三丹國際總部與松隱藝術(shù)空間

松隱藝術(shù)的新棲息地，首爾人的新去處。新筑的三丹松隱大樓為松隱藝術(shù)與文化基金會(huì)提供了嶄新的藝術(shù)展示空間，同時(shí)也為這一國際企業(yè)打造了全新的辦公空間。基金會(huì)成立于1989年，是一個(gè)致力于推廣當(dāng)代藝術(shù)的非營利組織，它通過舉辦一年一度的松隱藝術(shù)獎(jiǎng)來支持年輕一代的韓國藝術(shù)家，并策劃、展出了許多重要的國際藝術(shù)家的展覽。當(dāng)建筑師開始設(shè)計(jì)這一當(dāng)代博物館時(shí)，他們考慮如何將藝術(shù)與人融合在一起，以及如何才能創(chuàng)造一個(gè)為藝術(shù)、藝術(shù)家、策展人和公眾服務(wù)的空間。在赫爾佐格和德梅隆建筑事務(wù)所于2016年受委托設(shè)計(jì)松隱藝術(shù)空間時(shí)，他們的目標(biāo)十分明確：希望打造一個(gè)文化錨點(diǎn)，以此邀請(qǐng)大眾在其中體驗(yàn)藝術(shù)，同時(shí)擴(kuò)大韓國藝術(shù)家在國際當(dāng)代藝術(shù)界的曝光度。這一項(xiàng)目通過在首爾最商業(yè)化的地段打造一個(gè)非商業(yè)的藝術(shù)空間，加強(qiáng)了“松隱”的存在感，并為這一城市的文化地形和多樣性做出了重大貢獻(xiàn)。

位于清潭洞核心的精確幾何形體。項(xiàng)目所在場地位于島山大道的最高點(diǎn)。島山大道是一條穿過首爾南部清潭洞區(qū)域的主要交通軸線，以其坐落于這條路上的國際品牌旗艦店、餐廳及酒吧而聞名。雖然這片區(qū)域主要由兩層或三層的建筑組成，但是土地使用分區(qū)規(guī)則規(guī)定，允許靠近主街道的建筑有更高的密度。在土地分區(qū)規(guī)定、區(qū)域快速轉(zhuǎn)變以及島山大道致密化的催化下，各種有著不同體量的建筑層出不窮，裝飾著這條交通要道的立面。

這一地上11層、地下5層的建筑面積為8 000多平方米。在基于場地所允許的建筑最大范圍的條件下，建筑師量身打造了“尖銳的”三角形體塊，從而在符合土地分區(qū)規(guī)定的情況下，最大化了單層面積，并大膽塑造了建筑的外形。因此，建筑高大的一面朝向主街道，同時(shí)，項(xiàng)目中的核心筒也位于此側(cè)。而較低的后立面則面對(duì)花園，因此建筑的這一側(cè)有著較為私密的尺度感，并以此呼應(yīng)著周邊的社區(qū)尺度。

一個(gè)面向城市的文化錨點(diǎn)。盡管建筑有著“隱世”的一面，但也表達(dá)了它的不同與開放。建筑底部有著一處切口，吸引著街道上來往的行人進(jìn)入到主大堂和隨時(shí)向公眾開放的內(nèi)部花園之中。入口處佇立的柱子上包裹著無縫銜接的LED屏幕，展示著當(dāng)前的新聞以及藝術(shù)品導(dǎo)覽信息。

在建筑的西側(cè)，停車坡道自然地雕刻出了一個(gè)充滿造型感的開口。坡道的弧線在展覽空間上方雕刻出了一個(gè)開口，將下沉畫廊和街道上的活動(dòng)、聲響及光線連接在一起。這個(gè)如洞穴般的空間與坡道內(nèi)部和下方停車空間的銀葉飾面的反光形成了鮮明對(duì)比。此外，坡道盤旋、環(huán)繞著一個(gè)三層高的中庭，定義了大樓梯的幾何形體。這一大樓梯既作為通往禮堂欣賞放映作品和講座的“門戶”，同時(shí)也可以將人們引導(dǎo)至二層畫廊空間。此外，建筑中有著一處結(jié)合藝術(shù)空間、辦公室、公共區(qū)域等的實(shí)驗(yàn)性驚喜空間，這一空間同時(shí)在地上與地下徐徐展開，以此打造一個(gè)全新的城市綜合體，邀請(qǐng)著公眾參與到首爾當(dāng)代藝術(shù)之中。

松隱之面——“隱藏的松樹”。建筑如雕塑般的混凝土體塊由適量的窗戶切割分離。這些窗口為人們提供了足夠的主要街道景觀，并可以幫助訪客在建筑內(nèi)部定位自己。南側(cè)的兩個(gè)通高垂直玻璃窗展示了城市風(fēng)采，朝東的三角形開口與朝北的線性切口則為辦公空間帶來了自然光線。

建筑中的混凝土體量不僅僅承載了整體結(jié)構(gòu)的責(zé)任，同時(shí)也定義了所有的空間和裝飾性的表面。長寬各一米的落葉松膠合板旋轉(zhuǎn)拼接組成的模板打造了建筑混凝土表面的紋理。這些圖案和紋理為建筑增添了觸覺感受，并形象地表達(dá)了松隱名字背后的含義：“隱藏的松樹”。獨(dú)特的紋理讓人們常常駐足于此，并用他們的眼睛與手親自探索每一處材料的不同質(zhì)感，以此將建筑的城市存在感與人類觸覺的尺度相互連接。

A new home for SONGEUN and the people of Seoul. The new ST SONGEUN Building houses art spaces for the SONGEUN Art and Cultural Foundation – a non-profit organization established in 1989 – together with headquarter offices for ST International. Our experience designing contemporary museums increasingly focuses on how we can bring art and people together. How can we make a space that works for the art and the artist， for the curator and the public？ When Herzog amp; de Meuron was commissioned to design the new SONGEUN Art Space in 2016， the ambition was clear： to create a cultural anchor that invites the public and broadens the exposure of Korean artists to the international contemporary art scene. By offering non-commercial art spaces within one of the most commercial areas of Seoul， the project aims to strengthen SONGEUN's presence and significantly contribute to the city’s cultural topography and diversity.

A precise geometry in the heart of Cheongdam Dong. The site is located on the highest point of Dosan Daero， a thoroughfare located in Cheongdam Dong in southern Seoul， renowned for its international flagship stores， restaurants， and bars. While the neighborhood mainly consists of low-rise buildings， the zoning allows for higher density towards the main street. Catalyzed by the area’s rapid transformation and densification， a myriad of volumetric strategies responding to various plot regulations sit along the street front.

A sharp triangular volume distinguishes the ST SONGEUN Building. Resulting from the envelope specified for the site， the building’s unified form maximizes the allotted floor area while exploring the sculptural potential of the zoning law. A tall front facade faces the main street and hosts the building’s core， and a low back facade faces the garden where a more intimate scale defines the surrounding neighborhood. With 11 stories aboveground and 5 floors underground， the completed building comprises over 8000 square meters.

A cultural anchor open to the city. The building expresses difference and openness despite， or rather because of， its hermetic street side. A cut out of the base invites visitors from the street to the main lobby and the intimate garden， open to the public at all times. At the entrance， a column wrapped in a seamless LED screen acts as an attractive lantern announcing current shows and a further place to present artistic content.

On the west side of the building， the car ramp is treated as a sculptural volume. The curve of the descending ramp carves an opening in the ceiling of the underground exhibition space， connecting this sunken gallery to the activity， sound， and light at street-level. With its concrete walls， this cave-like space contrasts with the reflective finishes of silver leaf lining the ramp’s interior and parking space beneath. The ramp spirals around a triple-height void and defines the geometry of the grand staircase which acts as both a threshold and auditorium space for screenings and lectures， leading to the second-floor galleries. An experimental and unexpected mix of art spaces， offices， and public areas unfolds above and below ground， creating a new urban complex that invites the public to engage with contemporary art in Seoul.

“Hidden Pine Tree”： a face for SONGEUN. Enhancing the facade’s continuous surface， the building is cut by only a few defining apertures. Two tall vertical windows puncture the south facade and create framed views of the city. A triangular opening spans between levels 3 to 8 on the east， while the rear is almost completely glazed behind a layer of balconies that bring light and air into the offices.

The concrete mass not only carries the entire structure but also defines all space and ornamental surfaces. Using larch plywood boards rotated in a 1-by-1 meter grid， the concrete facade is imprinted with wood grain patterns and expresses the meaning behind the name SONGEUN： “Hidden Pine Tree”. This unique texture invites the eye and hand to explore its different qualities， bringing the building’s urban presence down to a tactile human scale.