和美术馆（HEM）位于广东顺德，是由家族发起、安藤忠雄设计的非营利民营美术馆。 HEM关注从近代文化艺术思潮到国际视野下的当代艺术进程，通过为公众呈现独具魅力的展览和多元开放的文化活动，希望凭借自身的独特性，建立起传播的枢纽，挖掘跨文化的多元价值。
HEM is a museum complex located in the Shunde new business district of Foshan, Guangdong Province, China. It is founded by a world-renowned entrepreneur who dedicates this project to his hometown by providing an institution that combines modern art with local and historical heritages.
▼和美术馆建筑外立面，Exterior view of He Art Museum ©和美术馆
这是坐落在中国广东省佛山市顺德新商务区中的一个美术馆设计项目。家族为回馈故乡文化，规划建造一座将传统历史文化与现当代艺术融汇成一体的美术馆。希望能创造出与周边设施紧密联系，跨越地域界限，充满都市艺术空间感的建筑方案。
怀着希望通过文化艺术的交流，带给人们和谐、安泰生活的夙愿，将该项目命名为“和美术馆”。建筑的设计以“和谐”为主题，从建筑设计到细部工艺，都以多样化的“圆”来呈现，尝试着创造出融汇中国岭南建筑文化的崭新艺术文化中心。
The museum is in the neighborhood of the business headquarter of his company, next to the city’s park, which created a network for the community that puts various elements of the city at this juncture.
HEM, stands for He (Chinese character “和”, to mean harmonious) Art Museum embodies its founder’s wishes – to provide a harmonious life through sharing of art and culture. The character “和” has a connotation of balance and good luck, especially in the Canton area. The design of the building takes “harmony” as the theme. From the architectural design to the craftsmanship on the details, are presented through a variety of circles. This is an attempt to create a new culture center that integrates Cantonese culture by extracting the unique meaning of its geometric form in the regional context.
▼安藤忠雄设计和美术馆手稿，He Art Museum Sketch by Tadao Ando ©和美术馆
为美术馆所设计的“圆”，像水波纹一样由中心向四周扩散，构成了建筑空间的效果，同时也自然地形成了建筑形态的核心。具体而言，这些“圆”以一定的偏 心率由下往上逐渐扩大，四层圆环重迭交织。立体的“圆”随之偏移，在赋予各个空间明确的中心对称的同时，更丰富了这个序列的变化效果。这样的设计也充分考虑了岭南地区亚热带气候的特性，以此营造出具有明显光影效果的建筑表情。
These circles constructed the space of the building through ripple-like expansion: from top to bottom, with the overlapping of four circles. With each area’s clear-cut periphery, an enriched variation effect is created through the interaction between spaces. This is also a design adopting to the subtropical climate, in which the stark changes of light will create the emotional atmospheres.
▼和美术馆建筑外立面，Exterior view of He Art Museum ©和美术馆
在圆形的建筑形态中，不但设置了中国近现代艺术展示空间、公共教育空间等非常人性化的功能区域，也设有可灵活应对当代艺术展示要求的简约立方体挑空展厅。“圆”和“方”的视觉对比，相互冲突所产生的空间差异感，为美术馆赋予了更多个性内涵。
In these circles, not only spaces are set up for exhibition and education programs, their flexibility is also ideal for the display of contemporary installations. The contrast between the circle and the square exhibition spaces has given more characteristics to HEM.
▼和美术馆展厅一(局部)，作品:《黄色回旋镖与红茄的移动碎片》，亚历山大·考尔德，金属着色，198.1cm × 238.7 cm × 104.1 cm, 1974 ©和美术馆 Gallery 1 of He Art Museum (Partial). Artwork: Crag with Yellow Boomerang and Red Eggplant, Alexander Calder, Collaring of metals, 198.1cm × 238.7 cm × 104.1 cm, 1974
▼和美术馆展厅二(局部) ，Gallery 2 of He Art Museum (Partial) ©和美术馆
▼和美术馆展厅三 (局部) ，Gallery 3 of He Art Museum (Partial) ©和美术馆
与“圆”环迭层外观设计相呼应的，是以双螺旋楼梯为核心的五层挑空中庭设计。“圆”环构成的空间正如“圆”字所示。在富有张力的垂直空间中，以螺旋楼梯连接各层视线焦点，营造出只有“双螺旋楼梯”才能做出的层次丰富的旋转空间。
The double-helix staircase and the courtyard correspond to the overlapping circles. This dynamic presents the rich layers of the spaces that can only be achieved by the dual spiral design.
▼和美术馆清水混凝土双螺旋楼梯(局部)，作品:《像素细胞——鹿#58》，名和晃平，综合材料，218.6 cm x 181 cm x 150 cm，2019 ©和美术馆 Double-Helix Staircase by Slick Concrete of He Art Museum (Partial). Artwork: PixCell – Deer #58, Kohei Nawa, Mixed media, 218.6 cm x 181 cm x 150 cm, 2019
▼和美术馆清水混凝土双螺旋楼梯，Double-Helix Staircase by Slick Concrete of He Art Museum ©和美术馆
▼和美术馆清水混凝土双螺旋楼梯(局部)，Double-Helix Staircase by Slick Concrete of He Art Museum (Partial) ©和美术馆
美术馆场地内的留白，可为周边商务区的人们提供休憩空间。为增加建筑亮点，景观设计以水景为主，与“圆”相呼应的水池，可作为缓和亚热带夏季酷暑的亲水装置，同时，当建筑倒映于水面，它便是建筑别具特色的底座。
There are also spaces for the resting area and refreshments. Water is used as the main attractions such as the pond, which also works as a cooling device during summer. Also, the reflection of the building creates a beautiful illusion as if the basement of the building is elevated up to the sky.
▼和美术馆夹岸花园及水之径 (俯瞰局部)，作品:Ballast， 洛克西·潘，不锈钢，1219.2 cm × 1539.2 cm × 967.7 cm, 2019 ©和美术馆 Crescent Garden and Access by Water (Bird-View, Partial) of He Art Museum. Artwork: Ballast, Roxy Paine, Stainless Steel, 1219.2 cm × 1539.2 cm × 967.7 cm, 2019
和美术馆中的“和”不仅是代表“和谐”，也有“和(huò)”——混合之意，体现了岭南建筑中“空间融合”的意境。安藤忠雄在设计前期，对岭南建筑进行了深入研究。和美术馆的建筑设计是其对岭南建筑文化的一种回应，以“圆”为中心慢慢向外扩展的外形，也承载着安藤忠雄对于和美术馆未来成为广东乃至中国、世界中心的愿景。
岭南建筑是我国起步比较晚但又相对复杂的建筑体系，主要受到了以下几方面的影响：
1. 岭南建筑文化受到了江南建筑（庭院）的影响，而和美术馆的景观花园则呼应了岭南园林的自然观。 2. 岭南建筑保留了中原文化的精髓。历史上中原人士多次南渡到岭南地区，中原正朔文化也因此影响了岭南建筑的发展。和美术馆中的“圆”和“方”正是借鉴中原古建筑中“天圆地方”的正朔文化元素。 3. 晚清以来，广州成为最早开放的通商口岸之一，是西洋人士的聚集地。随着西洋文化在本地的孕育发展，西洋建筑同时渗透在城市建设中。西方人更擅长色彩及光的运用，而“光”被普遍认为是“希望”的象征。和美术馆顶部透光设计让自然光投射进内部，寄予了安藤忠雄对和美术馆的希望。
Tadao Ando extensively researched China’s ancient history and Lingnan’s architecture to inform HEM’s design. Ando holds a persistent attitude in cultural infusion by drawing inspiration from the local architectural and cultural context in Shunde. “He” in Chinese carries multiple meanings: harmony, balance, fortune and union. Ando has drawn from these connotations and Lingnan architecture’s technique of spatial integration for HEM’s design.
Throughout history, Lingnan’s architecture has been heavily influenced by Jiangnan styles, a delta region in the immediate south of the Yangtze River and comprises scenic water towns such as Hangzhou and Shanghai. Jiangnan has a reputation of “Venice in the East” with traditional two stories buildings built next to waterways and canals, low perimeter walls and openness to scenic vistas and nature. Lingnan has a naturally similar terrain and adopts Jiangnan’s architectural characteristics such as central skywell, waterside pavilions and musing gardens to compliment the landscape.
In addition, ancient Chinese cosmology and philosophy believed the sky was round and divine; the earth was flat and square – this has had a profound influence on ancient architectural theories and design. Many civic and religious buildings were circular to reflect the idea of a “round sky”; imperial city planning, numerological and spatial arrangements were driven by these ancient Chinese cosmology and philosophies – many of these buildings are preserved even until today in the Lingnan region.
In HEM’s design, Ando draws inspiration from ancient Chinese cosmology, philosophy, western style’s use of light and Lingnan’s terrain. Throughout western architectural history, architects have been skillful at the use of light such as those seen in churches; this has had a deep impression on Ando and his approach to design. The central skywell floods each floor of exhibition spaces with natural light, creating spaciousness, clarity and a symbol of hope. The circular form gives a nod to the traditional Chinese architectural principles and creates a modern interpretation that can reinvigorate architectural heritage from both the east and west.
▼和美术馆夹岸花园 (俯瞰局部) ，Crescent Garden (Bird-View, Partial) of He Art Museum ©和美术馆
“希望和美术馆可以成为岭南文化的新中心，同时也是一个汇集人群，孕育“和谐”关系的场所。” ——安藤忠雄 “I hope HEM will become a new cultural landmark in the Canton region, at the same time, a meeting point and a harmonious space for all.” — Tadao Ando
▼和美术馆馆藏《十示2018-8》 丁乙 椴木板上丙烯雕刻 366 cm x 488 cm 2018 ©和美术馆 HEM Collection, Appearance of Crosses 2018-8, Ding Yi, Acrylic carving on lime wood, 366 cm x 488 cm, 2018
▼和美术馆馆藏《闪光》 安尼施·卡普尔 玻璃纤维和漆 255 cm x 255 cm x 43.5 cm 2018 ©和美术馆 HEM Collection, Glisten, Anish Kapoor, Fiberglass and paint, 255 cm x 255 cm x 43.5 cm, 2018
▼《轮笼》尹秀珍 钢、铁、穿过的旧衣物、不 锈钢日用品、刹车设备 870 cm x 260 cm x 330 cm 2020 ©和美术馆 Wheel-cage, Yin Xiuzhen Steel, iron, old clothes, stainless steel daily necessities, brake equipment, 870 cm x 260 cm x 330 cm, 2020
▼左起: 《(立方体)》 露西娅 · 布鲁 420 件陶器 27 cm x 31.5 cm x 45 cm 2015 及 《无题》(局部) 露西娅 · 布鲁 瓷器、砂岩 尺寸可变 21件 ©和美术馆 From left: (cubes), Lucia Bru, 420 elements of faience,27 cm x 31.5 cm x 45 cm,2015 and Untitled (Partial), Lucia Bru, Porcelain and sandstone Variable dimensions, 21 elements
▼《大自然》刘韡 洋铁皮、铝合金、玻璃钢 400 cm x 200 cm x 200 cm 2020 ©和美术馆 Nature, Liu Wei, Galvanized iron, aluminum alloy, glass steel, 400 cm x 200 cm x 200 cm, 2020
▼右: 和美术馆馆藏 《神圣》 达明安·赫斯特 蝴蝶拼画 213.4 cm x 243.8 cm 2007 ©和美术馆 Right: HEM Collection Inviolability, Damien Hirst Butterfly mosaic 213.4 cm x 243.8 cm 2007
▼和美术馆馆藏 《海》 赵无极 布面油画 97 cm × 195 cm 2004 ©和美术馆 Left: HEM Collection La Mer, Zao Wou-Ki, Oil on canvas 97 cm × 195 cm 2004
▼左起: 《背后的故事:谿桥晚色》 徐冰 综合媒材装置/磨砂玻璃后 的各种材料及装置 100 cm x 250 cm 2020 及 和美术馆馆藏 《谿桥晚色》张大千 绢本设色 66 cm x 165 cm 1970 ©和美术馆 From left: Background Story: Twilight of Xiqiao, Xu Bing, Installation/ multiple materials attached to frosted glass panel, 100 cm x 250 cm 2020 and HEM Collection Twilight of Xiqiao Chang Dai-chien, Ink and color on silk 66 cm x 165 cm, 1970
▼展览现场，Exhibition View ©和美术馆
▼《三条不确定的线》 贝纳 · 维尼 轧钢 255 cm x 406 cm x 310 cm 2007 ©和美术馆 Three Indeterminate Lines, Bernar Venet, Rolled steel, 255 cm x 406 cm x 310 cm, 2007
和美术馆将于 2020 年 10 月 1 日起试运营，对公众预约开放。
受疫情影响，原定于 2020 年 3 月 20 日开幕的“世间风物——和美术馆开馆大展”，现调整为“启动展”和“正式展”两个阶段。原展览计划中的部分国外艺术家作品将顺延至“正式展”中呈现。其它开幕活动将视疫情防控进展另行安排。
试运营期间，和美术馆将严格遵守疫情常态化防控工作的实施意见，采取预约、限流等措施，在做好安全防疫基础上保障观众的参观体验。细节如下:
一、展览信息: “世间风物——和美术馆启动展” 1)主题展部分 展厅二、三 2)馆藏展部分 展厅四 * 展厅一暂不开放
▼和美术馆试运营海报
