03 Duting Garden Reception Center都廳苑接待中心

設(shè)計公司：動象國際室內(nèi)裝修有限公司

設(shè)計師：譚精忠

地點：中國臺灣

面積：1075m2

材料：磐多磨、鋼刷染色木皮、鍍鈦不銹鋼、鋼琴烤漆、灰鏡、大理石、拋光磚、柚木板、地毯等

"Crossover" is a challenging concept of creation and a form of expression nowadays. When the elements from different fields break the existing framework and shuttle at all levels like fashion, car, art and literature as well as technology, etc. the stunning creativity is often inspired. However, if there were two elements which have conflict and contradiction essentially, could they still make cross-border combination? In this case, the designer uses a new perspective view and thinking logic to cut to the design of reception center, and firstly sets into the theme of the planning exhibition, and then leads into spatial planning and functions of use to get the connection and balance between art exhibition and business sales. In the opposite of design surface, the concept of "class museum" is adopted as the layout of space, which gathers "Asian Contemporary New Art forces" including 21 designers' 30 works from Mainland China, Japan, Korea, Philippines, Indonesia and more than half of Chinese Taiwan contemporary artists as the exhibition proposition and space content. In the space frame with three units and two floors, the shaping space and atmosphere of dialogue and exchange between people and arts lead the user of space into the field interweaving and integrating the artistic appreciation, space structure and life style, then narrowing the distance between the public and works of art and enhancing the recognition for Taiwan contemporary artists.

“Crossover”，一個時下具挑戰(zhàn)性的創(chuàng)作概念與表現(xiàn)形式，當(dāng)來自不同領(lǐng)域的元素，打破既有的框架并穿梭在各個層面，時尚vs汽車、藝文vs科技……往往激發(fā)出令人驚艷的創(chuàng)意。但若是兩個本質(zhì)上存在沖突與矛盾的元素，是否仍然可以作跨界的結(jié)合？本案以新的觀察角度與思考邏輯切入接待中心的設(shè)計，先置入策劃展覽的主題，再導(dǎo)入空間規(guī)劃與使用功能，企圖在藝術(shù)展覽與商業(yè)銷售之間取得連結(jié)與平衡點，對應(yīng)在設(shè)計面以“類美術(shù)館”的概念作為空間的布局，將集結(jié)中國大陸、日本、韓國、菲律賓、印尼與超過半數(shù)的中國臺灣當(dāng)代藝術(shù)家共21位、30余件作品的“亞洲當(dāng)代藝術(shù)新勢力”作為展覽的命題與空間內(nèi)容。在3個單位、2個樓層的空間框架中，形塑空間、人與藝術(shù)品對話交流的氛圍，引領(lǐng)空間使用者進(jìn)入藝術(shù)欣賞、空間涵構(gòu)與生活品味交織融合的場域，進(jìn)而拉近大眾與藝術(shù)品之間的距離，提升對臺灣當(dāng)代藝術(shù)家的認(rèn)同。

門廳以無接縫的磐多磨地坪搭配純白色的連續(xù)墻面作為空間背景，40坪的空間僅陳設(shè)3件作品：胡棟民回旋成圈的不繡鋼雕塑《流水》，常陵氣勢恢宏的《山水大宏圖》與李真饒富童趣的《無憂國土》。透過線條純粹、尺度寬廣的大廳空間，提供藝術(shù)品展現(xiàn)內(nèi)在意涵與觀賞者發(fā)揮無限想像的場所。走道一側(cè)的白色大理石咖啡吧臺周邊分別展示林建榮的搖頭人偶《ZZZ-lV轉(zhuǎn)頭》、徐曉燕的油畫《盛開》與牟柏巖的樹脂雕塑《天空》。其中，設(shè)計者借由端景墻上傾倒歪斜的墻體和天空的背景圖像，進(jìn)一步詮釋《天空》掙扎向上攀爬的視覺效果，并透過鏡面不繡鋼的反射影像，將視角看不見的上方面部表情傳達(dá)給觀賞者，引起觀賞者的會心一笑與共鳴。

白色的鋼骨樓梯蜿蜒向上，連通接待中心上下樓層。設(shè)計者規(guī)畫懸吊樓梯的結(jié)構(gòu)鋼纜作為投影屏幕，使林冠名的影片作品《泉》的影像與聲音在鋼纜之間流轉(zhuǎn)穿梭，搭配樓梯本身的斜向支撐、不規(guī)則造型和胡棟民的不繡鋼雕塑《迎面》，將樓梯轉(zhuǎn)化為一座聲光具備的巨型裝置藝術(shù)。