지역적 건축 특징이 잘 나타나 있는 팜 하우스는 건축가 헤르조그 앤 드뫼론에 의해
새로운 아트 뮤지엄으로 탈바꿈 됩니다.
팜하우스의 전형적인 박공지붕 형태는 뮤지엄을 구성하는 다이나믹한 단면으로 재정의 되며,
또다시 수평적으로 연속되는 긴회랑 공간으로 투영됩니다. 건축의 아이텐티를 살리는 동시에
공간을 정적인 공간으로 낮춤으로써 주변 랜드스케이프를 여과없이 내부로 흡수 유입시킵니다.
또 이렇게 흡수된 랜드스케이프는 지역적 특색을 잘 나타내는 예술작품과 동조됨으로써
아트 뮤지엄이 지향하는 공간적 특징을 극명하게 보여줍니다.
저는 한편으로는 우리가 갖고 있는 세계적인 유산 정전을 떠올리기도 했습니다.
수직이 아닌 수평적 공간의 장중함을 만날때 우리는 건축이 갖고 있는 힘보다
건축이 어떻게 자연과 동화 될려고 하는지가 보입니다. 원래 건축은 건축 자체를 위함이 아니라
내부에 담고 있는 것들을 위한 외형에 불과하기 때문입니다.
reviewed by SJ
In our October Modern Across America issue, we previewed the Hamptons' Parrish Art Museum, designed by Swiss architects Herzog & de Meuron with interiors by Konstantin Grcic. Last week, we had the chance to see the building in person, right before it opened to the public on Saturday, November 10. When driving up the Montauk Highway on the eastern end of Long Island, it’s unclear if you are approaching an art museum or a farm. That is the subtle beauty of Parrish's new home, a space where industry meets the pastoral.
Lead architect Ascan Mergenthaler from Herzog & de Meuron wanted this “modern farmhouse” to honor the legacy of local artists while pushing the boundaries of museum design. For materials, Mergenthaler decided “to keep things simple, but also to introduce an institutional sense to the building” arriving at an elegant combination of retrieved pine and plywood as well as poured concrete.
At over 30,000 square feet, the building is defined by a long corridor running the length of the building and is flanked by seven galleries inspired by the traditional artist studios Ascan visited when researching the project. A covered terrace is furnished with a bench built into the 615-foot-long concrete façade on either side of the building. With windows on both sides, visitors are able to see the inner-most workings of the museum and employees have space to handle the museum’s extensive permanent collection which, due to space restrictions, was previously kept in storage.
Munich-based industrial designer Konstantin Grcic was given the responsibility of furnishing the museum, leading to the creation of the Parrish Chair, as seen in the museum’s café and terraces. This commission, produced by Emeco, will officially launch at Salone del Mobile in Milan in April of 2013. For lighting, Ascan turned to physicists to research the legenary Long Island light that has attracted artists over the years. The specific orientation of the building allows for plenty of natural light, meaning no spotlights, a rarity in North America. Arup’s Andy Sedgewick instead installed bare fluorescents to the pitched ceiling.
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