陶瓷博物馆和马赛克公园

©Ben McMillan 综述EXTRACT: 陶瓷博物馆和马赛克公园是2013锦州世界园林艺术博览会的一部分，项目在文化杂糅的概念上迈出了实验性的脚步，这种文化杂糅是东西方在经历了几个世纪的商业及文化交流中发展而来的现象。 The Ceramic Museum and Mosaic Park is part of 2013 Jinzhou World Landscape Art Exposition and experiments with the concept of cultural hybridization, which is a phenomenon developed during many centuries of commercial and cultural exchange between West and East. 作为文化交融标志的马赛克公园/Mosaic Park as symbol of cultural hybridization 位置图 ©Casanova+Hernandez architects 锦州这个位于北京东北500公里内拥有300万居民的城市，其城市外延因一个占地176公顷的位于填海区的全新大型公园的简称而连为一体。该项目一期承办了2013锦州世界园林艺术博览会，在博览会结束后，该区域将成为一个新城区的中央公园。 The urban extension of Jinzhou, a city of three million inhabitants located less than 500 kilometres north-east of Beijing, has been articulated by the creation of a new large public park of 176 Ha in an area reclaimed from the sea. During a first phase, the park hosts the 2013 Jinzhou World Landscape Art Exposition and once the Expo is closed, the area will become the central park of a new urban development. ©Casanova+Hernandez architects 20位来自世界各地的设计师受托在连接公园内不同地点的各功能区域的一个近圆形的区域内设计20个项目，每个项目都独具设计者所代表的文化背景。 博览会的设计基于全球化背景下的冲突，尽管其明显地与本土文化定位的破坏联系在一起，但也可能同时产生某种特质。马赛克公园在此之上更加致力于建立市民与属地的联系，从而对项目地点赋予更加广阔的含义。 项目在文化杂糅的概念上迈出了实验性的脚步，这种文化杂糅是东西方在经历了几个世纪的商业及文化交流中发展而来的现象。 20 international designers have been commissioned to design 20 projects within a comparable circular perimeter in different locations of the park linking the program and the identity of the designs to the cultural background of the designers. The design of the Expo is based on the paradox that globalization, although it has typically been associated with the destruction of local cultural identity, may also be able to generate some kind of identity. The Mosaic Park project goes beyond that and aims to create a link between citizens and the place, giving a wider meaning to the site. The project experiments with the concept of cultural hybridization, which is a phenomenon developed during many centuries of commercial and cultural exchange between West and East. ©Ben McMillan ©Casanova+Hernandez architects 一方面，项目应用当地不同颜色的碎瓷片作为公园的步道和长椅以及博物馆外立面的材料，这让人想起在罗马帝国时代的欧洲广泛应用的传统马赛克风格，其经历历史的发展，时至今日被赋予了更多的科技元素，如加泰罗尼亚现代建筑中使用的trencadís技术。 On the one hand, the use of broken local ceramic pieces of different colours for the materialization of the pavement and benches of the park and for the facades of the museum evokes the mosaic tradition that was widespread throughout Europe by the Roman Empire and that has evolved along history till the present day bringing technical solutions such as the trencadís technique used by the Catalan modernist architects. ©Casanova+Hernandez architects 另一方面，公园的几何形状受到10世纪中国宋代汝窑和哥窑陶瓷的裂纹釉的启发。马赛克公园和陶瓷博物馆时刻提醒着人们，锦州地区曾是瓷器的产地，尽管这项工艺在该地区失传已久，如今已被遗忘在历史长河之中。 On the other hand, the geometry of the park is inspired by the crackled glaze of the Chinese porcelain developed from the 10th century during the Song Dynasty in the Ru Ware and Ge Ware ceramic pieces. The Mosaic park and the Ceramic Museum remind citizens that the Jinzhou region was once a production area of ceramic and porcelain, although this tradition was lost for centuries, being nowadays forgotten. 杂糅的园林景观：建筑与景观的融合/Hybrid landscape: mix of architecture and landscape ©Ben McMillan ©Ben McMillan 本项目是当代城市公园的典范代表，既不是自然景观的碎片，也不是城市景观的片段，而是两者相融合的产物。马赛克公园代表了建筑与景观、自然与人为融合的杂糅特色。 The project represents the paradigm of the contemporary urban park, which is neither a fragment of the natural landscape nor a landscaped piece of the city, but the mix of both of them. Mosaic Park presents a hybrid character that combines architecture with landscape, and nature with artifice. ©Ben McMillan 公园不规则的集合形状在空间上展现为破碎的三维地貌，在此，景观与建筑融合为一个由884个不规则平面组成的连续的表面。 并且，这个几何形状表现为由当地中国碎瓷片组成的四种不同类型和颜色的花朵的多色马赛克图形。花朵和陶瓷形成多彩的马赛克，将自然和本土技艺联系在一起。 The irregular geometry of the park is spatially unfolded into a crackled three-dimensional topography, where landscape and architecture merge into a continuous surface formed by 884 irregular planes. Moreover, this geometry is embodied as a polychromatic mosaic formed by combining flowers of four different species and colours with mosaics created with broken pieces of local Chinese pottery. Flowers and ceramic blend into a colourful mosaic that brings nature and local crafts together. ©Ben McMillan 陶瓷博物馆的建筑几何形体继承了公园碎片化几何图形的特质，材料上应用了公园步道相同的瓷砖，在建筑立面上与釉面效果辉映，且同样采用了不规则的风格。 由植物和陶瓷表面构成的多彩的马赛克使项目具有几何形态及视觉的统一性，从而避免了通常情况下软硬景观之间的分离性。景观与建筑、马赛克公园与陶瓷博物馆在同一个作品中融为一体，丰富多彩而又令人惊叹。因其杂糅的特色和极具可塑性的内容而独具特色。 The building geometry of Ceramic Museum is conceived as an extension of the crackled geometry of the park, and it is materialized using the same ceramic tiles used for the pavement of the park, which are combined in the building facade with glazed openings also following irregular patterns. The polychromatic mosaic formed by vegetal and ceramic surfaces provide geometric and visual unity to the project avoiding the usual separation between hardscape and softscape. Landscape and architecture, Mosaic Park and Ceramic Museum, merge into a single work, at the same time multifaceted and surprising, characterized by its hybrid character and strong plastic content. 公众生活的催化剂/Public life activator ©Casanova+Hernandez architects 公园及博物馆作为公众生活催化剂的功能体现在两个方面。 一方面，马赛克公园试图激活公共空间。项目的标志性特点使其成为吸引游客参与全息体验的景点。公园的不同元素根据人类尺度布置，因而提供了一个适合步行、坐下休憩以及玩耍的空间。公园还配置了长椅，为市民自发的聚会提供了场所。 另一方面，陶瓷博物馆作为锦州文化及社会生活催化剂的功能，试图激起参观者对于当地历史的好奇，传达失落的传统，最终为市民提供一个展览及公共活动功能的新的结合点。 Park and museum work as activators of public life in two ways. On the one hand, Mosaic Park seeks to activate the use of the public space. The iconic nature of the project serves as an attraction that invites visitors to enjoy a multi-sensory experience. The different elements of the park have been dimensioned according to the human scale to provide comfortable spaces for walking, sitting and playing. The park has also been equipped with long benches to create informal places for spontaneous meetings among citizens. On the other hand, the Ceramic Museum functions as an activator of the cultural and social life of Jinzhou, trying to arouse the visitor's curiosity about the past of the place, transmitting a lost tradition, and finally creating with a program of exhibitions and public events a new meeting point for the citizens. 社交平台/Social platform ©Casanova+Hernandez architects ©Casanova+Hernandez architects ©Casanova+Hernandez architects 陶瓷博物馆被设计成一个开放的结构，在这里，随时发生的活动为当地艺术家的作品展示提供了一个新的社交平台。设计师和艺术家在这里能在制陶的传统氛围中创作和体验。 The Ceramic Museum is designed as an open structure, where the program evolves over time offering a new social platform to showcase the work of local artists, designers and artisans who work and experiment with the tradition of ceramic and porcelain. ©Casanova+Hernandez architects 项目试图激发市民对传统的兴趣，但更重要的是，尝试通过为展览、传播、销售本地手工艺术品建立一个象征性的现代空间，来推动本地创意产业及当代设计发展。 It intends to arouse the interest of citizens about their traditions, but more importantly it seeks to promote local creative industry and contemporary design by building an emblematic and modern space for the exhibition, dissemination, and sale of local handicrafts. ©Casanova+Hernandez architects 从根本上来说，陶瓷博物馆不仅致力于推动公众使用公园，同时推动当地经济及文化生活，从而在其基本的休闲功能之外，获得广泛的社会效益。 Ultimately, the Ceramic Museum aims not only to energize the public use of the park, but also the local economy and the cultural life of the city, in order to achieve a wider social impact, beyond its primary leisure purpose. 建筑概念图 ©Casanova+Hernandez architects 景观概念图 ©Casanova+Hernandez architects 轴测图白图 Axonometry White ©Casanova+Hernandez architects 轴测图 Axonometry ©Casanova+Hernandez architects 设计元素 ©Casanova+Hernandez architects 立面图 ©Casanova+Hernandez architects 花坛的色彩分布 ©Casanova+Hernandez architects 步道瓷砖碎片的色彩分布 ©Casanova+Hernandez architects 规划白图 ©Casanova+Hernandez architects ©Casanova+Hernandez architects ©Ben McMillan 项目名称：陶瓷博物馆和马赛克公园 项目位置：中国 锦州 委托方：锦州市政府 建筑设计：Casanova + Hernandez architects 项目状态：建成 开始时间：2011年10月 完成时间：2013年5月 摄影：Ben McMillan Project name: Ceramic Museum and Mosaic Park Location: Jinzhou, China Client: Municipality Jinzhou Designer /architect: Casanova + Hernandez architects Status of project: Realized Starting date: October 2011 Completion: May 2013 Photo credit: Casanova + Hernandez architects, Ben McMillan

©Ben McMillan

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