝影：孫海霆

Location: Jingdezhen, China

Time: 2015-2017

Typology: Art Museum

Architecture design: DL atelier

Project Team: Liu Yang, Hu Muhuai, Sun xinye, Deng Huahui, Zhang Ruiyi, Wang Kun, Lu Xuwen, Bao Hui

REW consultants : Guo Pengyu, Has Wall

Landscape: UAO

Planning: Mass+Skin Design Studio

Photographer: Sun Haiting

傳統(tǒng)與傳承

熟悉景德鎮(zhèn)的都知道三寶村，風(fēng)景不錯，自古是加工瓷石的地方，基地就在村中的重要節(jié)點(diǎn)。近十年，這里變得有些像北京當(dāng)年的798，自發(fā)聚集了上百位陶瓷藝術(shù)家建立工作室，所以這里便成了有山有水有女實(shí)習(xí)生的地方。

這里的人們大都與陶瓷有關(guān)，甚至每年聚集來數(shù)萬“景漂”。在這個有著世界上最好陶瓷匠人的地方，雖滿懷“瓷心”，然幾人成夢。

瓷器與瓷人

這里“藝術(shù)家”多，“藝術(shù)品”和“藝術(shù)”展廳就更多，所以從一開始，我的興趣就不是只做一個擺瓷器的空間，而是會關(guān)心瓷人以及他們的故事。

在跟他們的交往中，發(fā)現(xiàn)陶瓷創(chuàng)作最有魅力的地方是，瓷跟人之間的，像是少男少女之間，有點(diǎn)試探的那種不直接的溝通，這事尤其體現(xiàn)在經(jīng)歷窯火的“變身”過程中，它又有點(diǎn)像膠片攝影，觀者把風(fēng)景投影到膠片上靠的是想象，在充滿期待的沖洗過程后，或驚喜或失望，也恰恰是這種慢慢等待后的不確定，才有了在按快門那一刻的尊重和敬意。攝影師跟照片，瓷人跟瓷也許是在談戀愛吧。

而建筑，我希望也可以與人談場戀愛，建立這種空間場所與人的互動關(guān)系，是情感上的，也會轉(zhuǎn)化到行為上。

我們要使空間具有神秘感，觸發(fā)人們更多樣更強(qiáng)烈的感官和心理刺激，也許建筑也能像科幻中的人工智能機(jī)器人似的，開始有了情感，能夠與人交流，而其中的媒介可能就是空間所激發(fā)的記憶和想象，我也在試。

Tradition and inheritance

Sanbao Art Museum is located in Sanbao village, a scenic place not far from the Central city of Jingdezhen, the porcelain capital of China. In the past decade, porcelain artists were attracted here to build their own studios. Thus a nascent, dynamic, porcelain-centric hub is thriving and magnetizing even more talents to migrate here what comes along is their great passions and dreams in inheriting the tradition of porcelain art. Most of the industries here are porcelain related, causing a highly competitive environment, it will take great ingenuity and endless efforts to be the best.

Porcelain and the maker

There are artists, arts, and places to exhibit arts here in Sanbao Village. Therefore at the very beginning, my interests were more focused on telling stories between artists and their creations than just designing a“me-too” museum.

After bouncing o ff ideas with these artists, I found the relationship between the artists and their creation is sort of romantic, like the feelings of first love between boys and girls, indirect probing, exploring,negotiating and subtle maneuvering. And the transformation in the pottery kilnsis like the process of developing films, it’s full of uncertainties, even though photographers projected their best imaginations onto the films before they pressed the shutter, the final results might be surprising or disappointing after the dark room. However, it was the risks and uncertainties that require every photographer to think through every detail before they press the shutter. Porcelain making is similar, it requires a lot of experience and brain power, there are always trials and errors, exploration, negotiation between the maker and his/her creation, it’s not exaggerate to say the relationship is quite romantic.

Therefore, when defining the role of our design, we wish to build an interactive space to encourage reciprocal communication between visitors and the space, both emotionally and behaviorally.

We attempted to create space with a sense of mystery to trigger diverse sensation or psychological stimulation of visitors. In a wild imagination, architecture can act like A.I. robots to silently communicate with its visitors by its spaces.

天工與人工

狹長山谷，溪水流過，千來年，“嗵嗵嗵”，同樣的水碓聲回響悠長。

一艘巨大的飛船，不知道?？慷嗑昧?，滿是泥土，青苔密布，但硬朗的外形仍然在清秀的南方山谷里一目了然。

這就是我希望的樣子，建筑跟環(huán)境有著強(qiáng)烈的對比，就像電影《2001太空漫游》中的黑色方碑。

在自然的環(huán)境里，天干天的事，人干人的事，跳脫出來的比較純粹的幾何形體，是我在那里得到的反饋。

展品與自己

整個展場在視覺上是150米直線延展的，實(shí)際上進(jìn)入后卻發(fā)現(xiàn)是多流線并置穿插的。我們確實(shí)沒打算讓人一下就看遍所有地方，空間是可以和人們調(diào)情的，就像《一代宗師》里宮二和葉問最后那段隔著門的功夫調(diào)情一樣，只要氛圍合適，場所和他的參與者是能夠默契找到那扇門的。而一旦找到，看展品就不再是唯一重要的了，重要的是看自己。我想那些真正的藝術(shù)家都是在試圖“看自己”，只不過有的能看清，有的看不清，有的真實(shí)，有的虛偽。而看這些作品的我們，其實(shí)也是在看它背后那個人罷了。

千回百轉(zhuǎn)，反反復(fù)復(fù)中，如果能看清自己，那是我希望能給來者的體驗。這也許有點(diǎn)像，對于一個并不嗜賭的賭徒，賭場確是個看清自己的好地方。

直接與想象

通常的展覽空間都是為展品和流線準(zhǔn)備的，而這里更關(guān)心的是人們跟展品所處空間的曖昧關(guān)系，而做為貫穿始終的，最強(qiáng)烈的建筑感官元素，墻體，更多的還是建立空間氛圍的工具。我肯定也希望他能有點(diǎn)詩意，夯土的質(zhì)感對這事很有幫助，至于形式，說白了還是我的一些空間幻覺吧。

比如人們的必經(jīng)之路，一百多米進(jìn)深的通透空間，近四米高的土墻延續(xù)不斷從大地里生長出來，穿過一片樹林，來到幽暗低沉的大屋檐下，溪水聲漸漸入耳，隔絕了車水馬龍，慢慢的身心或緊張或松弛，光漸亮水漸鳴，前方深遠(yuǎn)，有著些什么，但又聽不清看不清，直接而強(qiáng)烈的吸引感，對前方的想象一上來就被代入。而真正進(jìn)去，卻發(fā)現(xiàn)一切又不是那么明了，空間或上或下，水光或明或暗，人們或急或緩，隨著思緒，選擇不同的路徑和體驗， 安靜與激烈，持續(xù)的思考與即時的情緒，在這里并不矛盾，原來的想象隨之被打破了。

降龍十八掌的剛猛直白，和凌波微步的隨心而動，是這里共同的空間體驗，就像瓷人與瓷一樣，這里的人們也與建筑發(fā)生著關(guān)于發(fā)現(xiàn)，憧憬，等待，焦慮，失望，驚喜等故事。

新建與老化

這里用到的幾種主要材料：夯土，鈦鋅板，洞石，都是比較容易留下時間痕跡的，會變化，甚至說會老化，這是我特別喜歡的，像酒一樣，沉的香。

至于夯土墻，我們需要個連續(xù)的，內(nèi)外一致的墻體來增強(qiáng)那種“直接”的緊張感，而且當(dāng)?shù)氐耐劣痔貏e好，是那種發(fā)紅的粘土，所以第一次匯報時就跟業(yè)主達(dá)成了一致。

當(dāng)然過程還是很費(fèi)勁的，我們先開始找了有經(jīng)驗的夯土技術(shù)咨詢團(tuán)隊，合作設(shè)計了許多新的節(jié)點(diǎn)構(gòu)造，甚至為了驗證效果和性能，我們在現(xiàn)場做了不少實(shí)驗。最開始做了10堵實(shí)驗土石配比及質(zhì)感肌理的實(shí)驗墻，在得到比較滿意的效果后，又結(jié)合主體建筑的構(gòu)造特點(diǎn)，把所有施工節(jié)點(diǎn)都做了真實(shí)的1:1樣板，并把這些節(jié)點(diǎn)重新組織設(shè)計了一組景觀小品，可以供游人觀景小憩。

即使這樣，實(shí)際施工的時候還是會有很多問題，畢竟太長太復(fù)雜了，幸好，業(yè)主和施工方非常支持和給力，沒做好就拆了重來并且改良了工藝和配方，最終出來的效果還是可以的。

意會與現(xiàn)實(shí)

設(shè)計之初，業(yè)主曾經(jīng)問過我，覺得這里會是個什么樣的地方，我說希望是一把大提琴的聲音，而且是一位優(yōu)雅的少女在彈奏。

兩年多過去了，真的在建筑里徘徊，驚喜的是，他令我時不時感覺到某種悲劇的力量。故此，我們?yōu)檫@個建筑“再設(shè)計”了一個短片，希望把這種在現(xiàn)場才能感受到的氛圍凝聚住。

Natural and artificial

Naturally, flowing creeks are sprawling through this narrow valley, streams chant every fine porcelain for thousands of years.

Artificially, I wish to create a huge contrast to the natural scenes like a scene from 2001: A Space Odyssey, a huge artificial creation was burying in the natural background for years.The surface is full of moss and soil, its outline, however, is still obvious in the mountain.

This is the first image of Sanbao Museum came to my mind. Architecture, the artificial,contrasts sharply against its surroundings, the natural, apuregeometric form is my definition for this museum.

Exhibited items and mirrored selves

The museum is a visually linear shape, 150 meters long, but the visiting fl ow is actually nonlinear, visitors will have multiple choices to go. The purpose is to boost serendipities between people and spaces, we believe architecture can create the atmosphere with which visitors will have personal connections, once built, exhibited items will no long be important,they will act like mirrors, visitors will be reviewing themselves through these items, and I believe true arts are the medium to help ourselves to see the true version of ourselves,sometimes clear, others vague, sometimes real, others fake.

So I hope that during the experience of labyrinth tour, visitors could see themselves clearer and enjoy the atmosphere. For those who do not gamble, the casino becomes the perfect place to reflect on their own.

Impression and imagination

Visitor’s fl ow is usually an important factor in designing museums, but in this design, I care more about creating ambiguous relationship between visitors and the space. Walls, the most important part at shaping exhibition space and atmosphere, is made of rammed earth,I wish its texture could offer a poetic feeling.

The main passage is a long transparent space, 100 meters, around it are rammed-earth walls, 4 meters high, grow from earth. Experiences vary when visitors walk through different areas, visitors will be attracted by the outstretched eaves after the woods area. The sound from the creeks will relax visitors a bit, and what lies ahead lead visitors further into the cryptic but joyful world.

Multiple choices are provided in the museum, visitors can go up and down,feel the delight stream or peaceful pond, enjoy the exhibition or relax in the corner. Different choices bring various experience, which is an enriched relationship between porcelain designers and their creation. Every tour will be a story between visitors and the architecture, mixed of discovery, expectation,waiting, anxiety, disappointment and joy.

New and old

Major materials used in Sanbao Art Museum, such as rammed earth, titanium zinc panels and travertine, will be eroded by time. We’re expecting this process of erosion, like the fermentation of wine, time gives its unique flavor.In addition, Sanbao village naturally produces unique soil, slightly red in color, so we decided to build the continuous loam walls with local clay, it delivers certain familiarity and tension. Yet the realization process was really complicated, fortunately, we had a professional consulting team with us,received lots of suggestions and did countless experiments.All the joints weremade in1:1 samples in advance, and all the experimenting samples eventually assembled in a new landscape building.

Envision and reality

Before taking on this project, our client asked me what I envisioned about the final design. I said the feeling that I hope to o ff er should be like the sound of a cello played by anelegant lady.

Two years passed, when I am wandering in this museum, I can feel the gentle power of the building, soaked with tranquility and peace. So we went an extra mile, we made a video in the hope to freeze the atmosphere that could only be felt in person.