瑞典雕塑公园内的艺术博物馆扩建_文化中心_设计案例作品

发布时间：2017-07-29 12:36:00 {{ caseViews }} {{ caseCollects }}

设计亮点

新旧元素和谐共生，室内外空间相互渗透，呈现独特的艺术氛围。

C.E：Son Lindman

架构师提供的文本描述。自从艺术史学家拉格纳·约瑟夫森(RagnarJosephson)开始收集记录艺术过程的档案以来，大约80年前，Skissernas Musuem、艺术过程和公共艺术博物馆(Museum Of Art Process And Public Art)逐渐发展成为一大群建筑，除了容纳世界上最大的素描收藏外，它还是博物馆身份的重要载体。这是博物馆历史上的第一个延伸，它只涉及它的界面，包括门厅、餐厅、商店和多功能大厅。

Text description provided by the architects. Since Art Historian Ragnar Josephson started to gather an archive documenting the artistic process, about 80 years ago, Skissernas Musuem, Museum of Artistic Process and Public Art, has gradually grown to a large cluster of buildings that, apart from housing the world’s largest collection of sketches, is an important carrier of the identity of the Museum. This is the first extension in the museum’s history that solely addresses its interface, with foyer, restaurant, shop and a multi-purpose hall.

新增加的稍微弯曲的体积是突出到现有的雕塑公园，释放它的抓地力的街道网格，而不是锁定通过公园的对角线方法。这是建筑师汉斯·韦斯特曼1959年设计的入口轴线。新的门厅空间很高，既可以容纳这个既有的木板形成的混凝土体积和公园里生长的树木，也能够站在相当庞大的现有博物馆的旁边。然而，这家新餐厅是因为尊重建筑师约翰·塞尔辛(JohanCelsing)在2005年加入的一项新规定，为了不干预之前扩建的面向公园的大窗户，这家餐厅一直保持低调。从1959年起，原有的入口卷被整合成一个体积、配件、商店和接待处。

The new addition of slightly bent volumes is projecting itself into the existing sculpture park, releasing it’s grip of the street grid and instead latching on to the diagonal approach through the park. This is the axis of entrance that the large extension by architect Hans Westman dated 1959 was designed for. The new foyer space is very tall to take in both this existing board formed concrete volume and the grown trees of the park, but also to be able to stand up next to the rather massive existing museum volumes. The new restaurant, however, is due to respect for a more recent addition by architect Johan Celsing, dated 2005, kept low to not intervene with the previous extension’s large window facing the park. The original entrance volume from 1959 becomes integrated as a volume fitting shop and reception.

C.E：Son Lindman

自材料发明以来一直受到雕塑家青睐的COR-10钢处理相邻的历史红砖建筑以及现有混凝土体积的粗糙性，但与之形成鲜明对比的是面板材料固有的尖锐细节的潜力。立面的自由排列是精心组成的，以获得特定的意见，从，进入，并通过增加的建筑体积-达到一个透明，而没有一个实际的大表面的玻璃。

The cor-ten steel, favored by sculptors ever since the material was invented, handles the adjacent historic red brick architecture as well as the rough materiality of the existing concrete volume, yet contrasts to these with the potential of sharp detailing inherent of a panel material. The free arrangement of the facades is composed carefully to get particular views from, into, and through the added building volumes – to reach a transparency without an actual large surface of glass.

C.E：Son Lindman

对于博物馆现有的内部庭院中的多功能大厅来说，周围建筑高度的变化很大，底层建筑的承载能力也存在问题，以及不想干扰庭院周围现有的立面，强烈要求解决这个问题：屋顶高高耸立，四根柱子上，四周环绕着牧师的灯光。屋顶横跨27米，其天花板是一个悬停的倒影铝板，所有的目的都是为了实现一个空间体验，不清楚室内，但保持了开放的内部庭院的一些特点。

For the multi-function hall in the existing inner courtyard of the museum, a great variation in height of the surrounding buildings and a problem to carry loads in the underlying structure, as well as an ambition not to disturb the existing facades around the courtyard, urged for a solution with a roof soaring high, resting on four columns, and surrounded by clerestorial light. The roof is spanning 27 meters and its ceiling is a hovering plate of mirroring aluminum, all purposed to achieve a spatial experience which is not clearly indoor, but is keeping some of the character of an open inner courtyard.

C.E：Son Lindman

餐厅、门厅和商店的家具都是由埃尔丁·奥斯卡尔森设计的，并有意传达素描或原型的未完成的特征。总之，新增加的目的是为了在公园内增加一种有价值的建筑体验，因为博物馆获得了更新的界面，成为人们见面的更多功能场所。

The furniture of the restaurant, foyer, and shop are all designed by Elding Oscarson, and are deliberately transmitting the unfinished character of a sketch, or prototype. As a total, the intention is for the new addition is to add a valuable experience of architecture within the park, as the Museum gets an updated interface, becoming a more functional place for people to meet.

C.E：Son Lindman