索勒藝術博物館，索勒，丹麥

建筑設計：倫加德&特蘭貝里建筑事務所

索勒藝術博物館，索勒，丹麥

建筑設計：倫加德&特蘭貝里建筑事務所

1 外景/Exterior view

項目信息/Credits and Data

客戶/Client: 索勒藝術博物館/Sor? Kunstmuseum

建設周期/Construction Period: 2010. 08 -2011. 11

使用面積/Usable Floor Area: 1300m2+ 800 m2（新建+改造/ New construction + renovation）

建筑用途/Building's Purpose: 藝術博物館/Art museum

用磚類型/Brick Type: 條形磚/Brick slips

攝影/Photos: Wienerberger AG/Jens Lindhe

在保存完善的索勒市歷史舊城的肌理中，新博物館簡潔而縝密的設計與周邊的尺度形成和諧的關系，并且與四周的建筑形成生動的對話關系。事實上，周圍的環(huán)境正是建筑的幾何體塊的設計靈感來源。墻體上深色的釉面磚與屋頂面上微微閃耀的各色反光都與這一地區(qū)的氛圍非常協(xié)調(diào)。

美麗的帶有庭院的磚砌建筑由步道聯(lián)系在一起，形成這一小鎮(zhèn)的建筑特點。擴建的建筑面向主街道上，其一側與1834年建成的新古典主義建筑相連，并延伸到其庭院中。建筑深遠的結構和坡屋頂都符合既有建筑的形式，并通過一條窄長的過道與其相連，限定出新的入口和庭院的位置。新建的建筑也采用了傳統(tǒng)悠久的車間與倉庫的形式，其地面上的部分有著與周邊環(huán)境尺度類似的分隔明確的房間，地下則是供展覽和安放技術設備的額外空間。

所有可以自由進出的設施，例如禮堂、供學童使用的空間、咖啡店、博物館附屬的商店和售票處等都位于地面層，并且通往院子。涂成紅色的滑動隔墻、暖色調(diào)的木墻飾面和玻璃隔斷形成這部分空間的特征，也將其與白色的展覽空間區(qū)分開。特別展示區(qū)位于樓上，在高處自然光線的照射下，這部分空間安靜而中性，適合藝術品的展出。相比之下，位于舊建筑屋頂下的靛藍色的常規(guī)展示區(qū)顯得昏暗和內(nèi)斂得多。

新建筑的屋頂和墻體的隔熱性能非常好，表皮上面僅有幾個配有橡木框的窗戶。事實上，為了利于節(jié)能，有一半的展覽空間都位于地下。在地暖之外，建筑還采用了通風系統(tǒng)來實現(xiàn)展覽的微氣候調(diào)節(jié)。

建筑的立面則經(jīng)過特殊處理。屋頂?shù)拇u瓦和外墻都隨著光線和天氣的變化而變換著色調(diào)，形成紫色、紅色、橙色、灰色、深棕色等不同色彩。墻體吸引著訪客走近并撫摸它，許多第一次來的訪客都想搞清這里到底使用了哪種材料。墻體的粗糙質(zhì)感和條狀紋理都追隨著小鎮(zhèn)上的傳統(tǒng)磚墻的風格以及周邊建筑的色彩和材質(zhì)。磚瓦則堆疊在一起，建筑的轉角和窗洞處則有著黃銅的包邊。新建筑受到了公眾的熱情歡迎，自從新館建成以來，博物館的人流量已經(jīng)達到了過去的4倍。（司馬蕾 譯）

Harmonising with the fabric of the wellpreserved historic town centre of Soro, the simply and rigorously designed new museum building respects the scale of its surroundings and seeks to engage them in lively dialogue. They are the inspiration for its geometric cube. The darkly glowing brick "shingles" of the wall and roof surfaces shimmer in various hues, taking on the atmosphere of the place.

Appealing brick houses with courtyards linked by walkways are a characteristic feature of the town.The building extension is located on the main street and attaches to the wing of the neoclassical 1834 museum building, which juts into the garden. The long structure with a pitched roof corresponds with the existing building, connecting to it via a narrow tract that creates new accesses and courts. This extension takes up the long tradition of workshops and warehouses; above ground, it features clearly defined rooms at the scale of the surroundings, while the basement offers additional areas for exhibitions and technical facilities.

All freely accessible facilities, such as a lecture hall, an area for schoolchildren, a cafe, a museum shop and the ticketing booth, are on the ground floor and can be opened to the courtyards. Sliding walls painted red, plywood cladding in warm tones, and glass dividers characterize these spaces and distinguish them from the exhibition spaces, which are all in white. The special exhibition spaces are on the upper floor. Naturally lit from above, they are serene, neutral environments for the art on display. In contrast, the indigo blue permanent exhibition space under the roof of the old building seems dark and restrained.

The roof and walls of the new building are superbly insulated, and there are only few openings with oak windows. The fact, too, that half of the new exhibition space is underground contributes to the energy savings. In addition to floor heating, a ventilation system ensures a climate conducive to exhibitions.

Particular care was taken with the facade of the building. The brick "shingles"(slips) on the roof and the exterior wall change hues with the light and weather, going from purple, red and orange to grey and dark brown. The bricks invite the viewer to come closer and touch. Many first-time visitors, wanting to find out what kind of material they are dealing with, do just that. The rough texture and the striped relief reference the small town's brickwork tradition and take up the colourful patterns and textures of the neighbourhood. The brick slips are lapped, with the edges and window openings protected with tombac profiles. The new building has been embraced enthusiastically by the public. The number of visitors has quadrupled since the extension was built.

2 夜景/Night view

3 外景/Exterior view

評論

丁力揚：從構件的尺寸和連接方式上，這個建筑中的磚瓦獲得了某種統(tǒng)一而非妥協(xié)的中間狀態(tài)。首先，磚作為一種模塊化的建筑構件，在這里的尺寸和厚度更接近于瓦，同時也像瓦一樣進行釉面處理，其次，磚（瓦）的建造方式也沒有遵循傳統(tǒng)中各自的預設，在從坡屋頂?shù)酱怪蓖鈮Φ慕唤又?，建筑師持續(xù)采用了瓦的搭接方式。在這個作品中，磚（瓦）兩者身份的混合產(chǎn)生了某種神秘的氣氛，更加符合博物館建筑的性質(zhì)。

陸翔：美術館新老建筑之間的對話耐人尋味：空間連通，但一邊是若干對接的房間，另一邊是單獨的大空間，開窗因此不同；形體相似，但屋面的出檐消失，磚從砌筑的承重墻變?yōu)楦咏菝嫱叩呐B構造，構造設計的起點由豎向的重力順序轉變?yōu)樗较虻膶踊樞颍焕戏孔訅γ婕拔蓓數(shù)纳?，黃、紅、深灰，也被混合并馬賽克化為新建筑磚的色彩：紫、紅、橙、灰和深棕。

4 首層平面/Floor 0 plan

Comments

DING Liyang: The proportion of architectural components and the way in which they are connected, the bricks and tiles in this work, occupy an intrinsically consistent in-between state. The dimensions of the brick approach those of the traditional tile, and care is taken to make them vary in color and nuance along with the weather, light and seasons. The treatment to bricks (tiles) in the building does not follow the default construction method. From the pitched roof to the vertical wall, the building is clad in lapped brick shingles. The bricks are similar to normal shingles but not the same. Their materiality generates a mystical atmosphere, one very much welcomed by the museum as one of the main functions of the building.

LU Xiang: The dialogue between the new and old buildings of the museum is most interesting: the way spaces are laid out and connected, small joint rooms on one side and huge spaces on the other, mean that window openings telegraph this difference in scale onto the outside of the building. Although the new building's form is similar to the old one, the eave has disappeared; bricks are no longer part of a load-bearing wall. Instead they become part of the building's skin and are working similarly to traditional roof tiles. The tectonic thinking has shifted. The emphasis given to gravity and vertical sequence has been given over to layering and horizontal sequencing. The hues of the old part - yellow, red, deep grey -have been integrated with the colours of the new bricks, producing a mosaic-like mixture of purple, red, orange, grey and deep brown.

Sor? Art Museum, Sor?, Denmark, 2011

Architects: Lundgaard & Tranberg Arkitekter

5 細部/Detail

6 內(nèi)景/Interior view

7 剖面/Section