中國嘉興　銀杏畫廊

此座外型簡約的畫廊由混凝土構成，坐落於一座種滿銀杏樹的島嶼上，設計師以當地村落為靈感，使參觀者漫步其中即如穿梭於小鎮，盡享尋覓探索之樂。為此，整體設計融合「導覽指引」及「自由開放」的動線類型，創造富有流動性的展出場域，且因窗景朝向優美水域敞開，而與景緻建立連結，繼而造就文化與藝術的深厚聯繫。

Ginkgo Gallery by MORE Architecture is an innovative new museum on a ginkgo tree-covered island, in Jiaxing, China. Inspired by the DNA of local villages, the museum invites visitors to wander through and discover the different sections as if they were exploring a small town. It is therefore set up as a blend of two traditional museum typologies – the guided museum meets the free plan museum, creating a floorplan with ‘fluid spaces’. The orientation towards, and connection with the surrounding water and landscape generate a deep relationship between culture and art. The museum has a modest appearance, emphasized by its materiality: in-situ cast concrete. 

過去十年，中國經歷了一場 「博物館熱潮」，大量的標誌性博物館如雨後春筍，典型博物館之規模亦大幅擴張，而此項目則成為該現象的解方。設計師期望藉由打造一座低調簡單，卻極富細節的場館，使藝術與自然融為一體，營造沉浸式參觀體驗。館方的目標是讓藝術成為大眾生活的一部分，尤其是在當代藝術領域教育兒童。為此，館內設有禮堂、閱讀室和工作坊。

Over the past decade, China has been undergoing a 'museum boom' in which not only an enormous number of iconic museums were built, but also the scale of the typical museum increased massively. Ginkgo Gallery is the antidote to said phenomenon: a humble, intricate museum where art and nature merge into one immersive experience. The client aimed to make art a part of public life, and particularly educate children in the field of contemporary art. To this end, the museum also houses an auditorium, a reading room and a workshop space. For this commission, MORE Architecture developed the bill of requirements in-house, based on extensive academic research of contemporary Chinese museums.

團隊將空間比擬為探索村莊的體驗，兼容傳統導覽路線與新型態自由的布局，不僅使人們能夠自主選擇參展動線，亦使各展廳彷彿彼此連接，卻又微妙地相互區分，從而為策展人打造一處絕佳的敘事場所。

By merging two traditional museum typologies – the conventional ‘guided’ routing and the ‘free flow’ plan – into one museum, the architects created a building with ‘fluid spaces’, where visitors can explore and choose their own route – Schinkels Altes Museum meets Mies’ Neue National Gallery! This merger creates a building with museum halls which are connected yet subtly differentiate themselves. It creates opportunities for the curators to tell stories in various ways – by connecting or disconnecting the exhibition halls. But more importantly, it allows for visitors to explore.

一座恰到好處的建築，需憑藉精準選材方能造就。因此，團隊謹慎處裡材料數量，以及運輸、廢料、包裝等方面，使整座建築以單一材料構成 —— 現場澆鑄的混凝土。堅固的立面承載跨度達 17 公尺的彎曲混凝土板；鑄模由鷹架和粗糙的木板製成且水平放置 ，且將此技法延續應用於彎曲石板。鑄造後的木板構成建築的外牆、牆壁和天花，營造韻律和質感；粗糙的混凝土則與光滑的青色鋁牆、溫暖的櫸木和室內傢俱形成對比。

此外，由於南立面封閉，北面盡情敞開，而形成間接自然光；展覽廳大小和高度亦由南至北增加，且由東西向廊道彼此串聯，藉此引入充裕光線，同時透過曲狀屋頂過濾入室日光，以調節室內溫度。

Early in the design process of Ginkgo Gallery, it became clear that a modest museum design also required a modest use of materials. So, the architects decided to focus on the spatial quality of the museum, and limit the number of materials, and therefore transport movements, construction waste, packaging etc. MORE Architecture used one material for the whole building: in-situ cast concrete. The structure of the museum is built up from solid concrete walls, carrying the curved concrete slabs which span up to 17 meters. The cast was made of scaffolding and rough wooden planks, which were placed horizontally – the pattern being decided by the construction workers. Even the curved slabs were cast with this low-tech method. The cast of the wooden planks creates rhythm and texture in the facades, walls and ceilings of the building. The ‘rough’ concrete is combined with smooth green aluminium mullions, and warm beech details and furniture in the interior.

The architects made the building rather closed on its southern façade and opened it up on the northside, to create indirect natural light. The exhibition halls increase in both size and height from the south towards the north. They are connected by ‘streets’ which run east-west that bring in the natural light. Curved roofs filter the incoming daylight. Moreover, the architects want the visitors of the building to experience a soft transition between building and landscape, between inside and outside. The interaction with the landscape is critical in the design and experience of this museum: being situated on an island, approaching the museum is an experience in itself.

由於該館位於島嶼上，當人們沿著蜿蜒小路接近建築，亦成為一種獨特體驗；島嶼外圍一條彎向湖面的小橋，營造出「在水上漫步」之感。團隊亦特意將窗戶朝景觀和湖泊開放，形成柔和的內外過渡，藉此達到藝術與自然的巧妙平衡。

Once across, this experience continues as the exhibition starts in a statue garden, since the island can be used for outdoor exhibitions as well. A series of curvy pathways invite visitors to explore the island. A bridge which curves outside the perimeter of the island onto the lake allows the sightseers to ‘walk on water’. Inside, the museum opens towards the landscape and the lake, letting visitors constantly balance between art and nature.

主要建築師：Daan Roggeveen

結構工程：嘉興9LEON

施工單位：浙江中城建工集團

空間性質：當代藝術館

總建築面積：2500 ㎡

主要材料：混凝土

主要結構：混凝土

座落位置：中國浙江省嘉興市

影像：克里斯．普羅沃斯特

整理：蘇新婷

Principal Architects: Daan Roggeveen

Structural Engineering：9LEON, Jiaxing

Contractor：Zhejiang Zhongcheng Construction Engineering Group

Character of Space：Museum for contemporary art

Total Floor Area（㎡）：2500 m²

Principal Materials：In situ cast concrete

Principal Structure：In situ cast concrete

Location：Jiaxing, Zhejiang Province, China

Photos：Kris Provoost

Collator：Chloe Su