魯爾游客中心和魯爾博物館
——選煤廠，北萊茵-威斯特法倫州，德國

艾欣·伊佩克奇 文/Text by Ay?in ?pek?i

尚晉 譯/Translated by SHANG Jin

1 外景/Exterior view（攝影/Photo: Michael Rasche）

如何將原本在采煤工藝語境下設(shè)計的工業(yè)廠房廢棄之后改造成最先進的公共建筑？

總部位于鹿特丹的大都會建筑事務(wù)所（OMA）在2001 年接受委托，將埃森關(guān)稅同盟煤礦遺址的一部分、原先的選煤廠改造為展示魯爾區(qū)自然和文化歷史的地區(qū)性博物館。同年，埃森關(guān)稅同盟煤礦工業(yè)區(qū)被列為聯(lián)合國科教文組織世界遺產(chǎn)。雷姆·庫哈斯與合伙人弗洛里斯·阿爾克馬德及OMA 團隊不僅為這座獨特的選煤廠提出了設(shè)計路徑，還為100hm2的煤礦區(qū)制定了總體規(guī)劃。他們的主要思路是通過引入圍繞關(guān)稅同盟遺址的環(huán)路，打開原先的“圍城”區(qū)域。這條環(huán)路將受保護的內(nèi)區(qū)和用于交通的外區(qū)隔開，沿線有3 個在策劃上頗具吸引力的亮點，分別用于教育、會議活動及游客和展覽。

作為三大亮點之一，選煤廠位于關(guān)稅同盟煤礦的主入口，為魯爾游客中心和魯爾博物館提供了空間。這座最初由弗里茨·舒普和馬丁·克雷默設(shè)計的獨一無二的工業(yè)建筑，將煤從建筑頂部分選到底部的選煤廠。如今要通過一條60m 長的巨大戶外扶梯將游客送到24m 高的頂層上進入選煤廠。作為遺址的入口，OMA 將游客中心作為關(guān)稅同盟煤礦的功能象征——既是“躍動精英”的虛擬空間，又是面對追求史實和真實體驗的游客的現(xiàn)實載體。在這里有討論、講座、展覽，也有穿梭于圖像、聲音與文字之間的心靈之旅——在OMA 看來，游客中心全面?zhèn)鞑チ岁P(guān)稅同盟煤礦的信息，就像一份為情況介紹和交流提供場所的日報。

與游客中心相輔相成的地區(qū)性博物館延續(xù)到下層，從頂部到底部、現(xiàn)代到過去。選煤廠的邏輯在每一層上都能感受到——每一層都保留著大部分機械，閃耀著原功能的光芒，盡管整座建筑都為在原先的工業(yè)建筑中營造舒適的展覽空間體驗進行改造。海因里?！げ疇栕鳛镺MA 在當?shù)氐暮献鹘ㄖ煟€記得在施工中發(fā)現(xiàn)了意外的新空間。魯爾游客中心和魯爾博物館項目將過去每天運輸和洗選12,000t 硬煤的選煤廠，改造成今天為游客提供的12,000m2公共建筑。

將舊廠房改造成作為城市亮點的公共建筑的議題，給處理大都市復(fù)雜邊界的城市規(guī)劃師和建筑師帶來了寶貴的方法?！?/p>

How to transform an abandoned industrial plant originally conceived within the grammar of a coal mining process into a state-of-the art public building?

Rotterdam based OMA (Office for Metropolitan Architecture) has been assigned with the conversion of the former Coal Washery as part of the coal mine site Zeche Zollverein in Essen into a regional museum exhibiting natural and cultural history of the Ruhr area in 2001 - the same year Zollverein has been declared UNESCO World Heritage. Rem Koolhaas together with partner Floris Alkemade and OMA team presented not only a design approach for this particular Coal Washery but also developed a masterplan for the size of 100 hectares coal mine area. Their main idea was to unclose the area of former Walled City by introducing a ring around Zollverein site separating a protected inner from a communicative outer zone with three programmatically strong attractors along it, one for education, one for events and conventions, and one for visitors and exhibition.

As one of the three attractors the coal washery is located at the major entry of Zollverein offering space for Ruhr.Visitorcenter and Ruhr Museum. Originally designed by Fritz Schupp and Martin Kremmer as one-of-a-kind industrial architecture sorting the coal from the top of the building to the bottom the coal washery is now accessed through a giant 60 metres outdoor escalator transporting the visitors to the top floor at the height of 24 metres. Being a gateway to the site OMA considers the visitor centre as an allegory of Zollverein's programme - both a virtual space for the kinetic elite and an actual container for visitors searching for facts and tangible experience.Discussions, lectures, exhibitions, or a mind travel between images, sound, and text - according to OMA the visitor centre maximises and transports information about Zollverein like a daily newsletter providing a place for orientation and exchange.

Complementing the visitor centre, the regional museum continues in the floors below from top to bottom, from the present to the historic. The logic of a coal washery can be sensed on each floor with most machinery preserved - each floor blossoms in its former purpose, although the building entirely had to be restructured for making the experience of an exhibition space comfortable in a former industrial structure.Heinrich B?ll, architect and local partner to OMA,remembers yet discovering unexpected and new spaces during construction. The project Ruhr.Visitorcenter and Ruhr Museum is the incorporation of a transformation from a coal washery which used to transport, wash and sort 12,000 tonnes of hard coal daily into a public building offering today 12,000 square metres to visitors.

The example of converting a former plant into a public building as an urban attractor contributes to a valuable methodology for urban planners and architects operating at the boundaries of metropolitan complexity. □

2 外景/Exterior view

3 入口/Entrance

4 魯爾博物館內(nèi)景/Interior view of Ruhr Museum（2-4攝影/Photos: Michael Rasche）

5 0m標高處平面/Plan 00

6 21m標高處平面/Plan 21

7 30m標高處平面/Plan 30

8 A-A剖面/Section A-A

9 B-B剖面/Section B-B

10 C-C剖面/Section C-C

11 D-D剖面/Section D-D

12 E-E剖面/Section E-E

13.14 改造前的廢墟/Demolition before transformation（13.14攝影/Photos: Thomas Mayer）

15 G-G剖面/Section G-G（圖片來源/Source: OMA + Heinrich B?ll BDA DWB）

16.17 內(nèi)景/Interior views（16.17攝影/Photos: Michael Rasche）

項目信息/Credits and Data

地點/Location: 德國埃森/Essen, Germany

建筑設(shè)計/Architects: OMA, Heinrich B?ll Architekt BDA DWB - A Joint Venture

OMA責任合伙人/OMA Partner-in-charge: Floris Alkemade

常務(wù)董事/Managing Director: Heinrich B?ll

OMA設(shè)計團隊/Team OMA: Alex de Jong, Ziad Shehab, Bart Cardinaal

Heinrich B?ll Architekt設(shè)計團隊/Team Heinrich B?ll Architekt: Wojciech Trompeta, Achim Pfeiffer, Frank Günther, Marc Lepper, Uwe Schall, Claus Filtmann, Hanno Weymann

基底面積/Built Area: 2.2hm2

造價/Cost: 4500萬歐元/45M EUR

設(shè)計與施工時間/Period of Design and Realisation: 2002-2006

評論

劉伯英：如何將原本在采煤工藝語境下設(shè)計的工業(yè)廠房廢棄之后改造成最先進的公共建筑？“轉(zhuǎn)譯”是工業(yè)建筑改造利用的重要方式，它不僅要闡述工業(yè)生產(chǎn)的過去，更要讓游客體驗生活的今天和未來。設(shè)計利用運輸通廊的構(gòu)圖要素，按照原有工藝流程，組織人的參觀流線，實現(xiàn)場景、認知和情感的轉(zhuǎn)譯與重塑，酷炫的自動扶梯讓人體驗時空穿梭的效果。這一世界遺產(chǎn)的改造，在整個魯爾的工業(yè)建筑改造中，成為充滿想象力、創(chuàng)造力而又恰如其分的標志，也打破了保護的禁錮，為再利用樹立了樣板。

薄宏濤：城市策略層面，OMA首先以“環(huán)路”概念打開工業(yè)園區(qū)和城市的藩籬，讓二者建立了有機的對話。建筑策略層面，常見的“都市針灸、都市鏈接和都市織補”三大策略中，重要公共建筑往往是作為針灸更新錨點的排頭兵。如同漢堡易北愛樂廳之于海港城，選煤廠在埃森的更新進程中積極扮演了針灸式促媒的角色，和福斯特的紅點設(shè)計博物館一時瑜亮，共同成為了最令人期待的到訪地?？臻g策略層面，選煤廠自上而下的參觀流線組織，清晰反映了工業(yè)遺存更新中空間要素——既有工業(yè)建筑“工藝”構(gòu)成的相對完整呈現(xiàn)，成功將既有工業(yè)工藝邏輯轉(zhuǎn)化為了空間敘事邏輯。

18 樓梯/Stair（攝影/Photo: Michael Rasche）

Comments

LIU Boying: How can the industrial plants that were originally designed in the context of coal-mining technology be transformed into state-of-the-art public buildings after being abandoned? "Translation" serves as an important approach to the transformation of industrial buildings. It will not merely have to reveal the past of the industrial production, but also need to enable the visitors to experience the life of both today and tomorrow. By leveling off the traverse as the picture composition and following the original technological process to plan the tour routes, the translation and remodeling of the scene,the perception and the emotion can be completed.Moreover, the fantastic lifts create the feeling of experiencing time travel. The transformation of this World Heritage Site has become an imaginative,creative yet appropriate sign in the entire transformation project of industrial buildings in Ruhr.Meanwhile, it also breaks down the shackles of the protection of buildings and offers a good example of utilisation. (Translated by Dandan Wang)

BO Hongtao: In terms of urban strategy, OMA first breaks the barrier between the industrial park and city with the concept of "ring road", which establishes an organic dialogue between the two.Architecturally, among the three common strategies of "urban acupuncture, urban links and urban mending", major public buildings are usually the spearhead of acupuncture renewal anchors. Just like the Elbe Philharmonic Hall in Hamburg to the harbour city, the washery has played an active role of acupunctural catalyst in the renewal of Essen. Next to the equally fascinating Red Dot Design Museum by Foster + Partners, it has made itself one of the most anticipated attractions. Regarding spatial strategies,the top-down visitor circulation in the washery clearly reflects a relatively complete representation of the spatial elements of industrial monuments renewal -the components of "process" in the existing industrial buildings, which successfully transforms the existing industrial process logic into a spatial narrative.(Translated by SHANG Jin)