Yan Tranombakoka Zavakanto nataon'i Guanyu Tao

Ny endrika Yan Tranombakoka Zavakanto nataon'i Guanyu Tao dia mpandresy sarobidy amin'ny 2025 A' Design Award Volamena amin'ny Sokajin'ny Fifanintsanana Famolavolana Maritrano, Trano ary Rafitra.

VolamenaMaritrano· 2025

Yan Tranombakoka Zavakanto

nataon'i Guanyu Tao

Mpanjifa: Gerry Tao

Mpandresy A' Design Award Volamena amin'ny Sokajy Maritrano

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Mpandresy Loka Voamarina

Hanamarina ny Sata Loka ho an'ny #163921

Jereo ao amin'ny A' Design Award Fanambarana ho an'ny Mpanao Gazety Marika Loka

Loko

Ny Endrika

Momba ny Yan Tranombakoka Zavakanto

Ny Tranombakoka Zavakanto Yan dia mamaritra indray ny fifandraisana eo amin'ny maritrano sy ny natiora, ary manao asa ho foibe kolontsaina mankalaza ny lova eo an-toerana. Miorim-paka eo amin'ny tany sarotra ao Rushan, Shandong, ny famolavolana deconstructivist dia maka aingam-panahy avy amin'ny firafitry ny vato sy ny sisiny mikoriana. Ny tranombakoka dia manana kianja voahodidin-drano, atrikasa mpanakanto, galeria mavitrika, ary toerana fampisehoana, izay mifandray rehetra manerana ny ambaratonga. Ny simenitra misy firafitra dia maka tahaka ny vato voajanahary, mampifangaro tsy misy tapaka ny rafitra amin'ny manodidina azy sady manova ny tany miondrika ho làlana miasa sy kianja.

Ny Fankasitrahana

Momba ny A' Design Award Volamena

Nandresy ny A' Design Award Volamena ny famolavolana Yan Tranombakoka Zavakanto, fankasitrahana malaza indrindra tsy refesi-mandidy omena ny famolavolana kilasy voalohany, mahagaga ary miavaka. Ny mpandresy Volamena dia famoronana vaovao indrindra, mahay mijery lavitra ary mamirapiratra mahafinaritra izay maneho ny fahamoramoran-tsaina, ny fahendrena ary ny fahaizan'ny mpamolavola azy. Andrasana ho fikarohana mahazo ankasitrahana indrindra, mitarika ny fironana ary tsangambato ny famolavolana Yan Tranombakoka Zavakanto izay mamatsy sanda tsy mbola nisy toy izany. Ity famolavolana nandresy ny A' Design Award Volamena ity dia tetikasa mahavariana sy hajaina izay mahasoa be ary mampandroso ny sisintanin'ny zavakanto, ny siansa, ny famolavolana ary ny teknolojia. Ny famolavolana Yan Tranombakoka Zavakanto dia mamorona fihetseham-po mafy momba ny faniriana, mamelona ny ahiahy, mamporisika ny fahaiza-mamorona ary mahasarika antsika.

Ao Ambadiky ny Endrika

Fitaovana ho an'ny Mpanao Gazety

Fankasitrahana, mpikambana ao amin'ny ekipa ary antsipiriany teknika nomen'ny mpanao endrika.

Toetra Manokana: Yan Art Museum is a cultural hub that harmonizes architecture with the rugged terrain of Rushan. Unlike traditional museums, it transforms natural slopes into functional elements like pathways, plazas, and viewing platforms. Its dynamic layout fosters interaction between visitors and local artists through integrated studios and galleries. With textured concrete echoing rocky formations, Yan seamlessly blends cultural expression, innovation, and environmental integration.
Refy & Fonosana: Yan Art Museum is situated on a 2,700-square-meter site, with a total building area of 1,650 square meters distributed across three levels. The first floor features a courtyard-style entrance surrounded by scattered artist studios and galleries, creating an inviting and interactive environment. The second floor includes a small open plaza, a compact gallery space, and essential auxiliary facilities. The third floor houses an open-air theater designed for traditional Chinese performances, providing a cultural focal point while blending seamlessly with the natural terrain.
Marika: Architecture, Subterranean architecture, Rural architecture, Cultural architecture, Museum
Teknolojia Famokarana: Yan employs form board texture reinforced concrete, creating rock-like surfaces while ensuring structural stability during excavation. The design incorporates shallow-rooted plants in the landscaping to safeguard the building's structure and waterproofing. Its three interconnected levels, linked by stairs and elevators, are carefully oriented to harmonize with the site’s layout and ensure accessibility, blending functionality with thoughtful integration into the natural environment.
Fanamby Endrika: Addressing the site's varied slopes was challenging. The design cleverly integrates the natural incline to facilitate plazas and pathways, turning elevation changes into advantageous viewing platforms. This strategic use of the landscape not only enhances functionality but also establishes visual corridors that accentuate the architectural form, allowing the building to blend seamlessly with its environment.
Fikarohana: Inspired by the deconstructivism movement and the works of Thom Mayne and Zaha Hadid, Yan Art Museum integrates seamlessly into Rushan’s rugged terrain. The research involved site, cultural, and user analysis, employing techniques such as hand-drawing and collage to explore design possibilities. Tools like Rhinoceros, Adobe Suite, and D5 Render were used to refine the dynamic structure, harmonizing architecture with topography and cultural identity while enhancing visitor experiences.
Aingam-panahy: The design of Yan Art Museum stems from a deep desire to harmonize architecture with nature while engaging in a meaningful dialogue with the local culture of Rushan. Drawing inspiration from the rugged, dramatic landscape of the Rushan mountain range, the museum reflects the stony textures and flowing contours of the region. Through its loosely arranged, courtyard-style layout, the design pays homage to the organic forms of traditional Chinese villages, weaving cultural heritage into its spatial composition. This approach transforms natural and cultural elements into a dynamic hub for artistic and cultural expression. By intertwining natural forms with human creativity, the museum becomes both a tribute to and an extension of its surroundings, celebrating the beauty of the terrain and the spirit of the community it serves.
Faharetan'ny Tetikasa: The concept design was finished in 2024 Sep, with site location at Shandong, Rushan, China.
Fizotr'asa: Upon entering Yan, visitors arrive at a plaza encircled by a pool and walls, leading to artist studios and the main gallery with rotating exhibits. An elevator and external stairs from the main gallery provide access to the second floor’s L-shaped plaza, which connects to the second gallery for permanent exhibitions. Visitors can ascend to the third floor via elevator or plaza stairs to reach the outdoor amphitheater, a venue for traditional performances.
Patanta: Copyrights belong to Guanyu Tao, 2024
Mpikambana ao amin'ny Ekipa: Guanyu Tao
Loharanon-tsary: Image #1: Designer and Photo Rendering Guanyu Tao
Image #2: Designer and Photo Rendering Guanyu Tao
Image #3: Designer and Photo Rendering Guanyu Tao
Image #4: Designer and Photo Rendering Guanyu Tao
Image #5: Designer and Photo Rendering Guanyu Tao