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nren Museum


CN Chengdu

The Anren Museum building will be inevitably related to time, as an historic and at the same time contemporary museum. This premise, of time understood as an evolution, composed of a lineal relation of past, present and future, along with the importance of the relation between the traditional and the modern, are the generating concepts of the building design. From the fusion between a traditional architectonic space of Anren buildings, the courtyard, and a natural element, stone, the shape and organization of the project was developed.
The undefined museum [+-]
The main museum of a 53 museums city.

The building will be hosting temporary exhibitions of all kinds, from paintings to sculptures or performances. That’s why it was so important to create a flexible design regarding areas, lighting and internal movements.

To change the condition that even though the museum is a public building one has to enter to enjoy it we propose the museum as an open box, one that allows visitors a double experience: that of the interior exhibition galleries and that of the exterior terraces.

These concepts, and the inherent necessity to blur the division between the relationships of interior and exterior; public and private; enclosed and open, were achieved by organizing the project along a spiralling ramp consisting of two circulation routes, one internal and one external. Upon reaching the higher-most point, the roof gardens, these circulations mix together to create a buckle, a moebius strip.
The island was treated as a public square, a floating public square surrounded by the waters of the Xiejiang River and by the city. The museum is an open box within the square, with a large, central, open courtyard. This concentric organization of spaces reinforces the museum building's quality as a spiraling space where the distinction between interior and exterior are blurred. The square is subdivided by a triangular organizational design that includes different gardens, seating areas and paths; the same treatment of triangulation is applied to the roof garden of the building, repeating that which is experienced at ground level and interacting with the roof planes gently sloping in diverse directions.


Entrance floor


Auditorium and administrative floor


Exhibition area
The visitors experience of the square and appreciation for the surrounding river and city is provoked prior to their entering the building, which is done on the opposite side from that of the route of approach from the bridge. The visitor partly circles the building then descends a landscape of ramps into the central courtyard, where one is surrounded by the building, with transparent façades revealing glimpses of what occurs within, and with the sky framed above.
The building's structure is composed of a series of steel façade columns supporting reinforced concrete slab floors, with no intermediate structure, apart from that of the two circulation towers. Due to the building's form as a moebius strip, it bends, turns, folds, widens and narrows as its shape develops along its length. The steel columns bend with the folds of the façade like a giant rib cage to maintain the façade panels supported along their edges. Large triangular openings occur where the building's interior space separates itself from the floor level below and gently rises up to float over the inferior level, thus forming an exterior terrace or garden in the created void. The steel columns continue unbroken, embracing the voids just as they embrace the solids.


Masterplan
The façade is composed of panels made of three different materials: stone, translucent glass and transparent glass. All are prefabricated, isolated sandwich panels, with alarm sensors and any other required services such as lighting or ventilation built in, for a dry construction bolted assembly. The stone panels predominate on the south and western façades to protect the delicate artworks and to avoid overheating in the museum's interior spaces. The translucent panels serve as light diffusers to exhibition areas or to areas requiring a good level of natural illumination while maintaining their privacy, as is the case of the level 1 restoration workshops. The transparent panels are used to establish direct visual contact between interior and exterior, to dissolve the walls and merge the two spaces, to invite observer participation from the outside and afar, and to allow the visitor on the inside to experience and be part of the outside terraces, the square, the river, the city or the mountains beyond.
These panels are between 15 and 30cm thick, fully isolated, each one performing as a double façade with incorporated thermal air cushion, making any interior lining unnecessary, although in some spaces a separate internal box is built for further protection or for other practical reasons. The columns are also isolated by a thermal bridge breaker with the inclusion of a secondary steel profile aligned with the inside face of the panels, thereby expressing the nature of the steel structure inside and out without compromising the environmental performance of the building. These vertical cavities are also capitalized on for use as accessible cable or tube ducts. Although there is a variety of size due to the contortions of the building form, the panels are effectively all rectangular and with a two faceted face, produced by a subdivision traced between diagonally opposite corners. The lower of the two facets thins towards the lowest corner, producing the effect of a slightly folded panel. The finished result is dynamic with the different reflected light qualities of the two facets per panel multiplied across the entire façades of the building.
PROJECT DETAILS

Take a look at some of our TCHV projects

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