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原维多利亚式的建筑以及西式的庭园，如同过度妆点的女子，已不合时宜，主人初衷欲将其功能改造成可供大众欣赏的艺术空间，我们第一步便是拿掉了它的项链、耳环、衣服以及装饰，以最纯洁的形体展现。

The original architecture of Victorian style with Western-style gardens, like a woman with excessive makeup, is out of fashion. The owner’s intention is to transform its function into an artistic space for the public to appreciate. Our first step was to remove all the necklaces, earrings, clothing, and decorations to show it in its purest form.

▼项目概览，overview © 雷坛坛

▼建筑与庭院，the architecture and the garden © 夏至

▼立面细部，detail of the facade ©夏至

长卷轴般展开的基地，我们重新对建筑与庭院的关系再度梳理，199 颗松树的布局，错落其间，以美术馆为建筑主体，左右为古建的还原以及牌楼的安置，既实现了主人的爱好也破题的将东方美术馆的定位展现。

With the entire base shaped like a Chinese long scroll, we reorganized the relationship between the building and the courtyards. We scattered 199 pine trees within. With the art gallery as the main building, we restored classical buildings and placed archways to the left and right, which not only realizes the owner’s preference, but also positions the oriental style of the museum.

▼展厅入口，the entrance ©雷坛坛

▼展厅空间，the show room ©雷坛坛

▼内部天井，the patio space © 夏至

「留白」，是中国绘画艺术里面最意境的表现，而「几何」的型态，则是西方逻辑思维上最客观的表现。美术馆的建筑，我们除去了西方的符号给予了最纯粹的白，以几个不同的几何建筑体连接、创立了新的回廊，连接起旧建物之间的毫无关系，与庭院之间借景呼应；室内地面至地下创造了垂直的开放，给予更多维度的伸展。美术馆的存在意义在于呈现艺术，作为一个展现的平台，我们对《松》的定义便是一个「艺术容器」，以「艺术」为主、「容器」为辅，而作为一个未来可被复制的形式，我们在建筑与空间自由上的转换给予最大的可能性。

▼交通空间，材质的交接，circulation spaces, different materials ©夏至

▼楼梯通向二层，the stairs leading to the second floor ©夏至

▼二层的坡屋顶展厅，showroom under sloop roof on the second floor © 雷坛坛

Leaving blank space is the highest artistic concept in the art of Chinese painting, whereas geometrical form is the most objective expression of Western logic and thought. For the architecture of the gallery, we removed the Western symbolism to give the purest white, and we used several different geometric structures to connect and create a new corridor by bridging the unrelatedness between the old buildings and echoing the scenery among the courtyards; the indoor ground going underground creates a vertical openness, extending the dimensionality. The significance of the museum’s existence is the presentation of art. As an exhibition platform, our definition of the Song Art Museum is an “art container”, with “art” as the mainstay and “container” as the supplement, and it serves as a form that can be replicated in the future. Our transformation of architecture and freedom of space offer the greatest possibilities.

▼冬季花园，the winter garden ©夏至

▼从冬季花园看向室外景观，view of the landscape from the winter garden ©雷坛坛

▼冬季花园内的休憩处，resting place in the winter garden ©雷坛坛

▼VIP室，VIP hosting pavilion ©雷坛坛

《松》将一切转化为几何、净白，将「无为」由外而里，我们给予的是一种「净」的存在，当“当代艺术”百态的进入，便可毫无顾忌的展现他们的语汇与活力。而庭院松树环绕，给予了《松》的外在生命力，一景一物成为了内外的呼吸，东方写意也成为传统与现代建筑之间的互相辉映的自然韵律。

Song Art Museum transforms everything into geometry and purity, and takes “non-action” from the outside to within. What we offer is a kind of “clean” existence. When “contemporary art” enters various forms, they can display their vocabulary and vitality without scruples. The courtyard is surrounded by the pine trees, providing the external vitality of the Song Art Museum. The scenery becomes the breath of both the inside and outside, and the oriental freehand brushwork also becomes the natural rhythm of mutual reflection between traditional and modern architecture.

▼夜景，展厅，night view, the showroom © 夏至

▼夜景，庭院照明，night view, lighting of the garden © 雷坛坛

▼平面图，plan ©朱周空间设计

总面积：22000平方米
室内面积：2200平方米
竣工时间：2017年9月
客户：华谊兄弟艺术
地址：北京市顺义区天竺镇格拉斯路
总设计师暨创意总监：周光明
建筑设计：施海、黃晶
室內设计：洪宸玮、白建玢
照明设计：朱彤云
軟裝設計師：黄茗诗、凌博远
摄影师：夏至、雷坛坛

Total area: 22000 m2
Architectural interior: 2200 m2
Client: H.BROTHERS ART
Project completion date: 2017. SEPT.
Address: Grass Road, Tianzhu Town, Shunyi District, Beijing, China
Design Team:
Creative Director, Lead Designer: Kuang Ming(Ray) Chou
Architecture Design: Hai Shi, Jing Huang
Interior Design: Garvin Hung，Jamie Pai
Lighting Design: Vera Chu
FF&E Design: Mavis Huang、Boyuan Ling
Photographer: Zhi Xia, Jonathan Leijonhufvud

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