業(yè)主單位：慕尼黑市，文化部，建設(shè)部

項(xiàng)目地點(diǎn)：德國(guó)慕尼黑

建筑設(shè)計(jì)：福斯特建筑事務(wù)所

結(jié)構(gòu)設(shè)計(jì)：Sailer Stepan & Partner GmbH

機(jī)電設(shè)計(jì)：Ingenieurbüro Robert Ottitsch (HLS + RLT);PEG GmbH (Elektro)

景觀設(shè)計(jì)：漢堡景觀設(shè)計(jì)公司

照明設(shè)計(jì)：Ingenieurbüro Bamberger

用地面積：約4 000 平方米

總建筑面積：12 328 平方米

設(shè)計(jì)/建造：2005 / 2014 年

攝影：Nigel Young / 福斯特建筑事務(wù)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(shù)家弗朗茨·馮·倫巴赫的工作室和別墅，在上個(gè)世紀(jì)逐步擴(kuò)建。然而，在世紀(jì)之交，博物館缺乏設(shè)施，無(wú)法滿足每年28 萬(wàn)名不斷增長(zhǎng)的觀眾。該項(xiàng)目重新定義了整個(gè)場(chǎng)地的交通，將不同時(shí)期的復(fù)雜空間序列轉(zhuǎn)變?yōu)橐粋€(gè)統(tǒng)一的、易讀的博物館，對(duì)所有人開(kāi)放。博物館的歷史建筑被精心修復(fù)，一個(gè)壯觀的新側(cè)廳增加了展覽空間，為觀賞壯觀的“藍(lán)色騎士”(Blue Rider)收藏品提供了理想的環(huán)境。除了從根本上改善建筑的環(huán)境性能，改造還創(chuàng)建了一個(gè)新的入口和社交空間，包括餐廳、露臺(tái)、教育設(shè)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?nèi)ゲ槐匾臍v史附加物，1972 年的擴(kuò)建部分被拆除，露出原來(lái)別墅的墻壁，并以赭石色調(diào)進(jìn)行了修復(fù)。不同的歷史元素沿著理查德-瓦格納街被一個(gè)新的畫廊展館統(tǒng)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(shè)計(jì)與別墅豐富的赭色色調(diào)和紋理外立面相輔相成。餐廳旁邊設(shè)置了一個(gè)新的入口，通過(guò)博物館東側(cè)的一個(gè)新的景觀廣場(chǎng)進(jìn)入——這一舉措收回了庭院花園，將其從步行街變成了一個(gè)寧?kù)o的游客空間。餐廳在博物館開(kāi)放時(shí)間之外開(kāi)放，它的座位繼續(xù)在外面，有助于活躍周圍的街道，吸引新的游客進(jìn)入畫廊。建筑的新社會(huì)中心是一個(gè)引人注目的頂部照明的中庭，設(shè)有售票臺(tái)和咨詢臺(tái)，通往一樓新的臨時(shí)展覽空間，還有一個(gè)宏大的懸臂樓梯通往上層畫廊。清晰地表達(dá)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(shù)作品。該博物館委托藝術(shù)家?jiàn)W拉維爾·埃利亞松(Olafur Eliasson)為現(xiàn)場(chǎng)創(chuàng)作一件名為“Wirbelwerk”的作品。白天，陽(yáng)光通過(guò)屋頂上細(xì)長(zhǎng)的開(kāi)口沖刷著白色墻壁，水平百葉窗在空間內(nèi)投射出變化的光影模式。

除了修復(fù)現(xiàn)有建筑的結(jié)構(gòu)，該項(xiàng)目的主要目標(biāo)之一是從根本上改善博物館的環(huán)境性能。樓層內(nèi)采用了水基供暖和制冷系統(tǒng)——使用的能源比空氣基供暖要少得多，這代表了畫廊環(huán)境中的創(chuàng)新一步。雨水也被收集和回收，照明系統(tǒng)被替換和升級(jí)為低能耗系統(tǒng)。

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