Herzog de Meuron新作：考尔德花园，“无设计”的展览馆

设计单位  Herzog & de Meuron

项目地点  美国费城

建成时间  2025年

建筑面积  1691平方米

本文英文原文由Herzog & de Meuron提供，由有方编译。

考尔德花园（Calder Gardens）并不是一座传统意义上的博物馆。从一开始，业主就希望打造一个全新的、私密而又不断变化的空间，让人们以不同以往的方式接触亚历山大·考尔德的作品。虽然建筑依然承担着传统博物馆的典型技术需求，但它被设想为一种新的艺术体验场所：一个艺术、建筑、自然、人群与周边城市相互交织的空间。

Calder Gardens is not a conventional museum. From the beginning the client wanted a space that would provide a totally new, intimate and ever-changing encounter with the work of Alexander Calder. While the building is still tasked with the typical technical requirements of a traditional museum, it is conceived as a new type of place for being with art: a place that provides an interplay between art, architecture, nature, people, and the surrounding city.

费城是考尔德的出生地，也是此前两代考尔德艺术家生活过的地方，他们都在这座城市留下了自己的印记。他们的雕塑作品散落在本杰明·富兰克林大道上，这条大道源自19世纪的“美丽城市”运动，两端坐落着美国最著名的两座博物馆——费城艺术博物馆与巴恩斯基金会。而这条大道又被下沉的葡萄藤街高速切割开来，就像许多美国城市在20世纪中期的情况一样，撕裂了原有的城市肌理。考尔德花园就位于这两条重要道路的交汇点。

Philadelphia is Calder’s birth city and was the home of two previous generations of Calders who, as artists, left their own impressions on the city. Their sculptures can be found along the Benjamin Franklin Parkway, a boulevard that is a product of the 19th century ‘city beautiful’ movement and is anchored by two of America’s most remarkable museums, the Philadelphia Museum of Art and the Barnes Foundation. Cutting across this Parkway is the sunken Vine Street Expressway which, like many of its counterparts in other American cities, sliced through the existing city fabric in the mid-20th century. Calder Gardens is located at the intersection of these two significant streets.

考尔德花园的基地是一块平坦而逐渐收窄的地块，位于大道对面，与罗丹博物馆和巴恩斯基金会相望。南侧沿着地块长边延伸的是一条驶出匝道，西边的22街和东边的21街主要是车行通道。尽管地处市中心，但这个地块是被遗留下来的边角空间，本身缺乏吸引力。公路的噪音无时无刻不在，很少有人会特意走进这里。如何在这片城市空白中创造一个目的地，成为项目的核心挑战。

The site of Calder Gardens is a flat, tapered piece of land located across the broad Parkway from the Rodin Museum and the Barnes Foundation. A highway offramp extends along its long southern edge while 22nd Street to the west and 21st Street to the east are primarily used as vehicular throughways. Despite its central location, the site is a leftover space without much obvious charm. The sound of the highway is always present, and few people have had reason to walk through the site. Creating a destination within this urban void was a central challenge for the project.

形式、色彩与运动，是考尔德艺术中最显著的特征。在提出本项目的概念时，设计团队刻意避免将这些特征直接作为设计元素加以采纳。同样，设计也回避了大道两侧博物馆群已经具备的宏大建筑语汇。在这样的前提下，团队决定：这个项目的样貌不应该是一座建筑，而是一座花园，建筑则包含于其中，并通过一系列彼此不同的“异质空间”逐步展露。

Form, color, and movement are the most obvious aspects in Calder’s art. When the concept for Calder Gardens was conceived, it sought to avoid rather than adopt the use of these characteristics as possible design elements. Likewise, the design avoids the monumental architecture of the already impressive collection of museums which line the Benjamin Franklin Parkway. With these parameters in mind, it was decided that the face of this project should not be a building. Instead, it is a garden with a building within that reveals itself step by step as a series of distinct, heterotopic spaces.

墙与圆盘

The Wall and The Disc

从大道望去，一面逐渐收窄的金属墙成为草地般的花园的背景。这堵墙屏蔽了部分公路的噪音，同时为花园营造出面向大道的界面。东北角与西北角的路径引导游客穿行花园，最终汇聚于中央唯一的入口处，这里有一道折叠的金属雨棚覆盖着内部为木质的入口区域。

When viewed from the Parkway, a tapered metal wall forms a backdrop to a public meadow-like garden. The wall reduces the sound of the highway and frames the garden towards the Parkway. Pathways from the northeast and northwest corners draw visitors through the garden towards a single central opening where a folded metal canopy covers a wood-lined entry area.

随着游客逐渐靠近入口，建筑则开始显露。一个大型的中央圆盘在核心处形成广场，同时也为下方展厅提供屋顶。东侧是几何上纯粹的圆形“下沉花园”，西侧是细长不规则的“遗迹花园”，两者被嵌入地面，分别为考尔德的雕塑作品提供受保护的室外展示空间，并将自然光引入周边展厅。圆盘与金属墙的交汇处定义了入口位置。一扇狭窄的窗户能让人一窥下方的展厅。

As visitors approach the entry, the architecture comes into view. A large central disc forms a plaza at the center and provides a roof to the galleries below. A geometrically pure circular ‘Sunken Garden’ towards the east and an elongated irregular ‘Vestige Garden’ to the west are carved into the ground on either side of the disc. They create protected outdoor spaces for Calder’s sculptures and bring light into the surrounding galleries. The intersection of the disc and the wall define the entry. A single window offers a glimpse to the galleries below.

金属墙的背面以熏黑的木材覆盖，朝向公路一侧，呈现出类似谷仓的简洁建筑形态。从这侧望去，低矮的建筑仅能在经过时一瞥，不会刻意吸引注意。其内部包含必要的办公空间、装卸区，以及一个内部为木质的小型大厅。不同于大多数博物馆宽阔恢宏的入口空间，这个大厅的尺度更为亲切，具有家庭式氛围，为访客开启参观体验提供了不同寻常的开端。

The backside of the metal wall is covered with blackened wood and forms a simple barn-like building towards the highway. The low building is only seen in passing from this vantage point and does not draw attention to the project. It contains a few necessary staff spaces, a loading area and a small wood-lined lobby. The lobby is different than the typical large-scale spaces that define most museum entryways. It is domestic in scale and engages the individual as they begin their Calder Gardens experience.

逐步展开

Step by Step

从大厅进入，参观者下行至展厅。一道大型楼梯将人们带到“公路展厅”。这道楼梯同时也作为小型阶梯式剧场，可供人们在此聚集。长而低的横向窗户框出公路与城市的景象；下方可见“高厅”。公路展厅是高厅中的夹层，观众可在此俯瞰欣赏考尔德的悬挂雕塑。一道与上方金属墙对应的梁体将高厅与圆盘下的空间分隔开。梁上方的狭缝能让人一窥下方展厅。

From the lobby, visitors descend to the galleries below. A large stair brings people down to the ‘Highway Gallery’. The stair functions as a small auditorium for gathering. A long, low linear window frames a view of the highway and city beyond; the ‘Tall Gallery’ is seen below. The Highway Gallery is a mezzanine within this tall space and gives the viewer an opportunity to experience a Calder mobile from an elevated position. A beam corresponding with the wall above separates the Tall Gallery from the space below the disc. A narrow slot above the beam offers a glimpse into the gallery below.

从公路展厅夹层出发，一道走廊与楼梯包裹在粗糙的深色混凝土中。这段“立方体”楼梯引导人们下行至地面，通往形成外部花园的遗迹般的空间。正如其他所有的空间一般，这道楼梯也为展示考尔德的作品提供了另一种独特的机会。

From the Highway Gallery mezzanine, a passage and stair are lined with a dark, rough concrete surface. This ‘Cuboid’ stair links people to the ground and the vestige-like spaces that form the outer garden. As with all leftover spaces, the stair offers another distinct opportunity to display Calder’s work.

楼梯通向主展厅层。穿过高厅，观众会来到位于圆盘之下、充满自然光的“开放展厅”。其几何形式在东西两侧呈正交，在北侧则为弧形，呼应上方圆盘。大型窗户面向遗迹花园，引入自然光，并将中央展厅与花园相连。两个错开的弧形墙体围合出一间小型“后殿展厅”，空间中没有突兀的角落，以免干扰观者的注意力。开放展厅与后殿展厅共同构成一个可以从多角度欣赏考尔德大小作品的空间组合。

The stair arrives on the main gallery level. Passing through the Tall Gallery, the visitor encounters the daylit ‘Open Plan Gallery’ below the disc. The geometry of the Open Plan Gallery is orthogonal on the east and west and curved towards the north, reflecting the disc above. A large window opens towards the Vestige Garden bringing in natural light and connecting the central space with the garden outside. A small ‘Apse Gallery’ is created from two offset curved walls – this gallery has no visible corners which could distract from the view of the art inside. Together, the Open Plan and Apse galleries allow a variety of Calder’s large and small works to be seen from multiple perspectives.

从开放展厅出发，一道狭缝揭示出“下沉花园”与“弧形展厅”的入口。开放展厅是一片充满光线、与外部相连的空间；而弧形展厅则是一个完全内向的空间，暴露的混凝土结构墙让其具备最佳的光线控制条件。在这里可以展出考尔德的纸上作品、光敏雕塑，以及考尔德家族成员创作的绘画。下沉花园位于这一空间的中心。一件静态雕塑将被置于密植的弧形绿墙前，再次为观者提供与作品互动的独特背景。

From the Open Plan Gallery, a narrow slot reveals the ‘Sunken Garden’ and the entry to the ‘Curved Gallery’. While the Open Plan Gallery offers a light-filled space with views to the outside, the Curved Gallery provides a fully internalized space with exposed concrete foundation walls and maximum control over light conditions. This space can be used to show Calder’s works on paper, light sensitive sculptures and the paintings done by Calder’s ancestors. The Sunken Garden is at the center of this space; a single stabile will be placed against a densely planted curved wall offering yet again a different background to experience Calder’s work.

遗迹

Vestiges

场地的历史痕迹在平面几何与花园构型中显现。相邻供水管的偏移位置决定了地下平面的折角边界。大道修建前原有城市街区的地基遗迹，则启发了遗迹花园的几何形态。一座“准展厅”为户外提供了一个洞穴般的半覆盖空间，作为内部高度受控的展厅与外部开放花园的过渡。

The historical conditions of the existing site surface in both the interior plan geometry and garden configuration. An offset of an adjacent water main establishes the kinked boundary of the underground plan. Traces of the historical foundations from the city grid which pre-dated the Parkway inform the geometry of the Vestige Garden. A ‘Quasi Gallery’ provides a cave-like, covered outdoor space that mediates between the highly controlled gallery spaces on the interior and the exposed garden spaces outside.

这些空间共同鼓励策展人以全新、出人意料的方式展示考尔德的多元作品。它不仅提供了沉思与专注的场所，也营造出一段空间序列，而非传统的展厅体验。考尔德花园是一个随着步伐逐渐展开的世界。

Together, these spaces encourage curators to display Calder’s multifaceted work in ever new and unexpected ways. It provides a place of contemplation and focus and offers a spatial sequence rather than a classical gallery experience. Calder Gardens is a world that unfolds as you walk through the door.

设计图纸 ▽

完整项目信息

PROJECT KEY DATA

Project Official Name: Calder Gardens

Location: Philadelphia, PA, USA

Construction Start: 19 Jun 2023

Completion: 31 Jul 2025

Client: CP 2023, c/o Neubauer Family Foundation, Philadelphia, PA, USA

Client Representative: Aegis Property Group, Philadelphia, PA, USA

Herzog & de Meuron Project Team

Partners: Jacques Herzog, Pierre de Meuron, Jason Frantzen (Partner in Charge)

Project Team: Aurélien Caetano (Associate, Project Director), Mehmet Noyan (Associate, Project Director), Ninoslav Krgovic (Project Manager), Antoine Foehrenbacher, Julia Hejmanowska, Josh Helin, Neda Mostafavi, Daria Nikolaeva, Martin Jonathan Raub, Camilla Vespa, Rio Weber, Xin Yue Wang, Benjamin Muller

PLANNING

Design Consultant: Herzog & de Meuron Basel Ltd, Basel, Switzerland

Executive Architect: Ballinger, PA, USA

SPECIALIST / CONSULTING

Structural Engineer: Ballinger, PA, USA

MEPF / AV / IT: Altieri Sebor Wieber, LLC, CT, USA

Landscape: Richard Herbert, NY, USA

Lighting: Flux Studio Ltd, MD, USA

Civil / Geotech: Pennoni, PA, USA

Concrete: Reginald Hough Associates, NY, USA

Waterproofing & Roofing: Simpson Gumpertz & Heger

Acoustics: Metropolitan Acoustics, PA, USA

Security: Cerami Associates, DC, USA

Signage: Karlssonwilker Inc., NY, USA

Vertical Transportation: VDA, NJ, USA

Code: Jenson Hughes, MD, USA

Sustainability: Re:Vision Architecture, PA, USA

Specifications: Conspectus, MD, USA

Digital Rendering: Xaos GbmH, Basel, Switzerland; Aron Lorincz Ateliers, Budapest, Hungary; Bloomimages, New York, Inc

Food Service: Corsi Associates

Concrete: Madison Concrete Construction, PA, USA

Architectural Woodwork: Hagen Construction Inc, PA, USA

Metal Wall Systems: Bamco Inc, Architectural Wall Systems, NJ, USA

Glazing System: National Glass & Metal Co., PA, USA

Landscape: Mayfield Gardens, Inc, PA, USA

Mechanical: Wm. J. Donovan Co., PA, USA

Electrical: Armour & Sons Electric, PA, USA

SPECIAL COLLABORATORS

Landscape Designer: Piet Oudolf, Hummelo, NL

Structure Consultant: Guy Nordenson and Associates, NY, USA

Concrete Consultant: Huber Straub AG, Basel, Switzerland

Concrete Restoration: Strotmann und Partner, Siegburg, Germany

BUILDING DATA

Site Area: 69,325 sqft / 6,440 m²

Gross Floor Area (GFA): 18,207 sqft / 1,691 m²

GFA above ground: 4,962 sqft / 460 m²

GFA below ground: 13,245 sqft / 1,230 m²

Number of levels: 2

Footprint: 7,000 sqft / 650 m²

Length: 190 ft / 57 m

Width: 36 ft / 10 m

Height: 17 ft / 5 m

Gross Volume (GV): 512,400 cbft / 14,509 m³

Facade surface: 25,960 sqft / 2,411 m²

DETAILED DATA

GFA: 18,207 sqft / 1,691 m²

Net SF: 13,281 sqft / 1,233 m²

Use / Function

Interior benches (8): Custom hemlock x-bench designed by HdM, manufacturer by Mack Custom Woodworking LLC, NY, USA

Ticketing desk: Custom oak ticketing desk designed by HdM, manufactured by Mack Custom Woodworking LLC, NY, USA

Exterior benches at Entry: Custom hemlock x-bench designed by HdM, manufacturer by Mack Custom Woodworking LLC, NY, USA

Interior benches (1): Custom hemlock x-bench designed by HdM, manufacturer by Hagen Construction Inc, PA, USA

Security Desk: Custom hemlock security desk designed by HdM, Manufactured by Mack Custom Woodworking LLC, NY, USA

Nesting Tables: Custom ash Tenerife Tables CG 1D, 1E, 4D designed by HdM, Manufactured by Von Rickenbach Swissag, Muotathal, Switzerland

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