建筑設(shè)計：BIG

1 連接橋/Cross structure

丹麥海事博物館坐落在獨特的歷史和空間環(huán)境——克倫堡宮及文化庭院之中。這個全新、宏大的文化中心區(qū)是丹麥最重要且最著名的建筑群之一。為了將遺留下的船塢做為開放的戶外展示，并作為整個海事博物館的結(jié)構(gòu)中心，BIG提議將博物館主體安置在地下。這種安置方式，使主體既與克倫堡宮及周邊庭院的文化環(huán)境相聯(lián)系，同時也作為一個獨立的單體而存在。為了營造出一個緊湊的博物館空間平面，在貫穿整個博物館的過程中，船塢變得越來越低矮。加建的連接坡道和通行橋，以極具結(jié)構(gòu)性和雕塑感的形式穿過船塢?！酰ㄌ炷?譯）

2 總平面/Site plan

The Danish Maritime Museum is located in a unique historic and spatial context: between one of Denmark's most important and famous buildings –the Kronborg Castle and the Culture Yard, a new,ambitious cultural centre. BIG proposed to place the museum underground, just outside the wall of the dock in order to preserve the dock as an open,outdoor display, maintaining the powerful structure as the centre of the Maritime Museum. By placing the museum this way, it appears as part of the cultural environment associated with the Kronborg Castle and the neighbouring Culture Yard, while at the same time manifesting itself as an independent institution.The dock creates a museum space as a cohesive floor plan which discreetly becomes lower and lower across the entire museum length. Simple accessibility ramps and bridges are added, cutting through the dock in a structural and sculptural way. □

項目信息/Credits and Data

責(zé)任合伙人/Partner in Charge: Bjarke Ingels, David Zahle

項目主管/Project Leader: David Zahle

客戶/Client: Helsing?r Municipality, Helsing?r Maritime Museum

團(tuán)隊成員/Team Members: John Pries Jensen, Henrik Kania,Ariel Joy Norback Wallner, Rasmus Pedersen, Annette Jensen,Dennis Rasmussen, Jan Magasanik, Jeppe Ecklon, Karsten Hammer Hansen, Rasmus Rodam, Rune Hansen, Alina Tamosiunaite, Alysen Hiller, Ana Merino, Armen Menendian,Andy Yu, Andreas Johansen, Baptiste Blot, Christian Alvarez,Christin Svensson, Claudia Hertrich, Claudio Moretti, Cory Mattheis, Eskild Nordbud, Felicia Guldberg, Finn N?rkj?r, Gül Ertekin, Jan Borgstr?m, James Schrader, Johan Cool, Jonas M?nster, Kirstine Ragnhild, Malte Kloe, Michael Andersen,Michal Kristof, Marc Jay, Maria Mavriku, Masatoshi Oka,Oana Simionescu, Pablo Labra, Peter Rieff, Qianyi Lim, Sara Sosio, Sebastian Latz, Tina Lund H?jgaard, Tina Troster, Todd Bennet, Xi Chen, Xing Xiong, Xu Li, Zoltan Kalaszi

合作方/Collaborators: Alectia, Kossmann.dejong, Ramb?ll,Freddy Madsen Ingeni?rer, KiBiSi

項目類型/Program: 文化/Culture

面積/Size: 5000m2

竣工日期/Date: 2013.10

攝影/Photos: Luca Santiago Mora(fig.1,12,14), Iwan Baan(fig.3),Ole Thomsen(fig.4,11,13), Rasmus Hjortshoj(fig.5,10,15,16),Lindhe(fig.17,18)

5 改建后/After reconstruction

6 路徑分析圖/Path analysis diagram

7 地下一層平面/Floor B1 plan

8 首層平面 /Ground floor plan

9 剖面/Sections

10 外景/Exterior view

11 改建前/Before reconstruction

12 改建后/After reconstruction

評論

龍灝：丹麥海事博物館也許是繼貝聿銘的盧浮宮擴(kuò)建工程之后在建筑學(xué)術(shù)圈最知名的“埋地建筑”了。與赫然聳立盧浮宮庭院中央的“貝氏金字塔”不同，本項目的建筑師并未將同樣位于庭院中間的原有船塢用特殊的設(shè)計手法凸顯出來，而是只用了一圈簡單的無框無柱玻璃圍欄讓這一空間若隱若現(xiàn)。而在人們走近這個界面的過程中，原有船塢的船型空間、鋼筋混凝土墻面以及雕塑感極強(qiáng)、懸吊結(jié)構(gòu)構(gòu)造刻意模仿造船工藝的連廊、坡道都逐漸呈現(xiàn)出來，船塢中新建部分的室內(nèi)也透過玻璃幕墻清晰可見，讓本來不具有形象識別性的埋地建筑有了一個別具特色的清晰形象。設(shè)計舉重若輕，可謂四兩撥千斤。

張昕楠：如同卡洛·斯卡帕在設(shè)計古堡博物館過程中，處理那處著名的歷史虛空一樣，BIG在丹麥海事博物館的設(shè)計中，對原有的外部空間景觀和船塢采取了相似的處理方法。設(shè)計將博物館的主體環(huán)繞在船塢周圍的地下空間中，以平實的“消隱”姿態(tài)強(qiáng)化出船塢虛空的實存，充分尊重了庭院的室外空間景觀。連接地下空間兩翼的連橋和坡道一方面承載著展廊和報告廳的功能，另一方面穿越了船塢的虛空以提示新建部分的存在，提供了多次和多樣性介入船塢空間的可能。

13 改建前/Before reconstruction

14 改建后/After reconstruction

Comments

LONG Hao: The Danish Maritime Museum is perhaps the most well-known "buried architecture"in the architectural academic circle after I.M. Pei's extension project of the Louvre. Different from the "Pei style pyramid" standing apparently in the center of the Louvre courtyard, the architects of this project did not highlight the existing dock which also located in the middle of the courtyard with special design method. Instead, merely a round of frameless glass parapets is created to depict a looming space.While people approaching this interface, the shipshaped void of the original dock, the reinforced concrete wall, the sculpture-like corridors and ramps with suspended structure deliberately imitating the shipbuilding technology gradually emerge one after another. The interior of the added part in the dock space is clearly visible through the glass curtain wall as well, depicting a distinctive and clear image for the originally unrecognizable buried building. The design achieved something significant and marvelous through something tiny and subtle. (Translated by CHEN Xi)

ZHANG Xinnan: In Danish Maritime Museum, Big's design approach in the exterior landscape and the dock is similar to how Carlo Scarpa deal with the famous history void in Castelvecchio Museum. The main body of this building is placed underground surrounding the dock. The humble structure disappears to highlight the void of the dock, in order to respect the outdoor landscape of the yard. Bridges and slopes that connect both sides, on the one hand, become gallery and lecture hall, on the other hand, go through the void to indicate the new part, providing different possibilities to enter the dock space for multiple times. (Translated by ZHANG Jingqiu)

15 外景/Exterior view

16-18 內(nèi)景/Interior views