-
MESEUM OF CONTEMPORARY
ART
当代博物馆艺术
Facing
page:
The
former
Hamburger
Bahnhof
in
Berlin
is
a
distinguished
example of the neoclassical style of
the 1840s;it ceased to be used as a station as
long
ago as 1904.
面对页面：
Hamburger Bahnhof
在柏林是
1840
年代新古典主义风格的一个杰出的
例子；早在
1904
年它已不再是用作
站。
In some countries,such as
the USA and Britain,redundant railway buildings
have
posed
problems
of
reuse,which
are
usually
exacerbated
by
their
grand
Germany,the
railway
heritage
was
decimated
by
wartime
suffered
badly.(One of the major casualties,the
splendid Anhalter Bahnhof,was left as a gutted
shell
and
was
torn
down
by
the
DDR
in
the
1960s.)The
original
Hamburger
Bahnhof,the terminus for trains from
Hamburg,was built in 1845-47,the iron and glass
sheds
being
prefaced
by
a
handsome
neoclassical
frontage
in
stone
by
Ferdinand
Wilhelm Holz.(The plan of the station
was unusual,in that tracks ran through arches in
the terminal building to
turntables,used to turn around locomotives.)The
building was
a key monument of the
first German railway age,but after less than 40
years of use it
was
closed
and
trains
were
diverted
to
a
new
1904-6
the
building
was
converted to a museum of transport and
engineering,a use which continued until the
Second
World
War,when
it
was
damaged
but
not
museum
conversion,designed
by
Ernst
Schwartz,included
the
construction
in
1912-15
of
gallery
wings
flanking
the
main
frontage,which
were
in
keeping
with
the
original
building.
在一些国家
,<
/p>
如美国和英国
,
多余的铁路建筑已经构成
重用的问题
,
这种问题
通常加剧了其规
模宏大。在德国
,
铁路遗产被战时炸弹摧毁，柏林受到严重影响
。
(
一个主要的伤亡
,
富丽堂皇的安哈尔特巴赫夫
,
被烧毁的外壳
,
在
1960
年代被拆除
的
DDR)
。
最开始的
Hamburger Bahnhof
，
建于
1845-47
年，
列
车的终点站起始于
Hamburger
，铁和玻璃棚被一个英俊
的新古典主义者费迪南德威廉霍尔兹点缀在
临街石头上。（空间站的计划是不寻常的
,
在这个追踪中，穿过航站楼的拱门到
转盘
,
用于扭转机车。）建筑是德国第一个铁路时代的一个重要纪念
碑
,
但不到
40
年的使用它就关闭了，火车转变成一个新车站。在
1904
到
1906
年，建筑交通
和工程转变成
一个博物馆。
,
当它被破坏而不是摧毁的时候，这种使用一直持
续
到第二次世界大战期间。博物馆的功能转换
,
包括建设
1912 - 15
的画廊，是由恩
斯特施瓦茨设计
,
通过将它的翅膀置于主要的正
面的侧面
,
和原始建筑保持一致。
The
Hanburger
Bahnhof
survived
in
a
semi-
moribund
cocoon,with
many
of
its
exhibits
still
extant
but
with
no
public
access,from
1945
until
1984,when
it
passed
into
the
hands
of
the
West
German
authorities.A
well-attended
series
of
trial
exhibitions
led
to
a
decision
to
convert
it
into
a
modern
art
museum.A
1989
competition
was
won
by
the
transformation
of
the
building
was
underway,the Wall came
down and the project took its place as part of the
renaissance
of the new
capital
of
a
united Germany.(Just
across
the
Invalidenstrasse,the
Lehrter
Bahnhof-another
wartime loss-is being rebuilt by von Gerkan. Marg
as a key element
in Berlin?s public
transport strategy.)Kleihues sought to retain the
historic identity of
the
station
transport
museum,while
radically
transfiguring
its
ys
were
the
symbol of the change in nineteenth-century
,contemporary art has a
similar role in
challenging established patterns of life and
thought.
巴赫夫在
semi-moribund
Hanburger
茧中幸存
,
它的
许多展品现在仍然存在但
没有公共访问的权限。在
1945
年到
1984
年
,
它传递到了西德当局手中。通过多
人参加一系列的试验展览，最
终决定将它转变成一个现代艺术博物馆。
1989
年
这项竞赛项目由
Kleihues
胜出。虽然建筑
的转变正在进行中
,
但是柏林墙壁倒塌
和这个项目在文艺复兴时期德国统一的新资本中占据了一部分位置。
(
< br>正如
Invalidenstrasse
时期，
Lehrter Bahnhof
，
是另一个战时的损失，
后期被
von Gerk
an
重建。玛格在柏林的公共交通策略是一个关键的要素。
)K
leihues
试图保留车站
交通博物馆的历史身份
,
而从根本上美化其形象。
铁路是
19
世纪德国变化的象征。
现在
,
当代艺术在具有挑战性的生活和思想的建立模式上也有类似的作用。
Kleihues much admired the existing
buildings for their rational elegance,part of a
tradition which linked Schinkel and von
Klenze,via Benhrens,to Mies and the Modern
train
shed(later
main
exhibition
hall)had
been
flanked
by
two
solid
wings
which
Kleihues
replaced
with
new
gallery
blocks.
These
galleries
are
top-lit
and barrel-vaulted
in deference to the tradition of railway ally they
are clad in thin aluminum (or glass)
panels contained within a steel-framed,strongly
expressed
structural
system,of
great
steel
buttresses
sitting
on
a
limestone
base
and
topped
by
a
stone
parapet.(perhaps
there
are
memories
here
of
Behrens?s
famous
turbine
factory.)Service zones separate the new galleries
from the main hall,which has
been
cleaned,
repainted
and
refloored
but
not
otherwise
architect?s
intention
was
to
echo
the
geometry
of
the
original
structure:the
section
of
the
new
galleries
is
the
classics
VItruvian
circle
within
a
sq
es?s
own
sublime
geometry is
concerned with the dialogue,central to all his
work,between the classical
tradition
and modernity.
Kleihues
备受推崇现
有建筑进行理性的优雅，
部分的传统，
它通过
< br>
Benhrens
到
Mies
以及现代运动和
von K
lenze
辛克尔相连。
火车棚
（后主
展览馆）
的两侧
是两个固体的翅膀，
她
被
Kleihues
用新画廊块代替。
这些画廊被顶部点缀和隧道
化
,
考虑到
传统的铁路建筑。外部他们用一个含钢架薄铝
(
或玻璃
)
面板包裹
,
强烈
表达结构体系
,
这个伟大钢拱坐落在石灰石
基地和一个石头栏杆上。
(
也许有
Bb
ehren
的著名涡轮工厂的记忆
)
。
服务区域独立于主要大厅的新画廊
,
它已经被
< br>清洗
,
重新粉刷和重装地板，但却从不改变。建筑师的意
图是回波原始的几何结
构
:
新画廊的部
分经典使用在一个广场上，
它维特着鲁威的样式。
Kleihu
es
自身崇
高几何是被关心的话题
,<
/p>
他所有工作的中心
,
大都在古典传统与现
代之间。
Interventions
to
the
nineteenth-century
buildings
were
kept
to
a
minimum
and
detailed
with
fastidious
extreme
minimalism
of
the
new
fit-out-granite
paving,white-painted steel stairs and
rails and white plaster walls-provides a neutral
context not only for paintings but for
large-scale installation es has been an
active
and
sometimes
acerbic
commentator
on
the
reconstruction
of
reassemblage
of Berlin?s ?lost? railway terminus
has
produced not
only
an
excellent
container
for
contemporary
art,but
an
exemplar
of
the
way
that
uncompromising
modern design
can enhance an old building.
十九世纪的建筑物的介
入被保持到最低限度和认真详细考究。
这个极端简约
的用新的花
岗岩铺平道路
,
用白色的钢楼梯、钢轨和白色石膏墙体的方式提
供了
一个中立的环境，不仅用于作画，而且作为大型装置艺术。在柏林的重建上，
Kleihues
曾经是一个活跃的
,
有时尖刻的评论员。他的作品，关于柏林的
“
失去
”
铁路终点站的重装配，
这种被认
为不妥协的现代设计加强了一个老建筑建设，
不
仅是当代艺术的
一个优秀的文本
,
而且是一个方式方法的范例。
Above:
Section through the
transformed building;new galleries-only one has
been
built so far-flank the refurbished
train shed.
Facing
page:
The
bridge
over
the
entrance
doors
connects
the
two
new
staircases .
上图：<
/p>
从改造后的建筑选择：
只有一个新画廊，
到目前为止建立了有侧翼的
翻新列车棚。
页：
桥梁横跨入口门连接两个新楼梯。
Ground-floor plan
地面平面图
1
、
Joseph Beuys
gallery
博伊斯画廊
2
、
Lobby
序厅
3
、
Staff entrance
员工入口
4
、
Exhibition
space
展览空间
5
、
Bookshop
书店
6
、
Large gallery
大画廊
7
、
Historical hall
历史馆
The
nineteenth century train shed has a rare elegance
that has been respected in
the
transformation project and which well complements
the display of large works.
十九世纪的火车棚有一种
罕见的优雅，
它在改造工程中得到尊重，
并充分补
充了大型作品的展示环节。
Above:
The
barrel
vault
in
the
new
gallery
admits
both
artificial
light
and
controlled daylight.
Facing page:
The first of the
flanking galleries to be built provides a contrast
in
materials and form to the existing
fabric.
上图：
新画廊的桶库既有人为的光照，也有控
制的日光。
面对页面：
建立的第一个
侧翼画廊在现有织物的材料和形式上形成对比。
CHAPTER4
THE FUTURE
The process of transformation is d only
by the endurance of
the components that
make up a use of a building may change many
times during its lifetime,but
transformation does not necessarily imply a change
of
idea of a museum,a parliament house
or even a railway station is different
today from that which prevailed even a
few decades Foster?s
reconstruction of
the British Museum provides an enlarged and
improved space for
education,lectures,drinking
coffee,buying books and souvenirs and even merely
sitting down and watching other are
part of the museum experience of the
late twentieth century.(The director of
the Museum of Modern Art,New York,foresees
the future of MOMA as ?a
loud,cacopho
nous environment in which
fun is had by
all?.)Beyond the
razzmatazz,however,Foster?s scheme has
architectural integrity,not
least in
restoring a great central court lost to public
view for well over a century.
第四章节：未来
转译的过程是开放性
的，
仅受组成建筑的构建的使用年限的限制。
对建筑的
使用在它存在的日子里可能会发生多次改变，
但是建筑转译并不一定意味
着功能
的变化。
当今对博物馆、
议会大
厦甚至火车站的认识可能与几十年前盛行的观点
有着很大的不同。
诺曼福斯特对大英博物馆的改造设计，
提出了扩大和提升教育、
沿江、
喝咖啡、
志愿活动甚至仅仅是坐下以及观看其他参加者
的空间的方案。
这
一切都是
20
世纪晚期的博物馆参加体验的组成部分。
但是除了富丽堂皇的空间，<
/p>
福斯特的方案仍具备建筑学的品性，
绝不仅仅是他修复了消失在公
众视线中超过
一个世纪的伟大中庭。
Foster?s other great transformational
project due for completion at the close of the
twentieth century,the Berlin
Reichstag,also reinforces the historic use of a
the Reichstag has been a sad shell
since its burning on the eve of the
Second World War,its interior banally
reconstructed during the scheme
eschews restoration,external or
internal,in favour of a new grandeur which is
entirely
building is purged of
memories of Kaiserism,Nazism and of a divided
Germany and reborn as a symbol of
unity-and of the renaissance of Berlin as possibly
the key city in the new restoration of
New York?s Grand Central Terminal
is
equally symbolic in a particularity American
way,the project combines public and
commercial objectives and draws on
funding from public and private is
a
price to be paid:intensive retail and restaurant
the balance is held and a
symbol of
civic pride reborn.
福斯特其它伟大的建筑转译作品，在
20
世纪末期就已经完成。例如柏林国
会大厦
，
同样强化了对历史建筑的使用。
尽管国会大厦因为二战前夕的
大火遭到
了破坏，
它的内部结构在
20
世纪
50
年代得到了重建。
设计巧妙的避开了修复的
主题，
无论是外部还是内
部。
主要关注的是一个新的富丽堂皇的结构，
它是完全
当代且民主的。这座建筑消除了独裁统治、纳粹主义以及德国分裂带来的影响，
< br>而成为重新统一的象征意义。
这个项目采用了非常美国化的处理方式，
从公共和
私人组织那里募集资金，
将公共场所和商
业场所混合布置。
虽然各种空间保持了
平衡，
< br>并作为城市荣耀的象征得以再现，
不过这也产生了一个问题：
零售空间和
餐饮空间有些紧张。
In Western countries,the future of
architecture appears to lie largely in
transforming exiting ,that process will
be matter of fact,a proper use of
ying
it is the imperative to reduce energy consumption
and protect
supplies-compact cities
make onally there will be opportunities for
landmark schemes which can bolster not
just the physical fabric,but also the spirit,of a
value of the past is being
understood,not just in London and Paris but also
in
Tokyo and Far Eastern economies
mature,the true value of building and
whole cities will be potential for
combining old fabric and new ideas
to
create a resource for the future is almost
limitless.
在西方国家，建筑学的未来更多的是
在对既有建筑的改造上面。通常，这
一过程会变成事实，
那就是
对资源的正确利用。
人们迫切的希望减少能源的排放，
保障供给
并压缩城市，
这具有重要意义。
不过人们偶尔也有机会去建造一
个新的
地标建筑，
这不仅仅会加强城市生活的物质品质，
还会增加精神层面的因素。
过
去的价值正被理
解，
不只是在伦敦和巴黎，
也包括纽约和上海。
随着远东经济体
的成熟，
建筑和城市的真正价值会被欣
赏。
将过去的建筑和新的想法相结合来创
造一种新的资源具有无
限的发展潜力。
TATE GALLERY OF
MODERN ART
Facing
page:
Herzog & de Meuron?s
competition
-winning scheme for the new
Tate Gallery of Modern Art proposed few
changes to the exterior of the old power
station,except for the addition of a
top floor ?light
beam?.
Left:
The interior showing
the converted turbine
hall,the main
public space within the building.
页：
赫尔佐格与德梅隆获得新泰特美术馆的中标
方案，他对老电站外部现代
艺术提出新的变化意见，
除了顶层外的
'
光束
'
。
左：
内部显示转换后的涡轮机大厅，主要的公共
空间内的建设。
Zurich-
based
Herzog & de Meuron?s victory in the
two
-stage competition
(1994-
95) for a new Tate
Gallery,?the MOMA of London?,housed in the former
Bankside power station,pleased
conservationists who thought the building
(completed
1963,with architectural
cladding by Sir Giles Gilbert Scott) worthy of
other competitors (notably runner-up
David Chipperfield) proposed radical alterations
to the building,Herzog & de Meuron?s
scheme lef
t it externally largely the
other hand,some critics felt that the
building imposed a strong-and not necessarily
positive-image of the past on an
institution devoted to the present and the future.
总部位于两竞争阶段
(1994 -
95)
，苏黎世的赫尔佐格和德梅隆为了新泰特美