公共建筑獎(jiǎng)：拉芬斯堡美術(shù)館，拉芬斯堡，德國(guó)

建筑設(shè)計(jì)：LRO有限公司

公共建筑獎(jiǎng)：拉芬斯堡美術(shù)館，拉芬斯堡，德國(guó)

建筑設(shè)計(jì)：LRO有限公司

1.2 外景/Exterior view

人們總是鐘愛(ài)那些周邊交通便利的小建筑作品，因?yàn)樗鼈兡軌蛄⒖瘫蝗吮孀R(shí)并前往使用——就像完美地融入了拉芬斯堡市高密度的舊城區(qū)的新博物館。但新博物館的魅力還在于一些別的因素：LRO是那些為數(shù)不多的并不否認(rèn)自己屬于某種風(fēng)格和時(shí)代的建筑師，不會(huì)讓其作品顯得像個(gè)愛(ài)出風(fēng)頭、仗勢(shì)欺人的暴發(fā)戶，而是懂得如何來(lái)建造一棟自信的“現(xiàn)代派”建筑，讓其自然地融入所在的城市中。

這其中微妙的平衡點(diǎn)在于這座建筑可以用兩種不同的方式來(lái)解讀。那些對(duì)新派建筑不感興趣的人很容易接受它：這座街角的建筑有著窄小的窗和普通的磚墻，內(nèi)部空氣清新。而那些對(duì)當(dāng)代建筑有興趣的人則會(huì)定睛細(xì)看，并與建筑產(chǎn)生對(duì)話：是的，這是一座新建筑，不然這些具有韻律感的拱形屋頂具有什么功能性呢？同時(shí)還有些顯露其現(xiàn)代建筑特征的那些細(xì)節(jié)：欄桿上的細(xì)銅縫、窗框和開(kāi)放的雨水管也包有銅邊，與方形入口平臺(tái)邊緣的玻璃格柵形成對(duì)比；柜臺(tái)和衛(wèi)生設(shè)施都是清水混凝土的體塊；此外，建筑的水管，以及建筑的體塊、表皮、開(kāi)口的關(guān)聯(lián)方式也顯示著這是座現(xiàn)代建筑。

而建筑具有永恒性的品質(zhì)大部分源于其樸素的磚墻中使用的舊磚。從新潮的觀點(diǎn)來(lái)說(shuō)，這符合全生命周期的觀點(diǎn)，因此可視為建筑可持續(xù)性的體現(xiàn)：如果建筑本身不能滿足其他使用需求，則至少其使用的建材應(yīng)該可以被移作他用。而磚材非常符合這種想法，即使算上個(gè)案中材料在規(guī)劃、運(yùn)輸、批準(zhǔn)過(guò)程中消耗的資源，它仍然非常環(huán)保。

建筑平面的布局簡(jiǎn)單：整齊的房間縱向排列，長(zhǎng)邊的兩側(cè)設(shè)有樓梯。沿著“朝圣的階梯”一側(cè)設(shè)有小窗，而另一個(gè)樓梯目前僅作緊急逃生用。特別值得注意的是，由錐形的磚砌圓拱穹頂重復(fù)地環(huán)環(huán)相扣而形成的動(dòng)感的天花。立面上的窗洞很少，利于對(duì)光敏感的藝術(shù)作品的展出。同時(shí)，封閉的外墻符合被動(dòng)節(jié)能的標(biāo)準(zhǔn)，因此也有利于建筑的節(jié)能。而在看不到的地方，建筑還使用了地源熱泵、混凝土芯活化和通風(fēng)控制等技術(shù)手段。新建的博物館是由一家建設(shè)公司的所有者捐贈(zèng)的，將提供給城市供公眾使用30年，還獲得了2013年的德國(guó)建筑獎(jiǎng)。（司馬蕾 譯）

項(xiàng)目信息/Credits and Data

客戶/Client: Reisch建設(shè)公司/Reisch Bau GbR

建設(shè)周期/Construction Period: 2010 -2012

使用面積/Usable Floor Area: 1200m2

建筑用途/Building's Purpose: 博物館和展覽空間/Museum and exhibition space

用磚類型/Brick Type: 面磚，從拆除場(chǎng)地中得到的回收磚，以磚拱為承重結(jié)構(gòu)/Facing bricks, reclaimed bricks from a demolition site, brick vault as load-bearing structure

攝影/Photos: Wienerberger AG/Roland Halbe (Fig.1-3,8,12-14), Dirk Vogel (Fig.5), Zone Media GmbH(Fig.7)

It might just be that it's easier to fall in love with accessible, small works that one can grasp and use right away - like the new art museum in Regensburg, which fits right into the city's densely built old town. But there's also something else: LRO are among the few architects who - without denying themselves or their era - knowhow to build a confident, "modern" building that doesn't throw its weight around like a pushy arriviste, but that takes its place in the city as a native.

The unique thing about this wondrous balance is that the building can be interpreted in two ways.Those who don't relate to new architecture are happy to be left alone: a corner building with small windows, plain bricks, fair enough! Those, however, who are interested in contemporary construction will take a closer look and engage in an inner dialogue: Yes, it is new - otherwise what would have once been the purpose of this building with its rhythmically vaulted roof? And there are pieces of evidence that are plainly contemporary: the narrow copper seam on the parapet; the window reveals and open drainpipes that are also copper-lined and that are contrasted by the solid box of the entrance, in front of which is a fringe of glass louvres; the exposed-concrete objects as counters and sanitary installations; finally, the water spouts and the whole approach to how the volume and surfaces and openings interact.

The building owes its ageless quality largely to the old bricks used in the rustically jointed brick walls. These days one could refer to the life-cycle idea, a commitment to sustainability: if a building can't be repurposed, at least its materials can be put to new use. Bricks are well suited to such an Endeavour, even if one should not underestimate the resources going into planning, transport and approval in individual cases. For this building, the bricks came from a demolished Belgian cloister.

The floor plans are simple: stacked, long rooms that are flanked by stairs on both longitudinal sides. Small windows follow the "stairway to heaven"; the second stairway is currently used only as an emergency escape. Of particular note is the dynamically repeated vaulted ceiling, which is formed by conical, interlocking barrel vaults of brick. The facade is very sparing with openings, which benefits the light-sensitive prints on display. At the same time, the highly insulated exterior walls contribute to the energy efficiency of this museum - the first to meet the passive-house standard - whose outof-sight building technology features geothermal probes, concrete core activation and controlled ventilation. The museum was donated by the owner of a construction company and let out to the city for 30 years. It received the German Architecture Prize in 2013.

3 鳥(niǎo)瞰/Aerial view

4 區(qū)位/Location

評(píng)委評(píng)語(yǔ)

帕沃爾·帕納可（斯洛伐克）：該項(xiàng)目的卓越品質(zhì)體現(xiàn)在其外觀上和建筑上的永恒性特質(zhì)。這不是一棟引人注目的、精美的或現(xiàn)代的建筑，而是體現(xiàn)出了永恒性。其中很重要的一點(diǎn)就是使用了從一座過(guò)去的修道院的拆遷工程中回收的磚材，所以其立面的磚都是回收后使用的。作為美術(shù)館，建筑的結(jié)構(gòu)墻需要有一定的重量來(lái)保持其內(nèi)部微氣候的穩(wěn)定，因此這種用磚來(lái)包裹建筑外殼的方式是完全合理的。展覽空間的頂部是一個(gè)新鮮有趣的結(jié)構(gòu)扭曲的屋面。而建筑的最高品質(zhì)體現(xiàn)在其外觀的雙重意義——既是一座新建筑，又具有老建筑的特質(zhì)。（司馬蕾 譯）

Jury Statement

Pavol Paňák (Slovakia):The outstanding quality of this project lies in the certain timelessness of its appearance, of its architecture. It's not strikingly fancy or modern architecture, it's timeless. A very important role was played by its recycled brick from the demolition of a former monastery - it's reused brick. In the gallery we need a certain mass of the walls of the structure to keep the climate stable internally, and therefore it's logical that the brick is used as a wrapping shell for the mass of the building. On the top floor of the exhibition spaces there is a very interesting warped structure made in a new way. The highest architectural quality is the double-meaning of its appearance; it's new and old in the same moment.

5 內(nèi)景/Interior view

6 概念示意/Concept diagram

7 入口/Entrance

8 內(nèi)景/Interior view

評(píng)論

李興鋼：這個(gè)歐洲小城舊城區(qū)中的博物館建筑雖是現(xiàn)代建筑，但因其合宜的尺度和大量使用的舊磚砌造于外墻，而并無(wú)突兀之感。加之建筑在街角處的切削和懸挑處理，和不同部位使用的優(yōu)雅的紅銅收邊，都可使人感到它與城市及周邊建筑的和諧關(guān)聯(lián)。令人印象深刻的是頂部采用的首尾相互扣連的錐形拱頂，不僅與周邊坡頂建筑形成有趣的尺度和形式上的呼應(yīng)，也成為內(nèi)部空間中具有強(qiáng)烈感染力的頂部界面，并且因其加泰羅尼亞式的磚砌工法，凸顯了磚的豐富可能性和表現(xiàn)力。

Comments

LI Xinggang: The museum in this old, small European city is a modern building. But although this museum is appropriately scaled and uses recycled bricks on a massive scale, there is no sense of the unexpected. Noteworthy features include cantilevering at the street corner and the use of copper edges on different parts of the building. All of these design elements help to make people feel that the building is harmonious with its surroundings and the city beyond. What are most impressive are the interlocking concave cone-shaped vaults, which not only create an interesting scale and form that echoes surrounding sloped roof buildings, but also create the strongest impression of all the interior spaces. Utilizing the Catalan style of brick construction highlights the rich and expressive possibilities of brickwork.

張利：這是此屆維納博艮磚建筑獎(jiǎng)獲獎(jiǎng)作品中本人最喜歡的項(xiàng)目。在這一建筑中，磚相對(duì)于其他建筑材料所特有的對(duì)時(shí)間的記錄能力得到了淋漓盡致的發(fā)揮。我們?cè)谒械拇u的表面上看到了時(shí)間：在新磚與舊磚的混用上，在磚與銹蝕的金屬材料的連接上，在寬且富于質(zhì)感的灰縫上，在小心翼翼地用磚鋪出的拱券頂棚上。建筑師在此傳遞著對(duì)建筑的時(shí)間性的鐘愛(ài)，而對(duì)于這個(gè)目的，還有什么比明白無(wú)誤地記錄著建造過(guò)程的磚更合適的呢？

ZHANG Li: This is my favorite project of this year's Wienerberger Brick Award winners. In this building, the vast advantage brick possesses over other building materials, namely the expression of time, is done to its extreme. We see time in all the brick surfaces: from the mixture of old and new bricks, from the contrast between bricks and corroded metal sheets, from the expressive use of mortar, from the laboriously made arched brick ceilings. Here the message of the love of time in architecture is sent unmistakably. And for this purpose, what better way could there be than the using of brick masonry that honestly records its process?

Category Winner in Public Use: Kunstmuseum Ravensburg, Ravensburg, Germany, 2012

Architects: LRO Lederer Ragnarsdóttir Oei GmbH & Co. KG

9 細(xì)部/Detail

10 剖面/Section

11 平面/Floor plan

12-14 細(xì)部/Detail