△ ?Julia Charles
建筑面积 1185平方米
项目位于悉尼市中心的Chippendale，是一个画廊与表演空间综合体。在艺术慈善家Judith Neilson的委托下，这座建筑实现了建筑与艺术的结合。
Phoenix Central Park is a gallery and performance space located in Chippendale, in inner-city Sydney. The vision of remarkable arts philanthropist Judith Neilson, the building is a partnership of architecture and artistic fields.
△ ? Trevor Mein
项目旨在实现空间的协同使用，由两家设计单位共同设计：John Wardle architects设计东翼的画廊，Durbach Block Jaggers设计西翼的表演空间，不同体量通过庭院和花园连接。
The intention is to have the spaces working together, to have visual arts interwoven with the performing arts. Two architects bring the design together: John Wardle Architects designed the gallery in the east wing and Durbach Block Jaggers designed the performance space. The components are linked centrally by a courtyard and garden.
△ ? Trevor Mein
画廊
它既不是私人博物馆，也不是公共画廊。从私密性展示空间、到广阔的公共展示区域， 当人们置身画廊空间，会产生沉浸式流线体验 。 建筑采用现浇混凝土材质， 不 同体量 通过楼梯和桥梁连接、形成丰富的层叠卷。 每一卷对应不同艺术品类，同时保留了整体感。
△ ? Martin Mischkulnig
建筑内部，由顶部洒下的 自然光 令人惊喜，不同层次的材质设置也极具吸引力。 横 跨 低矮宽阔空间的 系列 天窗 棱角分明，它们反射并过滤光线，形成柔和、 模糊的光线氛围，使空间实现了 自低沉、黑暗氛围中的戏剧性释放。
Unexpected views, natural light drawn from above, and stairs of material inventiveness attract the curious. A field of skylights set across a low wide space provide dramatic release from the darker atmosphere of its lower realm. Angular and sharp, they reflect and filtering the light into a soft, ‘fuzzy’ glow.
画廊的两个空间高潮，即“围合”与“释放”，被设置在圆形窗户周围。 在画廊另一端的花园 下、一个小洞穴状房间，人们可以通过单向视觉天窗看到上面的世界， 安静思考一件作品的同时，与上部空间的氛围波动产生微妙关联。
Two prominent moments in the gallery, of containment and release, are set around circular windows, oculi that are the focus of internal spaces. At the opposite reaches of the gallery, below the garden is a small cave-like chamber with a single ocular skylight to the world above. It is an intimate space for quiet contemplation of a work whilst maintaining a tenuous link to the fluctuations of the day above.
△ ? Trevor Mein
面向街道的砖界面内凹，建筑中心产生了一个圆形凹槽，对应一个大的视线窗、和一个较小的偏移伴窗。建筑 内部，酒窝墙引导人们将注意力集中在向外开放的窗洞图案上。
The brick surface facing the street has been pressed inward to create a circular dimple at the centre of which is a large oculus window, and a smaller offset companion window. Internally, the dimpled wall concentrates attention on this figured opening to the world beyond the gallery.
△ ? Trevor Mein
表演空间
表演空间是一个独特的钟形场地，由多层次木纹曲面构成，嵌入大堂和流通结构中。它就像 伊丽莎白女王时期的剧院，突出的阳台环入体块，创造了交替的舞台，或者说是观看盒。根据人们停留、观看表演的空间， 交通或直接、或间接地通过优雅的台阶抵达。
The performance space i s a singular bell-shaped clearing, made by stepped and contoured timber ribs, embedded in a fabric of lobbies and circulation. Like an Elizabethan theatre, the action is in the round, seen from many vantage points. A projecting balcony loops into the volume, creating an alternate stage or viewing box. The circulation is direct or via a gracious set of stepped landings, scaled for arresting movement and inviting overview.
△ ? Elin Bandmann
△ ?Martin Mischkulnig
The over-scaled gold window allows glimpses and light from the street in an otherwise dark space. The theatre is lined with timber fabricated from digital templates in the factory and assembled on site.
△ ?Martin Mischkulnig
艺术家的交流空间和配套花园庭院以明亮、白色为主题，以天空为背景，点缀以精巧的植物、当地特色小装饰。
Above, a meeting space for artists and its companion garden courtyard are modelled in brightness and whiteness, capturing unexpected planting, local vignettes and sky views.
△ ? Tom Ferguson
Through this exterior surface the idiosyncrasies of each interior emerge and erupt in windows, doorways and portals. A defining element exists in the dialogue between gallery and theatre, inside and outside – an exploration in how a building can be two things at once, both/and as it were. They are bound together by a continuous external skin of brickwork that encloses everything – a skin that was designed by both architects working together, iteratively, with conversation and debate, both rigorous and polite, with irreverence, humour and respect.
△ ? Trevor Mein
设计图纸 ▽
△ 立面图 ? John Wa rdle Architects
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只看楼主 我来说两句 抢板凳项目位于悉尼市中心的Chippendale，是一个画廊与表演空间综合体。在艺术慈善家Judith Neilson的委托下，这座建筑实现了建筑与艺术的结合。
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