汾酒艺术空间 Private Art Space

 项目地点:北京

基本功能:私人画廊

建筑规模:500平方米

建成年份:预计2017

中国已进入艺术品收藏的时代,私人藏家对艺术品空间的需求也不断提升。但物质财富层面的极大发展,与之匹配的生活品质、或精神需求实为落后。如今的艺术品更多演变成流通的资本,但市场充斥着奢华乘风的恶趣味,虚有其表的认知让我们孤立在世界文明发展之外。究竟艺术品为何存在?艺术的“观看”可透过其所在空间被改变吗?这一艺术空间项目也渗透着建筑师对此现状的思考。

“每幅画的独特性一度是那幅画所属之地独特的组成部分”,约翰·伯格在《观看之道》里已简明表述了艺术品的意义之一,不单是视觉美的欣赏,而是可以窥见一段社会历史、生活时期的真相,艺术品帮助我们了解世界文明的发展。因此,这个艺术空间也非建立某种“艺术价值”的表象,不是名贵材料的堆砌,而是如真实的艺术品一样,以工匠的劳作、恰当合理的技术去完成建筑。从艺术品到空间,延续相同的诞生基础。

委拉斯贵兹的油画作品《宫娥》,及福柯对其的评述,明确了传统的绘画内容已不再重要,再现的本身含义会引发持续的思考,从而去挑战固有的认知。刘野的油画《小海军》制造了充满梦幻色彩的场景,以舞台为空间的原型,试图强调虚实真假间的思考碰撞——这些作品也成为建筑师设计时的来源。

最终,展示区以舞台空间形式呈现,一系列高低错落的平台将空间范围变得灵活,吊顶也随之呼应高低起伏,通过设计被强调的舞台式环境中,观看与被观看的关系由此顿现。艺术品并非一种因占有而用来炫耀的物品,这一空间也暗示着艺术品可以是空间的主人。

此外,通过重新组织空间形成一个内部的环路,这与常规的博物馆不同,不是漫步般走马观花式的欣赏,观者得以自行选择观看的对象。以空间的自由去实现观看的自由。

Private Art Space

Location: Beijing

Program: private art gallery

Size: 500sqm

Completion: expected in 2017

China is welcoming an era of art collection, and people are having higher expectation on art spaces. Compared with the great development of material wealth, the quality of our lives, or to say, our spiritual needs are very much lagged behind. Artworks today are more likely to be evolved into circulatingcurrencies. However, the horrible taste and superficial perception under extravagant ambiancehave isolated us from the development of world civilization. Why do we need art? Will the “viewing” of art be possibly changed by the space where it is placed? Our reflection on this topic can also be found through the space of this art gallery.

“The uniqueness of every painting was once part of the uniqueness of the place where it resided,”as John Berger stated in his bookWays of Seeing, the meaning of art does not rely on simply appreciation of beauty by eyes, but also to glimpse the truth of society and life in a particular period of history. It is with artworks that we are able to understand the development of world civilization.Therefore, this art space is not built with expensive materials to piece upa certain “artistic value”, but is accomplished with delicate craftsmanship and techniques as a real piece of artwork to inherit the artistic quality in the space.

Las Meninas by Diego Velázquez and the interpretation of Michel Foucault clarified that the content in traditional paintingis no longer important;instead, the meaning of the reproduction itself will lead to continuous reflections to challenge the inherent knowledge.The oil painting Little Navy by Liu Ye created a scene full of fantastic colors. It tries to intensify the reflection as well as the collision between the illusion and reality by taking the stage as a symbol of space – these works also greatly inspired the architect for the design.Eventually, the display area is presented in the form of a stage and becomes flexible with the waving stairs and ceilings. Emphasized through design, the stage-like space displayed the relationship between seeing and being seen, which implies the fact that the artwork is able to dominate the space instead of being possessed as a showing-off object.

By reprogramming the space, the architect established an internal loop where the visitors are able to decide what to see instead of randomlywondering in other ordinary museums. The freedom of seeing is realized with the freedom of space.