Taizhou Contemporary Art Museum is situated inside the Shamen Grain Depot Cultural and Creative Park with unique historical context. Taking advantage of a large area of existing factories and warehouses in the former Soviet Union style within the park, the new project aims at reintegrating and renovating the depot park with appropriate restoration and reservation.
The museum tends to form an innovative artistic spatial atmosphere through the comparison between the roughness of the cast-in-situ concrete and the exquisite space formed by the paralleled barrel vault structure. The barrel vault structure implies an integration of inside and outside, while perfectly integrating into itself the lighting system.As for circulation, the lobby (exhibition hall) connecting the square, to which the barrel vault structure directs, marks the prelude of the spatial sequence. With a helix movement the visitors ascend, layer by layer, in the enclosed structure, and ultimately reach the exhibition room on the top floor, where the prospect of Feng Mountain suddenly burst into through the opening and the orientation of the structure is also in line with the view. Thus not only a spatial trilogy has been accomplished, but the structure orientation has firmly linked and directed to the landscape.The south façade of the museum was also disposed as a series of slightly concaved curve, as if it were the external extension of the inner vault structure, constituting the frontality of the museum towards the square.
即物的美术馆 ART MUSEUM AS OBJECT 文 / 柳亦春 Author / Liu Yichun
走在仿佛刚刚脱自泥胎的这个建筑的物体里，他在想可能没有比这更完美的建筑状态了。 Walking in the building, an object seemingly just out of kiln, he reckon if there could be a more perfect state of architecture.
Having seen the concrete body of the finally-completed art museum, after so many frustrations, though the interior equipment and windows have not been set up yet, the architect walks up and down. Eyes not fixed on anywhere until reaching the aperture facing east on the top floor, after constant alterations of light and dark, the architect feels the architecture in his mind has been finished. He sees the distant green mountains framed by the successive vaults in the front.
Errors occur during pouring, or as a result of imprecise, even wild construction. But before the start of succeeding procedures, all errors are not errors, or to say, not errors that show up. During the process when architecture is being built up, these moments belong to the architect alone. Only he can experience and assure, from sketches to object, the birth of a space. This shining moment, he would like to call it art. The construction of architecture is for use of others, but this moment, the architecture is for the architect.
Due to issues of fiscal support of the project, this moment lasts very long. Thus it starts to be seen by many more people. The architect seems to welcome this phenomenon. Therefore, even in such a building regarded still as a construction site, a not-ready art museum, two exhibitions and a Christmas party have been held. It is a place where bride-to-be meets truant; or nude photographer shooting self-portrait, to whom she nodes without embarrassment. How surprising it is. Does the ruin-like space endow people with freedom of the body? Or does everything in this building become part of arts?
The time when architecture exists as object itself is rare. That is why the architect gets this idea: to record it. Thus we have the artistic creations, with sound and dance, by Yin Yi and Liu Yanan. In these two short movies – “Art Museum,” space, sound, dance, and the “stare” beyond frame independently exists, yet being simultaneously inter-dependent. Footages used as the source for these 4-min and 15-min movies still have endless possibilities. The “gaze” and the silence of the space per se, which one can last longer?
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