規(guī)模：1 6,000m2

客戶：索瑪雅博物館

地點：墨西哥墨西哥城

攝影師：Yannick Wegner、Adam Wiseman、Rafael Gamo

合作方：阿方索·米蘭達、光的建筑、AR 咨詢公司、奧雅納公司、好山丘建筑公司、Dypro 公司、加爾薩·馬爾多納多公司、Gehry 技術公司、HB 公司、科尼公司、光隊公司、Miery Terán 公司、佩特拉·布萊瑟、薩阿德音響公司、Swecomex 公司

Scale: 16,000 m2

Client: Museo Soumaya

Location: Mexico City, Mexico

Photograph: Yannick Wegner、Adam Wiseman、Rafael Gamo Collaborators:

Alfonso Miranda, Arquitectura de la Luz, Arsenio Rodríguez Consulting, Arup, Colinas de Buen, Dypro, Garza Maldonado y Asociados, Gehry Technologies, Hubard y Bourlon Security, Kone , Lighteam, Mier y Terán, Petra Blaisse, Saad Acústica, Swecomex

FR-EE

一家全球性建筑與設計公司，在紐約、墨西哥城和深圳設有辦事處。FR-EE 在全球范圍的不同環(huán)境下開展實踐，項目涵蓋博物館、辦公大樓、高密度城市中心和基礎設施，類型十分多樣。每個項目的最終目標都是以三維的形式，為社會、政治和經濟轉型提供框架。FR-EE 視協(xié)作為探索設計可能性的關鍵，致力于與客戶、決策者、策展人、教育家、非營利機構、開發(fā)商、工程師、承包商、藝術家、人類學家以及思想和商業(yè)領袖緊密合作。FR-EE 的工作方法體現(xiàn)了建筑師、城市設計師及工業(yè)設計師們作為領袖和生產者，在當今社會發(fā)揮的作用日益擴大，更加獨立且協(xié)同地進行創(chuàng)作而不是模仿。

FR-EE 致力于將文化、歷史、社會、經濟和環(huán)境背景轉換為對城市和社區(qū)產生積極影響的當代空間。通過使用新材料，進行深度調研，建設綠色基礎設施等方式，將當代社會和文化點滴用建筑形式表達出來。而除了設計實踐，還通過研究和管理，精心設計旨在提高生活和教育水平的項目，特別是在拉丁美洲地區(qū)。

FR-EE

It is a global architecture and design firm with offices in New York, Mexico City and Shenzhen. FR-EE has realized projects worldwide that encompass different programs and contexts - from museums and office buildings to dense urban centers and infrastructure projects. Ultimately, the goal of each of the practice's projects is to provide a framework for social, political, and economic transformation in three-dimensional form. Collaboration is central to FR-EE's inquiry into the possibilities of design, working closely with clients, policy makers, curators, educators, non-profit entities, developers, engineers, contractors, artists, and anthropologists, as well as thought and business leaders. FR-EE's approach reflects the expanding role of architects, urban designers and industrial designers in contemporary society as leaders and producers, individually and collectively aiming to create rather than imitate.

FR-EE's work translates cultural, historical, social, economic, and environmental contexts into contemporary spaces that generate positive impact in cities and communities. FR-EE's projects translate contemporary moments of society and culture into built form by using new material advancements, thorough research, and the implementation of green infrastructures. Beyond practicing design, FR-EE also orchestrates initiatives aimed at elevating standards of living and education, particularly in Latin America, through research, sports, and curation.

1 平面圖

2 剖面圖

一座位于墨西哥城心臟的新美術博物館和地標性建筑；

一劑城市和社區(qū)重生的催化劑；

第一年吸引超過100 萬訪客；

為各種規(guī)模的永久性和臨時性展覽提供靈活的空間。

博物館地處卡尓索廣場，位于一個新文化商業(yè)區(qū)中心。FR-EE 為占地16,000 平方米的索瑪雅博物館所做的設計向其折衷主義的藝術收藏品致敬，該收藏品涵蓋了15 世紀至20 世紀中葉的大約70,000 件藝術品，其中包括世界上最大的私人收藏的Auguste Rodin 雕塑。博物館的設計反映了“為所有人創(chuàng)造一個新的公共文化機構”這一愿望。

博物館為一個旋轉的菱形，由28 根大小不同、形狀各異的彎曲鋼柱支撐著，博物館外層覆蓋著16,000 個六角形玻璃鋼元素。為了在多個側面實現(xiàn)懸垂，該結構由位于每個樓層上的七個環(huán)組成的系統(tǒng)加以穩(wěn)定。七環(huán)結構體系在多個側面構成了懸臂梁，并固定著博物館的六層展覽、展示和公共聚集空間。這些設計參考了傳統(tǒng)的、殖民時期墨西哥城的瓷磚建筑立面，并賦予索瑪雅博物館隨天氣、時間、參觀者的位置而變化的不同外觀。

高45.7 米的索瑪雅博物館位于Polanco 新的卡爾索廣場房地產開發(fā)的中心，而Polanco 是墨西哥城一個充滿活力的國際化社區(qū)。博物館的獨特形式和強大的影響力為1940 年代的前工業(yè)區(qū)創(chuàng)造了特征，并為進一步的文化發(fā)展提供了催化劑，其中包括安東·加西亞·阿布里爾（Anton García-Abril）的劇院和大衛(wèi)·奇珀菲爾德（David Chipperfield）的Jumex 當代藝術博物館。

在內部，參觀者首先看到的是在寬敞的白色門廊中展出的羅丹的《思想者》雕塑，鼓勵參觀者繼續(xù)探索博物館。沿著貫穿博物館六層樓的連續(xù)長廊，參觀者會發(fā)現(xiàn)梵高、馬蒂斯、莫奈和達利等人的杰作。坡道通向頂層的展覽廳，這里有著由眾多雕塑組成的景觀，以及充足的自然光線。除了畫廊，索瑪雅博物館還設有一個350 座的公共禮堂，一座圖書館，一個餐廳，禮品店和辦公室。

周圍的公共空間通過通向博物館入口的大樓梯激活，并作為毗鄰的Carso 建筑群的游客和當?shù)厝说姆钦綇V場。由16,000 塊六角形和鏡面瓷磚組成的表皮，是殖民地瓷磚的傳統(tǒng)瓷磚，根據(jù)時間和觀看者的視點，使博物館具有非常多樣化的外觀，同時優(yōu)化了整個建筑的保護性和耐久性。

3 建筑外部

4 雕塑展廳

1 長廊

3 樓梯

New fine art museum and architectural icon in the heart of Mexico City ;

Served as a catalyst for urban and community regeneration ;

Attracted more than 1 million visitors in the first year ;

Flexible spaces for permanent and temporary exhibitions of all scales.

2 主要通道

FR-EE's design for the 16,000 m2 Soumaya Museum pays homage to its eclectic art collection of about 70,000 objects from the 15th to mid-20th century, including the world's largest private collection of sculptures by Auguste Rodin. The design of the museum reflects the desire to create a new publicly accessible cultural institution for all.

Rising 150 feet at the heart of a new cultural and commercial district, Plaza Carso, the building’s form, a rotated rhomboid supported by 28 curved steel columns of varying size and shapes, is clad in a skin of 16,000 hexagonal mirrored-steel elements. A seven-ring structural system creates cantilevers on multiple sides and stabilizes the museum’s continuous six-level promenade of exhibition, presentation and communal gathering space. These reference the traditional, colonial ceramic-tiled building fa?ades in Mexico City, and give the Soumaya Museum a diあerent appearance depending on the weather, time of day and the viewer’s vantage point.

The 45.7-meter-high Soumaya Museum rises in the heart of the new Plaza Carso real estate development in Polanco, a vibrant and cosmopolitan neighborhood in Mexico City. The distinct form of the museum and strong presence create an identity for the 1940's ex-industrial area and serves as a catalyst for further cultural development, including a theater by Anton García-Abril and the Jumex contemporary art museum by David Chipperfield.

Inside, visitors initially meet at Rodin's Thinker in a generous white lobby that encourages guests to explore the museum. Going up the continuous promenade that spirals through six levels of the museum, visitors will find masterpieces by Van Gogh, Matisse, Monet and Dalí, among others. The ramp leads to the exhibition hall on the top floor with a sculptural landscape gently flooded with natural light. In addition to the galleries, the Soumaya Museum in?cludes a 350-seat public auditorium, library, restaurant, gift shop, and oきces.

The surrounding public space is activated through a large staircase that leads to the entrance of the museum, and serves as an informal square for visitors and locals of the adjacent Carso complex. A skin of 16,000 hexagonal and mirrored steel tiles refers to the traditional ceramic tiles of colonial tiles and gives the museum a very diverse appearance, depending on the time and the viewpoint of the viewer, while optimizing the conservation and durability of the entire building.