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塔斯马尼亚博物馆&艺术画廊/ Francis-Jones Morehen Thorp第1张图片

© John Gollings

       塔斯马尼亚博物馆&艺术画廊是澳大利亚第二古老的博物馆,其藏品数量位居澳大利亚所有博物馆首位。该项目位于宪法码头上的霍巴特海滨校园,该遗址建筑,包含一个粮食供应站(1808-1810),私人助理别墅(1815)和海关大楼(1902)。

塔斯马尼亚博物馆&艺术画廊/ Francis-Jones Morehen Thorp第2张图片

© John Gollings

       这个项目将通过对原有建筑扩容和改造进行再利用,同时扩大公共开放空间和博物馆前院,以扩大博物馆空间。这次重建将是塔斯马尼亚单体建筑最大且最为显著的文化发展。

塔斯马尼亚博物馆&艺术画廊/ Francis-Jones Morehen Thorp第3张图片

© John Gollings

       方案中的文物建筑,新的现代元素和考古学相结合,为游客提供了丰富独特的体验。一系列新元素与现有的文物结合,也创造一个连贯的博物馆建筑综合体。

塔斯马尼亚博物馆&艺术画廊/ Francis-Jones Morehen Thorp第4张图片

© John Gollings

       由新的百叶窗和玻璃屋顶包围的中央庭院,周边排布的细木柱。庭院中随机布置的柱代表原来滨水景观的树木,而多层木百叶,不锈钢和玻璃屋顶则代表树冠,并提供可控的庭院环境。木百叶可以由人工操控,控制光线和阴影。


塔斯马尼亚博物馆&艺术画廊/ Francis-Jones Morehen Thorp第5张图片

© John Gollings

       两个新的木盒子空间,被仔细地放置在与文物元素相连的地方。第一个构架了新的庭院入口,下面有一个咖啡厅,支撑着建筑,上层空间作为画廊或演讲空间。第二个盒子放置在在私人助理别墅庭院和面向苏利文湾的临街之间,让画廊连接到公共滨水空间。这些悬浮的木盒子犹如珠宝盒,排列在海边有旋转式木百叶玻璃窗的一侧,可以观景。

塔斯马尼亚博物馆&艺术画廊/ Francis-Jones Morehen Thorp第6张图片

© John Gollings

       两个庭院新老元素并存:玻璃屋顶的中央画廊和私人助理别墅庭院。两个中庭都有调整朝向和通风的作用。

塔斯马尼亚博物馆&艺术画廊/ Francis-Jones Morehen Thorp第7张图片

© John Gollings

       一个新的公共开放空间的创建也形成了新的博物馆入口。新的公共广场地平面划定了一系列由现有建筑产生的折叠机理。场地人工河自然地转化也为市民提供一个动态的广场,可以承载社交和大型集会活动。

塔斯马尼亚博物馆&艺术画廊/ Francis-Jones Morehen Thorp第8张图片

© John Gollings

塔斯马尼亚博物馆&艺术画廊/ Francis-Jones Morehen Thorp第9张图片

© John Gollings

塔斯马尼亚博物馆&艺术画廊/ Francis-Jones Morehen Thorp第10张图片

© John Gollings

塔斯马尼亚博物馆&艺术画廊/ Francis-Jones Morehen Thorp第11张图片

平面图

塔斯马尼亚博物馆&艺术画廊/ Francis-Jones Morehen Thorp第12张图片

草图

项目信息:
设计事务所:Francis-Jones Morehen Thorp
地点:澳大利亚,霍巴特TAS7000,邓恩广场
面积:4190平方米
年份:2013年
摄影:John Gollings


*本文由专筑网编辑刘庆新译自www.archdaily.com,转载请注明出处。*

Tasmanian Museum & Art Gallery / Francis-Jones Morehen Thorp
From the architect. The Tasmanian Museum & Art Gallery is the second oldest museum in Australia and its collection mandate is the most diverse of any in the country. Its campus at Constitution Dock on Hobart’s waterfront includes a rich collection of heritage buildings including the Commissariat Store (1808-10), the Private Secretary’s Cottage (1815) and Custom House (1902).
This masterplan project will expand the museum through new additions and adaptive reuse as well as extend the public open space and museum forecourt. The redevelopment will be the single largest and most significant cultural development ever undertaken in Tasmania.
The scheme interweaves heritage buildings, new contemporary elements and archaeology to create a rich and unique experience for visitors. A series of new elements have been integrated into the existing heritage fabric to create a coherent museum complex.
A new louvred and glass roof is suspended on fine timber columns to enclose the central courtyard. The intentional randomness of the columns within the courtyard allude to the trees of the original waterfront landscape while the multi-layered timber louvre, steel and glazed roof reinterprets the tree canopies and provide environmental control of the courtyard space underneath. The operable curved timber louvres on the underside of the roof enable natural light to be manipulated at different times of the day and throughout the year, transforming the character of light and shade in the courtyard.
Two new box-like timber volumes are carefully placed in relation to the heritage elements. The first frames the new entrance into the courtyard with a café underneath the suspended volume and a gallery/lecture space above. The second box is locked into position between the Private Secretary’s Cottage courtyard and street-front opening out to Sullivans Cove and connects the extensive new gallery spaces with the public waterfront. These suspended timber forms are akin to fine jewellery boxes protecting their contents, and along one side a series of spiral wood louvres behind glass rotate to reveal Hobart’s waterfront.
Two new courtyards are formed by this juxtaposition of new and existing elements: the Central Gallery with its glazed lantern roof and the Private Secretary’s Cottage courtyard. Both atrium spaces improve orientation and circulation for both the new galleries and heritage galleries.
Finally, a new public open space is created that also forms a forecourt to the new Watergate museum entrance. The ground plane of this new public square has been delineated by a series of folded strips that have been generated from the existing built fabric geometry. The topography of the site both artificial and natural is transformed to provide a dynamic civic square that offers a range of opportunities and scales for intimate and large gatherings.


Project Credits:
Architects: Francis-Jones Morehen Thorp
Location: Dunn Place, Hobart TAS 7000, Australia
Area: 4190.0 sqm
Year: 2013
Photographs: John Gollings


*Appreciation towards www.archdaily.com for providing the project description.*
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