独白美术馆
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Wutopia Lab已受中海地产的委托，在北戴河SEATOPIA的公园绿地上创建了一座独白艺术博物馆，专为那些渴望摆脱尘世纷扰的无数个人而设。该博物馆于2022年7月完工，并向公众开放。
独白
女王迪多通过将一张牛皮切成薄条并环绕一块土地创造了伟大的迦太基。在威兰海岸校园的三个住宅区交汇处的一个开放绿地上，我将1300平方米的建筑分解为不同的独立体块，结合墙壁、走廊和模糊的空间，打造成一个三角形的3600平方米的场所，即独白艺术博物馆。
更加迷人
A面
独白博物馆是一部缓慢展开的手卷。从光线透过角落的小入口剧场开始，进入艺术画廊，沿着开放的走廊，宁静的水庭院在移动的光线中慢慢呈现，穿过色彩斑斓的瑜伽室到明亮的艺术画廊 "展览和绘画室"。然后光线减弱，路径变窄，你几乎错过了隐藏在墙后的茶室。最后，有一个舞蹈工作室。当你走出建筑时，沿着花墙继续前行，穿越水中的斑驳阴影。水流贯穿中心，将建筑分隔，似乎通往大海。当我再次经过小剧场时，看到水边有六棵树，在微风中低语摇头。所有的景色，包括声音和思绪，都慢慢展开成画作。
B面
独白艺术博物馆是一个多功能空间。它允许不同的人在同一时间处于不同的空间，但可以以艺术的方式独自存在。平面设计复杂而不规则，结构设计不利于抗震。然而，当博物馆被划分时，除了艺术画廊外，矩形的舞蹈工作室、圆形的瑜伽室和椭圆形的剧场都是对称而规则的，抗震性能出色。在这方面，结构工程师老胡设置了三个抗震缝，将它们分为四个独立的结构单元。超长结构的扩张和变形得以释放，减少了热应力，避免了温度变化导致的结构裂缝。尽管不得不接受抗震缝，我不得不精心设计节点，以在屋顶、立面和内部掩盖它们的存在，以确保我的画面在视觉上连贯。
仍然是那时的路
A面
小剧场是独白艺术博物馆的前厅。为了减少计算建筑面积比例，它被设计成一个灵活的空间。同时，为了使观众的注意力集中在表演上，而不是戏剧化的中央水景，小剧场被设计成一个封闭的空间。我在舞台后方切了一个弯曲的天窗，让白天或月光像瀑布一样倾泻下来，“万物皆有裂缝，光就是从那里进来的。”
B面
小剧场与主体钢结构分开，由连续的钢筋混凝土墙板结构塑造，一个椭圆形的柱子矗立在水池上。里面喧嚣而外面宁静。
全方位
A面
中国画最具艺术特色的是线条。毛笔的不同部位在纸上形成各种线条，直线和灵活的线条，粗重和轻盈的线条，干燥和湿润的线条，厚薄不一但连续不断。这些线条不仅界定了空间，还传达了频率。我将独白的边界看作是这样一条不断变化的墨线。我在建筑中使用白色代替黑色。起始笔画是小椭圆剧场。焦点是瑜伽室，枯竭的笔触是花墙，艺术画廊是连接它们的线条，细而略快的是带有钢笔的走廊，然后它倾斜成为一个侧峰形成缓慢而浓密的线条，扩大的艺术博物馆，然后舞蹈工作室是一条慢慢回到钢笔的线条。起初，艺术画廊和艺术博物馆在外部关闭，在内部向水庭院开放，而之后在内部关闭，在外部向大景观开放，这类似于笔的移动方式。
B面
我希望面向庭院和博物馆外部的玻璃表面具有连续的视野，没有任何结构元素。为了减轻结构的自重并减小结构元件的尺寸，屋顶采用整体浇筑的40毫米细石混凝土，顶部铺有有条纹的钢板，以确保保温和防水性能。然后，老胡在狭窄的走廊中设置了独立的悬臂梁钢结构单元，并将它们隐藏在墙壁中。在扩大的艺术博物馆空间中使用了单跨梁悬臂梁钢结构单元，最大悬臂为4.6米。它确保了与面向水庭院的立面上没有垂直元素阻挡的完全通透效果。
上下
A面
2009年，我参观了由赫尔佐格与德梅隆设计的伦敦一所舞蹈学校。学校的校长有礼貌地告诉我，舞者在训练时希望有很多光线。所谓的美丽风景和多彩的立面会干扰他们的情感。我将独白的舞蹈工作室设计为半透明玻璃箱，有足够的光线，但可以滤出户外景色作为背景。在教室的镜面墙后是夹层的入口和更衣室。舞者可以在上下舞蹈。
B面
整个规则平面正方形的一侧只有一小片夹层空间。为了避免结构上的突然变化对结构产生不利的地震影响，老胡建议在夹层梁和柱上使用铰接连接，以确保教室的单层钢框架体系的规则性。
一直如此
A面
在复制倪瓒的《六君子图》之后，我在大学二年级时放弃了我对山水画的梦想，意识到我永远不可能成为像他那样的艺术家。但那六棵树成了我挥之不去的执念。因此，将来我的许多作品都设计成以树木为参照点。这一次，由于气候和来源的限制，我在北方使用松树、榆树、柏树、枫树、橡树和朴树，而不是倪瓒在江南原始的六种树木，形成了新的水池花园的六君子。
B面
客户建议将设备房改建为茶室。然后，设备必须放在外面分两组，一组在庭院，另一组在画廊外的绿地。我设计了一个叶形的穿孔铝挡板来隐藏设备。设备被改造成了独白艺术博物馆的一部分。
黑暗中的唯一光明
A面
庭院最初设计为白色的干粘土石地面。这可以使整个建筑具有无重感的感觉，这在我的白色高原项目中得到了成功的尝试，创造了一种虚幻的幻觉。当我设计《六君子》的呈现方式时，我改变了主意，不再追求略带甜蜜的梦想，而是试图表达一种略带忧郁的情绪。《六君子》的绘画通过大量的空白表达了辽阔的水面，使画面呈现出一种宏伟的氛围，而不受尺寸的限制。在这方面，我决定将白色改为黑色，将可访问的白色广场变成一个可以看到的黑色池塘。这在视觉方面创造了新的深度。这样，白色建筑被深邃的池塘沉默所包围，你凝视着它，它也凝视着你。周围突然变得安静，只有风吹过《六君子》时的沙沙声。
B面
然而，我并没有取消原始庭院中具有《弯弓流水派》寓意的景观水系统。我希望这个流动的水设计成在宁静的水庭院中形成涌动的水流，形成水中水的设计。水从中庭的中心跌落，螺旋旋转，然后流向瑜伽室，与建筑基础下的外部水系统相连接，最终静静地流入大海。这将这个独立封闭的独白艺术博物馆与黄海相连接。
不沉入黑暗的黑色
A面
水庭院安静了下来。当我看着渲染图中黑池边上玻璃幕墙的白色建筑时，一种新的熟悉感产生了，地方的氛围太陈词滥调了。因此，我决定通过将最高的圆形瑜伽室外立面变成渐变的彩色玻璃来点亮它。在浓墨中加入一抹色彩，这里就有了一座闪烁的玻璃堡垒。
B面
玻璃堡垒原本只有一层，但客户坚持要有一个更衣区，我只能为其设置第二层，以确保第一层的视觉开放性。我还希望立面玻璃保持垂直连续性。我请老胡将地板挂起，断开地板和玻璃幕墙的连接。老胡设计了十字形的框架，在屋顶上提供了水平横向刚度，结合外围环形梁形成框架，提供了扭转刚度，形成了清晰高效的力学体系。他使用四根悬挂柱悬挂在主框梁上，并隐藏在壁橱中，以抬起二楼的板。最后，楼梯也轻轻地悬挂在地板板上。然后，一楼就向绚丽的光明敞开了大门。
边际的几颗星星
A面
独白的内外墙面由玻璃、实体墙和花墙构成。三者独立或组合，连续如变幻的墨迹刷法，创造了博物馆多变的边界条件。花墙被“写下”，如同墨水干燥。
B面
为了保持5米高的花墙的安全性以及持续展开，有必要在花墙背后每3.8米增加结构柱。同时，屋顶面板悬挑，作为砖墙的压缩屋顶。复杂的花砖是采用3%钢纤维含量的预拌法制成的GRC砖，两个模块结合形成立面图案。砖墙可以双重运行以围绕一个庭院，也可以与玻璃或实体墙相接，形成一个连续150米长的走廊，环绕独白博物馆。
失眠者
我将一堵单独的墙分成两半，形成一个隐藏在走廊背后的茶室，就像我们在毛笔笔画之间留下的白色缝隙一样。这是一个亲密而寂静的空间，一个我们隐藏思绪的角落。我沿着视线高度开了一扇长窄的窗户，将景象框成一卷，六君子在其中显现。“相对无言中默然，寂寞只有时光能道出。”
孤独
度假胜地有各种小而愉快的欲望，有时甚至可能太喧闹了。我们需要安静。张晓彦将艺术博物馆命名为“独白”可能是因为他渴望在喧嚣的海洋中创造一个人可以独处和独行的孤岛。这是我们一个人的天堂。而大海就在附近。
团队
首席建筑师：Ting Yu
项目经理：Hao Li
项目建筑师：Hao Li
设计团队：Raven Xu, Zhizheng Wang, Ziheng Li, Xinping Jiang (实习生)
原型研究：Xinyang Dai, Jun Ge, Murong Xia, Binhai Miu (结构)
照明顾问：Chloe Zhang, Shiyu Wei, Xueyi Liu
材料顾问：Jing Sun
Wutopia Lab has been commissioned by Sino-Ocean Group to create a monologue art museum on the park green of SEATOPIA in Beidaihe, Qinhuangdao, dedicated to an infinite minority of people who want to be free from the worldly distractions. It was completed and opened to public in July 2022.
Monologue
Queen Dido created the great Carthage by cutting a cow skin into thin strips and circling a piece of land. In an open green space at the intersection of three residential clusters in the Weilan Coast campus, I broke up the 1,300 square meter building into different monoliths combined with walls, corridors and ambiguous spaces into a trangular-shaped 3,600 square meter place, the Monologue Art Museum.
Even More Charming
Side A
The Monologue Museum is a slowly unfolding hand scroll. Starting from the small entrance theater where the light breaks through the corners, entering the art gallery, the quiet water courtyard slowly reveals itself along the open corridor with shifting lights, passing through the colorful yoga room to the bright art gallery (exhibition and painting rooms). Then the light fades, the path gets narrower, and you almost miss the tearoom hidden behind the wall. At the end, there is a dance studio. When you exit the building, you continue along the flower wall and wade through the water in the dappled shadows. The water runs through the center and diving the building, seemingly towards the sea. When I came across the small theater again, I saw six trees by the water, whispering and shaking their heads in the breeze. All the scenery including sounds and thoughts slowly unfolded into paintings.
Side B
Monologue Art Museum is a multi-function space. It allows different people to be in different spaces at the same time, but one can be alone in an artistic way. The plan is complex and irregular, and the structural design is not conducive to earthquake resistance. However, when the museum is divided, except for the art gallery, the rectangular dance studio, the circular yoga studio and the oval theater are all symmetrical and regular with excellent seismic performance. In this regard, Lao Hu (structural engineer) set up three seismic joints to divide them into four independent structural units. The expansion and deformation of the extra-long structure was released, reducing the heat stress, and avoiding structural cracks caused by temperature changes. Having to accept the seismic joints, I had to carefully design the nodes to conceal their presence on the roof, façade, and interior to ensure that my painting is visually continuous.
Still the Way Back Then
Side A
The small theater is the foyer of the Monologue Art Museum. To reduce the floor area for calculating the floor area ratio, it was designed as a flex space. At the same time, to keep the audience's attention on the performance and not to dramatize the central water scene, the small theater was designed as a closed space. I cut a curved skylight above the back of the stage to allow daylight or moonlight to spill down like a waterfall, "There is a crack in everything, that's how the light gets in."
Side B
Separated from the main steel structure, the small theater is shaped by a continuous closure of the reinforced concrete wall panel structure, an elliptical column standing on the pool. The inside is noisy while the outside is quiet.
All in One Side A The most artistic feature of Chinese painting is the line. Different parts of the brush are used to form various lines on the paper, straight and flexible, thick and light, dry and wet, varying in thickness but continuous. Such lines not only inform space but also frequency. I see the boundary of the Monologue as such a shifting ink line. I use white instead of black in the architecture. The starting stroke is the small oval theater. The point is the yoga room, the dried brush is the flower wall, the art gallery is the stroke that connects these, the thin and somewhat fast is the corridor with a nib, then it leans to become a side peak forming a slow thick line, the enlarged art museum, then the dance studio is a stroke slowly back to the nib. At the beginning the art gallery and the art museum are closed on the outside and open on the inside to the water courtyard, while after that it is closed on the inside and open on the outside to the large landscape, which resembles how the pen moves.
Side B
I wanted the glass surface facing the exterior of the courtyard and the museum to have a continuous view without any structural elements. To reduce the self-weight of the structure and to reduce the size of the structural elements, the roof is made of a whole cast layer of 40mm fine stone concrete with ribbed patterned steel plates on top to ensure thermal insulation and waterproof performance. Then Lao Hu set up independent column overhanging beam steel units in the narrow corridor, and hid them in the walls. And the single-span frame overhanging beam steel structure unit was used in the enlarged art museum space. The maximum overhang is 4.6 meters. It ensures a fully permeable effect with no vertical elements blocking the facade facing the water courtyard.
Above and Below
Side A
In 2009 I visited a dance school in London designed by Herzog & De Meuron. The director politely told me that dancers want to have a lot of light when they train. The so-called beautiful landscape and colorful façade would interfere with their emotions. I designed the dance studio at the Monologue as a translucent glass box, with enough light but filtering out the outdoor scenery as a backdrop. Behind the mirrored wall of the classroom is the entrance foyer and the dressing room in the mezzanine. The dancers can then dance as above and so below.
Side B
The dance classroom only has a small area of mezzanine space on one side of the entire regular plan square. To avoid sudden changes in local stiffness on the structure of adverse seismic effects, Lao Hu suggested using hinged connection in the mezzanine beams and columns, to ensure that the classroom rule of single-story steel frame system.
It's Always Been Like This
Side A
I gave up my dream of landscape painting after copying Ni Zan's Six Gentlemen in my second year, realizing that I would never be able to be an artist like him. But those six trees became my lingering obsession. Therefore, many of my works in the future have the design of using the trees as a point of reference. This time, due to the limitation of climate and source, I used pine, elm, cypress, maple, oak and celtis sinensis in the north instead of Ni Zan's original six types of trees in Jiangnan to form new Six Gentlemen of the water garden.
Side B
The client suggested that turn the equipment room into a tearoom. Then the equipment had to be placed outside in two groups, one in the courtyard and the other one in the green space outside the gallery. I designed a leaf-shaped perforated aluminum baffle to hide the equipment. The equipment was turned into an installation for the Monologue Art Museum.
The only Light in the Darkness
Side A
The courtyard was originally designed to have white dry-clay-stone floor. It could give the whole building a weightless feeling, which was successfully experimented in my White Upland project, creating an unreal illusion. I changed my mind when I designed the presentation of the Six Gentlemen, instead of pursuing a slightly sweet dream, I tried to express a somewhat melancholic mood after reflection. The painting of Six Gentlemen expresses the vast water surface with a large amount of emptiness, which makes the picture present a sublime atmosphere without being limited by the size. In this regard, I decided to change the white into black, turning the accessible white square into a black pool that can be seen. This creates a new depth in the visual aspect. In this way, the white building is surrounded by a deep pool of silence, you stare at it while it stares at you. The surroundings suddenly become quiet. There is only the rustling of the wind blowing through the Six Gentlemen.
Side B
However, I did not eliminate the landscape water system in the original courtyard that takes the meaning of Winding Stream Party. I wanted the design of this flowing water to become a surging current in the calm water courtyard, forming the design of water within water. The water flows from the plunge into the center of the courtyard, spirals and twists, then flows toward the yoga room, connecting with the external water system under the foundation of the building, and finally quietly flowing into the sea. This connects the self-contained Monologue Art Museum to the Yellow Sea.
The Black that Doesn't Sink into the Dark
Side A
The water courtyard has quieted down. When I looked at the white building with a glass façade on the edge of the black pool in the rendering, a new familiarity arose, and the atmosphere of the place was too clichéd. So, I decided to light it up by turning the highest circular yoga room facade into a gradient of stained glass. With a touch of color in the thick ink, there comes a glittering glass fortress.
Side B
The glass fortress originally had only one floor, but the client insisted on having a changing area, and I could only set up a second floor for it to ensure the visual openness of the first floor. I also wanted the façade glass to maintain vertical continuity. I asked Lao Hu to hang the floor up to disconnect the floor and glass façade. Lao Hu arranged the frame in cross shape to provide horizontal lateral stiffness on the roof, combined with the peripheral ring beam to form a frame to provide torsional stiffness, forming a clear and efficient force system. He used four hanging pillars suspended from the main frame beam and hidden in the closet to lift the second-floor slab. Finally, the staircase was also suspended from the floor slab lightly. The first floor was then opened to the gorgeous light.
A Few Stars on the Border Side A The interior and exterior walls of the Monologue are made of glass, solid wall and flower wall. Independently or in combination, the three are continuous as shifting ink brushstrokes that create the varying boundary conditions of the museum. The flower wall is "written" down as the ink dries.
Side B
To keep the 5m high flower wall safe as well as unfolded continuously, it was necessary to add structural columns every 3.8m behind the flower wall. At the same time the roof panels are overhanging as the compression roof of the brick wall. The intricate flower brick is a GRC brick made of 3% steel fiber content using the premixed method, and there are two modules combined to form the façade pattern. The brick wall either runs double to frame a courtyard, or interfaces with glass or solid walls to forms a continuous 150-meter-long corridor to wrap around the Monologue Museum.
A Sleepless Man
I divided a single wall in two to form a tearoom hidden behind the back wall of the corridor, just like the white gap we leave between the brushstrokes. It is an intimate and silent space, a corner where we hide our thoughts. I opened a long horizontal window along the height of the sight line to frame the sight as a scroll, where the six gentlemen were revealed. “Staring at each other while silent fell, remaining speechless only time can tell.”
Solitude
There are all kinds of little but cheerful desire in the resorts. Sometimes it could even be too noisy. We need to be quiet. The reason why Xiaoyan Zhang named the art museum Monologue is probably his ambition to create an island in the middle of the bustling sea where people can be alone and solitary. It is our one-person paradise. And the sea is somewhere nearby.
TEAM
Chief Architect: Ting Yu Project Manager: Hao Li Project Architect: Hao Li Design Team: Raven Xu, Zhizheng Wang, Ziheng Li, Xinping Jiang (Intern) Prototype Research: Xinyang Dai, Jun Ge, Murong Xia, Binhai Miu (Structure) Lighting Consultant: Chloe Zhang, Shiyu Wei, Xueyi Liu Material Consultant: Jing Sun
