國家美術館中心部分

斯洛文尼亞盧布爾雅那

國家美術館中心部分

Central Part of the National Gallery

斯洛文尼亞盧布爾雅那

項目的主題是將國家美術館現(xiàn)有的兩幢建筑連為一體，為具歷史紀念意義的羅巴噴泉設計安置場地，以及規(guī)劃一塊獨立的場地供美術館舉辦公共活動（開幕式、會議等）。改造后，兩幢建筑間原有的距離不復存在，這似乎有些荒誕和不合理。該項目完全是一個獨立的解決方案，即使建筑間的距離不同于此，仍然能夠解決這一問題。兩幢建筑間的土地原先被設計成一座花園，從視覺上將市中心與蒂沃利公園連接在一起。建設方要求在盡量不破壞這一視覺效果的前提下進行改造，因此，新翼樓的占地面積、高度、朝向和通透度已被事先設定。美術館位于非主干街道的尾端，這使得游客很難找到大門的位置所在。兩幢建筑間的翼樓起到入口的作用是，既可用作活動舉辦場所，斯洛文尼亞巴洛克式建筑最杰出的建筑遺產(chǎn)之一—羅巴噴泉（1743-1751年）亦坐落于此。考慮到國家美術館原有的兩幢翼樓內(nèi)已設有普通的藝術品展館，我們并未將新翼樓設計成展館，而是盡量通過控制光線、視野、室內(nèi)環(huán)境和濕度，賦予其明顯不同的氛圍。由于新翼樓自身是一個有著不同氛圍的大空間，穿梭于兩幢舊翼樓之間的游客可以在此駐足小憩，眺望遠處，體驗盧布爾雅那的大千萬象，抑或觀望美術館往來不息的人群，又或欣賞羅巴噴泉。因而，新翼樓與現(xiàn)有美術館封閉的建筑風格完全不同。入口大廳處具歷史紀念意義的巴洛克式羅巴噴泉一改原有的中心位置，不再被束縛于這座歷史悠久的古城的中心，游客們不再將其視作城市的裝飾品，而是純粹的藝術品。我們使用三組鋼結(jié)構(gòu)件在水平視野方向搭建了一個簡單和開放的空間，而在垂直方向搭建了一個更為復雜的空間。盡管新翼樓實質(zhì)上是一間大房間，但穿梭于不同樓層之間，游客會感覺到空間品質(zhì)在不斷發(fā)生變化，我們將其稱作影像結(jié)構(gòu)效應。我們額外新建了一個樓層用作活動舉辦場地。新增的夾層使得整個空間在高度上更為復雜，同時賦予美術館新的功能，將其轉(zhuǎn)變?yōu)楸R布爾雅那別具一格的公共客廳。新翼樓分三層向外延伸，即現(xiàn)有翼樓、夾層（作為活動舉辦場地并鋪有紅地毯）和頂層（連接兩幢建筑的藝術展館，整個樓層采用中性色調(diào)）。我們在設計時特意相對降低了入口空間的高度，以便與無邊無際的天空形成反差。游客進入美術館前依次經(jīng)過的接待室、衣帽間和零售商店，天花板的高度同樣較低。但當游客一踏上通往下一層（夾層公共空間）的樓梯后，天花板的高度驟然升高。這將空間分為三個層次——外部的公共空間，入口層的空間較低，到了夾層后，層高變高，公共空間變大。

由平行拱肋組成的輕型鋼結(jié)構(gòu)搭建成的手風琴狀鋼架充分保證了新翼樓的通透度，而且不論是由外向內(nèi)看，還是由內(nèi)向外看，都能夠收獲變化多端的景象。鋼結(jié)構(gòu)外表由玻璃嵌板包圍，兩層玻璃嵌板中間是高強度垂直結(jié)構(gòu)件和最低強度水平結(jié)構(gòu)件。兩層玻璃部件之間加入由單塊面板支撐的特殊雙層玻璃部件。三組碳鋼結(jié)構(gòu)發(fā)揮著多項功能，除支撐建筑物和幕墻外，還負責容納電氣、照明、通風和供暖系統(tǒng)。鋼結(jié)構(gòu)框架被著重涂上黑色，強調(diào)其作為美術館主體空間的特點。然而在今天看來，原先設計為問訊處的兩個龐大物體（橘黃色吧臺和接待處），旨在轉(zhuǎn)變美術館莊嚴的氣質(zhì)，增添其幽默色彩，可能已經(jīng)失去了原有的意義。另一方面，我們通過該項目探索獲得的影像結(jié)構(gòu)原理，或者說是通過結(jié)構(gòu)部件賦予某個場所故事感，已被我們用于后續(xù)承接的多個設計項目中。

The theme of the project was the linkage of two existing National Gallery buildings, and the development of a place for the monumental Robba fountain, as well as an independent place for the museum’s public events (openings, meetings). The project eliminates the indeterminate distance between the two buildings, deemed to be absurd and irrational. It represents an independent solution that works even if this distance were different.

The plot for the interstice was previously occupied by a garden that permitted a visual connection between the city center and the Tivoli Park. The brief called for a structure that would retain as much of this view as possible, so that the footprint, the height, the orientation, and the transparency of the new wing were predefined. Its location at the end of a street that is not the main artery made itdifficult to find the right spot for the main entrance. The interstice wing functions as an entry and event space, and the space where the Robba Fountain (1743-51), one of the most important pieces of Slovenian Baroque heritage, is exhibited. Whereas the two older wings of the national gallery contain generic galleries for displaying works of art, with controlled light, views, climate, and humidity, the interstice wing is not an exhibition space, a fact that we tried to express by giving it a tangibly diferent atmosphere. The new wing feels different from the enclosed condition of the existing museum as it is one large space featuring diverse micro ambiances, where visitors moving from one building to the other can pause,breathe, look out, and experience a set of ever-changing perspectives of the city, people inside and outside the building, and the fountain. The focal point of the entrance hall, the monumental Baroque Robba Fountain, is positioned o ff center in the space, and thus liberated from its specific central location in the old historic city, enabling visitors to see the monument in a different lightnot just as a part of the city decor, but as an autonomous work of art. We used three sets of steel frames to create a plain, open space in the direction of the view and a more complex space in the longitudinal and vertical directions. Even though the new wing is essentially one big room, one sense the constantly shifting spatial qualities when moving through the different floors: we call this the effect of the cinematic structure. We also introduced an additional floor, which can be used as an event space. This mezzanine floor makes the space more complex in terms of heights and introduces an additional program to the gallery, which turns it into a kind of public living room of Ljubljana. The interstice part extends over three floors: the existing wings; the mezzanine floor as the event space with red carpet flooring; and the upper floor connecting the gallery spaces of both buildings, with a neutral colored floor. We played with the height of the entrance space, which we made relatively low,to create a contrast to the unbound sky outside. The reception area, wardrobe, and shop, which form a preparatory spatial sequence for visitors entering the museum, also have lower ceilings. But once visitors proceed to the stairs leading the next level, to the open space of the mezzanine-the ceiling height increases dramatically. This creates a three-fold sequence of open space outside, followed by the low space of the entrance, and leading on to the higher and more open space of the mezzanine.The light steel structure consisting of parallel ribs that form an accordion-like series of frames lends the interstice maximum transparency and provides ever-changing views from both the outside in and the inside out. This structure is completely enveloped in glass panels with emphatic vertical and minimal horizontal structural elements between the two layers of glazing. Special double-glazed units were developed together with the support of a single panel is integrated into space between two glazing units. Three sets of black steel frames have several functions. Besides supporting the building itself and its curtain facade, the frames house the electrical, lighting, ventilation, and heating systems. The structural frames are accentuated with the dark color, thus making the structure the main spatial feature of the gallery. From today's perspective, the two over sized orange objects of the bar and the reception desk, which we intended as points of orientation and as a humorous addition to disrupting the solemnity of the space, may have lost some of their former meaning. On the other hand, the principle of a cinematic structure, or the idea of giving a story to a certain space through its structural elements, which we explored with this project, is a concept that we have used in many subsequent commissions.