建筑設(shè)計(jì)：aDT建筑事務(wù)所

1 從參議院廣場(chǎng)看賽德霍爾姆宅/The Sederholm House seen from the Senate Square

參議院廣場(chǎng)是赫爾辛基的紀(jì)念中心，也是19世紀(jì)初由約翰·阿爾布雷克特·艾倫斯特倫與卡爾·盧德維格·恩格爾設(shè)計(jì)的市鎮(zhèn)規(guī)劃的主要建筑焦點(diǎn)。它的北面是赫爾辛基大教堂，東西軸線由大學(xué)和參議院建筑構(gòu)成，這幾組建筑都由恩格爾設(shè)計(jì)。沿著亞歷山大街，廣場(chǎng)的南側(cè)是一排主要建于19世紀(jì)的商人住宅。

在參議院廣場(chǎng)和大市場(chǎng)之間的南部城區(qū)，在二戰(zhàn)后變?yōu)槌鞘行姓芾韰^(qū)，導(dǎo)致該地區(qū)喪失了一些吸引力。于是，赫爾辛基市在21世紀(jì)的第一個(gè)10年啟動(dòng)復(fù)興整個(gè)區(qū)域。赫爾辛基博物館搬遷到參議院廣場(chǎng)的東南角正是這個(gè)項(xiàng)目的其中一部分。

在名為“大象”的街區(qū)中1），有5座列入清單的建筑，它們分屬于不同的時(shí)代。有城市中最古老的建筑賽德霍爾姆宅（1757年），比鄰的卡塔琳娜街3號(hào)（1761年），雷曼德宅（1814-1873年），法爾克曼宅（1829-1872年），以及瓦爾科寧·薩利大樓（白廳，1925年），如今承擔(dān)著赫爾辛基城市博物館的公共空間和管理功能。

位于街區(qū)最東端的大象和它的3個(gè)庭院作為前市政區(qū)的復(fù)興區(qū)的一部分已向公眾開放。赫爾辛基城市博物館如今是一系列城市公共庭院的延續(xù)，其中包含餐館、畫廊和其他旅游景點(diǎn)。

博物館的新概念經(jīng)過(guò)了3年的發(fā)展，集中在博物館的顧客和他們的需求上面。在設(shè)計(jì)工作的初期階段，業(yè)主和設(shè)計(jì)團(tuán)隊(duì)建立了3條基于動(dòng)機(jī)的用戶畫像。3條用戶畫像對(duì)應(yīng)著博物館3個(gè)不同展覽空間的目標(biāo)群體。用戶畫像用作所有的服務(wù)設(shè)施的設(shè)計(jì)上面。

由于博物館由歷史建筑組成，需要特別針對(duì)一個(gè)良好的游客體驗(yàn)進(jìn)行設(shè)計(jì)考慮。在現(xiàn)有的建筑之間創(chuàng)建一個(gè)有邏輯的連貫的流線系統(tǒng)，對(duì)于博物館而言是最大的設(shè)計(jì)挑戰(zhàn)。博物館免費(fèi)進(jìn)入，使創(chuàng)建4個(gè)新入口促進(jìn)公共交通成為可能。

博物館由3個(gè)非常不同的展覽空間組成：赫爾辛基兒童小鎮(zhèn)、赫爾辛基歷史記憶和臨時(shí)展廳。兒童小鎮(zhèn)展位于賽德霍爾姆宅中，這座住宅和商業(yè)建筑始建于18世紀(jì)。盡管房間狹小，賽德霍爾姆宅對(duì)于做博物館非常適合，考慮到游客的規(guī)模相對(duì)于展覽空間的大小，夏季的通風(fēng)是設(shè)計(jì)上的一個(gè)挑戰(zhàn)。

歷史記憶展位于二層，一個(gè)500m2的開放空間里。對(duì)于空間的規(guī)劃聚焦在游客的可達(dá)性和導(dǎo)游團(tuán)隊(duì)游覽的移動(dòng)軌跡上。保留開放的空間有利于放置更大的展品，同時(shí)仍然保持流線簡(jiǎn)便和整個(gè)展覽的可見性。展覽以一種無(wú)等級(jí)的方式排布，游客可以自由選擇觀展路徑。

2 卡塔琳娜街3號(hào)立面/Katariinankatu street #3 fa?ade view

3 在北院鄰近博物館入口的新氧化銅網(wǎng)立面/The new fa?ade clad with oxidised copper mesh next to the museum main entrance on the northern courtyard.

4 南院入口/Entrance from the southern courtyard

臨時(shí)展廳位于四層，是一個(gè)1960年代設(shè)計(jì)的展陳空間。這是一個(gè)完整的矩形空間，很容易轉(zhuǎn)變成不同的格局。展覽可以利用整個(gè)空間，或者在房間內(nèi)布置臨時(shí)墻形成分區(qū)。

不同于許多博物館那樣，赫爾辛基城市博物館除了展覽空間還有很多公共設(shè)施。從一開始，博物館的臨街大廳就是一個(gè)備受歡迎的多功能商業(yè)空間。通常，它的功能是為公眾提供舒適的“客廳”。盡管毗鄰博物館的主入口，大堂仍可以舉辦各種活動(dòng)。外部的活動(dòng)組織者對(duì)這個(gè)空間的非正式性大加贊揚(yáng)，對(duì)許多人來(lái)說(shuō)，它是一個(gè)比禮堂或演講廳等傳統(tǒng)場(chǎng)所要更受歡迎的地方。

其他對(duì)公眾開放的設(shè)施包括攝影展廊、休息室和桑拿浴。在攝影展廊，博物館游客可以接觸到博物館宏偉的赫爾辛基照片收藏。展藏包括數(shù)字檢索數(shù)據(jù)庫(kù)和傳統(tǒng)的照片印刷品。四層的休息室是連接兩座現(xiàn)有建筑的新區(qū)域，為游客提供一個(gè)安靜平和的休息空間。桑拿浴是2020年春天增加的，當(dāng)時(shí)博物館將商店移到了正門旁邊，以促進(jìn)更多客流。新的桑拿浴房占據(jù)了原來(lái)商店的位置。

城市博物館的特色之一在于它的3個(gè)像城市空間一樣的小庭院，這為舉辦活動(dòng)提供了新的可能。其中兩個(gè)庭院與相鄰的公司共享，同時(shí)使博物館和其他住戶受益。另一個(gè)庭院形成臨近咖啡館的露臺(tái)，在博物館的開放時(shí)間使周圍環(huán)境活躍起來(lái)。在2020年夏天，這個(gè)庭院里建造了一個(gè)城市花園，與博物館的城市美食展相連。盡管擠占了咖啡館的露臺(tái)，城市花園仍收到了咖啡館老板的正面反饋。

博物館主入口前的小庭院與一個(gè)活動(dòng)空間共享，這個(gè)活動(dòng)空間與博物館在同一棟建筑之內(nèi)。活動(dòng)場(chǎng)地常常在夜間和周末博物館閉館時(shí)使用。夏天，這個(gè)庭院即一個(gè)帶家具的露臺(tái)，白日供博物館游客使用，增加了院子的舒適度和活力。

從亞歷山大街的主入口穿過(guò)一個(gè)車行入口，途徑博物館中唯一的新建筑。外立面覆蓋著氧化銅網(wǎng)，形成一個(gè)緩慢變化的材料沙漏，作為博物館的隱喻。夜間，金屬的表面還作為光藝術(shù)家亞科·涅梅萊的藝術(shù)作品的背景板。（龐凌波 譯）

The Senate Square is the monumental centre of Helsinki and the major architectural focal point in the town plan by Johan Albrecht Ehrenstr?m and Carl Ludvig Engel from the beginning of 19th century. It is flanked in the north by the Helsinki Cathedral and the east-west axis is formed by the University and the Senate Buildings, all designed by C.L.Engel. The south side of the square along Aleksanterinkatu street is formed by a row of former merchant's houses mainly from 19th century.

The city blocks in the south between the Senate Square and the Market Place had been taken over after the WW II by city administrative functions causing the area to lose some of its attractiveness.The City of Helsinki launched a revitalisation of the whole area in the beginning of first decade of the century. The relocating of the Helsinki City Museum to the south-east corner of the Senate Square is part of this project.

In the city block calledThe Elephant1)the museum was provided five listed buildings of very different architectural eras. The oldest remaining building in the city the Sederholm House (1757),the neighbouring building in the Katariinankatu street #3 (1761), the Remander House (1814-1873),the Falkman House (1829-1872) and the Valkonen Sali building (The White Hall, 1925) house today the public and administrative functions of the Helsinki City Museum.

The elephant and its three courtyards have been opened to the public as part of the revitalisation of the former city administration area in the easternmost part of the block. The Helsinki City Museum now forms a continuation to the public series of city courtyards housing restaurants,galleries and other visitor attractions.

The museum's new concept was developed for three years and focused on the museum customers and their needs. In the early stages of the design work the client and the team built three motivation-based customer pro files. These pro files corresponded to the target groups of the museum's three different exhibition spaces. The customer pro files were then used for the design of all services and customer facilities.

Consisting of historic listed buildings, the museum required special consideration to design a good visitor experience. Creating a logical and cohesive circulation system between the existing buildings was the biggest design challenge for the museum. Museum entry is free of charge, which allowed the creation of four new entrances to facilitate public circulation.

5 總平面/Site plan

The museum consists of three very different exhibition spaces; Children's Town, Helsinki Bites,and temporary exhibition space. The Children's Town exhibit is located in Sederholm House, which was built in the 18th century as a residential and commercial building. Sederholm House is well suited for museum use despite its small rooms. Ventilation in the summer presented a design challenge, given the high number of visitors relative to the size of the exhibition spaces.

Helsinki Bites is located on the second floor in a 500 m2undivided open space. Planning the space for museum use focused on visitor accessibility and movement in a guided group tour. Preserving the open space facilitated the placement of larger objects, while still allowing easy circulation and visibility throughout the exhibit. The exhibition was arranged in a non-hierarchical fashion,allowing the visitor to choose his or her own route through the exhibit.

6 新建部分為這個(gè)歷史悠久的城市街區(qū)疊加上了當(dāng)代建筑的層次。頂層的新展覽空間是在場(chǎng)地現(xiàn)有的混凝土上實(shí)現(xiàn)的/The new section brings a contemporary architectural layer to the historic city block. The new exhibition spaces on the top floor is realised in in-situ concrete.

The temporary gallery is located in a fourth floor space that was designed as an exhibition space in the 1960s. It is a uni fied, rectangular space that is easily converted for different layouts. Exhibitions can utilize the full uni fied space or deploy temporary walls to create subsections within the room.

Unlike many museums, the Helsinki City Museum has plenty of public facilities beyond the exhibition spaces. From the very beginning, the museum's street-level lobby has proved to be a popular and versatile customer space. Normally, it functions as a comfortably furnished "living room"for the public. The lobby can also host various events, despite its adjacency to the main museum entrance. Outside event organisers have praised the informal nature of the space, and for many it is a preferred venue to more traditional options such as auditoriums or lecture halls.

Other facilities open to the public include a photo gallery, lounge, and sauna. In the photo gallery, a museum visitor can get acquainted with the museum's magnificent collection of Helsinki photographs. The collection includes a digital browsing database and traditional photographic prints. The fourth floor lounge is located in a new section that connects two existing buildings, offering a calm and peaceful space for visitors to rest in. The sauna space was added in the spring of 2020, when the museum relocated the museum shop next to the main entrance to encourage more foot traffic. The new sauna space occupies the former shop location.

7 首層平面/Ground floor plan

8 二層平面/First floor plan

1-大廳/Lobby

2-信息臺(tái)/Info

3-存包處/Cloakroom

4-常設(shè)展“兒童小鎮(zhèn)”/Permanent exhibition "Children's Town"

5-博物館商店/Museum shop

6-咖啡廳/Café

7-檔案室/Archive

8-閱覽室/Study

9-常設(shè)展“時(shí)光機(jī)”/Permanent exhibition "Time Machine"

10-多功能空間/Multifunctional space

11-辦公室/Office

12-商店/Shop

13-常設(shè)展“赫爾辛基歷史記憶”/Permanent exhibition "Helsinki Bites"

14-儲(chǔ)藏室/Storage

15-閱覽室/Library

16-會(huì)議室/Meeting room

17-備展間/Preparation of artefacts

One of the special features of the City Museum is its three small, city-like courtyards, which open up new possibilities for event staging. Two courtyards are shared spaces with adjacent businesses and are designed to benefit both the museum and the other tenants. One such courtyard hosts the terrace of the neighbouring café, which enlivens the immediate surroundings during the museum's opening hours. In the summer of 2020, a city garden was built in this courtyard in connection with the museum's Urban Food exhibition. The urban garden has received positive feedback from the café entrepreneur, despite its location in the area reserved for the café terrace.

The small courtyard in front of the museum's main entrance is shared with an event space that occupies the same building as the museum. The event space is frequently in use in the evenings and on weekends when the museum is closed. During the summer, this courtyard is used as a furnished terrace space. The terrace is used by museum guests during the day, increasing the comfort and liveliness of the yard.

The main entrance from the Aleksanterinkatu Street through a carriage gateway passes by the only new piece of architecture in the museum. The fa?ade clad with oxidised copper mesh forms a slow-moving material hourglass as a metaphor for the museum.During the dark hours of the day the metal surface serves as a background for an artwork by light artist Jaakko Niemel?.

注釋/Note

1）根據(jù)從斯德哥爾摩引進(jìn)的原則，赫爾辛基老城的所有街區(qū)都以不同動(dòng)物物種命名/All the blocks in the old centre of Helsinki have been named after different animal species in accordance with the principle imported from Stockholm.

項(xiàng)目信息/Credits and Data

地點(diǎn)/Location: Aleksanterinkatu 14-18, Helsinki, Finland

客戶/Client: City of Helsinki

主持建筑師/Principal Architects: Aki Davidsson, Hannele Storg?rds

設(shè)計(jì)團(tuán)隊(duì)/Design Team: Aki Davidsson, Hannele Storg?rds,Jaana Tarkela, Tuula Jeker

項(xiàng)目負(fù)責(zé)人/Principal-In-Charge: Aki Davidsson

結(jié)構(gòu)設(shè)計(jì)/Structural Design: Vahanen Group

顧問(wèn)/Consultants:

電氣工程/Electrical Engineer: Projectus Team OY

暖通工程/HVAC Engineer: Ramboll

照明設(shè)計(jì)/Lighting Design: Cadvance

景觀設(shè)計(jì)/Landscape Design: Maisemasuunnittelu Hemg?rd建筑歷史研究/Building Historical Study: Arkkitehdit J?rvinen- Nieminen

建筑保護(hù)/Building Preservation: Helsinki City Museum

總承建/General Contractor: Rakennusliike R Muhonen Oy

總建筑面積/Total Floor Area: 8860 m2

設(shè)計(jì)時(shí)間/Design Period: 2012-2016

竣工時(shí)間/Completion Time: 2016

攝影/Photos: Marko Huttunen (fig.1-4,6,9,10), Mattias Nyman ( fig.11,12)

13 剖面/Sections

14 剖面/Sections

15 剖面/Sections

1-大廳/Lobby

2-信息臺(tái)/Info

3-存包處/Cloakroom

4-常設(shè)展“兒童小鎮(zhèn)”/Permanent exhibition "Children's Town"

5-博物館商店/Museum shop

6-咖啡廳/Café

7-檔案室/Archive

8-常設(shè)展“時(shí)光機(jī)”/Permanent exhibition "Time Machine"

9-辦公室/Office

10-常設(shè)展“赫爾辛基歷史記憶”/Permanent exhibition "Helsinki Bites"

11-儲(chǔ)藏室/Storage

12-閱覽室/Library

13-備展間/Preparation of artefacts

14-設(shè)備間/Technical

15-節(jié)慶大廳/Festival hall

16-門廳/Foyer

17-舞臺(tái)/Stage

18-通風(fēng)室/Ventilation room

19-展覽空間/Exhibition space

20-供應(yīng)商儲(chǔ)藏室/Market vendor's storerooms

評(píng)委評(píng)語(yǔ)

張利：當(dāng)今城市建筑設(shè)計(jì)中的一個(gè)重要取向是“去視覺化”，試圖真正把文化，特別是不同時(shí)代的文化混雜在一起——也就是形成真正的“hybridity”。此項(xiàng)目就是一個(gè)相當(dāng)好的例子。建筑有意避免了任何可能的同時(shí)性的形象，而是讓人們注意到在這個(gè)城市的中心區(qū)域凝聚的深厚的歷史信息?？臻g系統(tǒng)本身是復(fù)雜而豐富的，是一種恰如其分的尊重歷史的方式。

Jury Statement

ZHANG Li: One pursuit of contemporary urban design is the removal of the dominance of the visual.Through a genuine layering of historical information, a true "hybridity" can be achieved. This project is such an example. The total absence of any simultaneous image is a key to the success of a sophisticated, deep spatial experience which brings any visitor to a compelling tour in time.