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新作 | 打破第四堵墙：启迪艺术学院 / URBAN NoMAD

ZaomeDesign · 公众号 · 设计 · 2024-10-29 09:30

正文

▲ 项目概况 ©URBAN NoMAD

剧作家布莱希特曾提出一种间离效果的戏剧理论，意指在戏剧表演中打破作演员和观众之间的那“第四堵墙”，这一理论的目的是引导观众的独立思考而避免过度“入戏”。如果将这种理论应用在空间设计上将会产生怎样的结果？这引发了我们对本项目的思考。

Playwright Bertolt Brecht proposed a theatrical theory of the "alienation effect," which involves breaking the "fourth wall" between actors and the audience. The purpose of this theory is to guide the audience's independent thinking and avoid becoming too emotionally involved in the play. We wondered what might happen if we applied this theory to spatial design, which sparkedour thoughts for this project.

背景

Background

启迪艺术是一个专注儿童美术的教育机构，由几个年轻人创立，作为他们的首个门店，业主给予了设计足够重视和投入。

门店位于一个新建的社区型商场内，平面为规整的长方形布局，场地条件非常简单，如同一张白纸，可供我们想象。

▲展厅外部视角 ©URBAN NoMAD

Enlightenment Art Academy is an educational institution focused on children's art, founded by a group of young people. As their first store, the owner gave significant attention and investment to the design.

The store is located in a newly built community shopping mall, with a rectangular layout and very simple site conditions, much like a blank canvas for us to imagine.

▲展厅内部视角 ©URBAN NoMAD

一个开放的剧场

An Open Theater

方案之初，我们先把项目视为一种运作机制进行梳理，空间被分为内外两部份，外部是以接待和成果展示为主体的宣传属性空间；内部是以教室与后勤空间为主体的教学属性空间。如同一种程序，内外空间的运作相互关联。

▲展厅，商场视角 ©URBAN NoMAD

At the beginning of the design process, we first approached the project as an operational mechanism. The space was divided into two parts: the exterior, which serves as a promotional space with a reception area and exhibition area; and the interior, which functions as a teaching space with classrooms and logistics areas. Like a program, the operations of the internal and external spaces are interconnected.

▲空间分析轴测图 ©URBAN NoMAD

我们将展厅作为外部空间的参考类型，因其展示特性与本项目所需的宣传属性有着相似性关联。这是一个复合性的空间：接待前台、家长等候区与展厅结合，部分教室面向展厅打开形成橱窗，把教室与教学成果均视为展品呈现。

We used the gallery as a reference type for the exterior space, as its display characteristics have a similar connection to the promotional needs of this project. It is a multi-functional space: the reception desk, parent waiting area, and gallery are combined, and some classrooms open towards the gallery form windows, treating both the classrooms and teaching outcomes as exhibits.

门店入口向商场走道完全打开，人流可以自由的进入观展，在展厅的视野中，我们可以看到作品展示、可以看到内部上课的场景，也会看见在等待的家长以及前台的工作人员…美术机构的运行机制被视觉化呈现，空间和人物将形成一系列交叠的场景。

如同一个开放式的剧场，行人可以在外部观看，也可以自由的步入展厅并成为别人观看的对象。

▲展厅，商场行人视角 ©URBAN NoMAD

The entrance is fully open to the mall walkway, allowing free access for people to enter and view. Within the gallery's sightline, one can see the display of works, observe the scenes of ongoing classes, and notice parents waiting and staff at the reception. The operational mechanism of the art institution is visualized, creating a series of overlapping scenes between the space and people.

Like an open theater, passersby can watch from outside or freely step into the gallery and become objects of observation for others.

抽象的符号

Abstract Symbols

▲空间中的符号及场景概念图 ©URBAN NoMAD

▲展厅，商场主视角 ©URBAN NoMAD

“剧场”的背景由几个错位的立方体组成，就如文丘里所说：“建筑是带有符号的庇护所”。作为一个以儿童艺术为主体的机构，我们希望空间呈现出一种关于美术教育的原初抽象性。借助圆与方为基础符号，衍生出一系列图像，并将他们用在展厅的空间形体、开窗、展台以及家具形态中。

▲ 空间中的几何符号，展厅局部视角 ©URBAN NoMAD

The "theater" backdrop is composed of several misaligned cubes, echoing Venturi's notion that "architecture is a shelter with symbols." As an institution focused on children's art, we wanted the space to present a primitive abstraction of art education. By using circles and squares as basic symbols, we derived a series of images and applied them to the shapes of the gallery space, windows, exhibition stands, and furniture.

▲空间中的几何符号，背景墙 ©URBAN NoMAD

结语

Conclusion

通过类型与形态语言的确立，空间逐步成型。这个开放的展厅并非传统意义上的展示橱窗：模糊的边界使路人可以自由步入，内外之间可以形成互动。当人们观看展厅时，形态的抽象化处理让空间产生一种异于周边环境的陌生感，这种陌生感往往引发人们进一步的观察和判断。

Through the establishment of type and form language, the space gradually took shape. This open gallery is not a traditional display window: its blurred boundaries allow people to freely step in, creating interactions between the inside and outside. When people view the gallery, the abstract treatment of shapes creates a sense of unfamiliarity that stands out from the surrounding environment. This unfamiliarity often prompts further observation and judgment.

▲展厅，外部行人视角 ©URBAN NoMAD

展厅最终试图呈现的是一种内部结构，借助结构主义的观点，这种综合的展示便于让人们更全面的了解该机构，而非只是留下单一的视觉印象。对于本项目而言，空间本身即是最好的广告。

Ultimately, the gallery seeks to present an internal structure. From a structuralist perspective, this comprehensive display allows people to gain a more complete understanding of the institution, rather than leaving a single visual impression. For this project, the space itself is the best advertisement.

项目名称: 启迪艺术学院

项目类型：室内

项目地点：广东省汕尾市

主创建筑师: 黄英航

设计团队：吴子珺、陈诗诗

业主：启迪艺术学院

建成状态：建成

设计时间：2023/10

建成时间：2024/03

建筑面积（平方米）：238㎡

材料：拉铝网、镀锌铁板、饰面板、微水泥瓷砖、微水泥

摄影：都市游牧 URBAN NoMAD