Text description provided by the architects. Museum of contemporary art of Yong Qing mansion is located at the intersection of the two vertical roads, facing the arterial roads, and the surrounding is bustling and noisy, which is the irregular corner land along the street. It seems that the two are hard to integrate when the elegant and cold Art Museum meets the prosperous city. The design acts in a diametrically opposite way, applying blue-gray cool as the keynote in contrast to the noisy city interface, with a “dramatic” way to reversely reflect the cold peculiarity of a museum of contemporary art.
As an important exhibition knot of the city, we first set an “L” shape and cut the shape with the volume of 45 degree at the corner, forming a main front space and important display panel. By using shallow water surface to moderately isolate the negative urban interface, the overall urban interface presents a cold but not harsh peculiarity.
The wall is undoubtedly the protagonist of the whole building, and the backing wall in our sight gradually extends to the both sides. At the same time isolating the negative place factors, it defines the functional space of the building itself. Glass boxes intercross with the large pieces of Iran blue eyes stone, which make the inner space penetrate into the city interface. The twolayer of white glazed glass box forms a semi-implicit and semi-transparent light effect in the night sky.
It perfectly applies architectural skills to the building by stitching a variety of materials and processing the fine details. The gap approach of 15mm between the wall and the stone emphasizes the sense of purity of façade, and emphasizes the sense of rhythm and ductility of the wall itself. Taking the 20mm thick stainless steel rib as the pillar and combining with the ultra white glass hidden frame curtain wall, it can highlight the light sense of the glass box.
As a museum of contemporary art with no good geographical position, we abandon the “fighting” stance and behave a “conceding” posture. Taking the wall as the main line and connecting with the modern architectural language, with the elaborate but not extravagant detail handling, modest and no sparse gesture, and "dramatic" contrast aesthetic principle, to achieve the dialogue between architecture and the city, and applying the positive design strategy to resolve the negative spatial factors, which can get another chance for Gad to explore the architecture and urban space.
