Museum of Art Pudong (MAP) – 浦东美术馆

For Shanghai

For the Bund

For Pudong

Based on an urban domain, a medium and screens

The Invention of a “Grand Verre”

• Museum of Art Pudong is a domain.
• The domain is Museum of Art Pudong.
• The domain is a medium consisting of four hectares of warm white granite stones assembled in a way that conjures up the irregular pattern of ‘crackled glass’.
• The domain is bordered in the west by water, the Huangpu River.
• The domain actually drops straight down to the water, with the stone becoming whiter there.
• In its white sheerness, towering over the water, the domain creates a restaurant loggia as close as possible to the boats for people to be able to further admire the Bund.
• The domain is bordered, surrounded by tall trees that form an undulating landscape and a huge rim, a huge windbreak.
• The domain is separated from the neighbouring towers by this windbreak of trees.
• The windbreak of trees creates a thick dark frame that brings out the bright airiness of the museum domain.
• The undulating landscape, with its large surrounding rim, is a vast V-shaped linear garden approximately 700m long showcasing trees (some of them removed from the clutches of the new museum) – tall trees of different species.
• In the landscape there will be statues and, at the back of the landscape, lights that change from day to night.
• Because the domain is a museum, statues and contemporary artworks will be positioned in the wooded landscape.
• Because the domain is a museum, there will also be artworks on the stone (‘crackled glass’) field, on the forecourt, on the terrace and on the waterfront walkway.
• Because the domain is a museum, the forecourt and terraces will have plinths of the same texture as well as tree planters.
• The domain’s medium will be flamed over the floor (slight non-slip relief) and mixed on the walls (smooth or flamed or very occasionally roughened).
• The stones are essentially large different-size panels with a raindrop pattern.
• The sharps points of the triangles will be lined with metal.
• The ‘crackled glass’ medium will stop at the museum doors.
• The windows of the exhibition rooms will be able to be shuttered if necessary using standing panels.
• The open windows will be hung with a fine sail to filter the light and create fixed shade.
• The rooms on the top floor and the exhibition space in the atrium will be lit with natural overhead lighting provided by micro sheds.
• The screens mark out the domain.
• The two vertical screen-signs, one above the museum and one on top of the ventilation tower, mark off the site and indicate and highlight a break.
• The two screens are linked at night by laser beams creating intersecting lines of light above the museum.
• The western side screen on the Bund will be a major event.
• The western side screen on the Bund will be mutating.
• The western side screen on the Bund will be a twin façade of textured glass watermarked with the ‘crackled glass’ pattern.
• The western side screen on the Bund will be mirrors.
• The western side screen on the Bund will be unpredictable.
• The western side screen on the Bund will be images.
• The western side screen on the Bund will be reflections.
• The western side screen on the Bund will be a big long box.
• The western side screen on the Bund will be a gallery of large-scale mirrors over two superimposed floors.
• The western side screen on the Bund will be programmed.
• The western side screen on the Bund will be installation spaces or performance spaces, during the day.
• The western side screen on the Bund will be programmed as a video space, during the evening and at night.
• The western side screen on the Bund will be a machine for surveying the Bund, a twin panorama.
• The western side screen on the Bund will be a reflection of this twin panorama, depending on the lighting used.
• The western side screen on the Bund will be a reflection of the artworks superimposed periodically over the view of the Bund, depending on the lighting used.
• The western side screen seen from the Bund will show the excitement and the museum’s visitors.
• The western side screen seen from the Bund will be an incredible tool for image artists and installation artists, especially for Chinese artists who like large dimensions.
• The western side screen seen from the Bund will impose its presence through its various shades of white: The white of the sail between the two façades, a fine patterned sail that gently texturizes the landscape to make it easier for people to seize ; A total or partial white that provides an unobstructed view over the first two or three metres ; The white of the various lights, of the LEDs behind the mirrors ; The white of the installations or artworks ; The white of the background which is designed to show images and visitors most effectively.
• The western side screen on the Bund side, starting at the walkway, is an actual vision of the “Grand Verre”.
• The western side screen on the Bund side, starting at the walkway, is a joker designed to fascinate the crowd through fresh new images that disrupt the view of Shanghai and the Bund.
• The western side screen on the Bund side is a testament to the art of the 21st century.

Jean Nouvel

为了上海, 为了外滩, 为了浦东

来自一个领地，一种材料，一些屏幕

巨型玻璃的发明

浦东美术馆就是领地。领地就是浦东美术馆。

由同一种材料广布于四公顷的领地，它是浅暖色的石材，不规则的形状组合使人联想到”冰裂纹“。领地一直向西延伸至黄浦江岸边。

事实上，领地一直垂落到水面，石块颜色变得更白。

领地在与水面垂直的白色岸壁上开辟了一处凉亭-餐厅，供人欣赏外滩美景和往来的船舶。

领地周边被大树环绕，形成起伏的景观，延展的绿带和巨大的林脊。林脊将领地从周围的高楼群中分隔开。林脊制造了一片葱郁浓密的边界，也反衬出博物馆领地的明净。起伏的景观，延展的绿带构成一个长达700多米的V形花园，园中植有各种参天大树（其中一些因新美术馆占地被移植）。在雕塑景观下，在日光与夜光景色的尽端。

因为是美术馆领地，在遍植树木的景观里放置着雕塑或当代艺术品。因为是美术馆领地，艺术品也被放置在石材拼缝(”冰裂纹“)、广场、露台、和水边步行道上。因为是美术馆领地，广场和露台采用同一材质的基座和树箱。领地材料在地面上是煅烧石（浅防滑纹），在墙面上是混杂石（光滑、煅烧或特殊凿毛）。石头基本由大型模块构成，局部锯出不同厚度的条纹。三角形尖端以金属衬里。”冰裂纹“材料在美术馆入口结束。

如需要，展厅窗户可以固定面板封边。开启的窗户以张拉薄网遮挡阴影。顶层房间和中庭展览空间采用顶部采光，被透过锯齿形天窗的光线自然照亮。

巨型荧光屏是领地的标识。博物馆上方和通风塔顶部的两块竖向屏幕以一种插入语被强调。两块屏幕在夜间发出的镭射光将美术馆上空照亮。

面向外滩的西立面制造事件。它是变化的，带有 «冰裂纹 »的双层玻璃立面。它是一面镜子，变幻莫测。也一幅图景，一种映像，一个长长的大盒子，一座两层通高镜面画廊。它被精心策划，白天是艺术装置或表演的场所，夜晚则成为播放映像的空间。它是一台看外滩的双重全景机，根据光线强度不同，反射出双重全景，也将对美术馆艺术品的反射片段叠印到外滩的映像上。它展现出美术馆内部的活动和观众，还可以增强这些活动和观众的层次。对图像和装置艺术家，尤其是喜欢大尺度创作的中国艺术家来说，它是件不可思议的工具。它以白色体现自身的存在：

1. 两立面间薄网的白色，隐约编织了一层风景的图案，以更好地与景观融为一体；
2. 完全或部分的白色，衬托出建筑前两三米处的景观；
3. 光以及镜面后LED屏的白色；
4. 装置品和艺术品的白色
5. 更好地凸显美术馆内部影像和观众的白底色。

从步行道上看，面向外滩的西立面是现实版的杜尚的“大玻璃”。它像一处伏笔，以从出不穷的新影像与上海和外滩对话，令人着迷。

面向外滩的西立面是二十一世纪艺术的见证。

让.努维尔