奥丹艺术博物馆的形式和特点是刻意克制的，以便为馆内的艺术和周围的自然景观提供一个安静、最小的背景。简单的外观形式被包裹在一个深色的金属外壳中，该外壳退到了周围森林的阴影中。在这个外壳被打开的地方，为了提供入口门廊的通道或从玻璃走道到画廊的视野，深色金属被一个诱人的发光的木质外壳所覆盖。内部的公共空间，从外部可以看到，继续这种温暖的发光材料。
The form and character of the Audain Art Museum are deliberately restrained to provide a quiet, minimal backdrop to the art within and the surrounding natural landscape. The simple form of the exterior is clad in an envelope of dark metal which recedes into the shadows of the surrounding forest. Where this envelope is opened, to provide access in the entry porch or view from the glazed walkway to the galleries, the dark metal is overlaid by an inviting luminous wood casing. Public spaces in the interior, which are visible from the exterior, continue this warm luminous materiality.
奥丹艺术博物馆是一个位于不列颠哥伦比亚省惠斯勒市的56,000平方英尺的私人博物馆。它将收藏Michael Audain的个人艺术收藏品，这些收藏品追溯了不列颠哥伦比亚省从18世纪末到今天的视觉记录。它包括世界上最好的原住民古老面具收藏之一，艾米莉-卡尔（Emily Carr）绘画的极好收藏，以及一些加拿大最重要的战后艺术家的作品，包括杰克-沙德波特（Jack Shadbolt）、E-J-休斯（E. J. Hughes）和戈登-史密斯（Gordon Smith），以及国际知名的当代艺术家的作品，如杰夫-沃尔、罗德尼-格雷厄姆、斯坦-道格拉斯和其他人。
The Audain Art Museum is a 56,000 square foot private museum located in Whistler, British Columbia. It will house Michael Audain’s personal art collection which traces a visual record of British Columbia from the late l8th century to the present day. It includes one of the worlds finest collections of old First Nation masks, a superb collection of Emily Carr paintings, and works by some of Canadas most significant post-war artists including Jack Shadbolt, E. J. Hughes, and Gordon Smith, as well as works by internationally regarded contemporary artists such as Jeff Wall, Rodney Graham, Stan Douglas and others.
博物馆的设计是由三个强有力的决定因素形成的。第一个决定因素是需要容纳Michael Audain的永久收藏品，以及与此收藏品并列的来自加拿大各地和世界各地的各种临时展品。第二个决定因素是惠斯勒美丽但具有挑战性的场地，虽然它被壮丽的常绿森林植被所祝福，但它位于菲茨西蒙斯溪的洪泛区中。第三个决定因素是惠斯勒典型的巨大降雪，年平均累积深度接近15英尺。
The design of the museum is shaped by three powerful determinants. The first determinant is the need to house both the permanent exhibition of Michael Audain’s collection and, in juxtaposition with this collection, temporary exhibits of all kinds from across Canada and around the world. The second determinant is the beautiful but challenging site in Whistler which, although blessed by magnificent evergreen forest vegetation, is located within the floodplain of Fitzsimmons Creek. The third determinant is the enormous snowfall typical of Whistler which averages nearly 15 ft annual accumulated depth.
我们的设计简单而直接地回应了这些决定因素，将一系列的公共空间和画廊投射到周围森林的现有线性空隙中。它比地面高出一整层，并有一个陡峭的倾斜屋顶，包含行政和后台支持功能。
Our design responds to these determinants, simply and directly, by projecting a volume of sequential public spaces and galleries into an existing linear void within the surrounding forest. It is elevated a full story above the ground and crowned with a steeply sloped roof, containing administration and back-of-house support functions.
建筑设计和选址在场地的背景下协同工作，创造了一个公共行人通道，从惠斯勒村的行人主干道_village stroll开始，穿过Blackcomb Way，通往并穿过博物馆，然后穿过场地到Fitzsimmons Creek公园。从黑山路的一座桥穿过森林，到达一个有天空照明的博物馆入口门廊。在那里，游客可以下到林地和中央草地，继续通过场地，或者进入博物馆的大厅和活动空间。进入博物馆后，游客沿着一条玻璃走道，俯瞰下面的草地，首先进入包含永久收藏品的画廊，然后进入包含临时展品的画廊。
The building design and siting work synergistically within the context of the site to create a public pedestrian link, beginning from the _village stroll, the pedestrian spine of Whistler Village, across Blackcomb Way, leading to and through the Museum and then across the site to Fitzsimmons Creek park. A bridge from Blackcomb Way rises through the forest to arrive at a sky-lit museum entry porch. From there, visitors can either descend to the forest floor and central meadow to continue passage through the site, or enter into the museum lobby and event space. Once inside, visitors proceed along a glazed walkway overlooking the meadow below, to gain access first to the galleries which contain the permanent collection and then to the galleries which contain temporary exhibits.
建筑和室内的形式和特点是刻意克制的，以便为内部的艺术和周围的自然景观提供一个安静、最小的背景。简单的外部形式被包裹在一个深色金属的外壳中，它退到周围森林的阴影中。在这个外壳被打开的地方，为了提供入口门廊的通道或从玻璃走道到画廊的视野，深色金属被一个发光的木质外壳覆盖着。内部的公共空间，从外部可以看到，继续这种温暖的发光材料。永久和临时展览区的画廊内部都是封闭的白色体量，细节极少。
The form and character of the building and interiors is deliberately restrained to provide a quiet, minimal backdrop to the art within and the surrounding natural landscape. The simple form of the exterior is clad in an envelope of dark metal which recedes into the shadows of the surrounding forest. Where this envelope is opened, to provide access in the entry porch or view from the glazed walkway to the galleries, the dark metal is overlaid by a luminous wood casing. Public spaces in the interior, which are visible from the exterior, continue this warm luminous materiality. Gallery interiors in both the permanent and temporary exhibition areas are closed white volumes with minimal detail.
Architects: Patkau Architects
Area: 56000 ft²
Year: 2016
Photographs: James Dow / Patkau Architects
Manufacturers: Garibaldi Glass, Cloverdale Weather, Pacific Coast Hemlock, Seam Lock, Whistler Forest Products
Lead Architects: John Patkau, Patricia Patkau, David Shone, Michael Thorpe
Construction Manager: Axiom Builders
Civil: Creus Engineering
Structural: Equilibrium Consulting
Geotechnical: GeoPacific Consultants
Lighting: HLB Lighting Design
Mechanical/ Electrical:Integral Group
Landscape:Tom Barratt, PFS Studio
Code:LMDG
Building Envelope:Spratt Emanuel Engineering Ltd.
Floodproofing:Kerr Wood Leidal
Snow Management:Mountain Resort Engineering
Signage:Gallop/Varley
Museum Consultant:Lord Cultural Resources
Exhibition Design:Bricault Design
City:Whistler
Country:Canada