Floor Plan

架构师提供的文本描述。张玉琴(1917-1991)是韩国近代杰出的画家。他受到欧洲战前画家和韩国绘画的影响。这个博物馆项目是由张德钦基金会和首尔以北10公里处的扬居市合作发起的。这个地点在一座小山的边缘，在两条河的交汇处。

Text description provided by the architects. Chang Ucchin (1917-1991) is a preeminent painter of the Korean modern period. He was influenced by European pre-war painters as well as Korean painting. The museum project was initiated by the collaboration of the Chang Ucchin Foundation and the city of Yangju, 10 kilometers north of Seoul. The site is on the edge of a small mountain, at the meeting point of two rivers.

 © Park Wansoon

(C)朴万顺

从竞赛提案的早期开始，我们就把重点放在设计一个能反映绘画自身特征的特定空间，而不是制作一个通用的、“完美的”展览建筑。就像画家自己的艺术一样，我们既不提出现代博物馆，也不提出韩国传统形象。相反，我们从一些选定的绘画开始，描述抽象的房间图像，风景和动物(老虎，鸟，树和山)，一所房子。散落的房间，以传统的图案，然后焊接在一起，形成一个身体，漂浮在一幅绘画像风景，与山的背景。建筑本身的形状呈现出一种模棱两可的现象：既是动物的形象，又是抽象的标志，是传统的房子，也是迷宫。

From the early days of the competition proposal, we focused on designing a specific space that would reflect the painting’s own character, rather than producing a generic, “perfect” exhibition building. Like the painter’s own art, we would avoid to propose neither a modern museum nor a Korean traditional image. Instead we started from a few selected paintings, describing abstract room images, landscape and animals (tiger, bird, tree and mountain), a house. Scattered rooms, in a traditional pattern, would then be weld together to form a body, floating in a painting like landscape, with a mountain background. The shape of the building itself present the ambiguity of simultaneously being an animal figure, an abstract sign, a traditional house and a labyrinth.

 Detail Section

细节科

这个项目只是在三个层次上组织起来：一个环形的一楼，有时可以看到开阔的景色或陡峭的山坡景观，由普通的展览墙和高高的天花板构成。第二层是一系列分开的阁楼房间，在一个半默默无闻的地方，将适合于纸画和小格式。地下室设有服务、会议室和安全储存。整个室内空间给人的印象是一个迷宫般的房子，在那里你永远不会真正迷失。它提供了阴影和对比的观点，避免了在一个完美照明的传统博物馆空间的感觉。

The program is simply organized on three levels; a looped circuit first floor that offers sometimes open views or steep mountain slope views, framed by plain exhibition walls and high ceilings. The second level is a succession of separated attic rooms in a semi obscurity that would be fit for paper drawings and small formats. The basement contains services, seminar rooms and secured storage. The whole interior space gives the impression of a labyrinth house where you never get really lost. It offers shadows and contrasted views, avoiding the feeling of being in a perfectly lit conventional museum space.

 © Park Wansoon

(C)朴万顺

墙面上覆盖着聚碳酸酯挤压板，这些面板是为它们的无缝失重而选择的。白色框架和塑料，以接近当地农业产业的风格，是避免任何重大事件或官方崇敬的方式。景观是由以前存在的空地组织起来的，干预措施保持在最低限度；几道混凝土墙和小径，残存的墙壁被回收利用，保存在这座山的这一边似乎茁壮成长的大栗树，河岸上的旧野餐场所。

The façades are clad with polycarbonate extruded panels, which were chosen for their seamless weightlessness. White frame and plastic, in a style close to the local agricultural industry was the way chosen to avoid any monumentality or official reverence. The landscape is organized by the previously existing clearing, intervention is kept to a bare minimum; a few concrete walls and paths, the recycling of remaining walls, the preservation of the large chestnut trees that seem to thrive on this side of the mountain, the old picnic place maintained on the river shore.

 © Thierry Sauvage

(蒂埃里·索瓦奇)

Architects Chae-Pereira Architects

Location Gyeonggi-do, South Korea

Category Museum

Area 1650.0 sqm

Project Year 2014

Photographs Park Wansoon, Thierry Sauvage