吉首美術館，湖南，中國

核心：向前

吉首美術館，湖南，中國

Jishou Art Museum, Hunan, China

評論

江嘉瑋：廊回吉首，龍伏萬溶

“人事中雜糅著神性與魔性”，沈從文筆下的“湘西的神秘”，從舊時的楚巫之術延至今日的旅游噱頭，正如新酒入舊瓶，換著法子也能醇香，神性魔性頃刻調(diào)轉(zhuǎn)。若言人如其名，沈從文以文字溫撫故土，其侄黃永玉則深諳永恒之道包括藝術收藏——于是沈的小說、黃的藏品均以現(xiàn)代身份代言了湘西。坐落于乾州古城的美術館便是起自黃先生的慷慨捐贈，由吉首市政府興建，委托非常建筑事務所設計。這層三方關系恰可類比于保羅·梅隆將自身珍藏的英國藝術品贈予耶魯大學，并捐資興建新美術館，將項目委托于如日中天的路易·康。不過，吉首美術館之贈品均為善主之藝術杰作，非拍賣市場之競價所得；誠如衣錦還鄉(xiāng)，樹碑立傳，更添風光。

吉首美術館翼然臨江，為兼顧各方而一分為二。上下兩橋結構獨立，適應不同功能，卻于形式上互補。底層拱橋施鋼桁架，供人行跨河，結構清朗，骨骼分明。橋首接于防洪堤，橋肩緊繃，橋腹收攏如龍蝦弓背；起拱之處，雙肩分流，澇季如巨人挑擔，旱季似金剛舉塔。上橋為鋼筋混凝土拱結構，分大小展廳，分居兩層：大展廳以底橋之橋頂為樓面，寬度占滿全橋之開間；小展廳內(nèi)收，約占1/3開間，以上橋之橋腹為樓面，微弧，曲率小于底橋。故以剖面觀之，兩弧如雙虹臥波，一張一緩，體態(tài)微妙。二橋相倚，如此融合藝術欣賞之靜態(tài)與人行交往之動態(tài)，令人游目其中，騁懷內(nèi)外，并行不悖，相得益彰。此廊式空間轉(zhuǎn)譯古時風雨橋之空間形態(tài)，令剖面更為錯落、布置更為靈活；加之兩側展廳外掛黛色瓦瓴仿風雨橋，既承遮陽之功效，又與毗鄰民宅取得一致。橋首與橋尾之建筑體量均為3層，高不超14m，立面基調(diào)順從沿街界面。若往來街巷中，只見美術館之首尾埋入勾欄瓦肆，韜光養(yǎng)晦；唯有馭舟江上或漫步岸邊之際，方可望見其堅挺之項背及纖細之腰腹，如龍伏憩。

吉首美術館與萬溶江兩岸民居接踵而立，其尺度與色澤融入市井。湘西黔東桂北自古多苗土侗瑤等民族聚居，民風彪悍，剛猛善戰(zhàn)，亦常寄寓意于周遭山水。村寨常設有風雨橋，如龍身盤踞，成為舊日熟人社會的活動集散地。時至今日，神話色彩雖已消淡，文化意象仍保存作為集體記憶之功用，撩撥鄉(xiāng)民心弦，互訴鄉(xiāng)情濟濟。美術館作為現(xiàn)代運作的機構，進入老城肌理后，一方面促進舊時村寨精神狀態(tài)的現(xiàn)代轉(zhuǎn)型，另一方面以陌生化的實體營建喚起文化意象。換言之，一方面改良認知，另一方面重塑圖騰。建筑設計若能在這兩個層面上不懈努力，實屬非常，得之不易。

Comment

JIANG Jiawei: Jishou's Covered Bridge, Wanrong's Dragon

"Humanity mixes both good and evil intentions and natures". SHEN Congwen's "The Mystery of Xiangxi" is full of praise for Xiangxi, from the ancient Witchcraft of Chu to the contemporary tourism gimmicks in mass media. Just as when new wine is poured into an old bottle, the taste of the old wine still lingers; good and evil intentions and natures shift instantly.

SHEN Congwen, whose first name means "the pursuit of literature" in Chinese, fully demonstrates the proverb "as his name is, so is he" through his literary works, in which he reminisces about his homeland of Xiangxi. Likewise, his nephew HUANG Yongyu (whose first name means "the eternity of jade") also exemplifies the same proverb through his awareness of art collection as eternity. In this regard, Shen's novels and Huang's art collection both represent Xiangxi in modern times.

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Thanks to a generous donation from Huang,it was possible to initiate an art museum project in Qianzhou Ancient Town. The municipal government of Jishou is responsible for its construction; Atelier FCJZ is commissioned to design. The relationship between these three parties is similar to the relationship in which Paul Mellon donated his own collection of British art to Yale University and contributed money to the construction of a new art gallery, commissioning the successful architect Louis I. Kahn to design it. However, the donation for Jishou Art Museum is comprised of the masterpieces of a philanthropist, rather than auction items, which brings honor to Huang and builds up his image of grace and dignity.

Jishou Art Museum is built alongside a river,and has the appearance of a bird spreading its wings.It is conceived as two parts, balancing it and the surroundings. The upper and lower bridges have independent structures in accordance with separate functions, yet maintaining complementarity in form.

The lower arched bridge is made of steel trusses exhibiting a clearness of structure; it serves as a pedestrian walkway for river-crossing. The ends of the bridge are connected to floodwalls with a taut abutment; whilst the bridge belly is shrunk inwards like a bowed lobster. The in-between space of trusses allows floodwater to pass through. As such,in flood season the arched bridge looks like a giant shouldering a heavy load, while in the dry season it resembles a Warrior Attendant of Buddha who is lifting the tower.

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The upper bridge is constructed in reinforced concrete; there are two floors, functioning as a large and a small gallery. The large gallery is located on the top of the lower bridge, as wide as the bay width of it; while the small gallery, measuring approximately one third of the bay width, occupies the back of the upper bridge, in a slighter curvature than the lower bridge's. Therefore, the arcs of both upper and lower bridges look like double rainbows appearing over the river from the side: they are well balanced with a subtle shape. Likewise, the two bridges are also well combined with the nice blend of the static art appreciation activities on the upper bridge and the dynamic movement of pedestrians on the lower bridge.

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The covered, bridge-shaped space has been adapted from the traditional Fengyu Bridge style (a special covered bridge); thus, it has well-arranged sections and a fl exible layout. Furthermore, the clay tiles of the galleries' exterior surfaces also resemble the Fengyu Bridge, not merely functioning as brise-soleil but also echoing vernacular buildings.The three-story "bridge ends" on each side are less than 14 meters in height and their fa?ades are in line with the row houses along the street. In this context, both ends of the museum seem to be neatly embedded into their surroundings when seen from the street; the architecture stays humble. Only when looking from a boat on the river or strolling along the bank, can the strong back and the slender waist of the building be seen, giving the appearance of a dragon lying down to rest.

Jishou Art Museum closely follows the dwellings on both sides of Wanrong River. Its scale and color fit perfectly into the existing appearance of the town.There are many ethnic minority groups including Minorities of Miao, Tu, Dong and Yao who have lived in the adjacent area of the Western Hunan,Eastern Guizhou and Northern Guangxi since ancient times. They are brave and bellicose, and often attach meanings to their surroundings. The Fengyu Bridge in their stockaded villages, like a dragon curled into a ball, became the social centre for the local people at that time. Today, such cultural images remain as a collective memory, although the mythological meaning of the images has faded away. They strike a chord with the local villagers and continue to create a sense of nostalgia. The art museum enters the ancient town as a modern institution and manages to facilitate the old stockaded village's modern transition whilst still evoking old cultural images in the form of an unfamiliar structure. In other words,this does not simply challenge their preconceived ideas but also re-imagines their symbol. It was not easy to fulfil both of these goals while designing this.(Translated by Dandan Wang)

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項目信息/Credits and Data

客戶/Client: 吉首市德夯風景名勝區(qū)管理處/Jishou Dehang Scenic Spot Administration

地點/Location: 湖南省吉首市/Jishou, Hunan, China

建筑設計/Architets: 非常建筑/Atelier FCJZ

主持建筑師/Principal Architect: 張永和/Yung Ho Chang

項目團隊/Project Team: 楊普，劉鯤鵬，粟思齊，梁小寧，吳暇，饒崗/YANG Pu, LIU Kunpeng, SU Siqi, LIANG Xiaoning, WU Xia, RAO Gang

結構咨詢設計/Structural Consultant and Design: 常鏹/CHANG Qiang

類型/Building Type: 美術館/Art Museum

建筑面積/Building Area: 3627m2

基地面積/Site Area: 3303.6m2

基底面積/Footprint Area: 669m2

建筑高度/Building Height: 18.5m

結構材料/Structure and Material: 鋼桁架橋結構，鋼筋混凝土拱橋結構/Steel truss, reinforced concrete arch bridge structure設計時間/Design Time: 2016

預計竣工時間/Estimated Completion Time: 2018

基地+設計

吉首美術館所在地吉首是湘西苗族土家族自治區(qū)的首府。項目的具體位置是我們作為建筑師幫助業(yè)主選定的，于是選址的過程和設計的過程發(fā)生了重疊：我們建議在穿過老城中心的萬容江上建一道步行橋，這道橋同時又是美術館，這樣市民可以非常方便地享受到文化生活。

結構+材料+空間

美術館由上下兩座橋組成：下面是一座鋼橋，像條街道，使步行者可以通過或停留；上面是一座混凝土拱橋，內(nèi)部是一個畫廊；上下兩座橋之間用玻璃和瓦圍合出美術館的展覽大廳。美術館的輔助功能，如門廳、行政辦公、商店、茶室等，都安排在橋兩端的橋頭堡里。人們可以從江的任意一側進入美術館。下面步行橋采用鋼桁架結構，是考慮了發(fā)生山洪時的水流通過情況；上面畫廊橋用混凝土作為建筑材料，是出于對藝術品保護的需要?！?/p>

Site + Design

The city of Jishou, where the Jishou Art Museum is located, is the regional capital of Xiangxi(western Hunan), a minority autonomous zone.The specific site for the project was chosen by us,the architects, for the owner, thus the processes of site selection and design became overlapped.We proposed to build a pedestrian bridge across the Wanrong River running through the center of Jishou's old town, which meanwhile serves as an art museum so that citizens can enjoy cultural activities in a convenient way.

Structure + Material + Space

The art museum is composed of two bridges one on top of another. The lower level is a steel bridge in resemblance of a street for pedestrians to cross or linger. The upper level is a concrete arched bridge, housing an art gallery. In between the two bridges, glazed walls and tiled roofs enclose the art museum's main exhibition hall.Supplementary spaces to the art museum, such as the entrance hall, administrative office, shop,and tearoom, are situated in the two bridgeheads at either end. People can enter the museum from either side of the river. The lower level pedestrian bridge adopts a steel truss structure, responding to the flow of water during flooding. The gallery on the upper level bridge is constructed with concrete, in order to ensure the safety of the art works.□

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