6月将举行开幕典礼：曼海姆美术馆新馆 / gmp建筑师事务所

gmp·冯·格康，玛格及合伙人建筑设计事务所

https://www.gmp-architekten.de/start/

曼海姆美术馆新馆在2017年底举行竣工仪式之后已正式交付城市及其市民使用。继此之后，美术馆将在今年六月初举行为期三天的开幕仪式。在过去几个月中，各种艺术展品已进入新老建筑的各个展区并布置完毕，观众可亲自体验艺术、建筑和城市三种元素的有机融合，这也是gmp·冯·格康，玛格及合伙人建筑设计事务所的设计初衷。

Subsequent to the new building of the Kunsthalle Mannheim being handed over to the city and its citizens in an official ceremony at the end of 2017, a three-day grand opening follows at the beginning of June. With the artworks, which have moved into the various exhibition areas of the old and new buildings during the last months, the intended coexistence of art, architecture, and urban landscape can be experienced as designed by the architects von Gerkan, Marg and Partners.

美术馆新建部分位于曼海姆菲德烈广场上，与青年风格的历史建筑旧馆局部相连，建筑从一个“城中之城”的理念发展而来。在一个简洁的整体体块内，独立的展览和附属功能空间穿插错落，构成极富张力的空间尺度。

The new museum building at Friedrichsplatz in Mannheim links up with the existing Art Nouveau building, the so-called “Billing” building, and has been designed as a “city in the city.” Within a simple overall structure, individual cubes have been arranged in an inspiring composition to provide exhibition space and rooms for supporting functions.

单体空间围合于一个中央光庭四周，其间的交通通过连廊、平台和空中桥梁来实现。这令人们联想到城市中构成空间的元素——建筑和街区、道路和广场，建筑充满变化的交通流线、闭合与开放的转换，为室内增添了丰富多变的视角。

They enclose a central atrium and are linked via galleries, terraces, and bridges. In analogy to the elements that make up urban environments—buildings, blocks, streets, and squares—varied circular routes are created for the visitors through closed and open spaces with changing vistas and outlooks.

如此一来，美术馆正如同曼海姆棋盘状的城市布局一般，为一个整体上严谨有序的结构提供了清晰有效的空间辨识性，同时丰富多样的建造形态、变换退进的空间边界、挑空留白和叠加扩展塑造出崭新的空间体验，令美术馆空间变得独一无二。在城市布局上，正如同100年前美术馆建立时的初衷一样，美术馆气势磅礴的主立面在菲德烈广场公园一侧。来访者将从此处的主入口进入中央光庭。

Nevertheless, visitors find it easy to get their bearings in the museum, which replicates the straightforward, ordered structure of the “city of squares” that is Mannheim. At the same time, every situation along the route of the exhibitions offers new impressions—just as in cities no place is like another owing to the diversity of the architecture, changes in the building lines, and recesses, squares, and open spaces.As had already been envisaged at the time of the foundation of the Kunsthalle a hundred years ago, it is given a prestigious elevation towards the park at Friedrichsplatz. From there, visitors enter the central atrium via the new main entrance.

贯通三个层面之上的永久展览和各种临时展览的参观流线起始于中央光庭，建筑中的两个楼层直接与旧馆相连。大尺度展览空间拥有照明屋顶，可以营造变化的光线效果；独立的立方体展览空间内设有侧光照明；另外一座大型观景平台可以陈设美术馆极具价值的雕塑收藏。美术馆第三层参观流线内设有一座屋顶花园，在这里可以将菲德烈广场的景致尽收眼底。

The atrium is the point of orientation and also the starting point for the circular tours through the exhibition areas on three levels, two of which are connected with the Art Nouveau building via the historic Athene tract and from there with the open-air sculptures garden. The exhibition concept consists of large spaces with light ceilings, which can be used in various different ways, and two cubes with side lighting. On the third floor a roof terrace has been integrated in the circular tour, from where visitors can enjoy the panoramic view of Friedrichsplatz with the distinctive water tower.

“艺术之城”的理念体现在一个统一的城市肌理之下，每一座独立建筑体都可以实现自我表达，这样的展览空间可以最大程度地实现艺术展览在策划和布置上的自由度。

Just as the urban structure of a city provides the ordering context in which each individual building expresses itself, the “city of art” concept creates an architectural framework which gives rise to an identity and, at the same time, provides maximum flexibility for the curator.

幕墙

Facade

建筑立面上黄铜不锈钢织网赋予了博物馆建筑体块令人过目不忘的整体形象。金属织网由位于北莱茵·威斯特法伦市的迪伦织造工场，是专门依据曼海姆美术馆的需求设计生产的，具有艺术独特性。

The architectural character of the new building is largely determined by the stainless steel mesh, which makes up the exterior shape of the new museum and creates its unmistakable appearance.The metal mesh construction was specifically developed and produced for the Mannheim project by GKD technical weaving mill, Düren, and therefore is the only example of its kind.

整个金属织网覆面总面积为4,635平方米，由72组独立的镀铜不锈钢面板构成，每8条直径3毫米的不锈钢管由四股缠绕的绞索固定。而直径25毫米的钢管则固定在封闭幕墙外，织网表皮悬挂于此钢管上。

The mesh consists of a total of 72 individual bronze-colored stainless steel panels, together spanning an area of 4,635 square meters. Every lot of eight wire elements of three millimeter diameter stainless steel is connected by a warp wire consisting of four interwoven parts. In the areas where the mesh has been fitted in front of windowless facades, 25 millimeter diameter tubes are then fitted as the next layer.

织网表面镀铜钢管因排布密度不同，而呈现出程度各异的通透感，实现了与室外不同程度的视线联系，也在不同的季节、不同日光照射条件下呈现出生动而富于变幻的形象。在夜晚，自重44吨，高21米的立面可以通过103组聚光灯照亮。通过设计精确的安装，金属织网外表皮可在极端温度或飓风等特殊气候条件下保持原状。

Through this differentiation, fields with different transparencies are created which, depending on the viewing angle, allow different views in and out of the building, and result in a vibrant, changeable exteal appearance in the course of changes in daylight and season. During the hours of darkness, this special, 21 meter high exteal envelope, which weighs 44 tonnes, can be illuminated with 103 spotlights. The mesh had to be designed and built with extreme precision in order to ensure that, with the help of pre-tensioning, it retains its dimensions and its pre-defined shape also when exposed to extreme temperatures or strong gusts of wind.

中央光庭

Atrium

“城中之城”的概念通过一座中央光庭得以实现，中庭相当于博物馆内的“市民广场”，是城市公共空间的延展，也是美术馆展览空间的开端。从这里可以直接到达纪念品商店。安塞姆· 基弗的一幅浮雕作品处在视线的焦点处，它与另外若干件艺术作品共同刻画出中庭的形象。

In keeping with the “city in the city” concept, the atrium of the museum was developed as a “market place” , which is accessible to all citizens as an extension of public space and, at the same time, forms the entrée to the Kunsthalle. From here, there is direct access to the restaurant and museum shop. However, upon entering the eye is caught by Anselm Kiefer’s lead relief which, together with some of the museum’s other works of art, defines the atrium.

参观者将通过中央光庭内的参观路线到达新建建筑上层的展览空间。美术馆开幕后，与赫尔曼·彼凌设计的旧建筑的连接处，将作为一座灯光装置展厅由当代艺术家詹姆斯·特瑞尔进行重新设计。这里的雕塑花园将成为崭新的空间背景，呈现原先展示于此的一系列著名雕塑作品，例如Nigel Hall的《慢动作》和Christoph Freimanns的《巨虫2》。 建筑空间布局令美术馆和城市空间在功能和视线上产生多元联系，艺术感知通过建筑形式被引入城市空间，同时城市的日常生活也在建筑内部获得了映射和呈现。

Visitors to the museum are guided through the atrium to the exhibition areas in the upper stories of the new building. The Billing building is accessible via the Athene tract, which has been redesigned by James Turrell as a light space. From there, visitors can move on to the sculpture garden, which is presented in a new look but displays well-known works of art that were already on display prior to the modeization, such as Nigel Hall’s “Slow Motion” and Christoph Freimann’s “Großer Bug 2.” This space concept results in the museum and city spaces being functionally and visually interwoven, ensuring that the art radiates out into the city through the architecture and also that the city flows virtually without barriers into the rooms of the new buildings.

国际设计竞赛：2012年一等奖

设计团队：gmp·冯·格康，玛格及合伙人建筑设计事务所

设计：曼哈德·冯·格康，尼古劳斯·格茨，福克玛·西弗斯

竞赛阶段项目负责人：苗笛

竞赛阶段设计团队：Ulrich Rösler, Mira Schmidt, Steffen Lepiorz, Liselotte Knall, Kai Siebke, Frederik Heisel

三维效果表现团队：Markus Carlsen, Tom Schülke, Jens Schuster, Christoph Pyka, Kenneth Wong 实施阶段项目负责人：Liselotte Knall, Kerstin Steinfatt

实施阶段设计团队（截至至第五设计阶段以及整体艺术设计控制）：Ulrich Rösler, Raimund Kinski, Amra Steberg, Viktoria Wagner, Hanna Diers, Michèle Watenphul, Anna Falkenbach, Felix Partzsch

第六至第九设计阶段：W+P Gesellschaft für Projektabwicklung, Sven Lemke, Kevin Puhmann, Jens Balke

技术设备：IQ Haustechnik Giesen-Gillhoff-Loomans GbR Jörg Gillhoff, Heiko Giesen, Markus Loomans

机电设计：Bremer GmbH Peter Bremer

结构设计：schlaich bergermann partner GmbH Sven Plieninger, Rüdiger Weitzmann, Sandra Küstner

幕墙设计：DS-Plan GmbH Martin Lutz, Herwig Barf, Jochen Schindel

照明设计：ag Licht GbR Klaus Adolph, Daniel Walden, Ngurah Clifton Pinatih

消防设计：hhpberlin Christoph Klinzmann, Isabelle Schatton, Gunnar Buhl

业主：曼海姆美术馆基金会

建筑面积：17,366平方米

版权声明：本文由gmp·冯·格康，玛格及合伙人建筑设计事务所授权发布，禁止以有方编辑后版本转载。

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