瑞士Lausanne博物馆区设计
▲ 一道锯齿形的裂缝划破了新博物馆大楼的白色立方体
A zigzagging gash cuts through the pristine white cube of the new museum building. Photo © Matthieu Gafsou
Aires Mateus设计的新博物馆赋予了瑞士艺术动画制作综合体新的活力
Aires Mateus's New Museum Building Animates Swiss Arts Complex Plateforme 10
由专筑网江鹏，小R编译
随着这座位于瑞士湖滨城市Lausanne的建筑开放，一个耗资2.62亿美元专门建造的博物馆区综合平台现已经完成。
它位于废弃的铁路用地上，毗邻城市的主站，为三家机构提供了新场所，它们分别是Musée Cantonal des Beaux-Arts（美术博物馆，或称MCBA）， Musée Cantonal de Design et d 'Arts(当代设计和装饰艺术博物馆，或称MuDAC)，以及Photo élysée（摄影博物馆）。两年前，MCBA搬进了由巴塞罗那建筑事务所Barozzi Veiga设计的新建筑，而MuDAC和Photoélysée也于6月共同搬进了里斯本的办公室，这是由Aires Mateus设计的价值1.07亿美元、15.5万平方英尺的建筑。该区域由Barozzi Veiga总体规划，采用了狭长的滨海大道的形式，一侧是MCBA区域，沿着大道展开，另一侧是拱形挡土墙，顶部是公寓楼，海滨大道的顶部被Aires Mateus大楼遮挡，它位于车站的另一端。
With the opening of this building in the lakeside Swiss city of Lausanne, Plateforme 10, a $262 million purpose-built museum district, is now complete. Located on disused railroad land, next to the city’s main station, it provides new homes for three institutions: the Musée Cantonal des Beaux-Arts (fine-arts museum, or MCBA), the Musée Cantonal de Design et d’Arts Appliqués Contemporains (contemporary design and decorative-arts museum, or MuDAC), and Photo élysée (photography museum). While the MCBA moved into premises by Barcelona-based architects Barozzi Veiga two years ago, MuDAC and Photo élysée took possession of a shared $107 million, 155,000-square-foot building by Lisbon-based office Aires Mateus in June. Master-planned by Barozzi Veiga, the district takes the form of a long, narrow esplanade bounded on one side by the MCBA, along the tracks, and on the other by an arched retaining wall topped by apartment buildings, with the esplanade closed at its head by the Aires Mateus building (at the opposite end from the station).
▲ 新的博物馆建筑坐落在拱形挡土墙旁边，顶部是公寓楼
The new museum building sits beside an arched retaining wall that is topped by apartment blocks. Photo © Matthieu gafsou, click to enlarge.
Manuel de Aires Mateus说：“场地条件从一开始就决定了这个项目。”他和弟弟Francisco于1988年成立的事务所在2015年的竞标中击败了让·努维尔（Jean Nouvel）、SANAA和瓦莱里奥·奥尔吉亚蒂（Valerio Olgiati）等知名建筑事务所。他继续说：“博物馆区的中心是海滨大道，我们认为应该在我们的建筑内延伸这条大道影响力，为两个博物馆创建一个共同的入口大厅。但是，如何确保在一个受限的场地上，每个机构都能受到平等对待？现状条件决定了这一点。比如，MuDAC的总监Chantal Prod'hom渴望拥有充足的自然光来展示彩色玻璃，而在Photoélysée，你需要保护作品免受过多的光照。MuDAC画廊因此位于楼上，以一个17000平方英尺的空间的形式从上方采光，而16300平方英尺的Photoélysée展览馆位于入口门厅下方，仅通过两个下沉式天井和一个大型下沉式花园接收自然光（三个光源都减轻了身处地下室的感觉，而花园则提供了可规划的室外空间）。”Photo élysée的主管Nathalie Herschdorfer形象地说：“楼上有一个经典的白色立方体，下面有一个像照相室一样的黑盒子。”
“The site determined the project from the beginning,” says Manuel de Aires Mateus, whose firm, founded in 1988 with his younger brother Francisco, beat the likes of Jean Nouvel, SANAA, and Valerio Olgiati in the 2015 competition. “The center of the museum district is the esplanade, which we felt should be prolonged inside our building to create a common entrance hall for the two museums.” But how would one ensure equal treatment of each institution on a restricted site? “Display conditions decided that,” he continues. “Chantal Prod’hom, director of MuDAC, was keen to have abundant natural light—to exhibit stained glass, for example. At Photo élysée, on the other hand, you need to protect the works from too much light.” MuDAC’s galleries are therefore located upstairs, in the form of a single 17,000-square-foot space daylit from above, while the 16,300-square-foot Photo élysée exhibition hall sits below the entrance foyer, receiving natural light via just two sunken patios and a large sunken garden (all three light sources alleviate the sensation of being in a basement, while the garden offers programmable outdoor space). “To summarize crudely,” says Nathalie Herschdorfer, Photo élysée’s director, “you have the classic white cube upstairs and a black box, like a camera chamber, down below.”
▲ L形服务结构与连接海滨的集成楼梯环绕着白色立方体（1和2）
An L-shaped service structure, with integrated stairs that connect the esplanade, wraps around the cube (1 & 2). Photos © Matthieu Gafsou
Aires Mateus说：“但项目背景也影响着项目的其他方面。我们想尽可能保持建筑的紧凑布局，因为MCBA已经设计了又长又壮观的墙，在建筑体量上这就够了。因此，我们把这个立方体造型定义为建筑的公共部分，使其更靠近地面层，其高点也只到堤岸上公寓楼的二楼，所以它不会破坏建筑的视野。我们利用场地的地形特征来界定其余的部分。”两个博物馆的藏品空间位于一个巨大的地下室，占据了整个地块的底层，而用于框架、修复和临时施工的行政办公室和车间位于一个L型的服务结构中，围绕着堤坝，环绕着立方体的两面。因此，很难相信Aires Mateus的项目比非常宏伟的MCBA还要大21000平方英尺。这种项目条件也让公司能够履行他们的城市义务：将楼梯融入了服务大楼，以及在后面的自行车坡道，连接了城市公共广场和上面的社区，否则将是一个幽闭的死胡同，而服务大楼的屋顶有一个公共花园，可以欣赏日内瓦湖和雄伟的阿尔卑斯山的壮丽景色。该项目的最后一部分，海滨广场上的一家餐厅，再次回应了堤岸，其立面与拱形开口形成韵律感，与挡土墙的开口相呼应。
But context also shaped other aspects of the project. “We wanted to keep our building compact,” says Aires Mateus, “because you already had the long, imposing wall of the MCBA. That’s enough. We therefore brought the cube, as we call the public part of our building, closer to the ground: it rises only as high as the second floor of the apartment blocks on the embankment, so it doesn’t spoil their views. And we used the site’s topography to anchor all the rest.” Storage for the two museums is housed in a vast lower basement that occupies the entire plot, while administrative offices and workshops for framing, restoration, and temporary construction are in an L-shaped service structure that hugs the embankment and wraps around two sides of the cube. As a result, it’s hard to believe that Aires Mateus’s project is 21,000 square feet bigger than the very monumental MCBA. This arrangement also allowed the firm to fulfill their urban obligations: stairs integrated into the service building, as well as a cycle ramp at the rear, link the esplanade—which otherwise would be a claustrophobic cul-de-sac—to the neighborhood above, while the service building’s roofs carry a public garden that enjoys splendid views across Lake Geneva toward the mighty Alps. The final part of the program, a restaurant on the esplanade, once again hugs the embankment, its elevation cadenced with arched openings that mirror those of the retaining wall.
▲ Photo élysée的展区位于建筑的地下室
The exhibition areas of Photo élysée are in the building’s basement. Photo © Catherine Leutenegger
但该项目成立的理由还是立方体，其原始的白色混凝土与深灰色的路堤结构相映成趣。在这里，Aires Mateus为了追求某种技艺而堆砌了一些悖论：一方面，这个144平方英尺、50英尺高的巨大混凝土体不仅试图削弱体量感，而且还在空中漂浮，而另一方面，它掩盖了其建筑的复杂真相，隐藏在具有欺骗性的简单立面材料背后。门厅是立方体中的一道曲折的裂缝，就像地质断层一样将两个博物馆分隔开来。Aires Mateus继续说道：“我们不需要明显的支持，我们希望这两个博物馆被一个空间隔开。这就是MuDAC只由三个混凝土核心(包括电梯和防火梯)支撑的原因，其中包含44根钢桁架，每根140英尺长。这些隐藏在不规则的混凝土拱顶后面，既起到了结构作用，又起到了视觉作用，除了有助于分布荷载外，它还朝着三个核心下降，就像周围的地板升起一样，试图让你忽略那里的支撑结构。但核心如此之大，在某些地方，天花板又是如此之低，以至于我可以用手触摸它，让你觉得自己位于一个幽闭恐怖的洞穴里，而不是被释放到一个高耸入云的空间中，这种感觉的产生却不是因为任何其他的杂物，比如书店、咖啡馆和售票台的陈设，或者是因为建筑师拒绝在天花板上安装任何东西，所以在上面钉上了消防出口标志的照明三角架。”
But the project’s raison d’être is, of course, the cube, whose pristine white concrete is set off against the darker gray of the embankment structures. Here, Aires Mateus piled up the paradoxes in pursuit of a certain bravura: on the one hand, this monumental mass of concrete— 144 feet square and 50 feet high—seeks not only to appear unintimidating but also to levitate, while on the other it veils the complex truth of its construction behind deceptive material simplicity. A zigzagging gash in the cube, the foyer is treated like a geological fault separating the two museums. “We didn’t want visible supports,” continues Aires Mateus. “We wanted these two museums to be separated by a void.” This is why the MuDAC is held up by just three concrete cores (containing elevators and fire escapes) that carry 44 steel trusses, each 140 feet long. These are dissimulated behind irregular concrete vaulting that plays both a structural and a visual role: as well as helping to distribute loads, it descends toward the three cores, just as the floor rises around them, in an attempt to make you forget the supports are there. But the cores are so big and, in places, the ceiling so low (I could touch it with my hand) that you feel trapped in a claustrophobic cave rather than released into a soaring void—a sensation not helped by all the necessary clutter that fills the space: furnishings for the bookshop, café, and ticket desk, or the lighting tripods with fire-exit signs tacked onto them because the architects refused to fix anything to their ceiling.
Photos © Matthieu Gafsou
当你走到门厅中间时，左边的混凝土楼梯上升到MuDAC，而右边的另一个楼梯下降到Photo élysée。白色的墙壁和网格状的乳白色玻璃天花板，北面垂直的锯齿形屋顶，朝南的斜坡上有太阳能电池板从上方照亮，MuDAC的空间寻求了一种无限的感觉。但是，这种错觉并没有完全奏效，反而具有某种强烈的压迫感，一方面原因是电梯及消防通道挡住了视线，如果这些通道在外面就好了，另一方面也是因为缺少窗户。通道的角落只有一个可以俯瞰铁轨的三角形开口，它的存在还是因为Prod’hom恳求有一扇窗户来帮助游客定位其期待看到的阿尔卑斯山的景色；而建筑师不愿意在其设计的原始白色盒子上开一个洞口，他们调整了入口门厅锯齿形的屋顶，使其上升到足够高的高度，才实现开洞的这一想法。
As you proceed to the middle of the foyer, a concrete stair rises on your left to the MuDAC, while another descends on your right to Photo élysée. With its white walls and gridded opaline-glass ceiling, lit from above via a sawtooth roof glazed on the vertical to the north (with solar panels on the south-facing slopes), MuDAC seeks a sensation of infinity. But, again, the illusion doesn’t quite work, and a certain oppressiveness prevails, in part because of the elevator/fire-escape shafts that obstruct views—if only they were outside!—and also due to the lack of windows. There’s just one triangular opening overlooking the tracks in a corner, and it exists only because Prod’hom pleaded for a window to help orient the visitor (she dreamed of a view over the Alps); unwilling to cut an opening in their pristine white box, the architects fiddled with the zigzag of the entrance foyer so it rose high enough to allow this concession.
▲ 在上层MuDAC画廊内（3）
Inside the upper-level MuDAC galleries (3). Photos © Olga Cafiero
▲ MuDAC上层走廊的一扇三角窗俯瞰着火车轨道（4）
A triangular window in the upper-level gallery of MuDAC overlooks the train tracks (4). Photos © Olga Cafiero
在楼下，Photo élysée较暗的部分也有一种类似的幽闭感觉，这也是Aires Mateus试图为策展人提供的“自由感”的结果，对于每一个新展览，都必须建造展示墙，而在开幕式上，两座博物馆显然都存在过度拥挤的感觉。这是一座优雅满足所有功能的建筑，但却显得事倍功半、美中不足。
Downstairs, the darker volume of Photo élysée suffers from a similar feeling of claustrophobia, which, too, is a result of the “freedom” that Aires Mateus sought to offer the curators with their trade-fair-style single-volume halls: for each new exhibition, display walls must be built, and the temptation to overstuff was evidently too great in both museums at the inaugural shows. This is a building that elegantly checks all the functional boxes, but only pulls the rabbit halfway out of the magic hat.