With Reverence and Healthy Self-Assurance

由专筑网刘政和，杨帆编译

苏黎世的瑞士国家博物馆扩建工程已经完工。上个月月底，以混凝土为装饰材料的新建部分首次向人们开放。

就体量而言，它是瑞士联邦最大的民用建筑。整个建筑花费1.11亿瑞士法郎，几乎和Emanuel Christ 和 Christoph Gantenbein设计的建筑一样古老。这个总花费包括翻新旧建筑和强化结构设施；部分这些措施已经完成，而另一边，如西翼和塔楼的翻新（从2017年到2019年）即将开始。

在2002年，Christ和Gantenbein的建筑师赢得改扩建国家博物馆的国际竞赛。老建筑由Gustav Gull于1898年设计，他们在老建筑后面置入一个颇具表现力的有棱角的体量。它后来成为“一个非常开放的项目，” Christ告诉我们新建筑是由两次全民公投和三次联邦法院共同决议的结果。他说现在站在我们面前的这个动态的混凝土结构和最初的设计看起来可能不太一样，但是建筑概念仍然保持不变。它的三个主要特点是从庭院到公园的视觉穿插、类似于桥的连接部分和屋顶景观。

The extension to the Swiss National Museum in Zurich has been completed. At the end of last month the new wing, of exposed concrete, was opened for viewing for the first time.
In terms of volume, it is the Swiss Federation's largest civil construction project. It has cost 111 million Swiss Francs and is almost as old as the architectural practice formed by its designers, Emanuel Christ and Christoph Gantenbein. This total includes the estimated costs of renovating the old building and strengthening it structurally; some of these measures have been completed, while others, such as the refurbishment of the west wing and the tower (from 2017 to 2019), are still to come.
Christ and Gantenbein Architects won the international competition to renovate and extend the National Museum in 2002 with an expressive angular extension at the rear of the historicist ‘chateau’ designed by Gustav Gull in 1898. It subsequently became "a very public project," as Christ tells us during a guided tour of the new building, alluding to two referenda and three federal court decisions. The dynamic, concrete structure that stands before us now may not look quite the same as the original design, he says, but the architectural concept has remained unchanged. Its three main features are the view from the courtyard through to the park, the bridge-like connecting section, and the roofscape.

The sculptural addition 附加雕塑(Photo: Roman Keller)

Ensemble of old and new seen from the park从公园看新老建筑的合奏 (Photo: Roman Keller)

蜿蜒的“桥”为设计增添了光彩，它连接后方的老房子，使“旧”和“新”成为独立的体量。这有助于加建的部分看起来尽可能小，并且考虑到了公园和树木，它富有表现力的形式创造了新的户外空间，建筑师将它描述为一个“城市的性格”。由于外部设施和景观的建设要从春季开始，所以国家博物馆将于2016年8月1日向公众开放。届时，展览活动也会展开。

目前，新建筑展现的效果仍然很“纯”，没有其他附加的内容。建筑师工作的结果令人印象深刻：顺利完成的混凝土墙面、抢眼的几何形屋顶和现代水磨石地板表现出建筑师对于饰面质量和细节的关注（模板生产计划显然花了一年半）。铜质材料被用于扶手、灯具以及其中一些栏杆和墙上的环形雕塑。混凝土和铜质材料被切成圆形开口，使低角度的阳光可以更顺利地进入室内，同时为游客带来新的城市、公园和老建筑之间的体验，这些都是建筑师从多个角度对于自己设计的解读和诠释。Christ说：“老建筑实际上是国家博物馆的主要展览区域”。这展现了一种充分自信的状态， 有价值的展览（正如它形式上所展现的一样）显然会在新建筑中展出，作为人们最后进入并用于休憩的区域。唯一让我们遗憾的是这种建筑永远不会再以一个这样无与伦比的状态出现了。

The main element informing the design is the meandering ‘bridge’ that connects the rear wings of the old building and makes ‘old’ and ‘new’ into a self-contained entity. This helps to keep the extension's footprint as small as possible, in consideration of the park and its trees, while the expressive form creates new outdoor spaces that the architects describe as having an "almost urban character." Work on the external facilities and landscaping is due to start in the spring, so that the National Museum will be ready to reopen to the public on August 1, 2016. Then the exhibitions will move in.
At the moment, the architectural effect of the new building can still be experienced 'pure', without any contents. The results of the architects’ labors are impressive: smoothly finished exposed concrete walls that reveal painstaking attention to surface quality and detail (the formwork plans apparently took one and a half years to produce), a powerfully geometrical roofscape, and modern terrazzo flooring that flows from room to room. Architectural bronze has been used generously for handrails and lighting fixtures, some of which develop from the railings, while others are wall-mounted separately, with a sculptural aura. Round openings cut into the concrete and framed with architectural bronze admit low levels of daylight into the interior, while offering its visitors carefully framed views of the city, the park and the older building, which the architects have reinterpreted in several aspects of their own design. "The old building is actually the prime exhibit in the National Museum," said Christ on our tour. This is meant with a degree of self-confident understatement, of course, because the really valuable exhibit – as is evident in its meticulous form-giving – is the new building, which can at last be entered and contemplated at leisure. One can only regret that it will never be experienced in such an uncompromised state again.

The new wing seen from the park 从公园的角度看新的一翼(Photo: Roman Keller)

Christ说，虽然循环空间以及从大到小的房间转换的设计灵感取自Gull，但其主题随之变换。 例如，楼梯的加建是为了以一种纪念性的姿态作为一个对旧博物馆建筑的回应。由于他们是在已有旧建筑的基础上创造新建筑，Chris和Gantenbein以一种尊重和自信的姿态走近Gull的建筑。暴露的天花板处理令人感觉新颖，使技术设施（如通风、照明和多媒体）暴露在外。这个项目体现了他们对于博物馆作为一个工厂和一个实验用地的想法，使其可以根据展览的主题改变其外观。另一个明显的对比是混凝土的使用，但在最初，他们使用“Tuffstein”作为骨料，进一步建立与老建筑的关系。博物馆入口本身，一旦完成，也将焕然一新：被装饰的一翼位于连接旧博物馆的Limmat河的方向。博物馆商店和带有酒吧的餐厅同样有助于将人们的生活带入一个曾经被忽视的地方。

苏黎世的Platzspitz的真正成就（它的两条河流交接的一小片地区）不仅是一个结构体系和对建筑的保护，也是一种社会规划：被重新恢复的公园（这里直到15年前一直是吸毒者聚集之地）现在可以从博物馆更容易地到达，而新的扩建体量以一种对于绿色植物影响最小的方式将各功能体块组合起来。

The circulation spaces and the transition from large to small rooms were inspired by Gull's design, says Christ, but with variations on the theme. The staircase in the extension, for example, is meant to have a somewhat monumental character as a counterpart to the Hall of Fame in the old museum building. Christ and Gantenbein approached Gull's building with a mixture of respect and healthy self-assurance, he adds, since their approach to architecture is to work with the existing substance and create something new from it. One new, unfamiliar aspect is the exposed treatment of the ceilings, leaving technical infrastructure such as ventilation, lighting and media lines unconcealed. This supports their idea of the museum as a factory and a place for experimentation, which can change its appearance according to the subject of an exhibition. Another obvious contrast is the use of concrete, but its use of "Tuffstein" as an aggregate, as in the original, establishes a further relationship to the old building. The museum entrance itself, once completed, will also be new: located in the angle where the old museum adjoins the wing towards the River Limmat, the decorative arts wing. A museum shop and a restaurant with a bar will likewise help to bring life into an area that was once neglected.
The real achievement at Zurich’s Platzspitz (the spit of land where its two rivers meet) is one not only of architecture and building conservation, but also of social planning: The rehabilitated park, which until fifteen years ago was a hang-out for drug addicts, can now be accessed more easily from the museum, while the new extension integrates it functionally with minimal impact on the greenery.

Concrete ceiling and terrazzo floor in the renovated old building 被翻新的旧建筑中的水泥天花板和水磨石地面(Photo: Roman Keller)

Renovated staircase in the old building 旧建筑中被翻新的楼梯(Photo: Roman Keller)

Stairway with window to park 通向公园的带窗户的楼梯(Photo: Roman Keller)

The grand stair in the new building新建筑中大楼梯 (Photo: Roman Keller)

Access to the galleries 通向画廊的通道(Photo: Roman Keller)

Ceilings are left exposed throughout the new building新建筑中始终被暴露的天花板 (Photo: Roman Keller)

Site Plan总平面 (Image: Zvg)

Ground Floor Plan一层平面(Image: Zvg)

First Floor Plan二层平面 (Image: Zvg)

Second Floor Plan 三层平面(Image: Zvg)

Section through Stair Hall阶梯剧场的剖面 (Image: Zvg)

Section through Interface between Old and New新老建筑交接面的剖面 (Image: Zvg)

出处：本文译自www.world-architects.com/，转载请注明出处。