丹麦 Ordrupgaard 博物馆 | 印象派风格的景观与室内设计融合_公共景观_设计案例作品

发布时间：2021-08-15 13:48:43 {{ caseViews }} {{ caseCollects }}

设计亮点

本案例将景观与建筑紧密结合，室内设计充分展现了印象派艺术风格，同时创造出舒适明亮、自然气息浓厚的室内环境，为游客带来愉悦的参观体验。

Ordrupgaard博物馆坐落于哥本哈根北部的灵比的自然保护区（Jægersborg Dyrehave）附近，馆内收藏了北欧范围内最全面的19世纪至20世纪初之间的法国以及丹麦本土艺术作品。博物馆始建于第一次世界大战期间，最初是一座包含有三个侧翼的新古典主义风格乡村别墅，2005年，Zaha Hadid事务所对其进行了扩建设计，扩建部分面积为1150平方米，由现代玻璃和黑色熔岩混凝土构成。此次由Snøhetta事务所负责的扩建工程大部分位于地下，但也有部分从景观中暴露出来，形成一条整体而连续的路径，贯穿整个博物馆及其周围的公园与花园，同时，本项目也将ZHA设计的特别展览馆与博物馆的原始建筑以及其中的永久收藏展览联系起来。总体来说，Snøhetta负责的部分包括景观设计以及五个全新的地下展览空间，其中两处作为Zaha设计的展览空间的延续，另外三处则专门用于博物馆的主要收藏之一：大量永久展出的法国印象派绘画作品。

Situated near Jægersborg Dyrehave, north of Copenhagen, Ordrupgaard houses Northern Europe’s most comprehensive collection of French and Danish art from the 19th and early 20th century. Originally built as a three-winged country mansion in the neo-classical style during World War I, the museum was expanded by a modern 1,150 m2 glass and black lava concrete extension in 2005, designed by Zaha Hadid. Snøhetta’s design, most of which is underground, but also partly excavated from the landscape, creates a holistic and continuous path throughout the entire museum and its surrounding park and gardens, linking Hadid’s extension for special exhibitions with the museum’s original building and permanent collection. In total, Snøhetta’s design comprises landscape interventions as well as five brand new, subterranean exhibition spaces, two of which create a continuation of Hadid’s exhibition space, and three specially dedicated to one of the museum’s main attractions: its extensive and permanent collection of French impressionistic paintings.

▼项目概览，overall of the project © Laura Stamer

柔和的设计语言与创新的干预手段造就了灵活的展览空间，在扩建部分、原建筑以及花园之间形成循环而流动的参观路线，将博物馆丰富的收藏和郁郁葱葱的室外环境联系在一起。在展览设计、艺术保管以及展示方面，本项目也使Ordrupgaard博物馆达到了国际最高标准，为所有人带来了一场舒适且直观的博物馆之旅。

Through its innovative yet subdued design, the new extension and its exhibition spaces allow for a circular movement through Ordrupgaard, creating a continuous movement through the museum’s rich collection and lush gardens. The design further lives up to the highest international standards when it comes to exhibition design and art conservation and display, providing a comfortable and intuitive museum journey that is accessible and tangible for all.

▼分析图，diagram © Snøhetta

Snøhetta设计的三个主要展览空间中最大的一个从建筑外部直接可见，巨大的体量埋于地下，极具雕塑感的钢涂层部分暴露出来，就如同是一件刚刚出土的神秘宝藏，在景观中熠熠生辉。结构的表面经过不同角度的切割与抛光，形成丰富的反射效果，在白日里与季节交替中创造出一场梦幻的光之游戏。

The largest of the three main exhibition spaces designed by Snøhetta can be partly seen from the outside as a monolithic, steel-coated sculpturesque structure that seems somewhat excavated from a larger volume below ground. Just like a hidden treasure that reveals itself as it appears during excavation, the structure glistens in the landscape. Cut in a wide range of different facets and polished in different directions, the structure creates a play of light throughout the days and shifting seasons.

▼主要展览空间中最大的一个从外部直接可见，The largest main exhibition space can be partly seen from the outside © Laura Stamer

▼钢涂层表面形成丰富的反射效果，a monolithic, steel-coated sculpturesque structure © Laura Stamer

该展馆被称为“天堂花园”（Himmelhaven），其外表皮灵感源自印象派艺术时期的“clin d’œil”，这种绘画手法的特点是不断地捕捉光及其变化的性质，也正是这种手法成就了马奈、莫奈、德加、雷诺阿等世界著名艺术家的不朽画作。该主展馆的另一特点是将地上景观呈对角线分割开来，并通过Zaha2005年的扩建部分，直观地将游客引向主入口。展馆屋顶的部分形成了连接入口和花园的天然石材桥梁。

Conceptually dubbed “Himmelhaven” (“Heaven’s Garden”) the extension exterior is very much a “clin d’œil” to the impressionistic art period, characterized by its constant efforts to capture light and its changing qualities, and immortalized on canvases by world-renowned artists such as Manet, Monet, Degas, and Renoir. The structure is further characterized by a diagonal cut in the landscape that intuitively leads visitors to the main entry by Hadid’s 2005 extension. The cut forms a bridge of natural stone linking entry and garden.

▼由周边公园看展厅暴露在地上的部分，viewing the exposed part of the exhibition hall from the surrounding park © Laura Stamer

“天堂花园”就如同被从景观中挖掘出来一般，建筑周围的下沉式迷你中庭进一步强调出这种视觉效果。中庭中集成了照明设备以及座位区，为游客们提供了一个可以逗留休憩的空间，在这里，人们可以悠闲地坐下来欣赏博物馆周边拥有百年历史的公园美景。这里被建筑师称为“第三花圃”，Snøhetta的扩建标志着景观的延续，它位于Ordrupgaard博物馆的英国式公园交汇处，公园中种满了落叶乔木，其中许多都结出了果实，附近还有一座较小的法国风格玫瑰园。

The illusion of Himmelhaven being excavated from the landscape is further emphasized by the structure’s surrounding mini-atrium which is half sunken into the ground. With its integrated lighting and seating areas it becomes a space where visitors can sit down and linger, enjoying the views of the lush century-old park surrounding the museum. Referred to by the architects as a “third parterre”, Snøhetta’s extension marks a continuation of the landscape and is placed at the intersection of Ordrupgaard’s English style park with its deciduous trees, many of them fruit bearing, and an adjacent smaller French-inspired rose garden.

▼建筑周围设有下沉式迷你中庭，the structure’s surrounding mini-atrium © Laura Stamer

▼中庭中集成了照明设备以及座位区，the mini-atrium integrated lighting and seating areas © Laura Stamer

▼反光的钢制外观，Reflective steel appearance © Laura Stamer

在施工阶段，Snøhetta的景观团队一丝不苟地保护着这个历史悠久的公园，以外科手术一般严谨精神在周边公园和新扩建部分之间留出一段保护距离。此外，Snøhetta团队也非常小心地改善了ZHA扩建部分周围的景观，包括在山坡上种植草甸花，并在一定程度上对建筑周围的地形进行挖方，以及将建筑与受其风格影响的两个地下展览空间相结合在一起。

During the construction phase, Snøhetta’s landscape team worked meticulously to safeguard the protected park, ensuring a surgical-like cut between the surrounding park and new extension. Snøhetta has also altered the landscape surrounding Hadid’s extension with great care, planting the hillside with meadow flowers, and excavating the building somewhat, as well as integrating the building with the two Hadid-inspired subterranean exhibition spaces.

▼外观细部，detail of the appearance © Laura Stamer

▼中庭地面细部，detail of the ground material © Laura Stamer

五个地下展览空间中的两处作为2005年扩建部分的延续，继承了ZHA设计中的混凝土材质以及深色主色调。其他三处扩建空间主要用于展出博物馆的印象派艺术作品，包括两小一大的展览空间，且采用了更加轻盈的材料与明亮的色调。空间设计与原博物馆保持高度和谐，均采用了橡木制成的地板、墙壁和天花板，为人们提供了温暖明亮、且充满自然气息的室内氛围。墙壁上附加的石膏板可以灵活适应不同的策展需求，并在需要时改变每个展厅的主题色调。天花板上则由橡木饰面装饰结构组成，结构中精心集成了灯具，创造处一种浑然天成的设计风格，将人们的关注焦点汇集于艺术品本身。

Whereas the two exhibition spaces expanding the 2005 building mark a continuation of the dark concrete materiality palette characteristic for Hadid’s design, the additional exhibition spaces dedicated to the museum’s impressionistic art are made up of two smaller and one larger space in a much lighter color and material palette. The spaces are designed in close collaboration with the museum and are all furnished with oak floors, walls, and ceilings, providing a light, organic and warm atmosphere. Gypsum boards are mounted on the walls allowing for the museum to effortlessly curate art pieces and change the color palette of each exhibition room when needed. The exhibition ceilings are covered with oak veneer cassettes with carefully integrated light installations, providing a seamless and harmonious design that places the art pieces at the center of attention.

▼主要印象派艺术展厅室内概览，interior overall of the main exhibition space © Laura Stamer

▼橡木制成的地板、墙壁和天花板创造出温暖明亮、且充满自然气息的室内氛围，oak floors, walls, and ceilings, providing a light, organic and warm atmosphere © Laura Stamer

▼天花板细部，detail of the ceiling © Laura Stamer

展览空间的内部营造出一种柔软舒适的感觉，与从外部可以见到的反光钢制表皮形成鲜明对比，这种设计手法几乎与经典的复古首饰盒的设计相呼应，坚硬的金属外观和柔软的天鹅绒内衬对应了建筑的外观与内部。

Contrasting with the reflective steel exterior that is partially visible from the outside, the inside of the exhibition spaces creates a sense of softness and comfort, echoing almost the design of a classic vintage jewelry box, with its hard, metallic exterior and soft, velvety lining on the inside.

▼与Zaha设计的扩建部分相连接的地下展厅，Underground exhibition hall connected to Zaha’s designed extension © Laura Stamer

在整个博物馆之旅中，洒落在建筑内部的自然光线成为游客们的向导，它伴随着人们的脚步穿过2005年扩建的展览空间、穿过永久的印象派展览，进入原始博物馆与冬季花园。在人们穿越整个建筑的过程中，这些采光带在建筑不同的空间之间形成了清晰的过渡，给参观者留下空间来欣赏博物馆每个部分的独立设计。

Throughout the museum journey, Snøhetta has also accommodated for natural daylight to penetrate the building, both as visitors leave the exhibition spaces linked to the 2005 extension, but also as one exits the permanent impressionistic exhibition and enters the original museum and its winter garden. These slots of daylight create a clear transition from one building to the other, leaving room for visitors to appreciate the individual design of each part of the museum as they move through the building.

▼采光带在建筑不同的空间之间形成了清晰的过渡， The skylight creates a clear transition between the different spaces of the building © Laura Stamer

Snøhetta事务所以柔和又不失力度的设计将Ordrupgaard博物馆的扩建部分和谐地融入了现有的环境中，无论是从景观、建筑、历史还是当代设计的角度来说都是如此，同时它也阐述出自己对时间和空间的独特诠释，并将所有元素聚集在博物馆中，为后代提供了更好的参观体验。

Through its subdued yet powerful design, the Ordrupgaard extension by Snøhetta respectfully blends in with its existing surrounding, whether vegetal or built, historic or contemporary, all while adding its own interpretation of time and space and bringing all elements together in a circular and enhanced museum experience for future generations to enjoy.

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