Since a collection of Wu Dayu’s work might not be exhibited at this museum, the name of Wu Dayu Art Museum has been discontinued. We use No Name Art Museum only as a temporary measure. However, the design of this piece of architecture was very much inspired by him.
画家、美术教育家、诗人，中国抽象绘画奠基人。他出生于江苏宜兴，1922年赴法国留学，学习油画和雕塑。回国后与林风眠等在杭州共同创办国立艺术院（现中国美术学院），并任西画系主任。他于1950年代早期失去教职，从此在上海家中一个十平米的阁楼里作画，直至逝世。
Wu Dayu (1903-1988) was a painter, educator, poet and considered the founding father of Chinese abstract painting. He was born in Yixing, Jiangsu, and went to France in 1922 to study oil painting and sculpture. After returning to China, he established the National Art Academy (now China Academy of Art) in Hangzhou along with Lin Fengmian and others and headed its Department of Western Paintings. Wu lost his teaching position in 1950’s and painted in a ten-square-meter attic at home until his passing.
左：吴大羽的画室©张永和；右：未名美术馆的十平米阁楼展室
Lift：Wu Dayu's studio；Right: 10m2 exhibition attic in No Name Art Museum
我们的建筑设计受到吴大羽的艺术的影响。他在明信片大小的画幅上追求“力”和“宁”的表达，促使我们反复推敲建筑空间的尺度。
Our architectural design was influenced by Wu Dayu’s art. His pursuits of ‘Li’ (force) and ‘Ning’ (serenity) in his small postcard-size paintings urged us to contemplate carefully the scale of architectural space.
吴大羽作品
Wu Dayu's paintings
吴大羽的诗《金刚》更是生动地描述了动态和变化的建筑：
Wu’s poem, King Kong, further portrays vividly the dynamics and volatility of architectural experience:
影子想骗过形体
时间在嘲笑空间
我没声又没踪影
出入光阴的黑暗
Shadow cheats on figure
Time laughs at space
With no sound and no trace
I come in and out of the darkness of time
吴大羽的诗进而引发了我们去探究建筑中的时间维度。
Wu’s poem inspired us to explore the temporal dimension of architecture.
Can time be designed?
经典西方时间：观察者在时间之外；时空分离；时间是匀质、可分割、单向离去、有始有终；明确定义过去与未来，几乎无法定义现在；可称为客观时间。
Borrowing French philosopher Francios Jullien’s book On Time for a theoretical guideline, we compared the time of China and Europe：
The classic Western time: The observer is without time; time and space are separated; time is evenly paced, dividable, one directional, with beginning and end. Past and future are clearly defined but not present. This is the objective time.
The traditional Chinese time: The observer is within time; time and space cannot be separated; time varies, is continuous and oncoming, without beginning and end. This time is always present and can be named as the subject time.
中西时间比较：西上中下©张永和
Comparison of Chinese and Western time. Top: Western, Bottom: Chinese
中国时间的富有弹性可以被转化为设计的可能性。
The elasticity of Chinese time offers design possibilities.
The case of Bridge with Nine Bends: If a body of water can be crossed with 3 steps, with a Nine-Bend Bridge, it may take 27 steps, which means the time is 9 times longer, consequently the space feels much larger.
我们把中国时间观和西方透视法结合，设计了一系列楔形空间，包含功能空间和纯建筑空间：这些空间从一个方向被透视夸大，又在另一个方向上又被压缩；于是时空感知不断变化，显现了时空的不可度量性，带来的是更丰富的时空体验。访客在时空中迷失，步入一个发现之旅。
We combined the Chinese time and Western perspective and designed wedge-shaped spaces, including both programmed one and pure one: These spaces are stretched by perspective in one direction and compressed in the other; thus, the temporal-spatial perception changes with every move of the visitor. It demonstrates the immeasurability of time and space and enriches the experience to the point where one may get lost and embark on a journey of discovery.
未名美术馆是一个时空游戏场。
No Name Art Museum is a playground of space and time.
The essence of an art museum is to provide a You or wandering experience. Spatial relationship naturally become the main design focus. Therefore, besides perspectival manipulation, we introduced the concept of “pure architectural space”: a series of outdoor or semi-outdoor spaces serving as transitions among programs. They are configured to possess dramatic tensions, intensifying the temporal and spatial dynamics during the process of journey through the architecture. The overall spatial structure of this building complex is arranged in Yuan (courtyards) and Jin (layers), generating a dialogue with the Chinese architectural traditions and overlaying another layer of experience onto the perspectival play.
主入口及接待区
Main Entrance and Reception Area
院 Yuan
Overlooking the Wedge-shaped courtyard（right）and the Water-court（left）
工作室区
Studio Area
院 Yuan
展览区
Exhibition Area
院 Yuan
梭形窄院
Spindle-shaped courtyard
居 所
Residence
院 Yuan
月牙形窄院
Crescent-shaped courtyard
俯瞰月牙形窄院
Overlooking the crescent-shaped courtyard
对时空和体验的关注使摆脱了静态的构图，即解除了立体的建筑体量之间及平面的立面元素之间的形式关系。在此，瑞典建筑师莱弗伦兹的工作对我们的启发是巨大的。
Paying attention to time-space experiences allows us a break away from static compositions, which means the formal relationship between stereoscopic volumes and planar elevations are dissolved. Hereto, the work of a Swedish architect, Sigurd Lewerentz, provided us with great inspirations.
The structural system of this project is partly beamless concrete slabs with irregular-shaped columns without beams and columns; and partly steel frames.
地域+材料
Regional Culture + Material
除了在空间上，我们也在建筑的材质和色彩上也尊重乌镇，尊重江南，用水泥瓦屋顶、水泥瓦墙面，及素混凝土墙面构成黑白灰的含蓄色调。
Besides space, we also pay tribute in our design to the vernacular houses in Wuzhen, which is part of Jiangnan (south of the Yangtze River), in terms of material and color. Hence, using clay tiles on the roofs and concrete tiles on the walls as well as exposing concrete walls constitute a rich and subtle color scheme of black-white-gray.
青瓦花格墙
Tile-louvre wall
Plaster with broken shells
Tile wall cladding
该建筑的室内及景观目前处于未完成状态。
At this point, the construction of landscape and interior of this building remain incomplete.
项目信息/ Project Info
摄影师/Photographer：田方方/Tian Fangfang
本文转自公众号：非常建筑 FCJZ
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