一个位于泰国北部清迈的艺术收藏家画廊,由几个内部亭子组成,由复杂的花园包围,外部有雕塑和华丽的水景。Enter projects Asia被委托设计定制艺术品的展示,使用全天然材料。国际性的银器、精美瓷器和瓷器收藏包括东南亚最大的Wedgwood收藏。业主和狂热的收藏家寻求将其一生的雄心壮志转化为展示50年来所收集的珍品的背景。传统上,艺术作品是一个与观众见面的临床空间,Enter Projects Asia面临的挑战是为画廊带来生命力,在分区、照明和座椅上采用他们标志性的风格,将3D几何图形与泰国传统工艺相融合。”Enter Projects Asia总监Patrick Keane说:”我们试图创造一种身临其境的体验,使空间具有传统艺术馆所没有的温暖和深度。

An Art Collector’s gallery in Chiang Mai, Northern Thailand consisting of several interior pavilions enclosed by intricate gardens with exterior sculptures and ornate water features. Enter projects Asia was commissioned to design the display of bespoke artworks, using all-natural materials. The international collection of silverware, fine china, and porcelain includes the largest Wedgwood collection in Southeast Asia. The owner and avid collector sought to contextualize a lifelong ambition to exhibit the treasures gathered over a 50-year period. Traditionally a clinical space in which art objects meet an audience, Enter Projects Asia was challenged to bring life to the gallery, with zoning, lighting, and seating in their signature style blending 3D geometries with traditional Thai craftsmanship. “We sought to create an immersive experience, giving the space a warmth and depth uncharacteristic of conventional art galleries” states Patrick Keane, Enter Projects Asia Director.


The concept centers on contemporary design ideologies of fluid space, parametric work techniques, and dynamic forms that cannot be viewed from a single vantage point. Using specialist software to simulate the movement of clouds and steam, the rattan structures thus weave their way seamlessly through the various zones, exterior and interior, culminating in a series of pod structures that serve as armatures for the forthcoming collection. Rattan works commenced during the lockdown period with the fabrication of the three main pods, spanning 5m, 4m & 3.5m high respectively. Each batch of work was then transported from the factory to the site in Chiang Mai and assembled on-site. The rattan lighting structure was the final installment, providing integration between interior and exterior as it floats harmoniously above the different zones, connecting the courtyard to dining and through to the display areas.


A state of flux can be described in this project: endless change and transformation, a continual passage of movement, guided by nature and the natural forms embodied in the composition of the rattan. In turn, it can be said that nature provides the versatility of natural materials like rattan, grown in abundance all over Southeast Asia. “It is not hard to be sustainable in construction if we adapt to our environment. Why would we use synthetic, toxic plastics when we have all the noble materials we need at our fingertips?” asks Keane.

设计艺术馆的经验也使Keane相信,”设计师需要寻求其他形式的艺术展示,而不是我们都熟悉的临床、防腐的展示。未来的艺术馆将是活的有机体和多维的体验,与我们生活的环境更紧密地联系在一起。艺术是生活的代表 “基恩说。如果他和他的团队打算为这个项目带来 “生命”,那么这个结果可以说是最纯粹的体现:活力、创新和进化。

The experience of designing an art gallery also leads Keane to believe that “designers need to seek alternative forms of art presented to the clinical, antiseptic displays we are all familiar with. Art galleries for the future will be living organisms and multidimensional experiences, tied more closely to the environments we live in. Art is a representation of life“states Keane. If it is ‘life’ that he and his team intended to bring to this project, then the result can be said to be the purest embodiment of this: vital, innovative, and evolutionary.

Architects: Enter Projects Asia
Area : 2000 m²
Year : 2022
Photographs :Willam Barrington Binns
Manufacturers : Soraa, Project Rattan, Unonovesette, Vexica
Design Team : Patrick Keane, Wells Chen
Rattan Structures And Pods Lighting : Infusion Lighting
City : Chiang Mai
Country : Thailand