約翰·卡爾多家族畫廊，新南威爾士州立美術(shù)館，悉尼，澳大利亞

建筑設(shè)計(jì)：PTW建筑事務(wù)所

Architects: PTW Architects

1.2 展廳內(nèi)景/Interior views

2008年，約翰·卡爾多和他的家人宣布將家族收藏全部贈(zèng)送給新南威爾士州立美術(shù)館。因?yàn)檫@份慷慨的禮物，新南威爾士州立美術(shù)館第一次有機(jī)會(huì)為觀眾講述自1960年代起至今的當(dāng)代藝術(shù)史。

政府也因此出資為畫廊增加了約1200m2的額外展覽面積，分別陳列當(dāng)代和現(xiàn)代的畫作及攝影作品。主樓梯從地下一層向下延伸至地下二層，原先位于美術(shù)館地下二層的儲(chǔ)藏室也隨之翻新成為展廳。

過去美術(shù)館內(nèi)的展覽空間凈高3.6m，此次擴(kuò)建決定將其混凝土梁柱結(jié)構(gòu)外露，展示墻延伸到T型梁上，展覽空間由此向上增高近1m。挑高后的空間成功地實(shí)現(xiàn)了最初設(shè)計(jì)的概念，為當(dāng)代藝術(shù)的展示創(chuàng)造了更舒適寬闊的環(huán)境。

畫廊全面采用高顯色金鹵燈具，經(jīng)一系列可用光源場(chǎng)內(nèi)外評(píng)估測(cè)試，金鹵燈的電力消耗是白熾燈的1/4，即使當(dāng)照明通過機(jī)械裝置變暗時(shí)，系統(tǒng)的照明功率消耗也遠(yuǎn)小于白熾系統(tǒng)的照明功率消耗。不僅在白色墻面，有色表面上的測(cè)試結(jié)果也是突出的。這項(xiàng)技術(shù)在燈光變暗時(shí)減少了色差的影響，延長(zhǎng)了燈具的使用壽命。搭配特質(zhì)的光學(xué)附件，可以保證在調(diào)整光源輸出的同時(shí)保持光分布不變。畫廊也因此獲得了2012年的IES照明獎(jiǎng)。□

3 平面/Plan

4.5 展廳內(nèi)景/Interior views

In 2008 John Kaldor and his family announced their intention to give the John Kaldor Family Collection to the state of NSW. This was the catalyst for the government to provide funds to the Gallery to build a state-of-the-art offsite storage facility to allow space within the Gallery to display the collections.

This extraordinary gift, together with funds generously donated by the Belgiorno-Nettis family, enabled the re-development of the Gallery's old storage area and existing display space to create an additional area of approximately 1200m2of new exhibition space.

A key element in the success of the new Kaldor Gallery, and fundamental to the design concept, was the desire to increase the perception of greater ceiling height. Elsewhere in the 1968 gallery building, a concrete grid creates a ceiling plane of about 3.6m high.

By extending the display walls to the soffit of the flange of the structural "T" beams, the gallery space was increased by a metre creating a more appropriate setting for contemporary art.

With the inclusion of the Kaldor Collection, the Gallery now holds Australia's most comprehensive representation of contemporary art from the 1960s to the present day. In 2012 the entire floor was refurbished to allow for the integration of both the Kaldor and the Gallery's existing contemporary collections: this enabled, for the first time in Australia, the telling of a comprehensive art history from the 1960s to date. The gallery spaces seem deceptively simple: the flooring is large-scaled solid travertine, and the ceilings reveal an existing natural concrete beam structure.

Other positive aspects include mechanical dimmability with no colour temperature shift, and several times longer lamp life. Not is the new lamp technology successfully used in the space, the track lighting fixtures are carefully customised with specially made lenses and optical attachments to adjust the light output whilst keeping the light distribution unchanged. The selection of the luminaires and lamps was undertaken through a range of onsite and offsite tests where a number of the best sources available at the time were assessed. The assessment also involved visual evaluation of results on white and coloured surfaces. The result with the new high colour rendering metal halide technology was outstanding.

The gallery lighting won the IES 2012 Lighting Award.□

項(xiàng)目信息/Credits and Data

客戶/Client: 新南威爾士州立美術(shù)館/Art Gallery of NSW

建筑面積/Gross Floor Area: 2617m2

竣工時(shí)間/Completion: 2010

攝影/Photos: Sharrin Rees ( fig.1,2,4-6), Brian Steele - PTW Architects ( fig.10)

6.7 展廳內(nèi)景/Interior views

8 展廳內(nèi)景/Interior view

9 剖面/Sections

評(píng)論

青鋒：混凝土梁的暴露有效地避免了當(dāng)代美術(shù)館中白色墻面統(tǒng)治一切的乏味。燈光系統(tǒng)嵌入混凝土梁之前，除了提供良好的顯色光線以外，它自身也成為一種重要的形態(tài)元素，塑造出屋頂?shù)募夹g(shù)感。有了這樣的技術(shù)體系作保障，參觀者會(huì)對(duì)美術(shù)館的展出效果抱有充分的信賴，事實(shí)上也的確如此，充裕的頂部調(diào)整空間使得光線控制的手段豐富了很多。這提示我們，人造光源其實(shí)也可以成為建筑形式語(yǔ)匯的一部分，就像梁可以成為核心的表現(xiàn)元素一樣。

安妮·弗蘭納甘：毫無(wú)疑問，約翰·卡爾多家族畫廊的擴(kuò)建巧妙地利用了最新的技術(shù)，試圖嘗試在低成本控制下創(chuàng)造最大的空間。需要肯定的是，他們采用的節(jié)能措施不僅達(dá)到了畫廊標(biāo)準(zhǔn)的照明要求, 同時(shí)也符合了國(guó)際標(biāo)準(zhǔn)下對(duì)溫度及相對(duì)濕度的控制, 其安全系統(tǒng)和數(shù)字服務(wù)配套系統(tǒng)也超出了當(dāng)代藝術(shù)鑒賞的預(yù)期。一個(gè)預(yù)先存在的地下室被改造成一個(gè)可供參觀展覽的空間，露出了原始的巖壁結(jié)構(gòu), 增加了建筑的整體趣味性, 為客戶提交一個(gè)富有想象力的答卷。它確實(shí)是一個(gè)在公共建筑中獨(dú)樹一幟的現(xiàn)代畫廊。

Comments

QING Feng: The exposed concrete beams effectively avoid the vapid, "white-wall" effect commonly seen in modern art museums. The lighting system set into the concrete beams not only provides light, but also serves as an important architectural element by itself, creating a high-tech effect in the roof space. With such a technology system as its guarantee, visitors would have high hopes of the impressive exhibits. Indeed, the abundant adjustable space at the top provides plenty of possibilities of light controlling. This indicates how artificial light can become part of the vocabulary of architectural form, like the beam can function as the essential expressive element. (Translated by Dandan Wang)

Anne Flannagan: There is no doubt that the John Kaldor Family Gallery extension was designed to take advantage of the very latest technology. It is an attempt to achieve maximum space at low cost. A highly functional solution integrates all the gallery elements including museum lighting, temperature and relative humidity controls to international standards, security systems and flexible digital services to accommodate the latest in contemporary art. Additionally, a pre-existing basement was transformed into an exhibition space. As client for this public project it provides the best in innovative design with an imaginative response to the brief as well as reveals the original structure. It is indeed an unique contemporary gallery created within a public building.

10 新建樓梯/New stairs