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BOSMIA 波西米亚品牌旗下首个文化艺术综合体 | 田·当代美术馆

从古典式样中析出的“古典法则”进化到现代主义处于支配地位的当下，隐秘的、内在的和构成一定磁场吸引力的同时能够被我们所感知的内在秩序一直存在，它就像一颗有着顽强生命力的“种子”，可以从中萌发出关于建筑、结构、材料、空间形态的“抽象几何性”概念，也进而发展出一种基于场所的切实可行的建造方法。

From the evolution of the "classical rules" that emerged from classical styles to the current dominance of modernism, there has always been a hidden, intrinsic, and perceptible internal order that constitutes a certain magnetic attraction. It is like a "seed" with strong vitality, which can give rise to the concept of "abstract geometry" about architecture, structure, materials, and spatial form, and further develop a practical and feasible construction method based on place.

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项目名称：田·当代美术馆

设计机构：品界设计

项目地点：湖南长沙

设计面积：18000㎡

田·当代美术馆

Tian Contemporary Art Museum

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01. 幽而隐谧 | Quiet and secluded

对于BOSMIA 波西米亚来说，位于长沙湘江西岸的滨江店是一次全新的身份展示，以18000㎡的体量建构了品牌旗下首个文化艺术综合体。密斯·凡·德·罗曾认为“结构是像逻辑一样的东西”，缜密、清晰、有迹可循，这种论述也同样适用于具体的建筑形态，远观之下，纵横排布的线性建筑外立面于高楼林立的都市之中呈现出独特的表皮肌理。

For BOSMIA Bohemia, the Binjiang store located on the west bank of the Xiangjiang River in Changsha is a brand new identity display, constructing the brand's first cultural and artistic complex with a volume of 18000 square meters. Mies van der Rohe once believed that "structure is like logic", meticulous, clear, and traceable. This discourse also applies to specific architectural forms. From a distance, the linear facades of buildings arranged vertically and horizontally present a unique surface texture in the city with high-rise buildings.

作为品牌的独立入口，结合门头以及形象展示的围合建构了“序厅”的基本特征，以含蓄、纯粹、美术馆式的氛围营造迎接每一位顾客的到访。拾级而上，室外的人潮涌动、街道的喧闹和明亮光线的动态情境瞬间转变为静止的、幽谧的空间状态。为了解决垂直电梯布局的失衡，一道斜墙由平面生长而出，打破常规意义上中心轴线的圭臬，建立非对称的平衡感。

As an independent entrance of the brand, the basic characteristics of the "foyer" are constructed by combining the entrance and image display, creating a subtle, pure, and museum style atmosphere to welcome every customer's visit. Ascending up the stairs, the dynamic atmosphere of outdoor crowds, street noise, and bright light instantly transforms into a static and tranquil spatial state. In order to solve the imbalance in the layout of vertical elevators, a sloping wall grows out of the plane, breaking the conventional standard of the central axis and establishing an asymmetric sense of balance.

02. 个体记忆 | Individual Memory

相对于多维的空间，时间则表现为不可逆的线性特质。虽然成长后的我们走出了乡地，但是那些不曾忘却的乡土记忆却一种萦绕在每位游子的心头。于是，在空间之中，泥土演变为抽象记忆的具象载体。通过垂直电梯到达三楼，代表着记忆的“泥土盒子”与流动的“泥土立面”蔓延于不同的场域，隐约地再现了随着时间消逝而日渐深刻的个体记忆。

Compared to multidimensional space, time exhibits irreversible linear characteristics. Although we have grown up and left the countryside, the unforgettable memories of our hometown still linger in the hearts of every traveler. So, in space, the soil evolved into a concrete carrier of abstract memory. Arriving at the third floor through a vertical elevator, the "soil box" representing memories and the flowing "soil facade" spread across different fields, faintly reproducing the increasingly profound individual memories that have passed through time.

若使墙壁展现活力并成为空间体量的构成部分，则需要重新发现纯粹表面所具有的审美价值。竖立于主动线两侧，匀质排布的片墙建立了“序列”的仪式语言，光穿过幕墙投射于地面，为简练的地面增添活泼的、灵动的自然光影。借助形态的精准表达，使前台区成为了浓重的迎宾区域，也成为室内拍摄的最佳背景。

If the walls are to showcase vitality and become a part of the spatial volume, it is necessary to rediscover the aesthetic value of pure surfaces. Standing on both sides of the active line, the uniformly arranged walls establish a ceremonial language of "sequence". Light passes through the curtain wall and projects onto the ground, adding lively and dynamic natural light and shadow to the concise ground. With the precise expression of form, the front desk area has become a dense welcome area and the best background for indoor photography.

关于艺术与观者的转换关系一直是美学理论家们探索的重点，凝固的、动态的或者即时的艺术形式因为人的参与而产生更加丰富的意味。以一定面积的“浪费”所界定的开放式视觉沉浸区域为艺术的互动和表达提供了另一种新的可能，不定期更换的主题活动，使单一的空间具备了画廊、美术馆等多功能的灵活性和展示性。

The transformation relationship between art and the viewer has always been a focus of exploration for aesthetic theorists, as solidified, dynamic, or immediate art forms generate richer meanings due to human participation. The open visual immersion area defined by a certain area of "waste" provides another new possibility for artistic interaction and expression. The periodic theme activities make a single space have the flexibility and exhibition of multiple functions such as galleries and art museums.

03. 有机秩序 | Organic Order

及至内里，空间的节奏由无序走向有序，同时对称的轴线也逐渐变得清晰起来。借助框架结构内的柱网为依据，让立柱隐藏于墙体，构成稳定的实体立面，而墙与墙之间，则开口以向。简洁、素雅、凝练的三张实木展台成为了空间的视觉焦点，除了作为日常装裱工作的台面之用，也可陈设画册，向顾客展示动人的影像时刻。

Inside, the rhythm of space shifts from disorder to order, while the axis of symmetry gradually becomes clearer. Based on the column grid within the framework structure, the columns are hidden within the walls to form a stable solid facade, with openings between the walls for orientation. The three simple, elegant, and condensed solid wood exhibition stands have become the visual focus of the space. In addition to serving as countertops for daily framing work, they can also be used to display picture books and showcase moving moments to customers.

而构造、形体一致的选片区和接待区通过围合的方式打造了独立的自我属地，有利于单独的沟通、交流和签约。对应墙体的立面开口，高低错落的、彼此簇拥的芦苇荡出现在视觉的中心，这种专门的经营，形成了美妙的对景。在灯光的渲染下，随着远离城市的田园生活和旧日情结的浮现，从而与访客产生情感上的共鸣。

The selection area and reception area with consistent structure and form have created independent self territories through enclosure, which is conducive to individual communication, exchange, and signing. Corresponding to the facade opening of the wall, the staggered and interlocking reed marshes appear in the center of the vision, forming a wonderful contrast with this specialized management. Under the rendering of lighting, with the emergence of rural life and nostalgia far away from the city, emotional resonance is generated with visitors.

04. 人生秀场 | Life Show

在北岛的短诗集中，一首名叫“生活”的诗作特别的引人注目，正文一字“网”，简洁有力的概括了生活的要义。家庭是复杂社会关系的最小单元，所以，婚姻对于大多数人而言，是“有情人终成眷属”的选择使然。自此，一个人与另一个人开始相处在一起，共同编织这张幸福而庞大的“生活之网”。

In the collection of short poems in North Island, a poem called "Life" stands out with its concise and powerful summary of the essence of life, with the word "net" in the main text. The family is the smallest unit of complex social relationships, so for most people, marriage is a choice of "lovers eventually getting married". From then on, one person began to get along with another, weaving together this happy and vast 'web of life'.

于是，“网”的社会意义一旦转变为设计师擅长的空间语言，那么呈现的物质形态则是另一番模样。与一般礼服的独立展架不同，无论重叠的支架还是天花的镜像、反射，二楼礼服区表现了一种交织性和连续感，昏暗的环境之中，在灯光的投射下，“网”的文化内涵被解构，礼服构成重要的展示焦点。

Therefore, once the social significance of the "internet" is transformed into the spatial language that designers excel in, the material form presented is a different one. Unlike the independent display racks of ordinary formal dresses, the second floor formal dress area exhibits a sense of interweaving and continuity, whether through overlapping brackets or the reflection of the ceiling. In the dim environment, under the projection of light, the cultural connotation of the "net" is deconstructed, and formal dresses constitute an important display focus.

空间的存在意义因品牌精神而发生改变，先锋意识总是能够自主的激发访客的积极探索。涉及婚纱、造型、西装、装裱、手作、展览等多重艺术领域的BOSMIA 波西米亚一直以来尝试通过独特的方式传递“艺术无界”的哲学母题，并希望借此打造一个以影像艺术为核心的全球人像摄影艺术家集合平台。

The meaning of space's existence changes due to the brand spirit, and avant-garde consciousness can always independently stimulate visitors' active exploration. BOSMIA Bohemia, which involves multiple art fields such as wedding dresses, styling, suits, framing, handicrafts, exhibitions, etc., has always tried to convey the philosophical theme of "art without boundaries" through unique ways, and hopes to create a global platform for portrait photography artists centered on image art.