里特山博物館，蘇黎世，瑞士

2011-07-30 12:36:42阿爾弗雷德·格拉齊奧利,阿道夫·克利尚尼茲,李璠

世界建筑 2011年7期

1 外景/Exterior view（攝影/Photo: Heinrich Helfenstein）

2 夜景/Night view（攝影/Photo: Margherita Spiluttini）

這座由玻璃構(gòu)成的建筑體現(xiàn)了所有入口建筑所必需的元素，同時(shí)也成為了進(jìn)入這個(gè)博物館世界的顯著標(biāo)志。透明的入口作為過(guò)渡，一方面，令來(lái)訪者感知到“山的深邃”；另一方面，則將人流引向下面兩個(gè)樓層。

與“玻璃屋”直接相連的是一個(gè)由樓梯、電梯以及諸如款臺(tái)、展示柜和衣帽間這樣的可移動(dòng)元素構(gòu)成的空間。根據(jù)功能需要（諸如開(kāi)幕式、特殊活動(dòng)等）可以移動(dòng)甚至撤去這些元素。來(lái)訪者還可以透過(guò)入口建筑一覽威森東克別墅的美景。這座建筑作為進(jìn)入展區(qū)前的前廳，同時(shí)與相鄰的公共活動(dòng)大廳接通，集多功能空間與儀式性空間于一身。□（李璠譯）

The glass building displays all the important effective elements of an entrance building and is thus the visible symbol of looking into the interior of this museum world. The diaphanous threshold is a transition that allows a look into the "depth of the hill" as well as leading to the two lower storeys.

Directly adjoining the glasshouse is a spatial layer containing stairs, lift and mobile elements such as cash desk, show cases and cloakroom.According to the amount of space required(openings, special events etc,) these elements can be altered or even removed. When one looks behind the entrance building opens up a wonderful view of the Villa Wesendonck. As the front building to the actual exhibition district and in conjunction with the neighbouring public events hall it can be used in manifold ways, both functionally and for representative purposes.□

3 細(xì)部/Details

4 內(nèi)景/Interior view（3、4 攝影/Photo: Heinrich Helfenstein）

5 內(nèi)景/Interior view（攝影/Photo: Margherita Spiluttini）

業(yè)主/Client: Amt für Hochbauten der Stadt Zürich

合作者/Collaborators: Elke Eichmann（項(xiàng)目建筑師/Project Architect）, Thomas Künzle, Jay Thalmann,Dimitri, Kaden, Naomi Hajnos, Simone Wiestner,Wieka Muthesius, Birgit Frank, Ralf Wilkening

藝術(shù)家/Artists: Gilbert Bretterbauer, Helmut Federle