繆斯女神的圣殿：論藝術(shù)博物館和中東地區(qū)

謝布內(nèi)姆·于杰爾/?ebnem Yücel

徐知蘭 譯/Translated by XU Zhilan

海灣地區(qū)：通過文化資本獲利

過去20 年間，海灣地區(qū)還沒有什么其他建筑類型能像博物館一樣在建筑界嶄露頭角1）[1]231-244。就算是那些全球聞名的建筑師事務(wù)所初步公布的設(shè)計(jì)成果也能引起人們廣泛關(guān)注和興奮不已?？紤]到博物館在新興經(jīng)濟(jì)產(chǎn)業(yè)品牌推廣和市場(chǎng)營銷中的重要作用，海灣地區(qū)涌現(xiàn)的博物館潮流并不出人意料。學(xué)者凱倫·?？巳麪柊巡┪镳^定義為“國家的象征和全球化體系中的文化貨幣”[2]8。她表述了事實(shí)上，博物館在象征意義和建筑學(xué)方面都具有超越任何其他建筑類型的重要性。根據(jù)?？巳麪柕挠^點(diǎn)，博物館確實(shí)反映了“烏托邦的遠(yuǎn)大理想和文明與國家的概念”[2]9，并能由此表達(dá)國家的政治抱負(fù)和文化理想。這就是為什么人們對(duì)于那些過去處于“邊緣”地位、而今卻獲得了更強(qiáng)勢(shì)的經(jīng)濟(jì)發(fā)展地位的國家正在通過其博物館建設(shè)活動(dòng)企圖在全球化視野中尋求新地位的事實(shí)毫不詫異，其中最新的建設(shè)項(xiàng)目是讓·努維爾工作室2019 年設(shè)計(jì)的卡塔爾國家博物館。

這波博物館狂潮始于2008 年由貝-考伯-弗里德事務(wù)所設(shè)計(jì)，位于多哈的卡塔爾伊斯蘭藝術(shù)博物館的建成開放。緊隨其后的是“邁特海夫”i——即位于多哈的阿拉伯當(dāng)代藝術(shù)博物館，它于2010 年建成開放，在當(dāng)時(shí)一躍成為游戲規(guī)則的顛覆者。它之所以能做到這一點(diǎn)，不僅是因?yàn)榈驼{(diào)的建筑造型——其目前的“臨時(shí)”場(chǎng)館是一所舊校舍改造建成的，由讓·弗朗索瓦·博丹設(shè)計(jì)——也是因?yàn)檫@座博物館擁有豐富的現(xiàn)代藝術(shù)藏品2）[3]。沿著這個(gè)方向，又繼續(xù)產(chǎn)生了阿布扎比酋長國薩迪亞特島（快樂島）上的一系列博物館建筑。薩迪亞特島是一個(gè)由阿布扎比酋長國旅游部門著手開發(fā)的文化、居住和商業(yè)綜合地產(chǎn)項(xiàng)目。島上建成開發(fā)的第一座博物館是著名的阿布扎比盧浮宮，由讓·努維爾工作室設(shè)計(jì)，于2017 年開放。目前，另有兩座博物館項(xiàng)目仍在薩迪亞特島上進(jìn)行施工建設(shè)。一座是福斯特建筑師事務(wù)所設(shè)計(jì)的扎耶德國家博物館，預(yù)計(jì)將于今年——即2020 年建成開放。另一座則是蓋里建筑師事務(wù)所設(shè)計(jì)的阿布扎比古根海姆美術(shù)館，工程在經(jīng)過多次延期后終于進(jìn)入了施工階段3），延期的原因包括海灣勞工藝術(shù)家聯(lián)盟發(fā)起的好幾次抗議活動(dòng)。

1 阿布扎比盧浮宮外景/Louvre Abu Dhabi, exterior view（攝影/Photo: Mohamed Somji，供圖/Courtesy of Department of Culture and Tourism - Abu Dhabi）

在所有這些博物館里，激起了最大爭議的項(xiàng)目恐怕是阿布扎比盧浮宮，肇始于2007 年阿拉伯聯(lián)合酋長國和法國共同簽署的合作協(xié)議聲明（圖1）。提出這些爭議的理由和將盧浮宮的名稱同一座位于海灣地區(qū)的博物館聯(lián)系在一起的行為有關(guān)，爭議的內(nèi)容特別強(qiáng)調(diào)了法國如何為了石油美元而“出賣其靈魂”4）[4]。在阿聯(lián)酋人看來，他們建設(shè)一座與盧浮宮有關(guān)的藝術(shù)博物館的意圖，其實(shí)不完全是為了純粹的經(jīng)濟(jì)利益，而更像是為了獲取文化資本，由此將其融入一項(xiàng)更宏大的文化計(jì)劃之中5）[5]。但是，作為一種無法通過收購或運(yùn)輸獲取的資本形式，文化資本很難得到，卻又是一個(gè)國家在國際上取得令人渴望的新地位所必不可少的資本。文化資本的獲取必須得到由“公認(rèn)的”文化資本所有者組成的更大范圍的國際社會(huì)認(rèn)同才能實(shí)現(xiàn)，而這些資本所有者不總是由國家來代表——由此，文化資本是社會(huì)和文化階層的標(biāo)志。在某種程度上，那些對(duì)盧浮宮出借其名稱給一座博物館——尤其是一座位于海灣地區(qū)的博物館的抗議，以及其他對(duì)海灣地區(qū)藝術(shù)博物館的討論，總體上仍然更多地和阿聯(lián)酋與法國的身份認(rèn)同相關(guān)——而不僅僅與旅游、文化和經(jīng)濟(jì)事務(wù)有關(guān)。這當(dāng)然是一個(gè)深刻的問題，對(duì)這個(gè)問題的看法很容易受到到處盛行的刻板印象和偏見的影響，而這些刻板印象和偏見又脫胎于歐洲中心主義的世界觀。正如2014 年瑪格麗特·羅西特曾對(duì)每個(gè)人發(fā)出提醒道：“……盧浮宮的藏品不是出于被國王們收購、用來炫耀財(cái)富和權(quán)力的目的獲取的，就是在19 世紀(jì)從海外領(lǐng)地或欠發(fā)達(dá)國家掠奪回來的。但至少，阿聯(lián)酋人為藝術(shù)和專業(yè)知識(shí)的取得付出了公平的代價(jià)?！盵6]但就和在她之前也有許多人針對(duì)東方主義刻板印象發(fā)出了反刻板印象的評(píng)論一樣，她的這些話也被人們輕而易舉地忘記了。

2 奧敦帕扎勒當(dāng)代博物館外景/OMM, exterior view（攝影/Photo: ?NAARO，供圖/Courtesy of OMM）

3 奧敦帕扎勒當(dāng)代博物館入口廣場(chǎng)/OMM, entrance plaza（攝影/Photo: ?NAARO，供圖/Courtesy of OMM）

The Gulf: Cashing in on the Cultural Capital

In the past two decades no building type from the Gulf region have been more significant than museum buildings in making the headlines in the architectural world1）[1]231-244.Even the first display of their designs by world-renown offices have been enough to stir excitement as well as discussions.Considering the important role museums play in branding and marketing emergent economies, the museum boom in the Gulf region is not surprising.As Karen Exell locates museums as "symbols of the nation and as cultural currency in the global system"[2]8, she underlies the fact that this symbolic and architectural importance surpass that of any other building type.According to Exell, museums do project "the utopian ambitions and notions of civilization and the nation state"[2]9and as such they give expression to the cultural and political aspirations of the nation states.That's why it is not surprising that, countries that were formerly placed at the "periphery" and reached a stronger economic power today, are looking for a new place in the global scene through museums they are building, the most recent addition being the National Museum of Qatar by Ateliers Jean Nouvel in 2019.

4 奧敦帕扎勒當(dāng)代博物館主中庭景象/OMM, view towards the main atrium.（攝影/Photo: ?Batuhan Keskiner，供圖/Courtesy of OMM）

The museum craze started with the opening of Qatar's Museum of Islamic Art in Doha in 2008 by Pei Cobb Freed & Partners.It was followed by MATHAF: Arab Museum of Modern Art in Doha in 2010, a game changer not through its modest architecture—its "temporary" home was transformed from an old school building by Jean-Fran?ois Bodin—but also through its modern content2）[3].Next in line was a select list of museums from Abu Dhabi's Saadiyat Island (Island of Happiness), a cultural, residential and business development project embarked upon by Abu Dhabi Tourism Authority.First museum to be opened in Saadiyat was famed Louvre Abu Dhabi in 2017,designed by Ateliers Jean Nouvel.Today, two other museum projects are still underway in Saadiyat:the first one is Zayed National Museum by Foster +Partners, which is expected to be opened in 2021.The other one is Guggenheim Abu Dhabi by Gehry Partners, construction of which has finally set to start3）after many delays, including the ones caused by the protests by Gulf Labor Coalition.

Among all, probably the biggest news that stirred talks was Louvre Abu Dhabi, starting with the announcement of the partnership deal made by UAE and France in 2007 (Fig.1).The reasons for the talks were related with the affiliation of the Louvre's name with a museum in the Gulf, putting a stress on how France was "selling its soul" for petro dollars4）[4].On the part of the Emiratis, the intention for creating an arts museum, the one affiliated with the Louvre,was clearly not stemming from a purely economic endeavor, rather it was part of a larger cultural project as a means of acquiring cultural capital5）[5].However,as a form of capital that cannot be purchased or transported, the cultural capital needed to secure a new, more desired place in the world proved to be hard to acquire.It required an approval from a larger community of "recognised" cultural capital owners- not always represented by the states - and as such it served as a social and cultural class marker.In a way, the protests on Louvre lending its name to a museum in the Gulf in specific, and the discussions on arts museum in the Gulf in general were more about identity, of both Emirates and the France, than tourism, culture and economy.Naturally this is a deeply problematic outlook, one that is susceptible to power parade of stereotypes and prejudices that are the offshoots of Eurocentric world vision.While Caroline Rossiter reminded everyone in 2014 that"[...] the Louvre collections were bought by kings to show off wealth and power, or pillaged from occupied or less developed countries in the 19th century.At least the Emiratis are paying a fair price for the art and the expertise"[6], her words were forgotten easily,like many stereotype-defying comments made against orientalist stereotypes before hers.

The Eastern Mediterranean: Contested Sites,Celebrated Beginnings

Considering the larger Middle East, there are more art museums underway, especially in Turkey and Lebanon.Even though these museums were also designed by equally renown architectural offices the news on them did not stir an international debate anywhere near to the ones caused by the Gulf museums.Main reason for this might be the absence of the involvement, i.e.name-lending, of a major Western cultural institution.However,despite the prevalence of similar prejudices towards them, the existence of a more established, and an internationally recognised contemporary arts scene in both countries might be another reason for it.

In 2015, Amale Androas' WORKac was selected to design Lebanon's Beirut Museum of Art (BeMA),and the museum is expected to be opened in 2023.The museum is planned to be located in Beirut's "Museum Mile", that will house many more museums like the National Museum and Museum of Lebanese Prehistory,the Beirut City History Museum...etc. In 2019 Turkey also has experienced a boost in arts museums, all of which were private initiatives: two modern arts museums were opened, another one was pre-opened during the biennale, and the news on the new home for Istanbul Modern has arrived.Out of the four, three were located in Istanbul, the heart of the country's contemporary arts scene, and one was located in Eski?ehir, a mid-sized university town in mid-Western Anatolia6）, a surprising addition to the list.

地中海東部：有爭議的場(chǎng)地，著名的開幕儀式

如果考慮到更大范圍的中東地區(qū)，其實(shí)有更多的藝術(shù)博物館正在建設(shè)中，尤其是在土耳其和黎巴嫩。但即使那些博物館也是由同樣知名的建筑師事務(wù)所做的設(shè)計(jì)，和它們相關(guān)的新聞卻遠(yuǎn)未激起像針對(duì)位于海灣地區(qū)的博物館項(xiàng)目一樣的國際爭議。其中的主要原因可能是缺乏關(guān)聯(lián)感，也就是從西方的重要文化機(jī)構(gòu)借用名稱的事件。然而，盡管針對(duì)這些博物館的類似偏見也同樣盛行，在阿聯(lián)酋和法國這兩國都已有更成熟和廣為國際社會(huì)所認(rèn)可的當(dāng)代藝術(shù)圈，可能也是一個(gè)原因。

2015 年，阿瑪爾·安德拉奧斯建筑事務(wù)所入選成為黎巴嫩貝魯特藝術(shù)博物館（BeMA）的設(shè)計(jì)方，這座博物館預(yù)計(jì)將于2023 年開幕。博物館的場(chǎng)地被規(guī)劃在貝魯特的“博物館大道”上，那里還有許多像國家博物館、黎巴嫩史前博物館和貝魯特城市歷史博物館等類似的其他博物館。土耳其于2019 年也經(jīng)歷了一波藝術(shù)博物館的建設(shè)浪潮，當(dāng)時(shí)所有的新建項(xiàng)目都是私人博物館——其中兩座現(xiàn)已開放，另一座將在土耳其雙年展期間重新開放，最近還傳來了伊斯坦布爾博物館新館的消息。在這4 座博物館中，有3 座都位于伊斯坦布爾——這個(gè)國家的當(dāng)代藝術(shù)圈中心，另一座則位于埃斯基謝希爾——是一座位于西安那托利亞中部的中尺度大學(xué)城6），它的出現(xiàn)有些出人意料。

這座位于埃斯基謝希爾的奧敦帕扎勒當(dāng)代博物館（OMM）已于2019 年9 月8 日對(duì)公眾開放7）（圖2）。人們希望這座由著名的隈研吾合伙人建筑師事務(wù)所（KKAA）設(shè)計(jì)的博物館能在埃斯基謝希爾產(chǎn)生畢爾巴鄂效應(yīng)8）[7]。博物館的名稱來自于其所在的地區(qū)名稱“奧敦帕扎勒”，在土耳其語中的字面意思是“木材市場(chǎng)”。這里是這座城市的歷史街區(qū)所在地，分布有許多塞爾柱王朝和奧斯曼帝國時(shí)期的宗教建筑，還有大量當(dāng)?shù)胤浅５湫偷哪窘Y(jié)構(gòu)民居。顯然，這片歷史街區(qū)的名稱和當(dāng)?shù)貍鹘y(tǒng)民居都為隈研吾建筑師事務(wù)所提供了設(shè)計(jì)靈感。在《日本時(shí)報(bào)》的一篇文章中，隈研吾建筑師事務(wù)所內(nèi)負(fù)責(zé)該設(shè)計(jì)項(xiàng)目的合伙人池口友紀(jì)闡述了他們選擇木材作為結(jié)構(gòu)表現(xiàn)形式的手法與木材市場(chǎng)的概念有關(guān)，她補(bǔ)充道：“（在土耳其）也有專門的疊壓和鎖定加壓木板材的專門區(qū)域，我們?cè)趭W敦帕扎勒當(dāng)代博物館也采用了類似的設(shè)計(jì)?！盵7]（圖3）對(duì)隈研吾本人來說，一項(xiàng)重要的參考要素是鄰里尺度的私密感，以及街區(qū)并非正交、而是隨機(jī)分布的空間形態(tài)。這一特征正是隈研吾建筑師事務(wù)所喜歡的，他們把它轉(zhuǎn)譯到了奧敦帕扎勒當(dāng)代博物館的建筑形式上，“所以，這不僅和木材有關(guān)，也和木材的使用形式有關(guān)”[7]，隈研吾這樣表述（圖4）。

雅特美術(shù)館作為推動(dòng)當(dāng)代藝術(shù)發(fā)展和策展的非營利組織，于2019 年9 月13 日建成開放了他們位于在伊斯坦布爾的新館，建筑由格雷姆肖建筑師事務(wù)所設(shè)計(jì)（圖5）。雅特美術(shù)館成立于2010 年，初創(chuàng)地址在塔克辛地區(qū)獨(dú)立大街上一處比現(xiàn)在小得多的場(chǎng)館9）。它在獨(dú)立大街上運(yùn)營了3 年之后，韋赫比-科奇基金會(huì)作為雅特美術(shù)館的所有者，在2013 年為新的博物館建筑組織了一次有補(bǔ)償金的建筑設(shè)計(jì)競賽。雅特美術(shù)館的新址位于道拉普代萊地區(qū)，成立基金會(huì)的科奇家族把他們?cè)谄瑓^(qū)內(nèi)的一座舊廠房捐贈(zèng)給了韋赫比-科奇基金會(huì)。在這片經(jīng)濟(jì)衰退的區(qū)域內(nèi)駐扎著一些假人模特工作室，各類低收入人群混居其間，其中也有來自不同國家的移民，所以新館的場(chǎng)地條件并不優(yōu)越。但是，隨著雅特美術(shù)館進(jìn)駐這一地區(qū)的消息傳開后，一些藝術(shù)畫廊也開始遷入這里，在某種程度上激發(fā)了整個(gè)地區(qū)未來的紳士化進(jìn)程。

雅特美術(shù)館的管理者卻對(duì)其新館所在的鄰里街區(qū)反應(yīng)非常敏銳。其敏銳感體現(xiàn)在各種細(xì)致入微的措施中，比如他們首先以書面形式為建設(shè)工程即將帶來的各種不便向人們致歉，隨后采取了一系列更實(shí)惠的措施，尤其是在與亞沙瑪·代爾基金會(huì)ii合作完成了一項(xiàng)針對(duì)“鄰里街區(qū)的社會(huì)與文化結(jié)構(gòu)、以及我們的友鄰們對(duì)雅特美術(shù)館進(jìn)駐道拉普代萊地區(qū)的期待、希望和擔(dān)憂”的研究之后更為如此10）。在雅特美術(shù)館的管理者繼續(xù)與當(dāng)?shù)氐墓芾聿块T、社區(qū)中心和各類非營利機(jī)構(gòu)不斷進(jìn)行接觸的同時(shí)，他們也為自己的友鄰啟動(dòng)了一項(xiàng)會(huì)員計(jì)劃，邀請(qǐng)附近街區(qū)的人們免費(fèi)參與各項(xiàng)活動(dòng)和學(xué)習(xí)計(jì)劃。最后，他們每個(gè)月都與所在地的各個(gè)社區(qū)共同舉辦活動(dòng)，參與者“包括藝術(shù)家、觀眾、合作方和鄰里街坊，以鼓勵(lì)不同社群之間彼此傾聽和進(jìn)行對(duì)話?！?0）

5 雅特美術(shù)館外景/Arter, exterior view.（攝影/Photo: @FluPhoto，供圖/Courtesy of Arter）

6 從雅特美術(shù)館的咖啡廳看向后廣場(chǎng)/Arter, cafe looking towards the back plaza.（攝影/Photo: @FluPhoto，供圖/Courtesy of Arter）

7 雅特美術(shù)館看向天窗的內(nèi)景/Arter, interior view towards the skylight.（攝影/Photo: @FluPhoto，供圖/Courtesy of Arter）

Odunpazar? Modern Museum (OMM) in Eski?ehir has opened its doors to public on September 8, 20197）(Fig.2).Designed by famous architectural office, Kengo Kuma and Associates (KKAA), the museum is expected to bring a Bilbao-esque boost to Eski?ehir8）[7].The museum gets its name from the district it is located in, Odunpazar?,literally meaning the wood market.This is the historic part of the city housing religious structures from the Seljuk and Ottoman times, as well as traditional timber houses, typical of the region.Apparently both the name of the district and the traditional homes in the region were sources of inspiration for KKAA's design.In a Japan Times article Yuki Ikeguchi, the KKAA partner who was in charge of the design, stated that their choice to use wood for structural expression was related to the idea of timber yard and she added: "There are also areas of specialisation (in Turkey) of stacking and interlocking planks, which, for the OMM, we designed in a similar way."[7](Fig.3) For Kengo Kuma himself, an important reference point was the intimacy of the neighborhood's scale, and the topography of the district, which was not straight and had a random geometry.This feature was what KKAA liked and translated into the geometry of the OMM building: "So it's not only about the timber, it is about the geometry of how that timber is used"[7]stated Kuma (Fig.4).

Arter, a non-profit organisation for the production and exhibition of contemporary arts has opened the doors of its new building designed by Grimshaw Architects on September 13, 2019 in Istanbul (Fig.5).Arter was founded in 2010 and started first in a much smaller venue on Taksim's Istiklal Street9）.After three years in Istiklal, the Vehbi Ko? Foundation, owner of Arter, organised an invited, paid architectural design competition for a new museum building in 2013.The site of the new museum was located in Dolapdere district, where the Ko? family owned an old industrial building that they donated to the Vehbi Ko? Foundation.This was a rundown district housing mannequin ateliers and very mixed demographics of low-income groups, including migrants from different countries, the site was not an advantageous one.However, following the news of Arter coming to the district, the arts galleries started to move to the area, in a way igniting the future gentrification of the whole district.

The management of Arter, however, proved to be very sensitive regarding the neighbours of their museum.Their sensitivity gained action in small steps like sending a letter apologising for the inconvenience that would be caused by the construction first, and then it continued with more solid moves, especially after a collaborative research carried out with YADA foundation on "the social and cultural structure of the neighborhood as well as the expectations, hopes and worries of our neighbors concerning Arter's relocation to Dolapdere."10）While they continued to be in constant contact with the local authorities, community centers and NGO's, they also started a membership program for their neighbours, inviting adjacent quarters to events and learning programmes for free.Finally,they organised monthly get togethers with their communities, "including artists, visitors, partners and neighbors to encourage listening and dialogue amongst different groups."10）

Despite the museum's attempts at including and being included in the neighbourhood, the architecture of the building stands out from its surroundings by its sheer size and whiteness.At the front of the museum, transparent and rather inviting ground floor of the building is cut off from the pedestrian traffic of the district by means of a long, rectangular decorative pool that ends at the entrance checkpoint.However the order and control imposed at the entrance softens up in the interior by means of a main atrium and big openings, allowing various views of both the exhibition halls in the interior and the adjacent buildings on the exterior to be juxtaposed and fused into each other (Fig.6,7).11）

Mimar Sinan Fine Arts University's Istanbul Museum of Painting and Sculpture (IMPS) is, in principle, the oldest museum devoted to [modern]art in Turkey, and yet, since its founding in 1937,the museum has been closed for longer periods of time than it has been opened.During 2019 the new building for the museum, designed by Emre Arolat Architects (EAA), has opened its doors to public for a short duration of time, between September 14 to November 10, to house parts of the works exhibited for the 16th Istanbul Biennial (Fig.8).While the museum has not been opened officially, this preopening gave a good peek into the building for the curious architecture lovers.

The new building for the IMPS is transformed from an existing antrepot (bonded warehouse)building no:5, located in Karak?y district near Bosphorus, the former site of the customs port12）.EAA explains the main design idea as follows:

When transforming the antrepot building into a museum, the reinforced concrete structure is kept as it is, while the walls and the slabs are removed in order to obtain a 3D, naked structural grid which will house the "containers" of the new museum.Directed by a curatorial approach, the art objects are to be categorised and collected inside these containers.[8]

Notwithstanding the fact that the degree to which this was a transformation is debatable, especially considering the destruction and re-building of the reinforced skeleton frame for structural reasons, the building's grid fa?ade is a good reminder of the offices and the warehouse that were standing there.The big and longitudinally extending atrium welcomes the guests on entering, and it corresponds to the old office section.The rest of the museum, especially the main exhibition areas are made from containers, which seem to be plugged-in to the skeleton frame.Similar to their placement on the fa?ade - projecting out of the skeleton frame and disrupting the order implied by the grid - containers has a similarly disrupting affect in the interior as well (Fig.9,10).Overall this is a welcome addition to the museum landscape of the country,especially considering the fact that the building is a news-bearer of the re-opening of the IMPS, and one of the oldest national painting and sculpture collections.

Looking from the cafe located inside the IMPS,one can get the view of the advancing construction for the new Istanbul Modern by Renzo Piano Building Workshop (RPBW).As the opening of Istanbul Modern is also expected with great excitement by the arts community details of the project is not shared with the public, yet.When Istanbul Modern was first opened on December 11th, 2004 the opening was understood as a vehicle to showcase the "Western" qualities of the country to the European nations, who were to vote for the start of the membership negotiations of Turkey to the EU in six days13）[1].So in many ways, despite the well-established arts culture in the country, it still did need to prove the institutionalisation of its cultural capital via the existence of an arts museum, mostly devoted to the works of artists from Turkey and the region.While the EU membership negotiations came to a dramatic halt for Turkey, the claims to civilisation and culture continues to be produced by new institutions.

Everywhere in the world museums have acquired a temple-like category, very much fitting to the etymology of their name as the temple of muses.These new temples are bringing recognition to the cities, nations and to the architects who have designed them.In these "temples", too,just like in any other temple historically, their symbolic meaning is surpassing their function,in this case housing works of art; and making strong statements on power, identity and cultural capital.□

盡管雅特美術(shù)館為其接納和融入周邊的鄰里環(huán)境付出了許多努力，新館的建筑形式卻以其龐大的尺度和白色的外觀赫然突出于其環(huán)境。從美術(shù)館的正面看去，建筑一層空間非常通透，并且呈現(xiàn)出相當(dāng)歡迎人們進(jìn)入的姿態(tài)；前方有一道造型美觀的長條矩形水池，把美術(shù)館與紛擾的人行道隔開，而水池的末端恰好停留在入口接待處的位置。然而，建筑師賦予入口空間的這種秩序感和控制感，到了室內(nèi)，卻由主中庭空間和若干高敞的開口變得緩和下來；由此能欣賞到室內(nèi)的展廳與室外毗鄰建筑的景象彼此融合、交相輝映的景象（圖6、7）11）。

米馬爾·西南美術(shù)大學(xué)的伊斯坦布爾繪畫與雕塑博物館（IMPS）大致上是土耳其歷史最悠久的“現(xiàn)代”藝術(shù)博物館。但是，自其1937 年創(chuàng)立以來，這座博物館關(guān)閉的時(shí)間比開放的時(shí)間還長。2019 年，由埃姆雷·阿羅拉特建筑師事務(wù)所（EAA）設(shè)計(jì)的博物館新館在9月14日-11月10日期間曾對(duì)外開放一段時(shí)間，用于展覽第16 屆伊斯坦布爾雙年展（圖8）的部分展品。盡管博物館當(dāng)時(shí)并未正式開放，在預(yù)開放期間它也為好奇的建筑愛好者提供了可供一瞥的機(jī)會(huì)。

伊斯坦布爾繪畫與雕塑博物館新館的建筑由原來的5 號(hào)貨棧（保稅倉庫）建筑改造建成，位置在博斯普魯斯海峽附近的卡拉柯伊地區(qū)，這里曾經(jīng)是客運(yùn)港碼頭所在12）。埃姆雷·阿羅拉特建筑師事務(wù)所這樣闡述其主要設(shè)計(jì)理念：

在我們把貨棧建筑改造為博物館的過程中，保留了經(jīng)過加固的混凝土結(jié)構(gòu)，但拆除了墻體和樓板，從而獲得一個(gè)裸露的三維空間結(jié)構(gòu)，它將成為布置新博物館的“容器”。藝術(shù)品將根據(jù)策展工作的指導(dǎo)分類收藏在這些容器中[8]。

盡管事實(shí)上人們對(duì)這一過程究竟在哪種程度上可以稱為改造仍有爭議——尤其是考慮到出于結(jié)構(gòu)安全的理由對(duì)加固后的框架結(jié)構(gòu)進(jìn)行拆除和重建的措施之后，但建筑網(wǎng)格狀的立面形式仍能讓人很容易想起這里曾是辦公室和倉庫建筑。高敞和長向延伸的中庭歡迎來訪者進(jìn)入其中，也呼應(yīng)了過去的辦公空間。博物館的其他部分，尤其是主展廳部分都用集裝箱建成，他們看起來植入了結(jié)構(gòu)框架。和他們?cè)诹⒚嫔系脑O(shè)計(jì)類似——這些集裝箱突出于框架結(jié)構(gòu)，并打破了網(wǎng)格暗示的秩序，集裝箱在室內(nèi)也有類似打破秩序的效果（圖9、10）?？傮w上，對(duì)土耳其的博物館建設(shè)狀況來說，這是個(gè)受人歡迎的新項(xiàng)目，尤其是考慮到實(shí)際上它是伊斯坦布爾繪畫與雕塑博物館作為國內(nèi)歷史最悠久的國家館藏繪畫和雕塑機(jī)構(gòu)重新開放的新館。

從博物館室內(nèi)的咖啡館向外眺望，能看到倫佐·皮亞諾建筑工作室（RPBW）為伊斯坦布爾現(xiàn)代藝術(shù)博物館設(shè)計(jì)的新館正在建設(shè)中。盡管藝術(shù)界也正以極為興奮的心情期待伊斯坦布爾現(xiàn)代藝術(shù)博物館的建成開放，這個(gè)項(xiàng)目的細(xì)節(jié)還仍未向大眾公布。伊斯坦布爾現(xiàn)代藝術(shù)博物館曾于2004 年12 月11 日首次開放，當(dāng)時(shí)人們認(rèn)為這是土耳其向歐洲各國展示其具有“西方”特質(zhì)的媒介；因?yàn)? 天之后，那些歐洲國家就將為是否同意將土耳其納入歐盟進(jìn)行投票13）[1]。所以在很多方面，盡管土耳其的藝術(shù)文化歷史悠久而享有盛譽(yù)，它仍然需要通過擁有一座藝術(shù)博物館來證明其文化資產(chǎn)的制度化狀況，博物館收藏的藝術(shù)作品大部分來自土耳其及其周邊地區(qū)的藝術(shù)家。雖然土耳其加入歐盟的談判而后進(jìn)入了戲劇化的停滯階段，但此后新藝術(shù)機(jī)構(gòu)仍繼續(xù)源源不斷地對(duì)文明和文化發(fā)出呼聲。

博物館在全世界各地都獲得了一種類似圣殿的地位，非常契合其名稱所具有的語源學(xué)意義——諸位繆斯女神的圣殿iii。這些新的圣殿為其所在的城市、國家和設(shè)計(jì)它們的建筑師帶來了社會(huì)認(rèn)可。這些“圣殿”也和歷史上曾出現(xiàn)的其他圣殿一樣，其象征意義超越其功能作用——在這里即指其收藏藝術(shù)品的功能；也對(duì)權(quán)力、身份認(rèn)同和文化資本的議題表達(dá)了強(qiáng)烈的意見?！?/p>

8 米馬爾·西南美術(shù)大學(xué)的伊斯坦布爾繪畫與雕塑博物館外景/MSGSF Istanbul Museum of Painting and Sculpture, exterior view.（攝影/Photo: Cemal Emden，供圖/Courtesy of EAA.）

9 米馬爾·西南美術(shù)大學(xué)的伊斯坦布爾繪畫與雕塑博物館外景/MSGSF Istanbul Museum of Painting and Sculpture, exterior view.（攝影/Photo: Cemal Emden，供圖/Courtesy of EAA）

10 米馬爾·西南美術(shù)大學(xué)的伊斯坦布爾繪畫與雕塑博物館入口天井前廳景象/MSGSF Istanbul Museum of Painting and Sculpture, view of the entrance atrium.（攝影/Photo: Cemal Emden，供圖/Courtesy of EAA)

譯注/Notes from Translator

i 原文為MATHAF，該英語詞匯來源于阿拉伯語的“博物館”（）一詞。

ii 原文為Ya?ama Dair (YADA) Foundation，亞沙瑪·代爾基金會(huì)于2005年成立于土耳其，“以在‘知識(shí)’和‘社會(huì)’之間建立橋梁為己任，致力于生產(chǎn)與社會(huì)生活的各個(gè)方面相關(guān)的知識(shí)，并將其付諸實(shí)踐”。

注釋/Notes

1）該問題的深度討論詳見參考文獻(xiàn)[1]231-244/For a more in-depth discussion on this issue, please see Reference [1]231-244.

2）阿拉伯當(dāng)代藝術(shù)博物館（MATHAF）致力于現(xiàn)代藝術(shù)，不僅引導(dǎo)人們關(guān)注收藏品也同樣關(guān)注海灣地區(qū)現(xiàn)代藝術(shù)的場(chǎng)所和價(jià)值。更多信息參見參考文獻(xiàn)[3]。/Devoted to modern art, MATHAF got people to discuss not only the collection but also the place and value of modern art in the Gulf region.For more information please refer to Reference [3].

3）扎耶德國家博物館據(jù)說預(yù)計(jì)2021年完工，阿布扎比古根海姆美術(shù)館的施工進(jìn)度由于應(yīng)對(duì)海灣地區(qū)建筑工人工作條件的事宜而幾經(jīng)延期，預(yù)計(jì)將重新啟動(dòng)。由安藤忠雄建筑事務(wù)所設(shè)計(jì)的海事博物館的前景尚不明朗。/Zayed National Museum is said to be completed in 2021 and the construction for Guggenheim Abu Dhabi is set to start after facing many delays over concerns for working conditions of the construction workers in the gulf region.The future of Maritime Museum designed by Tadao Ando Architect and Associates do not seem to be clear at the moment.

4）“對(duì)該計(jì)劃的批評(píng)——約2400名人士簽署請(qǐng)?jiān)笗?，譴責(zé)法國‘販賣靈魂’，希望以此取消協(xié)議——被法國文化部長雷諾·多納迪約·德·瓦布雷斯否決，稱其為‘亂發(fā)脾氣的性格’，并聲明此為最終決定。參見參考文獻(xiàn)[4]。/"Critics of the plan- some 2400 signers of a petition accusing France of'selling its soul' in hopes of scuttling the deal - have been dismissed as 'grumpy spirits' by the French culture minister, Renaud Donnedieu de Vabres.The decision, he said, has been made." See Reference [4].

5）阿布扎比王儲(chǔ)穆罕默德·本·扎耶德·阿勒納哈揚(yáng)在盧浮宮阿布扎比開幕前一個(gè)月發(fā)表的推文清楚地表明了這一事實(shí)：“隨著11月11日盧浮宮阿布扎比的開幕，阿聯(lián)酋增強(qiáng)了其全球文化影響力。它充當(dāng)著藝術(shù)和文化的搖籃......盧浮宮阿布扎比反映了阿聯(lián)酋增強(qiáng)文化連通性的舉措，以及期望成為知識(shí)和包容之燈塔的追求?！痹囊妳⒖嘉墨I(xiàn)[5]。/The tweet by the Crown Prince of Abu Dhabi Sheikh Mohammed bin Zayed Al-Nahyan a month before the opening of Louvre Abu Dhabi, was a clear indicator of this fact: "The UAE boosts its global cultural presence with the opening of Louvre Abu Dhabi in November 11.It serves as a cradle for art & culture...Louvre Abu Dhabi reflects the UAE's approach towards cultural connectivity & its pursuit to become a beacon of knowledge & tolerance." Quoted in Reference [5].

6）這座城市經(jīng)歷了一場(chǎng)劇烈的變革，著名的市長Y?lmaz Büyüker?en 執(zhí)政的20年間，為該市實(shí)施了幾個(gè)城市設(shè)計(jì)項(xiàng)目，并在其后為該市贏得了積極的聲譽(yù)。/The city went through a drastic change and gained a positive reputation after its famed mayor Y?lmaz Büyüker?en of twenty years, following several urban design projects that he implemented for the city.

7）私人派對(duì)暨開幕儀式在2020年9月7日舉行。/The private opening party was on September 7, 2020.

8）不足為奇的是，在博物館開幕式的新聞發(fā)布會(huì)上，博物館的創(chuàng)始人和所有者埃羅爾·塔班卡——一位建筑師、開發(fā)商和藝術(shù)愛好者——以自己的私人收藏開創(chuàng)了博物館，他提到了畢爾巴鄂效應(yīng)，并表示他相信隈研吾的遠(yuǎn)見和他的“明星特質(zhì)”會(huì)為埃斯基謝希爾帶來同樣的效果。原文見參考文獻(xiàn)[7]。/Not surprisingly, at the press conference for the museum's opening, the founder and owner Erol Tabanca - an architect, developer and art aficionado- who started the museum with his own private collection, made references to Bilbao effect and stated his own belief that Kengo Kuma's vision and his "star quality" can do the same for Eski?ehir.Quoted in Reference [7].

9）在很多方面，這個(gè)早期場(chǎng)館是該博物館的試驗(yàn)地。/In many respects, this earlier venue was a testing ground towards the museum.

10）出自2019年12月18日與?lkay Bali?的私人信件。?lkay Bali?為雅特美術(shù)館的傳播主管。/Personal correspondence with ?lkay Bali?, the director of communications at Arter.December 18, 2019.

11）據(jù)?lkay Bali? 說：“雅特美術(shù)館的主要功能區(qū)域由作為建筑心臟的中庭連接”。出處同上。/As ?lkay Bali? stated, "Arter's main function areas are connected by a central atrium that serves as the heart of the building." Ibid.

12）基地目前位于受爭議的加拉塔波特項(xiàng)目所在地。加拉塔波特是卡拉科伊一條狹長的地帶，綿延1.2km，沿著博斯普魯斯海峽，位于歐洲一側(cè)。該項(xiàng)目包括1960年代伊斯坦布爾港務(wù)局的既有倉庫的改造，增加的新結(jié)構(gòu)為伊斯坦布爾提供一個(gè)新港口，以及文化、旅游和居住設(shè)施。該項(xiàng)目曾因是否對(duì)公眾開放引發(fā)了熱議。/The site is currently on the site of controversial Galataport project.Galataport covers a 1.2 kilometre long strip in Karakoy, along the Bosporus on the European side.The project includes the transformation of existing warehouses from the 1960s that belonged to Istanbul Port Authority, the addition of new structures to house a new port for Istanbul, as well as cultural, touristic and residential facilities.The project was debated in terms of its accessibility to the public.

13）更多信息見參考文獻(xiàn)[1]。/For more information please see Reference [1].

參考文獻(xiàn)/References

[1] YüCEL ?.Art Museums and the Middle East:A Contested Territory[J].International Journal of Islamic Architecture, 2020, 9 (1): 231-244.

[2] EXELL K.The Global Spectacular: The Contemporary Museum Architecture in China and the Arabian Peninsula[M].London: Lund Humphries, 2018.

[3] POLLOCK B.The Arab Modern[J/OL].Artnet[2020-02-10].http://www.artnet.com/magazineus/reviews/pollack/mathaf-arab-museum-of-modern-artin-doha12-23-10.asp.

[4] RIDING A.Abu Dhabi Is to Gain a Louvre of Its Own[N/OL].New York Times, 2007-01-13 [2020-02-10].https://www.nytimes.com/2007/01/13/arts/design/13louv.html.

[5] Arab News.Calling All Art Fans: Louvre Abu Dhabi Opening Date Announced[N/OL].Arab News, 2017-09-06.https://www.arabnews.com/node/1156711/art-culture.

[6] ROSSITER C.Problem Child? The Louvre Abu Dhabi is Previewed in Paris[J/OL].Apollo Magazine, 2014-05-12 [2019-06-20].https://www.apollo-magazine.com/birth-museum-louvre-abu-dhabi-previewed-paris.

[7] YAMADA M.Kengo Kuma: Seeing the Forest for the Trees in Eskisehir[N/OL].The Japan Times, 2019-09-22 [2020-01-05].https://www.japantimes.co.jp/life/2019/09/22/style/kengo-kuma-seeing-foresttrees-eskisehir/#.Xe1J4y-B2qA.

[8] Emre Arolat Architects.Istanbul Museum of Painting and Sculpture[EB/OL].[2020-02-10].https://emrearolat.com/project/istanbul-museum-of-paintingand-sculpture/.