范曾藝術(shù)館，南通，江蘇，中國(guó)

建筑設(shè)計(jì)：章明，張姿

范曾藝術(shù)館，南通，江蘇，中國(guó)

建筑設(shè)計(jì)：章明，張姿

范曾藝術(shù)館以傳統(tǒng)的空間的“院”為切入，將院落從物化關(guān)系中脫離，繼而呈現(xiàn)游目與觀想合一，以期達(dá)到“得古意而寫今心”的意境。

“關(guān)系的院”，首先表現(xiàn)在同時(shí)呈現(xiàn)的三種不同的院落形式：建筑底層的“井院”、 建筑二層南北穿通的 “水院”與“石院”、建筑三層四邊圍合的“合院”。并在此基礎(chǔ)上構(gòu)架起以井院、水院、石院、合院為主體的疊合的立體院落；“觀想的院”，以局部關(guān)系并置的方式形成時(shí)間上的先后呈現(xiàn)，為“游目”式的觀想體驗(yàn)提供可能；“意境的院”， 講求“計(jì)白當(dāng)黑”的意境、有無(wú)之間的把控、不飽滿中呈現(xiàn)飽滿的觀想。它沒有設(shè)定一個(gè)強(qiáng)大的整體框架，將所有的情節(jié)歸入明晰的主線索之中。而是依照三種不同院落的自發(fā)性生成秩序鋪展開略帶松散的局部關(guān)系。藝術(shù)館的“關(guān)系進(jìn)化”的主張更強(qiáng)調(diào)關(guān)系的進(jìn)化而非單體的進(jìn)化，以院落關(guān)系的重構(gòu)與疊加取代了對(duì)院落本身的顛覆性改變。三種原型簡(jiǎn)單的院落并沒有完全脫離傳統(tǒng)的形制，但經(jīng)過(guò)融通勾連之后，呈現(xiàn)出不同以往的可能性。□

The concept of Fan Zeng Art Gallery started from "a courtyard", an essential element of traditional architecture. In order to create an atmosphere of "making modern creations under ancient rules", the designers separate the courtyard from the physical circumstance, and then combine the visiting behavior together with thinking.

"Interrelated courtyards" bespeak the theme of Fan Zeng Art Gallery. It is first embodied in the presentation of three different forms of courtyards: "well courtyard" on the ground floor, "water courtyard" and "stone courtyard" across from north to south on the second, and an "encircled courtyard" on the third. With these courtyards, a three-dimensional courtyard framework is established to enable them to play a major role. "Visualized courtyard" is another theme. The partial relationships are juxtaposed, so that they can be presented in sequence, and therefore make it possible for people to visit and visualize. "Courtyards of artistic conception" is emphasized, too. Fan Zeng Art Gallery plays out the conception that less is more, the elaborate control of the existence, and the abounding vision and image within a gentle appearance. Instead of a strong overall framework leading the whole story with a clear rule, it produces a relatively flexible and spontaneous partial relation from three different yards. The theme of "evolutionary relationship" means that the evolution of relationships stands out from the evolution of every single unit. Thus the design reconstructs the relation of three courtyards, but makes no distinct change in any of them. The three prototypal courtyards are not unfamiliar with traditional forms, but they actually express extraordinary possibility after the communication and intermediation with each other.□

項(xiàng)目信息/Credtis and Data

客戶/Client: 南通大學(xué)/Nantong University

設(shè)計(jì)單位/Design Company: 同濟(jì)大學(xué)建筑設(shè)計(jì)研究院（集團(tuán)）有限公司，原作設(shè)計(jì)工作室/The Architectural Design and Research Institute of Tongji University, Original Design Studio

設(shè)計(jì)團(tuán)隊(duì)/Design Team: 李雪峰，孫嘉龍，張之光，蘇婷/ LI Xuefeng, SUN Jialong, ZHANG Zhiguang, SU Ting

建筑面積/Floor Area: 7028m2

設(shè)計(jì)時(shí)間/Design Time: 2010.11-2013.01

建成時(shí)間/Completion: 2014.9

攝影/Photos: 姚力，蘇圣亮/YAO Li, SU Shengliang

Fan Zeng Art Gallery, Nantong, Jiangsu, China, 2014

Architects: ZHANG Ming, ZHANG Zi

1.2 分析圖/Diagrams

3 三層平面/Floor 2 plan

4 二層平面/Floor 1 Plan

5 首層平面/Floor 0 plan

6 合院院景/View of encircled courtyard

7 外景/Exterior view

8 水院院景/View of water courtyard

9 井院院景/View of well courtyard