上海浦东美术馆 / 让·努维尔 Jean Nouvel-卓美

文 / 让·努维尔
Text by Jean Nouvel

浦东美术馆是一块领地；而领地本身即是浦东美术馆。领地占据了4公顷的面积，并呈现为一个由暖白色花岗岩构成的媒介物，其组合的方式使人联想到不规则的“冰裂纹”。领地西临黄浦江，在与水面相接的位置，石块的颜色变得更白。

Museum of Art Pudong is a domain. The domain is Museum of Art Pudong.The domain is a medium consisting of four hectares of warm white granite stones assembled in a way that conjures up the irregular pattern of ‘crackled glass’. The domain is bordered in the west by water, the Huangpu River. The domain actually drops straight down to the water, with the stone becoming whiter there.

▼项目概览，general view © 陈灏

在与水面垂直的白色薄墙内，领地创造出一个兼具餐厅功能的凉廊，与外滩上来往的船只和人群尽可能地靠近。领地周围环绕着树林，形成起伏的景观和巨大的风障，后者将领地与周围的高楼分隔开来。由树构成的风障创造出一道严实的边界，将美术馆衬托得更加明亮通透。

▼场地平面，site plan © Ateliers Jean Nouvel + TJAD Shanghai – Tongji Architectural Design (Group) Co., LTD

▼剖面图，section © Ateliers Jean Nouvel + TJAD Shanghai – Tongji Architectural Design (Group) Co., LTD

In its white sheerness, towering over the water, the domain creates a restaurant loggia as close as possible to the boats for people to be able to further admire the Bund. The domain is bordered, surrounded by tall trees that form an undulating landscape and a huge rim, a huge windbreak. The domain is separated from the neighbouring towers by this windbreak of trees. The windbreak of trees creates a thick dark frame that brings out the bright airiness of the museum domain.

▼朝向花园的立面，the facade facing the garden © 陈灏

起伏的景观及其延展出的空间构成了一个长约700米的、巨大的V形线性花园，使场地中不同品种的树木（其中一些从美术馆的占地中移除）得到突显。景观中点缀着雕塑，位于背景处的灯光在一天中营造出不同的观感。

由于美术馆即是领地，所以不论是在葱郁的林地景观中，还是在石质的体块（冰裂纹）、前广场、露台亦或是滨水步道上，均遍布着各种各样的雕塑和当代艺术品。前广场和露台采用了具有相同材料和纹理的基座和树池。

The undulating landscape, with its large surrounding rim, is a vast V-shaped linear garden approximately 700m long showcasing trees (some of them removed from the clutches of the new museum) – tall trees of different species. In the landscape there will be statues and, at the back of the landscape, lights that change from day to night.

Because the domain is a museum, statues and contemporary artworks will be positioned in the wooded landscape. Because the domain is a museum, there will also be artworks on the stone (‘crackled glass’) field, on the forecourt, on the terrace and on the waterfront walkway. Because the domain is a museum, the forecourt and terraces will have plinths of the same texture as well as tree planters.

▼从展厅望向花园景观，view towards the garden landscape © 陈灏

领地的地面采用了煅烧过的石材（带有防滑浅纹），墙面采用了混合石材（光面、煅烧和一小部分糙面），大多数是尺寸不一的大型模块，上面刻有雨滴的图案。墙壁的三角形尖端带有金属衬里。“冰裂纹”材料的使用终止于美术馆的入口大门。

展厅的窗户可以在需要时通过立板进行遮挡。开启的窗户将挂起薄网以过滤光线，同时形成固定的阴凉。位于顶层的房间和中庭展览空间安装了天窗，沐浴着从顶部透入的自然光线。

The domain’s medium will be flamed over the floor (slight non-slip relief) and mixed on the walls (smooth or flamed or very occasionally roughened). The stones are essentially large different-size panels with a raindrop pattern. The sharps points of the triangles will be lined with metal. The ‘crackled glass’ medium will stop at the museum doors.

The windows of the exhibition rooms will be able to be shuttered if necessary using standing panels. The open windows will be hung with a fine sail to filter the light and create fixed shade. The rooms on the top floor and the exhibition space in the atrium will be lit with natural overhead lighting provided by micro sheds.

▼入口大厅，lobby © 陈灏

▼悬浮的盒子，the suspending box © 陈灏

▼盒子内部的表演空间，performance space inside the box © 陈灏

▼夕阳中的大厅，lobby in the setting sun © 陈灏

▼通高中央展厅，central exhibition hall © 陈灏

▼公共区域，public area © 陈灏

巨幕定义出了领域。两块垂直的屏幕分别位于美术馆的上方和通风塔的顶部，在标示出场地的同时也强调出了某种中断性。巨幕在夜间通过激光束形成连接，在美术馆上空投射出交错的光线。

朝向外滩的西立面展示着美术馆主要的事件。它是一个由“冰裂纹”玻璃构成的双层外皮，犹如一面镜子，在一天之中变化莫测；它是不同的图景和意象；它也是一个长长的、有着双层通高镜面画廊的盒子。

▼西立面，west elevation © Ateliers Jean Nouvel + TJAD Shanghai – Tongji Architectural Design (Group) Co., LTD

The screens mark out the domain.The two vertical screen-signs, one above the museum and one on top of the ventilation tower, mark off the site and indicate and highlight a break.The two screens are linked at night by laser beams creating intersecting lines of light above the museum.

The western side screen on the Bund will be a major event.The western side screen on the Bund will be mutating.The western side screen on the Bund will be a twin façade of textured glass watermarked with the ‘crackled glass’ pattern.The western side screen on the Bund will be mirrors.The western side screen on the Bund will be unpredictable.The western side screen on the Bund will be images.The western side screen on the Bund will be reflections.The western side screen on the Bund will be a big long box.The western side screen on the Bund will be a gallery of large-scale mirrors over two superimposed floors.

▼朝向江岸的双层玻璃外皮，the twin façade of textured glass facing the bund © 陈灏

西立面的屏幕经过了精心策划，白天是装置空间或表演空间，夜晚则用来播放视频影像。它犹如一对用于审视外滩全景的观察器，并且能够通过不同的灯光设计将艺术作品“叠印”至外滩的景色中。人们将同时从外滩上看到屏幕上令人激动的场面和美术馆内的参观者。这对于图像艺术家和装置艺术家而言，尤其是对于喜欢创作大规模作品的中国艺术家而言，本身就是一件不可思议的工具。

The western side screen on the Bund will be programmed.The western side screen on the Bund will be installation spaces or performance spaces, during the day.The western side screen on the Bund will be programmed as a video space, during the evening and at night.The western side screen on the Bund will be a machine for surveying the Bund, a twin panorama.The western side screen on the Bund will be a reflection of this twin panorama, depending on the lighting used.The western side screen on the Bund will be a reflection of the artworks superimposed periodically over the view of the Bund, depending on the lighting used. The western side screen seen from the Bund will show the excitement and the museum’s visitors. The western side screen seen from the Bund will be an incredible tool for image artists and installation artists, especially for Chinese artists who like large dimensions.

▼公共区域，public area © 陈灏

▼展厅，exhibition halls © 陈灏

西立面以其变化的白色调突显了自身的独特性：位于两层立面之间的精细的白色薄网为景观增添了一层纹理，使游客能够更容易地捕捉美景；不完全的白色将视野引向建筑前方两三米处；来自于各种灯光的白色；来自于镜面后方的LED灯的白色；来自装置或艺术作品的白色；以及来自背景的白色；所有的白色都是为了更好地展现影像和美术馆内的活动。

The western side screen seen from the Bund will impose its presence through its various shades of white: The white of the sail between the two façades, a fine patterned sail that gently texturizes the landscape to make it easier for people to seize; A total or partial white that provides an unobstructed view over the first two or three metres; The white of the various lights, of the LEDs behind the mirrors; The white of the installations or artworks; The white of the background which is designed to show images and visitors most effectively.

▼垂直侧窗，the vertical window © 陈灏

从外滩步道上看，西立面就像是一个现实版的“大玻璃”（Le Grand Verre，杜尚），它以前所未有的新颖图像与外滩和上海进行着戏谑般的对话，持续吸引着观众们的目光。它是对21世纪艺术的切实证明。

The western side screen on the Bund side, starting at the walkway, is an actual vision of the “Grand Verre”. The western side screen on the Bund side, starting at the walkway, is a joker designed to fascinate the crowd through fresh new images that disrupt the view of Shanghai and the Bund. The western side screen on the Bund side is a testament to the art of the 21st century.

▼展厅内光影，natural light © 陈灏

▼平面概念示意，conceptual plan © Ateliers Jean Nouvel + TJAD Shanghai – Tongji Architectural Design (Group) Co., LTD

▼一层平面图，plan 1F © Ateliers Jean Nouvel + TJAD Shanghai – Tongji Architectural Design (Group) Co., LTD

▼二层平面图，plan 2F © Ateliers Jean Nouvel + TJAD Shanghai – Tongji Architectural Design (Group) Co., LTD

▼中央展厅剖面，section central exhibition hall © Ateliers Jean Nouvel + TJAD Shanghai – Tongji Architectural Design (Group) Co., LTD

Address:Guan Jing Tai, LuJiaZui, Pudong Xinqu, Shanghai Shi, Chine, 200085

Team：Jean NOUVEL – Ateliers Jean Nouvel
STUDIO MANAGER: Stefan ZOPP (Studies), Mathieu FOREST (Competition)
ASSISTING ARCHITECT TO JEAN NOUVEL: Aurélien COULANGES (Studies)
PROJECT MANAGER: Isabelle AGOSTINI (Competition phase 1), Chen CHEN (Competition phase 1, 2, 3, Schematic Design & Design development), Stacy EISENBERG (Competition phase 1, 2 & 3), Damien FARAUT (Design development & Construction), Florence RABIET (Competition phase 3, Schematic Design)

ARCHITECTS:
Competition phase 1 & 2: Philippe CHARPIOT, Seung PAIK, Florence RABIET, Chiara VIOLI
Competition phase 3: Alexander BUCKERIDGE, Tian LI, Seung PAIK, Anna PHILIPPOU, Maria VELAORA
Schematic Design / Design Development: Cécile ARMANDES, Giulia FELICI, Urszula MILLIEZ-TYSZKIEWICZ, Julie MOREAU, Miguel REYES, Seung PAIK, Yupeng WANG, Wu ZHENG, Yuanqing ZHOU
INTERIOR DESIGN: Sabrina LETOURNEUR, Tanguy NGUYEN
LANDSCAPE: Yinan DU, David EUVRARD, Isabelle GUILLAUIC
3D MODELING: Narjis LEMRINI, Jose MILAN, Toshihiro KUBOTA, JIGEN
GRAPHIC DESIGN: Marie MAILLARD, Eugénie ROBERT, Vatsana TAKHAM, Élise TAPONIER
MODEL: Romain CAILLON, Rui PEREIRA
ARCHITECTS OF RECORD: TJAD Shanghai – Tongji Architectural Design (Group) Co., LTD
ENGINEERING: BIAD (Cost Consultant, competition), Thornton Tomasetti – TJAD (Structure), Dress and Sommer – TJAD (Building services, Heating, Ventilation & Air-Conditioning, Sanitary facilities), RFR Facades Shanghai (Facades), Agence TER (City planning)
Consultants
L’Observatoire International – Hervé DESCOTTES (Lightning design), Hans-Ulrich OBRIST (Museography), dUCKS scéno (Scenography), Ingénieurs Et Paysages (Landscape), Federico CRUZ-BARNEY – Studio DAP – Federico CRUZ-BARNEY (Acoustics)

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