鏗鏘博物館改造，哥本哈根，丹麥

建筑設(shè)計(jì): ADEPTArchitects: ADEPT

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鏗鏘博物館改造，哥本哈根，丹麥

建筑設(shè)計(jì): ADEPT
Architects: ADEPT

Sonoruous Museum Refurbishment, Copenhagen, Denmark, 2014

在丹麥著名建筑師威廉·勞里岑設(shè)計(jì)的、被列入保護(hù)建筑名冊(cè)的哥本哈根“收音機(jī)之家”中，丹麥國(guó)家博物館最近重新展出了其規(guī)模龐大的歷史樂(lè)器收藏。這座建于1950年代的優(yōu)雅的現(xiàn)代風(fēng)格建筑也因此進(jìn)行了大規(guī)模的翻新。改造工程開(kāi)展得十分謹(jǐn)慎，以強(qiáng)調(diào)保護(hù)建筑中的材料和細(xì)節(jié)的獨(dú)特個(gè)性。

ADEPT與克雷奧建筑事務(wù)所、Niras工程公司緊密合作，設(shè)計(jì)并實(shí)施了為博物館的一系列教育計(jì)劃配備的4個(gè)優(yōu)雅精密的聲學(xué)空間。

收音機(jī)之家中包括了國(guó)家音樂(lè)博物館，以及由這4個(gè)聲學(xué)空間組成的鏗鏘博物館。改造工程非常尊重原有的建筑設(shè)計(jì)，采用了經(jīng)典的保護(hù)設(shè)計(jì)手法——在保留原有建筑設(shè)計(jì)意圖的同時(shí)，在建筑中加入了當(dāng)代生活的需求和現(xiàn)代化的氣息。

收音機(jī)之家這座獨(dú)具特色的建筑反映了屬于威廉·勞里岑的許多空間特點(diǎn)，這也是修繕工程最重要的設(shè)計(jì)靈感來(lái)源。從通透的展覽空間的設(shè)計(jì)，到鏗鏘博物館中具有聲學(xué)作用的墻體設(shè)計(jì)中對(duì)色彩、形式和節(jié)奏感的運(yùn)用，都體現(xiàn)了對(duì)威廉·勞里岑的建筑中的建筑元素和細(xì)節(jié)的現(xiàn)代化詮釋。

展覽的設(shè)計(jì)主要基于讓來(lái)訪(fǎng)者跟隨音樂(lè)歷史發(fā)展進(jìn)行空間移動(dòng)的想法——讓人的移動(dòng)與展示的物品、樂(lè)器、視覺(jué)圖像、用于互動(dòng)的收聽(tīng)裝置間形成微妙的平衡。設(shè)計(jì)采用玻璃展柜讓樂(lè)器仿佛漂浮在空中，并使用開(kāi)放的臺(tái)面來(lái)陳列大型樂(lè)器。

鏗鏘博物館則由4個(gè)具有特定聲環(huán)境的工作室構(gòu)成，在聲學(xué)上各自適合弦樂(lè)器、銅管樂(lè)器、打擊樂(lè)器和混合樂(lè)器這4種不同的樂(lè)器組別的演奏使用。4種空間都設(shè)計(jì)成可以互動(dòng)的教室的形式，讓訪(fǎng)客在參觀(guān)的班級(jí)中親自體驗(yàn)古典樂(lè)器演奏，體會(huì)樂(lè)器的聲音特點(diǎn)。

4個(gè)空間各自不同，但是具有統(tǒng)一的視覺(jué)風(fēng)格。每個(gè)空間都由木板包裹，以達(dá)到為特定樂(lè)器組別設(shè)計(jì)的最佳聲學(xué)效果。打擊樂(lè)空間中設(shè)置的豎直格柵、弦樂(lè)空間中表面能共振的盒狀飾面、銅管樂(lè)空間中對(duì)比鮮明的墻面，都使4個(gè)空間在外觀(guān)上兼具當(dāng)代時(shí)尚感和經(jīng)典感，簡(jiǎn)潔而精準(zhǔn)地延續(xù)了威廉·勞里岑的這一建筑杰作本身的特色?！酰ㄋ抉R蕾 譯）

1.2 打擊樂(lè)空間/The percussion space

3.4 弦樂(lè)空間/The string space

項(xiàng)目信息/Credits and Data

項(xiàng)目負(fù)責(zé)人/Project Leader: Anders Lonka

客戶(hù)/Client: Danish National Museum, Ministry of Culture

合作者/Collaborators: Creo Architects, Niras Engineers

總面積/Total Floor Area: 2300m2

總造價(jià)/Total Cost: 33,000,000DKK

設(shè)計(jì)時(shí)間/Design Period: 2012-2014

攝影/Photos: Kaare Viemose （fig.2,8-12）, Laura Stamer （ fi g.4,6,15）

In the listed "Radio House" of Copenhagen, by renowned Danish Architect Vilhelm Lauritzen, the Danish National Museum has recently re-opened its vast collection of historical musical instruments. The elegant modernistic building from the 1950s has gone through an extensive refurbishment, respectfully carried out to emphasize the unique character of the listed building's materiality and detailing.

In a close collaboration with Creo Architects and engineers Niras, ADEPT is behind concept and realization of the museum design that includes four delicately detailed sound spaces as part of the collection's educational program.

The Radio House, including the National Music Museum and the four sound spaces 'The Sonorous Museum", is refurbished in great respect of the original building, showing a classic approach that preserves the original design intentions, yet adding contemporary life and modernity to it.

The unique architecture of the Radio House, reflecting the spatial universe of Vilhelm Lauritzen, has been the main inspiration during the refurbishment process. Everything, from the transparency of the exhibition design to the play of colors, patterns and rhythm in the acoustic walls of "The Sonoruous Museum", is a modern day interpretation of architectural elements and details from Vilhelm Lauritzen's buildings.

The exhibition design is build up around the guest's physical movement through musical history -a movement communicated in a delicate balance between exhibited objects and instruments, graphic illustrations and listening stations interacting with the museum guest. The design alternates between glass showcases making the instruments seemingly float in the air and open tableaus showing larger instruments.

"The Sonorous Museum" is comprised of four sound regulated studios, acoustically adapted to a specific instrumental group: strings, brass, percussion and mixed instruments. The four spaces are designed as interactive classrooms in order to provide visiting school classes with a hands-on experience of the classical music instruments and their sound specter.

The four spaces are designed as spatial variations on the same aesthetic theme. Each of the spaces are cladded in wood veneer, designed to meet and create the optimal acoustic setting for a speci fi c instrumental group. From the vertical lamellae of the percussion space, the seemingly vibrating cassettes for strings to the graphical clarity of the brass space, the four spaces stands out as both contemporary modern and yet very classic in their expression - as a simple and precise continuation of the intended spirit in Vilhelm Lauritzen's listed master piece.□

5.6 銅管樂(lè)空間/The brass space

7.8 帶有坐臺(tái)的管弦樂(lè)空間/Soundscape for the orchestra with integrated stairs for sitting

9-12 參照威廉·勞里岑設(shè)計(jì)的不同建筑，4個(gè)空間具有不同的墻壁細(xì)部/Wall details in the four spaces, each of them di ff erent and referring to one of Vilhelm Lauritzen's buildings

13 打擊樂(lè)空間詳圖/Detail drawing of the percussion space

14 管弦樂(lè)空間詳圖/Detail drawing of the orchestra space

15 從博物館望向管弦樂(lè)空間/View from the museum into the orchestra space

評(píng)論

張利：勞里岑在鏗鏘博物館改造不可謂不費(fèi)心機(jī)。歷史樂(lè)器的展覽部分沒(méi)有太多可說(shuō)，而改造所突出的4個(gè)精密聲學(xué)空間則是最有可能受到質(zhì)疑的地方。我們?cè)诖丝吹浇ㄖ熢噲D定義一種由聲音到視覺(jué)的映射關(guān)系，通過(guò)4個(gè)空間中吸聲/反射板加以表達(dá)。這有兩個(gè)可以商榷的問(wèn)題: （1）對(duì)于某一類(lèi)樂(lè)器是否存在特定的、對(duì)應(yīng)于最佳音效的視覺(jué)圖案？（2）除了聲學(xué)外，這些視覺(jué)圖案以何種方式貢獻(xiàn)于這里的演奏者？

但設(shè)計(jì)者提出的為原有建筑加入現(xiàn)代性的想法可能只在視覺(jué)上實(shí)現(xiàn)了，因?yàn)楣诺湟魳?lè)理想的聽(tīng)覺(jué)空間模型正是更具現(xiàn)代性的后繼者批判顛覆的對(duì)象之一。殷漪：被歷史作為主流而書(shū)寫(xiě)的那部分古典音樂(lè)，長(zhǎng)久以來(lái)是不思考空間的，它設(shè)想自己應(yīng)該在一個(gè)最能展示其自身聲覺(jué)特征的空間內(nèi)被聽(tīng)到。所以那部分古典音樂(lè)在各種均質(zhì)的物理空間內(nèi)被演奏，在各種相似的音樂(lè)廳里被聽(tīng)到。

我相信，作為具有教育功能的展示空間，這4個(gè)房間是非常出色的。比如，弦樂(lè)房間內(nèi)飾設(shè)計(jì)中聲學(xué)特征與墻面造型的轉(zhuǎn)換。混合房間內(nèi)被模糊功能的臺(tái)階——是觀(guān)眾的座位還是演奏者的舞臺(tái)？

Comments

ZHANG Li: We may want to regard Lauritzen's design of the sonoruous Museum with all due respect. Putting the exhibition spaces aside, the four sound spaces are the most controversial. Then architect has launched an investigation trying to establish a mapping system between sound and space. The panels in the sound spaces are the messengers. Two question marks are here: （1） Is there an undisputable visual pattern linked to the sound of a particular instrument？ （2） What can these patterns bring to the true user-the players？

YIN Yi: For a long time, the classical music that was written down as mainstream in the history of music has not concerned itself with the physical space for its performance. It assumes that it should be performed in a space that best exhibits its acoustic character. That is why such classical music is always performed in those homogeneous physical spaces and heard in similar concert halls.

I believe the four rooms at the Sonorous Museum are excellent as educational space. For example, in the string music room, the interior design re fl ects the transition from acoustic features to wall modeling. And in the mixed room, the functions of the steps have been blurred: are they the seats for audience or the stage for performers？

But the designer's idea of adding modernity to the original architecture may only have been accomplished visually, because the ideal model of acoustic space for classical music happens to be one of the targets of criticism and subversion by its modernist successors.