柏林二十世紀博物館及周邊環(huán)境整合 德國柏林文化廣場

客 戶：普魯士文化遺產基金會

主創(chuàng)建筑師：肖誠

設計團隊：印實博，何啟帆，毛偉偉，凌崢，王靜

景觀設計：北京創(chuàng)翌善策

用地面積：14,700平方米

總建筑面積：27,700平方米

設計時間：2015-2016年

獎項榮譽：全球十強優(yōu)勝方案

Client:Prussian Cultural Heritage Foundation

Chief architect:Xiao Cheng

Project architect:Yin Shibo,He Qifan,Mao Weiwei,Ling Zheng,Wang Jing

Landscape Design:Beijing Chuangyi Good Strategy

Site Area:14,700m2

Gross Floor Area:27,700m2

Date:2015-2016

Awards:Shortlisted in this competition’s top ten

2015 年10 月，由普魯士文化遺產基金會發(fā)起的“柏林20 世紀博物館以及周邊城市整合設計競賽”開始全球征集報名及方案征選。2016 年2 月10 日第一輪競賽結果公布。深圳市華匯設計有限公司的參賽作品《THE SQUARES》從全球460 家設計機構中脫穎而出，入選全球10 強，同時，深圳華匯設計也是亞洲唯一一家入選機構。在全球460 家設計機構競選中，作為亞洲唯一建筑方案入選機構，入圍本次競賽全球十強。

In October 2015,the Prussian Cultural Heritage Foundation sponsored the "Berlin competition for integrated design of museum and surrounding cities in the 20th century" to solicit designs worldwide.The outcome was published in the first round on February 10,2016.THE SQUARES created by Shenzhen Huahui Design Co.,Ltd.comes to the fore among the 460 agencies around the world,which is shortlisted for the top ten.More importantly,Huahui is also the only one Asian candidate.Among the 460 design agencies,Huahui,as the only one Asian candidate,is shortlisted for top ten.

柏林文化廣場（Kulturforum Berlin）位于德國柏林蒂爾加藤區(qū)。圍繞著一座19世紀的教堂——圣馬泰教堂，這里有新國家美術館（密斯·凡·德·羅設計）、音樂廳（漢斯·夏隆設計）、新國家圖書館（漢斯·夏隆設計）、繪畫畫廊、工藝美術博物館等多座文化建筑。這里是柏林的文化亮點，也定義了波茨坦廣場以西的城市空間。未來的柏林20 世紀博物館，就將坐落在教堂邊“群星環(huán)繞”的中心廣場上。

Kulturforum Berlin is located in Tiergarten of Berlin,Germany.Centering on the church built in the 19th century -Sainte Marthe,a wide range of cultural buildings get together here,including national art gallery (designed by Mies van der Rohe),concert hall (designed by Hans Scharoun),national library (designed by Hans Scharoun),gallery and museum of arts and crafts.Here is the culture spot of Berlin,which defines an urban space westward in Potsdamer Platz.You are expected to see the Berlin 20th century museum in the central plaza.

19 世紀到20 世紀30 年代這里經歷了貴族樂園到帝國之都的巨變，大量傳統(tǒng)建筑被拆除，使得文脈難尋，1943 年到1945 年的空襲又將該區(qū)域摧毀的面目全非，1946 年之后包括夏隆在內的建筑師門開始對這片區(qū)域進行戰(zhàn)后建設，速度驚人，各建筑物的設計建造時間短，且相互疊合，在這期間，大家更多的是將單個的建筑做到精彩，較少考慮到相互之間的城市關系，以致建筑形象各異，空間上缺乏秩序和聯(lián)系，缺少了街道界面的整合，此外相對單一的功能，也使得這個區(qū)域缺乏足夠的活力。

The period from the 19 century to the 1930s has seen that this place turned into imperial capital from an aristocrat park,during which a wide range of ancient buildings were demolished and city memory was interrupted.Worse still,it fell apart in an air raid from 1943 to 1945.Scharoun and other architects embarked on post-war reconstruction after 1946 at an alarming rate.At that time,all kinds of structures were quickly designed,completed and overlapped.Although single building is amazing,the interrelation is absent in the whole city.Architectural images of all shapes are everywhere,without spatial orders and connections and uniformity of streets.Besides,single function also deprives of inherent vitality.

在這個充滿歷史復雜性的世界級藝術展示區(qū)，我們需要仔細的思考：一座新的博物館，到底是以一種什么樣的姿態(tài)獻給柏林？以什么樣的姿態(tài)融入建成環(huán)境中？以什么樣的方式讓人們通過藝術與歷史對話？又應該以怎樣的方式融入當代生活？

Faced with the world-class art exhibition full of complicated history,we need to ponder the way that a new-built museum locate in Berlin,integrates into existing buildings,has a dialogue with art and history and becomes a part of contemporary life.

將原有基地，一個缺乏場所特征和公眾參與的城市空地“a square”，藉由柏林新國家美術館特有的正方形的形式語言“the square”，通過尺度的消解和形態(tài)的重構，形成一個開放、兼容，并將建筑與景觀自然融合的城市開放空間，成為藝術與公眾自由相遇的新場所“the squares”！如果說藝術的本質是向原點回歸，那么柏林新國家美術館的設計便是通過“黑色正方形”表達出了強烈的終極意識，而這種思想與現(xiàn)代主義的藝術浪潮有著密切的關聯(lián)。

The base used to be "a square" -an urban pen place without its own feature and public participation.By means of "the square" -a form language of the special square created by the Berlin New National Art Gallery,an open and inclusive urban space combining a building with natural landscape is built by decomposing the scale and reconstructing form.If the essence of art is returning,Berlin New National Art Gallery is to deliver a forceful ultimate awareness through its "black squares." This viewpoint is closely associated with modernism's artistic ideology.

作為國家美術館的延伸，20 世紀現(xiàn)代藝術博物館批判性的繼承了“the square”的形式意涵，同時也吸收了國家博物館群“gallery of the living”的核心價值，通過對“方形”的消解，將一座地景式的建筑置入場地，來最大化的保留各個重要建筑之間的視覺關系。

As the derivate of the national art gallery,the Berlin 20th century museum critically inherits form and implication of "the square" and also includes the core value of the "gallery of the living." By deconstructing the square,a building of underground landscape is placed to maximize visual relationship amid major structures.

設計的核心理念是，將原有基地-一個缺乏場所特征的公共參與的城市寶地“A Square”，藉由柏林新國家美術館特有的正方形的形式語言“the square",通過尺度的解和形態(tài)的重構，形成一個開放，兼容，并將建筑與景觀自然融合的城市開發(fā)空間。

The base used to be "a square" -an urban pen place without its own feature and public participation.By means of "the square" -a form language of special square created by the Berlin New National Art Gallery,an open and inclusive urban space combing building with natural landscape is built by decomposing scale and reconstructing form.This is the core design philosophy.

在平面上，通過門廳和進廳區(qū)分出公共區(qū)域和展覽區(qū)域，將博物館商店教育培訓餐飲等開放性的功能圍繞門廳布置，將展覽區(qū)域圍繞進廳布置，進廳的中空使得不同展廳的位置和主題被全景呈現(xiàn)；在剖面上，將公共部分布置在地上和半地下，將展覽區(qū)域布置在半地下和全地下，目的是將博物館的公共部分對城市最大化的開放，而無需自然光的展覽空間中的展品得到合理的展覽環(huán)境，高低起伏的廣場“the squares”，使得參觀的體驗可以同時發(fā)生在室內和室外。模數(shù)沿用了國家美術館的7.2x7.2 米。

Viewed from above,the lobby and porch will divide the whole area into a public area and an exhibition area.All open functional zones of display,store,education,training and canteen are around the lobby,while the exhibition area embraces the porch.In the middle of the porch,all exhibition halls and themes come into sight.From the side view,the public building is above and partly under the ground and the exhibition hall is semi-underground and underground.Such design is to make the public area open to the whole city as much as possible.All exhibits can be reasonably placed without support of natural light.As "the squares" fluctuate up and down,visitors can obtain a viewing experience inside and outside.Modulus follows the national gallery's dimension of 7.2＊7.2m.

進廳的天光可以使上下兩層展覽部分的非展品展示空間（交通空間）均能有自然光，而展示品參觀空間則是完全可調節(jié)的人工照明，一條完整且緊湊的觀展流線串聯(lián)起上下兩層不同的展廳，同時保持了max、artlibrary和media 的獨立性。為了盡可能尊重藝術品的表達，每一個展廳空間形式規(guī)則，可適應不同形式的展覽，僅通過展廳高度的變化來使不同尺度的藝術作品有合理的展示空間的尺度。這種理性的形式可使建筑概念得到有效的表達和實施。

Daylight from the porch lightens two stories of traffic space,while the exhibition hall is equipped with adjustable artificial lighting.An uninterrupted and compacted route pools the exhibition halls upstairs and downstairs together and have a max,artlibrary and media independent of each other.To safeguard the expression of artwork as much as possible,each exhibition hall is able to fit forms and rules of space.Artistic work will enjoy a reasonable dimension by changing heights of the exhibition hall.The rational form was made such as to express and fulfill architectural concept.

運用景觀都市主義的核心精神，提案將建筑視作城市景觀空間系統(tǒng)的一個要素，建筑即景觀，景觀即建筑，博物館與城市空間相融合，形成藝術與公眾自由相遇的新場所—THE SQUARES。

Following the kernel of landscape urbanism,the structure is advised to be an element of the urban landscape spatial system in the proposal.Building and landscape set off each other.The mixture of museum and urban space constructs THE SQUARES where art encounters public freedom.

第一輪競賽后，主辦方微調了設計任務書，更著重于建筑設計本身，希望新館是一個更具當代文化生活特征、與周圍現(xiàn)存建筑保持良好的城市關系、擁有高品質的展覽空間的交流和活動新平臺。于是有了我們的第二輪提案的概念——多義性邊界。

After the first round,the sponsor modified the design task to emphasize architectural design in itself.A new platform for exchanges and events that is characterized by features of modern cultural life,gets on well with the existing structures and offers high-quality exhibition space that is expected.Then,we put forward the second proposal — a multivocal boundary.

透過多義性邊界，我們嘗試界定出周圍建筑與博物館的關系，街道與博物館的關系，博物館自身室內外的關系，以便在這里更清楚的看到不同關系給設計帶來的問題和機會，能夠使不同的需求在這里被滿足。

On the basis of the multivocal boundary,we strive to outline the relationship of the surroundings and the museum,streets and museum and internal and external of the museum.In this way we can have a better perspective to observe problems and changes caused by different relations,further satisfying multiple demands.

這個提案最終沒有贏，不過我們在后來的一次機會中，將多義性邊界的概念發(fā)展并展現(xiàn)了出來……

In spite of failure,we later have another change to bring forth and show a multivocal boundary...