Porsche Museum Stuttgart Zuffenhausen, Germany 保時捷博物館

德國斯圖加特

Porsche Museum StuttgartZuffenhausen, Germany保時捷博物館

德國斯圖加特

業主：Dr. Ing. h.c. F. Porsche Aktiengesellschaft

設計競賽：2005年一等獎

規劃設計:2005年2月

施工：2005年10月

竣工：2008年12月

建筑面積：13 333平方米

總表面面積：27 692平方米

地面總表面面積：14 388平方米

體積：255 464立方米

基地面積：8 200平方米

攝影/繪圖/動畫：

Hertha Hurnaus / Brigida Gonzalez /DMAA

Client: Dr. Ing. h.c. F. Porsche Aktiengesellschaft

Competition: 2005, [1st prize]

Start of planning: 02/2005

Start of construction: 10/2005

Completion: 12/2008

Floor area: 13 333 m2

Gross surface area: 27 692 m2

Gross surface area aboveground: 14 388 m2

Volume: 225 464 m3

Site area: 8 200 m2

Credits photos / drawings / visualisations:

Hertha Hurnaus / Brigida Gonzalez / Delugan Meissl Associated Architects

全球化品牌保時捷始終注重創新與傳統的結合。這家有著百年歷史的公司，用非凡的信念與遠見取得了巨大的成功。新保時捷博物館反映出了公司的自信態度和對建筑的至高標準。知識、誠信和堅定的立場，與勇氣、激情、動力和獨立性一樣，都是公司理念的基石。每個創意都被視為積極接受新挑戰和勇敢突破極限的良機。保時捷代表了獨特而包容，繼承傳統而不放棄生動改變的態度，而博物館正是體現了保時捷的這種成就其獨一無二的態度。

中央草圖概念以建筑語言反應了保時捷品牌的多元化和生動性。博物館以保時捷通過空間和感官向觀眾傳達的特殊意境為特點。觀眾在建筑結構和空間介質中能夠體驗駕駛、速度、靜態和停滯。博物館是融合了所有品牌特征的開放性空間，具有明確的界定。這里，速度和激情在空間中得到了對等的詮釋，并從感官體驗中喚醒，為觀眾留下深刻的印象。

在基本建筑理念中，各空間分布的主要設計參數是體驗和體驗機會。建筑形態的表面二分法是對建筑功能及其展品特殊地位的完美解答。博物館的概念設計展示了我們將建筑視為有機生物體和整體的交流部分的感知。建筑與環境間的持續相互作用被構思成為一種如同功能性和實用性可利用空間的建筑特征。空間可定義環境的特殊特征被構思成為景觀和城市景觀，其解讀與公司方針遙相呼應。

保時捷博物館設計為動態成形的整體結構，似乎與入口層的折疊地貌相脫離。其反光拱腹映射出下部的建筑景觀，在不失美感的同時，增強了地基與展覽區之間的空間感。因此，這種建筑姿態突出了結構設計的基礎，即體驗和體驗機會的二元性。

Porsche, a global brand, consistently combines innovation and tradition. The company’s history spans more than 100 years and is shaped by passion and vision. The new Porsche museum is a place which expresses the company’s self-con fi dent attitude and its high standards through architecture. Know-how,credibility and determination are as much part of the company’s philosophy as are courage, enthusiasm,strength and independence. Each idea is seen as a chance to o ff ensively tackle new challenges and to push boundaries. The museum represents exactly this position of representing exclusivity without exclusion, of re fl ecting tradition without forgoing the vivid exchange which makes Porsche so unique.

The central draft concept was the translation of the versatile and vivid brand into the language of architecture. The museum features those specific conditions which the Porsche brand conveys both spatially and sensually to visitors. Drive and speed, statics and logjams can be experienced both in the building’s configuration as well as through the spatial medium. The museum is an open, clearly de fi ned place which incorporates all brand speci fi c qualities. Here, speed and passion fi nd their spatialequivalents and can be impressively retraced in the sensual experience.

Experience and the opportunity to experience were the primary design parameters through respective spatial allocations in the basic architectural concept. The seeming dichotomy of the architectural shape is the appropriate answer to the building’s function and the exceptional position of its exhibits. The museum’s conceptual design demonstrates our perception of buildings as interactive organisms, as communicating part of a whole. The consistent interaction between the building and its environment is conceived as a quality, as is a functional and practical utilisable space. The speci fi c characteristics of the spatially de fi nable environment are conceived as a landscape or urban landscape, its interpretation as the corporate approach.

The Porsche museum is designed as a dynamically formed, monolithic structure, seemingly detached from the entry level’s folded topography. Its re fl ective so ffi t absorbs the architectural landscape below and atmospherically increases the space between base and exhibition area. Thus this architectural gesture underlines the duality of experience and opportunity to experience on which the structural design is based.