格羅寧根博物館，格羅寧根，荷蘭

建筑設(shè)計及室內(nèi)設(shè)計：亞歷山德羅·門迪尼，弗朗西斯科·門迪尼，米凱萊·德路奇，菲利浦·斯塔克，藍天組，馬丁·巴斯，喬布工作室，亞米·海因

格羅寧根博物館，格羅寧根，荷蘭

建筑設(shè)計及室內(nèi)設(shè)計：亞歷山德羅·門迪尼，弗朗西斯科·門迪尼，米凱萊·德路奇，菲利浦·斯塔克，藍天組，馬丁·巴斯，喬布工作室，亞米·海因

1.2 外景/Exterior views

荷蘭格羅寧根博物館由5個不同部分組成：當代藝術(shù)、臨展、畫廊、陶瓷和考古/歷史，此外還有功能和服務(wù)區(qū)。

建筑位于沃賓登運河中，由兩座橋通向河岸，其中一座是步行和騎自行車的吊橋。建筑全部采用樁基，用于展覽和服務(wù)的下層在水面以下60cm。

大部分建筑元素都是混凝土預(yù)制的。不同區(qū)段的立面采用了不同的建造技術(shù)：

（1）涂色混凝土板；

（2）由意大利公司Abet Laminati制作的金色厚塑料層壓板。

格羅寧根博物館是根據(jù)藝術(shù)建筑的理念設(shè)計的，建筑本身與多種元素融為一體，包括繪畫、裝飾、裝置、新雕塑和不同形式的視覺表達，特別是設(shè)計。

但這不是傳統(tǒng)意義上的藝術(shù)綜合，而是對上述領(lǐng)域的創(chuàng)作方法進行的融合與轉(zhuǎn)譯。其目的在于創(chuàng)造一種源于對象的現(xiàn)象，實現(xiàn)高度復(fù)雜的表述。建筑自身的博物館特性完美地融合了藝術(shù)品展覽上體現(xiàn)出的博物館生命。建筑本身代表著博物館藝術(shù)品的體系，展品在與建筑環(huán)境結(jié)合的同時又受到它的影響，使容納與表達合二為一。

建筑設(shè)計將博物館視為一種城中烏托邦，一個充滿驚奇的幻想園，一座極富表現(xiàn)力的美的宮殿，間接體現(xiàn)高等教育價值的、有機的精神迷宮。

作為體現(xiàn)創(chuàng)作的藝術(shù)特性的手段，這座博物館不可或缺的是其自身的微觀紀念性。作為保存藝術(shù)的載體，這座博物館必須成為一座微型學(xué)院，具有完好的功能性和科學(xué)性。為了實現(xiàn)這些多元化的目標，這座格羅寧根建筑根據(jù)不同部門的劃分，采用富有象征性和儀式性的歷史對稱平面布局；而它最突出的特征在于其形象有如水中一葉扁舟。從立面上看，它又仿佛一件龐大的設(shè)計作品，用不同材料制成的兼具雕塑性和繪畫性的建筑。建筑敘事的能力、風(fēng)格化的設(shè)備和自我表現(xiàn)在建筑大師米凱萊·德路奇、菲利浦·斯塔克、弗蘭克·斯特拉、藍天組以及彼得·埃森曼的設(shè)計上得以彰顯。他們的創(chuàng)作使這座博物館成為一座“建筑的博物館”。這座博物館作為一種偶發(fā)藝術(shù)的場景表現(xiàn)，源于相互交織的兩個思路，即兼顧對主要視覺藝術(shù)和對博物館、住宅、劇院和教堂等不同建筑類型的考量。兩個思路在此匯成一線：建筑成為藝術(shù)，而藝術(shù)成為純粹的、政治的奇觀，是形而上的意象，又是不代表意識形態(tài)的沉思。這座博物館是一件全藝術(shù)之作，實現(xiàn)人類最高精神化的、其宇宙幻想的烏托邦。這種以宏觀的時間和人本尺度認知建筑的方式成為學(xué)術(shù)界與先鋒派的交點。它試圖通過人類最原初的理念將二者結(jié)合在一起。

格羅寧根博物館的觀眾跨過大橋后會來到一座神秘林般的衛(wèi)城島，喚起人們心中的烏托邦情懷。這正是建筑群交錯的意義鏈創(chuàng)造的效果，并從其標識的闡釋序列中得以升華。它象征著對重生、對新態(tài)度、對人類未知的新領(lǐng)域的永恒探索。

就城市環(huán)境而言，這座新建筑的目標是成為城市節(jié)點上的地標，車站到市中心的軸線與運河的交點。它是市民情感的寄托，但不突出城市的個性。它呼喚的是一種既寧和又卓越、既安靜又鮮明的新元素。構(gòu)成建筑的要素包括：

（1）一座帶有兩個廣場的橋，與兩岸相連，賦予博物館一種啟蒙時代要塞的印象。

（2）一座金塔成為整個博物館的點睛之筆，彰顯出藝術(shù)品殿堂的氣勢，捍衛(wèi)著寶庫的安全。

（3）臨展、現(xiàn)代藝術(shù)和畫廊的序列展廳，靈活多變又一氣呵成；同時外觀有著強烈的色彩表現(xiàn)力。

（4）古代陶瓷和本地考古與歷史展廳能將展品反射到室外。

（5）中心的多功能建筑在基座中有中庭、咖啡廳、劇場、圖書館和為公眾及學(xué)者服務(wù)的文化設(shè)施，此外還有行政和運行設(shè)施。

建筑在室外有兩個層次的解讀：遠距離的綜合性解讀和近距離對表面的解讀。有些表面材質(zhì)尺寸巨大，其光澤和特殊的阿拉伯花飾賦予細部一種尊嚴，又使整體呈現(xiàn)出一種如珠寶般閃耀、如蜃樓般漂浮的幻境。很多部位的材料和要素都有一種設(shè)計感和雕塑感，而與建筑符號無關(guān)。它的材料和顏色（淡藍、金色、銀色、黑色、赭石、黃色和粉色）是微妙多變的，又以不同尋常的方式組合在一起，猶如立體主義的作品。材料包括金色層壓板、彩色絲網(wǎng)層壓板、定型模板澆注的彩色混凝土、中世紀風(fēng)格的磚墻、壓鑄鋁板、馬賽克、陽極化青銅窗框、陶瓷和木材建成的廣場和大橋、帶水泥柱的鐵欄桿、紡織品、壁龕、雕塑和繪畫元素，以及向城市展示博物館室內(nèi)元素的電子屏。建筑的夜間照明突出了它的無形效果、藝術(shù)性和輕靈。從博物館學(xué)的角度看，當代藝術(shù)和臨展區(qū)的主畫廊沒有一扇窗，完全采用舞臺燈光，因此能根據(jù)要求改變設(shè)置。墻面與繪畫、地面與雕塑、房間與裝置之間的關(guān)系進行了重新考慮和設(shè)計。隱蔽了技術(shù)系統(tǒng)的主展廳成為一種概念性的立體幾何、一種抽象空間、一種愉悅與神秘的感官環(huán)境。

彩色的油氈地面和墻面會根據(jù)作品的置換涂上不同的顏色，為藝術(shù)品戲劇化的展示創(chuàng)造了變幻無窮的背景。對房間個性化尺度及其相互關(guān)系的研究則是為了避免空間和精神上的疲勞以及枯燥的重復(fù)。

同時，建筑大師負責(zé)的3個區(qū)域也基于同樣的標準，根據(jù)常展的需要各自進行了獨特的詮釋。畫廊由藍天組負責(zé)。由菲利浦·斯塔克負責(zé)的東西方古代陶瓷展區(qū)是在純粹并具有象征意義的環(huán)境中展現(xiàn)裝飾藝術(shù)魔力和生理挑戰(zhàn)的舞臺。由米凱萊·德路奇設(shè)計的地區(qū)考古與歷史展區(qū)以三維繪畫的序列表達了回歸史前時代的歷史螺旋。

格羅寧根博物館并沒有一個主題，而是每個區(qū)域都有自己準確而多樣化的專題。從某種意義上講，這是一座由若干小型博物館組成的博物館。

這就使之成為一種典范，將綜合博物館簡而化之，并成為展示一切知識并進行創(chuàng)新的理想之地的普遍模式。格羅寧根博物館的理想是無所不及的社會關(guān)系，并通過3個理念得以體現(xiàn)：將宇宙視為審美的總體，將藝術(shù)創(chuàng)作視為全人類的特權(quán)，將本體的展示視為反紀念和文化地域性的逆筆。□ （尚晉 譯）

3 金塔/Golden tower4 外景/Exterior view

The Groninger Museum in Groningen，the Netherlands has five different sections: contemporary art， temporary shows， picture gallery，ceramics， and archaeology/history. In addition，there are functional areas and service areas.

The building lies in the middle of a canal （the Verbindingskanaal） and is connected to the banks by two bridges， one of which is a drawbridge for pedestrians and cyclists. Standing entirely on a foundation of piles， the building has a lower level for exhibitions and services with the foor lying 60 centimeters underneath the water level.

Most of the construction elements are prefabricated in concrete. The facades of different wings were built using diferent techniques:

（1） Painted concrete panels

（2） Gold-coloured panels of thick plastic laminate made by Abet Laminati

The invention of the Groninger Museum was conceived according to the concept of artistic architecture， where the building itself is intimately assembled with other ingredients such as paintings，decorations， installations， new sculptures and diferent means of visual expressions， especially design.

This is not the traditional idea of synthesis of arts， but rather a blend and translation of the methods of the above-mentioned disciplines that has the aim of obtaining an object-based phenomenon with a high degree of narrative complexity. The continuity between the building's own museological character and living museum represented by the artwork on display is seamless. The building itself represents a system of museum works， and the exhibited pieces integrate with and are influenced by the architectural surroundings that contain and express them.

Te architectural design considers the museum as a possible urban utopia， as an imaginary place full of surprises， as a house of beauty with a high degree of expressive content， as an organic mental labyrinth that shows its higher educational value only indirectly.

As an instrument representing the artistic side of creation， the museum cannot do without its own mini-monumentality. As an instrument that preserves art， the museum must respond to a mini-academy that is perfectly functional and scientifc. To reach these diverse goals， the building in Groningen， whose most explicit characteristic is that of sitting in the water like a ship， has a layout in plan that is symmetrical， ancient， highly iconic and ritual， based on a division into diferent departments. In elevation， it turns into a macro design object， a sculptural and pictorial piece of architecture made of different materials. Its ability to tell a story， its stylistic devices and self-representation are accentuated by the designs of the guest architects Michele De Lucchi， Philippe Starck，F(xiàn)rank Stella， Coop-Himmelblau and Peter Eisenman. Their contributions turn the museum into a "museum of life-size buildings". The scenic output of this museum object as a happening is based on a play of two interlinked lines of thought. One is the equal consideration of the main visual arts， and the other is the equal consideration of different types of architecture: museum， house， theater and church. Here， where these two lines of thought entwine， architecture is considered an art， and art is considered a spectacle of pure， non-political，metaphysical visions， a contemplative activity devoid of an ideological message. Tis museum is a piece of total art， a Gesamtkunstwerk with which to realize the utopia of the maximum spiritualization of humankind and its cosmic imagination. Tis way of understanding the condition of architecture in a large temporal and humanistic dimension lies at the crossroads between academia and avant-garde. It attempts to unite them by means of the most archetypical notions that humankind can refer to.

After crossing the bridge， visitors to the island of the Groninger Museum will discover an acropolis like a secret forest， inducing them to assume a utopian stance that is the fruit of the complex's hybridized chain of meanings， amplified by the descriptive sequence of its signs. It is an example of the eternal quest for rebirth， new attitudes， and territories still unknown to humankind.

As for the urban context， the new building aims to be a landmark at an important spot of the city， on the axis from the station to the center， interrupted by the canal. It is an emotionally fundamental point for citizenry， but was devoid of urban identity， so much so that it cried out for the presence of a new element that would be placid but highly visible，safe and characteristic. The pieces making up the construction are

（1） a bridge with two piazzas that connects the two banks， giving the impression of the museum as a fortress of the Enlightenment

（2） a gold tower as the pre-eminent element of the whole museum. It exalts rather than hides the storage of the artwork， and safeguards it as a treasure

（3） the department containing a stacked sequence of temporary exhibitions， modern art and the picture gallery， all in an elastic order，without interruptions， externally showing strong polychrome expressivity

（4） the department of ancient ceramics and local archaeology and history， which reflects its contents on the outside

（5） the central multi-purpose building on a base containing the atrium， café， theatre， library， cultural services for the public and for scholars， and administrational and operating services.

On the outside， the architectural complex has two levels of interpretations. At a distance， the reading is more synthetic and compact， while from close up， the surfaces show their textures， some of which are outsize， their shine and special arabesques that ennoble the details， giving the whole a certain evanescence linked to the idea of a jewel， a mirage，an instance of foating. In many parts， the materials and elements are design-like and sculpture-like， and have no references to architectural iconography. The materials and colours （light blue， gold， silver，black， ochre， yellow and pink） are delicate but highly diverse. They are combined in unusual ways， like in Cubism. Materials are gold-coloured laminate； polychrome silkscreened laminate；coloured concrete poured in shaped formwork；brickwork with a medieval feel； die-cast aluminum panels； mosaic； bronze anodized window frames；piazzas and bridges in ceramics and wood； iron balustrades with cement columns； fabrics； niches；sculptural and pictorial elements； and writing on an electronic panel to pour forth to the city the indoor contents of the museum. The nocturnal illumination of the building accentuates its effects of immateriality， artistry and suspension. From a museological viewpoint， the typical gallery room of the contemporary art and temporary exhibition sections is absolutely without windows and fully equipped with stage lights in order to change the setting according to requirements. The solutions to the relationship between wall and painting，floor and sculpture， small room and installation were rethought and redesigned. The typical room is conceived as conceptual stereometry， as abstract space， as a sensorial environment of joy and mystery equipped with invisible technical systems.

The coloured linoleum floors and the walls painted different colours according to the artwork's rotation generate a theatricalized exposition of the artwork that offers infinite staging possibilities. A study of the dimensions of the individuality of the rooms and the relationships between them aims to avoid physical and mental fatigue and obsessive repetition.

In turn， the three sections entrusted to the guest architects reflected the same criteria， but on the basis of their autonomous interpretations， and according to the need of showing the permanent collections. The picture gallery was interpreted by Coop-Himmelblau. Te section for ancient Western and Eastern ceramics by Philippe Starck hosts the magic and the physiological challenge of the minor arts in a rarefied and emblematic climate. Te section for regional archaeology and history by Michele De Lucchi expresses the spiral of history moving backward to prehistoric times in a sequence of three-dimensional paintings.

The Groninger Museum is not specialized，rather each of its sections is characterized on its own， asking for precise and diverse specializations. In a certain sense， this is a museum made up of a number of smaller museums.

This makes it a possible example， a simplification of a universal museum， a general formula for an imaginary place where all knowledge can be shown and reinvented. As such， the ambition of the Groninger Museum is universal social relations， which it proposes through three ideals: the cosmos seen as an aesthetic totality； artistic creativity as the prerogative of all humanity； and the presentation of itself as an anti-monument， as a message against cultural territoriality.

5 效果圖/Rendering6 平面/Floor plan7 立面/Elevation8 外景/Exterior view9 內(nèi)景/Interior view10.11 外景/Exterior views12 樓梯/Stairs

WA：色彩在這個項目中的作用是什么？

亞歷山德羅·門迪尼：博物館的每個組成部分都有不同的色彩，其依據(jù)包括所用的材料和在整體上創(chuàng)造建筑和諧的愿望。存放藝術(shù)品的金塔象征著藝術(shù)的寶庫。點彩畫式的墻面能融入周圍的樹林。藍天組設(shè)計的大塊金屬板象征著船的側(cè)面。巨大的磚基座代表它的內(nèi)涵，即城市的歷史。頂部的輕型鋁圓柱能讓人們感受到其中陶瓷藏品的輕盈。這些內(nèi)容不勝枚舉，并延續(xù)到了室內(nèi)。墻面的色彩搭配由藝術(shù)家選定，并可以日后替換。

WA：本項目中最具創(chuàng)造性和吸引力的設(shè)計是什么？門迪尼：或許最明確的想法有兩個。一是讓所有的畫廊都只用人工照明。二是為觀眾創(chuàng)造了迷宮式的路線。這兩個設(shè)計帶著觀眾逐步進入一個奇妙的境地，充滿驚奇的氛圍讓人仿佛置身異界。

WA：在設(shè)計過程中最困難的部分是什么？

門迪尼：將博物館放在運河上最重要的位置、城市的中心，是市民爭論的焦點。為此舉行了很多會議、爭辯和政治決策。

WA：使用者和社群的反饋如何？

門迪尼：一開始，公眾中最傳統(tǒng)的陣營對此表示不解，是反對的。但很快博物館就成了城市的地標、自豪和喜悅的象征。在當時的館長弗蘭斯·哈克斯的英明領(lǐng)導(dǎo)下，博物館舉行了很多展覽和活動。自此以后，這個多彩建筑的正能量征服了整個荷蘭。

WA：本項目是如何提升公共空間品質(zhì)的呢？

門迪尼：最近（在落成后20年），博物館的材料和功能都進行了全面整修。新的視覺語言和氣色給了它第二次生命。在荷蘭的文化體系中，這座博物館是最激動人心的試驗場，面向科學(xué)與大眾的工藝美術(shù)與設(shè)計發(fā)展的頂峰?！酰ㄉ袝x 譯）

WA: What is the role of the colour in this project？

Alessandro Mendini （AM）: Each of the different parts that make up this museum has a precise colour dictated by the materials used and the desire to obtain an eclectic piece of architecture when seen as a whole. Te gold tower that contains the storage of the artwork symbolizes the treasure that art is. The pointillist polychrome walls blend in with the surrounding trees. Te large metal sheets by Coop-Himmelblau represent the fanks of ships. Te huge brickwork base refers to its contents， the history of the city. Te light aluminum cylinder on top reminds us of the lightness of the porcelain kept inside. Te list goes on， and all this continues with the interiors，where the palette of colours for the walls was chosen by artists， and where the colours can be changed over time.

WA: What is the most creative and attractive solution？

AM: Perhaps the most precise ideas were two. Te first is having made all the gallery rooms receive only artifcial light. Te second is to have designed a labyrinthine visitor route. These two decisions progressively lead visitors into a strange situation，with unexpected atmospheres， like in a different world.

WA: What was the most difcult part in the process of design？

AM: Te urbanistic decision to position the museum in the most important part of the canal， in the heart of the city， was a highly relevant bone of contention among the citizenry. It involved meetings， debates and political decisions.

WA: What is the feedback from the users and the community？

AM: In the beginning， the most traditionalist part of the public was against it and perplexed. But in little time， the museum became the landmark of the city， and its pride and joy. Exhibitions and activities were many and frequent， thanks to the brilliant Frans Haks， the director at the time. From there，the positive energy of this polychrome piece of architecture won over the whole of Holland.

WA: How did this project improve the quality of the public space？

AM: Recently （20 years after the inauguration）， the whole museum received a facelift in its materials and functions， gifting it with a second life， updated in visual linguistics and imbuing it with new freshness. In the cultural system of the Netherlands，this museum represents one of the most stimulating places for experimentation， and it offers the crest of developments in craft arts and design， both on scientifc and popular levels.

13-24 內(nèi)景/Interior views

項目信息/Credits and Data

建筑設(shè)計/Architectural Design: Alessandro Mendini，F(xiàn)rancesco Mendini， Alchimia with Gerda Vossaert and Alex Mocika

合作設(shè)計師/Guest Architects: Philippe Starck， Coop-Himmelblau， Michele De Lucchi with Ferruccio Laviani and Geert Koster， Team 4， Albert Geertjes and Geert Koster

翻新設(shè)計師/Restoration Architects & Designers: Maarten Baas， Studio Job， Jaime Hayon

施工監(jiān)理/Construction Supervision: Team 4， Groningen，the Netherlands

承建商/Contractor: Twijnstra Gudde NV， Deventer， the Netherlands

結(jié)構(gòu)工程/Structural Engineering: Ingenieursbureau Wassenaar BV， Haren， the Netherlands

技術(shù)系統(tǒng)/Technical Systems: Van Heugten BV， Haren， the Netherlands

照明/Lighting: Piero Castiglioni， Milan

總面積/Total Surface Area: 14，200m2

設(shè)計時間/Design Time: 1990

竣工時間/Built Time: 1994

翻新時間/Restoration Time: 2010

攝影/Photos: Photography Erik and Petra Hesmerg （fig. 1-4， 10，12，20，21）， Coop-Himmelb（l）au （fig.8）， Margherita Spiluttini （fg.9）， Marten de Leeuw（fg.11，15-19，23）， Robert Kot （fg.13）， Peter Tahl （fg.14，22，24）

圖片/Images and Drawings: Atelier Mendini

特別感謝格羅寧根博物館對本刊的大力支持。/Special thanks to Groninger Museum for the great support to make this publication possible.

評論

柳亦春：格羅寧根博物館的再次亮相將我們又帶回后現(xiàn)代建筑風(fēng)格的鼎盛時期。難得一堆響當當且個性強烈的建筑師能湊出這么一座風(fēng)格統(tǒng)一——一如Alessi設(shè)計品店中的某個物件——又如此優(yōu)雅而且詼諧的建筑。我想一定是細節(jié)的品味和素養(yǎng)造就了這座建筑，在簡單的幾何形體下，可能真的顏色和圖案能決定一種空間的質(zhì)量。視覺藝術(shù)并沒有將空間抹殺，它能更快速地將人們的情感帶入其中。

張利：敘事性的建筑如何擺脫場景化與主題公園的意象，這似乎永遠是個難題。由AA的弄潮兒們于1980-1990年代荷蘭北部小城所做的這個群組實驗也不例外。除了毫不隱晦的對城堡的當代拼貼式勾勒尚有點兒類型學(xué)上的啟示外，要想在這組建筑中找出更多的21世紀的價值是困難的。色彩的使用對建筑本身的粗糙進行了一定程度的補救，雖然其效果是有限的。

Comment

LIU Yichun: The re-inauguration of Groninger Museum has brought us back in the heydays of postmodern architecture. It is rare to see so many well-known architects with strong personality putting together such an elegant and witty building with， in the end， unifed style， just like a selection of an Alessi design shop. I believe it is the detail of the taste and quality that has created this building. In a simple geometric form， it might be true that colours and patterns determine the quality of space. Visual art does not obliterate the role of space， but instead， attracts people's emotions into it more quickly.

ZHANG Li: How to separate buildings with narrative spaces from theme parks？ Tat is the question. When the daring AA alumni gathered in Groningen， and tried to make this cluster project， they were haunted too by this question. Except for the typological inspiration of the unmistakable reference to a traditional castle which is achieved through collage and abstraction， there is very little to talk about the building in the 21st century today. Te use of colour may have generated some remedies， albeit very limited ones.

Groninger Museum， Groningen， the Netherlands， 1994

Architects & Designers: Alessandro Mendini， Francesco Mendini， Michele de Lucchi， Philippe Starck， Coop-Himmelb（l）au， Maarten Baas， Studio Job， Jaime Hayon