马赛现代艺术中心
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法国有一个名为FRAC “Fonds Régional d’Art Contemporain：地区当代艺术收藏” 的文化政策，成立于1982年，旨在将艺术设施分散到法国普罗旺斯-阿尔卑斯-蓝色海岸 “PACA” 地区。FRAC是一个以社区为基础的组织，旨在培养年轻艺术家和创作新艺术。根据FRAC的理念，在实施这一计划时，我们努力创造一种对当地社区开放的建筑，而不是传统的封闭式盒形艺术博物馆。
该项目位于马赛的滨水区，场地呈现出独特的三角形，周围被两条道路环绕。我们并没有采用封闭的盒形展示空间，而是实施了一种展示空间的设计，使建筑能够让街道呈现出三维形状，而这些三维街道则成为展示空间。这代表了我们试图创造类似于勒·柯布西耶设计的“居住单元” “Unité d’habitation，1952年” 中的公共走廊或小巷。我们采用了使用螺旋走廊作为小巷三维表现的新概念。在一个角落提供了一个露天平台，面向街道的侧面，平台本身被定位为多功能空间，用于户外艺术创作、展示空间以及各种聚会和活动。
外立面采用了搪瓷玻璃，形状看起来像一组颗粒，以创造柔和的外观。所有搪瓷玻璃面板的安装角度略有不同，将地中海的强光散射成细小的颗粒。勒·柯布西耶通过遮阳板 “Brise soleil” 来解决光线问题，试图通过偏转阳光来应对，而我们则尝试通过使用颗粒 “面板” 来解决这个问题。创建一个“没有墙壁的艺术博物馆”是安德烈·马尔罗在1947年提出的理念，我们试图通过使用“模糊的外立面”来丰富这一概念。
France has a cultural policy called FRAC (Fonds Régional d’Art Contemporain: Regional Contemporary Art Collection) that was established in 1982 under which art facilities are being dispersed in the Provence Alpes Cote d’Azur (PACA) region of France. FRAC is a community-based organization created with the objective of nurturing young artists and the creation of new art. In accordance with FRAC philosophy, during the implementation of this plan, we strived to create architecture that is open to the local community rather than a traditional closed-off box-shaped art museum.
Located in the waterfront district of Marseille, the site has a characteristic triangular shape that is surrounded by two roads. Rather than have box-shaped display space that is closed off from the outside, we implemented a plan with display space where the building allows the streets to take on a three-dimensional shape and the three-dimensional streets are the display space. This represented an attempt to create communal corridors or alleys in the same manner as in the Unité d’habitation (1952) designed by Le Corbusier. We adopted a new concept of using spiral corridors as a three-dimensional expression of alleys. An open-air terrace in provided in one corner and the sides that face the streets, and the terrace itself was positioned as multi-purpose space that is used for the production of outdoor art, as display space and for a variety of gatherings and parties.
Enamel glass was used to cover the façade with shapes that look like a collection of particles in order to create a soft appearance. The enamel glass panels are all mounted at a slightly different angle, dispersing the strong light of the Mediterranean into fine particles. Le Corbusier attempted to solve the problem of light with Brise soleil by deflecting sunlight, but we attempted to solve this problem by using particles (panels). Creating an “Art museum without walls” is an idea that was proposed by André Malraux in 1947, and we attempted to add to this concept by using an “ambiguous façade.”
