新西兰Len Lye中心博物馆The Len Lye Centre / Pattersons Architects

2015年7月25日，Len Lye中心正式对外开放。Len Lye中心是新西兰唯一一个艺术家博物馆，其全方位的展示了Len Lye (1901 – 1980)影响深远的著作和作品。Len Lye是一位实验动画大师，他将梦境转化成比清醒时的世界更超然真实的抽象画面，他的灵感来自太平洋岛屿艺术以及对大自然的观察。

Len Lye曾说过伟大建筑也是伟大的艺术。

The Len Lye Centre is New Zealand’s only single artist museum and its design is deeply influenced by the life, ideas, writings and work of Len Lye (5 July, 1901 – 15 May, 1980).

It was Lye himself who said in 1964 that “great architecture goes fifty-fifty with great art,” a maxim that has informed the approach and form of the Patterson Associates-designed Antipodean Temple that houses his work.

 

 

而Len Lye中心博物馆也尽可能不违背这一原则，建筑从古典寺庙和波利尼西亚风格吸取灵感，将比例和美观置于第二位，首先考虑项目与生态还有自然的协调，采用本地生产的不锈钢制造出波纹般，光亮闪闪的外立面，就像是一块电影幕布。而这一层”电影幕布“也忠实的反应在建筑内部，不同的是，材料化成了粗糙的混凝土表面。层层帷幕般的形式居然神奇般的营造出神殿般的效果，人们在里面走着，就像是在进行一场朝圣。精心设计的光照创造出动感的场景

建筑内部还有一个电影放映厅和多个展厅，这些功能体被一个完整的方体包裹，方体与建筑外表皮之间的空间用作走廊和大厅。

Lye was fascinated with temples and in conceiving the overall design it seemed aesthetically and historically appropriate to draw inspiration from the “megarons,” or great halls, of the classical world, as well as Polynesian forms and ideas. These also influenced Lye and he is, after all, the client.

To do this in a new way, we developed our thinking in a holistic or adaptive way, using what we call “systems methodology.” This means that rather than using proportion or aesthetics, we use patterns in the ecology of the project’s environments to drive the design elements.

For example, the shimmering, iridescent colonnade fa?ade, manufactured locally using stainless steel - Taranaki’s ‘local stone’ - links both Lye’s innovations in kinetics and light as well as the region’s industrial innovation. By doing this we celebrate the fortunate gift of his works to Taranaki.

The colonnade creates a theatre curtain, but with three asymmetric ramped sides, leading to a type of vestibule, known as “pronaos” in Ancient Greece. This is formed by the gallery holding the large Lye works.

Viewed from above, the colonnade’s top edges create a koru form, displaying the Museum’s Polynesian influences as the meeting house, or wharenui, for Len Lye.

 

 

The procession of the colonnade morphs into a portico, announcing the main gallery as a type of megaron but also functioning as a wharenui; the deities and ancestors referenced and represented by Lye’s inspirational work.

Traditionally, the most sacred and private part of a temple, the “adyton,” is located at the point furthest from the entrance. Here is housed the Len Lye archive, while the ‘treasury,’ known as the “opisthodomos,” looks back to the people entering below.
The project respectfully links into the smaller existing Govett Brewster Art Gallery, which itself has been retrofitted from the city’s decommissioned heritage cinema. The combined facility is undivided, with a circular loop allowing visitors to appreciate the changing museum and gallery displays within one flexible and shared structure.
On the circular loop, light is drawn inside through the apertures in the colonnade, and these create moving light patterns on the walkway, perhaps a form of passive kinetic architecture.

 

 

建筑师在该项目中希望挑战现代主义在当代的地位。虽然古典主义以不在流行，但是如将它与现代与会结合，将创建出清晰，有力，动感的空间与建筑。

We hope the design challenges the dominance of pure modernism in contemporary thought. Classicism has been unfashionable for many decades and the Len Lye Museum seeks to extend modernist language with meaning. Creating space that is more lucid, triumphant and celebratory than Bauhaus traditions, but also more cogent and flowing than axis-generated architecture.

English Text By Andrew Patterson
Founder Patterson Associates