Yinchuan Art Museum

source: dezeen

Layers of sediment left by the gradual shift of the Yellow River inspired the facade of this arts museum that will be built near Yinchuan, China. Designed by Chinese architects We Architech Anonymous (WAA), the Yinchuan Art Museum will be the first completed building of a new Yellow River Arts Centre on a wetland site that the 3,400 mile river once ran through. Glass Reinforced Concrete will be used to create the smooth curves of the ribbon-like facade, which will screen three floors of exhibition galleries, classrooms, a library and a theatre auditorium. The building is due for completion at the end of 2013.

The museum is one of several ambitious projects proposed in China in recent months. Others we’ve featured include an art museum with four overlapping peaks and a hotel comprising lots of small buildings on a gigantic set of shelves.

The Yinchuan Art museum will be the first project developed within this new arts district centre named the yellow river art centre (YRAC) located within 20km of the city centre, its function will be to knit subsequent communities together enhancing the wellbeing of future local social infrastructure. Millennia has passed since the Yellow river shifted course passing through the site between dynasties of the Han and the Qing leaving the land in its current state as a now protected wetland. A narrative unfolds demanding movement and tension and the museum’s architecture is pinpointed. Focusing on the modern study of geomorphology (an observation of natural land formations), and harnessing the identity and perceived power of the yellow river and its shifting locations we drew inspiration of the architecture by its resulting impact of erosion on the landscape. Sediment and top soil layers formed parallel to the surface over millennia are now removed. A natural occurrence known as “unloading” now goes to work changing the geological landscape pressures released on underlying rock allows shifts upwards the result of which, we can observe as undulations and distortions in the initially parallel sediment layers to become waves over the design of the surface skin of this building.

The Museum’s massing becomes a diagram of these geological forces visible in the sedimentary creases abundant on the facade. Using parametric techniques we were able to visualise these layers and texturise the facade to implant an identity which echoes time through its weathering. Emulating these natural landform processes frees a language intrinsically linked with ‘Place’ while hinting of this ‘place’ as a time before human history. This Experiment with an abstracted ‘Growth’ of a building has taken the form of accentuating the landscape, creating distinct man made insertions to augment the existing topography and give the museum its identity.

The Museum is constructed with GRC (Glass reinforced concrete) technologies never before utilised at this scale previously before within China. This construction technique allows for the seamless transition of data from computer added modeling programs to fabrication, removing human error from the construction process. Our finalized computer model was analysed and using CNC milling machines each panel was fabricated as a form to which concrete was poured with fiber-glass to create a very thin strong mould. These will then be constructed on site and sealed to give a seamless finish. There are many advantages to GRC its light durable and strong these allow us to reduce super structure to avoid unnecessary wastage in materials.
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source: archdaily

Designed by Waa (We Architech Anonymous), the Yinchuan Art museum will be the first project developed within this new arts district centre. The project is named the yellow river art centre (YRAC) due to its close proximity to the yellow river which has been coined ‘the cradle of Chinese civilization’ by previous generations that helped protect and provide for early settlers. Located within 20km of the city centre, the main function of their design will be to knit subsequent communities together enhancing the well-being of future local social infrastructure. More images and architects’ description after the break.

Frequent flooding over the last millennia has illustrated its destructive capacity and volatile character, which can be observed through satellite imagery which alludes to the rivers ever changing, shifting location depositing huge volumes of sediment and debris in the process in and around the Yinchuan area. The museum will be fundamental to the character and vibrancy of the community one we must run in parallel with the architectural ambition of the scheme.

Millennia has passed since the Yellow river shifted course passing through the site between dynasties of the Han and the Qing leaving the land in its current state as a now protected wetland. A narrative unfolds demanding movement and tension and the museum’s architecture is pinpointed. Focusing on the modern study of geomorphology (an observation of natural land formations), and harnessing the identity and perceived power of the yellow river and its shifting locations we drew inspiration of the architecture by its resulting impact of erosion on the landscape. Sediment and top soil layers formed parallel to the surface over millennia are now removed. A natural occurrence known as “unloading” now goes to work changing the geological landscape pressures released on underlying rock allows shifts upwards the result of which, we can observe as undulations and distortions in the initially parallel sediment layers to become waves over the design of the surface skin of this building.

The Museum’s massing becomes a diagram of these geological forces visible in the sedimentary creases abundant on the facade. Using parametric techniques we were able to visualise these layers and texturise the facade to implant an identity which echoes time through its weathering. If the facades creases speak as documented time through material sedimentation. The gradual shift of the yellow river through our site has spanned the whole length of Chinese civilization which can be seen dwarfed in comparison to the rivers existence. Emulating these natural landform processes frees a language intrinsically linked with ‘Place’ while hinting of this ‘place’ as a time before human history. This Experiment with an abstracted ‘Growth’ of a building has taken the form of accentuating the landscape, creating distinct man made insertions to augment the existing topography and give the museum its identity.

Approaching the Building a large internal atrium occupies the space left over from a notional fracture shifting the building into two pieces. The City entrance is a carved “weathered” facade cavernous stretching the full height of the building within this space a large entrance and circulation atrium contains two large open contempory galleries, with the capacity to exhibit large sculpture and installations on the entire basement level. Throughout the gallery the visitor experiences differing gallery spaces which will provide a varied experience and provide functional flexibility and a varied palette with which the curatorial team can work, catering for the display of work in an intimate, traditional as well as a large public spectacle capacity. Moving upwards into the building towards two large galleries on level 3 will provide the thematic collection specific content. The Museum will integrate strong educational functions along with lecture theatre, Library workshop and classrooms located at different levels within the building complex. We hope through this combination of Commerce/Education and Gallery for strong integration of local communities, and to be a physical platform supporting the careers of young established artists along with the creation of a new multinational student body. The visitor descends to an elevated display deck on the second floor before entering the permanent collection room exiting through the landscape entrance and the gallery restaurant. Within the landscaping of the plot which occupies the boundary between a vast swath of Wetland Park and the gallery completes the journey with the visitor in a sculpture park. The route directs towards the artist village compound to the East.

The Museum is constructed with GRC (Glass reinforced concrete) technologies never before utilized at this scale previously before within China. This construction technique allows for the seamless transition of Data from computer added modeling programs to fabrication, removing human error from the construction process. Our finalized computer model was analyzed and using CNC milling machines each panel was fabricated as a form to which concrete was poured with fiber-glass to create a very thin strong mould. These will then be constructed on site and sealed to give a seamless finish. There are many advantages to GRC its light durable and strong these allow us to reduce super structure to avoid unnecessary wastage in materials.
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source: arqhys

El Yinchuan Art Museum se inspira en la geografía y topografía de Yinchuan. Las inundaciones del río, el pliegue y la textura de la tierra local son las fuentes inspiradoras de WAA para este proyecto. Un buen estudio de estos factores permite captar la estética y crear un edificio que tenga identidad propia, que se identifique en su región y sobre todo que cree lazos sentimentales con la población. Este Museo de Arte en Yinchuan será el primer gran proyecto dentro del distrito denominado “Centro de Arte Río Amerillo” (YRAC) y su función es mejorar la infraestructura local y por ende ayudar al bienestar de pobladores por medio del apoyo a al educación y las artes. La arquitectura moderna propuesta con el Yinchuan Art Museum es un atractivo para visitarlo. El museo contará con tres niveles donde se encontrarán bibliotecas, aulas, salones para talleres, un teatro y salones dirigidos obviamente a exposiciones y montajes. Con el Yinchuan Art Museum se busca poner énfasis en la educación. La fachada esta hecha con hormigón armado reforzado con vidrio que permite crear el movimiento y las capas del edificio. Un dato sumamente interesante es el uso de tecnologías de última generación y el uso de con GRC (hormigón armado y vidrio) permite un diseño por computadora para su posterior modelado que reduce los errores humanos en el proceso de construcción y se evita desperdiciar materiales. Este proceso constructivo posee un mejor acabado y es más fácil de montarlo. Estos procedimientos son totalmente innovadores en China pero con el Museo de Arte en Yinchuan se dará el ejemplo y no dudamos que muy pronto se extenderá. Se provee que la construcción del proyecto concluya entre finales del 2013 y principios del 2014.
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source: futurixit

I livelli di sedimento lasciati dal graduale spostamento del Fiume Giallo (culla della civiltà cinese), hanno ispirato la facciata di questo museo, che sarà costruito nei pressi di Yinchuan, è l’uno dei più ambiziosi progetti proposti in Cina, degli ultimi mesi. Le inondazioni si sono, infatti, verificate nella zona per migliaia d’anni. Il progetto dello studio australiano WAA (We Architech Anonymous) replica sulla facciata e nella volumetria, le ondulazioni e le distorsioni degli strati sedimentari del fiume. L’eleganza e l’armonia dell’insieme sono del più bell’effetto, con curve e pieghe sinuose, che catturano la luce in modo spettacolare. L’edificio accoglierà i visitatori in un grande atrio che li porteranno agli spazi espositivi e educativi su tre livelli. E’ previsto anche una biblioteca, una caffetteria e una sala conferenze. L’edificio dedicato all’arte contemporaneo e alla storia dell’arte cinese, sarà completato per la fine del 2013.
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source: mt-bbs

这是由WAA设计的位于宁夏银川的美术馆项目，层层叠叠的由黄河冲刷的沉积物激发了设计师对这个美术馆的设计灵感。这将是建在黄河流经过的湿地上的新黄河艺术中心项目中第一个建成的项目。

玻璃加固水泥将被用在表皮上，以创造出那种柔和的弯曲的条带状结构，它将遮挡三层的展厅，教室，图书馆和一个剧院及礼堂。建筑预计2013年完工。
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source: baunetz

China bekommt ein neues Kunstareal. In Yinchuan, Hauptstadt des Autonomen Gebietes Ningxia der Hui-Nationalität, am Oberlauf des Gelben Flusses, wurde vor kurzem gute 20 Kilometer außerhalb des Stadtzentrums mit den Bauarbeiten für einen auffälligen Museumsneubau begonnen. Ähnlich wie das gelbe Gewässer scheint auch das Gebäude ein wenig zu fließen. Entworfen und geplant wird das neue Kunstmuseum in Yinchuan von dem jungen chinesischen Büro We Architech Anonymous (WAA). Das Museum soll das erste Gebäude des geplanten Yellow River Art Centre (YRAC) werden.

Der dreiflügelige Bau öffnet sich mit zwei Seiten zum Fluss, während sich die dritte Gebäudeseite zur Straße orientiert. Wie Sedimentgestein schichten sich die einzelnen Etagen in verschiedenen gewellten Fassadenbändern übereinander. Die Architekten haben den Ausstellungsbau formal konzipiert und parametrisch entworfen: Stromlinienförmig scheinen die Fassadenbänder in der Mitte des Baukörpers zusammenzulaufen und zu verschwinden. Sie beziehen sich damit auf die Region, die von Hochwasser und Überschwemmungen geprägt ist. Seit einigen Jahren wird das Ufer am Gelben Fluss so umgestaltet, dass dort gebaut werden kann.

Die Fassaden sollen aus Glasstahlbeton gebaut werden, um einen nahtlosen Übergang zwischen der Konstruktion und dem eigentlichen Bau zu schaffen. Neben Ausstellungshallen und Galerieräumen, die sich auf drei Etagen verteilen, wird der Neubau ein großes Atrium, eine Bibliothek sowie einen Theatersaal, ein Auditorium und Büro-, Seminar- und Unterrichtsräume beinhalten.

Bereits im Frühjahr 2014 soll der Museumsneubau für zeitgenössische Kunst fertig gestellt und eröffnet werden. Ob dort dann wirklich von zig Pfeilen zerschossene und ausgestopfte Tigerfelle oder rote Sandhügel ausgestellt werden, wird sich zeigen.
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source: tvn24

To jeden z najoryginalniejszych projektów architektonicznych na świecie – zainspirowały go warstwy osadów pozostawione przez liczącą ponad 5 tys. kilometrów długości Żółtą Rzekę. Budynek stanie na dawnych mokradłach w pobliżu chińskiego miasta Yinchuan, przez które kiedyś płynęła ta jedna z najdłuższych rzek świata.