建筑專(zhuān)業(yè)設(shè)計(jì)文獻(xiàn)翻譯-建筑結(jié)構(gòu)(編輯修改稿)
2025-02-24 11:11 本頁(yè)面
【文章內(nèi)容簡(jiǎn)介】 3。瓊斯主持） 現(xiàn)代藝術(shù)展覽館，布里斯班，澳大利亞 這個(gè)新的展覽館坐落在公園里。它與河流垂直，標(biāo)志著南岸文化區(qū)的邊界，建筑前形成一個(gè)新的公共廣場(chǎng)，并擴(kuò)展了庫(kù)利爾帕角的公園范圍。展覽館內(nèi)有15 個(gè)展廊空間，每一個(gè)都具有獨(dú)立的個(gè)性和功能，它們?cè)谝?guī)模、材料和光的使用上都有所不同。 展覽館不僅為舉辦活動(dòng)和展示裝置提供 了場(chǎng)所，還可以展現(xiàn)多樣的媒體、藝術(shù)形式和各種實(shí)踐。 要設(shè)計(jì)一個(gè)帶有開(kāi)放性的吸引公眾的入口、并與外部世界有緊密聯(lián)系的展覽館，就必須仔細(xì)考慮藝術(shù)品的展示要求：具體來(lái)說(shuō)，建筑必須能夠控制溫濕度、熱舒適性、人工和自然光、空氣污染物的排除、優(yōu)化能源使用、隔音和空氣調(diào)節(jié)方式。 內(nèi)部空間的設(shè)計(jì)采取了交叉街道的流線組織方式。參觀者被指引到十字路口—— 定位點(diǎn)，然后再作出進(jìn)入、通過(guò)或是上行的決定。在這個(gè)十字路口，“白盒子”展廳和“黑盒子”影音室，通過(guò)光明開(kāi)放和黑暗私密這一對(duì)比性感受，各自區(qū)分開(kāi)來(lái)。 展覽館具有供大型作品展示的開(kāi) 口；墻體可以移動(dòng)，照明系統(tǒng)能夠變換，交互多媒體展品的安裝和主要展覽的組織都不會(huì)封閉任何其他的展廳空間。無(wú)論是傳統(tǒng)的壁掛油畫(huà)，還是數(shù)字展示或裝置藝術(shù)，技術(shù)復(fù)雜的動(dòng)態(tài)設(shè)計(jì)都能夠滿足不同形式的當(dāng)代藝術(shù)展覽要求。 與環(huán)境的聯(lián)系和入口的處理體現(xiàn)了展覽館闡釋場(chǎng)地的方式，表達(dá)了與自然和城市環(huán)境的關(guān)系。這座展覽館的布局是對(duì)河流曲線和城市格網(wǎng)理性而直觀的回應(yīng)。 ARCHITECTS: Architectus (Design Directorate Kerry Clare, Lindsay Clare, James Jones) GALLERY OF MODERN ART, BRISBANE, AUSTRALIA, 2021 The new gallery is a pavilion in the park. It is sited perpendicular to the river to the river to terminate the Southbank cultural precinct, define a new public plaza in front of the building and enlarge the parklands at Kurilpa Point. There are 15 gallery spaces, each with its own character and function, all differing in scale, material and their use of light. The gallery is a venue for events an installations as well as exhibiting various media, art forms andpractices. A gallery that is open, with inviting and easy public access and a strong connection with the world outside, must be designed with careful consideration for the exhibition of art: specifically, the building must enable the control of temperature and humidity, thermal fort, artificial and natural light, elimination of air pollutants, optimal energy use, insulation and air distribution. The interior is clearly ordered by a crossstreet circulation pattern. Visitors are drawn to the intersection － a point of orientation－ before making a mitment to enter, pass through or ascend. At this intersection, the ‘white box’ gallery and ‘black box’ are clearly defined as contrasting experiences of lightness and openness, and darkness and intimacy. The gallery has large openings for big works。 walls can be moved, lighting systems changed, interactive multimedia exhibits installed and major exhibitions mounted without closing any of the other gallery spaces. The technologically sophisticated and dynamic design can engage different forms of contemporary art, from traditional wallhung paintings to digital performance or installation art. Connectivity and access are also embodied in the way the Gallery occupies and interprets the site, informing the way it is positioned in relation to the natural and urban setting. The placement of this pavilion is both a logical and intuitive response to the curve of river and the grid of the city. 泰爾費(fèi)爾藝術(shù)博物館，薩凡納，喬治亞州，美國(guó) 建筑設(shè)計(jì)：薩夫迪建筑師事務(wù)所 位于薩凡納的泰爾費(fèi)爾藝術(shù)博物館坐落在歷史悠久 的泰爾費(fèi)爾廣場(chǎng)旁，斜對(duì)著泰爾費(fèi)爾藝術(shù)學(xué)院 —— 這座南方最古老的公共藝術(shù)博物館，是由建筑師威
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