A4 Art Gallery of Luxehills
Zonggang He, Yan Ni, Yanhan Zeng, Xuebo Yang
Akzonobel, Impression Tiling, Marco Polo Tiling, Nippon Paint, Pak, Tangsong Wood Industry, Van Der Rohe Furniture, Yuanjin Tiling
Xiang Wang, Wenmu Tian
Zhouyu Design Group Co.
Chengdu Wide-horizon Real Estates Co. Ltd
Cheng Du Shi, China
Museum, Public Architecture, Renovation
The town of Luxehills is a small hill, the top of which overlooks the entire Foothills community.
As a suburban neighborhood community built in the second millennium, Luxehills has a particularly distinctive building feature of its time: the town is modeled on Tuscany, one of Italy's most scenic landscapes, and great care has been taken to create a small-town feel that can be easily explored.
As a reward for the promise of the summit, the square at the top of the hill has three important buildings: the club, the church, and the A4 Art Museum.
This is also a cultural high point, and one of the main focuses of Foxtown's regeneration was the renovation of the A4 Art Museum. A4 Art Museum hopes to express Foothill's active and vital community culture in a new and respectful way of opening.
The Museum has a total exhibition area of 5,000M2, but in order to fit the scale of the town, the original building was divided into floors: three above ground and two underground.
The design of the renovation was simple in that it only required the continuation of the logic of the existing building, but complex in that it required the harmonization of the new elements and functions with the old building and the environment.
We wanted the renewal of the building to be respectful and authentic: a sincere portrayal and preservation of the existing building, and the selection of appropriate construction methods that reflect the real needs of today.
Therefore, we chose to minimize the changes to the original façade, optimize the exhibition circulation, solve the inconvenience caused by too many floors of the original building, and carefully increase the area.
Although small, all the added volumes were created in a very modern way. We used steel plates to insert these volumes, a material that creates a thin, light structure and a very straight line, a strong contrast to the existing neighborhood with its large amount of stone and roughly painted buildings.
Rather than deliberately searching for a certain symbol and intention, we cared more about the fact that the creation of these small implants, differentiated by their age, could be clearly read.
This neutral modernity is also carried over into the interior spaces: we wanted to complete the functionality with the simplest volumes, returning the fluidity and utility of the space to the richness of future exhibitions.