蓬皮杜梅斯中心，梅斯，法國

2014-02-20 07:37:26建筑設(shè)計(jì)坂茂建筑事務(wù)所加斯蒂訥建筑事務(wù)所

世界建筑 2014年10期

建筑設(shè)計(jì)：坂茂建筑事務(wù)所，讓·德·加斯蒂訥建筑事務(wù)所

蓬皮杜梅斯中心，梅斯，法國

建筑設(shè)計(jì)：坂茂建筑事務(wù)所，讓·德·加斯蒂訥建筑事務(wù)所

1 內(nèi)景/Interior view

開始著手設(shè)計(jì)的時候，我首先想到的是與當(dāng)今全球藝術(shù)博物館有關(guān)的兩種現(xiàn)象。第一種趨勢即早已廣為人知的“畢爾巴鄂效應(yīng)”，始源于弗蘭克·蓋里在西班牙畢爾巴鄂設(shè)計(jì)、1998年建成的古根海姆博物館。當(dāng)時的設(shè)計(jì)策略是要以雕塑般的建筑形態(tài)為這個在國際上默默無聞的城市吸引大量游客，最終取得了成功。但有人認(rèn)為，這樣的建筑其實(shí)視藝術(shù)家與博物館員工的需求于不顧，對建筑功能造成破壞，雖由此形成了建筑師個人的紀(jì)念碑，卻也使博物館的藝術(shù)作品展示和欣賞條件慘不忍睹。

而另一個極端的例子則是對工業(yè)建筑的改造更新，無論其建筑物本身如何中立而平淡，都要為藝術(shù)作品的展示提供最佳的空間條件。倫敦的泰特當(dāng)代美術(shù)館，2003年建成的位于紐約北部、為迪亞藝術(shù)基金會設(shè)計(jì)的迪亞貝康美術(shù)館等，都是此類較為成功的案例。相比起這兩種極端的選擇，我更想創(chuàng)造出一種能在為藝術(shù)品的展示與欣賞提供方便的同時、也讓建筑物本身在參觀者腦海中留下深刻印象的設(shè)計(jì)理念。

為了提供功能空間，我將功能布局分散為一列簡單的體塊，以明晰的流線穿插其間。這些空間以三維的方式組織在一起，以簡化其功能上的內(nèi)在關(guān)系。

根據(jù)畫廊對距離的不同要求，我以15m跨度為模數(shù)，設(shè)計(jì)了3個縱深長達(dá)90m的長方體。這3個管狀的長方體彼此垂直疊加，略有錯動，并在附近布置了一個六邊形的鋼框架核心筒，核心筒內(nèi)部是樓梯與電梯。在這3個疊錯的展廳方管形成的層疊天花之下，正是大中庭展廊。

這座蓬皮杜中心附屬建筑物的主要功能是為公眾展示更多的藝術(shù)作品（在巴黎僅僅展出了其所有藏品的20%），并為在凈高僅5.5m的巴黎博物館無法展出的超大件作品提供展覽空間。為了滿足這些要求，大中庭展廊的最大凈空高度保持為18m。

建筑物的地段位于目前火車站的南側(cè)，這里原先用作調(diào)車場，在市中心北側(cè)。為了保持建筑與城市空間肌理的延續(xù)性，在3座展廳方管的盡端分別設(shè)計(jì)了朝向各個城市紀(jì)念性建筑方向的大面積觀景窗。通過這一策略，建筑物與城市融為一體。從最頂部的3層展廳方管觀景窗能欣賞到作為梅斯市象征的大教堂，站在2層的展廳方管觀景窗前則可將中央車站的景象盡收眼底。由于梅斯的位置非?？拷聡吘?，加之歷史上曾發(fā)生多次戰(zhàn)爭，這座城市的權(quán)屬在法國與德國之間幾易其手。因此，這座建于德占期間的新羅曼風(fēng)格車站便成為了城市歷史的重要組成部分。

My first thoughts when beginning the design were two recent phenomena concerning art museums throughout the world today. The first trend, which has become widely known as the "Bilbao Effect", was born from the Guggenheim Museum in Bilbao, Spain, designed by Frank O. Gehry and completed in 1998. The strategy was to create sculptural architecture in an internationally unknown city to draw tourism, and it was ultimately a success. But there is an opinion that this kind of architecture spoils its functionality by disregarding the concerns of artists and staff, to produce a personal monument resulting in poor conditions for displaying and viewing art.

As an example at the other extreme, there is a method of renovating old industrial architecture to produce an optimal space for the exhibition of works, however neutral the architecture may be. The Tate Modern in London, and the Dia:Beacon completed in 2003 in upstate New York for the Dia Art Foundation are such successful examples. Rather than choosing either extreme, I thought to create a design concept which considered the ease of displaying and viewing art, while architecturally leaving a deep impression with visitors.

In order to create functional spaces, I articulated the program into simple volumes with a clear circulation amongst them. They were arranged three-dimensionally, in order to simplify their functional interrelationship.

The general galleries with varying requirements for lengths were based on a 15m wide module to create three simple square tubes with long, 90m deep rectangular volumes inside. The three tubes are stacked vertically and arranged around a hexagonal steel frame tower which contains the stairs and elevators. The space created beneath the tiered ceilings of the three shifted Gallery Tubes make up the Grand Nef Gallery.

The main purpose for this annex to the Centre Pompidou was to be able to show more works to the public (only about 20% of the entire collection is exhibited in Paris), and to be able to display the very large works that cannot be shown in the Paris museum due to the 5.5m ceiling height under the beams. To accommodate this requirement, 18m was maintained as the highest ceiling height under the Grand Nef Gallery.

2 外景/Exterior view

3 內(nèi)景/Interior view

除這3個展廳方管之外，建筑內(nèi)部還包含一個布置了創(chuàng)新實(shí)驗(yàn)室和頂層餐廳的圓柱體，與一個容納了演講廳、辦公室和其他輔助空間的正立方體。在這些獨(dú)立的體塊上方，覆蓋著一個六邊形的木結(jié)構(gòu)屋頂，將它們統(tǒng)一為整體。對法國人而言，六邊形是他們國家的象征，法國的疆域平面就像是一個六邊形。此外，這個大六邊形又由一系列六邊形和等邊三角形的圖案構(gòu)成，其構(gòu)思來源于亞洲地區(qū)的傳統(tǒng)竹編草帽與竹籃的造型。盡管將整個屋頂表面分形為三角形會更有利于加強(qiáng)屋頂結(jié)構(gòu)的內(nèi)部穩(wěn)定性，然而，6塊木構(gòu)件共同相交于一點(diǎn)也將產(chǎn)生極為復(fù)雜的鏈接構(gòu)造。而通過形成六邊形與三角形組合的分形圖案，每個交接處便只需同時出現(xiàn)4塊木構(gòu)件。這些節(jié)點(diǎn)并未采用機(jī)械的金屬構(gòu)件銜接，因?yàn)槟菢訉⑹刮蓓敱砻孀兊皿w量龐大，構(gòu)件的尺寸也將各不相同，且將因此增加建造的復(fù)雜程度和節(jié)點(diǎn)的構(gòu)造成本。相反，我們采用了與竹編工藝相仿的方式，讓木構(gòu)件彼此穿插疊加在一起。這個概念受到我于1999年在巴黎一個古董店里找到的一頂中國傳統(tǒng)編織草帽的啟發(fā)，我當(dāng)時正在為漢諾威的世博會設(shè)計(jì)日本館。那時，我正與弗雷·奧托合作，將這座日本館設(shè)計(jì)為一個紙管拉索結(jié)構(gòu)；自從第一次見到他為斯圖加特大學(xué)設(shè)計(jì)的輕質(zhì)結(jié)構(gòu)與概念設(shè)計(jì)學(xué)院，我就為這種張拉索結(jié)構(gòu)的設(shè)計(jì)所著迷，同時也遺存了一些疑惑。當(dāng)我見到那頂中國帽子的時候，這些疑惑頓時煙消云散。弗雷·奧托的拉索結(jié)構(gòu)以最少的材料形成了非常有趣的三維室內(nèi)空間，然而拉索結(jié)構(gòu)畢竟只是線性的元素，為形成正常的屋頂，還必須在其外部覆蓋木結(jié)構(gòu)的殼體。當(dāng)我見到這一切的時候，不禁想到是否有可能利用木材（壓型木板）建造一個網(wǎng)殼結(jié)構(gòu)，它不僅能很容易地在二維方向產(chǎn)生彎曲，也可直接在其上方覆蓋材料。既然木結(jié)構(gòu)能同時作為承受拉力和壓力的結(jié)構(gòu)構(gòu)件，我當(dāng)時就認(rèn)定，除了作為張拉網(wǎng)結(jié)構(gòu)之外，它也是一種理想的殼體荷載結(jié)構(gòu)。自此之后，我不斷地探索這種木結(jié)構(gòu)，如宇野千代ⅰ紀(jì)念博物館設(shè)計(jì)方案（日本巖國市，2000年）、今井病院附屬托兒所（日本秋田，2001年）、今井敦紀(jì)念體育館（日本秋田，2002年）、竹屋頂（美國德克薩斯州休斯頓市，2002年）、弗雷·奧托實(shí)驗(yàn)室設(shè)計(jì)方案（德國科隆，2004年）等，以及這座已經(jīng)建成的蓬皮杜梅斯中心中達(dá)到頂峰的屋頂結(jié)構(gòu)設(shè)計(jì)。在競賽階段，通過“竹屋頂”的關(guān)系，由奧雅納工程顧問公司的塞西爾·巴爾蒙德負(fù)責(zé)屋頂結(jié)構(gòu)的工程設(shè)計(jì)，并設(shè)計(jì)了一個木材與鋼混合的結(jié)構(gòu)；但在贏得競賽之后，正如上面提到的，最終仍采用了全部木結(jié)構(gòu)的屋頂設(shè)計(jì)。

這一設(shè)計(jì)概念的另一個重要方面，是其室內(nèi)外空間的延續(xù)性以及從這些關(guān)系中衍生出來的諸多不同空間。建筑在設(shè)計(jì)之初只是一些由墻體分隔出室內(nèi)外空間的盒子。然而，在只有屋頂存在的條件下，卻能形成一種新的空間。近年來，藝術(shù)變得日益抽象、也日益遠(yuǎn)離普羅大眾。有越來越多的人不愿花錢走進(jìn)一個方盒子，去欣賞他們甚至未必能理解的作品。然而，這座博物館與其說是一個盒子，不如說是一個巨型屋頂下的聚會場所，也是周圍公園的延伸。由于不存在墻體的遮擋，人們更容易走進(jìn)這一空間，其建筑立面由輕易即可移除的玻璃百葉組成。密斯·凡·德·羅的柏林新國家美術(shù)館就全部以玻璃作為圍合材料，卻只是在視覺上形成了通透的效果，在空間上并不能稱作是完全透明。這處廣場的巨大空間讓人們能夠隨便進(jìn)入，他們可以在這里品茶，欣賞布置其間的雕塑和裝置藝術(shù)，當(dāng)不經(jīng)意間瞥見展廳中的藝術(shù)作品時，又可在進(jìn)一步接近藝術(shù)作品的過程中，逐步體驗(yàn)建筑的空間序列。大屋頂與每個獨(dú)立體塊之間的間隙空間都具有不同的功能。首先，這是一處用于聚會的廣場。其次，在一層和二層的展廳方管頂上，還有一處利用經(jīng)屋頂過濾的自然光線展示雕塑品的空間。這兩處展廳面積共計(jì)840m2，是最初的任務(wù)書上未作要求的額外面積。不幸的是，最初在競賽方案中提出的位于三層展廳方管頂部的餐廳由于預(yù)算原因不得不被取消（根據(jù)法國的建筑規(guī)范，高于地面28m處的樓層屬于高層建筑，因此將使其疏散和安防預(yù)案變得極為復(fù)雜）。這座建筑的設(shè)計(jì)理念大致就是這些。（徐知蘭譯）

譯注：

ⅰ宇野千代，1897-1996，日本女作家、和服設(shè)計(jì)師。

The site is the location of the original switchyard south of the current station, and is isolated from the urban center of the city to the north. To establish contextual continuation with the city, the large picture windows at the ends of the three gallery tubes frame views to the city's monuments. Through this design, the building and the city become one.The picture window of the uppermost Gallery Tube 3 frames the view to the cathedral, the symbol of Metz, and Gallery Tube 2 frames the central station. Owing to Metz's proximity to the German border and the many wars of the past, the city has changed hands between France and Germany on several occasions. This station is thus an important part of the city's history, a monument in the neo-Romanesque style during a period when Metz was under German occupation.

Aside from the three Gallery Tubes, there is a round volume containing the Creation Studio with a restaurant on top, and a square-shaped volume containing an auditorium, offices, and other back of house program spaces. A timber roof structure in the form of a hexagon hovers over all of the separate volumes in order to unify them into a cohesive whole. To the French, the hexagon is a symbol of their country, as it is similar to the geographical shape of France. Furthermore, the hexagonal is composed of a pattern of hexagons and equilateral triangles inspired by traditional woven bamboo hats and baskets of Asia. Although it is preferred to form triangles to create in-plane stiffness, by dividing up the whole surface into triangles, six wood elements would converge at each intersection producing extremely complex joints. By creating a pattern of hexagons and triangles only four wood elements ever intersect. The intersections do not use mechanical metal joints, because if they were used, the surface would become voluminous and the lengths of the elements would all become unique, increasing the complexity and also the cost of the joints. Instead, each member overlaps one another similar to bamboo wickerwork. This idea came from a traditional woven Chinese hat I found in an antiques shop in Paris in 1999 while designing the Japan Pavilion for the Hanover Expo. I was collaborating with Frei Otto to design the pavilion as a paper tube grid-shell structure, and since first seeing his design of the Institute for Lightweight Structures and Conceptual Design at the University of Stuttgart, I was fascinated with the tensile wiremesh structure while also being left with some doubts. When I saw the Chinese hat, these doubts were cleared. Frei Otto's wire-mesh allowed the formation of an interesting three-dimensional interior space using the minimum amount of materials, but in the end the wire was only a linear member, and in order to build a normal roof, a timber shell had to be formed over the wire-mesh. When I saw this, I wondered about the possibility of making a grid structure using wood (laminated timber) that can be easily bent two-dimensionally, where the roof can be placed directly on top. Since timber can be used as both a tensile member and compressive member, I thought it could be realized as a compressive shell structure, in addition to being a tensile mesh structure. Since then, I have continued to develop timber structures, such as Uno Chiyo Memorial Museum Proposal (Iwakuni City, 2000), Imai Hospital Daycare Center (Akita, 2001), Atsushi Imai Memorial Gymnasium (Akita, 2002), Bamboo Roof (Houston, Texas, 2002), Frei Otto Laboratory Proposal (Cologne, Germany, 2004), and this work has culminated in the now completed roof of the Centre Pompidou Metz. During the competition phase, through ties from Bamboo Roof, Cecil Balmond of Arup was in-charge of the structure for the roof, and a timber and steel hybrid structure was proposed, but after winning the competition, as stated above, a completely timber roof structure was developed.

Another important aspect of the concept is the continuation of interior to exterior spaces, and the sequence of spaces borne from these relationships. Buildings are generally boxes that only begin when the interior and exterior are separated by walls. However, a space can be created with the presence of just a roof. In recent years art has become more and more conceptual that it is distancing the general public. There is an increasing number of people not willing to pay money to enter a box to view works that they may not even comprehend. Instead of a box, the museum is a gathering place under a large roof that is an extension of the surrounding park. As it is easier to enter without the presence of walls, the facade was composed of glass shutters that can be easily removed. Mies van der Rohe's New National Gallery in Berlin has walls that are all in glass, but is only visually transparent, and cannot be called physically transparent. The large volume of the forum can be accessed free of charge, where people can have tea and freely enjoy the sculptures and installations there while they are drawn by glimpses of the artwork in the galleries, and gradually experience the sequences of spaces as they proceed further. The interstitial areas between the large roof and each volume have various functions. First, it is a forum space for gathering. Secondly, on top of Gallery Tubes 1 and 2, it is an exhibition space for displaying sculptures, taking advantage of the natural light filtering in through the roof. The 840 square meters of these two exhibition spaces were extra spaces not originally requested in the program. Unfortunately, the restaurant atop Gallery Tube 3 which was originally proposed during the competition had to be cancelled due to budgetary reasons (according to French building code general purpose floor use higher than 28m above ground are considered a high rise building, which makes emergency evacuation and safety precautions very complex). These are the concepts of this architecture. (Text by Shigeru Ban)

項(xiàng)目信息/Credits and Data

項(xiàng)目團(tuán)隊(duì)（競賽）/Project Team (Competition): Shigeru Ban Architects - Shigeru Ban, Nobutaka Hiraga, Keina Ishioka, Anne Scheou, Mamiko Ishida, Masahito Kinjo, Asako Kimura; Jean de Gastines Architecte DPLG; Philip Gumuchdjian Architect

項(xiàng)目團(tuán)隊(duì)/Project Team: Shigeru Ban Architects Europe, Jean de Gastines Architecte DPLG

結(jié)構(gòu)設(shè)計(jì)/Structural Engineers: Ove Arup, Terrell, Hermann Blumer (木屋頂結(jié)構(gòu)/Structure for the timber roof)

總承建方/General Contractor: Demathieu & Bard, Metz

場地面積/Site Area: 12000 m2

基底面積/Building Area: 8118 m2

總建筑面積/Total Floor Area: 11330 m2

最大高度/Maximum Height: 77m (至六邊形塔頂/At the top of the hexagonal tower)

層數(shù)/Number of Floor: 3 (展覽/Exhibition galleries); 6 (管理/Administration)

建成時間/Construction Period: 2010.05

攝影/Photos: Didier Boy de la Tour

4 夜景/Night view

評論

郝琳：承上啟下的梅斯蓬皮杜

坦白地講，我更期待看到的是坂茂競標(biāo)方案的執(zhí)行——動感的屋頂表現(xiàn)出極其輕盈和類似日本和紙般柔美的姿態(tài)和光感。實(shí)際的狀況是，因?yàn)椴捎昧梭w育場館常用的PTFE膜材料，靈感來自于草帽的舞動屋頂編織結(jié)構(gòu)，反而更像厚實(shí)的帳篷。也因此，建筑內(nèi)部的光影，比之于方案，趨于平淡。不過，個中考量之一，大概是要滿足臨時展區(qū)和公共區(qū)域的環(huán)境控制和節(jié)能要素。坂茂說，這棟建筑是希望提供更好的展示和欣賞藝術(shù)的場所，而非豐碑。無論如何，這棟建筑聚攏大眾的姿態(tài)、開放營建的思路和木結(jié)構(gòu)的創(chuàng)新，確實(shí)是沿著羅杰斯和皮亞諾的第一版蓬皮杜中心，邁出了承上啟下的堅(jiān)實(shí)一步。

莊慎：反常

為一個展覽空間覆以一個大跨度的屋頂，并且還希望有所起伏，最直接有效的方式顯然是鋼結(jié)構(gòu)，但是坂茂卻使用了性能并非最優(yōu)的木材，為此還絞盡腦汁地設(shè)計(jì)了六邊形和三角形穿插的編織方式，還有層壓板材的單元構(gòu)件，其意義究竟何在？也許，挑戰(zhàn)工業(yè)化體系材料和工藝極限的反常規(guī)的設(shè)計(jì)所形成的震撼，就是目的吧！

Comments

HAO Lin: Nexus of Pompidou

Frankly speaking, I was expecting to see Ban's original competition scheme fully executed -a dynamic roof expressing an extreme lightness and softness of something like the Japanese shoji paper. However in the real situation, the architecture looks more like a thick canvas tent, due to the adoption of PTFE, a membrane material typically used in stadium construction, as inspired by the knitting structure of straw hats. Hence, the interior light and shadow effect is less richer compared to its original design. However, this compromise was probably made to meet the requirements of environmental control and energy conservation in public areas and temporary exhibition zones. Shigeru Ban said that the purpose of this building was to provide a better venue for displaying arts, not to set up an architectural monument. In any case, the public inclusiveness of the building, the open design concept and the innovation of wood structure, are all solid steps taken as a nexus following the first version of Pompidou by Rodgers and Piano.

ZHUANG Shen: Unusual

To cover a huge exhibition space with large span roof, and hopefully with a fluctuating surface, a steel structure is obviously the most direct and effective solution. Unusually, Shigeru Ban adopted timber, which seems inferior in performance, and accordingly racked his minds to design a knitting method of hexagonal and triangle patterns. What is the significance of this strategy? Maybe it aims at the shock evoked by an unusual way of design that challenges the limits of materials and techniques in industrialization.

Centre Pompidou-Metz, Metz, France, 2010

Architects: Shigeru Ban Architects, Jean de Gastines Architecte DPLG