Lenbachhaus博物館

業主單位：慕尼黑市，文化部，建設部

項目地點：德國慕尼黑

建筑設計：福斯特建筑事務所

結構設計：Sailer Stepan & Partner GmbH

機電設計：Ingenieurbüro Robert Ottitsch (HLS + RLT);PEG GmbH (Elektro)

景觀設計：漢堡景觀設計公司

照明設計：Ingenieurbüro Bamberger

用地面積：約4 000 平方米

總建筑面積：12 328 平方米

設計/建造：2005 / 2014 年

攝影：Nigel Young / 福斯特建筑事務所

Client: City of Munich, Cultural Department, Building Construction

Location: Munich, Germany

Architectural Design: Foster + Partners

Structural Engineer: Sailer Stepan & Partner GmbH

Mechanical Engineer: Ingenieurbüro Robert Ottitsch (HLS + RLT);PEG GmbH (Elektro)

Landscaping: Burger Landschaftsarchitekten

Lighting Design: Ingenieurbüro Bamberger

Site Area: Approx. 4 000 m2

Area (Gross): 12 328 m2

Design / Completion: 2005 / 2014

Photography: Nigel Young / Foster + Partners

Lenbachhaus 博物館建于1891 年，是藝術家弗朗茨·馮·倫巴赫的工作室和別墅，在上個世紀逐步擴建。然而，在世紀之交，博物館缺乏設施，無法滿足每年28 萬名不斷增長的觀眾。該項目重新定義了整個場地的交通，將不同時期的復雜空間序列轉變為一個統一的、易讀的博物館，對所有人開放。博物館的歷史建筑被精心修復，一個壯觀的新側廳增加了展覽空間，為觀賞壯觀的“藍色騎士”(Blue Rider)收藏品提供了理想的環境。除了從根本上改善建筑的環境性能，改造還創建了一個新的入口和社交空間，包括餐廳、露臺、教育設施和引人注目的通高中庭，在這里舊的空間與新的空間相連。

剝去不必要的歷史附加物，1972 年的擴建部分被拆除，露出原來別墅的墻壁，并以赭石色調進行了修復。不同的歷史元素沿著理查德-瓦格納街被一個新的畫廊展館統一，包含兩層展覽空間。新建筑作為畫廊珍寶的“珠寶盒”——它覆蓋著銅和鋁合金的金屬管，它們的顏色和形式設計與別墅豐富的赭色色調和紋理外立面相輔相成。餐廳旁邊設置了一個新的入口，通過博物館東側的一個新的景觀廣場進入——這一舉措收回了庭院花園，將其從步行街變成了一個寧靜的游客空間。餐廳在博物館開放時間之外開放，它的座位繼續在外面，有助于活躍周圍的街道，吸引新的游客進入畫廊。建筑的新社會中心是一個引人注目的頂部照明的中庭，設有售票臺和咨詢臺，通往一樓新的臨時展覽空間，還有一個宏大的懸臂樓梯通往上層畫廊。清晰地表達了新中舊，它令人印象深刻的體量融合了原別墅的赭石外墻，并縮放以容納大型藝術作品。該博物館委托藝術家奧拉維爾·埃利亞松(Olafur Eliasson)為現場創作一件名為“Wirbelwerk”的作品。白天，陽光通過屋頂上細長的開口沖刷著白色墻壁，水平百葉窗在空間內投射出變化的光影模式。

除了修復現有建筑的結構，該項目的主要目標之一是從根本上改善博物館的環境性能。樓層內采用了水基供暖和制冷系統——使用的能源比空氣基供暖要少得多，這代表了畫廊環境中的創新一步。雨水也被收集和回收，照明系統被替換和升級為低能耗系統。

Designed in the Florentine style, and completed in 1891 as a villa and studio for the artist Franz von Lenbach, the Lenbachhaus became Munich’s city art gallery in 1924.Over the succeeding fifty years the building was extended and adapted in two major phases. By the turn of the century, however, with visitor numbers exceeding 250,000 a year, it lacked the facilities needed to cater to its widening audience. The challenge for the museum’s renewal lay in conserving the ensemble of historic buildings and maintaining the amount of gallery space, while providing new circulation and visitor areas, a restaurant, terrace and shop.

Following an analysis of the existing buildings, a wing dating from the 1970s was removed and replaced with a new building, with two floors of galleries, which unifies the historical elements along Richard-Wagner-Strasse. Conceived as a ‘jewel box’ for the gallery’s treasures, the new wing is clad in aluminium-copper-alloy tubes whose colour complements the villa’s rich ochre render. Inside, a sequence of galleries displays the museum’s renowned collection of paintings by the early-twentieth-century group, Der Blaue Reiter, echoing the domestic scale of their original setting. As many of these works were painted en plein air, indirect natural light is drawn into the upper-level galleries to create the ideal conditions for their display.

Circulation through the building has been completely redefined, beginning with a new entrance sequence via a piazza to the east of the museum, which has allowed the historic courtyard to be reinstated as a tranquil garden. A restaurant with an open-air terrace extends into the piazza, to enliven the surrounding area. The social heart of the building is the three-storey lobby, from where visitors access the temporary exhibition space on the ground floor and the upper-level galleries. Clearly articulating the old within the new, this top-lit volume embraces the exterior wall of the villa and incorporates a large-scale installation by the Danish-Icelandic artist, Olafur Eliasson, which refracts sunlight from a slender clerestory window to cast dynamic patterns of light and shade.

剖面 Cross Section