洪水で形成された土地に架かる橋のような芸術施設

©︎ Rory Gardiner

©︎ Rory Gardiner

©︎ Rory Gardiner

〈ブンダノン – アートミュージアム＆ザ・ブリッジ（Bundanon Art Museum & The Bridge for Creative Learning ）〉は丘に埋め込まれた美術館と、宿泊施設を備えた全長160mのクリエイティブ・ラーニング・センター「ザ・ブリッジ」で構成された芸術施設であり、アーティストインレジデンス・プログラムなども提供しています。

オーストラリアの南東部ダラウォールという、何千年もの間、火災と洪水により形成された土地に建っており、2年前に発生した山火事と洪水により切り裂かれた丘を美術館が復元しつつ、洪水地域に見られる高架橋のようなザ・ブリッジが、洪水に逆らうのではなくサポートするよう設計されています。

オーストラリアの設計事務所 カースティン・トンプソン・アーキテクツ（Kerstin Thompson Architects）が設計しました。

（以下、Kerstin Thompson Architectsから提供されたプレスキットのテキストの抄訳）

©︎ Rory Gardiner

©︎ Rory Gardiner

オーストラリアの南東部ダラウォールの深い谷、ショールヘブン川流域のウォディウォディ（Wodi Wodi）族とユイン（Yuin）族が住む土地。火災と洪水により何千年もかけて形づくられてきたこの場所の歴史に新たな物語が刻まれる。

1993年、アーサー＆イボンヌ・ボイド夫妻（Arthur and Yvonne Boyd）からオーストラリア国民に贈られたこの敷地は、ショールヘブン川を見下ろす1,000ヘクタールの茂みと公園の中に位置している。

©︎ Rory Gardiner

©︎ Rory Gardiner

アートを通したオーストラリアの未来への投資

クリエイティブな芸術と教育のための拠点であるブンダノンの目的は、景観と芸術に対する理解と認識を深め、研究を支援し、芸術と思想を称えることにある。

また、オーストラリアの未来への投資として、アーティスト、作家、ミュージシャン、ダンサー、パフォーマー、学者を対象としたアーティストインレジデンス・プログラムや、子供向けのクリエイティブアート・プログラムが組み込まれている。

©︎ Rory Gardiner

©︎ Rory Gardiner

©︎ Rory Gardiner

先住民や牧畜、山火事と洪水など この地の歴史を統合する建物と景観

プロジェクトのコンセプト・デザインは、先住民や牧畜といったこの土地の歴史のさまざまな側面を統合するとともに、さらなる発展のための歴史的・文化的な豊かなアンサンブルを奏でる一連の建物と景観を開発することにある。

これは、画家であるアーサー・ボイドにとっての作品の題材であり制作の場でもある風景に呼応するものである。そして、火災と洪水のダイナミックな風景、自然と文化、土着的な風景と異国的な風景のコントラストという、彼の絵画に見られる重要な関心に基づくものである。

©︎ Rory Gardiner

©︎ Rory Gardiner

気候変動の影響はこの土地でも痛感している。わずか2年前、山火事がこの場所を囲む森を切り裂き、その数ヵ月後には洪水が発生した。そのため、火災と洪水によって形づくられたこのダイナミックな景観に対応するため、抵抗力と回復力を備えたこの建築作品は、これ以上ないほどタイムリーなものとなった。

〈ブンダノン – アートミュージアム＆ザ・ブリッジ〉は、景観の中に埋め込まれた美術館と、宿泊施設を備えたクリエイティブ・ラーニング・センターであるザ・ブリッジ（The Bridge）の2つの建物で構成され、全長160mの橋として洪水により形成された地形の上に架かっている。

©︎ Rory Gardiner

©︎ Rory Gardiner

火災と洪水に対応しつつネット・ゼロ・エネルギーを目指すサステナビリティ

ネット・ゼロ・エネルギーを目標に掲げ、気候変動に対する解決策を盛り込んでおり、火災や洪水に対しても対応可能である。火災と洪水はつい2年前にも発生したため、建物と景観のデザイン・アプローチは必然的に回復力、抵抗力、生態系の修復に基づいたものとなった。

東のショールヘブン川からの洪水の脅威と、西の国立公園からの山火事の脅威に挟まれているこの建築の設計は、建物と景観がいかにレジリエンスと抵抗力を併せもつかを追求している。

©︎ Rory Gardiner

©︎ Rory Gardiner

美術館は地中にあり火災に強い。貴重な芸術作品は地下の建物に収蔵・展示し、丘の復元という形で熱的安定性を提供し、機械による空調システムの需要を軽減している。

レジリエンスの高いザ・ブリッジは洪水地域によく見られる高架橋のように、水が土地に浸透しきらず地表面を流れる地表流や洪水を妨げるのではなくむしろサポートする。長さ165m、幅9mの建築であり、一端は傾斜した丘の中腹の美術館に接している。

©︎ Rory Gardiner

©︎ Rory Gardiner

気候や気候変動に対する理解は、来館者の体験における根幹をなしている。

地下美術館の熱的安定性が丘の中にいることによる涼しさの感覚を来館者に与える。その一方で、アーサー・ボイドの野外絵画の精神に基づいたザ・ブリッジが対をなし、気候の変化がビジター体験の中心となるのである。

©︎ Rory Gardiner

©︎ Rory Gardiner

©︎ Rory Gardiner

©︎ Rory Gardiner

©︎ Rory Gardiner

©︎ Rory Gardiner

以下、Kerstin Thompson Architectsのリリース（英文）です。

BUNDANON ART MUSEUM & THE BRIDGE FOR CREATIVE LEARNING

Bundanon.
Deep valley in Dharawal.

Here, on the land of the Wodi Wodi and Yuin peoples, within the flows of the Shoalhaven River, begins a further chapter in the history of this remarkable place and which for millenia has been shaped by fire and flood.

Purpose & Location

Bundanon is a centre for creative arts and education. Its purpose is to foster an appreciation for and understanding of landscape and art, and to support research and celebrate art and ideas.

Gifted to the Australian people in 1993 by Arthur and Yvonne Boyd the Bundanon property is located on 1,000 hectares of bush and parkland overlooking the Shoalhaven River, near Nowra. It is on the land of the Wodi Wodi and Yuin peoples.

The Design

The concept design developed a suite of buildings and landscapes that integrate the many aspects of the site’s history (Indigenous, Pastoral, The Boyds’, Education Trust) to work as a rich ensemble of distinct historic and cultural periods in the site’s evolution. It responds to the landscape as both subject and site of Arthur Boyd’s work and draws upon key interests evident in his paintings: the dynamic landscapes of fire and flood, the contrast and interplay between natural & cultural, indigenous and exotic landscapes as fundamental inspiration to new works.

The impact of climate change is acutely felt at Bundanon. Only two years ago, during one of Australia’s most horrendous of summers, bushfires tore through the forest surrounding this site. Months later flooding occurred. So the new works, designed for resistance and resilience could not be more timely in response to this dynamic landscape shaped by fire and flood.

The new works comprise of two new buildings – the Art Museum embedded in the landscape and The Bridge, a Creative Learning Centre with accommodation, 160 meters long suspended above a gully as flood bridge.

This core visitor program is collocated adjacent to the historic Boyd cluster to achieve a centralised and single heart. New and existing buildings are united by a Forecourt and Arrival Hall.

What’s interesting about this project?

The project is of interest for several reasons.

Response to climate change – it incorporates radical solutions to a changing climate with a net zero energy target and will be defendable against fire and flood. For millenia fire and flood have shaped this landscape – as recently as two years ago tore through the adjacent forest -so the building and landscape design approach was necessarily driven by resilience, resistance and ecological repair.

Architectural legacy – as companion to Glenn Murcutt’s (with Wendy Lewin & Reg Lark) Boyd Education Centre completed in 1999.

Cultural legacy – its consolidation of one of Australia’s most renown artistic dynasties, The Boyd Family which includes architect Robin Boyd.

Sustainable Design in buildings & landscape

The new buildings are sited within a slither of available land between the threat of flood from the Shoalhaven river to the east, and threat of bushfire, from the national park to the west.

The design addresses how buildings and landscapes can be both resilient and resistant. Functional areas are sited and arranged according to their climatic needs.

The Art Museum (with Collection Store) is resistant to fire. It is subterranean. Precious artworks are housed and exhibited in an underground building, which protects the works from diverse climate conditions and offers thermal stability in the form of the reinstated hill, reducing the demand on mechanical systems.

The Bridge is resilient and treated as flood infrastructure, like the trestle bridges common to flood landscapes, so that the architecture supports rather than impedes the overland flow and floodwaters below it.
A 165-metre-long by a 9-metre-wide structure that at one end abuts the Art Museum within the sloping hillside, it continues along to bridge an existing gully, and contains 34 bedrooms, break out and dining spaces and a public cafe.

An appreciation for climate and its vicissitudes is fundamental to the visitor experience. The thermal stability of the subterranean museum, the feeling of coolth from being within the hill is counterpointed by The Bridge which, in the spirit of Boyd’s practice of painting en plein air, is where climate variation is central to one’s (the visitor’s) experience.

“The design concept both preserves and transforms, is equal parts subtle and dramatic. Renown aspects of the current setting are maintained and their presence enhanced with an array of new and compelling visitor experiences.” It integrates architecture and landscape within the broader continuum of the site’s ecology and environmental systems.

Team – Core Design

Architects (Kerstin Thompson Architects);
Landscape architects (Wraight Associates, NZ with Craig Burton); Sustainable design engineers (Atelier Ten);
Structural engineers (Irwin Consult later WSP).
The design collaboration, across these core disciplines from the very beginning, enabled a significant shift in thinking about how we respond to a significant landscape: from a purely picturesque or visual understanding of landscape to an ecological one: that takes account of the natural and extended environmental systems – vegetation, water, fire, flood, flora/fauna. It places the site’s ecology at the center of the design.

https://www.architectural-review.com/essays/arthur-and-yvonne-boyd-education-centre-in-west-cambewarra-australia-by-glenn-murcutt

BUNDANON FACTSHEET

An art museum embedded in the landscape

The light filled and spacious galleries with the Art Museum will display a program of modern and contemporary exhibitions.
Central to the design of the Art Museum and the Bridge is sustainability, with a net-zero energy target. Solar energy will ensure that the Art Museum leads the way in best practice.

Bundanon Overview

— Bundanon is a unique place for Australian art. Gifted to the Australian people in 1993 by Arthur and Yvonne Boyd the Bundanon property is located on 1,000 hectares of bush and parkland overlooking the Shoalhaven River, near Nowra.
— Bundanon is spread across two sites, with the Boyd Education Centre, new Art Museum and in one cluster, and the Homestead, Arthur Boyd Studios and Artist in Residence Complex at the other.
— Bundanon is a centre for creative arts and education, designed to support research and celebrate art and ideas.
— Bundanon’s Artist is in Residence program for visual artists, writers, musicians, dancers, performers and scholars, and its creative arts programs for children, remain an investment in Australia’s future.
— Designed by Kerstin Thompson Architects, a light-filled contemporary art museum embedded in the landscape sits at the heart of unique property on the NSW south coast, gifted to the nation by renowned Australia artist Arthur Boyd and his wife Yvonne in 1993.
— The new subterranean Art Museum will house Bundanon’s Collection of some 4,000 items in the new secure Collection store. Works by Arthur Boyd together with Boyd’s contemporaries such as Sidney Nolan, John Perceval, Joy Hester and Charles Blackman. The Collection also includes etchings by Goya and Picasso as well as pieces by Brett Whiteley, contemporary works by Brook Andrew, Rosemary Laing, Euan Macleod and Polixeni Papapetrou. In addition, Bundanon has an archive of artist books, scripts, compositions and working models related to artwork developed on the properties through the Artist in Residence program.
— Bundanon is supported by the Australian Government, the Department of Communications and the Arts , Create NSW, University of Wollongong, Landcare Australia, and individual benefactors and a range of other public and private bodies.
— Bundanon is due to open to the public in late 2021.

Overview of design process and architectural stages

— Kerstin Thompson Architects (KTA) was selected for the project in November 2017 from a shortlist of six Australian architecture firms. Now reaching final stage of construction, the new infrastructure is transforming the 1,000-hectare property in regional New South Wales – previously the home of Australian artist Arthur Boyd and his wife, Yvonne – with a world-class creative learning centre, visitor hub and accommodation. As the centrepiece of the transformation, KTA has designed a new Art Museum to house the $46.5 million Collection.
— The concept design developed a suite of buildings and landscapes that respond to the landscapes as both subject and site of Arthur Boyd’s work.
— The core design team consisted of architects (Kerstin Thompson Architects), landscape architects (Wraight Associates with Craig Burton) and sustainable design engineers (Atelier Ten). All three developed the design together. Together they generated a concept that integrates architecture and landscape within a broader continuum of environmental systems and site infrastructure.
— Sensitively embracing the existing landscape and its ecology, the design responds to current and future climatic conditions with inspiration drawn from rural Australia’s trestle flood bridges.
— The new Art Museum will house Bundanon’s significant Collection whilst providing a platform for Bundanon to curate and present major contemporary multi-arts programming.
— The Bridge for Creative Learning provides architecturally designed residences for up to 64 people for an onsite immersive Bundanon experience open to public groups and education audiences.

Sustainable Design

— The new Bundanon development incorporates radical solutions to a changing climate with a net zero energy target and will be defendable against fire and flood.
— The design addresses how buildings and landscapes can be both resilient and resistant. The Art Museum is resistant to fire. The Bridge has to be resilient and let the overland flow and floodwaters flow unimpeded.
— The design of the new buildings and landscapes respond to the natural elements by being resilient.
— The major new building, which includes education and accommodation areas, is treated like a piece of flood infrastructure. The architecture supports rather than impedes the natural system of water flow across the site.
— The Art Museum and Collection Store are subterranean. Precious artworks are housed and exhibited in an underground building, which protects the works from diverse climate conditions and offers thermal stability in the form of the reinstated hill.
— A counterpoint to this is The Bridge which by contrast is in the spirit of Boyd’s practice of painting en plein air where climate variation is central to one’s (the visitor’s) experience.

The Bridge

— The new facilities will be housed within the new Bridge, a 165-metre- long by a 9-metre-wide structure that at one end abuts the Art Museum within the sloping hillside, continuing along to bridge an existing gully, and containing 34 bedrooms, break out and dining spaces and a public cafe.

The Art Museum

— A counterpoint to the Bridge structure, the new Art Museum is subterranean, buried within the reinstated hill.
— Here the drama will be in coexistence of the works of the Art Museum and framings of the site – sky above or forest edge. Visitors will be able to compare Boyd’s imaginary landscape with the actual one around them
— The sloping ceiling follows the roofline which in turn reinstates the sloping hill in which the museum is buried.
— The concrete beams achieve clear spans for unencumbered gallery spaces and in their weight and mass give visitors a sense of being below the ground, within the hill.
— The simple white walls enable ease of fixing for curatorial flexibility. They are complimented by the honed concrete floors that are robust and neutral as background to the art.
— The ceiling between the concrete beams incorporate lighting and uni- struts for suspending artworks.
— There are two galleries – a larger, rectangular one to the south with skylights and a smaller, square one to the north with a window to the arrival forecourt. Both of these can be with or without natural daylight.
— The project gallery is a slim space that links the two galleries. It enables different curatorial pathways and the bump in and out of one gallery while the other can remain in use for visitors.
— The Collection Store is accessed and visible from the northern gallery.
Rather than hide the riches of the permanent collection, only a portion of which may be officially on exhibition at any one time, this arrangement supports the display of it so that back of house is integral to the visitor experience.
— The Studio is designed to be multi-purpose and can be used for lectures, events or as a further gallery as required.
— The entry foyer comprises of the reception, information and display of items for sale.

Arrival Hall

— The concept both preserves and transforms, is equal parts subtle and dramatic. The Arrival Hall frames the culturally significant cluster of buildings from the time of the Boyds’ occupation (including his first studio at Bundanon) and also key features of the landscape that inspired him like Arthur’s Hill.
— The Arrival Hall is the initial place for gathering groups of school children and other visitors providing welcome protection from sun and rain.
— The arrival terrace and forecourts create a series of event and learning spaces and make fully accessible the sloping site’s considerable level changes.

Art Museum Forecourt

— The core visitor program is collocated adjacent to the historic Boyd cluster to achieve a centralised and single heart. New and existing buildings are united by a common forecourt.
— The Art Museum and other more climatically sensitive programs are subterranean: to maintain the setting of the Boyd Education Centre (the hill to its north west and Boyd’s Studio which curates the discovery of it) and to achieve passive thermal stability. By contrast, the Bridge building is in the spirit of plein air with less climate control and more indoor/outdoor flow. This will maximize of the stable temperature below the ground and for added benefit as a fire-resistant store and bushfire refuge.

Accommodation

— All bedrooms come with Ensuite bathrooms and offer spectacular views.
— Each room can be either a king bed or two king singles.
— Accessible rooms are available.
— With blackbutt paneling, the rooms are painted from the palettes used in Arthur’s paintings.
— The blue used on the walls and ceiling in the majority of the rooms captures a sense of his night skies.
— The colour and timber, in combination with sliding screens and timber louvres, provide a sense of shady and welcome retreat from the intense heat of the local climate.
— This emphasis on shade and a darker palette amplify the colours of the landscape framed by the windows.
— Other than a ceiling fan, in the spirit of en plein air the rooms incorporate passive, manually operated systems for environmental control enabling visitor’s to tune the room to their needs: adjustable timber louvres, a sliding perforated metal screen over the windows and louvres to manage air flow and sunlight and a ventilation panel above the entry door to assist cross flow.

The Breezeway

— From within the Bridge forms a sheltering veranda dramatically suspended above the gully and encompassing views towards Arthur’s Hill.
— Between the interior spaces, such as the accommodation suites, there are outdoor but sheltered areas – breezeways -for an array of activities.
— A large breezeway separates the café and dining area from the accommodation area and between banks of the accommodation rooms there are smaller ones for an array of activities and to lounge about.
— The northern most end of The Bridge culminate in the cantilevering breezeway that enjoys superb views and all day sun.

The Bridge over The Gully

— The Bridge over The Gully contains some of the visitor facilities including break out spaces (in the breezeways) and accommodation suites.
— Imagined as a piece of infrastructure the singularity of the bridge’s form serves as a datum to highlight the distinctive undulating topography of Shoalhaven.
— Recalling the trestle bridges endemic to flood landscapes such as this, the dramatic bridging structure straddles The Gully from ridge to ridge, allows sporadic waters to flow beneath it and for the reinstatement of the wet gully ecology.
— It is both bold and sensitive: at times striking and brave in its clarity and scale and at other times recessive and delicate. For example on approach from the pedestrian bridge it’s skeletal, black form blends in with the beautiful forest behind it.

Design considerations

— The design seeks to heighten one’s appreciation for the sights, sounds, textures, and ecological workings of the landscape.
— This way of working enables a significant shift in thinking about how we respond to a significant landscape: from a purely picturesque or visual understanding of landscape to an ecological one: that takes account of the natural and extended environmental systems – vegetation, water, fire, flood, flora/fauna. It places the site’s ecology at the center of the design.

Landscape design

— The design seeks to heighten one’s appreciation for the sights, sounds, textures, and ecological workings of the landscape.
— This way of working enables a significant shift in thinking about how we respond to a significant landscape: from a purely picturesque or visual understanding of landscape to an ecological one: that takes account of the natural and extended environmental systems – vegetation, water, fire, flood, flora/fauna. It places the site’s ecology at the center of the design.
— The design celebrates various chapters in the site’s history: indigenous, pastoral, The Boyd’s.
— Significant trees within the domesticated garden from the Boyd’s occupation have been integrated with the earlier pastoral clearings and this stage which focusses on ecological repair.
— The carpark is sited on the other side of the creek to enable safe exit in event of flooding. Its organic form integrates it within the landscape.
— A pedestrian bridge, designed as a sibling of The Bridge, links the carpark to the main facilities and provides a safe path of access and egress in the event of flooding.
— A pathway from this pedestrian bridge curates the visitor arrival experience through the historic pair of Bunya Pines that mark the arrival zone approached by the switchback ramp that integrates all core buildings in a fully accessible and delightful way.
— The Bridge is sited within one of the clearings from pastoral use of Bundanon and over the wet gully over which has been reinstated as part of the new landscape works.

Materials

How does the design reflect what Bundanon is, for its history, for contemporary Australia and for contemporary Australian art?

— The new infrastructure seeks to integrate the many aspects of the site’s history (Indigenous, Pastoral, The Boyds, Education Trust), especially the various buildings and landscapes, to work as a rich ensemble of distinct historic and cultural periods in the site’s evolution
— The design is driven by the Bundanon’s main imperative, as established by the Boyd family: To foster an appreciation for and understanding of landscape and art.

How does the building design reflect the Boyd legacy?

In several ways:
a. by respectfully integrating new facilities with the earlier cluster of
buildings particularly Boyd’s painting studio and the Boyd Education Centre by Architects Murcutt, Lewin, Lark that form a significant part of the site’s cultural legacy. Respect the existing landscape and built form setting of the Boyd Education Centre and cottage cluster as it is experienced on approach to and from within it;
b. by drawing upon some key interests and preoccupations of Boyd’s paintings for the new architecture and landscape design: The contrast between natural & cultural landscapes; between the exotic & the indigenous that so appealed to Boyd and the interplay between these as fundamental inspiration to new works.
c. by maintaining a sense of remoteness and avoiding a feeling of overdevelopment.

「BUNDANON ART MUSEUM & BRIDGE」Kerstin Thompson Architects 公式サイト

http://kerstinthompson.com/index.php?id=428