薩利哈拉藝術(shù)中心，南雅加達(dá)，印度尼西亞

建筑設(shè)計：安德拉·馬丁/安德拉·馬丁工作室

Architect: Andra Matin/andramatin office

1 外景/Exterior view

薩利哈拉藝術(shù)中心最初于2008年開放。它旨在成為一個藝術(shù)家能夠與其他人一樣盡可能多地表現(xiàn)和交流他們的想法與理想的場所。那一年，在長達(dá)32年的軍事政權(quán)被人民推翻10年以后，像這樣的地方幾乎鳳毛麟角。購物中心在公共建筑的類型中占據(jù)主導(dǎo)地位，比美術(shù)館、藝術(shù)中心或博物館這樣的文化建筑要重要得多，然而與此同時，由于所有印度尼西亞人享有著前所未有的自由，藝術(shù)運(yùn)動蓬勃發(fā)展。薩利哈拉藝術(shù)中心出現(xiàn)得恰到好處。

隨著時間的推移，藝術(shù)中心的活動規(guī)模擴(kuò)大了，需要更多的空間來實(shí)現(xiàn)這種拓展。在設(shè)計的第一個階段，3名建筑師——安德拉·馬丁、安迪·普爾諾莫和馬可·庫蘇馬維加雅被要求為這個綜合體設(shè)計3座建筑。安德拉·馬丁設(shè)計辦公樓，安迪·普爾諾莫設(shè)計黑箱劇場，而馬可·庫蘇馬維加雅負(fù)責(zé)設(shè)計畫廊。他們并沒有僅僅將每座建筑分別設(shè)計讓它們各自獨(dú)立運(yùn)營，而且還就如何讓每座建筑相互聯(lián)系完美互補(bǔ)展開了合作。這之后的第二年，管理部門決定繼續(xù)擴(kuò)大這個綜合體，并修建一座教育設(shè)施。他們買下了綜合體背后的一塊土地，并邀請年輕的建筑師丹尼·維卡索諾主持設(shè)計一座具有多種功能的建筑，來容納音樂工作室、舞蹈工作室、藝術(shù)家居住設(shè)施，以及劇院的儲藏空間。

最近，為了給游客提供更好的體驗(yàn)，該建筑群增加了一間咖啡廳，以及兩家由阿維安蒂·阿曼德和安德羅·卡利安迪設(shè)計的餐廳。

有一個潛在的問題可能普遍存在于多建筑的綜合體中，即隨著建筑在這個過程中不斷的增加，每座建筑會非常獨(dú)特，有別于其他建筑，甚至是超越其他建筑，破壞建筑群的和諧。但這個情況在薩利哈拉藝術(shù)中心并未出現(xiàn)。這個中心的每一棟建筑都彼此協(xié)調(diào)，互相連接，相互補(bǔ)充，相得益彰。所有的建筑都擁有相同的顏色，但同時又保留了各自的特點(diǎn)，形成各自獨(dú)特的身份。在它們彼此各異的基礎(chǔ)之上，所有建筑都享有一個共同特征，即努力保持與自然的緊密聯(lián)系，以彰顯印度尼西亞所具有的熱帶氣候?！?/p>

（龐凌波 譯）

2 局部外景/Part of exterior view

項(xiàng)目信息/Credits and Data

地點(diǎn)/Location: 印度尼西亞南雅加達(dá)/Pasar Minggu,Jakarta Selatan, Indonesia

客戶/Client: 薩利哈拉社區(qū)/Salihara Community

設(shè)計團(tuán)隊(duì)/Design Team: Wiyoga Nurdiansyah, Dwi Atmoko(Andramatin team); Adi Purnomo (Theatre); Marco Kusumawijaya (Gallery); Avianti Armand & Andro Kaliandi(Coffee shop); Nirwana Yoga (Landscape)

承建商/Contractor: Tata

材料/Material: 鋼筋混凝土以石膏飾面，預(yù)制玻璃纖維加強(qiáng)水泥（外表皮）/Reinforced concrete with plaster fi nishes, GRC precast (secondary skin)

設(shè)計時間/Design Period: 2006-2017

攝影/Photos: Davy Linggar, Adi Putra

Salihara Art Compound was opened in 2008.It was built to be a place where artists and other people alike, can perform and exchange their ideas and beliefs with as many people as possible. That year, a decade after a 32-year military regime was brought down by the people, places such as this was a unicorn. Malls were dominating the typology for public public buildings, much more than cultural buildings such as gallery, art centers or museums, while at the same time the art scene was burgeoning due to the unprecedented freedom that all Indonesians had. It was the right time.

As years gone by, activities in the compound expanded and additional spaces were needed to facilitate the growth. In first phase of the construction, three architects were asked to design three buildings in this compound: Andra Matin, Adi Purnomo and Marco Kusumawijaya. Andra Matin designed the office building, Adi Purnomo design the blackbox theatre and Marco Kusumawijaya design the gallery. They did not just design each building separately to operate individually, but they also collaborate on how each building connects and complements each other perfectly. Entering their second year, the management decided to expand the compound and build an educational facility.They bought a piece of land located in the back of the compound and asked a young architect, Danny Wicaksono, to design a mix used building that houses a music studio, dance studio, artists residence facility, and storage for the theatre.

3 通向畫廊和辦公區(qū)的入口/Entrance to gallery & office

4 剖面/Section

5 立面/Elevation

6 首層平面/Ground floor plan

8 辦公室內(nèi)景/Interior view of office

7 二層平面/First floor plan

9 步道/Walkway

10 中庭/Atrium

Recently the compound added a coffee shop, and two restaurants designed by Avianti Armand and Andro Kaliandi, to give better experience for the visitors.

A problem that could potentially arise with a multi-buildings compound,whose buildings added along the way, is that each building can be very individual and very different from the other, outshining the other and disrupting the harmony. This is not the case with this compound. Every building in this compound sits nicely with the other. Allof the buildings are connected and each complements the other fi ttingly. All the buildings has the same colour, but each have their own character that creates a unique identity.Above all the difference each buildings has, there is one quality that every buildings in this compound shares: each of them made an effort to keep a close connection to nature, in order to celebrate the tropical climate Indonesia has.□

12 加建外景/Exterior view of extension

13 連廊/Veranda

評論

張昕楠：薩利哈拉藝術(shù)中心是一處以藝術(shù)活動為主體融合了日常與公共生活的所在。在近10年的過程中，工坊建筑群落的規(guī)模和機(jī)能逐步發(fā)展并融合了多元的藝術(shù)活動。雖然由不同的建筑師負(fù)責(zé)，建筑師們通過設(shè)計的處理，將3個主要建筑量體在首層通過正負(fù)空間關(guān)系和主從空間機(jī)能的協(xié)調(diào)，將一個具有更適宜尺度的聚落感的空間呈現(xiàn)給世人，并借助一處圓形的屋頂將室外公共空間和建筑體量統(tǒng)合。同樣的協(xié)調(diào)也出現(xiàn)在立面的材料形式方面，通過預(yù)制混凝土掛板在室內(nèi)創(chuàng)造出豐富光影的同時，為不同的建筑部分帶來形式語言的協(xié)調(diào)感，并借助掛板布置方式的變化表達(dá)出其各自的差異。

洪人杰：原始感覺

在全球化影響當(dāng)代社會的情形下，我們?nèi)钥梢钥吹接《饶嵛鱽喗ㄖ欠N沒有被現(xiàn)代化所改變的特質(zhì)——輕巧地回應(yīng)熱帶氣候、真實(shí)地傳達(dá)民俗信仰，樸實(shí)地演繹空間本質(zhì)。薩里哈拉藝術(shù)中心有別于傳統(tǒng)封閉式的藝術(shù)機(jī)構(gòu)，其建筑布局盡可能最大化地結(jié)合自然環(huán)境，并在步行路徑置入具延展性和連續(xù)性的“界面”；而該界面時而以外廊或樓梯、時而以空橋或坡道的形式出現(xiàn)，但皆反映藝術(shù)本身不該只是看或被看，更多是交流與活動。這樣的手法一方面批判當(dāng)代空間的扁平化，另一方面提供建筑使用上的自由，并進(jìn)而創(chuàng)造空間與人之間的潛在張力。

Comments

14 大廳/Dining hall

ZHANG Xinnan: Salihara Art Compound is a place mainly for art activities and integrating with daily and public life. In the process that lasts nearly 10 years, the scale and functions of the compound are gradually developed and integrates with diversified art activities. Though designed by different architects, the three primary construction parts are presented to people as a spatial cluster in appropriate scale through architectural design means that coordinates the positive and negative spatial relationship and the principle and associated spatial functions of spaces at the first floor, in addition, a round roof links up the exterior public space and the construction cluster. Similar coordination can also be seen in application of interior materials: the premade concrete hanging panels integrate different construction parts through unified forms while creating affluent light and shadow shapes in interior space. Moreover, various hanging modes of these panels express distinctions among different spaces.(Translated by QIAN Fang)

HUNG Jenchieh: A sense of originality

Under the background of tremendous influences by globalisation to contemporary world, we can still see those features of Indonesia architecture that are not changed by modernisation: the delicate response to the tropic climate, the true expression of folk custom and religion, and the plain interpretation of the nature of space. Different from traditional enclosed artistic institutions, the architectural layout of Salihara Art Compound is integrated with its surrounding natural environment to the maximum. In addition,an extensive and consecutive "interface" is placed along the pedestrian route; the interface appears now and then in the forms of veranda or stairs, or air bridge and ramp, allof which re fl ect the idea that art should not be limited to watch or being watched, but be more about communication and interaction. Such a design method on one hand criticises the flatness of contemporary space, on the other hand provides freedom in architectural use, and furthermore, creates a potential tension between the space and the users.

(Translated by QIAN Fang)