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天圆地方,水天一色--这座博物馆做到了第1张图片


Thomas Phifer采用极简主义展馆对Glenstone博物馆扩建
Thomas Phifer expands Glenstone Museum with minimalist galleries The Pavilions

由专筑网缕夕,王帅编译

在马里兰州(Maryland)的这座博物馆中,一些方形的混凝土展馆排布在安静的水面上,该设计出自Thomas Phifer与Partnersembedded建筑公司之手。

Pavilions是一个战后艺术收藏的私人机构,它为为Glenstone博物馆新增了50000平方英尺(4,645平方米)的室内展览空间。

Concrete boxes housing galleries are laid out around a tranquil pond at this extended museum in Maryland, which architecture firm Thomas Phifer and Partnersembedded in the rolling landscape.
The Pavilions add 50,000 square feet (4,645 square metres) of indoor exhibition space to the Glenstone Museum, a private institution with an impressive collection of post-war art.

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该博物馆位于华盛顿特区西北部,它与2006年由Gwathmey Siegel&Associates Architects建造的一栋建筑相连,建筑面积为230英亩(93公顷)。

新的极简主义扩建建筑包含在景观中,通过一组不同尺寸的长方体,形成了画廊。它们通过大厅相连,形成了一条参观的循环路线。

A short drive northwest of Washington DC, it joins a 2006 building by Gwathmey Siegel & Associates Architects on the 230-acre (93-hectare) estate.
Nestled into the landscape, the new minimalist expansion comprises a set of cuboid volumes with varying dimensions, which form the galleries. These are connected by a single-storey concourse, forming a circular route for visitors to follow.

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长方体展厅采用铸造混凝土砌块包裹,长约6英尺,高1英尺,深1英尺(1.8×0.3×0.3米)。 混凝土能随着时间的流失产生一定的变化,使建筑烙上岁月的痕迹。

下层建筑的屋顶覆盖着植被,这有效地模糊了建筑的边界。

The cuboids are clad in cast-concrete blocks, which measure approximately six feet long, one foot high and one foot deep (1.8 by 0.3 by 0.3 metres). These were left to cure outdoors, causing variations in their tone.
Grass covers the roof of the building's lower portion, to help embed it into the verdant site.

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Thomas Phifer and Partners与PWP景观设计事务所一道,与博物馆的创始人密切合作超过15年,为博物馆创造了一个悠闲舒适的环境。

设计团队参观了世界各地无数的博物馆,包括丹麦的路易斯安那现代艺术博物馆,这明确了他们在Glenstone创造什么样的氛围。

Thomas Phifer and Partners, together with PWP Landscape Architecture, worked closely with the museum's founders for over 15 years to create a setting that would encourage visitors to slow down.
The team visited countless museums around the world, including Denmark's Louisiana Museum of Modern Art, to gain a sense of what kind of atmosphere they wanted to create at Glenstone.

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根据Phifer的描述,设计时至关重要是“将自然融入体验”。

他在上周的新闻发布会上对记者说:“这从一开始就是该项目的基础,我们希望营造一种氛围,当你最终站在作品面前时,你会迷失在其中。同时,我们认为在这里,大自然是首当其冲的一种材料。”

A key objective, according to Phifer, was "embedding nature into the experience".
"This has been the foundation of the project from the beginning," he told journalists during a press conference last week. "We had these remarkable rolling fields, and we wanted to present an atmosphere that when you finally stood in front of the work, that you would get lost in it."
"We really thought of nature here as the first material," the architect added.

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PWP景观设计事务所的工作涉及重塑地形、移动和种植许多树木,创造一个风景如画的生态。

公司员工Adam Greenspan说:“我们看到这个地方有着巨大的潜力 - 这里有土地,这里还有树木 - 但它并不像你来到大自然那样,有些地方有无穷的可能性。”

PWP Landscape Architecture's work involved reshaping the terrain, and moving and planting many trees, to create a picturesque ecology that looked like it had always been there.
"We saw that there was fantastic potential of the site – the acres, the trees that existed here – but it didn't feel like you came to nature... some place as special as it had the potential to be," said the firm's Adam Greenspan.

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游客们到达一个碎石停车场,距离画廊有10分钟的步行路程,这些停车场被隐藏在视线之外。

相反,装饰有银色木材的迎宾中心作为接待区,设有洗手间和其他设施。

Visitors arrive at a gravel car park, strategically placed a 10-minute walk away from the Pavilions, which are tucked out of sight.
Instead, a welcome centre clad in silvery timber acts as a reception area, with washrooms and other facilities.

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从这里开始,游客沿着从树木布置的路径开始参观,然后进入草地景观,长方体混凝土体量的顶部在地平线上就可以看到。

Phifer说:“当你到达博物馆开始参观时,步行过程中使你一天的疲惫荡然无存。”

From here, visitors begin a journey along a path that begins in the trees, then emerges into the meadow landscape, where the tops of the cuboid concrete volumes are just visible on the horizon.
"As you begin your journey over at the arrivals building, you start to walk, and the distractions of the day begin to fall away," said Phifer.

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花岗岩小路缓缓地蜿蜒而上,经过巨大的杰夫昆斯雕塑,直至到达位于建筑群上层的亭子入口。

沿着长长的楼梯走下去,画廊围绕着一个种植睡莲和其他水生植物的水池布置。

从走廊到水上广场,一路上有高高的玻璃板延伸到屋顶,形成防护栏杆。在走廊的一端,门可以通往水面上的甲板平台,游客可以休息放松身心。

The crushed granite pathway winds gently uphill – past a huge Jeff Koons sculpture in the distance – until it reaches the entrance to the Pavilions, which is located on the upper level of the complex.
Accessed down a long flight of stairs, the galleries are arranged around a central pool sprinkled with waterlilies and other aquatic plants.
Tall glass panels, which extend past the roof to form guard rails, provide views from the corridors to this Water Court. At one end, doors allow access to a decked platform on the water, where visitors can sit and relax.

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从这个位置看,建筑物在各个方向阻挡地平线,有效地构筑了天空。

Phifer将庭院描述为“提供冥想体验,总是回到这个对天空和光明开放的空间”。

From this position, the building blocks the horizon line in every direction, effectively framing the sky.
Phifer described the court as providing a "meditative experience, where you always return to this space that is open to the sky and the light".

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设计师从日本作家谷崎润一郎的1933年出版的《阴翳礼赞》一书中汲取灵感,这本书是极简主义者的最爱,它注重美学,创造了博物馆参观的空间序列。

Phifer说:“当我们开始塑造这些房间时,我们希望这种体验能够通过光影来实现。”

He took inspiration from Japanese author Junichiro Tanizaki's 1933 book In Praise of Shadows, a favourite with minimalists for is description of aesthetics, when creating the sequence of spaces through which museum visitors travel.
"As we began to sculpt these rooms, we wanted this experience to be about a journey through light and shadows," Phifer said.

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博物馆的大部分地板都采用了定制的水磨石,这与混凝土砌块和现浇混凝土天花板相得益彰。

编号为1到10的画廊大部分都是为了特定的艺术品而设计的。

Flooring through most of the museum is a bespoke terrazzo, chosen to compliment the concrete blocks and poured-in-place concrete ceilings.
Galleries, numbered one to 10, were designed for the most part with specific artworks in mind.

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该团队向许多艺术家咨询了展示作品的理想环境,并利用所收集的信息来设计空间。

例如,纪念On Kawara's Date Painting系列月球着陆的三件作品布置在最高的建筑体量里。在2014年去世前,他要求在房间里放一个木地板,并在图片上方的天窗上安装一个抹灰的石膏墙。

The team consulted many of the artists about the ideal environments for displaying their work, and used the information gathered to design the spaces.
For example, three works commemorating the moon landings from On Kawara's Date Painting series occupy the tallest volume. Before his death in 2014, he requested a wooden floor in the room and a skylight high above the pictures, mounted on trowelled plaster walls.

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其他一些画廊设有屋顶窗户,另一些则采用天窗照明。一个完全由木材衬砌的空间通过巨大的玻璃墙眺望着景观,空间里放置了长凳,用于阅读储存在后面的书籍。

在一个角落的庭院里放置着Michael Heizer的巨幅作品,博物馆中的另一个作品则是一个充满15个巨大风化钢梁的深坑。

Roof windows feature in some of the other galleries, while several are illuminated with clerestories. One space, lined entirely with wood, looks out to the landscape through a giant glass wall and is furnished with a long bench for reading books stored behind.
In a corner courtyard, a huge work by Michael Heizer – one of two at the museum – comprises a deep pit filled with 15 huge weathering-steel beams.

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Glenstone系列的展览可以在画廊二中找到,大致按时间顺序和地理位置排列。现代和当代艺术界一些著名人物的作品多达65种——杰克逊波洛克,马克罗斯科,伊夫克莱因,亚历山大考尔德,草间弥生和让米歇尔巴斯奎特等等,这些艺术家的作品都极有特色。

博物馆里采用人工助理服务,而不是仅仅墙上的描述文字信息——此举为鼓励公开对话和沟通。

An exhibition of highlights from the Glenstone collection can be found in gallery two, arranged roughly chronologically and geographically. Sixty-five works by some of the best-known names in modern and contemporary art – Jackson Pollock, Mark Rothko, Yves Klein, Alexander Calder, Yayoi Kusama and Jean-Michel Basquiat to name a few – all feature.
Rather than texts on the walls, gallery assistants dressed in grey provide information about the art – encouraging open dialogue and communication.

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占地面积为204000平方英尺(18950平方米)的Pavilions大楼还包括办公空间。在这个与较旧的博物馆之间,一个与抵达建筑类似的咖啡馆拥有斯堪的纳维亚风格,由浅色木制家具和表面构成。

Glenstone不需要门票,并于2018年10月4日周四至周日已重新开放。

The 204,000-square-foot (18,950-square-metre) Pavilions building also includes office spaces. In-between this and the older museum, a cafe designed similarly to the arrivals building has a Scandinavian feel created by pale wood furniture and surfaces.
Glenstone does not charge admission fees, and reopens to the public Thursdays to Sundays from 4 October 2018.

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Thomas Phifer and Partners事务所总部位于纽约市,它们也完成了康宁玻璃博物馆的扩建。

盐湖城的法院大楼,威斯康星州的弯曲砖住宅和南卡罗来纳州的建筑学校都是Thomas Phifer and Partners之前的其他项目。

Based in New York City, Thomas Phifer and Partners has also completed an equally minimal expansion for the Corning Museum of Glass.
A courthouse in Salt Lake City, a curvy brick residence in Wisconsin and an architecture school in South Carolina are among the firm's other previous projects.

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