The form and character of the Audain Art Museum is deliberately restrained to provide a quiet, minimal backdrop to the art within and the surrounding natural landscape. The simple form of the exterior is clad in an envelope of dark metal which recedes into the shadows of the surrounding forest. Where this envelope is opened, to provide access in the entry porch or view from the glazed walkway to the galleries, the dark metal is overlaid by an inviting luminous wood casing. Public spaces in the interior, which are visible from the exterior, continue this warm luminous materiality.
Audain美术馆是一个56,000平方英尺的私人博物馆，位于不列颠哥伦比亚省的惠斯勒。它将展出 Michael Audian 的私人收藏，这些藏品可以帮助游客在视觉上体验英属哥伦比亚省从18世纪末至今的发展过程；
同时还展出一系列世界级的收藏，古老的第一民族制作的面具，Emily Carr的画作，以及加拿大战后艺术家的作品，包括：Jack Shadbolt，E. J. Hughes 和 Gordon Smith，以及一系列国际知名的当代艺术家作品，如 Jeff Wall，Rodney Graham，Stan Douglas等。
The Audain Art Museum is a 56,000 square foot private museum located in Whistler, British Columbia. It will house Michael Audains personal art collection which traces a visual record of British Columbia from the late l8th century to the present day. It includes one of the worlds finest collections of old First Nation masks, a superb collection of Emily Carr paintings, and works by some of Canadas most significant post-war artists including Jack Shadbolt, E. J. Hughes, and Gordon Smith, as well as works by internationally regarded contemporary artists such as Jeff Wall, Rodney Graham, Stan Douglas and others.
第一个决定因素是在永久展出 Michael Audain 个人收藏的同时，也能展出从加拿大甚至世界各地到来的各种临时展品；
The design of the museum is shaped by three powerful determinants. The first determinant is the need to house both the permanent exhibition of Michael Audains collection and, in juxtaposition with this collection, temporary exhibits of all kinds from across Canada and around the world. The second determinant is the beautiful but challenging site in Whistler which, although blessed by magnificent evergreen forest vegetation, is located within the floodplain of Fitzsimmons Creek. The third determinant is the enormous snowfall typical of Whistler which averages nearly 15 ft annual accumulated depth.
Our design responds to these determinants, simply and directly, by projecting a volume of sequential public spaces and galleries into an existing linear void within the surrounding forest. It is elevated a full storey above the ground and crowned with a steeply sloped roof, containing administration and back-of- house support functions.
建筑的设计和选址在场地内协同进行，以建立公共行人通道，从_village strolF行人桥（惠斯勒村），到穿过Blackcomb Way 大道，最后穿过美术馆，然后从另一侧进入Firzsimmons Creek 公园。
人行桥从 Blackcomb Way 路开始上升，结束在美术馆入口大厅的天窗下。
The building design and siting work synergistically within the context of the site to create a public pedestrian link, beginning from the _village strolF, the pedestrian spine of Whistler Village, across Blackcomb Way, leading to and through the Museum and then across the site to Fitzsimmons Creek park. A bridge from Blackcomb Way rises through the forest to arrive at a sky lit museum entry porch. From there, visitors can either descend to the forest floor and central meadow to continue passage through the site, or enter into the museum lobby and event space. Once inside, visitors proceed along a glazed walkway overlooking the meadow below, to gain access first to the galleries which contain the permanent collection and then to the galleries which contain temporary exhibits.