Thematic Museums
高巍 编 常文心 译
辽宁科学技术出版社
Thematic Museums 高巍 编 常文心 译
辽宁科学技术出版社
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CONTENTS 目录
HISTORY MUSEUM
ART MUSEUM
历史博物馆
艺术博物馆
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The New Museum Aan de Stroom
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Los Angeles Museum of the Holocaust
Voyager New Zealand Maritime Museum
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Shimane Museum of Ancient Izumo
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Museum of Liverpool
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New Mexico History Museum
Madinat al Zahra Museum
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Carabineros Museum of Chile
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Extension of the National Maritime Museum
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Waterloo Region Museum
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Museum of Energy
沃斯堡科学和历史博物馆
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Museo Soumaya
里尔近现代和界外艺术博物馆
Grand Rapids Art Museum
能量博物馆
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索玛亚博物馆
ARoS Arrthus Museum of Art
National Automobile Museum
Museum ABC Illustration and Design Centre
荷兰国家汽车博物馆
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ABC博物馆插画和设计中心
Crpatoa Museum of Contemporary Art
Canadian Museum of Nature 加拿大自然博物馆
Extension of the Denver Art Museum
SCIENCE MUSEUM
COMPREHENSIVE MUSEUM
科技博物馆
综合博物馆
Musee Herge 埃尔热博物馆
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Labyrinth of Sciences and The Arts Museum
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Lyon House Museum
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Mimesis Museum
英国国家历史博物馆达尔文中心
Mecenat Art Museum
里昂住宅博物馆
梅森特艺术博物馆
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Riverside Museum 河畔博物馆
Museum of Culture, Fine Arts and Science, Changchun
拟态博物馆
长春文化、美术和科技博物馆
国家海事博物馆扩建工程
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Lam - Lille Museum of Modern, Contermproary and Outsider Art
丹佛艺术博物馆扩建工程
智利警察博物馆
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克罗地亚现代艺术博物馆
扎赫拉古城博物馆
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Fort Worth Museum of Science and History
伊利艺术博物馆
Museum Villa Vauban
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新墨西哥州历史博物馆
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雀巢巧克力博物馆
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奥尔胡斯艺术博物馆
利物浦博物馆
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Erie Art Museum
大急流城艺术博物馆
岛根古出云博物馆
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Nestlé Chocolate Museum
沃邦别墅博物馆
航海者新西兰海事博物馆
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波兰航空博物馆
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布朗克斯艺术博物馆扩建——北翼
Yokosuka Museum of Art 178
洛杉矶大屠杀博物馆
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The Bronx Museum of the Arts Expansion, North Wing
Polish Aviation Museum
横须贺艺术博物馆
河流博物馆
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特拉维夫艺术博物馆
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Tel Aviv Museum of Art
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National Automobile Museum Renovation and Extension
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意大利国家汽车博物馆翻新扩建工程
Crocker Art Museum
ECO MUSEUM in Rennes 雷恩生态博物馆
克罗克艺术博物馆
滑铁卢地区博物馆
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Welios Science Museum 威利奥斯科学博物馆
Jiangsu Provincial Art Museum 江苏省美术馆
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Bechtler Museum 贝奇特勒博物馆
National Glass Museum 荷兰国家玻璃博物馆
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INDEX 索引
河流博物馆 Location: Antwerp, Belgium Designer: Neutelings Riedijk Architects Completion Date : 2010 Construction Area: 19,557m2 Photographer : Neutelings Riedijk Architects and City of Antwerp 项目地点：比利时，安特卫普 设计师：纽特林斯·瑞迪克建筑事务所 完成时间：2010年 建筑面积：19,577平方米 摄影 师：纽特林斯·瑞迪克建筑事务所和安特卫普市政府
The New Museum Aan de Stroom The MAS is designed as a sixty-metre-high tower. Ten gigant natural stone boxes are piled up as a physical demonstration of the gravity of history, full of historical objects that our ancestors left behind. It is a storehouse of history in the heart of the old docks. Each floor of the tower is twisted a quarter turn, so that creates a huge spiral staircase. This spiral space, which is bordered by a wall of corrugated glass, is a public city gallery. A route of escalators carry visitors up from the square to the top of the tower. The spiral tower tells the story of the city, its port, and its inhabitants. 河流博物馆是一座60米高的大楼。十个巨大天然石盒结构堆叠起来，显示着历史的庄重，里面陈列 着祖先留下的历史文物。博物馆是旧码头区中心的历史仓库。 大楼每层都扭曲四分之一，形成了巨大的螺旋楼梯。这个螺旋空间以波纹玻璃墙为边界，是一座城 市展览馆。自动扶梯引领人们从广场进入大楼顶层。螺旋形大楼展示着城市、港口和居民的历史。
Left: Left: Situation Facing: Facing: Overview east side 左图：总平面图 对页图：从东侧看建筑全貌
East Façade 东立面
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North Façade 北立面
West Façade 西立面
South Façade 南立面
Left: Left : Night view hall Right: Right : Evening view east Facing Above: Above: Inside view Facing Below: Below: Internal space 左图：大厅夜景 右图：东立面夜景 对页上图：室内景象 对页下图：内部空间
The Museum Aan de Stroom (MAS) is located between the old docks in the heart of “Het Eilandje”. This old port area is the major urban renewal project in the centre of Antwerp and is developing as a vibrant new city district. Façades, oors, walls and ceilings of the tower were completely covered with large slabs of red Indian sandstone hand cleaved, making the image of a monumental stone sculpture. The four colours of the stone slabs based on a computerised pattern are divided on the façade. The spiral gallery is lined with a huge curtain of corrugated glass. With its play of light and shadow, transparency and translucency of the undulating glass façade brings a lighthearted counterweight to the gravity of the stone sculpture. To soften the monumental tower volume a pattern of metal ornaments has been put like a veil over the façade. The ornaments are shaped like hands, the logo of the City of Antwerp. Inside the building, this pattern continued through metal medallions, molded by a design of Tom Hautekiet with a text of Tom Lanoye. On each oor the visitor can enter the museum hall and go into the history of the dead city, while on his way to top breathtaking panoramas of the living city itself unfolds. At the top of the tower are a restaurant, a party room and a panoramic terrace, where the present is celebrated and the future planned. The Museum square at the foot of the tower is an integral part of the design. The square is decorated in the same red stone as the tower and surrounded by pavilions and terraces, as an urban space for events and outdoor exhibitions. The central part of the square is half sunken and forms a framework for a large mosaic of Luc Tuymans. 河流博物馆设在旧码头区，位于“亥特岛”的中心。这片旧码头区域是安特卫普中心翻新工程的主 要项目，将被改造成一个充满活力的新城区。 大楼的外墙、楼面、墙壁和天花板全部采用大块红色印第安砂岩覆盖，让建筑呈现出不朽的雕塑 感。石板的四种色彩以电脑图案为基础，分割了建筑外立面。 螺旋形展厅配有宽大的波纹玻璃幕墙。波纹玻璃墙巧妙地结合了光和影、透明和半透明，为石材机 构带来了令人愉悦的平衡感。 为了让大楼更加柔和，建筑表面上装饰有一层金属，仿佛面纱一样。这些装饰造型以安特卫普的城 市标志——手为造型。建筑内部，这一图案通过金属浮雕（由汤姆·霍特基特设计）得以延续。 参观者可以进入各个楼层的展厅，走进消亡的城市的历史，同时也享有现有城市的壮丽景色。建筑 的顶层是餐厅、联谊室和观景平台，赞美今天，规划明天。 建筑底部的博物馆广场是设计的一部分。广场采用同样的红砂岩进行装饰，周边环绕凉亭和平台， 为城市活动和露天展览提供空间。广场中央是半下沉的，为卢克·图曼斯的镶嵌画形成了框架。
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Ground Floor Plan: 1. Entrance hall 2. Information desk 3. Cafetaria 4. Logistic centre 5. Garage 6. Workshops
一层平面图： 1. 入口大厅 2. 服务台 3. 餐厅 4. 后勤中心 5. 车库 6. 工坊
Level 1 Plan: 7. Gallery 8. Ofces 9. Meeting rooms 10. Staff canteen
二层平面图： 7. 走廊 8. 办公室 9. 会议室 10. 员工餐厅
三层平面图： Level 2 Plan: 11. 走廊 11. Gallery 12. Exhibition room 12. 展览厅
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四层平面图： Level 3 Plan: 11. Gallery 11. 走廊 12. Exhibition room 12. 展览厅
五层平面图： Level 4 Plan: 11. Gallery 11. 走廊 12. Exhibition room 12. 展览厅
Level 9 Plan: 13. Restaurant 14. Conference room 15. Kitchen 16. Roof terrace
Facing Above and Below: Below: Interior with window 对页2图：室内落地窗
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十层平面图： 13. 餐厅 14. 大型会议室 15. 厨房 16. 屋顶平台
洛杉矶大屠杀博物馆 Location : Los Angeles, CA,USA Designer: Belzberg Architects Completion Date: 2010 Photographer :
Belzberg Architects, Benny Chan-Fotoworks, Iwan Baan 项目地点：美国，洛杉矶 设计师：贝尔兹伯格建筑事务所 完成时间：2010年 摄影师： 贝尔兹伯格建筑事务所；班
尼·陈摄影；伊万·博安
Los Angeles Museum of the Holocaust The design intent of this museum is to allegorically relate the visitor’s chronological experience of the building to that of Holocaust victims. In order to achieve this, the experience of the building is largely dictated by the timeline of a visitor’s passage from point of arrival through to his/her ascension back to park level from the underground exhibit spaces. It is a museum building in a public park, submerged into landscape terrain to maintain open park space. The museum is one of the largest intensive green roofs in California, and is on track to receive LEED Gold Certication from the USGBC. 博物馆的设计目标是让参观者在建筑内亲身体验大屠杀受害者的经历。为了实现这一目标，参观者 在建筑内的经历以时间为主线，在到达之后，他们经过地下展览空间上升到公园。 博物馆位于公园之内，与景观融合在一起，保证了开放的公园空间。博物馆拥有加利福尼亚最大的 绿色屋顶，已向美国绿色建筑委员会申请获得绿色建筑金奖认证。
Below: Below: Museum Roof Plan 下图：博物馆屋顶平面图
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The new building for the Los Angeles Museum of the Holocaust (LAMOTH) is located within a public park, adjacent to the existing Los Angeles Holocaust Memorial.
洛杉矶大屠杀博物馆设在一座公园之内，紧邻洛杉矶大屠杀纪念碑。 设计策略的首要任务是将建筑与周边开放的公园景观结合在一起。博物馆和平地相融合的方式，让
Paramount to the design strategy is the integration of the building into the surrounding open park landscape. The museum is submerged into the ground allowing the park’s landscape to continue over the roof of the structure. Existing park pathways are used as connective elements to integrate the pedestrian ow of the park with the new circulation for museum visitors.
公园景观在建筑屋顶上得以延续。原有的公园走道被用作连接元素，将公园里的人流和博物馆的游 客汇聚到一起。 走道与建筑融为一体，成为表面图案。图案在博物馆的展厅上方延伸，进一步连接了公园景观和人
Exhibit Plan: 1. Taper atrium 2. Gallery 3. Audio room 展览平面图： 1. 锥形中庭 2. 展览厅 3. 视听资料室
行道。设计师保留了公园的材料搭配并将其延伸到博物馆设计之中，混凝土的色调和纹理与植被都 融合了泛太平洋公园的原有材料搭配。这些简单的变动为博物馆打造了独特的外立面，同时又保持
The pathways are morphed onto the building and appropriated as surface patterning. The patterning continues above the museum’s galleries, further connecting the park’s landscape and pedestrian paths. By maintaining the material palette of the park and extending it onto the museum, the hues and textures of concrete and vegetation blend with the existing material palette of Pan Pacific Park. These simple moves create a distinctive façade for the museum while maintaining the parks topography and landscape.
了公园的地形和景观。 博物馆从景观中以单一的弧形混凝土墙壁呈现出来，墙壁在地面分裂形成建筑入口。博物馆采用可 持续系统和材料，已向美国绿色建筑委员会申请获得绿色建筑金奖认证。 2
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The museum emerges from the landscape as a single, curving concrete wall that splits and carves into the ground to form the entry. Designed and constructed with sustainable systems and materials, the LAMOTH building is on track to receive a LEED Gold Certication from the US Green Building Council.
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Above Left and Right: Right : Ramp wall 上图和右图：坡道墙壁
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Cross Section: 1. Parking 2. Gallery 3. Lobby 横截面： 1. 停车场 2. 展览厅 3. 大堂
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Section: 1. Planter continous 2. Beam 3. 6” Gravel 剖面图： 1. 连续的花坛 2. 横梁 3. 6英寸厚的碎石路
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North Ramp Elevation 北侧坡道立面图
Mezzanine Floor Plan: 1. Open to below 2. Ramp to garage below, ramp slope 20% 3. Storage 4. Conference room 5. Library stacks 6. Admin ofce
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夹层平面图： 1. 通往下方 2. 坡道通往下方的车库， 坡度为20% 3. 仓库 4. 会议室 5. 书库 6. 行政办公室
航海者新西兰海事博物馆
Location: Auckland, New Zealand Designer: Pete Bossley Architects Total Floor Area: 1,456m2 CompletionDate: 2009 Photographer: Simon Devitt Awards: 2011 Property Council NZ, Excellence
Award in Special Purpose Category; 2010 NZ Institute of Architects, Auckland Public Architecture Award 项目地点：新西兰，奥克兰 设计师：皮特·波斯里建筑事务所 完成时间：2009年 摄影师：西蒙·德维特 获奖情况：
2011年新西兰房产理事会特殊用途项目优秀奖；2010年新西兰建筑师协会奥克兰公共建筑奖
Voyager New Zealand Maritime Museum This extension to the New Zealand Maritime Museum is designed to house an exhibition of New Zealand yachting, from early small boats through to NZL32, which rst won the America’s Cup for this country. NZL32 was gifted to Te Papa, and is now exhibited as a collaboration between Voyager and Te Papa. The alteration expands the building outwards and upwards, in a series of planes, which explode the traditional form of the sheds. To the east an extension pushes over the sea, housing a series of beautiful yachts portraying the history of New Zealand small boat sailing. Built to a tight budget and programme, this building attempts to encourage exploration of the technology and form of the yachts, offer a new twist to the museum by virtue of exciting internal spaces, and provide dynamic external façade, which announce the presence of its interior purpose. 该博物馆的扩建部分设置了新西兰帆船展，从早期的小船到NZL32新型帆船（为新西兰首次获得美 洲杯的帆船）。NZL32被赠予特帕帕博物馆，现在则由航海者博物馆和特帕帕博物馆联合展出。 建筑师对原建筑进行向外扩建和向上增建改造，一系列楼面打破了传统的楼面造型。西面的扩建工 程越在海面上，里面漂亮的帆船描绘了新西兰小船航海的情景。 由于预算紧缩、规划密集，建筑尝试探索帆船的技术和造型，开创了博物馆的新视野，提供令人兴 奋的内部空间和动感的外立面结构，从室外便可推测室内功能。
Facing Above: Above: North elevation Facing Below: Below: East elevation at night 右上：北立面 右下：南立面夜景
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Large planes of polycarbonate cladding contrast with the traditional building. Subtle shifts away from the orthogonal, combined with the ever-changing variety of colour, transparency and reflectivity of the polycarbonate, suggest the ephemeral and constantly shifting conditions of wind, light and swell, which are integral to the world of yachting. The main eastern panel lifts to follow the ramp inside and partially reveal the exhibits through a slither of glazing underneath, and of the sea from within.
大型聚碳酸酯板包层与传统建筑形成了鲜明对比。建筑巧妙地摆脱了直角造型，结合了聚碳酸酯不
Despite achieving the low light levels required for artefact protection, the spaces glow with the softly transmitted light passing thought the double-skin multi-cellular polycarbonate, which has good UV and thermal protection properties.
走进旧展厅不久，参观者将到达空间上方的黑色造型结构。与通常的摇篮不同，这条船通过自身的
Visitors then follow an extended architectural promenade, from the main space out to the wharf edge, and onto the ramp, which winds up past the small boats, in the soft light and dappled reections from the sea, then back into the main space to continue climbing, this time around NZL32 and up to the high point where the Americas Cup is displayed. Along this 100-metre ramp the visitors experience numerous displays and viewpoints of the yachts. At night the large plane facing Prince Wharf becomes a huge light box with magical light effects across the water.
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断变换的色彩、透明度和反光度，令人想起游艇世界里短暂而不断变化的风力、光线等条件。东侧 的面板升起，与内部坡道同高，并通过底部的玻璃窗展现出内部的展览。 空间确保了展品保护所需的低强度光，柔和的透射光穿过双层多空聚碳酸酯板，点亮整个空间，具
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Ground Floor Plan 一层平面图
绳索悬垂下来。除了船体的组成部分之外，没有其他附加结构。 参观者沿着拓宽的建筑长廊从主要展览空间走到码头边，到达穿过小船的坡道，享受柔和的光线和
Soon after entering from the older galleries, visitors confront the powerful form of the black hull hovering in the space above. Rather than being supported on the usual cradle, the boat is suspended from above by its own rigging: there is no additional mechanism other than that used on the boat in action.
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大海的波光，然后重回展览空间，继续向上，到达NZL32和美洲杯奖杯的所在地。沿着这条100米 长的坡道，参观者将体验众多的展览，看到大量的游艇。 夜晚，朝向王子码头的墙面成为了一个巨大的灯箱，奇幻的灯光倒映在水面上。 Above Left: Left: Black Magic NZL32 Above Right: Right: Hall of yachting Facing Above: Above: Exhibition space 左上图：黑色魔法NZL32帆船 右上图：帆船大厅 对页上图：展览空间
1. Existing gallery 2. Hobson Wharf 3. Entrance 4. Introduction 5. Local segment 6. Technology segment 7. NZL32 hanging above 8. Store 9. Gallery of yachts 10. NZL32 segment 11. Sir Peter Blake segment 12. Ramp up over 13. Blake Theatre 14. Void 15. NZL32 16. Blue water segment 17. Theatre
1. 现存展厅 2. 霍布森码头 3. 入口 4. 介绍处 5. 本地展区 6. 技术展区 7. NZL挂在上方 8. 仓库 9. 帆船展厅 10. NZL展区 11. 彼得·布莱克展区 12. 向上坡道 13. 布莱克剧院 14. 留白空间 15. NZL32 16. 蓝水展区 17. 剧院
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First Floor Plan 二层平面图
岛根古出云博物馆 Location: Izumo City, Japan Designer: Fumihiko Maki + Maki and Associates CompletionDate: 2006 Construction Area: 11,855m2 Photographer: Toshiharu Kitajima, Makoto Yoshida 项目地点：日本，出云城 设计师：槙文彦+槙 氏建筑事务所 完成时间：2006年 建筑面积：11,855平方米 摄影师：北岛 敏治、吉田真琴
Shimane Museum of Ancient Izumo The Shimane Museum of Ancient Izumo was established to exhibit the artifacts and culture of the Izumo area, one of the cradles of culture and civilisation on the Japan seaside and the source of valuable archaeological remains and cultural artifacts. The building exterior is compact, with a pair of layered folding roofs that create a lilting skyline, and blend into the gentle undulations of the garden and mountains in the background. The museum itself is a low-lying structure with an entryway that is clearly marked by a row of trees that lead to a glazed entrance hall. This hall separates the forecourt from the garden in the north, and its transparency provides a distinct connection between the interior and exterior of the building. 岛根古出云博物馆里展出着出云地区的文物。出云地区是日本海滨文化和文明的发源地之一，也是 珍贵的考古遗址和文物发现地。 建筑的外观造型十分紧凑，一对层叠的屋顶营造出抑扬顿挫的轮廓，与背景花园和山脉柔和的起伏 融合在一起。 博物馆是一座低矮的建筑，一排树木标志着其入口，通往玻璃墙面的入口大厅。大厅分割了博物馆 的前院和北面的花园，同时以其透明度为建筑的室内外提供了独特的连接。
Facing Above: Above: Southwest elevation Faicng Below: Below: Night view 对页上图：西南立面 对页下图：夜景
South Elevation and Section: 1. Entrance hall 2. Lobby 3. Permanent exhibition 4. Storage 5. Shop 6. Café 7. Observation deck
West Elevation and Section: 1. Lobby 2. Permanent exhibition 3. Lecture room 4. Library 5. Ofce
南立面和剖面图： 1. 入口大厅 2. 大堂 3. 永久展览厅 4. 仓库 5. 商店 6. 咖啡厅 7. 观景平台
西立面和剖面图： 1. 大堂 2. 永久展览厅 3. 讲座室 4. 图书室 5. 办公室
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The site measures six hectares, and was designed to appear as an extended landscape gesturing towards the Shrine complex and the surrounding natural landscape.
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项目场地总面积6公顷，是神社与其周边自然景观的延伸。 垂直于玻璃入口大厅的是一座长120米、高9米科尔坦防腐蚀钢面墙，令人想起了岛根历史上重要的 材料——“塔拉塔钢”。这样一来，建筑的外观连接了古代和现代，建筑和自然景观。
Perpendicular to the glazed entrance hall is a 120-metre long by 9-metre high Cor-Ten steel wall that is reminiscent of “Tarata steel”, an important material in the history of Shimane. Thus, the exterior form of the building mediates between the ancient and the modern as well as the constructed and the natural landscape.
进入玻璃入口大厅，穿过科尔坦钢铁墙，参观者们便走进了展览大厅，原有的大出云神社留存下来 的木柱子成为了永久的展览品。展览大厅是博物馆空间设置的中心，参观者可以由此在各个展览空 间之间移动。展览区四周是辅助区，由仓库、准备室、研究设施和行政办公室组成。这一清晰的空 间分配让参观者轻松移动，也提到了博物馆管理、维护和安保的效率。
After entering via the glazed entrance hall, visitors pass through the Cor-Ten steel wall into the exhibition lobby, where remnants of the timber columns from the original Grand Izumo Shrine are on permanent display. The exhibition lobby functions as the centre of the museum’s spatial composition, from which visitors can move easily between the exhibition spaces. Surrounding the exhibition zone is a support zone, which consists of storage and preparation rooms, research facilities, and administrative offices. This clear spatial distribution allows ease of movement for museum visitors, as well as efficient museum management, maintenance, maintenance, and security.
在环游博物馆之后，游客可以重返玻璃入口大厅，在二楼茶室和三楼观景平台上休息。游客从平台 上可以尽享周边景观和出云神社的全景，并且对1,200年前这里所使用的文物进行重新思考。
After touring the museum, visitors can return to the glazed entrance hall and relax in the first floor tearoom or second floor observation deck. Panoramic views of the surrounding landscape and the adjacent Izumo Shrine unfold and visitors can contemplate the exhibition artifacts once used on this site over 1,200 years ago.
Above: Above: Building and landscape Right: Right: South garden 上图：建筑和景观 右图：南部花园 5
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Ground Floor Plan: 1. Entrance Hall 2. Gallery 3. Lobby 4. Permanent exhibition 5. Temporary exhibition 6. Lecture room 7. Library 8. Ofce 9. Storage 10. Mechanical 11. Café 12. Observation deck
一层平面图： 1. 入口大厅 2. 走廊 3. 大堂 4. 永久展览厅 5. 临时展览厅 6. 讲座室 7. 图书室 8. 办公室 9. 仓库 10. 机械室 11. 咖啡厅 12. 观景平台
利物浦博物馆 Location: Liverpool, UK Designer: 3XN Completion Date: 2011 Site Area: 13,000m2 Photographer: Pete Carr, Philip Handforth, Richard White 项目地点：英国，利物浦 设计师：3XN 完成时间：2011年 建筑面积：13000平方米 摄影师：皮特·卡尔、菲利普·汉 德佛斯、理查德·怀特
Museum of Liverpool The new Museum of Liverpool, will not only tell the story of its importance as one of the World’s great ports or about its cultural inuence, such as with the Beatles phenomenon. It will also serve as a meeting point for History, the People of Liverpool and visitors from around the globe. Therefore, according to the Architect, the structure functions as much more than just a Building or a Museum. 利物浦博物馆不仅讲述着这座伟大的港口城市的重要地位和文化影响（如披头士现象），还将成为 历史、利物浦人和全球游客的集会点。这一结构的价值远远超出建筑本身和博物馆。 Left: Left: Liverpool sketch 利物浦速写
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Left and Below:Hand-sketches Below:Hand-sketches of façade 左图和下图：外立面手绘图
As the largest National Museum to be built in the UK in over 100 years, and situated on a UNESCO World Heritage Site next to Liverpool’s famous “Three Graces”, the Principal Architect and Creative Director at 3XN, Kim Herforth Nielsen was fully aware of the magnitude of the challenge, when it came to designing the new Museum of Liverpool. This is one of the largest and most prestigious projects in 3XN’s 25-year history. The Museum’s design is a result of a very rigorous process, where it was of utmost priority to listen to the city inhabitants, learn the city’s history and understand the potential of the historical site that the Museum now sits upon. The result is a dynamic low-rise structure, which enters into a respectful dialogue with the harbour promenade’s taller historical buildings. This interaction facilitates a modern and lively urban space. The design is reminiscent of the trading ships, which at one time dominated the harbour, while the façade’s relief pattern puts forward a new interpretation of the historical architectural detail in the “Three Graces”. Graces”. The enormous gabled windows open up towards the City and the Harbour, and therefore symbolically draw history into the Museum, while at the same time allow the curious to look in.
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作为英国近100多年来建造的最大的国家博物馆，利物浦博物馆位于紧邻利物浦著名的“三女神”世 界文化遗产处，3XN首席建筑师和黄衣总监金姆·赫尔福斯·尼尔森充分意识到了巨大的挑战。 这是3XN创立25年来所接受的最大、最著名的项目。博物馆的设计是一个相当严密的过程，首先要 听取城市居民的意见，学习城市历史，并且充分理解未来博物馆建成时其所在地的潜力。 作为一座充满活力的低层建筑，博物馆与港口散步长廊较高的历史建筑之间形成了对话。这种互动 促进了现代而活跃的城市空间的发展。设计令人怀念港口红极一时的商船，其外立面的浮雕图案则 对“三女神”的历史建筑细部进行了重新诠释。巨大的人字形窗户朝向城市和港口，象征性地为博 物馆注入了历史感，同时也让行人们好奇地望向里面。
Ground Floor 一层平面图
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Second Floor 三层平面图
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新墨西哥州历史博物馆 Location: Santa Fe, New Mexico State, USA Designer: SaylorGregg Architects Completion Date: 2009 Construction Area: 8.919m2 Photographer: Kirk Gittings, Gallagher & Associates Award Name: 2010 N. M. Heritage Preservation Award for Urban Design with an His toric Context 项目地点：美国，新墨西哥州，圣达菲 设计师：塞勒·格莱格建筑事务所 完成时间：2009年 建筑面积：8,919平方米 摄影师：科克·基汀斯；加拉格尔事务所 获奖信息：2010年城市设计历史遗产维护奖
New Mexico History Museum Casting new light on a proud history, the New Mexico History Museum venerates its predecessors and offers a new civic outlook. The oldest continuously occupied public building in the United States, the Palace of the Governors in Santa Fe was constructed in 1610 as Spain’s citadel in the American Southwest. A striking adobe building with an extraordinary history, the Palace served for years as the repository of artifacts from other eras. When the New Mexico History Museum opened adjacent to the Palace, it lifted the burden from the 400-year-old building, and proved transformative for the interpretation of history throughout the State. 新墨西哥州历史博物馆为该州的骄傲的历史掀开了崭新的一页，既尊重其前身，又提供了全新的城 市视野。 作为美国最古老的连续使用公共建筑，圣达菲总督府于1610年由西班牙人建于美国西南部。总督府 是一座引人注目的砖坯建筑，长期被用作文物保存仓库。新墨西哥州历史博物馆的开放让这座400年 的古老建筑得到解脱，体现新墨西哥州历史的变化。
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Site Plan (Left): 1.The Palace of the Governors 2. New Mexico History Museum 3. Fray Angelico Chaves History Library and Photo Archive 4. Meem Community Room 5. The Plaza 总平面图（左）： 1. 总督府 2. 新墨西哥州历史博物馆 3. 弗雷·安格里克·查维斯历史图书馆和图片档案馆 4. 米美社区活动室 5. 广场
Facing: Facing : Museum at dusk 对页图：黄昏中的博物馆
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Two Above: West-east Section/North-south Section: 以上2图：东西剖面图/南北剖面图 A. The Palace of the Governors A. 总督府 B. Meem Community Room B. 米美社区活动室 1. Tickets 1. 售票处 2. Exhibit lobby 2. 展览大厅 3. Exhibit 3. 展览区 4. 学习中心 4. Learning centre 5. Theatre 5. 剧院 6. Board room 6. 会议室 7. Catering/café 7. 餐厅/咖啡厅 8. Collections 8. 收藏室 9. Storage 9. 仓库 10. Palace / History Museum portal 10. 总督府/历史博物馆入口
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Facing Left Top: Top: The Palace courtyard portal Facing Right Top: Top : The Palace court Facing Below: Below: Lobby view to The palace Above: Above: Entrance lobby Below Right: Right: Entrance detail 对页左上图：总督府庭院大门 对页右上图：总督府庭院 对页下图：从博物馆大堂看总督府 上图：入口大厅 右下图：入口细部
A contemporary building in design, the new State History Museum is the first institution in New Mexico to fully interpret the State’s unique history of conquest and liberation. It complements the Palace of Governors in scale, size and style. It contains expansive exhibition and administrative space, gallery-quality lighting and environmental environmental controls for a priceless collection of maps, photographs, textiles, artifacts and art. A 200-seat theatre for performances and research space for historians are also contained within the Museum, and the large, two-storey lobby has become the chosen site for social events. Two storeys above grade and two storeys below, the Museum captures the celebrated Santa Fe sun, illuminating interiors through skylights and clerestories. Deep-set windows temper the summer sun and provide expansive views of the Palace and historic courtyard. The History Museum unites other civic buildings in addition to the Palace to form a museum campus. The Museum has been praised for being a good neighbour to other buildings in the Santa Fe Historic District, and more importantly, it has been embraced by the community for its success as a dynamic modern building and making the State’s history accessible to all New Mexicans. 新墨西哥州历史博物馆是第一座全面阐释该州独特的征服和解放史的机构，采用现代设计。它在规 模、体量以及建筑风格上对总督府进行了补充。博物馆内拥有大量展览和行政空间、高品质展厅照 明和为价值连城的地图、照片、纺织品、历史物品和艺术品所做的环境控制设备。博物馆内还设有 可容纳200人的礼堂可提供表演和史学家研究空间。两层楼高的大厅则是社交的好场所。博物馆有两 层地上空间、两层地下空间，圣达菲的太阳通过天窗对室内进行照明。深嵌的窗户缓和了刺眼的阳 光，也提供了总督府和历史庭院的广阔视野。 历史博物馆联合了其他市政建筑，与总督府一起形成了博物馆园区。博物馆在圣达菲历史城区与其 他建筑和谐相处，并与社区紧密相连，其动感的现代建筑结构吸引着新墨西哥州居民前往了解该州 的历史。
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Above: Above: Entrance to The Palace Facing Above: Above: The second oor Facing Below Right: Right: Entrance 上图：总督府入口 对页上图：博物馆三层 对页右下图：入口
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Ground Floor Plan: A. The Palace of th e Governors B. Fray Angelico Chavez History Library and Photo Archive C. Meem Community Room 1. Tickets 2. Museum shop 3. Exhibit lobby 4. Exhibit 5. Learning centre 6. Administration/security 7. Receiving 8. Mechanical 9. Palace / History Museum portal 一层平面图： A. 总督府 B. 弗雷·安格里克·查韦斯历史图书馆 和照片档案馆 C. 米美社区活动室 1. 售票处 2. 博物馆商店 3. 展览大厅 4. 展览区 5. 学习中心 6. 行政/保安办公室 7. 接待处 8. 机械室 9. 总督府/历史博物馆入口
First Floor Plan: A. The Palace of the Governors B. Fray Angelico Chavez History Library and Photo Archive C. Meem Community Room 1. Board room 2. Admin/curatorial ofces 3. Exhibit lobby 4. Exhibit 5. Volunteers 6. Conservation lab 7. Mechanical 8. Catering/café 9. Terrace 一层平面图： A. 总督府 B. 弗雷·安格里克·查韦斯 历史图书馆和照片档案馆 C. 米美社区活动室 1. 会议室 2.行政/管理办公室 3. 展览大厅 4. 展览区 5. 志愿者活动室 6. 修复保护实验室 7. 机械室 8. 餐厅/咖啡厅 9. 平台
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Facing Above: Above: Lower level core exhibit Facing Below: Below: Changing exhibit gallery 对页上图：底层中央展览区 对页下图：流动展览大厅
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Lower Level and Mezzanine Plan (Left Above and Above): 底层及夹层平面图（左上图和上图）： 1. Exhibit 1. 展览区 2. Exhibit staging 2. 展览台 3. Collections storage vault 3. 藏品储藏室 4. Collections processing 4. 藏品处理室 5. Theatre/lecture Hall 5. 剧院/演讲厅 6. Storage 6. 仓库 7. Mechanical 7. 机械室
Facing Above and Below: Below : Interior view of theatre 对页图：礼堂内景
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扎赫拉古城博物馆 Location: Cordoba, Spain Designer: Nieto Sobejano Arquitectos S.L.P CompletionDate: 2008 Site Area: 9,125m 2 Photographer: Preparar Y Enviar Award Name: 2010 Shortlist of Aga Khan Award for Architecture 项目地点：西班牙，科多巴 设计师：索博加诺建筑事务所 完成时间：2008年 占地面积：9,125平方米 摄影师：普利帕
拉尔·Y·安维尔 所获奖项：2010年阿迦汗建筑奖提名
Madinat al - Zahra Museum The tenth-century palace city of Madinat al-Zahra is widely considered to be one of the most signicant early Islamic archaeological sites in the world, and the most extensive in Western Europe. Excavations at the site are still ongoing. The museum was conceived as a place to interpret the site and display the archaeological ndings, as well as to serve as a training and research centre and the headquarters of the archaeological team. A rened and subtle design by the architectural rm Nieto Sobejano, the museum complex blends seamlessly into the site and the surrounding farmland - a series of rectangles composed of walls, patios and plantings which, taken together, seem more like a landscape than a building. 千年古城扎赫拉被广泛认为是最重要的早期伊斯兰遗址之一，也是西欧最大的早期伊斯兰遗址。遗 址的发掘工作一直在进行中。博物馆将诠释遗址的内涵，展示考古发现，并且作为考古队的培训研 究中心和总部。 索博加诺建筑事务所进行了精致而巧妙的设计，博物馆以遗址和周边的田地紧密地结合在一起。一 系列长方形墙壁、露台和花圃的组合让博物馆看起来不像一座建筑，而像一个景观。
Below: Below: Landscape around the museum Facing Above: Above: Aerial view Facing Below: Archaeological Below: Archaeological site of al-Zahra 下图：博物馆周边景观 对页上图：鸟瞰图 对页下图：扎赫拉考古遗址
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Above: Above: View of approach and entrance 上图：入口和入口通道
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The building will articulate its new uses around a sequence of full and empty spaces; covered spaces and open patios, which will guide the travellers on their visits. From the main vestibule, a broad patio spreads out on a square plan, blue from the reection of the pond presiding over it. Like a cloister, the main public spaces will be organised around it: model exhibits, book and catalogue sales, coffee shop, auditorium and exhibition hall. Another long, deep patio, green in this case from the surrounding vegetation, will articulate the private areas: administration, conservation and research workshops. A nal patio will reect the golden light of the Atauriques and other archaeological remains on display, constituting constituting the outdoor extension of the museum exhibition area. A mezzanine basement completes the exhibition, auditorium and workshop areas, while also housing ample zones for storage and equipment.
The new Madinat al-Zahra Museum will be an introverted building with no outward disclosure of the sequence of its spaces: it will have appeared silently in the landscape, unearthed over the coming years like the remains of the ancient city of Abd al Rahman III. 建筑的新功能将围绕着一系列虚实的空间展开。封闭的室内和开放的露台将引导着游客进行参观。 从主门廊开始，宽阔的露台呈现正方形，反映了水池的蓝色。主要公共空间像回廊一样围绕着露台 展开，分别为：模型展、书籍和展品目录销售、咖啡店、礼堂和展览厅。另一个长而深的绿色露台 与周边的绿植连接，连接着私密区域——行政空间、清洁空间和研究工坊。最后的露台反映了遗迹 的金色特点，组成了博物馆展览区的户外拓展空间。夹层地下室完善了展览区、礼堂和工坊区，里 面还设置着仓储和设备存储空间。 项目材料的选择具有鲜明的特征：从遗址中发掘出来的墙壁采用了白色混凝土与木框架相搭配；屋
The materials respond to the prevailing criteria of the project: the walls unearthed in the excavations will be in white-face concrete using wooden formwork; the roofs resting on them will be in thin slabs; the patio will be paved in limestone. The concept of this project is implicitly prepared for future growth, especially in the museum and workshop areas which, in the manner of new excavations, can have new pavilions added on.
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顶采用薄板；露台则铺设着石灰石。项目旨在为未来发展做出准备，特别是博物馆和工坊区，随着 挖掘工作的进行，将添加新的展馆。 扎赫拉古城博物馆是一座内向型建筑，不向外界空间开放：它将安静地处在景观之中，像阿卜杜－ 拉赫曼三世古城一样被慢慢发掘。
Facing Above: Above: Access ramp to the museum Facing Below Left: Left: Access ramp Above: Above: View of Mashrabiyya-type openings and reecting pool 对页上图：博物馆入口坡道 对页左下图：入口坡道 上图：中东花格屏类型的窗口和倒影池
Above Left: Left: Patio nearby the working areas Above Right: Right: Corridor in the working areas Facing: Facing: View of the two levels of exhibitions 左上图：工作区旁边的天井 右上图：工作区走廊 对页图：两层展览区内景
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Carabineros Museum of Chile
智利警察博物馆
The proposed new Carabineros Museum of Chile and the renovation of historic museum was born of an order of the General Alejandro Bernales, director of Carabineros RIP of the Republic of Chile. The General’s idea was to get as a challenge to the expansion of the existing museum and the new museum, and to put an outlook on the integrity value.
Location: Santiago, Chile Designer: Gonzalo Mardones Viviani Completion Date: 2008 Construction Area: 4,550m2 Photographer: Gonzalo Mardones Viviani 项目地点：智利，圣地亚哥 设计师：贡萨罗·马尔东尼斯·维瓦阿尼 完成时间：2008年 建筑面积：4,550平方米 摄影 师：贡萨罗·马尔东尼斯·维瓦阿尼
The programme provides the showrooms of both museums. The building also has underground parking. Inside the museum are located a café and restaurant terraces expansion to allow for proper ventilation and natural light. 新建的智利警察博物馆和旧博物馆的翻新工程由亚历杭德罗·贝尔马里斯将军（智利共和国警察总 长）发起。他希望通过旧博物馆的翻新和新博物馆的建造带来整体价值。 项目将为两个博物馆提供新的展览厅，建筑还设有地下停车场。博物馆设置着咖啡厅和带有露台的 餐厅，为室内提供了合适的通风和自然采光。
Facing Above: Above: Museum front Facing Below: Below: Cultural centre at dusk 对页上图: 博物馆正面 对页下图：黄昏中的文化中心
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Left: Left: Detail 1. Concrete slab (SC) for rain water runoff 2. BUDNIK Pastel on 50 X 50 (OPTION 2) 3. PLOT (pivot adjustable FPM) (OPTION 2) 4. Asphalt membrane system of double elastomeric SBS protect themselves according to paragraph 2.9.2 of EETT 5. Navy thermal insulation over read protections 6. Concrete slab (SC) for rain water runoff 7. BUDNIK Pastel on 50 X 50 (OPTION 2) 8. PLOT (pivot adjustable FPM) (OPTION 2) 9. Asphalt membrane system of double elastomeric SBS protect themselves according to paragraph 2.9.2 of EETT 10. Navy thermal insulation over read protections 11. Thermal insulation Bayma polyurethane 3 CMS 5518 AD, BAYER 12. Volcanic 13. Metal structure 14. Exposed concrete 15. Aluminum window 16. Dust in cedar plywood 17. Porcelain 30 X 90 cm 18. Concrete over read 19. Dust guard 20. Volcanic 21. Metal structure 22. Gypsum plaster 23. Aluminum window 24. Aluminum window 25. Porcelain 30 X 90 cm 26. Concrete over read 27. Dust guard 28. Glass thermo panel 29. Gypsum plaster 30. Porcelain 30 X 90 cm 31. Concrete over read 32. Dust guard 33. Glass thermo panel 34. Volcanic plaster to receive water glaze 35. Thermal insulation 36. Volcanic plaster to receive water glaze 37. Dust in cedar plywood 38. Dust guard 39. Volcanic plaster to receive water glaze 40. Thermal insulation 41. Volcanic plaster to receive water glaze 42. Dust in cedar plywood 43. Dust guard 44. Porcelain 30 X 90 cm 45. Concrete over read 46. Dust guard 47. Dust guard 48. Gypsum plaster
接上页（细节图） 1. 用于引导雨水径流的混凝土板 2. 布迪尼克涂料50 X 50 （2号） 3. 枢轴可调节氟橡胶（2号） 4. 双层合成橡胶弹性体制成的沥青膜系统， 通过EETT2.9.2段来自我保护 5. 保护层上的海军用隔热层 6. 用于引导雨水径流的混凝土板 7. 布迪尼克涂料50 X 50 （2号） 8. 枢轴可调节氟橡胶（2号） 9. 双层合成橡胶弹性体制成的沥青膜系统， 通过EETT2.9.2段来自我保护 10. 保护层上的海军用隔热层
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11. 隔热聚氨酯3 CMS 5518 AD， 拜耳出品 12. 火山岩 13. 金属结构 14. 露石混凝土 15. 铝窗 16. 雪松胶合板粉末 17. 陶瓷30 X 90厘米 18. 地面混凝土 19. 防尘罩 20. 火山岩 21. 金属结构 22. 石膏灰泥
23. 铝窗 24. 铝窗 25. 陶瓷30 X 90厘米 26. 地面混凝土 27. 防尘罩 28. 玻璃隔热板 29. 石膏灰泥 30. 陶瓷30 X 90厘米 31. 地面混凝土 32. 防尘罩 33. 玻璃隔热板 34. 承接冰釉的火山岩灰泥 35. 隔热层
36. 承接冰釉的火山岩灰泥 37. 雪松胶合板粉末 38. 防尘罩 39. 承接冰釉的火山岩灰泥 40. 绝缘层 41. 承接冰釉的火山岩灰泥 42. 雪松胶合板粉末 43. 防尘罩 44. 陶瓷30 X 90厘米 45. 地面混凝土 46. 防尘罩 47. 防尘罩 48. 石膏灰泥
This project, built in 2008 and designed by the famous architectural studio Gonzalo Mardones Viviani, is situated in the city of Santiago de Chile, the capital of the Republic of Chile. The rst consideration was complete re-design of the interior of the historic building’s façades, reformulating its distribution and internal with respect, and entirely painting their façades and interiors in white to establish the necessary connectivity between the new, the remodeled and intervened. The second action was the determination of architectural elements in which it was decided to excavate and put buildings on several levels underground. With this the designers got the dual purposes of not touching the park and trees and putting the building in place along with the house value, which now reects historic façades with two huge lakes, toward the Avenue Antonio Varas. It is then a building that serves mostly submerging land, piercing but allowing the passage of light and sun through courtyards and terraces that also all ow for the exterior route. All elements of the façades of new volumes are solved through concrete with titanium dioxide (in order to achieve blanch). The white walls stand out between the green of trees and grass-covered buildings. 项目位于智利首都圣地亚哥，建于2008年，由著名建筑工作室贡萨罗·马尔东尼斯·维瓦阿尼设计。 项目首要考虑的便是重新对旧建筑的外立面内部进行设计，并且尊重建筑内部布局，将室内外漆成 白色，以及对新旧建筑进行必要的连接。第二步是决定建筑元素，将几层楼面设在地下。 根据这两个目标，在不破坏公园和树木的前提下，让建筑外立面反映了历史特征，与湖泊一起朝向 安东尼奥·瓦拉斯大街。建筑大部分都埋在地下，但是庭院和露台的走道为室内提供了足够光线。 新建筑的外立面采用了混凝土和二氧化钛相结合，白色的墙面在绿树丛和绿草屋顶中脱颖而出。
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Facing Above: Above: Show room Facing Below: Below: Lobby 左上图：陈列室 左下图：大厅
Facing: Facing: Gallery Above: Above: Painting on the wall Right: Right: Steps 对页图：展览厅 上图：墙上的画 右图：台阶
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国家海事博物馆扩建工程
London, UK Designer: C. F. Møller Architects CompletionDate: 2011 ConstructionArea: Location: London, 7,300m2 Photographer: Julian Weyer 项目地点：英国，伦敦 设计师：C·F·穆勒建筑事务所 完成时间：2011年 建筑面积：7,300平方米 摄影师：朱利安·韦耶
Extension of the National Maritime Museum The National Maritime Museum in London contains the world’s largest maritime collection, housed in historic buildings part of the Maritime Greenwich World Heritage Site. The project encompasses the creation of a new wing for the National Maritime Museum, named the Sammy Ofer Wing - named after the international shipping magnate and philanthropist Sammy Ofer, who has funded most of the project. The aim has been open up and reveal for everyone the fascinating stories of people and the sea. 位于英国伦敦的国家海事博物馆拥有世界上最多的海事收藏品，设在格林威治海岸世界遗产中的历 史建筑里。 项目包含国家海事博物馆新翼楼——萨米·奥弗楼（以国际船业大亨和慈善家萨米·奥弗命名，他 为项目的大部分提供了基金）的建设，其目的是向人们展示人类和海洋奇妙的故事。
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Greenwich Park Lower cross avenue Herbaceous border Water rill King William statue Reection pools Restaurant
8. Entrance plaza 9. Extension part 10. Special exhibition gallery 11. Exhibition lobby/shop 12. Entrance 13. Lobby 14. Terrace
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Lantern Interactive gallery Archives Reading room Treasures zone South-west wing
1. 格林威治公园 2. 下层交叉大道 3. 绿化带 4. 水流 5. 威廉国王雕像 6. 倒影池 7. 餐厅
8. 入口广场 9. 扩建部分 10. 特别展览厅 11. 展览大厅/商店 12. 入口 13. 大堂 14. 平台 5
15. 天窗 16. 互动展厅 17. 档案室 18. 阅览室 19. 珍宝区 20. 西南翼楼
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The main idea of the extension has been to ensure minimal interventions in this sensitive historic site and yet give the museum a new, distinctive main entrance and the necessary additional exhibition space, as well as a new café, restaurant, library and archives that meet the particular demands for storage of historical documents. The design solution creates a new main entrance emerging from the terrain. Most of the new building, however, is located underground. The roof of the new wing is a green, public landscaped terrace overlooking the Park, accessed at all levels by gentle ramps, even more so causing the building to blend with the park landscape. The extension has a contemporary aesthetic, but is inspired by the Baroque buildings’ rhythmic sequence of windows, and the prole of the new extension has been kept low to allow the Grade I listed Victorian façade of the existing south west wing of the museum to be appreciated as a backdrop to the striking new building.
E-E剖面图： 6. Interactive gallery 1. 咖啡平台 7. Archives 8. Reading room 2. 自主咖啡厅 3. 餐厅平台 9. Treasures zone 10. Special exhibition gallery 4. 餐厅 5. 洗手间/衣帽间 11. Plant room/AHU
Section E-E: 1. Café terrace 2. Self-service café 3. Brasserie terrace 4. Brasserie 5. Toilets/cloakroom
6. 互动展厅 7. 档案室 8. 阅览室 9. 珍宝区 10. 特别展览厅 11. 机房/空调室
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扩建工程的主要理念是保证对历史遗址的最小干扰，同时又为博物馆赋予全新而独特的主入口和必
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要的附加展览空间，添加了新咖啡厅、餐厅、图书馆和档案馆，以满足储藏历史文档的需求。 1
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设计打造了一个融入地势的主入口。新建筑的大部分都设在地下。新翼楼的屋顶是一个绿色公共景 11
观平台，俯瞰着公园，可以从各个楼层通过缓坡进入，让建筑进一步融入公园景观之中。扩建工程
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采用现代美学，同时受到巴洛克建筑有韵律的窗口排列的启发。扩建建筑的轮廓较低，让博物馆西
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南翼的维多利亚外立面成为新建筑的背景。
Section B-B: 1. Loading bay 2. Brasserie 3. Brasserie terrace 4. Skylight 5. Terrace 6. Toilets/cloakroom
7. Reception 8. Lobby 9. Exhibition lobby 10. Plant room/electrical 11. Plant room/AHU 12. Toilets 13. Exhibition transit storage
B-B剖面图： 1. 装卸区 2. 餐厅 3. 餐厅平台 4. 天窗 5. 平台 6. 洗手间/衣帽间
7. 前台 8. 大堂 9. 展览大厅 10. 机房/电气室 11. 机房/空调室 12. 洗手间 13. 展览过渡仓库
Section D-D: 1. Entrance plaza 2. Entrance 3. Lobby 4. Terrace 5. Skylight 6. Reception
7. Interactive gallery 8. Archives 9. Archives 10. Reading room 11. Treasures zone 12. Special exhibition gallery 13. Exhibition lobby/shop
D-D剖面图： 7. 互动展厅 1. 入口广场 8. 档案室 2. 入口 9. 档案室 3. 大堂 10. 阅览室 4. 平台 11. 珍宝区 5. 天井 12. 特别展览厅 6. 前台 13. 展览大厅/商店
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Level 1 Terrace Plan: 1. Terrace 2. Brasserie terrace 3. Brasserie 4. Servery 5. Void to museum foyer below 6. Green roof 7. Skylight 8. Reading room 一层平台规划： 1. 平台 2. 餐厅平台 3. 餐厅 4. 备餐间 5. 通往下方博物馆门厅的空地 6. 绿色屋顶 7. 天窗 8. 阅览室
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Level -1 Exhibition Plan: 1. Void to special exhibition gallery 2. Void to exhibition transit room 3. Exhibition workshop 4. Plant room/AHU 5. Plant room/electrical intake and distribution 6. Void to exhibition lobby
负一层展览规划： 1. 通往特别展览厅的空地 2. 通往展览过渡室的空地 3. 展览工坊 4. 机房/空调室 5.机房/电气分配室 6.通往展览大厅的空地
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Level 2 Archives Plan: 1. Bridge connection 2. Archive storage 3. Plant for archive 4. South wing 5. West wing
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二层档案区规划： 1. 连接桥 2. 档案仓库 3. 档案间 4. 南翼 5. 西翼
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滑铁卢地区博物馆 Location: Kitchener, Canada Designer: Moriyama & Teshima Architects in association with The Walter Fedy Partnership Construction Area: 4,360m2 Completion Date: 2011 Photographer: Tom Arban 项目地点：加拿大，基齐纳 设计师：森山&丰岛建筑事务所；沃尔特·菲迪事务所 建筑面积：4,360平方米 完成时间：
2011年 摄影师：汤姆·阿本
West Elevation 西立面
Waterloo Region Museum Situated at Doon Heritage Crossroads, the Waterloo Region Museum extends the experience of the existing 1914 living history village and tells the larger story of the Waterloo Region from its early German Mennonite roots to its multi-cultural, hightech present. In addition to its thematic importance, the water feature at the front of the museum also functions both as a storm water retention pond, and as a water cistern for the building’s grey water systems. The landscape design incorporates drought tolerant, low maintenance native plant species and requires no irrigation. These measures were able to reduce the museum's overall water usage by 60% over a typical building of its type. 滑铁卢地区博物馆位于杜恩遗产交叉路口，拓展了1914历史村落的体验并讲述了滑铁卢地区从德国 门诺会早期到现在的历史。
Railway Section 铁路剖面图
除了具有重要的主题特征之外，博物馆的水景还可用作雨水收集池，也是建筑废水系统的蓄水池。 景观设计集合了抗旱性、低维护原生植物，无需灌溉。这些措施能够将博物馆总用水量比同类型建 筑减少60%。
South Elevation 南立面
North Elevation 北立面
Colour Scheme 色谱 Below: Below: Quilt Wall viewed from Homer Watson Boulevard Facing Above: Above: Night view from street Facing Below: Below: Event terrace Final Homer Watson “Quilt Wall” façade 拼贴墙外立面
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下图：从拼贴墙荷马沃森大道看拼贴墙 对页上图：从街道看博物馆夜景 对页下图：活动平台
Conceptual Diagramme: 1. Past 2. Future 3. Elmira to Galt rail line 4. Flood plain 5. Axial view 6. Main entrance 7. Image quilt wall 8. 7 divisions of Waterloo Region 9. Recycled wood wall 10. Classroom wing 11. View to living history village 12. Stone wall 13. Gallery wing
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概念图表： 1. 过去 2. 未来 3. 从埃尔迈拉到高尔特铁路线 4. 冲积平原 5. 轴位 6. 主入口 7. 拼贴墙 8. 滑铁卢地区的7部分 9. 再利用幕墙 10. 教室区 11. 历史村落 12. 石墙 13. 展览区
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At the main entrance, the names of the seven parts of Waterloo Region: Cambridge, Kitchener, North Dumfries, Waterloo, Wellesley, Wilmot and Woolwich, are expressed as coloured glass panels that are each imbued with printed images from the museum’s collection.
pioneers to the industrious factory builders of the next generations, brought on largely by the introduction of the railways. At the crossroads, a section of the train track is revealed under a glass oor. The changing light from a skylight immediately overhead marks the passage of time and seasons.
Aligned directly on Old Huron Road, Huron Hall leads visitors from the main entrance to the crossroads. Like pioneers travelling on a wood corduroy road of yesteryear, visitors walk the length of the timber-framed space along a rough-hewn walnut oor, referencing a regional myth about how the rst settlers found the site by following the trail of the black walnut. A panoramic view to the exterior reveals a water feature designed to evoke the Grand River, the very reason that First-Nations people as well as the early Mennonite settlers were drawn to this place. The interior wall of Huron Hall is cladded with wood reclaimed from a highly signicant barn, built in the early 1800s by one of the first Mennonite families to settle the region (remarkably, the ancestors of a lead architect on the pro ject).
Inspired by the historic stone churches, mills, and factory buildings throughout the region, a feature limestone wall runs parallel to the historic railway line. A pattern of slender vertical apertures cut into the stone wall yield views into the exhibitions spaces beyond. The same limestone, in a honed nish is used for the oor of the lobby. A pattern of black granite and glass light boxes in the oor marks the original location of the train tracks.
From Huron Hall, the visitor moves into the lobby space at the exact crossing of Old Huron Road with the Elmira-Galt railway. Stepping from the walnut floor of Huron Hall to the stone oor of the lobby symbolises the historic shift from early agrarian
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Huron Road continues from the lobby and forms the main entrance into the galleries spaces beyond the stone wall. The Temporary Gallery space will accommodate changing exhibitions, while the Permanent Gallery space will tell the story of the Region from First Nations to the present day. A mezzanine, incorporating the Waterloo Regional Hall of Fame, offers overlooks into both galleries, a framed view back down Huron Road and a panoramic view over the terrace and living history village beyond.
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博物馆入口处，滑铁卢地区的七部分：坎布里奇、基齐纳、北敦夫里斯、滑铁卢、韦尔兹利、维尔 莫特和伍尔维奇被通过彩色玻璃板展现出来，玻璃板上还印有博物馆馆藏物品的图像。 8
与休伦路在一条直线上的休伦大厅引领参观者从主入口到交叉路口。如从前在木板路上旅行的先驱 一样，参观者沿粗制的胡桃木地板在木构架中穿行。这一设计引用了一个当地传说：第一批定居者 追随黑胡桃的足迹找到这里。室外全景展现了一处模仿格兰德河的水景设施，该河是第一民族（加
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拿大土著民族）和早期门诺会定居者前往此处的主要因素。大厅墙壁上包裹的木材从建于19世纪的 谷仓（由第一批定居的门诺会教徒建造，这户教徒也是项目主要建筑师之一的祖先）回收而来。 参观者从休伦大厅引导到位于老休伦路和埃尔迈拉-高尔特铁路交叉口的大堂空间。从休伦大厅的胡 桃木地板到大堂的石头地面，这象征着从早期农业先驱者到下一代工厂建造者的转变，而这一转变 主要由铁路的建设实现。头顶的天窗所提供的变换的光线标志着时间和岁月的长廊。 受到该区域历史上的石教堂、磨坊和工厂建筑的启发，设计师建造了一面与古老的铁路线平行的特 色石灰石墙壁。墙壁上细长的开口展现了展览空间的景色。同样的石灰石经过亚光处理后被运用到 了大堂的地板上。地面上的黑色花岗岩和玻璃光盒图案标志了博物馆原址的铁轨。 休伦路穿过大堂，形成了通往石墙后展览区的主入口。临时展览空间将进行变换的展览，而永久展 览空间则讲述了该地区从第一民族时期到现在的历史。夹层空间设置着滑铁卢地区的名人堂，俯瞰 两个展览区、回望休伦路并欣赏平台和历史村落的全景。 Left: Left: Front Entrance with image quilt wall 左图：正门入口和拼贴墙
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Section Detail: 1. White roof 2. High-level air supply 3. Sun shade 4. Recycled wood 5. High performance Low-E glazing 6. Sun shade 7. Timber column in background 8. Recycled wood on front desk 9. Hated oor 10. Pool (Grey water cistern) 11. Entrance info desk 剖面细部： 1. 白色屋顶 2. 高层空气供应 3. 遮阳板 4. 再利用木材 5. 高性能低排放玻璃装配 6. 遮阳板 7. 背景木柱 8. 前台的再利用木材 9. 地热地板 10. 水池（灰水收集箱） 11. 入口信息台
Left: Left: Main lobby view to historic village Facing: Facing: Crossroads 上图：从大堂看老村落 对页图：交叉路口 Site Plan: 1. Main entrance 2. Classroom wing 3. Lobby 4. Gallery wing 5. Terrace 6. Outdoor classroom 7. Pool 8. Waterfall 9. Storm pond 10. Bioswale 11. Existing animal pastures 12. Entrance to village 13. Historic train station 14. Existing barns 15. Martin house 16. Return from historic village 17. Existing swale 总平面图： 1. 主入口 2. 教室区 3. 大堂 4. 展览区 5. 平台 6. 露天教室 7. 水池 8. 瀑布 9. 暴雨池塘 10. 生态沼泽 11. 原有的动物牧场 12. 村落入口 13. 古老的火车站 14. 原有的谷仓 15. 原有的马厩 16. 老村落重现 17. 原有的沼泽
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横须贺艺术博物馆 Location: Yokosuka City, Japan Designer: Riken Yamamoto & Field Shop Completion Date: 2006 Photographer: Sergio Pirrone Award Name: 49 th BCS (Building Contractors Society) Prize in 2008 项目地点：日本，横须贺市 设计师：山本理显设计事务所 完成时间：2006年 摄影师：塞尔吉奥·皮洛恩 所获奖项： 2008年第49届建筑承包商协会大奖
Yokosuka Museum of Art The backside of the site is the mountain with valuable primeval forest left in this Miura Peninsula, and black kites are freely ying in arcs. How should this kind of naturalistic environment be utilised, or be conserved? That was the theme of the designers’ discussion at the meeting hold once every other week. The designers began to call the project as a “stay-over type museum”. This is the type of a museum, which can only comprise in such environment richly endowed with nature, coming away from the centre of Tokyo. What kind of museum is it, where visitors do not have chance to get bored even if they stay half a day, or even a whole day? 项目场地后方是价值连城的三浦半岛原始森林，黑鸢自由地翱翔于天际。怎样利用或保护这种自然 环境？这是设计师每两个星期一次例会上所讨论的主题。 设计师称项目为“留宿制博物馆”。这种博物馆只有在如此与自然紧密结合、而又远离城市中心的 环境中才能实现。怎样的博物馆才能让游客们在半天、甚至一整天的参观过程中不感厌倦呢？
Section1: 1. Exhibition hall 2. Gallery 3. Storage 4. Storage anterior chamber 5. Restaurant 6. Curator’s ofce 7. Light well 8. Information lounge 9. Volunteer staff room 10. Library
剖面图1： 1. 展览厅 2. 走廊 3. 仓库 4. 仓库前房 5. 餐厅 6. 馆长办公室 7. 天井 8. 信息大厅 9. 义工休息室 10. 图书室
Section 2: 1. Exhibition hall 2. Gallery 3. Storage 4. Electric room 5. Parking 6. Entrance hall 7. Light well 8. Taniuchi Rokuro pavillion 9. Information lounge
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剖面图2： 1. 展览厅 2. 走廊 3. 仓库 4. 电气室 5. 停车场 6. 入口大厅 7. 天井 8. 谷内六郎馆 9. 信息休息室
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The designers cut and tried in various ways at the table. They wanted to produce a building as low as possible by allocating art storages and the gallery spaces of the permanent collection under the ground level. Considering the impact to the surrounding environment, many of the attendees of the design meeting agreed with this concept. Next, the designers wanted to cover the entire building in glasses, which seemed to have a possibility of considering the damage from the briny air and aged deterioration. They also wanted to open up the ocean side of the building, which is the main access side. Therefore the designers placed a restaurant, a museum shop, and a space for workshops at the front façade side, as they thought those activities would be open to the public. The rooftop space should have the best view from this building, thus the space would become another central area of this museum. Behind of the building is the surrounding mountain, while the ocean spreads in front of the building - considering this particular location; those ideas appeared to be quite reasonable. The interior space should be an attractive space that its visitors find completely different experience once they step into the museum building, although the space also opens up to the surrounding. In order to fulfill this concept, the designers designed to cover the exterior surface of the building by glasses, while thin steel panels also enclosed the space inside of the building as another cladding. Steel panel is chosen as a material in order to provide a smooth surface and it is hard to distinguish the angled corner - the visitors inside of the building would feel more enclosed by this cladding.
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设计师在桌台上对模型进行了多种方式的切割。他们试图打造一座尽量低矮的建筑，将永久性藏品 的仓储和展览空间设在地下。考虑到周边的环境，大多数设计会议的与会者都认同这一理念。设计 师试图将整座建筑设在玻璃内，这一设计必须考虑到海风和岁月的侵蚀。他们还将建筑朝海的一侧
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打开，成为主入口。设计师在正立面设置了餐厅、博物馆商店和工坊空间，因为他们认为这些活动 应该向公众开放。屋顶空间可以俯瞰全楼，成为了博物馆的另一个中心。建筑后方是起伏的山脉， 前方则是浩瀚的大海。考虑到这一独特的地理位置，这些设计理念都十分合理。
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尽管建筑朝向周边环境开放，其室内空间将为游客们提供前所未有的博物馆体验。为了实现这一理 念，设计师运用玻璃覆盖建筑的外立面，而内层的钢板则是建筑的另一层包层。钢板提供了光滑的 表面，很难区分边角，游客在建筑内部将感受到深层次的封闭感。
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Above: Above: Balcony 上图：阳台
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Sectional Detail: 1. Windbreak 2. Gallery 3. Bridge 4. Exhibition hall 8 5. Information lounge 6. Penthouse 7. Exhibition hall 3 8. Storage
剖面细部图： 1. 防风区 2. 走廊 3. 桥梁 4. 展览厅8 5. 信息大厅 6. 阁楼 7. 展览厅3 8. 仓库
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Director’s ofce 一层（上）和二层（下）：10. Curator’s ofce 1. 展览厅 11. Curator’s data room 2. 入口大厅 12. Closed stack room 3. 餐厅 13. Light well 4. 博物馆商店 14. Taniuchi Rokuro pavilion 5. 工坊 15. Information lounge 6. 工坊前厅 16. Volunteer staff room 7. 行政办公室 17. Library 8. 会议室 18. Heat source equipment 9. 前台 19.
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Plan-1F(Above) & 2F(Below): 1. Exhibition hall 2. Entrance hall 3. Restaurant 4. Museum shop 5. Workshop 6. Workshop anteroom 7. Administration ofce 8. Meeting room 9. Reception room
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Plan-B1F(Left) & B2F(Right): 1. Exhibition hall 2. Gallery 3. Storage 4. Storage anterior chamber 5. Receiving and unwrapping 6. Service yard 7. Exhibit preparation room 8. Machine room 9. Electric room 10. Dynamo room 11. Parking
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负一层（左）和负二层（右）： 1. 展览厅 2. 走廊 3. 仓库 4. 仓库前房 5. 接待处和装货区 6. 服务庭院 7. 展览准备室 8. 机械室 9. 电气室 10. 电机室 11. 停车场
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总监办公室 馆长办公室 馆长资料室 封闭书库 天井 谷内六郎馆 信息大厅 义工休息室 图书室 热源设备
沃邦别墅博物馆 Location: Luxembourg City, Luxembourg Designer: Philippe Schmit Architects Construction Area: 2,045m 2 Completion Date: 2010 Photographer: Lukas Roth Award: 1 st Prize TECU Architecture Award
2010 项目地点：卢森堡，卢森堡城 设计师：菲利普·施密特建筑事务所 建筑面积：2,045平方米 完成时间：2010年 摄影师：
卢卡斯·罗斯 所获奖项：2010年太古建筑奖一等奖
Museum Villa Vauban The new building is stacking two levels of exhibition spaces behind the villa, rising up from foundation level of the fortress wall underneath the actual park level. Its tilted vanishing edges appear like abstract landscape lines echoing the undulating park landscape. The interior promenade of the exhibition circuits stages hammered concrete surfaces of its monolithic architectural body, etched translucent glass façades and oak wooden oors and ights of stairs as opposed to enlades of abstract white cubes. Openings in the frontage create viewing points that facilitate the visitors’ spatial orientation while revealing the activity inside the museum to passers-by. Old and new exhibition rooms have been integrated into flexible continuous exhibition circuits, with the in-between entrance hall acting as a transition between the two buildings. 新建筑位于别墅后面，拥有两层展览空间，从低于公园地面的围墙上缓缓升起。它倾斜的边缘看起
East View 建筑东面
来像抽象的景观线条，与波澜起伏的公园景观遥相呼应。 环形展览空间的走道采用锤打混凝土建筑主体表面、风化透明玻璃外立面和橡木地板、楼梯，与抽 象的白色立方体结构相对比。 建筑正面的门窗开口所营造的视野为参观者提供了空间导向，同时也为行人展示了博物馆内部的活 动。新旧展览室通过灵活的展览路径结合在一起，中间的入口大厅则是两座建筑的过渡部分。
South View 建筑南面
North View 建筑北面
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Below Left: Left: Frontal side view, renovated villa plus entrance annex Below Right: Right: Annex, entrance area, connection of old-new Facing Above: Above: Back general view from park Facing Below: Below: Annex, night, back view from park 左下图：正面侧景，翻新的别墅和入口附属建筑 右下图：附加设施，入口区域，连接了新旧建筑 对页上图：从公园看建筑后部 对页下图：夜晚，从公园看附属建筑后部
The architectural project maximises the exhibition surfaces (growing from initial 350 square metres to now approx. 1,200 square metres) while retaining the site’s historic elements (fortress wall, bourgeois villa, garden landscaping and public park), and creating a new balance of the global urban and landscape situation. Integration was achieved by locating half of the new architectural volume underground and tting it with a dynamic façade from translucent large-scale sheets of perforated red brass, which reects rather than dominates the environing park. The new architectural ensemble, which can be accessed both from the street, through the main gate, and from the park, by means of a new pathway, is clearly identiable as a public building appearing in the beautiful landscape of the municipal park. The obtuse-angled metal folds of the façade and the roof surfaces of the new construction are characterised by the strong haptical quality of the chosen material that conveys an impression of lightness while integrating the building into the landscape, varying between a sculptural and a highly translucent appearance. The galleries in the extension have been articulated as superimposed flights of rooms. They have been offset along their longitudinal axis, resulting in setbacks and recesses that host a number of dedicated spaces such as a sculpture gallery, a loweroor gallery passageway, a children’s workshop, a loggia with a view into the park, a cabinet with half-storey ceiling height and a large-scale staircase leading down to the lower exhibition level. These elements dene the choreography of the museum circuit, slowing down visitors’ pace to enjoy the view of the slowly disappearing park landscape while attracting their attentions to details of textures and space. Above: Above: Frontal general view Below: Below: Annex, night, viewed form the entrance side Facing Above and Below: Below : Annex corner, backside viewed from park 上图：正面全景 下图：夜晚，从入口看附属建筑 对页上图和下图：从公园看附属建筑后部一角
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Hall 1. 大厅 Elevator 2. 电梯 Entrance 3. 入口 Exhibition space 4. 展览空间 Staircase 5. 楼梯 Passage 6. 走廊
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建筑项目将展览空间最大化（从350平方米扩大到了1,200平方米），同时保留了场地原有的历史 元素（围墙、中产阶级别墅、花园景观和公园），早期全球化城市进程和景观设计中形成了全新的
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成），反映而不是支配了周边的公园空间。 新建筑结构可以从街面的大门和公园的新走道进入，是公园美丽的景观中一座独特的建筑。外立面 棱角圆润的金属外壳和屋顶表面具有强烈的触感，既具轻盈感，又让建筑融入景观，在雕塑感和半 透明效果之间变换。 扩建结构中的展览厅像纵深房间一样叠加在一起。它们沿着垂直中轴而设，形成了曲折反复的空 间，作为专属空间，如雕塑展厅、底层展厅通道、儿童工坊、拥有公园视野的凉廊、半层楼高的储 藏阁和通往下层展览空间的大型楼梯。这些元素界定出博物馆的路径，减缓了参观者的脚步，让他 们可以慢慢欣赏逐渐消失的公园景观，同时也将注意力放在建筑空间和质感的细节上。
Facing Above Left: Left: Annex, entrance reception, ground oor Facing Above Right: Right: Renovated villa, exhibition room, ground oor Above: Above: Annex, inner staircase, level -1 Right: Right: Annex, exhibition room, level -2 对页左上图：附属建筑，一层入口前台 对页右上图：翻新的别墅，一层展览厅 上图：附属建筑，负一层内部楼梯 右图：附属建筑，负二层展览室
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大急流城艺术博物馆 Location: Grand Rapids, USA Designer: WHY Architecture Completion Date: 2007 Construction Area: 11,613m2 Photographer: Kulapat Yantrasast 项目地点：美国，大急流城 设计师： WHY建筑事务所 完成时间：2007年 建筑面积：11,613平方米 摄影师：库拉帕 特·杨特拉萨斯特
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博物馆剖面： 1. 灯笼天窗 2. 欧洲艺术永久藏品 3. 美国艺术永久藏品 4. 早期现代艺术永久藏品 5. 现代艺术永久藏品 6. 印刷品研究室 7. 印刷品展览厅 8. 临时展览厅 9. 礼堂 10. 大堂 11. 设计和现代手工艺永久藏品
Grand Rapids Art Museum 10 things the Grand Rapids Art Museum is, and always will be: - An art museum for all – art, people and the environment; - Living room, plaza, event hall and café rolled into one awesome place for citizens of Grand Rapids; - About “invisible green”; creative sustainable design initiated along w ith its aesthetic vision; - Designed as open pavilions ngering into th e park allowing the park to slide and ow in between the buildings; - Determined to facilitate stimulating and inspiring encounters between people and art; - All for strengthening the sense of place – art experience with appreciation of where you are; - Built mostly with materials available within 322 kilometres; - 80% naturally lit; - A hands-on product of love from m ore than 5,000 citizens of Grand Rapids and beyond - artists, construction workers, curators, educators, architects, engineers, volunteers and many others; - The rst new art museum in the world to receive the LEED Gold. 大急流城艺术博物馆拥有以下10个特点： 一、一个全面的博物馆——为艺术、人和环境而建； 二、集生活空间、广场、活动大厅和咖啡厅于一身，为大急流城的市民提供服务； 三、“不可见的绿色设计”，创意可持续设计与美观相结合； 四、开放式展馆深入公园之中，让公园进入建筑之间； 五、致力于帮助刺激并激发人与艺术之间的邂逅； 六、强化空间感——在空间的欣赏中体验艺术； 七、大多数材料都产于322千米以内； 八、自然采光占80%； 九、由大急流城5000多名市民、艺术家、建筑工人、博物馆管理员、教育工作者、建筑师、工程师
Below: Below: Entrance & Exit 下图：出入口
和志愿者亲手打造； 十、世界上第一座获得绿色建筑金奖认证的新建艺术博物馆。
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Art and the Envir onment: Design So lutions (Left): 1. Energy-saving Skylights Tailored to Light Levels for Art: Natural light enters through triple-layered glass with ultraviolet protection and adjustable louvers to provide suitable light 2. Safe and Energy-efcient Indoor Air Quality Control: Carbon dioxide monitoring, low-emitting materials and strict chemical/pollutant control 3. Certied Wood Flooring: White oak planks used in the gallery come from sustainably harvested forests in the Northwest, certied by Forest Stewardship Council 4. Local Materials: Much Materials: Much of the building’s materials are sourced locally - the concrete is made from cement, sand and stone from sources near Lake Michigan 5. Use of Recycled and Recyclable Materials: Building’s Building’s insulation materials made from recycled paper and ber. Recyclable carpeting made from digestible corn-based plastic 6. Public Transportation Friendly: Bicycle racks and staff showers in the facility 7. Water-efcient Landscape Design 8. Educate and Inform the Public about Green Building and the Environment: Regeneration of underdeveloped urban site 9. Innovative Air-conditioning System: Energy-saving air conditioning uses 3 of 3.6-metre-diameter energy wheels to bring in fresh air. Indirect evaporative cooling method for air-conditioning. Ozone depletion policy 10. Small Building Footprint: Leaving parts of the land for park, courtyards and water features 11. Natural Water Recycling: Rain and snow water is stored and recycled for toilets, plant irrigation, pool and water wall 12. Energy-saving Construction: Efcient insulation for solid concrete walls and glass walls 13. Green Housekeeping and Strict Recycling Programme 14. Eco-friendly Entrance: Large front portico gives protection in the harsh winter and shade in the summer for activities 15. Natural Light + Energy Saving Features: Resourceful use of natural light through large windows and skylights without harming the art. 3 layers of lters: exterior louvers, energy-saving insulated glass with argon gas and fabric scrim for light ltering in public area
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Lantern Section (Above): 1. 1-9/16” laminated glass wall butt-glazed joints between structural glass panels 2. Pre-nished alum-framing system with double light glass panel. Integral motor operated blind slat unit. 3. 5-1/2” concrete slab on 2” metal deck. To maintain 2 HR. Rating 4. In oor grille ush with n. Floor 5. 5/8” GYP. Board over 5/8” re retardant plywood 6. Line of wall in background and foreground 灯笼结构剖面图（上）： 1. 19/16英寸夹层玻璃墙，结构玻璃板之间配有玻璃接头 2. 预制铝框系统配有双层轻质玻璃板；发动机控制的百叶窗条板装置 3. 2英寸厚金属板上的51/2英寸混凝土板，保证了2小时额定功率 4. 隔栅与地面齐平 5. 5/8英寸石膏板覆盖在5/8英寸防火胶合板上 6. 背景和前景墙上的墙线
艺术和环境：设计方案 （接87页） 1. 节能天井为光亮的艺术展区量身定制：自然光线穿透三层防紫外线玻璃和可调节式百叶窗，为艺术品展示提供 了合适的光线 2. 安全而节能的室内空气质量控制：二氧化碳监控、低挥发性材料和严格的化学物/污染物控制 3. 认证木地板：展览厅里的白橡木板来自于美国西北部可持续砍伐的森林，得到了美国森林管理委员会认证 4. 本地材料：大多数建筑材料都来自本地——混凝土由密歇根湖边的水泥、沙子和石材混合制成 5. 回收和可回收材料的使用：建筑隔热材料由回收纸和纤维制成；可回收毛毯由可吸收的玉米成分塑胶制成 6. 便利的公共交通：自行车停放架和员工淋浴设备 7. 节水景观设计 8. 教育公众并向公众展示了绿色建筑和环境：重塑未经开发的城市环境 9. 创新空调系统：节能空调采用3个直径为3.6米的能量轮来引入新鲜空气；空调采用间接蒸发式冷却方法，符合 臭氧消耗策略 10. 建筑占地面积小：为公园、庭院和水景留下了空间 11. 天然水回收系统：雨水和雪水被储藏起来，用于马桶冲水、植物灌溉、水池和水墙 12. 节能构造：混凝土墙壁和玻璃幕墙具有高效隔热系统 13. 绿色家政和严格的回收体系 14. 环保入口：巨大的门廊保证了建筑冬暖夏凉 15. 自然采光+节能特征：通过大窗户和天窗来充分利用自然光，同时又不会损害艺术品；三层过滤：外部百叶 窗、带有氩气的节能隔热玻璃和滤光纤维罩
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Facing: Facing: Entrance Top Right: Right : Canopy Above: Above: Pocket Park 对页图：入口 右顶图：雨篷 上图：迷你公园
The new Grand Rapids Art Museum occupies one city block right in the heart of Grand Rapids, Michigan. Grand Rapids is a city well known for its legacy and influence on commerce, craft and modern design and it is the home to many international companies - AmWay, Steelcase, Herman Miller, Haworth, among others. The new museum has 11,613 square metres of floor area with more than 4,645 square metres of gallery and art exhibition spaces. The new building is located adjacent to the park with sculpture “Ecliptic” by Maya Lin, forming an urban oasis surrounded by tall buildings. Grand Rapids Art Museum’s design emphasises the important balance of both the exterior openness and the interior calmness, both people’s needs to connect and also their needs to take inner journeys with the arts. Both for people to enjoy the uplifting quality of light in the galleries as well as for them to enjoy wonderful outdoor time under the canopy. 大急流城艺术博物馆在市中心占据了一块街区。大急流城以其贸易、手工艺和现代设计的历史和 影响力而闻名，是安利、斯凯家具、赫曼米勒、霍沃斯等知名国际公司的所在地。博物馆总面积 11,613平方米，其中展览空间超过4,645平方米。新建筑紧邻设有玛雅·林“黄道”雕塑的公园，公 园在林立的高楼中打造了一片城市绿洲。 大急流城艺术博物馆的设计强调了外部开放和内部平静感的平衡，满足人们沟通的需求和对内部艺 术之旅的渴望。人们既可以享受展厅的光线，又可以在雨篷下享受美好的户外时光。
Facing Above: Above: Entrance Facing Below: Below: Lobby Above: Above: Pool 对页上图：入口 对页下图：大堂 上图：水池
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Ground Floor Plan: 1. Gallery 2. Auditorium 3. Museum shop 4. Sculpture court 5. Reecting pool 6. Museum ofces 7. Lobby 8. Dining court 9. Pocket park 10. Café 一层平面图： 1. 展览厅 2. 礼堂 3. 博物馆商店 4. 雕塑庭院 5. 倒影池 6. 博物馆办公室 7. 大堂 8. 美食广场 9. 迷你公园 10. 咖啡厅
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Facing: Facing: Gallery Above: Above: Permanent collection gallery 对页图：展览厅 上图：永久藏品展厅
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First Floor Plan: 1. Gallery 2. Library 3. Museum ofces 二层平面图： 1. 展览厅 2. 图书馆 3. 博物馆办公室
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Facing: Facing: East court Above: Above: Auditorium 对页图：东部庭院 上图：礼堂
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Third Floor Plan: 1. Gallery 2. Lantern gallery 四层平面图： 1. 展览厅 2. 有天窗的展览厅
奥尔胡斯艺术博物馆 Location: Aarhus, Denmark Designer: Schmidt Hammer Lassen Architects Completion Date: 2004 Site Area: 17,700m2 Photographer: Schmidt hammer lassen architects Awards: 2004 Aarhus Municipality’s
Architecture Prize, 2004 FX Awards Best Museum and 2004 InSitu Prize 项目地点：丹麦，奥尔胡斯 占地面积：17,700平方米 完成时间：2004年 设计师：SHL建筑事务所 摄影师：SHL建筑事务
所 所获奖项：2004年奥尔胡斯城市建筑奖；2004年FX最佳博物馆奖；2004年英西图奖
ARoS Aarhus Museum of Art The museum is designed specifically to welcome visitors, straddling a public thoroughfare that transforms the building into a “bridge” linking two of the city’s cultural centres. This public route through the museum provides a vital connection with the network of streets beyond, encouraging dynamic interplay between the museum and everyday life. 博物馆的设计以吸引游客为目的，一条公共通道将建筑变形为连接两个城市文化中心的“桥梁”。 这一穿越博物馆的公共走道为后方的街道网络提供了重要连接，促进了博物馆和日常生活的互动。
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East Elevation: 1. Entrance 2. Lift tower 3. Café
东立面： 1. 入口 2. 电梯 3. 咖啡厅
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Site Plan: 1. ARoS 2. Scandinavian Congress Centre 3. Industry & Trade Archives 4. Aarhus City Hall 5. Aarhus Concert Hall 6. Aarhus Public Library 总平面图： 1. 奥尔胡斯博物馆 2. 斯堪的纳维亚会议中心 3. 工业和贸易档案馆 4. 奥尔胡斯市政厅 5. 奥尔胡斯音乐厅 6. 奥尔胡斯公共图书馆
This striking art museum is the cultural centre piece of Aarhus, Denmark’s second largest city. The client of this project is Aarhus Munici pality, and the total construction sum is 40 million excluding. VAT. It won the 1 st p rize in open international competition. After its construction, it also won many architectural prizes. The building, set into the sloping site, has a footprint of 52 metres x52 metres and stands almost 50 metres high. In contrast to the apparent severity of the exterior, the dazzling white interior, ooded with daylight, presents a sequence of highly organic sweeping curves that dene the different levels of the building. The interior curving walkway divides the museum into two distinct wings: the exhibition wing with its gallery spaces and the service wing housing a restaurant, administration ofces, conservation area, workshops, storerooms and library. A spectacular spiral staircase rises up from the museum walkway, a sculptural form wrapping around two lift shafts, together providing dramatic connections to the exhibition galleries. High-level bridges traverse the "canyon" of the atrium space, creating dynamic connections between the two core areas of the museum. 这座引人注目的艺术博物馆是奥尔胡斯（丹麦第二大城市）的文化中心。项目的委托人为奥尔胡斯 市政厅，总建造成本为4000万欧元（除去增值税）。项目获得了开放式国际竞赛的一等奖。建成之 后，同样获得了许多建筑奖项。 建筑位于一个缓坡上，覆盖52米x52米的场地，高度约50米。与外观的庄重感相反，炫目的白色室 内充满了阳光，呈现出有机感十足的弧线，划分出建筑的各个楼层。 室内弧形走道将博物馆分为两个独立的部分：展览区和服务区，其中服务区内设有餐厅、行政办公 室、会议区、工坊、储藏室和图书室。 宏伟的螺旋楼梯从博物馆走道缓缓向上升起，雕塑造型环绕着两个电梯井，为展览空间提供了戏剧 化的连接。高架桥横跨中庭的“峡谷”，在博物馆的两个核心区域之间形成了动感的连接。
Section A-A: 1. Interior street 2. Foyer 3. Exhibition 4. Changing exhibition 5. Galleries/the 9 rooms 6. Auditorium 7. Paint store 8. Gallery corridor 9. Plant room A-A 剖面图： 1. 室内街道 2. 门厅 3. 展览区 4. 变换的展览区 5. 展览厅/九间房 6. 礼堂 7. 油画商店 8. 走廊 9. 机械室
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Section B-B: 1. Entrance 2. Interior street 3. Stairs/lift tower 4. Gallery corridor 5. Exhibition B-B剖面图： 1. 入口 2. 室内街道 3. 楼梯/电梯 4. 走廊 5. 展览厅
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Ground Floor Plan: 1. Entrance 2. Interior street 3. Foyer 4. Book shop 5. Café
6. Ticket sales 7. Cloakroom 8. Main stairway 9. Staff canteen 10. Fire stairs
一层平面图： 1. 入口 2. 室内街道 3. 门厅 4. 书店 5. 咖啡厅
6. 售票处 7. 衣帽间 8. 主楼梯 9. 员工餐厅 10. 消防楼梯
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Level -1 Plan: 1. Open 2. Footbridge 3. Gallery corridor 4. Auditorium 5. Children’s space
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负一层平面图： 1. 入口 6. Workshop 2. 人行桥 7. Exhibition 3. 走廊 8. Classroom 9. Conservation Studio 4. 礼堂 5. 儿童空间 10. Fire stairs
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Level 3 Plan: 1. Open 2. Footbridge 3. Gallery corridor 4. Exhibition 5. Library
三层平面图： 6. Ofces 1. 入口 7. Meeting room 2. 人行桥 8. Stairway to level 1 3. 走廊 9. Study room 4. 展览区 10. Fire stairs 5. 图书馆
6. 办公室 7. 会议室 8. 通往一层的楼梯 9. 研究室 10. 消防楼梯
克罗地亚现代艺术博物馆 Location: Zagreb, Croatia Designer: Igor Frani ć, Studio za arhitekturu d.o.o. Completion Date: 2009 Construction Area: 18,000m2 Photographer: Filip Beusan, Damir Fabijanic, Sandro Lendler 项目地点：克罗地亚，萨格勒布 设计师：伊戈尔·弗拉尼克、za建筑工作室 完成时间：2009年 建筑面积：18,000平方米 摄影师：菲利普·布桑、达米尔·法比贾尼克、桑德罗·兰德勒
Croatia Museum of Contemporary Art Frani ć’s project generates “its own city-planning” within the borders of the parcel and forms an ample square that slowly rises towards the large “hovering” mass of the Museum, which covers the open public space. The relationship of interior and exterior design shows a certain inversion of conventions through the harsh interior and sleek exterior. The aesthetics of the interior is neutral and to some extent intentionally brutal. White walls, oat nish of floors and unplastered concrete of the load-bearing construction suggest that the museum building is primarily “spatial infrastructure”. However, along with this acetic approach, Frani ć also applies non-purist procedures: all solid surfaces of the meander’s body are frontally and underneath clad in polycarbonate plates behind which the carrier construction is visible. Polycarbonate is consequentially mounted also on the ceiling of the ground-oor interior, which unies the hovering mass into a rounded-up whole. 弗拉尼克的项目在场地限制内创造了“自己的城市规划”，在巨大的悬空博物馆下方形成了宽敞而 开放的公共广场。 室内外设计的关系通过粗糙的室内和时尚的外观体现了对传统设计理念的逆转。室内的美观度相对 中立，甚至有意地展现粗糙。白色墙壁、抹光地面和裸露的混凝土承重结构向人们展示：博物馆首 先是一个“空间基础设施”。然而，建筑师还是在建筑上层的内墙表面上进行了装饰，包上了聚碳 酸酯板，下方的支撑结构则被凸显出来。一层室内的天花板上同样采用了聚碳酸酯板，让建筑成为 一个统一的整体。
Above: Above: Site plan Right: Right: Aerial view Below: Below: West elevation
Bottom: South elevation Facing Above: Above: Front view Facing Below: Below: General view 上图：总平面图 右图：鸟瞰图 下图：西立面 底图：南立面 对页上图：建筑正面 对页下图：建筑全景
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In accordance with the requirements and the wish of achieving as flexible ground oor plan as possible, the basic load-bearing structure of the building consists of a spatial skeleton structure, which in its rationality and spatial layout tries to meet all the needs of the Museum.
Reinforced concrete columns and beams set 10 metres and 20 metres apart, with a ceiling reinforced concrete cladding of 26 centimetres centimetres thickness, are the principal constructive elements. The foundation 70cm slab underlies the building. All secondary elements of galleries and staircases are made of steel as a separate unit that inuences the basic construction system. In dependence on construction demands, but also on the position within the structure, the columns have variable cross-cuts, from round to rectangular. Depending on the span, the girders and beams also have variable dimensions. Thus there are girders of 110, 125 and 160 centimetres height. In accordance with the penetration of electricity and plumbing, penetration is envisaged in some of the girders in a way that meets the basic structural demands. By utilising particular materials, both in the exterior and the interior, public usage of the structure is enabled, as well as easy maintenance; the character of some areas is highlighted by wood, stone, PVC ooring, terrazzo tiles, concrete, epoxy coating or a metal oor grid. 为了实现建筑一楼空间灵活度的需求，建筑的基础承重结构由空间骨架构造组成，其合理设计和空 间布局力求符合博物馆的全部需求。 钢筋混凝土梁柱建筑间隔10米、20米，天花板混凝土包层厚26厘米，是主要结构元素。地基70厘米 的平板是建筑基础。展厅和楼梯的次要元素由钢材建造，形成独立单元，影响着基础结构系统。 柱子依赖于结构需求，是结构系统的一部分，拥有圆形、长方形等不同的横截面。纵梁和横梁的尺 寸也不尽相同。纵梁的高度有110厘米、125厘米和160厘米不等。为了配合电流和水管设施，一些 纵梁上设有凹槽，以满足基础结构需求。 建筑通过室内外特殊材料的运用实现了公共用途，同样还便于维护；一些区域突出使用木材、石 材、聚氯乙烯地面、水磨石地砖、混凝土、环氧树脂涂层或金属地面网格来进行装饰。
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Facing Above: Above: Night view Facing Below: Below: Axonometry
Below and Bottom: Longitudinal sections 对页上图：建筑夜景 对页下图：建筑轴测图 下图和底图：纵切面
Above: Above: Hall Facing Above: Above: Exhibition Facing Below Left: Left: Resting Facing Below Right: Right: Stair 上图：大厅 对页上图：展览区 对页左下图：休息区 对页右下图：楼梯
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Above and Facing: Facing: Exhibition area 上图和对页图：展览区
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丹佛艺术博物馆扩建工程 Location: Denver, USA Designer: SDL WITH Davis Partnership CompletionDate: 2006 Construction Area: 16,723m2 Photographer: SDL, BitterBredt, Michele Nastasi, DAM 项目地点： 美国，丹佛 设计师：SDL和戴维斯事务所 完成时间： 2006年 建筑面积：16,723平方米 摄影师：SDL、比 特·布雷德特、米歇尔·纳斯塔斯、DAM
Extension of the Denver Art Museum The new building has become a major cultural landmark for Denver, attracting thousands of visitors to the museum complex. Nexus is conceived in close connection with the function and aesthetic of the existing Ponti Museum, as well as the entire Civic Centre and public library. The new building is a kind of city hub, tying together downtown, the Civic Centre, and forming a strong connection to the golden triangle neighbourhood. neighbourhood. The project is not designed as a stand alone building, but as part of a composition of public spaces, monuments and gateways in this developing part of the city, contributing to the synergy amongst neighbours. 丹佛艺术博物馆的新建筑已成为丹佛主要的文化地标，吸引着成千上万的游客前往。 建筑与现有的朋提博物馆、乃至整个市民中心和公共图书馆在功能和美学上都有着紧密联系。新建 筑类似一个城市集中点，连接着市中心和市民中心，形成强有力的金三角街区。她不仅是一座独立 建筑，而且是公共空间的一部分，是发展中城市的纪念碑和门户，与周边设施一起为城市做贡献。
From Top to Bottom : Panoramanic of DAM from East; East elevation; North-South section from east; Aerial view of museum and museum residences Facing Above: Above: DAM’s enormous cantilever hovers over the street 从上至下依次为：从东面看博物馆全景；东立面；从东面看博物馆南北截面； 博物馆和博物馆住宅鸟瞰图 对页上图：博物馆巨大的悬臂结构盘旋于街道之上
Section Looking East: 1. Permanent exhibition 2. Restroom 3. Atrium 4. Mechanical 5. Meeting room 6. Lobby 7. Passage 8. Auditorium lobby 9. Art storage 4 1
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东部截面图： 1. 永久展览区 2. 洗手间 3. 中庭 4. 机械室 5. 会议室 6. 大堂 7. 走廊 8. 礼堂前厅 9. 艺术品仓库
The materials of the building closely relate to the existing context as well as innovative new materials (such as titanium), which together will form spaces that connect local Denver tradition to the 21 stC entury. The amazing vitality and growth of Denver - from its foundation to the present inspires the form of the new museum. Coupled with the magnicent topography with its breathtaking views of the sky and the Rocky Mountains, the dialogue between the boldness of construction and the romanticism of the landscape creates a unique place in the world. The bold and forward looking engagement of the public in forging its own cultural, urban and spirited destiny is something that would strike anyone upon touching the soil of Colorado.
Section Looking North: 1. Mechanical 2. Restroom 3. Permanent exhibition 4. Lift lobby 5. Ofce 6. Atrium 7. Auditorium lobby
8. Projection booth 9. Lobby 10. Kitchen 11. Coats 12. Auditorium 13. Storage 14. Sculpture deck
北侧截面图： 1. 机械室 2. 洗手间 3. 永久展览区 4. 电梯大堂 5. 办公室 6. 中庭 7. 礼堂前厅
8. 放映室 9. 大堂 10. 厨房 11. 衣帽间 12. 礼堂 13. 仓库 14. 雕塑平台
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One of the challenges of building the Denver Art Museum was to work closely and respond to the extraordinary range of transformations in light, colouration, atmospheric effects, temperature and weather conditions unique to this City. The designer insisted these be integrated not only functionally and physically, but culturally and experientially for the benet of the visitors’ experience.
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建筑材料与场地环境紧密相连，与创新型材料（如钛金属）共同形成了将丹佛这座城市与21世纪联
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丹佛的活力和成长历史（从建立到现在）为新博物馆的造型提供了灵感。建筑与壮丽的天空和落基
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山脉美景相结合，大胆的建筑结构和浪漫的景观打造了世上独一无二的景点。大胆而前卫的公共设 施与其自身的文化、都市和生机勃勃的命运相结合，将成为科罗拉多给人的第一印象。 丹佛艺术博物馆所面临的挑战之一是与城市独特的大量光线、色彩、大气效果、气温和天气情况紧 密结合。设计师坚持将这些元素体现在功能和外观上，同时在文化和体验方面增强游客的体验。 3
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Facing: Facing: Titanium clad entryway Below: Below: Sculpture deck 对页图：钛包层入口通道 底图：雕塑平台
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Facing and Above: Above : Details with Denver Public Library 对页图和上图：丹佛公共图书馆细部
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Left: Left : Atrium stair showing digital Engi installation Facing: Facing : View of atrium stair from ground oor 本页图：中庭楼梯展现了数码装置 对页图：从中庭楼梯看一层空间
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Above, Facing Above and Below : Contemporary Art Gallery Left: Left : Antony Gormley’s Quantum Could 上图、对页上图和对页下图：现代艺术展厅 左图：安东尼·葛姆雷的量子云作品
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Facing: Facing: Rock formation digital video porojection Above: Above: Auditorium 对页图：岩层数码视频投影 上图：礼堂
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一层平面图： 1. 入口 2. 大堂 3. 咖啡厅入口 4. 咖啡厅 5. 餐厅 6. 衣帽间 7. 厨房
8. 办公室 9. 接待处 10. 访客服务设施 11. 零售区 12. 特别展览区 13. 走廊 14. 平台展示 15. 装卸区
埃尔热博物馆 Location: Louvain-la-Neuve, Belgium Designer: Atelier Christian de Portzamparc Completion Date: 2009 Site Area: 3,600m2 Photographer: Nicolas Borel 项目地点：比利时，鲁汶 设计师：克里斯汀·德·鲍赞巴克工作室 占地面积：3,600平方米 完成时间：2009年 摄影 师：尼古拉斯·波莱尔
Musee Hergé After two years of construction, the Museum Hergé designed by Christian de Portzamparc is complete. Situated in a forest and connected by a footbridge to Louvain-la-Neuve, Belgium, the museum is dedicated to Belgian artist and Tintin author Hergé. The museum highlights Hergé’s life and works through cultural facilities, permanent and temporary exhibition areas, and a video projection room. When nding inspiration for the museum, Portzamparc immediately looked to the ideas and gures present in Hergé’s writings. Although it took almost a decade for those images to transfer into an architectural language, the result is a space that richly commemorates the famed author. 由克里斯汀·德·鲍赞巴克设计的埃尔热博物馆历时两年，终于完工。博物馆坐落在森林之中，通 过人行天桥与鲁汶市相连，为纪念比利时艺术家和丁丁历险记的作者埃尔热而建。博物馆通过文化 设施、永久和临时展览区以及视频投影室展示了埃尔热的生平和作品。 建筑师鲍赞巴克以埃尔热作品中的理念和任务为博物馆设计灵感。尽管将这些形象转变为建筑语言 消耗了近10年的时间，但是博物馆的杰出空间设计与作家的盛名十分匹配。
Left: Left: Site plan Below: Below: The volume of the museum, simple lens, seems to oat in the forest and on the road, make a pass like a ship Facing: Facing: From the dock, a large eye can be seen which would vary depending on the exhibitions and events at the museum. The bridge leads to the museum along the window of the library, bright and alive 左图：总平面图 下图：在单透镜镜头下，博物馆看似漂浮在森林中一样，像一艘轮船 对页图：人们在平台上能够看见一个巨大的展示窗，里面的内容随着博物馆所举 行的展览和活动而变换。通往博物馆的天桥紧挨图书馆的窗户，明亮而富有生气
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Museum Hergé is built on a straight-edged concrete slab with a car park un derneath. It immediately seemed like a good idea to disengage the museum from the town, better to move it away a little towards the woods. In this way, bathed in the light streaming through the large bays, the visitor is confronted with “four landscape objects”, which correspond to the general layout and Joost Swarte’s scenography. Each of these objects has its own personality; each is a kind of character. Each has a specic sculptural form, colour and unique design. Each displays an aspect, disproportionately enlarged, derived from Hergé’s drawing style. One traces Tintin in America, another King Ottokar’s Sceptre… To these four “objects”, it can add a fth: the lift shaft, vertical and coloured in white and blue. What is clear to the designer, now that the museum exists, is that there were innite sources of inspiration for the project. There was the programme of exhibitions, of course, and the constant discussions with the work of Hergé in all its dimensions of course: its identity, its individuality, its unique character. 埃尔热博物馆建在一块直角边混凝土板上，下方是停车场。设计让博物馆与城市脱离，靠近树林。 参观者沐浴在光线里，将遇到四个与整体布局和约斯特·斯沃尔特透视法相符的景观元素。 这些元素各具特色，各不相同。每个元素都拥有独特的雕塑造型、色彩和设计，各自展示着埃尔热 绘画风格的一个部分：有的反映《丁丁在美国》，有的则源于《奥拓卡尔国王的权杖》……除了这 四个元素之外，设计师增添了第五个元素——白蓝相间的垂直电梯井。 设计师对博物馆的建造有着无尽的灵感。博物馆以展览为基础，对埃尔热作品进行方方面面的讨 论：它的形象、个性和独特风格。
Above: Above: The volume of the museum is divided between voids and solids. The vacuum is the reception area in which are housed four forms, four volumes that contain the showrooms In the Following Pages: Left: Left: The tour starts at 3 and runs from one volume to another, alternant cozy atmosphere of dimly lit rooms due to the original and walkways and stairs to the concourse Facing Left Above: Above: The narrative space, a kind of mental maze, in agreement with the world of Hergé. That everything resonates, as in an orchestral score Facing Left Below: Below: This is the main reason why the museum is Hergé and decomposed with its rhythms, its scansions, its failures, its divisions, its crossings, its bridges 上图：博物馆被分割为虚实两种空间。接待处内部还设置着四个展览空间 下页： 左页图：参观之旅从3开始，依次进入各个展览空间。展览厅内，暗淡的光线则营造出舒适的氛围；在到达走道和楼 梯汇集处时，又将重获光明 右页左上图：叙述空间宛如一个精神迷宫，与埃尔热的世界相一致。所有元素都如在管弦乐队中一样，形成了共鸣 右页左下图：里体现了埃尔热特色，充满了韵律感、节奏感和挫败感，由分割空间、交叉口和桥梁组成
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Ground Floor Plan 一层平面图 1. Entrance stairs 2. Gallery 3. Shop 4. Café 5. Temporary exhibitions 6. Technical facilities 7. The laboratory 8. The World of Tintin 9. Tintin books 10. The Museum of Ethnography 11. Bridge 12. Studio 13. A twentieth-century classic 1. 入口楼梯 2. 走廊 3. 商店 4. 咖啡厅 5. 临时展览区 6. 技术设施 7. 实验室 8. 丁丁的世界 9. 丁丁系列丛书展 10. 民俗博物馆 11.天桥 12. 工作室 13. 20世纪经典作品展
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First Floor Plan 二层平面图
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梅森特艺术博物馆 Location: Hiroshima, Japan Designer: Tetsuya Nakazono (naf architect & design) Completion Date: 2010 Construction Area: 100m2 Photographer: Noriyuki Yano 项目地点：日本，广岛 设计师：中园哲也（naf建筑设计公司） 完成时间：2010年 建筑面积：100平方米 摄影师：矢野
敬之
Mecenat Art Museum The architect decided to design the building focusing on natural light. Soft diffused light from the top, direct light pouring from top light through white cylinder for condensation of light spreading on the gr ound oor, soft light from slits on the walls reecting on the exterior green, fragments of graphical lights pouring through 432 plate glasses on the concrete walls; the space is lled with various kinds of lights. 建筑师决定以自然光线为焦点来设计建筑。顶灯的柔和漫射光，一楼白色筒形顶灯的直接光，缝隙 中的绿色柔和光，透过平板玻璃射出的碎光片使整个空间充满了各种光线。
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Top Left: Left : South elevation Milddle Left: Left: West elevation Left: Left: East elevation Facing: Facing: North elevation 左上图：南立面 左中图：西立面 左图：东立面 对页图：北立面
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Section: 1. Gallery 1 2. Gallery 2 剖面图： 1. 1号展览厅 2. 2号展览厅
As an exhibition space, there was no need for structure such as columns and beams but as large wall as possible. The important factor of the museum was to incorporate natural light and wind, so corners are sliced with slits to the extent, which would not interfere the exhibit. This idea would have left the building structurally fragile, so the architects studied a rational shape, which was structurally stable like folding one sheet of paper, origami, many times to make several corners, with models and threedimensional structure analysis by computer. The site is found in a peaceful rural scene, where it became completely dark at night with no streetlights. This building is automatically lit up when it becomes dark, softly casting light to the surrounding. It became a landmark of the area. The architect would like the visitors to feel, with their entire bodies, through this building, atmosphere of profundity and gentleness created by the paintings of Mr. Kakudo GOAMI, which is based on noble spirit of Orient in the changes of four seasons unique in Japan. The architect focused on taking in as much factors from natural environment as possible in the exhibition space. Articial lights in the exhibition space are limited to the minimum. The works are basically viewed with natural light which changes throughout the year, giving different impression by the weather of the day and time of the year. The exhibition space is intentionally designed to be susceptible to the natural environment.
Ground Floor Plan 一层平面图
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Roof 屋顶
作为一个展览空间，建筑结构无须梁柱，墙面越大越好。博物馆的重要因素是融入自然光线和通 风，将角落最小化，不影响展览。这种理念会让建筑结构脆弱，因此，建筑师通过模型和电脑结构 分析研究出一种理性的造型，像折纸一样具有结构稳定性。 建筑位于平静的乡村，夜晚会变得相当黑暗，没有路灯。因此，建筑在夜晚会自动被点亮，为周边 洒下柔和的光线，成为当地的地标。 建筑师希望游客们能够全身心地通过建筑体会其阿弥角户先生绘画作品（以东方贵族精神和日本独 特的四季变换为基础）的深度和品质。 建筑师尽可能多地在展览空间内融合自然环境因素，尽量少地使用人造灯光。人们基本在自然光线 下欣赏作品，随着一年中季节、气候的变化，作品也在不断变化。展览空间对自然环境十分敏感。
First Floor Plan 二层平面图
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长春文化、美术和科技博物馆
Museum of Culture, Fine Arts and Science, Changchun
Location: Changchun, China Designer: gmp Architekten Completion Date: 2010 Construction Area: 107,500m 2 Photographer: Marcus Bredt 项目地点：中国，长春 设计师：gmp建筑事务所 完成时间：2010年 建筑面积：107,500平方米 摄影师：马库斯·布莱德特
Three stone cubes house three museums arranged round a central entrance building like the sails of a windmill. The configuration of the buildings clearly expresses the functional distinction between the museums. Each of the three cubes has a sculptural feel - lofty, and individually tailored air spaces act as central lobbies and set their stamp on each museum. 三个博物馆分别位于三个石造立方体中，围绕着风车风轮一样的中心入口建筑布局。建筑的配置清 晰地展现了各个博物馆的分工。每个立方体结构都有着雕塑感，特别定制的宽敞空间作为大厅，标 志着不同的博物馆。
East elevation 东立面
South elevation 南立面
West elevation 西立面
North elevation 北立面
Above Left: Left: Site plan Left: Left: Overview 左上图：总平面图 左图：建筑全景
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Above: Above: Entrance Facing: Facing: Science lobby 上图：入口 对页图：科学大厅
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Ground Floor Plan: 1. Main entrance 2. Lobby 3. Museum forum 4. Lecture hall 5. Exhibition 6. Museum for science 7. Control room/ofce/security 8. Security 9. Public education 一层平面图： 1. 主入口 2. 大堂 3. 博物馆论坛 4. 讲座厅 5. 展览区 6. 科学博物馆 7. 控制室/办公室/保安室 8. 保安室 9. 公共教育空间
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The lobby for the Museum of Culture is derived from the shape of a deep canyon. The air space of the Museum of Art features clear diagonals, as in a modernist painting. The Museum of Sciences has a central foyer that cuts rationally into the solid mass in right angles, almost as a symbol of technology and the scientic approach.
文化博物馆的大厅造型灵感来源于深深的峡谷。艺术博物馆的大厅以清晰的现代派绘画中运用的对 角线为特点。科学博物馆的中央门厅以适当的角度切入建筑体块中，象征着科学技术。 从功能上讲，三个博物馆采用了类似的布局：方形路径引领着参观者浏览各个楼层的展览区域。每 个博物馆横跨中庭的四座天桥方便人们定位。此外，参观者们在独立博物馆的中央大厅和环绕着三
Functionally, all three museums are similarly organised: a square route leads visitors from exhibition area to exhibition area on all levels. Crossing the central air space by means of bridges in four places in each museum facilitates orientation in the building. In addition, visitors get impressive views both in the central halls of individual museums and of the landscape and museum park that surrounds the Museum of Culture, Fine Arts and Sci ence. Three museums form the “Changchun Museum for Culture, Fine Arts and Science”. Different in its expression, and sculptural façade detail, the same in colour and material, the museum laid the foundation for a new neighbourhood in the southeast of the city. The three museums have the same site development idea: sun-screened exhibition spaces arranged along the visitors’ tour. The rooms are linked by open bridges.
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个博物馆的公园景观可以获得同样令人印象深刻的视野。 长春文化、美术和科技博物馆由三座独立的博物馆组成。它们外观和外立面细节不同，却采用同样 的色彩和材料。博物馆在城市东南部为新小区的建设奠定了基础。三个博物馆拥有相同的开发理 念：遮阳展览空间围绕着参观者的路径而布局。各个空间之间由开放式天桥连接。
克罗克艺术博物馆 Location: Sacramento, California, USA Designer: Gwathmey Siegel & Associates Architects (GSAA) CompletionDate: 2010 SiteArea:1,188m2 Photographer: BruceDamonte 项目地点：美国，萨克拉门托 设计师：格瓦斯梅·西格尔建筑事务所 完成时间：2010年 占地面积：1,188平方米 摄影 师：布鲁斯·达蒙特
Crocker Art Museum The Crocker Art Museum expansion complements the 125-year-old museum’s historic structures, which include one of the rst purpose-built art museum buildings in the United States. More than $92 million has been raised towards the Crocker Art Museum’s $100 million capital campaign goal. 克罗克艺术博物馆扩建工程完善了拥有125年历史的博物馆，其中包含美国第一座特别建造的艺术博 物馆。项目共为克罗克艺术馆募集了9200万美元（总目标为1亿美元）。
Above: Above: Exterior rendering 上图：外观效果图
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In addition to extensive new galleries for temporary exhibitions and the display of the Crocker’s permanent collections, The Teel Pavilion includes expanded educational and art studio space, a teacher resource centre, a space for participatory arts programming for children and adults, an expanded library, and a new student exhibition space and teaching galleries. The Anne and Malcolm Henry Works on Paper Study Centre will greatly improve access for visiting scholars studying the Crocker’s outstanding master drawings collection, and for the public. The expansion will also provide space for onsite collections care and storage, as well as a new conservation lab. New public amenities, including a 260-seat auditorium, a café with indoor and outdoor seating, and a redesigned museum store, are also being added. The ground oor will be open to the public free of charge and free Wi-Fi will be available. GSAA’s compositional strategy for the project was aimed at establishing a uniquely iconic presence for the new addition, while framing the existing complex in a coherent physical dynamic. The result is a collaged image for both the new and historic structures: the new addition is rotated on a due north/south axis, disengaging it from the existing orthogonal street grid and Crocker complex, which reinforces its contrapuntal sitting and massing; inside, the new galleries are directly connected to the existing Art Gallery building, allowing for a continuous circulation from the new to the old structures - both vertically and horizontally - and totally integrating the entire complex.
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除了包含临时展览和永久收藏展览的新展厅之外，蒂尔馆还设有扩展教育和艺术工作室空间、教师 资源中心、儿童和成人参与式艺术空间、扩建的图书馆、全新的学生展览空间和教学展厅。文献研 究中心的安妮和马尔科姆·亨利工作室为客座学者们研究克罗克出色的绘画作品提供了方便。 扩建工程还将为藏品保养和存储提供空间，设有一个保存实验室。新建的公共设施包括260个坐席的 礼堂、室内外咖啡厅和经过重新设计的博物馆仓库。建筑一楼将面向公众免费开放，同时提供免费 无线上网服务。 格瓦斯梅·西格尔建筑事务所对项目的整体策略旨在为新建筑打造独特的地标式外观，同时为原有 建筑增添了连贯的活力。新建和历史建筑形成了一幅剪贴画。新建结构沿着南北轴线而建，脱离了 原有的直接街区网格和克罗克博物馆建筑，形成了对立感。新展厅的内部与原有的艺术展览楼直接 相连，在新旧建筑之间形成了连续的路径，使其融入整个博物馆综合体。
Second Level Plan 三层平面图
First Level Plan 二层平面图
Ground Level Plan 一层平面图
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江苏省美术馆 Location: Nanjing, Jiangsu Province, China Designer: KSP Jürgen Engel Architekten Completion Date: 2009 Construction Area: 27,449m2 Photographer: Shuhe Photography 项目地点：中国，南京 设计师：KSP尤尔根·恩格尔建筑事务所 完成时间：2009年 建筑面积：27,449平方米 摄影师： 舒赫摄影
Jiangsu Provincial Art Museum Located in the cultural centre of Nanjing and in the immediate proximity of the historical Presidential Palace of today’s provincial capital, the new Jiangsu Provincial Art Museum is one of the most important museums in south-east China. It has space for temporary exhibitions and houses a permanent collection featuring traditional Chinese art, which illustrates the cultural wealth of Nanjing - one of the oldest cities in southern China. The sizeable collection is kept in archive rooms in the Museum, which meet today’s technical and strict conservation requirements. 江苏省美术馆位于南京文化中心，紧邻总统府，是中国东南部最重要的博物馆之一。博物馆里设有 中国传统艺术收藏品展览和临时展览区，体现了南京——中国南方最古老的城市之一——的文化价 值。博物馆档案室内拥有大量的收藏品，符合当今技术和严格的保存要求。
Top Left: Left : South elevation Left: Left: North elevation Below: Below: Overview Facing Above: Above: Entrance 顶图：南立面 左图：北立面 下图：博物馆全景 对页上图：入口
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The two interlocking U-shaped buildings also create a space that is modeled on a canyon to function as the access zone between two soaring walls of natural stone. It is lit from above and covered with a light glass roof. This 17-metre high access area, which narrows at its two main entrances, links the two stone halves of the building and guides visitors into the Museum. In the northern building, clear exhibition rooms of varying sizes offer ideal conditions for presenting the works of art. Two bridges spanning the glass-covered intermediate space connect the exhibition area with the southern element. In addition to training, conference and ofce space, this building also contains the VIP area and the auditoriu m with seating for around 400 people. The travertine natural stone facing with its narrow window indentations obscures the sheer number of storeys and as such reinforces the overall monolithic impression of the museum building. Simultaneously, the alternation between vertical stone panels and window slits with sheet metal jutting out at the sides creates rhythm in the façade. The structural frame and the delicate construction of the glass roof were developed in collaboration with Stuttgart-based German engineers Breuninger. 两座互相扣在一起的U形建筑形成了峡谷似的空间，在两面高耸的天然石材墙壁之间形成了入口。空 间由上方的玻璃屋顶提供采光。高17米的入口区域逐渐变窄成为两个主入口，连接建筑的石墙，引 导着参观者进入博物馆。北侧的建筑里，大小不一的展览厅为艺术品的展览提供了理想条件。两座 天桥横跨玻璃空间，连接着展览区域与南侧元素。除了培训、会议和办公空间，建筑还包含了贵宾 区域和可容纳约400人的礼堂。 石灰华天然石材镶面和狭窄的窗口模糊了楼层的概念，强化了博物馆建筑的整体感。同时，垂直石 材面板和纯金属窗口为建筑外立面增添了韵律感。结构框架和精致的玻璃屋顶结构由斯图加特工程 师布鲁宁格尔联合设计。
Top: Top: Bird-view at night
Middle Images from Left to Right: Façade at day; Façade at night Facing Image: Hall 顶图：夜间鸟瞰图 右侧两图从左至右依次为：日间外观；夜间外观 对页图：大厅
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Facing and Above: Above: Exhibition 对页图和上图：展览区
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Ground Floor Plan: 1. Main entrance to the museum 2. Entrance to the exhibition hall 3. Toilet 4. Stairs 5. Entrance to the museum 一层平面图： 1. 博物馆主入口
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贝奇特勒博物馆 Location: Charlotte, North Carolina, USA Designer: Mario Botta Completion Date: 2009 Site Area: 1,912m2 Photographer: Joel Lassiter and Enrico Cano 项目地点：美国，夏洛特 设计师：马里奥·博塔 完成时间：2009年 占地面积：1,912平方米 摄影师：乔尔·拉西特和 恩里科·卡诺
Bechtler Museum The museum is in downtown Charlotte, a city that has undergone a rapid urban development in recent years. The new museum will house the works of art of the Bechtlers’ collection with important artists such as Tinguely, Niki de Saint Phalle, Picasso, Giacometti, Matisse, Mirò, Degas, Warhol, Le Corbusier, Leger…. 博物馆位于夏洛特市中心，夏洛特市近年来经历了迅速发展的城市化进程。 新博物馆将展出贝奇特勒多年以来的重要艺术品收藏，涉及的知名艺术家包括：丁格利、妮基·桑
…… 法勒、毕加索、杰克梅蒂、马蒂斯、米罗、德加斯、沃霍尔、勒·柯布西耶、莱格尔
Left: Left: Sketch by Mario Botta 2010 Middle Left: Left: Longitudinal section
Bottom Left: Entrance to the museum with the sculpture by the artist Niki de Saint Phalle
Bottom Right: West view of the museum Facing: Facing: South-west view of the museum In the Following Pages: Left: Left: South view of the museum Right: Right: Foyer 左图：马里奥·博塔于2010年绘制的草图 左中图：纵切面 左下图：博物馆入口和艺术家妮基·圣法勒设计的雕塑 下图：博物馆西面 对页图：博物馆西南 下页左页图：博物馆南面 下页右页图：门厅
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The four-storey structure is characterised by the soaring glass atrium that extends through the museum’s core and diffuses natural light throughout the building thanks to a system of vaulted skylights. Despite the modest dimensions, its great plastic force is created by the play of solids and voids. It can be thus dened as an architecture-sculpture where the voids, carved inside the primary volume, mark a new urban space sheltered by the third floor gallery, which juts out from the core of the building, and cantilevered and supported by a column rising from the plaza below. The choice of the materials for the interior spaces and the terra cotta exterior cladding give the museum a rigorous, though elegant, simplicity. 四层楼高的建筑结构以高耸的玻璃中庭为特色，中庭穿过整个博物馆中心，拱顶天窗系统向建筑各 处传播自然光线。建筑规模低调，虚实空间的结合打造了强大的可塑效果。整座建筑宛如一座建筑 雕塑，深入建筑主要空间内部的空隙提供了一个全新的城市空间，上方是从建筑中心伸出的四楼 展厅。展厅由下方广场的柱子支撑。室内空间建筑材料的选择和外墙的赤陶包层为博物馆营造出严 谨、优雅而简洁的形象。
Left: Left: View on the foyer from the third oor Facing Above: Above: Third oor view Facing Below: Below: Exhibition space on the third oor 左图：从四层看门厅 对页上图：四层内景 对页下图：四层展览空间
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Ground Floor Plan: 1. Entrance 2. Staircase 3. Gate to display 4. Display 5. Meeting rooms
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一层平面图： 1. 入口 2. 楼梯 3. 通往展览的门 4. 展览区 5. 会议室
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Third Floor Plan
四层平面图
特拉维夫艺术博物馆 Location: Tel Aviv, Israel Designer: Preston Scott Cohen, Inc. Completion Date: 2011 Site Area: 1,812m2 Construction Area: 4,506m2 Photographer: Preston Scott Cohen, Inc. 项目地点：以色列，特拉维夫 设计师：普勒斯顿·斯科特·科恩设计公司 完成时间：2011年 占地面积：1,812平方米 建筑面积：4,506平方米 摄影师：普勒斯顿·斯科特·科恩设计公司
Tel Aviv Museum of Art This project is the design and construction of a freestanding new building for the complex of the Tel Aviv Museum of Art, the leading museum of modern and contemporary art in Israel. Housing an installation of the Museum’s comprehensive collection of Israeli art, as well as its architecture and design galleries, drawings and prints galleries, photography study centre, art library, new auditorium, a large gallery for temporary exhibitions and public amenities, the building is intended to create an outstanding, forward-looking work of architecture for the Municipality of Tel Aviv. 该项目涉及以色列近现代艺术顶尖博物馆——特拉维夫艺术博物馆的设计和建造，打造了一座全新 的独立建筑。博物馆的内部设有以色列艺术品收藏展厅、建筑和设计展厅、绘画和印刷展厅、摄影 研究中心、艺术图书馆、新礼堂、大型临时展厅和公共设施，旨在为特拉维夫市打造一件出色且前 卫的建筑作品。
Below: Below: Aerial Rendering of Opera Square
Bottom: The Amir building and plaza 下图：歌剧广场鸟瞰效果图 底图：建筑和广场 South Elevation 南立面
East Elevation 东立面
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North Elevation 北立面
West Elevation 西立面
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Area 范围
Angle 角度
Corner 角落
3 degree minimum 3度最小限值 Maximum 最大限值
5 p er iod s 5个周期
3 pe r iod s 3个周期
3 p er iod s 3个周期
3 pe r iod s 3个周期
Test 测试
Final 最终效果
Facade panelization 外立面编排图
Structural Axonometric 结构轴测图
Above: Above: West Facade 上图：西立面
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Section A 1. Lobby 4. Lightfall 8. Library 10. Israeli art promenade 12. Gallery of Israeli art ii (1948-1970) 17. Photography gallery 21. Reception hall 22. Café and bar 24. Loading dock 25. Preparation kitchen 30. Gallery 35. Library stacks
剖面图A 1. 大堂 4. 光瀑布 8. 图书馆 10. 以色列艺术长廊 12. 以色列艺术二期展厅（1948-1970） 17. 摄影展厅
Section B 4. Lightfall 5. Architecture and design gallery I 6. Architecture and design gallery II 7. Architecture and design gallery III 11. Gallery of Israeli art I (pre-1948) 12. Gallery of Israeli art II (1948-1970) 13. Gallery of Israeli art III (1970-present) 20. Special exhibition gallery 21. Reception hall 29. Gallery 32. Restaurant 34. Sculpture garden
剖面图B 4. 光瀑布 5. 建筑和艺术展厅1 6. 建筑和艺术展厅2 7. 建筑和艺术展厅3 11. 以色列艺术一期展厅（1948以前）
21. 前台大厅 22. 咖啡厅和酒吧 24. 装卸平台 25. 备餐厨房 30. 展览厅 35. 书库
12. 以色列艺术二期展厅（1948-1970） 13. 以色列艺术三期展厅（1948-1970） 20. 特别展览厅 21. 前台大厅 29. 展览厅 32. 餐厅 34. 雕塑花园
剖面图C Section C 5. 建筑和艺术展厅I 5. Architecture and design gallery I 9. Architecture and design curatorial ofces 9. 建筑和艺术管理办公室 10. 以色列艺术长廊 10. Israeli art promenade 25. 备餐厨房 25. Preparation kitchen 26. 玻璃连廊 26. Glass connector 27. 大堂 27. Lobby 28. 展览厅 28. Gallery
Façade Construction 外立面结构
Lightfall formwork construction diagram 光瀑布结构示意图
Lightfall, circulation, and galleries 光瀑布、室内交通和展览厅
The design for the Amir Building arises directly from the challenge of providing several floors of large, neutral, rectangular galleries within a tight, idiosyncratic, triangular site. The solut ion is to “square the triangle” by constructing the levels on different axes, which deviate signicantly from oor to oor. In essence, the building’s levels - three above grade and two below - are structurally independent plans stacked one on top of the other. These levels are unified by the “Lightfall”: an 87-foot-high, spiraling, top-lit atrium, whose form is dened by subtly twisting surfaces that curve and veer up and down through t he buil ding. The complex geo metry of th e Lightfal l’s surf aces (hyp erbolic parabolas) connect the disparate angles of the galleries; the stairs and ramped promenades along them serve as the surprising, continually unfolding vertical circulation system; while the natural light from above is refracted into the deepest recesses of the half-buried building. In this way, the Amir Bulding combines two seemingly irreconcilable paradigms of the contemporary art museum: the museum of ne utral white boxes, which provides optimal, flexible space for the exhibition of art, and the museum of spectacle, which moves visitors and offers a remarkable social experience. The Amir Building’s synthesis of radical and conventional geometries produces a new type of museum experience, one that is as rooted in the Baroque as it is in the Modern. 埃米尔楼所面临的挑战是在紧凑特殊的三角形场地中提供几层大型的中性长方形展厅空间。最终设 计师采用“三角形方形化”，在各个楼层采用不同轴线，各自偏离。从根本上说，建筑的各个楼层 （地上三层，地下两层）在结构上各自独立。 这些楼层由“光瀑布”统一在一起。光瀑布是高26.5米的螺旋形顶部采光中庭，其轻微扭曲的表面 在建筑中弯曲盘旋。光瀑布表面复杂的几何造型（双曲抛物线）连接了不同角度的展厅。沿着展厅
Façade Panel Attachment Diagram
的楼梯和坡道形成了奇妙的连续垂直路径系统。上方的自然光被折射到建筑的最深处。
立面面板附件图
这样一来，埃米尔楼将现代艺术博物馆两个看似不可协调的元素结合在一起：中性的白色盒结构 （提供理想的灵活展览空间）和奇特的博物馆建筑（参观者将享有奇特的社会体验）。埃米尔楼综 合了激进和传统的几何图形，打造了全新的博物馆体验，兼具巴洛克风格和现代风格。 162 - 163
Facing: Facing: North Facade 对页图：北立面
Above: Above: South Facade Facing Below: Below: Museum Entrance 上图：南立面 对页下图：博物馆入口
Ground Floor Plan: 1. Lobby 2. Bookstore 3. Coat check 4. Lightfall 5. Architecture and design gallery I 6. Architecture and design gallery II 7. Architecture and design gallery III 8. Library 9. Architecture and design curatorial ofces
一层平面图： 1. 大堂 2. 书店 3. 衣帽间 4. 光瀑布 5. 建筑和艺术展厅1 6. 建筑和艺术展厅2 7. 建筑和艺术展厅3 8. 图书馆 9. 建筑和艺术管理办公室
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First Floor Plan: 10. Israeli art promenade 11. Gallery of Israeli art I (pre-1948) 12. Gallery of Israeli art II (1948-1970) 13. Gallery of Israeli art III (1970-present) 14. Video room 15. Israeli art curatorial ofces
Facing: Facing: Israeli Gallery Below: Below: Library 对页图：以色列展厅 下图：图书馆
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二层平面图： 10. 以色列艺术长廊 11. 以色列艺术一期展厅（1948以前） 12. 以色列艺术二期展厅（1948-1970） 13. 以色列艺术三期展厅（1948-1970） 14. 视听室 15. 以色列艺术管理办公室
Third Floor Plan: 16. Classrooms 17. Photography gallery 18. Photography archive and study room
四层平面图： 16. 教室 17. 摄影展厅 18. 摄影档案和研究室
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Facing: Facing: Lightfall and gallery Above: Above: Lobby 对页图：光瀑布和展览厅 上图：大堂
Level -1 Plan: 26. Glass connector 27. Lobby 28. Gallery 29. Gallery 30. Gallery 31. Conference room 32. Restaurant 33. Restaurant terrace 34. Sculpture garden 35. Library stacks 36. Classroom 37. Library ofces
负一层平面图： 26. 玻璃连廊 27. 大堂 28. 展览厅 29. 展览厅 30. 展览厅 31. 会议室 32. 餐厅 33. 餐厅平台 34. 雕塑花园
Level -2 Plan: 23. Classrooms 24. Loading dock 25. Preparation kitchen
35. 书库 36. 教室 37. 图书馆办公室
负二层平面图： 23. 教室 24. 装卸平台 25. 备餐厨房
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Facing: Facing: Bottom of Lightfall Above: Above: Gallery Right: Right: Opening into lightfall 对页图：光瀑布底部 上图：展览厅 右图：光瀑布开口
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布朗克斯艺术博物馆扩建——北翼
Location: New York, USA Designer: Arquitectonica Completion Date: 2006 Site Area: 1,551m2 Photographer: Norman McGrath Award: Florida Association of the American Institute of Architects,
Unbuilt Design Merit Award, 2005; Miami Chapter of the American Institute of Architects, Award for Excellence, Unbuilt Project, 2005 项目地点：美国，纽约 设计师：阿基特托尼卡事务所 完成时间：2006年 占地面积：1,551平方米 摄影师：诺曼·麦格拉
斯 所获奖项：2005年美国建筑师协会佛罗里达分会未建成设计荣誉奖；2005年美国建筑师协会迈阿密分会未建成项目优 秀奖
The Bronx Museum of the Arts Expansion, North Wing A new museum structure designed by Arquitectonica rises on the Grand Concourse, marking the beginning of an ambitious plan to expand and eventually replace the existing Bronx Art Museum. The first phase of the project includes new galleries and administration spaces and an outdoor sculpture court. This mid-block structure is part of a larger plan for which Arquitectonica has designed additional galleries, classrooms, an auditorium, a children’s art centre and a residential tower that will anchor the corner at the 165 th Street where the museum currently sits. 这座由阿基特托尼卡事务所设计的新博物馆位于大广场街，标志着布朗克斯艺术博物馆的扩建和重 建工作的开始。项目一期工程包括新展厅、行政空间和露天雕塑庭院。这座结构是大型展馆、教 室、礼堂、儿童艺术中心和住宅楼总体规划的一部分，标志了博物馆在165号街的一角。
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Looking East: 1. Administration 2. Flexible space 3. Gallery 4. Lobby 5. Chase 6. Lift 7. Women’s room 8. Men’s room 9. Water tank 10. Existing gallery
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东立面： 1. 行政区 2. 弹性空间 3. 展览厅 4. 大堂 5. 管槽 6. 电梯 7. 女士洗手间 8. 男士洗手间 9. 水箱 10. 原有展览厅
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Looking North: 北立面： 1. Administration 1. 行政区 2. Flexible space 2. 弹性空间 3. Stair up 3. 向上的楼梯 4. Pantry 4. 备餐间 5. Lobby 5. 大堂 6. 平台 6. Terrace 7. Gallery 7. 展览厅 8. Electrical room 8. 电机房 9. Security room 9. 安全房 10. Corridor 10. 走廊 11. Common room 11. 公共休息室 12. Mechanical roof 12. 机械屋顶
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Looking South: 1. Administration 2. Flexible space 3. Pantry 4. Lift shaft 5. Terrace 6. Gallery 7. Receiving 8. Corridor 9. Lift 10. Boiler room
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南立面： 1. 行政区 2. 弹性空间 3. 备餐间 4. 电梯井 5. 平台 6. 展览厅 7. 接待处 8. 走廊 9. 电梯 10. 锅炉房
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Looking West: 1. Lift 2. Existing workshop 3. Administration 4. Flexible space 5. Gallery 6. Toilet 7. Toilet
西立面： 1. 电梯 2. 原有的工坊 3. 行政区 4. 弹性空间 5. 展览厅 6. 洗手间 7. 洗手间
Below and Facing: Facing: Museum’s entrance 下图和对页图：博物馆入口
Arquitectonica’s rst phase design emerges from the sidewalk as an irregular-folded screen made of fritted glass and metallic panels. The panelisation into diagonal components emphasises the depth of the crevices. The resulting vertical zones of metal and glass angle and twist like an architectural origami, demystifying the wall on the street and making it permeable. One can peek into the ground oor community gallery through the slivers of semitransparent glass that face the approaching pedestrians pedestrians in their diagonal position. This curtain-like geometry dramatises the vertical dimension of the otherwise modest structure, turning it into an unexpectedly monumental surface. The temporary side brick walls, which are expected to meet the future expansions, are treated as nal yet economical designs. An intricate pattern of black and white block turn these walls into geometric canvases intended to convey the important value of craftsmanship traditions. The walls recall the ubiquitous side brick walls of Bronx row houses and commercial buildings. The complexity of the weave and brickby-brick scale encourages close examination and sharply contrasts in scale with the front façade.
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设计师首先在人行道边设计了一座不规则的多空玻璃和金属板折叠屏风。对角线元素的板面化强调 了缝隙的深度。金属和玻璃所营造的垂直区域像折纸手工一样弯折、扭曲，展开了临街的墙壁，使 其具有通透感。人们可以通过半透明玻璃的缝隙看到一楼大厅的活动。这个窗帘似的几何造型让低
Internally, the galleries rise together with the steep and impenetrable solid-rock site. Ramps and stairs lead to a series of simple, austere spaces. Concrete floors and ceilings, steel cable railings, and a sleek exposed lighting system create neutral functional spaces. The pure orthogonal geometry of the galleries is violated only by the expression of the folded front façade on one side. The upper gallery opens to a walled-in sculpture garden, surprisingly set on grade more that 9 metres above the Grand Concourse.
调的建筑戏剧化，营造了出人意料而引人注目的效果。 临时的砖砌墙壁未来将与其他扩建结构连接起来，设计简约而经济。错杂的黑白块图案让这些墙壁 变成了几何帆布，展现了传统手工艺的价值。墙壁让人想起了布朗克斯区无所不在的砖墙住宅和商 业建筑。编织和砖砌的复杂性吸引着人们近距离观察，并且与建筑正面形成了鲜明的对比。 室内展厅与陡峭而不能穿过的基岩并存。坡道和楼梯引领着人们进入一系列简单朴素的空间。水泥 地面和天花板、钢丝栏杆、光滑外露的照明系统共同营造了中性的功能空间。纯净的直角几何造型
The open arrangement of galleries, visible upon arrival, is intended to convey a message of accessibility. The community gallery is visible from the street as well as from the lobby, café and shop and is passage to the ramp that leads to the other galleries.
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展厅空间里唯一的装饰便是外墙的褶皱。上层展厅通往一个雕塑花园，高出地面9米以上。 展览厅的开放式布局让人一目了然，吸引着人们进入。从街道、大堂、咖啡厅、商店都能看到社区 大厅，同时社区大厅也是通往各个展厅的走道。
Ground Floor Plan: 1. Lobby 2. Gift shop 3. Gallery
一层平面图： 1. 大堂 2. 礼品商店 3. 展览厅
First Floor Plan: 1. Multi-purpose 2. Pantry 3. Storage 4. Terrace 5. Courtyard
二层平面图： 1. 多功能大厅 2. 备餐间 3. 仓库 4. 平台 5. 庭院
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Facing, Above and Below: Gallery 对页图、上图和下图：展览厅
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Second Floor Plan: 1. Open classroom 2. Ofce 3. Media lab
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三层平面图： 1. 开放教室 2. 办公室 3. 媒体实验室
Cellar oor plan 地下室平面图
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Roof plan 屋顶平面图
伊利艺术博物馆 Location: Erie, Construction Area: 5,295m2 Erie, PA, USA Designer: EDGE studio Completion Date: 2010 ConstructionArea: Photographer: David Joseph 项目地点：美国，伊利 设计师：EDGE工作室 完成时间：2010年 建筑面积：5,295平方米 摄影师：大卫·约瑟夫
Erie Art Museum The renovation and expansion of the Erie Art Museum redened the museum as a recurring destination for the community. With a goal of obtaining gold LEED certication, the building will be the rst LEED-designed project in Erie County. The project provides the museum with an innovative and recognisable building image consistent with the organisation’s mission and goals. The museum, in addition to exhibiting curated art in a gallery environment, has always supported environmental art in installation settings. The addition provides the museum with a building identity reecting this value.
North Elevation 北立面
伊利艺术博物馆的翻新扩建工作重新让博物馆定位为社区的景点。建筑旨在获得绿色建筑金奖认 证，是伊利的第一座绿色设计项目。 该项目为伊利博物馆打造了创新的建筑理念，符合该组织的任务和目标。博物馆不仅在展览空间中 对艺术品进行展出，还支持了在装置背景中展示环境艺术品。扩建项目为博物馆提供了足以反映出 其艺术内涵与价值的建筑形象。
East Elevation 东立面
South Elevation 南立面
West Elevation 西立面
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Below: Below: Entrance courtyard and main entrance at dusk Facing Above: Above: Entrance courtyard and main entrance Facing Below: Below: View of the “Lantern” 下图：黄昏中的入口庭院和主入口 对页上图：入口庭院和主入口 对页下图：灯笼结构
The project incorporates a 929-square-metre addition along with reorganisation and renovation of 4,366 square metres of existing space to improve the functionality and environment of the museum. A continuous visitor experience was designed by creating opportunities for experiential transition synchronised with the inevitable thresholds between different building structures. The addition provides an accessible and prominent main entrance with a dynamic architectural identity. It is porous, transparent and designed to capture and intrigue patrons and passers-by, encouraging the community to engage. The architecture cantilevers outward to capture the view from Erie’s main streets. It was the museum’ s objective that the project physically set itself apart from the adjacent buildings and incorporate colour to contrast with the predominantly grey skies of Erie. The bold forms and the warm copper and metallic blue panels were developed to meet this need. Innovative sustainable design features, including a large gallery with rotating walls that can be recongured quickly with minimal staff effort, helped to earn this project a Kresge Foundation Grant for Green Building Design and Construction. This design strategy eliminates material waste generated from constructing and demolishing temporary partitions, and reduces the staff time that is necessary to set up exhibitions. Green roofs, low water use plumbing xtures, permeable paving, a permeable storm water removal system, a highly insulated building envelope, and an energy - efcient mechanical system all contribute to a building designed to reduce operational expenses and to limit environmental effects. 项目共有929平方米扩建空间和4,366平方米的重建创新空间，提高了博物馆的功能性和环境效果。 不同建筑结构之间的过渡体验为参观者提供了持续的参观体验。 扩建结构提供了一个具有活力的主入口。通透的入口吸引着参观者，鼓励社区加入博物馆体验。建 筑的悬臂结构向外获取了伊利主要街道的景色。博物馆有意识地将自身与相邻的建筑分离开，运用 色彩与伊利市内的灰色色调形成了对比。大胆的造型和温暖的铜质金属蓝面板反映了这一要求。 创新可持续设计特征包括旋转墙壁大厅（可快速、简易地重新配置），帮助项目获得了雷吉斯基金 绿色建筑设计的补助。这一设计减少了建造和移除临时隔断的材料浪费及布置展览的人工时间。 绿色屋顶、低用水量卫浴设施、可渗透性铺装、可渗透性雨水排出系统、高度绝缘的建筑表皮和高 能效机械系统都对建筑设计做出了贡献，减少了运营成本，将对环境的影响降到最低。 Above: Above: Gallery 2 and stair to loft gallery 上图：2号展览厅和通往LOFT展厅的楼梯
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View under the “Lantern”: 1. Lantern perforated screen 2. Lantern glazing 3. Lantern secondary structure 4. Lantern primary structure
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从灯笼结构下面看： 1. 灯笼结构多孔网板 2. 灯笼结构玻璃装配 3. 灯笼结构二级构造 4. 灯笼结构主要构造
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Gathering space section 集会空间剖面图
Typical Plan Connection Detail: 1. 3/4” perforated corrugated steel panelling exposed fasteners 2. 1-1/2” galv steel hat channels 3. Hss 4x4 secondary structure 4. Aluminum window system 5. Fiberglass batt insulation 6. Cont anod aluminum break metal closure piece, backer-rod and sealant typical 7. Thermal break structure attachment 8. HSS 6x6 primary steel structure 典型平面连接细部： 1. 3/4英寸多孔波纹钢板裸露扣件 2. 11/2英寸镀锌钢扣凹槽 3. 高速钢4x4二级构造 4. 铝窗系统 5. 玻璃纤维隔热层 6. 阳极处理铝材闭合层，典型支撑杆 和密封剂 7. 附属隔热结构 8. 高速钢 6x6基础钢结构
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Above: Above : Main gathering space and reception Left: Left: Erie Art Museum reception area Facing: Facing : Gallery 1 with recongurable 上图：主集会空间和接待处 左图：伊利艺术博物馆接待区 对页图：1号展览厅和可重构式旋转墙
Wall Congurations: 1. Large viewing area 2. Discrete corner gallery 3. Large viewing area 4. Multiple spaces 5. Directional path 6. Large viewing area 墙壁构造： 1. 大型观赏区域 2. 独立角落展览厅 3. 大型观赏区域 4. 多功能空间 5. 方向走道 6. 大型观赏区域
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Ground Floor Plan: 1. Entrance Courtyard 2. Vestibule 3. Café 4. Reception 5. Gathering 6. Multipurpose room 7. Storage 8. Gallery 1 9. Gallery 2 10. Free gallery 1
11. Free gallery 2 12. Coat storage 13. Ofce 14. Frame shop 15. Green room 16. Catering 17. Shipping/receiving 18. Art storage 19. Gallery 3 20. Courtyard 21. Customs house
一层平面图： 1. 入口庭院 2. 门廊 3. 咖啡厅 4. 接待处 5. 集会空间 6. 多功能厅 7. 仓库 8. 1号展览厅 9. 2号展览厅 10. 1号自由展览厅
11. 2号自由展览厅 12. 衣帽间 13. 办公室 14. 框架商店 15. 休息室 16. 餐厅 17. 装卸区 18. 艺术品仓库 19. 3号展览厅 20. 庭院 21. 海关
First Floor Plan: 1. Loft Gallery 2. Break room 3. Studio 1 4. Studio storage 5. Studio 2 6. Customs house
二层平面图： 1. LOFT展厅 2. 休息室 3. 1号工作室 4. 工作室仓库 5. 2号工作室 6. 海关
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Second Floor Plan: 1. Reception 2. Open Ofce 3. Conference room
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Registrar Collections 2 Collections 1 Customs house
三层平面图： 1. 接待处 2. 开放式办公室 3. 会议室
4. 登记处 5. 2号藏品区 6. 1号藏品区 7. 海关
Above: Above: Gallery 3 links to the courtyard Facing Above: Above: Loft gallery with movable display walls Facing Below Left: Left: Stair to loft gallery Facing Below Right: Right: Multipurpose room 上图：3号展览厅连接着庭院 对页上图：LOFT展厅带有移动展示墙 对页左下图：通往LOFT展厅的楼梯 对页右下图：多功能厅
里尔近现代和界外艺术博物馆
Location: Villeneuve d’Ascq, France Designer: Manuelle Gautrand Architecture Completion Date: 2010 ConstructionArea: 11,600m2 Photographer: MaxLerouge, Philippe Ruault and Vincent Fillon 项目地点：法国，阿斯克新城 设计师：曼纽勒·戈特德建筑事务所 完成时间：2010年 建筑面积：11,600平方米 摄影 师：马克斯·勒罗吉、菲利普·胡尔特、文森特·费隆
Lam - Lille Museum of Modern, Contemporary and Outsider Art The project concerns the refurbishment and the extension of the Lille Modern Art Museum in a magnicent park at Villeneuve d’Ascq. The existing building, designed by Roland Simounet in 1983, is already on the Historic monuments list. The project aims at building up the museum as a continuous and uid entity by adding new galleries dedicated to a collection of Art Brut works. A complete refurbishment of the existing building was next required, some parts were very worn. In spite of the heritage monument status of Simounet’s construction, rather than set up at a distance, the designers immediately opted to seek contact by which the extension would embrace the existing buildings in a supporting movement. 项目是位于阿斯克新城一座公园内的里尔现代艺术博物馆的翻新和扩建工程。原有建筑由罗兰·西 蒙尼特设计，已经被列入历史纪念建筑名单。 项目旨在将博物馆打造成一个连续而流畅的整体。首先增添展示原生艺术作品的展览空间，其后对 原有建筑进行全面的翻新。 尽管西蒙尼特所设计的建筑具有历史遗产价值，设计师还是选择让扩建结构与原有建筑联系在一 起，形成了相互支撑的效果。
左图：三维立体效果图 下图：建筑南侧外观 底图：南侧外立面 Facing Above: Above: An encounter of two architectures 对页上图：两座建筑的合影 对页下图：“指尖”的外观 Facing Below: Below: Exterior view “nger tips” Left: Left: 3D volumetry of the extension Below: Below: Exterior view south
Bottom: South façade
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The architecture of the extension wraps around the north and east sides of the existing arrangement in a fan-splay of long, uid and organic volumes. On one side, the fan ribs stretch in close folds to shelter a café-restaurant café-restaurant that opens to the central patio; on the other, the ribs are more widely spaced to form the ve galleries for the Art Brut collection. The Art Brut galleries maintain a strong link with the surrounding scenery, but they are also purpose-designed to suit the works that they house: atypical pieces, powerful works that you can’t just glance at in passing. The folds in these galleries make the space less rigid and more organic, so that visitors discover art works in a gradual movement.
First Concept: Hand 首要理念：手
At the extremity of the folds - meaning the galleries - a large bay opens magnicent views onto the surrounding parkland, adding breathing space to the visit itinerary. These views make up for the half-light in the galleries: the openwork screens in front of the bays mediate with strong light and parkland scenery, a feature that recalls Simounet’s generous arrangements in the galleries that he designed. Envelopes are sober: smooth untreated concrete, with mouldings and openwork screens to protect the bays from too much daylight. The surface concrete has a slight colour tint that varies according to intensity of light. 扩建结构呈扇形展开，形成长长的流畅有机结构，从北侧和东侧围住了建筑。一方面，扇骨紧密的 褶皱为朝向中央天井的咖啡厅/餐厅提供了屋檐；一方面，扇骨又展开形成了五个展示原生艺术藏品 的展览厅。 原生艺术展览厅与周边景色保持着紧密的联系，同时也与内部所展示的艺术品相匹配：不规则造型 和表现力强大的艺术品让人过目不忘。这些展览厅中的褶皱让整个空间不那么死板，更具有机效 果，参观者们可以在平缓的运动中发现艺术品。 在褶皱的末端，即展览厅，一个巨大的凸窗展现了周边公园壮丽的景色，为参观路线增添了休息的 空间。这些景色弥补了暗光的展厅：凸窗前的透孔屏风调节了强光和公园景色，也体现了西蒙尼特 Art collection in each nger 各个手指内部所收藏的艺术品
所设计的展厅的特点。建筑外壳十分低调：光滑的混凝土表面上带有装饰性线条和透孔屏风，避免 凸窗承受太多阳光。混凝土表面会随着光线的变化呈现轻微的色彩变化。
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Ground Floor Plan: 1. Outsider art exhibition 2. Restauration workroom 3. Artworks checking 4. Delivery area 5. Main entrance 6. Entrance 7. Patio
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8. Cloakroom 9. Bookshop 10. Ticket ofce 11. Modern art room 12. Contemporary art room 13. Private event room 14. Temporary exhibition room 15. Meeting room
一层平面图： 1. 外层艺术展览 2. 修复工作室 3. 艺术品检查室 4. 卸货区 5. 主入口 6. 入口 7. 天井
8. 衣帽间 9. 书店 10. 售票处 11. 现代艺术展厅 12. 当代艺术展厅 13. 私人活动室 14. 临时展览厅 15. 会议室
Above Left: Left: 3D volumetry of each “nger” Above Right: Right: Sequences of sections Right: Right: Model photos 左上图：各个“手指”的三维立体效果图 右上图：剖面序列 右图：模型照片
Below: Below: Sections of each “nger”
Bottom: The oriental moucharaby 下图：各个“手指”的剖面图 底图：东方风格的挑窗台
Top: Top: View from the patio Above Left: Left: View from the Coltrane Road Above Right: Right: Rest area in an exhibition room Below: Below: Cross section of the existing museum and the extension
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顶图：天井外景 左上图：柯川路外景 右上图：展览厅内的休息区 下图：原有博物馆和扩建部分的横截面
Above: Above: Interior view of the pivot point area of the museum Facing: Facing: Interior view of the exhibition room 上图：博物馆轴心区内景 对页图：展览厅内景
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索玛亚博物馆 Location: Mexico City, Mexico Designer: Fernando Romero Completion Date: 2011 Construction Area: 16,000m2 Photographer: Adam Wiseman, Javier Hinojosa 项目地点：墨西哥，墨西哥城 设计师：费尔南多·罗梅罗 完成时间：2011年 建筑面积：16,000平方米 摄影师：亚 当·怀斯曼；哈维尔·西诺约沙
Museo Soumaya The challenge of this visionary project is that it will become the rst Art Museum in Mexico City with such an avant-garde form, breaking by this with all the paradigms in Mexico. It will also create a state-of-the-art facility to house and display artwork that meets the standard of International Art Institutions. 项目所面临的挑战来自于它将是墨西哥城第一座艺术博物馆，拥有前卫的造型，打破了墨西哥的传 统建筑模型。项目将打造一个最先进的设施，存放并展示符合国际艺术机构标准的艺术品。
Below: Below: Partial view Facing: Facing: Exterior architecture 下图：局部图 对页图：建筑外观
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Emerging from the ground, “Museo Soumaya” will be a central attraction in a new development within metropolitan Mexico City. The 16,000 square metres building will have an exhibition area of approximately 6,000 square metres spread over 6 levels. There will be an auditorium for 350 people, library, offices, a restaurant and gathering lounge. Intermediate levels are open to each other in a continuous volume, but partially separated by enclosed areas, making all spaces unique in their shape and form. The average oor to ceiling height also varies at each level, from 4 metres to nearly 13 metres at its highest point. The subterranean structure will have ve underground levels of parking below two underground levels of storage and restoration labs. 索玛亚博物馆将成为墨西哥城新开发工程的魅力核心。总面积16,000平 方米的建筑的展览空间将达6,000平方米，分设在六个楼层。博物馆还将 包括可容纳350人的礼堂、图书馆、办公室、餐厅和休息大厅。各个楼层 之间相通，形成了连续的空间，同时又相互隔开，让各个空间都拥有独 特的造型。各个楼层的楼高也不尽相同，从4米到13米不等。博物馆的地 下结构分为五层，分别为地下停车场、仓库和修复实验室。
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Restaurant and Store Plan: 1. Information 2. Armchair 3. Service station 4. Down ramp/restaurant 5. Reception 6. Store
餐厅和商店平面图： 1. 信息台 2. 扶手椅 3. 服务台 4. 下行坡道/餐厅 5. 前台 6. 商店 3
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Auditorium Plan: 1. Information 2. Cabina 3. Auditorium 4. Restroom
礼堂平面图： 1. 信息台 2. 准备室 3. 观众席 4. 洗手间
The building is slightly asymmetrical in both plan and elevation. There are a total of 28 curved columns around the perimeter of the building that follow the curvature of exterior surface. At each oor level a series of seven beams connect to curved columns to form an irregular enclosed ring beam. The intention of these irregular ring beams is to provide a system that braces the curved columns to the oor and roof diaphragms retaining the curved shape of the columns under all load combinations. The modern geometry of the new “Museo Soumaya” emerges from a central point radiating out in non-uniform angles. The façade slopes inward halfway up the building elevation and outwards to the roof line, while also rotating about its centre. This geometry causes the building to angle in many directions and to self-shade large portions of its walls. The envelope is nearly all opaque with little openings to the outside while large skylights are designed within the roof structure and taking up much of the roof area. 建筑在平面和立面上都有些不对称。28根弯曲的柱子环绕着建筑，沿着 建筑外壳的弧度而建。每层楼各有7根横梁与柱子相邻，形成了不规则 的裸露式环梁。这些不规则环梁将柱子与地面和屋顶连接起来，同时又 保证了弯曲的柱子能够承重。索玛亚博物馆的现代几何造型从中心呈放 射状不均匀角度呈现。外立面的斜度向内提升了建筑立面，上升到屋顶 线，同时还沿着中心旋转。这种造型让建筑在各个角度呈现棱角，大部 分墙壁可以自主遮光。建筑外壳近乎封闭，只留有小型开窗。大型天窗 占据了屋顶的大部分区域。
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ABC博物馆插画和设计中心 Location: Madrid, Spain Designer: Aranguren & Gallegos Arquitectos SL Completion Date: 2010 Construction Area: 3,412.50m2 Photographer: Jesús Granada 项目地点：西班牙，马德里 设计师：阿兰古伦&加利西亚建筑事务所 完成时间：2010年 建筑面积：3,412.50平方米 摄 影师：赫苏斯·格拉纳达
Museum ABC Illustration and Design Centre The new Drawing and Illustration Centre of ABC appears with the will to become an artistic reference at an international level and also a symbol of the cultural offer in Madrid. The current building provides access from two streets, connecting these with an internal patio. One of these accesses is currently offered under a one-floor high, longitudinal building body closing the internal patio towards the street. The main doors for access to the new ABC Centre are considered on this front. The aforementioned longitudinal body is restructured for this, as a large translucent glass “beam” that works as the lintel of a gap for passage to the internal patio. The cafeteria will be housed inside this, with the basement oor of the new centre receiving light through a glass oor for access to the patio. ABC博物馆的新绘画和插画中心将成为国际级艺术馆，同时也成为马德里的文化象征。 现有的建筑可以从两条街进入，中间由一个内部天井连接。其中的一个入口设在一层高的纵向建筑 主体下方，将天井与街道隔开。 中心的主入口设在正面。前面提到的纵向主体经过重建，形成了大型透明玻璃横梁，作为通往内部 天井的走道。横梁内部将设置餐厅，中心的地下室将从天井入口处的玻璃地板接收阳光。
Left: Left: Amaniel Street Facade, ABC Museum entrance Left Below: Below: ABC Patio. Night lighting Facing: Facing : ABC Museum Facade ABC 左图：艾玛尼尔街外立面，ABC博物馆入口 左下图：博物馆天井夜景 对页：博物馆外立面
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In order to create a space or “atrium” for the new institution, allowing it to express its contemporary and modern character, the solution presented proposes using the internal patio for this space as a lobby for access to the building, becoming the waiting area before entering.
为了打造一个中庭空间，体现博物馆的现代气息，设计师运用内部天井作为入口大厅，形成了进入 博物馆之前的等候区。 作为一块“巨型磁铁”，玻璃横梁以其独特的魅力吸引并传送着人们进入博物馆内部，为人们带来 好奇、焦虑和愉悦的混合感觉。
As a “large magnet”, the glass beam will attract and transport people, with a certain power of seduction, towards the inside of the new institution, causing combined curiosity, anxiety and pleasure when visiting it. The last operation in the external part of the set, consists in creating a “bar of light” over the roof of the old factory. The construction of this intends to provide spaces to house the machinery of the installations, currently located there, to house a well-lit work and reading area over the city and to i dentify the ABC Foundation as a new “torch in the city” at the Conde Duque Centre.
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设计师在旧工厂的屋顶上打造了一个“光线吧’。这一结构为放置机械设施提供了空间，现在则是 一个可以俯瞰城市的工作和阅读空间，标志着ABC基金会作为“城市火炬”的地位。
Facing: Facing: Cafeteria, translucent glass beam Top Right: Right : Cafeteria entrance Middle Right: Right : Attic views Right: Right: Cafeteria interior 对页图：餐厅，透明玻璃梁 右上图：餐厅入口 右中图：阁楼 右图：餐厅内部
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Facade Detail: 1. Existing supplementary structure 2. New galvanised subframe 3. Plate ALULIFE E=5mm 4. Anodised aluminum plate saw cut 5. Muntiseal waterproof backing band of SIKA 6. New perimeter subframe galvanised triangular hole 7. Frame triangular voids. tube 40X40 8. Frame triangular voids. Thermal insulation rock wool E = 4cm 9. CLIMALIT 10. Aluminum Carpinteria folding 11. Muntiseal waterproof backing band of SIKA 12. Thermal Insulation. Glass wool. E=5cm 13. Anodised aluminum plate saw cut 外立面细部： 1. 原有辅助结构 2. 新增镀锌次级框架 3. 电镀铝饰面E=5毫米 4. 阳极氧化铝板锯槽 5. 西卡多层密封防水带 6. 新增周界次级结构镀锌三角孔 7. 框架三角孔管40X40 8. 框架三角孔；隔热石棉 E = 4厘米 9. 可美透玻璃 10. 卡平科里亚铝折边 11. 西卡多层密封防水带 12. 隔热层；玻璃丝E=5厘米 13. 阳极氧化铝板锯槽
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Facing Left Above: Above: Exhibition space Facing Right Above: Above: The third oor. Multipurpose space Above: Above: Basement conference and exhibition space 对页左上图：展览空间 对页右上图：四层多功能空间 上图：地下会议和展览空间
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迷宫科学艺术博物馆 Location: San Luis Potosi, Mexico Designer: LEGORRETA+LEGORRETA Completion Date: 2008 Site Area: 9,000m2 Photographer: Allen Vallejo 项目地点：墨西哥，圣路易波托西 设计师：莱果利塔+莱果利塔 完成时间：2008年 建筑面积：9,000平方米 摄影师： 艾伦·瓦列霍
Labyrinth of Science and Arts Museum A museum should represent the character of the region where it is located. For the Labyrinth architects were inspired by the old haciendas of San Luis Potosi and created a central patio with labyrinth designs based on the organ pipe cacti of the desert. The stones used both for the oors and the façade are local and the design of the garden responds to the desert climate of the region. 一家博物馆应该体现其所在区域的特色。在迷宫博物馆的建造中，建筑师受到了圣路易波托西市古 老的庄园的启发，在设计里打造了一个以沙漠管风琴仙人掌为基础的中央天井。地面和外墙所采用 的石材都来自本地，花园的设计也反映了当地的沙漠性气候。
Left: Left: Façades Below: Below: Main façade Facing: Facing: Patio 左侧4图：外立面 下图：建筑正面 对页图：天井
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This Museum design achieves a building that belongs to San Luis Potosi’s environment and culture, avoiding fashions and stridence. Located in Tangamanga National Park it gets integrated to the context not only because of its colours and dimensions but because that is concept remains the old haciendas of the State.
The walls are covered with stones from the San Luis Potosi state, and the roofs are treated as gardens with local vegetation so that the visitors know and promote the huge diversity and possibilities of the site ora. 迷宫科学艺术博物馆的设计打造了一座专属于圣路易波托西环境和文化的建筑，摒弃了对时尚和先
It is developed around a big labyrinth patio. The visitor’s path is made through porticos that are surrounding this patio, making diversied and mysterious access towards different pavilions; those have several shapes and orientations, so each one has its own personality and environment.
锋的追求。它坐落在汤加孟佳国家公园内，在色彩、规模，乃至庄园造型上都与环境融为一体。
The access is made through a patio with a tree garden area in which groups of visitors organise themselves. The lobby is a high tower that clearly shows the entrance and acts as a space distributing circulations, to the labyrinth patio, to the shop and lunch area. At the same time it allows a direct access to the temporal exhibitions area and multi-purpose activities space.
参观者成群结队地穿过种满绿树的中庭进入博物馆。大堂是一座高耸的塔楼，清晰地展现着入口，
设计围绕着迷宫天井展开。参观者的路径穿过门廊，环绕着这个天井，进入各种各样神秘的展览 厅。每个展览空间都拥有独特的造型和朝向，各具特色。
并作为集散流通空间，由此通往迷宫天井、商店和午餐区。同时，参观者还可以从大堂直接前往临 时展览区和多功能活动空间。 自然光、花园和外部空间都是至关重要的设计元素，帮助博物馆与公园和户外活动区（如工坊、礼 堂和半封闭区域）结合在一起。
The natural light, the gardens and external spaces are very important design elements achieving the integration of the museum with the park and with outdoors activities such as workshops, auditorium and semi-covered areas. Above and Left: Left: Patio Facing Above: Above: Main access Facing Below: Below: Water mirror 上图和左图：天井 对页上图：主入口 对页下图：水镜景观
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墙壁上的石材来自圣路易波托西省，屋顶则被处理成种植着本地植物的花园，让参观者了解这一区 域植物的多样性。
Facing Above: Above: Kids patio Facing Below: Below: Hallway Above: Above: Mandarina Room Below Left: Left: Colour room Below Right: Right: Networks room 对页上图：儿童天井 对页下图：走道 上图：橙色展览室 下左图：色彩展览室 下右图：网络室
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Floor Plan: 1. Permanent exhibition room 2. Temporary exhibition room 3. Multipurpose room 4. Observatory 5. Cinema 6. Store 7. Workshop 8. Mep room 9. Terrace 10. Courtyard 11. Exterior activities 12. Auditorium 13. Labyrinth
平面图: 1. 永久展览室 2. 临时展览室 3. 多功能室 4. 观景台 5. 影院 6. 商店 7. 工坊 8. 机房 9. 平台 10. 庭院 11. 露天活动区 12. 礼堂 13. 迷宫
河畔博物馆 Location: Glasgow, UK Designer: Zaha Hadid Site Area: 22,400m2 Completion Date: 2011 Photographer: Alan McAteer, Helene Binet, H+C 项目地点：英国，格拉斯哥 设计师：扎哈·哈迪德 完成时间：2011年 占地面积：22,400平方米 摄影师：阿兰·麦 克阿提尔、海琳·比奈、H+C
Riverside Museum The Riverside Museum is an architectural masterpiece, designed by Zaha Hadid, arguably the world’s most in-demand architect. The £74-million museum is Zaha Hadid’s rst major public commission to open in the UK. It houses more than 3,000 exhibits, in over 150 interactive displays telling the stories of the people who made the term “Clyde Built” one which travelled the world and spoke volumes a bout unbe atable quality. From massive stea m locomotives, to the recreation of a city street during the 1900s, the cathedral-like structure provides a stunning backdrop to showcase the innovation and ambition of what was the “Second City of the Empire”. 河畔博物馆是一件建筑名作，由世界最著名的建筑师之一——扎哈·哈迪德设计。博物馆造价7,400 万英镑，是哈迪德在英国的首个公共建筑作品。博物馆内拥有3,000余件展览品，150多个互动展览 向人们讲述着遍布世界各地的高品质“克莱德制造”产品。从大型蒸汽机车到20世纪城市街道上的 休闲设施，这座教堂式的建筑结构为这座“大英帝国第二城市”的创新和雄心提供了完美的背景。
Courtesy of Zaha Hadid Architects
Roof Plan 屋顶平面图
Courtesy of Zaha Hadid Architects
North Elevation 北立面
Courtesy of Zaha Hadid Architects
Northwest Elevation 西北立面
© Alan McAteer
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© Hawkeye Aeri al Photography
The building stands as a shining beacon of architectural and engineering innovation on the banks of the River Clyde. The Riverside Museum is Glasgow’s newest visitor attraction, home to the transport, engineering and shipbuilding legacy that made Glasgow great. Outside, The Tall Ship Glenlee is moored in front of the museum’s dramatic south façade, bringing her together, for the very rst time, with the city’s unrivalled ship model collection, and creating a dramatic and iconic international destination. The Glenlee is one of only ve Clyde-built sailing vessels aoat in the world today and the only one in the UK. The museum reveals the rich and varied stories of Glasgow’s great achievements and vibrant spirit; of technological breakthroughs and heartbreaking tragedies; of local heroes and global giants. Many of these tales are told through audiovisual displays, hands-on interactive and digital touch screens. The displays will be accessible and many are designed to engage children and young people and to give a better experience for disabled visitors. © Alan McAteer
The museum’s major attractions have been designed and built into the structure of the building – with some arriving before the completion of the structure, such is their size. Highlights include, the Wall of Cars, the hanging Bicycle Velodrome, South African Locomotive, No.9 Tank Engine, Motorbike Deck, Ship Launch Show, the Rest and Be Thankful, and three re-created period streets. 建筑在克莱德河畔宛如一座闪亮的灯塔，在建筑和工程上采用了大量创新技术。河畔博物馆是格拉 斯哥最新的旅游景点，是格拉斯哥著名的交通、工程和造船传统的故乡。 高桅帆船“格兰里”停泊在博物馆南面，与城市无以伦比的船舶模型收藏一起，打造了一个引人注 目的地标式国际景点。“格兰里”帆船是五艘克莱德制造的在海上漂泊的船舶之一，也是其中唯 一一艘在英国国内的。 博物馆展示了格拉斯哥伟大的成就和充满活力的精神，讲述了技术突破和令人伤心的悲剧、本地英 雄和全球巨人。许多故事通过音像展览、亲身互动和数字触屏进行讲述。许多展览专门为儿童和青 年设计，并且为残障人士提供了更好的服务。 博物馆的主要吸引力融入了建筑结构之中，在建筑未建成之前便已经呈现。设计的重点包括：汽车 墙、悬挂自行车赛场、南非机车、9号蒸汽车头、摩托车甲板、船舶下水表演、其他产品和感恩之心 以及三条重新设计的复古街道。
© Hufton+Crow
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Exhibition Kitchen First oor gallery Plant Service trench
1. 展览区 2. 厨房 3. 二层展览厅 4. 机房 5. 管道坑槽
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Courtesy of Zaha Hadid Architects
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Ground Floor Plan: 1. Entrance lobby 2. Exhibition 3. Shop 4. Reception 5. Learning space 6. Café 7. Clyde maritime trust 一层平面图： 1. 入口大堂 2. 展览区 3. 商店 4. 接待处 5. 学习空间 6. 咖啡厅 7. 克莱德海事基金会
© Hufton+Crow
© Alan McAteer
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© Alan McAteer
© Alan McAteer
意大利国家汽车博物馆翻新扩建工程
Location: Turin, Italy Designer: Cino Zucchi Architetti Completion Date: 2011 Site Area: 17,700m2 Photographer: Cino Zucchi 项目地点：意大利，都灵 设计师：辛诺·祖奇建筑事务所 完成时间：2011年 占地面积：17,700平方米 摄影师：辛 诺·祖奇
National Automobile Museum Renovation and Extension The new museum, with an expected annual attendance of 250,000 people, accompanied by significant conference and educational activities, will thus become a driving force in the urban renewal of the southeast quadrant of the city. The project articulates the relationship between the “drive-by” perception from Corso Unità d’Italia and the establishment of a more intimate pedestrian environment grafting its way on via Richelmy. The existing building’s symmetry is “redefined” by its new base, in order to respond to its surroundings and emphasise its relationship with Largo Unità d’Italia. 新博物馆预期每年接收250,000名参观者，同时将举办各种重要的会议和教育活动，将成为城市东南 部翻新推动力。 项目连接了意大利科尔索地区的车辆概念和更加私密的步行环境。新底座重塑了原有建筑的对称 性，突出了其余周边建筑和意大利拉哥地区的联系。
Left: Left: Architectural sketch Below: Below: Aerial view Facing Above: Above: View of new wing on via Richelmy Facing Below: Below: Detail of the glass façade 左图：建筑草图 下图：鸟瞰图 对页上图：从里切梅街看新翼楼 对页下图：玻璃外立面细部
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Above: Above: View of museum front on Corso Unità d'Italia Below: Below: Building façades 上图：博物馆正面 下2图：建筑外立面
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Above: Above: Nocturnal view Below: Below: Building sections 上图：夜景 下2图：建筑剖面
Above and Facing Above: Above : View of the internal courtyard Facing Below: Below: Façade detail 上图和对页上图：内部庭院 对页下图：外立面细部
Underlining the existing horizontal lines on the river front, the new ground oor has a number of relational spaces that accommodate the different areas of the public museum and related activities (bookshop, gift-shop, bar-cafeteria). In line with many contemporary European examples the exhibition functions are integrated with a series of complementary activities that bring life to the car museum at all hours of the day and night. The existing courtyard becomes a new event space thanks to the addition of a glass roof which illuminates the space. By making the existing courtyard an internal space, onto which the museum routes face, the visitors are provided with a natural means of orientation. This provides not only a bridge linking the two bodies but a core at the heart of the project, taking the form of a “Ring”, a proven exhibition scheme.
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The new wing on the west side, a large undivided space, which provides very exible exhibition space, integrates the existing body, embracing the side of the building and giving continuity to the two “urban” elevations.
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新的一层建筑突出了原有的河畔水平线，里面设置着公共博物馆及其相关活动（书店、礼品商店、 酒吧、餐厅）的关系空间。 3
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与许多现代欧洲设计典范一样，博物馆的展览功能与一系列现代活动结合在一起，日复一日，年复 一年的为汽车博物馆带来生命力。 Ground Floor Plan: 1. Entrance - ticket ofce 2. Bookshop 3. Café 4. Documentation centre 5. Event space 6. Exhibition hall 7. Educational centre
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一层平面图： 1. 入口——售票处 2. 书店 3. 咖啡厅 4. 档案中心 5. 活动空间 6. 展览厅 7. 教学中心
原有的庭院变成了全新的活动空间，新增的玻璃屋顶提供了采光。设计师将原有庭院转变为室内空 间，与博物馆的路径相连，让参观者方便地找到方向。这一设计不仅连接了两个建筑主体，而且形 成了项目的核心区域以及“环形”展览空间。 西侧的新翼楼是一个大型未分割空间，可以灵活地进行各种展览。翼楼设在原有建筑旁边，延续了 都市建筑立面。
威利奥斯科学博物馆 Location : Wels, Austria Designer : Dworschak+Mülbachler architekten Completion Date: 2011 Site Area: 3,700m2 Construction Area: 6,158m2 Photographer : Dietmar Tollerian
Welios Science Museum A bundle of energy - the science museum with the theme of “renewable energy” highlights the efforts of the city of Wels to position itself as a city of energy.
项目地点：奥地利·威尔斯 设计师：德沃夏克+穆尔巴奇勒建筑事务所 完成时间：2011年 占地面积：3700平方米 建筑 面积：6,158平方米 摄影师：迪特玛尔·托里瑞安
Welios is a science museum that makes it possible to experience physical phenomena in interactive arrangements. Architecturally it is also an experimental landscape, an open and dynamic spatial conception of ramps, sloping walls and owing lines.
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The building is a solid construction as a cement body. The interior - ceilings, walls - is made in dry construction. The compact construction form and the highly insulated outside wall construction promise a high degree of energy efciency. A shimmering white, expanded metal façade covers the entire body of the building as a homogeneous casing. Glass walls are limited to the “opened up” recesses. Window openings in the external façade are blurred behind the metal curtain, which serves as a shading element at the same time. The line pattern is made with steel bands - the “force lines” on the façade. The back-lighting of these bands with energysaving LED light strips enables a variable design of the façade, ranging from a slight shimmer to dynamic effects. In this way, the science centre is also imbued with the necessary presence in the dark and with an unmistakable appearance. 科学博物馆以“可再生能源”为主题，突出了威尔斯市为其“能源之城”之名而做出的努力。 威利奥斯是一家能够让参观者体验形形色色的物理现象的科学博物馆。从建筑学上将，它还是一座 试验性景观建筑——坡道、倾斜的墙壁和流线型线条共同打造了开放而动感的空间概念。 建筑采用水泥为主要材料，坚实而封闭。室内墙壁和天花板采用干式建造法。紧凑的建筑形式和高
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度绝缘的外墙构造让建筑享有高度能源效率。闪耀的白色多孔金属板外立面包裹着整个建筑，形成 了统一的整体。只有开放的内凹区域才使用了玻璃幕墙。金属幕墙模糊了窗口，同时也起到了遮阳 的效果。钢铁带条——外立面的“力线”形成了线条图案。这些带条的背光式照明采用节能LED光 条，保证了外墙设计的多样性，兼具轻微的闪烁效果和动感光效。这样一来，科学中心在黑暗中也
Site Plan: 总平面图： 1. Entrance 1. 入口 2. Wels Trade Fair Centre 2. 威尔斯贸易中心 3. City Hall 3. 市政厅 4. City centre 4. 城市中心
愈加显眼，拥有引人注目的外观。
Section 1 剖面1
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Section promenade 长廊剖面
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The science museum presents itself as a spectacular large sculpture, a monument and landmark that gives the location at the periphery of the historical city centre the urbanist quality it otherwise lacks. The science centre is the urban hub in the transitional area between the city centre and the fair grounds/amusement park. The construction is characterised by the guidi ng idea of “energy”, which gives the building its form - a massive body with a hard shell is opened up and shaped by the energy inside it. The resultant recesses allow glimpses into the interior of the museum and serve to light the thematic spaces. The X-shaped conguration of the exhibition rooms allows for a exible arrangement of the thematic spaces - sometimes the view to the outside is closed, then the open atrium connects the rooms with one another. Other rooms allow a view to the outside, sunlight falls into the room. In this way sequences of spaces can be arranged with various sizes and characteristics in keeping with the exhibi tion concepts. The exhibition surfaces in the outside area are accessible from the foyer. Shielded from the public traffic space by the footpath ramp, the outside area opens up to the public garden and the fairgrounds. The exhibition surfaces are close to nature, conceived as an integral part of the park landscape, without a spatial demarcation. Uncontrolled access is hindered by a at water moat, possibly in conjunction with an exhibit on the theme o f “water”. 科学博物馆仿佛一座宏伟的大型雕塑，一个不朽的地标，为其在历史城市中心边缘的位置增添了其 所欠缺的城市特征。科学中心是城市中心和游乐场之间的过渡区域。设计师建造以“能源”概念为 指导原则，决定了建筑的外形——巨大的主体结构包裹着坚硬的外壳，通过内部的能源来塑形。一 些凹口让人们可以一瞥博物馆的室内景色，同时也为主题空间提供了光线。 X造型的展览室配置让人们可以灵活布置主题空间——有些时候外部的视野被遮挡，而开放式中庭则 将各个空间连接起来。其他空间拥有外部的视野，享有自然采光。这让空间序列可以通过多样的尺 寸和特色进行配置，展现形形色色的展览主题。 参观者通过门厅进入展览空间。人行坡道隔离了博物馆的外部区域和公共交通空间，让外部区域朝 向公园和游乐场。博物馆贴近自然，成为了公园景观的一部分，二者之间没有任何空间界限。静水 护城河阻挡了人们的随意进入，与博物馆的“水”主题相联系。
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Ground Floor Plan: 1. Special exhibition 2. Atelier 3. Multi-functional space 4. Foyer 5. Restaurant 6. Seminar room 7. Shop 一层平面图： 1. 特别展览区 2. 工作室 3. 多功能空间 4. 门厅 5. 餐厅 6. 研讨室 7. 商店
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First Floor Plan: 1. Ofce 2. Airspace 3. Restaurant
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二层平面图： 1. 办公室 2. 上层空间 3.餐厅
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Second Floor Plan: 1. Exhibition 2. Airspace 3. Roof terrace
三层平面图： 1. 展览区 2. 上层空间 3. 屋顶平台
荷兰国家玻璃博物馆 Location: Leerdam, The Netherlands Designer: Bureau SLA Completion Date: 2010 Site Area: 1,100m2 Photographer: Bureau SLA 项目地点：荷兰，莱尔丹 设计师：SLA工作室 完成时间：2010年 占地面积：1,100平方米 摄影师：SLA工作室
National Glass Museum Dutch architects Bureau SLA have connected two houses in Leerdam, with four overlapping bridges to create a continuous gallery. The National Glass Museum’s steel-frame bridges are cladded in polycarbonate wrapped in aluminium mesh. Exhibition spaces are spread across both existing buildings and the bridges with 9,000 objects on display in glass cabinets by Dutch designer Piet Hein Eek. Both buildings have been refurbished with one housing a restaurant and the other a library that doubles as staff ofces. 荷兰的SLA工作室通过四座叠加的桥梁将两座建筑连接起来，在莱尔丹建造了一座连续的展览馆。 荷兰国家玻璃博物馆的钢框架桥梁外部包裹着包铝网聚碳酸酯。 展览空间横跨两座建筑和桥梁，荷兰设计师皮特·海因所设计的玻璃橱窗中展示着9,000件展览品。 两座建筑都经过了翻新。其中一座里面设有餐厅，另一座则设有图书馆兼员工办公室。
Above: Above: Model Below: Below: View from the back Facing: Facing: View from the street side towards the newly-acquired villa 上图：模型 下图：建筑背面 对页图：从街道上看新建的博物馆
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Bureau SLA was commissioned to turn the two buildings into a home for the National Glass Museum. It was suggested to turn Cochius’ former residence into an exhibition area and to use the second villa as ofces, storage facilities and a cafeteria. Whilst this fullled functional requirements, it seemed like a missed opportunity to bureau SLA, as the new situation would appear to be not very different from the old one. The museum would have more space, indeed, but this would not be visible from the outside. The four pedestrian bridges that Bureau SLA designed and drew everything together in an elegant manner. The museum’s employees could eat in the restaurant, the visitors could have full access to the collection of glass, including that in storage, and the administrative staff could work in the library. Furthermore, the exhibition rooms could be far more spacious. Instead of the small rooms of the existing villas, in which visitors need to climb up and down stairs all the time, circulation and exhibition spaces could to be much more generous. Visitors can idle through extensive rooms; only one lift is needed and an enormous amount of space is gained. The bridges serve as storage space in which all the museum’s objects are on display. In the historical villas not much more needed to be done; they were elegant by themselves. Repairs were carried out where needed, with some later additions removed. The bridges were constructed fr om several layers of polycarbonate panels and covered by a translucent skin of grey, powder-coated, aluminium mesh. During the day they contrast sharply with the refined old villas, whereas at night they glow in reection of the 9,000 glass objects inside them. SLA工作室受委托将两座住宅打造成荷兰国家玻璃博物馆。其中，科休斯的住宅将被要求设计成展 览区，而另一座则作为办公、仓库和餐厅空间。面对这些功能要求，似乎SLA工作室并没有其他机 会进行设计，因为新的博物馆空间将与原来的住宅区别不大。事实上，博物馆需要更多的空间，而 这些在外观上都是看不出来的。 SLA工作室设计的四座天桥让一切以优雅的方式结合在一起。博物馆的员工可以在餐厅中就餐，而 参观者则可以全面参观玻璃展品（包括那些位于仓库中的），行政员工可以在图书馆里工作。此 外，展览室也更加宽敞。原有住宅中的小房间需要参观者一直爬上爬下，进行参观，与此相反，这 种设计让路径展览空间更加便利、宽敞。 参观者们可以在宽敞的房间中漫步，整个空间只需一座电梯。桥梁可作为仓储空间，在里面展示博 物馆的收藏品。而古老的别墅无需过多的装饰，它们本身就十分优雅，只要进行一些简单的修复和 拆除工作。桥梁由几层聚碳酸酯板建造而成，上面覆盖着半透明灰色粉末包层铝板。白天，它们与
Above: View from the garden Facing Left: View from the third level of the Cochius villa towards the newly-acquired villa 上图：从花园看博物馆 对页左图：从科休斯住宅四层看新建的博物馆
旧别墅形成了鲜明对比；夜晚，它们则与内部的9,000件玻璃藏品交相辉映。
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Garden Level: 1. Storage bridge 2. Exhibition space 3. Restaurant 4. Lift 5. Curator 6. Ofce 7. Library 8. Terrace 花园平面图： 1. 储藏桥 2. 展览区 3. 餐厅 4. 电梯 5. 管理室 6. 办公室 7. 图书馆 8. 平台 8 6
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Kalzip multi-purpose clamp Expanded metal mesh Steel l-beam 200×100×5mm Cavity slightly ventilated Polycarbonate (opaque) 40mm Cavity/room for construction Polycarbonate (clear) 40mm Expanded metal mesh 6. Expanded metal mesh RAL 9007 Kalzip roong Insulation Breathable waterproof layer Prefab roof element Rc 3,5 7. Fluorescent lighting Folded aluminium strip 8. Vapor barrier Steel T-prole 120 Wind bracing (steel strip) Polycarbonate 40mm
1. 卡尔吉普多功能压板 2. 扩张金属网 3. 钢铁横梁200×100×5毫米 4. 轻度通风孔 5. 聚碳酸酯板（不透明）40毫米 建造空间 聚碳酸酯板（透明）40毫米 扩张金属网 6. 扩张金属网RAL 9007 卡尔吉普屋顶 隔热层 透气防水层 预制屋顶部件Rc 3,5 7. 荧光灯照明 褶皱铝带 8. 防潮层 T形钢120 聚碳酸酯板40毫米
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Above: Above: Corridor Facing: Facing: Inside the Cochius Villa 上图：走廊 对页上图：科休斯住宅内部
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First Floor Plan: 1. Storage bridge 2. Exhibition space 3. Lift 4. Ofce 二层平面图： 1. 储藏桥 2. 展览区 3. 电梯 4. 办公室
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Second Floor Plan: 1. Storage bridge 2. Exhibition space 3. Lift 4. Services 三层平面图： 1. 储藏桥 2. 展览区 3. 电梯 4. 服务区
波兰航空博物馆 Location: Krakow, Poland Designer: Pysall Ruge Architekten Completion Date: 2010 Construction Area: 4,504m2 Photographer: Jens Willebrand 项目地点：波兰，克拉科夫 设计师：派萨尔·鲁格建筑事务所 完成时间：2010年 建筑面积：4,504平方米 摄影师：珍 斯·威尔布兰德
Polish Aviation Museum The new main building of the Polish Aviation Museum in Krakow offers a symbolic and attractive combination of virtually all the symbolisms associated with the museum, including the idea of ying, the atmosphere and structure of an aireld and a passion for the history of technology. The new structure both continues and modies the basic square module. Like a sheet of paper that is cut-out and folded to build a plane. Cast in reinforced concrete, the museum fans out into a light airy shape evoking the image of a huge three-bladed propeller. 位于克拉科夫的波兰航空博物馆的新主楼在设计上融合了各种博物馆主题的象征元素，包括飞行、 大气、机场建设结构和对科技史的热爱。 新结构延续并修饰了基本的方形模块，像一张纸一样，被剪裁、折叠成一架飞机。博物馆采用钢筋 混凝土结构，呈扇形展开，仿佛一个巨大的三叶螺旋桨。
Left: Left: Site plan Below: Below: Creative horizontal Bottom: Exterior wall Facing Above: Above: View from the southeast Facing Below: Below: View from the east 左图：总平面图 下图：创意水平设计 底图：外墙 对页上图：从东南面看建筑 对页下图：从东面看建筑
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Facing Above: Above: View from the southwest Above Left: Left: Foyer Above Right: Right: Foyer & cinema Below: Below: Exhibition wing 对页上图：从西北面看建筑 左上图：门厅 右上图：门厅和电影院 下图：展览区
South elevation 南立面
East elevation 东立面
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剖面
The new Polish Aviation Museum in Krakow is certainly not a conventional “house”. It is a structure that uses its subtly ight-inspired shape to express its function and encourages visitors to explore it further.
波兰新航空博物馆不是一座传统的建筑，它巧妙的飞行灵感造型既体现了内部的功能，又吸引参观 者进入探索。
Above and Facing Above: Above: Education display area 上图和对页上图：教学展览区 5
建筑内部设有前台区、展览区和行政办公区，与原有的飞机库和厂房建筑合理而自然地结合在一
The architecture of the building, which houses a reception area, exhibition space and administration ofces, blends in a logical and natural way with the existing complex of hangars and workshop buildings. The old hangars were a source of inspiration for the square platform on which the structure has been based, as well as for its low rooine.
起。旧飞机库是新建筑的方形平台底座和低屋顶线的灵感来源。 宽敞的玻璃幕墙室内朝向各个方向展开。前台区域朝向街道，图书馆和办公区的窗户则俯瞰西面的 公园。展览厅与其前方未开发的区域和谐地融合在一起，提供了前跑道和停机场的自由视野。北翼 墙面和地面低调的色彩为展览品提供了优雅的背景。飞机看起来像随时准备起飞，而不仅仅是展 览。造型柔和的开放空间不仅为参观者提供了清晰的视野，还允许人们随意进出。参观者可以在油
The spacious glazed interior opens out freely in all directions. The reception area faces the street, while the library and ofce windows overlook the park to the west. The exhibition hall nds harmony with an undeveloped area in front of it and offers an unobstructed view of the former runway and of airplanes parked outside. The subdued colours of the walls and the oor in the northern wing provide an elegant background to the collection. The airplanes seem to be ready for take-off and do not look like mere exhibits. Not only do the gently shaped open spaces immediately offer a clear view of the options available to the visitor, but they also allow unhindered access to any of them, whether the visitor chooses to watch a film in the fueltank shaped projection room, to have a look at exhibit cases or to enter the main exhibition space to admire the airplanes on view. The rst oor, which opens with a huge glazed wall to the exhibition hall, houses a restaurant, a bar, a library open to the general public and a lecture room with 150 seats. Further upstairs, on the second oor, the glass walls of the museum ofces open up onto the park and onto the exhibition space. In some of the rooms sunlight appears to be coming from an airpl ane window.
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箱造型的放映室中观看影片，也可以参观展览箱，或是进驻主展览区欣赏飞机。 二楼的巨型玻璃墙朝向展览厅，里面设有餐厅、酒吧、图书馆和150个坐席的讲座室。三楼，博物馆 的玻璃幕墙朝向公园和展览区。一些房间内的阳光好像来源于飞机窗户。
Ground Floor Plan: 1. Tickets 2. Foyer 3. Book store 4. Cinema 5. Exhibition wing
一层平面图： 1. 售票处 2. 门厅 3. 书店 4. 电影院 5. 展览区
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Above: Above: Lecture hall Left: Left : Storey ladder 上图：讲座厅 左图：楼梯
First Floor Plan 二层平面图
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Second Floor Plan 三层平面图
雀巢巧克力博物馆 Location: Toluca, Mexico Designer: Rojkind Arquitectos Completion Date: 2007 Site Area: 634m2 Photographers: Guido Torres, Paúl Rivera 项目地点：墨西哥，托卢卡 设计师：罗杰奇德建筑事务所 完成时间：2007年 占地面积：634平方米 摄影师：吉
多·托雷斯、保罗·里维拉建筑摄影
Nestlé Chocolate Museum Located over the side lane of the highway in the entrance to Toluca, in the edge of a 300-metre long insubstantial industrial installation that used to pass unnoticed, the new museum appears with the spectacular nature of a window display. Half way between Mathias Goeritz’s The Snake and Munch’s Scream, the zigzagging origami rises from the garden level and becomes the entrance to a magical world, to the tour of the chocolate factory that rivals Tim Burton’s imagination. 博物馆位于托卢卡高速公路入口的侧道上，设在一座原本不起眼的300米长的条形工业设施中，其橱 窗展示十分引人注目。 曲折的折纸造型设在马塞尔斯·左列治设计的“蛇”和蒙奇设计的“尖叫”之间，形成了通往魔法 世界的入口，引领人们进入电影《查理和巧克力工厂》中的情景。
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1. East view 2. North view 3. South view 4. West view 1. 建筑东面 2. 建筑北面 3. 建筑南面 4. 建筑西面
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Site Plan: 1. Motor lobby 2. Drop-off 3. Landscaping 4. School bus parking 5. Existing chocolate factory 6. Employee parking 7. Leonardo Davinci Street 总平面图： 1. 电机大堂 2. 下车区 3. 景观设施 4. 校车停车场 5. 原有的巧克力工厂 6. 员工停车场 7. 达·芬奇街
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1. Motor lobby 3. Access 6. Museum shop 8. Landscaping 11. Exiting chocolate factory 14. Hallway 2. Drop-off 3. Access 5. Auditorium 8. Landscaping 14. Hallway 15. Leonardo Davinci Street 15. Leonardo Davincl Street 1. 电机大堂 3. 入口 6.商店 8. 景观设施 11. 原巧克力厂 14. 走道 15. 达·芬奇街 2. 下车区 3. 入口 5. 礼堂 8. 景观装置 14. 走道 15. 达·芬奇街
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1. Motor lobby 3. Access 6. Museum shop 8. Landscaping 11. Exiting chocolate factory 14. Hallway 3. Access 4. Lobby 7. Restrooms 8. Landscaping 13. Reception 15. Leonardo Davinci Street 15. Leonardo Davincl Street 1. 点击大堂 3. 入口 6.商店 8. 景观设施 11. 原巧克力厂 14. 走道 15. 达·芬奇街 3. 入口 4. 大堂 7. 洗手间8. 景观设施 13. 接待处 15. 达·芬奇街
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The six hundred square metres of new construction standing over the garden, house a reception area, a theatre that prepares young visitors for the trip to the world of chocolate, the entrance to the existing tunnel that circles around the production areas in the inside of the factory and the chocolate and gadget store at the end of the tour. And so, a back staircase engulfs the groups of scholars with a trumpeted and faceted prism. The triangles of the unfolding kaleidoscope are made out in different shades of white to accentuate the different planes. The lobby opens up over an insipid view of high voltage cables, billboards and highway to give way to the groups of visitors between the information desk and the chocolate bar shaped sofas. The theatre in this little EPCOT, encloses the visitors for a few minutes to introduce them virtually to the liquid world of candy. From there, the tour begins through the corridors, tunnels and observation decks over the halls of the factory. Before leaving, a store invites visitors to perpetuate the moment with objects to take home.
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1. Motor lobby 2. Drop off 3. Access 5. Auditorium 8. Landscaping 14 Hallway 15 Leonardo Davinci Street 1. 电机大堂 2. 下车区 3. 入口 5. 礼堂 8. 景观设施 14. 走道 15. 达·芬奇 街
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This urban-scale toy invites visitors on an emotional tour and gives free rein to the exuberant creativity creativity of Michel Rojkind. The red on the outside and white on the inside made from urgent origami, bursts out like a unique icon in the Tolucan periphery.
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1. Motor lobby 2. Drop-off 3. Access 5. Auditorium 6. Museum shop 8. Landscaping 15. Leonardo Davinci Street 1. 电机大堂 2. 下车区 3. 入口 5. 礼堂 6. 博物馆商店 8. 景观设施 15. 达·芬 奇街
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4. Lobby 7. Restrooms 8. Landscaping 12. Employee parking 13. Reception 15. Leonardo Davinci Street 4. 大堂 7. 洗手间 8. 景观设施 12. 员工停车场 13. 接待处 15. 达·芬奇街
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1. Sheetrock panel ceiling calked nished with two hands of Dupont oyster white OW79IP paint over sealant 2. 2" thermo/acoustic insulator polystyrene foam panel according to Nestlé recommendations 3. 1.5"x1.5"x0.11" 2.95 kg/m steel HSS nished with Dupont white primer 4. Water resistant sheetrock panel 5. Steel beam IR16"x50 lb/ft 6. Colour deck CD-408 0.5mm Aluzinc hunter Douglas panel Ferrari red COD. 7088 7. Sheetrock panel wall calked nished with two hands of Dupont oyster white OW79IP paint over sealant 8. 6"x6"x1/4" 28.30 kg/m steel HSS nished with white Dupont primer 9. Epoxic resin oor over Epoxic mortar nished in glossy white 10. Steel beam IR 406mm x 74.4kg/m 11. Concrete beam f’c=350 kg/cm2 40x80cm assembled with 12#8, 2#4 y e#4 12. 6"x6"x1/4" 28.30 kg/m steel HSS nished with white Dupont primer 13. Concrete column f’C =350 kg/cm2 60 x 40cm assembled with 10#8 y e#3 @20cm 14. Concrete column footing F’C =250 kg/cm2 assembled with 12#6 e#3 @20cm 1. 石膏灰胶纸夹板天花板，采用了杜邦乳白色漆OW79IP和密封剂 2. 2英寸隔热/隔音泡沫塑料板，雀巢推荐 3. 1.5x1.5x0.11英寸2.95千克/米高速钢，涂有杜邦白色底漆 4. 防水石膏灰胶纸夹板 5. 钢梁IR16英寸x50磅/英尺 6. 彩色平台CD-408，0.5毫米钢板，亨特·道格拉斯板，法拉利红COD. 7088 7. 石膏灰胶纸夹板天花板，采用了杜邦乳白色漆OW79IP和密封剂 8. 6x6x1/4英寸28.30千克/米高速钢，涂有杜邦白色底漆 9. 伊普科斯克灰泥上的松脂地板，漆有高光白 10. 钢梁IR406毫米x74.4千克/米 11. 混凝土梁，承重量=350千克/平方厘米，与12#8, 2#4 Y E#4组合装配 12. 6x6x1/4英寸28.30千克/米高速钢，涂有杜邦白色底漆 13. 混凝土柱，承重=350千克/平方厘米，60 x 40厘米，与0#8 Y E#3 @20cm组合装配 14. 混凝土柱基脚，承重量=250千克/平方厘米，与12#6 E#3 @20cm组合装配
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1. Motor lobby 2. Drop-off 10. Access to tunnel 11. Existing chocolate factory 12. Employee parking 1. 电机大堂 2. 下车区 10. 隧道入口 11. 原有巧克力工厂 12. 员工停车场
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3. Access landscaping 8. Landscaping 11. Existing chocolate factory15. Employee parking 3. 景观设施入口 8. 景观设施 11. 原有巧克力工厂 15. 员工停车场
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Ground Floor Plan: 1. Motor lobby 2. Drop-off 3. Access 4. Lobby 5. Auditorium 6. Museum shop
600多平方米的新建筑设在花园内，内部设有前台区域、剧院（让年轻的参观者作 好进入巧克力世界的准备）、通往原有隧道（环绕着工厂内部产品区）的入口、巧 克力和小玩意的商店。 喇叭造型的刻面棱镜楼梯将参观者“吸进”建筑内部。展开的万花筒的三角形状由 白色渐变组成，凸显了不同的位面。无趣的高压线、公告栏和高速公路景观与大堂 里的前台和巧克力棒造型沙发形成了对比。这个奇妙世界里的剧院将在几分钟之内 对参观者进行糖果世界的介绍。整个旅程从这里开始，穿过走廊、隧道和俯瞰工厂 大厅的参观台。最后，人们可以在小商店里挑选自己喜欢的商品带回家。 这个城市规模的大型玩具吸引着人们开始一场情绪之旅，充分体现了米歇尔·罗杰 奇德的创造力。外红内白的色彩，折纸一般的造型，建筑在托卢卡城市边缘打造了 独特的地标。
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7. Restrooms 8. Landscaping 9. Access to tunnel 10. Existing chocolate factory 11. Employee parking 12. Reception 13. Hallway
一层平面图： 1. 电机大堂 2. 下车区 3. 入口 4. 大堂 5. 礼堂 6. 博物馆商店
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Diagram: 1. Concrete columns 2. Steel beams 3. Reinforced concrete slab 4. Sheetrock interior walls 5. Sheetrock interior skin 6. Steel framework structure 7. Secondary steel structure 8. Hunter Douglas outer skin 9. Glass façade
图表： 1. 混凝土柱 2. 钢梁 3. 钢筋混凝土板 4. 石膏灰胶纸夹板内墙 5. 石膏灰胶纸夹板内层包层 6. 钢框架结构 7. 二级钢结构 8. 亨特·道格拉斯外表皮 9. 玻璃外立面
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沃斯堡科学和历史博物馆
Location: Fort Worth, Texas, USA Designer: LEGORRETA + LEGORRETA CompletionDate: 2009 Total Area: 18,580m2 Photographer: Lourdes Legorreta 项目地点：美国，沃斯堡 设计师：勒格瑞塔事务所 完成时间：2009年 总面积：18,580平方米 摄影师：卢尔德·勒格瑞塔
Fort Worth Museum of Science and History The Fort Worth Museum of Science and History is located at Fort Worth’s Cultural District among very important 20 th century architectures such as the Kimbell Art Museum by Louis Kahn, the Modern Art Museum by Tadao Ando and the Amon Carter Museum by Phillip Johnson. The relationship within the existing site elements was an important design concern. Visitors access the New Building passing by a tree-shaded plaza that connects to the Main Access. The plaza is overtopped by a main emblematic Tower/Lantern, signalising the entrance of the Museum. 沃斯堡科学和历史博物馆坐落于沃斯堡的文化区，与许多重要的20世纪建筑建在一起，如路易 斯·卡恩设计的金贝尔艺术博物馆、安藤忠雄设计的现代艺术博物馆和菲利普·约翰逊设计的阿 蒙·卡特博物馆。 与现有场地元素的关系是设计的重要考虑之一。参观者通过一个通往主入口的树荫广场进入新建 筑。广场上高耸着一座象征性的灯塔，标志着博物馆的入口。
Clockwise: Clockwise: Lantern detail in east façade; East elevation; West elevation; South elevation; North elevation; South façade - planetarium and restaurant 本页顺时针依次为：建筑东面灯笼结构的细部；东立面，西立面，南立面，北立面； 建筑南面——天文馆和餐厅
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Ground Floor Plan; 1. Main lobby/entrance 2. Atrium 3. Special events space 4. Restaurant 5. Courtyard 6. Exhibition zone 7. Retail store 8. Kid space 9. Dino dig 10. Energy & Lone Star Dino 11. Museum school area 12. Existing Omni Theatre 一层平面图： 1. 主大堂/入口 2. 中庭 3. 特别活动空间 4. 餐厅 5. 庭院 6. 展览区 7. 零售商店 8. 儿童空间 9. 恐龙发掘区 10. 能源&孤星恐龙 11. 博物馆学校 12. 原有的剧院
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The New Facility consists on several components interacting constantly with each other. An important element is the Museum School since the educational part of the exhibitions is a strong statement. Spacey and illuminated classrooms are facing a courtyard. Other elements on the architectural programme are the Experimental Studios, Explora Zone, an outdoor Dino Dig. Furthermore there is Children’s Museum, as well as pleasant outdoor areas like for instance a terrace, pergola area, reflected pool, and a shadowed courtyard gives the opportunity to entertain the youngest visitors of the Museum. Design f ocused on creating spaces that are easy to understand for children and accessible for school groups.
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新博物馆由几个相互影响的元素构成。由于展览的教育意义至关重要，其中一个元素便是博物馆学 校。宽敞而明亮的教室朝向庭院。其他建筑元素包括实验工作室、探索区和露天恐龙发掘区。此 外，博物馆内还设有儿童博物馆和其他露天区域，如平台、绿廊、倒影池和树荫庭院，让儿童们可 以在博物馆里游玩。设计聚焦于打造一个易于儿童理解和方便学校团体进出的空间。 博物馆的其他主要空间为大型开放式空间，包括恐龙展、探索区和能源展。此外，还有养牛博物 馆——一个临时展览区和沃斯堡历史展——展览与博物馆的流通路径结合在一起，赋予参观者奇特 的体验。贵族天文馆与养牛博物馆相连。 除了展览区，博物馆内还设有商业区域，如餐厅、零售商店和特殊活动空间——可根据不同活动而
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Other main spaces of the Museum are the large open spaces that house the Dinosaur Collection, Explora Zone and the Energy Exhibition, additionally the Cattle Raisers Museum, a Temporary Exhibit Area and the Fort Worth History Exhibition, which is integrated into the circulation space to give the visitors a unique experience. There is also a new Noble Planetarium l inked to the Cattle Raisers Museum.
灵活调整。博物馆设有两个办公区：博物馆学校办公区和行政办公区。
Besides the exhibition areas, there are commercial areas such as a Restaurant, Retail Store and a Special Events Space, which is adjustable to diverse programmes. There are two ofce areas: Museum School Ofces and Executive Ofces.
Facing Above: Above: Main courtyard Above: Above: Energy exhibit 对页上图：主庭院 上图：能源展览
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Facing Above: Above: Spine Facing Below Right: Lantern Right: Lantern view from inside Above: Above: Atrium 对页上图：建筑主轴走道 对页右下图：灯笼结构内部 上图：中庭
Second Floor Plan: 13. Planetarium 14. Cattle raisers exhibit 15. Temporary exhibit 16. Fort worth exhibit 三层平面图： 13. 天文馆 14. 养牛人展览 15. 临时展览区 16. 沃斯堡展览区
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能量博物馆 Location: Tarragona, Spain Designer: Arquitecturia Completion Date: 2010 Construction Area: 5,785m2 Photographer: Pedro Pegenaute 项目地点：西班牙，塔拉戈纳 设计师：阿奇泰克特里亚事务所 完成时间：2010年 占地面积：5,785平方米 摄影师：佩 德罗·佩格纳特
Museum of Energy The Museum of Energy weaves together several social and physical realities. It generates a new space in a currently undetermined place and links urban to landscape. This interlacing of different realities is dealt by three different stages of a promenade. At a first stage, the visitors are received; at a second stage, the exhibition content is shown and at a last stage, the views toward the landscape are framed: to receive, to frame and in-between, the content is shown. 能源博物馆将若干社会元素和现实元素交织在一起，在未确定的环境中创造了一个全新的空间，连 接了城市与景观。 各种不同元素的交错通过一条长廊的三个舞台实现。首先，游客们受到接待；其次，展览内容得以 呈现；最后，人们将欣赏朝向外部的景观。整个过程是：接待、展览和景观欣赏。
Left: Left: Main entrance view Below: Below: Project section sketch Facing Above: Above: Exterior perspective view from the backside Facing Below: Below: North elevation view 左图：主入口 下图：项目剖面草图 对页上图：建筑侧面外观 对页下图：建筑北立面
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The museum needs to be anchored between the publ ic and the private, between the river and the topography, between urban and landscape. Because of this, one of the principal aims of the proposal was to recongure the site and its surroundings, and understanding its boundary condition.
博物馆需要在公共环境和私人环境中、河流和地形、城市和景观中得到平衡。因此，设计的主要目 的之一便是在理解其边界条件的前提下重新配置场地和周边环境。 项目场地是一块荒凉的土地，景观和工业设施以一种放松的方式并立而存。埃布罗河和地形、工业 设施和城市群落之间并没有遮蔽物。这就要求打造一个具有强烈视觉特征的建筑。于是设计师以消
The site, a desolate land, where landscape and industry are juxtaposed, but not closely related, coexisting without tension. There was no shelter between the Ebro and the topography or between the industry and the urban settlement. The need to anchor this place was strong and the designers began by dusting off the grid. From the exterior to the interior, accidental spaces are made with subtracting matter, and by altering the grid.
除城市网格开始。从外观到室内设计，次要空间全部采用减法方式和调整网格而实现。
The type on this site had lost purity, but now it emanates a sense of belonging with intertwined abstraction and specificity. On the exterior the use of steel creates a dense, heavy, cold and rough sense. The use of poly carbonate on the interior creates the opposite effect, with a light, soft space.
Above: Above: South elevation view 上图：建筑南立面 Below Left: Left: Main entrance view 左下图：主入口 Below Right: Right: Ground oor interior view 右下图：一层内景 Facing Above: Above: Perspective view from the entrance 对页上图：入口全景 Facing Below: Below: West elevation view 对页下图：建筑西立面
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建筑类型在这里失去了纯粹性，散发出一种交错着抽象和具体的归属感。外墙钢铁的运用打造了密 集、厚重、冰冷而粗犷的质感。室内聚碳酸酯的运用则营造出相反的效果——轻盈而柔和。
Ground Floor Plan 一层平面图
Facing: Facing: First oor interior view Right: Right: Entrance interior view 对页图：二层内景 右图：入口内景
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荷兰国家汽车博物馆 Location: Amsterdam, The Netherlands Designer: Michael Graves & Associates Completion Date: 2010 Site Area: 10,219m2 Photographer: Michael Graves & Associates 项目地点：荷兰，阿姆斯特丹 设计师：迈克尔·格拉夫斯建筑事务所 完成时间：2010年 占地面积：10,219平方米 摄影 师：迈克尔·格拉夫斯建筑事务所
National Automobile Museum The design incorporates modern details alongside distinctive Dutch elements. The bricks in the façades have been laid in a special woven pattern, forming a stark contrast to the other, more understated surfaces. It is complemented by quarry stone details and a slate-tiled roof. As well as serving as a special exhibition space, an octagonal pavilion at the rear of the building has been positioned in line with an existing avenue of trees, connecting the building with the landscape. 设计融合了现代细节设计和独特的荷兰元素。砖砌外墙采用了独特的编织图案，与更加低调的建筑 外墙形成了对比。原石细部装饰和板岩瓦屋顶完善了这一设计。作为特殊的展览空间，建筑后部的 八角形场馆与一条两侧种满绿树的大街平行，将建筑与景观连接在一起。
Left: Left: Site plan Below: Below: Rear side Facing Above: Above: Front side Facing Below: Below: Main hall section 左图：总平面图 下图：建筑侧后面 对页上图：建筑侧面 对页下图：主大厅剖面图
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The museum features a major collection of automobiles, the Louwman Collection. The building houses temporary and permanent exhibition galleries, an auditorium, a reception hall, conference facilities in an attached pavilion, a food court, and workshops for conservation and repair. The museum building incorporates a large space for displaying Evert Louwman’s outstanding collection of historic automobiles, yet remains in harmony with the smaller-scale, smaller-scale, historically-sensitive architectural context. The Great Hall, with its huge, arched timber roof, forms an east-west backbone through the building, which distinguishes the lofty exhibition rooms from the smaller, public rooms by the main entrance, such as the museum shop and the access to the theatre. With the steep, peaked roofs that are typical of Dutch architecture, the exterior of this section of the museum is reminiscent of a coach house. This makes the building as a whole appear smaller, so that it blends sympathetically with buildings in the surrounding area. The museum’s architectural character character responds to the traditional nature of the context through massing, detailing and consistent use of brick materials. In order to mitigate the large scale of the exhibit space and workshops, the smaller scale public activities were organised in a U-shaped conguration facing the street. The central rotunda, the main entrance to the museum, doubles as a temporary exhibition gallery for featured pieces. To either side, the roof overhangs and columns surrounding the auditorium and reception hall impart a domestic scale to the composition in deference to the neighbourhood. 博物馆内主要展示着卢曼的汽车收藏。建筑里设置着临时和永久展览厅、礼堂、接待大厅、会议设 施、美食广场、修复和保护工坊。 博物馆建筑利用一大块空间来展示伊文特·卢曼的古董车收藏，并使其与相对较小的历史建筑环境 和谐统一。大厅里巨大的拱形木质屋顶形成了纵贯东西的建筑龙骨，通过主入口将展览区与较小的 公共区域（如博物馆商店和剧院）分隔开。尖而陡的屋顶是荷兰建筑的典型特征，博物馆剖面的外 部令人想起古老的马车站。这让整个建筑看起来更小，让建筑与周边的建筑联系在一起。 建筑通过体块、细部和砖材料的使用反映了环境的传统特色。为了缓和展览空间和工坊的大规模 感，小型公共活动空间呈U形结构朝向街道。作为博物馆入口的中央圆形大厅可用作临时展览空间。 另一侧，环绕着礼堂和接待大厅的挑檐和竹子为博物馆带来了居家感，与周边建筑达成了一致。 Left: Left: Octagonal pavilion Below: Below: Gallery Bottom:Stair hall Facing: Facing: Spyker hall
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左图：八角亭 下图：展览厅剖面图 底图：楼梯大厅剖面图 对页图：世爵汽车大厅
Above: Above: Benz SSK 1929 Facing Above: Above: Duesenberg SJ Lagrande Dual-Cowl Phaeton 193 上图：奔驰SSK，1929年产 对页上图：杜森堡SJ拉格兰德双篷车193
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Ground Floor Plan: 1. Market square 2. Prefunction 3. Workshop 4. Auditorium 5. Gentlemen’s room 6. Gift shop 7. Entrance 8. Tickets 9. Petit gallery 10. Kitchen 11. Great hall 12. Gallery 13. Pavilion 一层平面图： 1. 市场广场 2. 前厅 3. 工坊 4. 礼堂 5. 男士洗手间 6. 礼品商店 7. 入口 8. 售票处 9. 小展览厅 10. 厨房 11. 大厅 12. 展览厅 13. 八角亭
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First Floor Plan 二层平面图
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Second Floor Plan 三层平面图
加拿大自然博物馆 Location: Ottawa, Ontario, Canada Designer: KPMB Architects Completion Date: 2010 Site Area: 23,225m2 Photographer: Eric Fruhauf, Tom Arban 项目地点：加拿大，安大略省，渥太华 设计师：KPMB建筑事务所 完成时间：2010年 占地面积：23,225平方米 摄影 师：埃里克·弗鲁哈夫、汤姆·阿本
Canadian Museum of Nature The revitalisation project showcases the original heritage building, using contemporary architecture to generate a dialogue between the past and the present. It also prioritises the Museum’s collections and its research activities, while improving its public outreach. The original interior suffered from a fairly rigid and opaque layout, inadequate vertical circulation, and generally substandard building. To realise a bolder identity for the CMN, the challenge was not limited to an interior renewal but extended to the exterior and site. 翻修项目展示了原本的遗产建筑，运用现代建筑在过去和现在之间形成了对话。项目将博物馆收藏 品与其研究活动放在首位，扩大了博物馆的公共服务范围。 原本的室内布局死板而不具有通透性，垂直交通不便，建筑物不符合标准。为了给加拿大自然博物 馆打造更大胆的形象，项目面临的挑战不仅局限在室内翻新，还必须扩展到室外和场地设计。
Left: Left : Street view Facing: Facing : Night view 左图：从街道一侧看建筑 对页图：夜景
Site Plan: 1. Entrance 2. Exit 3. Permit parking
4. Promenade 8. Lantern 总平面图： 5. West lawn 9. Terrace 1. 入口 6. Court 10. Green roof 2. 出口 7. Visitor parking 3. 许可停车场
4. 散步长廊 8. 灯笼结构 5. 西侧草地 9. 平台 6. 庭院 10. 绿色屋顶 7. 访客停车场
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The concrete moat of parking that surrounded the building was one of the biggest liabilities to the museum’s image. By relocating parking to the east side of the site, space was gained to create a signicant below-grade addition on the south in which the back-of-house operational functions of the museum are consolidated, including mechanical and electrical, loading, waste handling, security and catering functions. The roof is slightly elevated above the street and is adapted as landscaped terraces for the enjoyment of visitors and the public. One of the most visible interventions is a glazed Lantern element over the truncated tower. The Lantern restores the original proportion of the main entrance and creates a super-scale display unit for replicas of large-scale artifacts or projected images. Within the Lantern a new Butterfly Stair resolves the original circulation system, which was disconnected when the tower was removed, and reinstates a continuous loop of movement around the Atrium and through all four levels of the Museum. Reception and information desks are relocated to the centre of the Atrium. Gallery spaces are recongured to offer a balance of black box and day-lit galleries. The South Terrace creates an indoor/outdoor precinct for casual and formal gatherings up to 600 people. Set apart from the walls and foundations of the heritage building, the Terrace is linked to the existing building via two bridges, and creates a viewing platform from which to experience the robust masonry walls. Its edges are dened by bosques of trees and a large-scale water feature, which runs parallel to Argyle Street. 环绕建筑的停车场是博物馆形象的最大阻碍。设计师将停车场移到了场地东侧，同时在场地南侧打 造了一个地下空间，里面设置着博物馆后台操作设施，如机械和电力设施、装卸区、垃圾房、保安 和餐饮服务功能等。屋顶稍稍挑高，被改造成可供参观者和公众享用的景观平台。 最明显的改造之一是截顶塔楼上的玻璃灯元素。这个玻璃灯罩住了原有的入口，打造了超大规模的 展览区，用于展览大型艺术品或者投影。玻璃灯里的蝴蝶楼梯解决了塔尖移除后垂直路径的不连贯 问题，复原了博物馆四层楼的环绕中庭连续环形路径。前台和信息桌被设在中庭中央。展览厅经过 重新配置，达成了明暗交错的平衡。 南侧平台提供了可容纳600人的室内/露天休闲、集会空间。平台脱离历史建筑的墙壁和地基，通过 两座天桥与原有建筑相连，打造了可以体验粗糙石墙的观景平台。平台的边缘种满了灌木，一个大 型水景设施与阿盖尔街平行。
Left: Left: Ceiling Facing Above Left: Left: Atrium Facing Above Right: Right: Lantern The Following Pages: Pages : Left: Left: Lantern Right: Right: Stair 左图：天花板 对页左上图：中庭 对页右上图：灯笼结构 下一页： 左页：灯笼结构 右页：楼梯
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Basement Plan: 1. Basement lobby 2. Lifts 3. Ofces 4. Animal display / lab 5. Green house 6. Museum operations 7. HD theatre 8. Museum operations 9. Loading dock 10. Museum services 地下室平面图: 1. 地下大堂 2. 电梯 3. 办公室 4. 动物展/实验室 5. 温室 6. 博物馆管理区 7. 高清影院 8. 博物馆管理区 9. 装卸平台 10. 博物馆服务区
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Ground Floor Plan: 1. Vestibule 2. Foyer 3. Central atrium 4. Apse/Discovery Centre 5. Fossil gallery 6. Green roof 7. Green house 8. South addition terrace 9. Café/boutique 10. Group entrance
一层平面图： 1. 门廊 2. 门厅 3. 中庭 4. 后殿/发现中心 5. 化石展览厅 6. 绿色屋顶 7. 温室 8. 南部附加平台 9. 咖啡厅/精品店 10. 团体入口
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Second Floor Plan: 1. Buttery stairs 2. Central atrium 3. Apse/Discovery Centre 4. Mammal gallery 5. Water gallery
三层平面图： 1. 蝴蝶楼梯 2. 中庭 3. 后殿/发现中心 4. 哺乳动物展览厅 5. 水生物展览厅
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Third Floor Plan: 1. Lantern/buttery stairs 2. Central atrium 3. Salon 4. Temporary gallery 5. Mineral gallery
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四层平面图： 1. 灯笼结构/蝴蝶楼梯 2. 中庭 3. 沙龙 4. 临时展览厅 5. 矿石展览厅
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里昂住宅博物馆 Location: Melbourne, Australia Designer: Lyons Completion Date: 2009 Site Area: 1,350m2 Photographer: Dianna Snape 项目地点：澳大利亚，墨尔本 设计师：里昂斯 完成时间：2009年 占地面积：1,350平方米 摄影师：戴安娜·斯内普
Lyon House Museum The Lyon House Museum is an experimental project, which speculates on the conjunction of art and living, challenges conventional notions of public and private and explores new relationships between art and architecture through a new hybridised type - a “house museum”. As an experimental and speculative project the House Museum explores new relationships between public and private, art and living and opens new ground in the dialogue between art and architecture. 里昂住宅博物馆是一个试验性项目，将艺术和生活结合在一起，挑战了公共和私密的传统概念，通 过混合型“住宅博物馆”探索了艺术和建筑之间的全新关系。 作为一个试验性冒险项目，住宅博物馆探索了公共和私密、艺术和生活的新关系，开创了艺术与建 筑之间的新对话。
Section: 1. Black box 2. Music room 3. Bedroom
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Kitchen White cube Dining/meeting Formal living
剖面图： 1. 黑盒结构 2. 音乐室 3. 卧室
4. 厨房 5. 白立方体结构 6. 餐厅/会议室 7. 社交起居空间
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Located in Melbourne, Australia, the building accommodates the daily living needs of a family of four and the requirements of a public museum housing a major collection of Australian contemporary art. The building is open weekly for public tours and for research visits by academics and students. The House Museum also hosts an annual programme of concerts, artist and architecture talks and other cultural events.
The spaces in the building are ambiguous in their typological readings – the family kitchen doubles as museum café, the black box showing video art is also used for home movies and sleepovers. The private study functions as a research library for visiting academics and students.
Two large double-height spaces - a “white cube” and “black box” - anchor the two ends of the building and are designed explicitly as museum spaces. Private domestic spaces for the family are dened with enclosed boxlike forms and are located across the two levels of the building.
Below Left: Left: Dining Below Right: Right: Formal living Facing Above: Above: Music room 左下图：餐厅 右下图：社交起居空间 对页上图：音乐厅
Ground Floor + Site Plan: 1. Art library 2. Formal living 3. Art space 4. White cube 5. Entrance hall 6. Informal living 7. Kitchen 8. Store 9. Gallery 10. Habitat 11. Pantry 12. Work desk 13. Laundry 14. Music room 15. Black box 16. Garage
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一层+总平面图： 1. 艺术图书室 2. 社交起居空间 3. 艺术空间 4. 白色立方体结构 5. 入口大厅 6. 社交起居空间 7. 厨房 8. 商店 9. 展览厅 10. 聚集地 11. 餐具室 12. 工作台 13. 洗衣房 14. 音乐室 15. 黑盒结构 16. 车库
建筑位于澳大利亚墨尔本，兼具四口之家日常生活所需的住宅功能和展示澳大利亚现代艺术品的公 共博物馆功能。建筑每周向公众和学院研究人员开放。住宅博物馆还将举办一年一度的音乐会、艺 术家和建筑家演讲以及其他文化活动。 两个双层楼高的空间——“白立方”和“黑盒”分别位于建筑的两端，被设计成博物馆空间。私人 家居空间同样设在盒结构里，横跨建筑的两层。 3
建筑内空间的分类比较模糊，家庭厨房兼作博物馆咖啡厅，进行视频艺术展览的黑盒也是家庭影院
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Top: Top: Exhibition space Above: Above: Gallery hall 顶图：展览空间 上图：展览厅
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First Floor Plan: 1. Ofce 2. Dining/meeting 3. Gallery 4. Bedroom 5. Robe 6. En suite 7. Library/informal sitting 8. Upper hall 9. Play 10. Concert organ 11. Organ loft 12. Black box 二层平面图： 1. 办公室 2. 餐厅/会议室 3. 展览厅 4. 卧室 5. 衣帽间 6. 套房 7. 图书室/休息室 8. 上层大厅 9. 游艺室 10. 音乐会风琴 11. 风琴阁楼 12. 黑盒结构
拟态博物馆 Location: Paju Book City, South Korea Designer: Álvaro Siza, Carlos Castanheira, Jun Sung Kim Completion Date: 2009 Construction Area: 4,000m2 Photographer: Fernando Guerra - FG+SG
Fotografia de Arquitectura 项目地点：韩国，坡州出版城 设计师：阿尔瓦罗·西扎；卡洛斯·卡斯塔涅亚；金俊圣 完成时间：2009年 建筑面积：
4,000平方米 摄影师：费尔南多·格拉（FG+SG建筑摄影）
Mimesis Museum The project for the Museum Mimesis, already nishing construction in the new town of Paju Book City in South Korea, is a cat. The client didn’t have to wait for seven years for his drawing of a cat, but Álvaro Siza has been drawing cats for over seven years now. He has never seen a Korean cat, because he has never been there. The architect briefed him on the site, and brought along a small site model, showing the boundaries and the immediate context. In one single gesture, a cat was drawn. The Mimesis is a cat, all curled up and also open, stretches and yawns. It’s all there. 位于韩国坡州出版城的拟态博物馆造型是一只猫。项目委托人不必等待七年来绘制一只猫，但是阿 尔瓦罗·西扎至今已经画了七年的猫。他从未见过韩国的猫，因为他从没去过韩国。 建筑师为他简要描述了建筑场地，并为他带去了一个显示边界和即时环境的小型场地模型。阿尔瓦 罗立即画了一只猫。拟态博物馆是一只猫，它会伸展、蜷曲、打哈欠。
Left: Left: Site plan Below: Below: Street view of west elevation Facing Above: Above: Street view of south elevation 左图：总平面图 下图：从街上看西立面 对页上图：从街上看南立面
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West Elevation 西立面
East Elevation 东立面
South Elevation 南立面
North Elevation 北立面
Section B 剖面B
Section A 剖面A
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Section D 剖面D
Section C 剖面C
Facing Above: Above: Exterior patio and main entrance Right: Exterior patio view 对页上图：露天平台和主入口 右图：露天平台
Left: Left : Exterior patio view Facing: Facing : Second oor interior atio 左图：露天平台 右图：三层室内平台
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Ground Floor Plan: 1. Public entrance 2. Main foyer 3. Reception/cloakrooms 4. Temporary exhibitions 5. Temporary exhibitions 6. Café/restaurant 7. Terrace 8. Public toilets 9. Public toilets 10. Public lifts
In the basement locate the archives, the service area, maybe an extension to the exhibition area, as is becoming a habit in museums designed by Álvaro Siza. The ground oor is a space for arrival and distribution, areas for temporary exhibitions and a café/restaurant with all necessary back up. Administration areas, staff circulation, area for the administrative archive and staff toilets are located in the mezzanines. The top oor is used for exhibition space.
11. Stair to mezzanine 12. Freight lift 13. Loading bay 14. Security room 15. Service entrance 16. Service staircase 17. Kitchen 18. Pantry 19. Service 20. Vertical ducts
一层平面图： 1. 公共入口 2. 门厅 3. 前台/寄存处 4. 临时展览区 5. 临时展览区 6. 咖啡厅/餐厅 7. 平台 8. 公共洗手间 9. 公共洗手间 10. 公共电梯
11. 通往夹层的楼梯 12. 货用电梯 13. 装卸区 14. 警卫室 15. 服务入口 16. 服务楼梯 17. 厨房 18. 备餐间 19. 服务区 20. 垂直通风管道
Above: Above: Cafeteria and Restaurant Facing: Facing: Stair to rst oor 上图：自助餐厅和餐厅 对页图：通往二层的楼梯
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Both natural and articial lighting are seen as essential. The form will be given by cast concrete, light grey, the colour of a cat. Inside, the white of the walls and ceilings are decorated with marble with the honey colour of Oak. Internal frames are made of timber and glass. As for the external windows, timber, painted steel and crystalline glass were used. 博物馆的地下室内设置着档案室、服务区和扩展展览空间，这是阿尔瓦罗·西扎设计的博物馆的通 性。一楼是到达和传送空间，设有临时展览和一家咖啡厅/餐厅。行政区域、员工路径、行政档案室 和员工洗手间设在楼间夹层里。顶楼是展览空间。
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自然和人工采光都十分重要。建筑采用预制混凝土建造，采用猫的浅灰色。室内的墙壁和天花板采
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用大理石装饰，拥有橡木的蜂蜜色。内部框架由木材和玻璃制成。室外窗则采用了木材、彩色钢和
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透明玻璃。 First Floor Plan: 1. Public lifts 2. Mezzanne foyer 3. Shop 4. Void 5. Stair to second oor 6. Service staircase 7. Staff toilets
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8. Administration staff 9. Meeting room 10. Museum director 11. Ofce 12. Staff dress-room/toilets 13. Storage for books 14. Sky light 15. Vertical ducts
二层平面图： 1. 公共电梯 2. 夹层门厅 3. 商店 4. 空白区 5. 通往三层的楼梯 6. 服务楼梯 7. 员工洗手间
8. 行政员工区 9. 会议室 10. 博物馆总监办公室 11. 办公室 12. 员工更衣室/洗手间 13. 书库 14. 天窗 15. 垂直通风管道
Second Floor Plan: 1. Public lifts 2. Second oor foyer 3. Permanent exhibitions 4. Exhibition platform 5. Freight lift
6. Storage 7. Storage 8. Courtyard 9. Service staircase 10. Vertical ducts
三层平面图： 1. 公共电梯 2. 三层门厅 3. 永久展览区 4. 展览平台 5. 货用电梯
6. 仓库 7. 仓库 8. 庭院 9. 服务楼梯 10. 垂直通风管道
雷恩生态博物馆 Location: Rennes, France Designer: Guinée Potin Architects Site Area: 990m2 Completion Date: 2010 Photographer: Stephane Chalmeau 项目地点：法国，雷恩 设计师：几奈·波廷建筑事务所 完成时间：2010年 占地面积：990平方米 摄影师：史蒂芬·夏尔默
“Eco-museum” in Rennes The project is lead by “Rennes Métropole” and the eco-museum’s users, positioned as an extension of the actual entrance building eco-museum, in the dynamic cultural economy of Rennes. The design of this building represents the soul of this eco-museum, which are culture, country, and protected animals, by celebrating traditional materials. It is the designer’s sincere hope that this project will symbolically represent the “soul” of the eco-museum while providing a clearer natural identity to the visitors. Taking care of its surroundings, this project shows a wood skin, drawn with a geometrical pattern, creating a generous scale. 项目在雷恩市政府和生态博物馆的使用者的引导下，作为生态博物馆的入口建筑，在雷恩生机勃勃 的文化经济环境中“茁壮生长”。建筑设计体现了生态博物馆的灵魂，通过采用传统材料，体现了 文化、国家和保护动物的理念。 设计师真诚希望项目在形象地体现生态博物馆的“灵魂”的同时为参观者提供更清晰的自然形象。 项目注重周边环境，采用几何图案的木质表皮，营造出宏大的规模。 Left: Left: Site plan Below: Below: Section Bottom: North view Facing Above: Above: General view Facing Below: Below: North elevation 左图：总平面图 下图：剖面图 底图：建筑北面 对页上图：建筑全景 对页下图：北立面
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The formal intention, in addition to its impact, symbolises the programme “ecomuseum”, a real exemplary teaching tool, in prospect to a successful environmental integration.
Above and Facing Above: Above: Main hall Facing Below: Below: Entrance and lobby 上图和对页上图：主大厅 对页下图：入口和大堂
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Ground Floor Plan: 1. Main entrance 2. Entrance hall 3. Ticket ofce 4. Storage room 5. Shop 6. IT room 7. Library 8. Library storage 9. Cherry orchard entrance 10. Exhibition room entrance 11. Exhibition room 12. Storage room 13. Artworks maintenance room 一层平面图： 1. 主入口 2. 入口大厅 3. 售票处 4. 储藏室 5. 商店 6. 机房 7. 图书室 8. 书库 9. 樱桃果园入口 10. 展览室入口 11. 展览室 12. 储藏室 13. 艺术品保养室
Holding account of the will to use natural materials, the designers have chosen materials principle “eco-biological”: “eco-biological”: façades are in chestnut, in pine, in coloured concrete, and the roof is covered by grass. The extension of the entrance hall and the temporary exhibition is in timber framework and timber cladding. The use of “dry” producer allows a management of a clean building site, the conservation to the maximum of trees and the continuous use of existing buildings in period of work. Southern side, the timber framework will put down an ecological concrete wall base and tinted in the mass with natural pigments. Above this wall base, the timber cladding is in natural wood shingles (chestnut) drawing graphic pattern. Eastern side of existing building is covered with panel-insulating cladding. 建筑的造型和影响力形象地展示了“生态博物馆”的理念，作为一个典型教育工具，成功地与环境 结合在一起。 建筑师以生态为首要原则，坚持使用自然材料：外立面采用栗子木、松木、彩色混凝土；屋顶则覆 以草坪。 入口大厅和临时展览区的扩建部分采用木框架和木包层。干性建设保证了建筑场地的清洁度，保护 了场地原有的树木，并且可以在施工期间使用现有建筑。 建筑南侧的木框架下方是一面生态混凝土墙墩，上面漆有自然涂料。墙墩上方的木包层采用天然木 瓦（胡桃木）拼接成平面图案。原有建筑的东侧由隔热包层覆盖。
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Detail Cutting on South Façade Frame Chestnut Cladding Green Roof: 1. Vast green complex 2. Drain/lter 3. Aluminium parapet cap 4. Waterproof protection - depth 15cm 5. Fixing batten 6. Waterproof membrane 7. EP insulation 20cm 8. Vapour seal 9. Perforated steel tray waterproong support 10. Chestnut cladding, vertical panels on the upper section 11. EP Hemp insulation: 2x100 12. Air knife 13. Natural wood shingles on a wooden frame 14. Vertical frame 4x200 between porticos 15. Helease lever 16. LC beam 160x190 17. Seamless fermacel lining, painted matte black 18. Steel frame 19. Fixing batten 20. Double timber LC posts forming portico 270x150 21. EP hemp insulation 20cm 22. Rain shield on panel of OSB111 bracing 23. Air knife 24. Natural chestnut shingles on a wooden frame 25. Sill 26. Perforated stainless steel anti-rodent grill 27. Stand-pit 100x200 including waterproof to be xed to planed slab 28. Dyed concrete oor “Pieri or equivalent” type 29. Fixed aluminium window frames “strop sol super-silver” 30. Dyed concrete oor “Pieri or equivalent” type 31. Polished concrete 32. Thermo-acoustic cyma, the lower section painted matte black 33. Roplin M1 blackout shutters 34. Lining tables + rigid insulation 35. Thermo-acoustic cyma on lower section, leveling-support variable from 1 to 2 36. Fermacell lining on the wooden or steel frame 37. “Colorol” type removable acoustic false platform 38. Plenum techniques: ventilation/high current/low current/stage equipment
南侧外立面框架栗木包层绿色屋顶细部切面： 1. 大型绿色综合体 2. 排水/过滤器 3. 铝制栏杆帽 4. 防水保护，深度15厘米 5. 固定压条 6. 防水膜 7.EP隔热层，20厘米 8. 汽封 9.穿孔钢托盘防水支持 10. 栗木包层，上层截面的垂直面板 11. EP纤维隔热层：2x100 12. 气刀 13. 木框结构上的天然木瓦 14. 门廊之间的垂直框架4x200 15. 杠杆 16. LC梁160x190 17. 无缝衬砌，亚光黑 18. 钢架 19. 固定压条 20. 双层木质二次成型门廊270x150 21. EP纤维隔热层20厘米 22. OSB111支柱嵌板上的雨挡 23. 气刀 24. 木框结构上的天然木瓦 25. 窗台 26. 穿孔不锈钢防腐蚀架 27. 立凹面100x200，带有固定在机刨板材 上的防水材料 28. 染色混凝土板“皮耶里或等值”类型 29. 固定铝窗框“环索溶胶超银” 30. 染色混凝土板“皮耶里或等值”类型 31. 抛光混凝土 32. 热声效应波状花边，下层剖面为亚光黑 33. 罗普林M1遮光百叶窗 34. 内层台板+隔热层 35. 下层剖面热声效应波状花边， 水平测量在1-2级之间 36. 费玛策木/钢衬线 37. 克洛罗尔型可移动隔音平台 38. 充压技术：通风/高电流/低电流/分级设备
Facing Above: Above: Tree trunk detail Above: Above: Exhibition area 对页右上图：树干细部 上图：展览区
Second Floor Plan (Right) 三层平面图（右）
INDEX 索引
1. Neutelings Riedijk Architects
12.
Contact:
[email protected] 2. Belzberg 2. Belzberg Architects
13.
Contact:
[email protected] 3. Pete Bossley Architects
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15.
16.
17.
18.
Moller
Contact:
[email protected] 10. Moriyama & Teshima Architects Contact:
[email protected] 11. Riken Yamamoto Contact:
[email protected]
302 - 303
Studio za arhitekturu d.o.o.
SDL
Atelier Christian de Portzamparc
naf architect & design
19.
gmp architekten
26.
Gwathmey Siegel & Associates Architects
27.
28.
Contact:
[email protected]
Aranguren & Gallegos Arquitectos SL Contact:
[email protected]
29/36.
LEGORRETA + LEGORRETA
Contact:
[email protected] 30. Zaha Hadid Contact:
[email protected] 31.
Cino Zucchi Architetti Contact:
[email protected]
32.
Contact:
[email protected]\ 22. Mario Botta
Fernando Romero Contact:
[email protected]
Contact:
[email protected] 21. KSP Jürgen Engel Architekten
Manuelle Gautrand Architecture Contact:
[email protected]
Contact:
[email protected] 20.
EDGE studio Contact:
[email protected]
Contact:
[email protected]
Contact:
[email protected] 9. C.F.
25.
Contact:
[email protected]
Contact:
[email protected] 8. Gonzalo Mardones
Schmidt Hammer Lassen Architects
Arquitectonica Contact:
[email protected]
Contact: publicrelation@daniel_libeskind.com
Contact:
[email protected] 7. Sobejano Architects S.L.P
24.
Contact:
[email protected]
Contact:
[email protected] 6. Saylor Gregg Architects
WHY aechitecture
Preston Scott Cohen, Inc. Contact:
[email protected]
Contact:
[email protected]
Contact:
[email protected] 5. 3XN
23.
Contact:
[email protected]
Contact:
[email protected] 4. Fumihiko Maki + Maki And Associates
Philippe Schmit Architects Contact:
[email protected]
Dworschak+Mülbachler architekten Contact: of
[email protected]
33.
Bureau SLA Contact:
[email protected]
34. Pysall Ruge Architekten Contact:
[email protected] 35. Rojkind Arquitectos Contact: info@rojkindarquitectos 37. Arquitecturia Contact:
[email protected] 38. Michael Graves & Associates Contact:
[email protected] 39. KPMB Architects Contact:
[email protected] 40. Lyons Contact:
[email protected] 41. Álvaro Siza with Carlos Castanheira and Contact:
[email protected] 42. Guinée Potin Architects Contact:
[email protected]
Jun Sung Kim
THEMATIC MUSEUMS 主题博物馆 Author: Arthur Gao Print version (Hardcover) - 2011 ISBN 9787538173079 Published by Liaoning Science & Technology Publishing House Shenyang, Liaoning, China eBook version - 2012 ISBN 9781619870550 Published by Profession Design Press Co., Ltd California, United States of America Distributed by Actrace, LLC, United States of America Website: www.actrace.com, www.actrace.com, www.design-bookstore.com Copyright©2012 Liaoning Science & Technology Publishing House License agreement: www.design-bookstore.com www.design-bookstore.com/auxpage_license /auxpage_license Unauthorized copying prohibited. 作者：高
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纸质书（精装）- 2011 书号：9787538173079 出版商：辽宁科学技术出版社 中国辽宁沈阳 电子书 - 2012 书号：9781619870550 出版商：设计专业出版有限公司 美国加州 经销商：Actrace 公司，2012 www.actrace.com,www.ArchitecturalBookstore.c .ArchitecturalBookstore.com om 网址：www.actrace.com,www 版权所有：2012 版权所有：2012 辽宁科学技术出版社 版权协议：www.design-bookstore.com/auxpage_license 严禁非法复制。
