格林世界博物館，卡塞爾，德國

建筑設計：卡達-威特菲爾德建筑事務所

這座位于卡塞爾魏因貝格的新博物館為了展示格林兄弟的文學作品而建。它將周圍公園的歷史與地形特征轉化為一處連續的開放空間，邀請游客自行探索展覽館。

卡塞爾市位于德國的中部，兩位最重要的德語研究者——雅各布·格林和威廉·格林兄弟——曾在這里生活了30多年。雅各布·格林在1860年寫道，這30多年是他最快樂的時光。兩兄弟近乎共生的關系讓人相信威廉也曾有同感。新建的格林博物館以及為格林兄弟修建的格林廣場一同見證了這一文化遺產。

原來的博物館于1959年首次對外開放，現在正被一種新元素所取代：新建筑是總體規劃的核心部分，該規劃包括格林紀念碑以及黑森州立博物館穆爾哈德施圖書館的格林部分。格林世界博物館擁有不同的展覽區域，致力于展示這對“童話兄弟”的文學成就，是研究和保持這兩位語言學家精神與作品的焦點。

格林世界博物館位于魏因貝格的坡地上，坐落在靠近卡塞爾市中心一座風景如畫的公園內。在這里，博物館融入平緩起伏的風景中，古老的石階、殘垣斷壁、藤架、布滿植物的露臺和郁郁蔥蔥的植被為公園營造出特殊氛圍。新博物館在可通行的屋頂景觀中延續了周圍的地形，為公園提供了開放式樓梯。該樓梯可通往享有卡塞爾全景的露臺。

這座建筑猶如一面土城墻隆起于斜坡之上，邀請游客前往探索，爬上嵌入南立面那微錐形的寬臺階，一步步通向屋頂：一處距離地面高10m、面積2000m2的可出入區域，被設計成上升狀的梯田景觀。外墻高度超過屋頂層作為護墻，且呈階梯狀——與屋頂景觀相互呼應。

屋頂作為公園的一部分，實用性較高：既可供散步者自由進出，也可作為露天禮堂用于各種活動。這一公共空間使新建筑融入其生長環境，不受開放時間的限制。

這種設計促成了室內的錯層布局。分層空間環繞著中央入門大廳設計，以迷人的對話形式呈現展覽的各類關鍵主題。游客可以體驗到擁有不同氛圍的場地，一個專注于德語語言學與格林童話世界的地方。門廳設有前臺、商店和等候區，是一處長條空間，延伸至建筑內部，止于明亮的咖啡館。到訪者可以在咖啡館欣賞卡塞爾市卡爾斯奧的全景以及城市的南邊。

鋼筋混凝土結構擁有天然淺色石材外墻——高林格石灰華隨著不同的高差大致分散開來。所選擇的材料讓人聯想起昔日那種稱為亨舍爾房屋的建筑。它在1945年的一次空襲中被摧毀，就位于新博物館目前所在的位置。此外，材料的選擇也呼應了曾在這座山坡下被發現的舊葡萄園——由當地石灰巖搭建。

開業5年來，格林世界博物館已然成為大眾關注的焦點。作為卡塞爾的名譽領袖，它是當地訪客和游客爭相前往的景點之一。

這種大受歡迎的原因最初源于展覽館和格林展覽本身，但步行式屋頂露臺也為公園建筑項目的接受度做出了很大貢獻。該地理位置及其獨特特征的高度通透性與感知手法，以及讓屋頂完全向市民與游客開放的決策，令不少人認為格林世界博物館及其屋頂露臺是他們在卡塞爾最喜歡的去處之一。（王單單 譯）

The new museum at the Weinberg in Kassel has been designed to present the Brothers Grimm's works. It translates the historical and topographical features of the surrounding park into a continuous open space and invites visitors to explore the exhibitions at their own pace.

The city of Kassel is located in the middle of Germany and is the place where two of the most important researchers of the German language, the brothers Jacob and Wilhelm Grimm, once lived for more than 30 years. In 1860, Jacob Grimm wrote that these had been his happiest years. The almost symbiotic relationship of the two brothers gives reason to believe that Wilhelm felt the same way.The new Grimm Museum and the dedication of a square to the Grimm brothers, Grimmplatz, bear witness to this cultural heritage.

A new element is now replacing the original museum which was first opened in 1959: the new build is the central component of a masterplan including the Grimm monument and the Grimm section in the Murhardsche Library of the Hessian State Museum. With its varied exhibition areas,Grimmwelt is dedicated to the "Fairy Tale Brothers"and designed as a focal point to research into and keep alive the spirit and works of the two linguists.

The Grimmwelt is located in a picturesque park on the slope of an area called Weinberg close to Kassel city centre where it blends into the gently undulating landscape. Old stone steps,wall fragments, pergolas, planted terraces and lush vegetation contribute towards the special atmosphere of the park. The new museum continues the topography of the surroundings in an accessible roof landscape and thus provides the park with an open stairway that leads up to a terrace with a view across Kassel.

The building protrudes from the slope like a further rampart and literally invites visitors to explore and clamber the broad and slightly tapered stairway embedded in the southern fa?ade that leads up to the roof: an accessible area ten metres above the ground measuring 2000 square metres and designed as a rising terraced landscape. The exterior walls are drawn up beyond the roof level as parapets and stepped to match the level of the roof landscape.

Freely accessible for promenaders, the roofscape remains usable as part of the park and also serves as an open-air auditorium for a variety of events. A public space is created, which makes the new building part of its grown environment,independent of its opening hours.

This design leads to a split-level arrangement in the interior. The tiered space is arranged around a central introductory hall presenting the various key subjects of the exhibition in a fascinating dialogue.Visitors experience a place with diverse atmosphere and one that focusses on German linguistics as well as the collection of theGrimms' Fairy Tales.The foyer with a reception desk, a shop and waiting area is a long space stretching the full depth of the building. It ends in a light café with a panorama of Kassel's Karlsaue and the southern part of the city.

The reinforced concrete structure has an outer leaf of light coloured natural stone, Gauinger Travertin, roughly split with courses of varied height. The choice of material is reminiscent of the former so-called Henschel Haus, which was destroyed by an air raid in 1945 and was situated where the new museum now stands. Furthermore,the choice of material reflects properties of the local limestone found under the existing hill, once a vineyard.

4 分解軸測/Exploded axnometric drawing

1-入口/Entrance

2-門廳/Foyer

3-商店/Shop

4-存包處/Wardrobe

5-咖啡廳/Café

6-行政辦公/Administration

7-廚房/Kitchen

8-收發室/Delivery

9-教育空間/Museum education

10-特展/Special exhibition

11-格林兄弟詞匯表/Grimmwelt glossary

12-前導空間/Prelude space

13-設備間/Mechanics

14-倉庫/Warehouse

5 立面/Fa?ade

In the five years since its opening, the Grimmwelt has developed into a real crowd puller.As a figurehead for Kassel, it is one of the attractions for local visitors and tourists.

This great popularity is initially due to the exhibition house and the Grimm exhibition itself. However, the walk-on roof terrace has also contributed a great deal to the acceptance of the building project in the park in retrospect. A great deal of transparency and a sensitive approach to the location and its special features, as well as the decision to make the roof completely accessible to the citizens and visitors, have led to quite a few people considering the Grimmwelt including the roof terrace to be among their favorite places in Kassel.

6 外景/Exterior view

7 入口/Entrance

項目信息/Credits and Data

地點/Location: Kassel, Germany

客戶/Client: documenta Stadt Kassel

主持建筑師/Principal Architects: Gerhard Wittfeld,Kilian Kada, Stefan Haass, Dirk Lange, Jasna Moritz(kadawittfeldarchitektur)

項目成員/Project Members:

項目管理/Project Management: Oliver Venghaus

項目團隊/Project Team: Martina Malsbender, Emma Mc Gloin, J?rg Notbohm, Leonie Horstmann, Diana Lamsfu?,Volker Steinbrenner, Robert Ringhoff (實習生/student assistant), Liessa Riebesel (實習生/student assistant)

設計顧問/Consultants: Daniel Trappen (室內設計/interior design), Christiane Luiz (室內設計/interior design),Andreas Horsky (視覺化/visualisation), Andrea Blaschke(建模/modelling)

投標與合同/Tendering & Contracting: Peter Zdrenka,Michael Wetstein, Isabel Katers

競賽階段項目團隊/Project Team Competition Phase:Johannes Müntinga, Simon Kortemeier, Martin van Laack(實習生/student assistant)

合作/Collaborators:

項目管理/Project Management: DU Diederichs Projektmanagement AG & Co. KG

結構工程/Structural Engineering: Bollinger + Grohmann

策展概念/Curatorial Concept: Hürlimann + Lepp Ausstellungen

展覽設計與場景構建/Exhibition Design and Scenography:Holzer Kobler Architekturen

招標及工地管理/Construction Site Management/Tendering: ATELIER 30 Architekten GmbH

建筑物理/Building Physics: TOHR Bauphysik GmbH & Co. KG照明設計/Lighting Design: Lichtvision Design &Engineering GmbH

消防工程/Fire Engineering: Neumann Krex & Partner

健康及安全協調/Health and Safety Coordinator: Scheyk Ingenieurbüro GmbH

結構聲學/Structural Auditor: IBB Fehling + Jungmann GmbH

地質工程/Geotechnical: Erd- und Grundbau-Ingenieure Kratzenberg GmbH

標志系統/Signage System: Heine/Lenz/Zizka Projekte GmbH

基底面積/Built Area: 67 m× 33 m

總建筑面積/GFA: 6000 m2 包括屋頂/incl. roof area

建筑高度/Height: approx. 13 m

設計時間/Design Period:

競賽階段/Competition: 2011.09-2011.11, 2nd place

咨詢階段/Follow-up VOF Procedure: 2012.03, 1st place

規劃時間/Planning Period: 2011.11-2014.05

施工時間/Construction Period: 2013.10-2015.09

繪圖/Drawings: kadawittfeldarchitektur

攝影/Photos: Andreas Horsky, Jan Bitter, HG Esch, Dieter Schachtschneider

8 屋頂/Rooftop

9 室外觀眾席/Outdoor auditorium

評委評語

張利：博物館有兩種，一種是高可見性的，一種是極低可見性的。這個項目就屬于后者。整個博物館蘊含的信息，是通過展品以及上下的慢行空間實現的。博物館的形體是由人行動的平臺和路徑自然形成的空間結果。博物館的材料性格與它所處區域的古羅馬歷史傳統有很明顯的關聯。

Jury Statement

ZHANG Li: There are two kinds of museums, those with high visibility and those with very low visibility.This project belongs to the latter category. All the messages carried by the museum are expressed through movements and displays. The form, which is rather formless to be more precise, is an explicit result of its circulation flows. Its material re flects the Roman times to which the site is closely related.

10 室外觀眾席/Outdoor auditorium

11 展覽空間/Exhibition space

12 博物館商店/Museum shop