盧布爾雅那城市博物館

盧布爾雅那城市博物館

斯洛文尼亞 Ljubljana

建成時間：2000-2004年

攝影：Tomaz Gregoric

競標(biāo)

這項工程包括對位于盧布爾雅那這座受國家保護(hù)的歷史古城中心奧爾斯佩格宮的改造和擴(kuò)建。競標(biāo)設(shè)計提出建造螺旋式的走廊，連接宮殿兩翼，供游客穿過展覽區(qū)，因為這些空間原來設(shè)計較為復(fù)雜而且互不相連。

宮殿歷史

該建筑歷史悠久，創(chuàng)建時期可追溯到史前時期至羅馬和中世紀(jì)，每個時代都有擴(kuò)建。直到十七世紀(jì)，該建筑的層面布局一直是（十六世紀(jì)前）的三層結(jié)構(gòu)。1654年到1658年之間，采用了立面設(shè)計，庭院中增加的拱形走廊襯托出當(dāng)時流行的巴洛克風(fēng)格。1709年至1720年間，增加了北側(cè)的翼樓，還新建了樓梯和兩個大廳。最后于1820年，增加了天花板，關(guān)閉了拱門，立面上還增設(shè)了小窗戶。1935年，這座宮殿正式成為布爾雅那城市博物館，戰(zhàn)后該建筑內(nèi)還有其他的機(jī)構(gòu)，其中包括一家圖書館和檔案館。該建筑的結(jié)構(gòu)日益老化，已經(jīng)不堪承擔(dān)重負(fù)，到2000年，這座宮殿已日漸破敗，翻新改造已經(jīng)迫在眉睫。

翻新改造

翻新改造前，因為懷疑庭院和內(nèi)部中庭下面有很多考古遺跡，首先進(jìn)行了大規(guī)模的考古研究。開始發(fā)掘前，人們不知道哪里會有這樣的遺跡，也不知道其重要性。博物館的擴(kuò)建設(shè)計與現(xiàn)場發(fā)掘同時進(jìn)行，采用一種開放式的結(jié)構(gòu)體系，以便根據(jù)考古學(xué)家們的發(fā)現(xiàn)隨時調(diào)整。

考古學(xué)家發(fā)現(xiàn)了史前墓地、羅馬建筑的殘跡和一條曾經(jīng)連接艾摩那古城與羅馬其他城市的主要道路。這條始建于公元一世紀(jì)的道路寬近8米，一直保持到中世紀(jì)，對這座城市后來的格局有著顯著的影響。

擴(kuò)建與游客體驗

第一道螺旋式走廊——游客從地下3米深處起步，這是史前時期的地表高度。游客沿著走廊隨著城市的地表高度逐步上升，到達(dá)這座城市在羅馬時代的地表高度，這象征最初的羅馬道路。這條走廊再帶游客來到具有中世紀(jì)巴洛克風(fēng)格的盧布爾雅那，駐足博物館酒吧，再返回到一樓大廳。這里的考古遺跡保持原樣——就連石頭也留在原地。庭院地面有兩條和古羅馬道路平行的走廊，在下方階梯式分布的考古遺跡上方形成一個屋頂。

第二道螺旋式走廊——位于地下3米到地表之間的古跡上方，由庭院向上形成一個地平高度陽臺，游客在這里可以從各個角度俯視庭院。第三道螺旋式走廊——一直上升到宮殿內(nèi)4米的高度，形成一個平臺可供游客俯視大廳。沿舊樓梯而上，這道走廊（在7.5米的高度）成了懸空平臺，內(nèi)有各種服務(wù)設(shè)施：空調(diào)設(shè)備、漫射燈光設(shè)備、聲控設(shè)備以及防火系統(tǒng)。這條懸空走廊繼續(xù)穿過各個房間，帶游客經(jīng)過各個展區(qū)，第四層（12.5米的高度）的走廊也是一樣。

翻新方案打算拆除過去為了滿足建筑物不斷變化需要的歷年改建建筑，而讓奧爾斯佩格宮恢復(fù)原狀，讓游客們看到它的最初設(shè)計風(fēng)格。這座宮殿的翻新盡量追求精簡，采用無框門窗和中性材料。根據(jù)保護(hù)性翻新設(shè)計方案，展覽空間保留原來的規(guī)模，新增設(shè)的陳設(shè)也與原墻體自然融合。門窗玻璃的顏色采用考古學(xué)家建議的顏色，用以區(qū)分不同的歷史時代。

Competition

This project involves the renovation and extension of the Auersperg Palace， located in the heart of the protected historical city centre of Ljubljana. The competition entry suggested a spiral itinerary for the visitor to walk through exhibition spaces with added element between the wings of the palace， as the spaces were previously labyrinthine and disconnected.

Palace History

The palace and its site have a very rich history from the prehistoric period to Roman and medieval times， with each era adding something to the building. Until the 17th century， three older （pre-16th century） structures shaped the floor plan of the palace. Between 1654 and 1658， the fa?ade was adapted and arched corridors lined the courtyard to suit the new baroque fashion. After 1709，with a new north wing built between 1709 and the 1720， a new staircase and two large halls were constructed. Finally， in 1820， new ceilings， the arches were closed and small windows were added on the facade. The palace officially became the City Museum of Ljubljana in 1935， and shared the building with other institutions like a library and archive in the next decades after the war. The weight of these programs had been too much for the deteriorating structure， and by 2000， renovating the palace became a priority due to the decay of the building.

Renovation

In preparation for the renovation， a large-scale archaeological research was conducted， with suspicion that there were rich archaeological remains under the courtyard and the internal atrium. Before beginning excavations， it was unknown where these findings would be or how important they would be. The design of the museum extension occurred parallel to the excavations on site， with an openplan structural system that was adaptable to archaeologists' suggestions.

Archaeologists uncovered prehistoric graves， remnants of Roman buildings， and a main road that once connected the ancient city of Emona with other Roman cities. The road， built in the beginning of the 1st C. AD was almost 8 m wide， and its maintenance in the early middle ages had a significant impact on the layout of the city in the future.

Extension and Visitor Experience

The first spiral … The visitors' walk begins at -3 m， where the ground level was situated in prehistory. Since the city's ground level rose over the years， the walkway ascends up to the era of Rome，represented by original Roman road. The path then takes the visitor to medieval and baroque Ljubljana， where the museum bar is located， before returning to the ground-floor lobby. The archeology is preserved in situ - no stone has been relocated. The courtyard floor bifurcates and rises parallel to this path and the location of the Roman road， forming a roof above the stepped archeology. The second spiral … functions as a roof over the archeology from level -3 m to level 0， rising from the courtyard and becoming a level balcony， affording different views of the courtyard and the palace.

The third spiral … continues inside the palace on level +4 m as a balcony overlooking the main hall. Ascending up the old staircase， the spiral becomes a suspended ceiling （at 7.5 m） containing the whole service infrastructure： climate control， diffuse lighting， the sound and fire protection system. The suspended spiral continues through the rooms taking the visitor through the exhibition， a situation that gets repeated on the next floor （at 12.5 m）.

Elements that had been altered over time to suit the building's changing needs were to be stripped back to their original states so that visitors could enjoy the building as it was originally designed. The existing palace was renovated using necessary， minimal elements like frameless glass surfaces，invisible doors and neutral materials. The exhibition spaces are preserved at their original size， as per the conservation program. Furniture in the palace is integrated within the existing walls. The colors of the glazed surfaces arise from the ones used by archaeologists to define different historical eras.

City Museum Ljubljana

負(fù)一層平面圖

一層平面圖

二層平面圖

三層平面圖