馬蒂納斯·馬齊達(dá)斯國家圖書館室內(nèi)改建工程，維爾紐斯，立陶宛

項(xiàng)目改建：UAB，室內(nèi)設(shè)計(jì)：2XJ

Project Reconstruction: UAB, Interior Design: 2XJ

1 外景/Exterior view

馬蒂納斯·馬齊達(dá)斯國家圖書館建造之時(shí)（1963年），采取彼時(shí)的圖書館范式。它僅僅是一座書籍檔案館——也是國家文化權(quán)威的標(biāo)志之一，一座讓檔案管理員、員工和學(xué)者竭力維持其秩序和靜謐的“烏木塔”。這座建筑自外到內(nèi)都采用了有利于營造這種氛圍的形象。紀(jì)念性的立面、壯觀的入口大廳、寬闊的中廳，皆為了讓參觀者瞬間眩暈，從而在踏入建筑的一刻就臣服于它所裹挾的秩序。

然而時(shí)間不僅帶來技術(shù)問題——例如建筑的破損——也要求我們重新審視圖書館范式、重整項(xiàng)目的功能定位。如今是時(shí)候讓圖書館成為城市中一個(gè)富有吸引力的文化中心，提供各類活動(dòng)所需的基礎(chǔ)設(shè)施——從個(gè)人工作空間，到交流、創(chuàng)造甚至休閑的多功能空間。

年輕事務(wù)所2XJ參與到改建過程中，項(xiàng)目共持續(xù)了8年。室內(nèi)設(shè)計(jì)和深化只經(jīng)歷了大約18個(gè)月。原因是建筑平面、空間乃至其中一些元素和裝飾皆作為遺產(chǎn)而受到保護(hù)，建筑師改造的空間十分有限。設(shè)計(jì)的核心理念是在新與舊之間實(shí)現(xiàn)顯著區(qū)分，尋求美學(xué)上的平衡。他們選擇了最少的手法，以實(shí)現(xiàn)理想的效果：黑色家具，在視覺上呼應(yīng)了原始的黑色窗框、扶手、柱子和白墻。

舊建筑改造后適應(yīng)于全新的功能：除了公共閱覽室、辦公空間、集體和個(gè)人工作間之外，圖書館還提供一個(gè)兒童區(qū)、幾間會議廳、錄音和影像工作室、工作坊和一間書店。

原本氣勢懾人的建筑，降低身段邀請讀者進(jìn)入，被賦予了親和的氣質(zhì)——讀者可以坐在大臺階上讀書，或坐在中庭陽臺上觀察空間和圖書館中的日常。

通過理性、簡約而創(chuàng)新的設(shè)計(jì)策略，圖書館的形象和氛圍得到徹底重塑。毫無疑問，它依然是全國最重要、最震撼的書寫文字圣殿，一處學(xué)習(xí)、探索和創(chuàng)造的場所。莊嚴(yán)的建筑、空間和原始細(xì)節(jié)在重建過程中得到保護(hù)和展現(xiàn)，依然保持著這座建筑給人的宏大印象。然而，它不再是壓倒性的，而是化身為一座人性化的、熱情擁抱讀者的高品質(zhì)建筑?！?（黃華青 譯）

2 內(nèi)景/Interior view

When the building of the National library of Martynas Mazvydas was built (in 1963) it was adjusted to a typical library of the time. It was an archive of books, one of the symbols of state's cultural power and an "ebony tower" where archivists,the staff and scholars were strictly preserving the order and quietness. The architecture – from outside to inside – served as a corresponding scene for such ambience. Monumental facades, impressive entrance hall, spacious atrium served to perplex the visitor and make him/her submit to the rules as entering.

However, time brought not only technical problems, related with the wear and tear of the building, but also a need to review the paradigm of a library and revamp the program. It was time for a library to become an attractive cultural hub in the city,providing infrastructure for new kinds of activities,from premises for individual work to flexible spaces for communication, creative endeavours and even leisure.

A young architectural office 2XJ joined the reconstruction process that lasted 8 years, at the very end. The interior design was created and implemented in more or less 18 months.

As the plan, spaces and even certain elements and furnishing are protected as valuable heritages,the architects had limited playground for changes.The core idea of the design was to create a clear difference between the old and the new, seeking for aesthetic balance. Minimal means were chosen as tools to create the desired effect: black furniture, that visually refers to originally black window frames, rails and columns, and white walls.

The old premises were adjusted to the new functions:besides common reading rooms, administration premises,rooms for group work and individual cubicles, the library offers a children area, several conference halls, sound record and cinema studios, workshops, a bookstore.

3-6 內(nèi)景/Interior views

7 首層平面/Ground floor plan

Imposing architecture is given welcoming character by letting the visitors to be in it: to sit on the main stairs,to read books, or just observe the space and the life in the library sitting in the atrium's balconies.

Implementing rational, simple and innovative design solutions the image and the atmosphere of the library was totally recharged. Undoubtedly, it still is the most important national-wide, impressive palace of a written word, a place for learning, exploring and creating. The stately architecture, spaces and original details, preserved and exposed during the reconstruction, support that magnitude. However, it is not about overpowering anymore, but about a human being, a celebration of high quality architecture which embraces the visitor. □ (Text by Rūta Leitanait?)

8 二層平面/Floor 1 plan

9 三層平面/Floor 2 plan

10 屋頂/Roof

項(xiàng)目信息/Credits and Data

項(xiàng)目團(tuán)隊(duì)/Project Team: 項(xiàng)目改建/Authors of the Project Reconstruction: UAB Jungtin?s architekt? dirbtuv?s, arch.Leonil? Majerien?, Arūnas Andra?iūnas.

室內(nèi)設(shè)計(jì)/Authors of the interior design: 2XJ, arch. Jokūbas Jurgelis, Laimis Valan?iūnas, Jurga Marcinauskait?.

建筑總面積/Total Area of the Building: 15,454m2

室內(nèi)設(shè)計(jì)面積/Interior Design Area: 6100m2

施工周期/Construction Period: 2008-2016

重建造價(jià)/Value of the Reconstruction: €25,910,125

攝影/Photos: 2XJ

評論

張路峰：初看以為這是個(gè)由歷史建筑改造而成的圖書館，再看才知道這本來就是圖書館，而且是1963年才建成的。這不由得引起對其時(shí)代背景的猜測：圖書館建筑采用古希臘神廟的樣式，將知識神圣化，必定是出于某種政治需求。改造的思路大體上是在保護(hù)歷史信息、增加新功能的前提下“去神圣化”，比如在大臺階上附加了座位，擾動(dòng)了交通空間的對稱感，削弱了儀式空間的紀(jì)念性。有一處細(xì)節(jié)值得特別關(guān)注：通常在高大空間中放置書架是個(gè)難題，建筑師都喜歡設(shè)計(jì)成整面墻的通高書架，但在人手不及的架位擺書、不擺書、擺假書都顯尷尬。在本例中，夾層空間端部的墻面看上去也是整面墻通高書架，但仔細(xì)一看，書架上部漸變成了墻面分割裝飾，與書架渾然一體。這種兼顧實(shí)用性與整體性的設(shè)計(jì)手法值得借鑒。

Comments

ZHANG Lufeng: At first glance, I thought this library was converted from a historical building, but after looking closer I realised that it was a library built in 1963. This hints towards the building's historical background: the library building employs the style of a classical Greek temple, which symbolises sanctifying knowledge from the perspective of political needs. The aim of this reconstruction is to protect the architecture as a valuable piece of heritage and create new functions while "secularising". Such secularisation can be seen, for instance, in the large steps: the seats on the steps diminish the sense of symmetry in the circulation space and also help to weaken the memorial sense of the ritual space. There is one detail of the building that deserves special attention. Placing bookshelves in a high and large space has become a difficult challenge for architects as they prefer to design full-length-wall, double-height bookshelves. This way of design is often dissatisfying due to problems with book allocation; for example, unreachable books on tall shelves, empty shelves, or table books on the real shelves. With this design too, it first appears to use these typical bookshelves on the wall at the end of the intermediate space; however, interestingly, at a closer look,these are simply for decoration of the wall segmentation of the upper part of the bookshelf, and are well integrated with the bookshelves. It is worth learning from this kind of design to give consideration to both functionality and integrality. (Translated by Dandan Wang)

11.12 剖面/Sections

安娜瑪麗亞·安德里佐尤：歷史保護(hù)建筑的修復(fù)更新始終是具有挑戰(zhàn)性的工作，它意味著以創(chuàng)造性想法，在具保護(hù)價(jià)值和紀(jì)念意義的、需要保留的舊建筑與現(xiàn)代而時(shí)尚的、需要持續(xù)與建筑功能密切關(guān)聯(lián)的新建筑之間尋求一種微妙的平衡。

在這一案例中，展開挑戰(zhàn)性工作的維度十分有限，新建筑部分的介入主要通過材料與色彩的謹(jǐn)慎使用和對現(xiàn)存空間的創(chuàng)造性再解讀而實(shí)現(xiàn)，并未對文物遺產(chǎn)進(jìn)行強(qiáng)烈干涉。簡潔而現(xiàn)代的外觀來自于黑、白、木色的搭配與同色系大理石表面的平衡，從而取得了與紀(jì)念建筑的協(xié)調(diào)性及建筑本身的歷史相關(guān)性。（陳茜 譯）

Anamaria Andritoiu: The renovation of a historical monument is always a challenging task, a creative struggle for delicate balance between the old, valuable, significant that needs to be preserved and the new, modern, up-to-date that is required for the continual relevance of the building and it's function.

In this case, where minimal latitude for changes was given, the infusion of new and relevant is achieved mainly through the thoughtful use of materials and colors and the creative reinterpretation of existing spaces, without aggressive intervention in the valuable heritage. The clean and modern look achieved to great effect by the black/white/wood color palette is balanced by rich marble finishing in the same color scheme, congruent with the monumental architecture and historical relevance of the building.

13 內(nèi)景/Interior views

14 內(nèi)景/Interior views