建筑設(shè)計: ADEPTArchitects: ADEPT

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鏗鏘博物館改造，哥本哈根，丹麥

建筑設(shè)計: ADEPT
Architects: ADEPT

Sonoruous Museum Refurbishment, Copenhagen, Denmark, 2014

在丹麥著名建筑師威廉·勞里岑設(shè)計的、被列入保護建筑名冊的哥本哈根“收音機之家”中，丹麥國家博物館最近重新展出了其規(guī)模龐大的歷史樂器收藏。這座建于1950年代的優(yōu)雅的現(xiàn)代風格建筑也因此進行了大規(guī)模的翻新。改造工程開展得十分謹慎，以強調(diào)保護建筑中的材料和細節(jié)的獨特個性。

ADEPT與克雷奧建筑事務(wù)所、Niras工程公司緊密合作，設(shè)計并實施了為博物館的一系列教育計劃配備的4個優(yōu)雅精密的聲學空間。

收音機之家中包括了國家音樂博物館，以及由這4個聲學空間組成的鏗鏘博物館。改造工程非常尊重原有的建筑設(shè)計，采用了經(jīng)典的保護設(shè)計手法——在保留原有建筑設(shè)計意圖的同時，在建筑中加入了當代生活的需求和現(xiàn)代化的氣息。

收音機之家這座獨具特色的建筑反映了屬于威廉·勞里岑的許多空間特點，這也是修繕工程最重要的設(shè)計靈感來源。從通透的展覽空間的設(shè)計，到鏗鏘博物館中具有聲學作用的墻體設(shè)計中對色彩、形式和節(jié)奏感的運用，都體現(xiàn)了對威廉·勞里岑的建筑中的建筑元素和細節(jié)的現(xiàn)代化詮釋。

展覽的設(shè)計主要基于讓來訪者跟隨音樂歷史發(fā)展進行空間移動的想法——讓人的移動與展示的物品、樂器、視覺圖像、用于互動的收聽裝置間形成微妙的平衡。設(shè)計采用玻璃展柜讓樂器仿佛漂浮在空中，并使用開放的臺面來陳列大型樂器。

鏗鏘博物館則由4個具有特定聲環(huán)境的工作室構(gòu)成，在聲學上各自適合弦樂器、銅管樂器、打擊樂器和混合樂器這4種不同的樂器組別的演奏使用。4種空間都設(shè)計成可以互動的教室的形式，讓訪客在參觀的班級中親自體驗古典樂器演奏，體會樂器的聲音特點。

4個空間各自不同，但是具有統(tǒng)一的視覺風格。每個空間都由木板包裹，以達到為特定樂器組別設(shè)計的最佳聲學效果。打擊樂空間中設(shè)置的豎直格柵、弦樂空間中表面能共振的盒狀飾面、銅管樂空間中對比鮮明的墻面，都使4個空間在外觀上兼具當代時尚感和經(jīng)典感，簡潔而精準地延續(xù)了威廉·勞里岑的這一建筑杰作本身的特色?！酰ㄋ抉R蕾 譯）

1.2 打擊樂空間/The percussion space

3.4 弦樂空間/The string space

項目信息/Credits and Data

項目負責人/Project Leader: Anders Lonka

客戶/Client: Danish National Museum, Ministry of Culture

合作者/Collaborators: Creo Architects, Niras Engineers

總面積/Total Floor Area: 2300m2

總造價/Total Cost: 33,000,000DKK

設(shè)計時間/Design Period: 2012-2014

攝影/Photos: Kaare Viemose （fig.2,8-12）, Laura Stamer （ fi g.4,6,15）

In the listed "Radio House" of Copenhagen, by renowned Danish Architect Vilhelm Lauritzen, the Danish National Museum has recently re-opened its vast collection of historical musical instruments. The elegant modernistic building from the 1950s has gone through an extensive refurbishment, respectfully carried out to emphasize the unique character of the listed building's materiality and detailing.

In a close collaboration with Creo Architects and engineers Niras, ADEPT is behind concept and realization of the museum design that includes four delicately detailed sound spaces as part of the collection's educational program.

The Radio House, including the National Music Museum and the four sound spaces 'The Sonorous Museum", is refurbished in great respect of the original building, showing a classic approach that preserves the original design intentions, yet adding contemporary life and modernity to it.

The unique architecture of the Radio House, reflecting the spatial universe of Vilhelm Lauritzen, has been the main inspiration during the refurbishment process. Everything, from the transparency of the exhibition design to the play of colors, patterns and rhythm in the acoustic walls of "The Sonoruous Museum", is a modern day interpretation of architectural elements and details from Vilhelm Lauritzen's buildings.

The exhibition design is build up around the guest's physical movement through musical history -a movement communicated in a delicate balance between exhibited objects and instruments, graphic illustrations and listening stations interacting with the museum guest. The design alternates between glass showcases making the instruments seemingly float in the air and open tableaus showing larger instruments.

"The Sonorous Museum" is comprised of four sound regulated studios, acoustically adapted to a specific instrumental group: strings, brass, percussion and mixed instruments. The four spaces are designed as interactive classrooms in order to provide visiting school classes with a hands-on experience of the classical music instruments and their sound specter.

The four spaces are designed as spatial variations on the same aesthetic theme. Each of the spaces are cladded in wood veneer, designed to meet and create the optimal acoustic setting for a speci fi c instrumental group. From the vertical lamellae of the percussion space, the seemingly vibrating cassettes for strings to the graphical clarity of the brass space, the four spaces stands out as both contemporary modern and yet very classic in their expression - as a simple and precise continuation of the intended spirit in Vilhelm Lauritzen's listed master piece.□

5.6 銅管樂空間/The brass space

7.8 帶有坐臺的管弦樂空間/Soundscape for the orchestra with integrated stairs for sitting

9-12 參照威廉·勞里岑設(shè)計的不同建筑，4個空間具有不同的墻壁細部/Wall details in the four spaces, each of them di ff erent and referring to one of Vilhelm Lauritzen's buildings

13 打擊樂空間詳圖/Detail drawing of the percussion space

14 管弦樂空間詳圖/Detail drawing of the orchestra space

15 從博物館望向管弦樂空間/View from the museum into the orchestra space

評論

張利：勞里岑在鏗鏘博物館改造不可謂不費心機。歷史樂器的展覽部分沒有太多可說，而改造所突出的4個精密聲學空間則是最有可能受到質(zhì)疑的地方。我們在此看到建筑師試圖定義一種由聲音到視覺的映射關(guān)系，通過4個空間中吸聲/反射板加以表達。這有兩個可以商榷的問題: （1）對于某一類樂器是否存在特定的、對應于最佳音效的視覺圖案？（2）除了聲學外，這些視覺圖案以何種方式貢獻于這里的演奏者？

但設(shè)計者提出的為原有建筑加入現(xiàn)代性的想法可能只在視覺上實現(xiàn)了，因為古典音樂理想的聽覺空間模型正是更具現(xiàn)代性的后繼者批判顛覆的對象之一。殷漪：被歷史作為主流而書寫的那部分古典音樂，長久以來是不思考空間的，它設(shè)想自己應該在一個最能展示其自身聲覺特征的空間內(nèi)被聽到。所以那部分古典音樂在各種均質(zhì)的物理空間內(nèi)被演奏，在各種相似的音樂廳里被聽到。

我相信，作為具有教育功能的展示空間，這4個房間是非常出色的。比如，弦樂房間內(nèi)飾設(shè)計中聲學特征與墻面造型的轉(zhuǎn)換?；旌戏块g內(nèi)被模糊功能的臺階——是觀眾的座位還是演奏者的舞臺？

Comments

ZHANG Li: We may want to regard Lauritzen's design of the sonoruous Museum with all due respect. Putting the exhibition spaces aside, the four sound spaces are the most controversial. Then architect has launched an investigation trying to establish a mapping system between sound and space. The panels in the sound spaces are the messengers. Two question marks are here: （1） Is there an undisputable visual pattern linked to the sound of a particular instrument？ （2） What can these patterns bring to the true user-the players？

YIN Yi: For a long time, the classical music that was written down as mainstream in the history of music has not concerned itself with the physical space for its performance. It assumes that it should be performed in a space that best exhibits its acoustic character. That is why such classical music is always performed in those homogeneous physical spaces and heard in similar concert halls.

I believe the four rooms at the Sonorous Museum are excellent as educational space. For example, in the string music room, the interior design re fl ects the transition from acoustic features to wall modeling. And in the mixed room, the functions of the steps have been blurred: are they the seats for audience or the stage for performers？

But the designer's idea of adding modernity to the original architecture may only have been accomplished visually, because the ideal model of acoustic space for classical music happens to be one of the targets of criticism and subversion by its modernist successors.