Istanbul Maritime Museum

由专筑网逸希，刘庆新编译

海事博物馆的建筑设计竞赛于2004年首次公开发布，同年9月完成评审，许多知名的建筑公司提出了他们的设计方案。该博物馆的设计是具有挑战性的，同时也是一个久负盛名的项目。这也许是在博斯普鲁斯海峡建立一个现代化风格建筑的唯一一次机会，因为这里有来自博斯普鲁斯海峡立法部和国家古迹委员会颁布的最严格的保护条约。前海事博物馆仍然为大众所服务，在同一地点，设计师将不同时期建造的建筑物组合堆积起来形成一个更大规模的新博物馆。博物馆内的藏品除了船舶模型、地图、照片、导航工具，服装等范围广泛的物件之外，收藏中最引人注目的部分则是在开敞空间中展出了一部分约40只曾经在艰苦的条件下作战的奥斯曼苏丹船。这些船只的尺寸大到45米，小到10米，建造于16世纪到20世纪，它们也可能是世界各地最有趣的海事收藏品之一。海事博物馆建筑设计竞赛的任务是在原有的建筑场地上设计一个新的展览空间，同时保留下来国家古迹建筑委员会指定的在20世纪40年代建造的建筑物。一方面，与博斯普鲁斯海峡和奥斯曼帝国宫殿相邻，Beşiktaş的地段提供了非常有限的空间和一系列的设计与建造的困难；另一方面，该竞赛的场地为一个极具象征性力量的场所，它同时被快节奏的城市生活和博斯普鲁斯海峡、奥斯曼帝国宫殿、西南清真寺和巴尔巴罗斯这些名胜古迹所包围 —— 广场上伫立的奥斯曼海军上将的雕像和坟墓也曾经在整个地中海地区闻名遐迩。

The architectural competition for the museum was first announced in 2004 and the evaluation was completed in September, the same year. Most of the prominent architectural firms submitted their proposals as the problem was challenging as well as a prestigous one. It stands as a singular opportunity, when it comes to build a contemporary structure on Bosphorus, where strict conservation rules have been observed both by Bosphorus Legislative Department and National Monuments Council. The former Maritime Museum was in service then, in the same location, with a conglomeration of adopted buildings piled up from different periods. Apart from a wide range of materials like ship models, maps, photographs, navigation tools, outfits etc, the most striking aspect of the collection –and apparently the most spacious- was the part where about 40 Ottoman Sultan boats were exhibited in fairly miserable conditions. Ranging from 45 meters to 10, dating from 1500’s to 1900’s, this has been probably the most intriguing collection among its relatives throughout the world. The task was to propose a new exhibition scheme for the same site, preserving one –from 1940’s-of the existing buildings, as designated by the Monuments Council. The lot in Beşiktaş, by the Bosphorus aligned with Ottoman Palaces, offered  a very limited space with a set of difficulties to design and build; on the other hand, offering a symbolic strength to such a location surrounded by intense metropolitan life and monuments like Bosphorus, Palaces, Sinan Mosque and Barbaros –Ottoman Admiral once very famous in the whole Mediterranian Region- Square with the Statue and the Tomb.
   

© Alican Aktürk

该项目主要有3个可视的立面 —— 余留下来的一个面向邻近的前塔克仓库的面实际上是看不见的，主要用于服务。博斯普鲁斯海峡一侧的立面被预留给船只展廊。在与其相反的方向上，博物馆的入口空间则放置在Dolmabahçe大道上，与城市和交通路口相连接。最后，在Beşiktaş广场边上的立面，我们透过庭院，拥抱巴尔巴罗斯雕像，博物馆的方案设计则围绕着这个雕像旋转着。从入口空间开始，其立面在经过螺旋式流动循环之后展开，融入现有建筑的一角。

The project site had 3 façades -the remaining one facing the neighbouring ex-tabacco warehouse was virtually invisible and mainly reserved for sevices-. The Bosphorus side was reserved for the boat gallery. On the opposite direction, at the Dolmabahçe Boulevard where it is linked to the city and the traffic access, we placed the entry. Finally, at the Beşiktaş Square side, we revealed the courtyard, embracing the Barbaros statue, around which the program of the museum revolved. Starting from the entry, the façades unfolded following a spiral circulation that incorporated the existing building at one corner.
   

© Alican Aktürk

获奖的竞赛方案建议将船只展廊列为整个博物馆综合体的高潮序列，通过分形界面向博斯普鲁斯海峡开放。考虑到该系列的收藏具有永久性的价值且不会改变，该设计相当于为博物馆量身打造了一副“手套”，暗示了阿森纳机库独具的某些品质，同时提出了混合式空间的概念。

Winning proposal featured the boat gallery as the climax of the entire complex, openning it up to the Bosphorus through a fractal interface. Given the fact that the collection is permanent and unchangeable, the design resembles a ‘glove’ perfectly fitting. Alluding to certain qualities of arsenal hangars, the space proposed is typologically a hybrid one.
   

© Alican Aktürk

© Alican Aktürk

© Alican Aktürk

首先，它是一个单一型的空间，又细又长的苏丹船只并肩排列起来面向大海，为前来参观博物馆的游客提供了对博物馆中令人印象深刻的藏品一个一目了然的机会。其次，它还是一个分隔型的空间，细分为一个个预留给小船的窄带。这两个看似矛盾的方面被汇集在一起，以一种单一的空间体验共存，这种感觉同时通过建筑结构的设计得到增强。分配给展廊广阔的大空间顶部设计采用6米高的钢桁架悬吊起7座人行天桥构成，钢桁架的长度从55米到25米不等。空间和钢桁架节奏性的变换交替形成了一个双层空间的展廊，在地面层完全没有柱子。屋顶和立面的设计也反映出内部空间结构的交替性节奏，通过虚虚实实的空间变换，以一种相当缓和的方式向天空和博斯普鲁斯海峡开放。密闭的实心盒子一般的博物馆传统的设计理念在这里得到了妥协，这种新型的设计有利于自然光线的射入和内外景观的交融。

First of all, it is a single space, where the long and slender sultan boats stand side by side facing the sea, providing the opportunity to perceive the collection in an impressive ensemble at a glance. Secondly, it is a compartmented space, subdivided into narrow bands each reserved for a boat. The seemingly two paradoxical aspects are brought together to co-exist in a single spacial experience. Such a feeling is enhanced by the design of structure. The extensive space allocated for the gallery is constructed with 7 bridges made of 6 meter high steel trusses varying in length from 55 to 25 meters. The outcome is a double height gallery with an alternating rythm of voids and steel trusses, where the ground level is totally left column-free. The roof and the facade reflect the alternating rythms of the interior organisation. The space opens up to the sky and the Bosphorus in a rather refrained fashion, through solids and voids.The ideal sealed box of the ‘generic’ museum is thus compromised here for the favour of natural light and views.
   

© Alican Aktürk

立面分界线的平面折射作为根据时间和空间的收藏顺序排列的成果，同时进一步强调了三维空间中具有交替性的虚实空间，每个空间还对应着不同的包覆材料：实空间的外部用砂岩包裹着，而虚空间的外部则用铜板覆盖着。整个建筑综合体从一个将展廊连接到大海上的浅水池上升。新建筑的立面分界线凹进Dolmabahçe大道的现存建筑中来，在入口处形成了一个开放空间，同时为一条相当拥挤的人行道的街道景观提供了一个供聚集和集会的场所。

The planimetric refractions of a fractal line as an outcome of the chronological and dimensional order of the collection is further accentuated in three dimensions with alternating solids and voids, each corresponding a cladded material: Solids in eternite, voids in copper. The whole composition rises from a shallow pool, which connects the gallery to the sea. The facade line of the new structure is recessed from the existing building at the Dolmabahçe Boulevard to form an open space in front of the entry that promises a meeting and gathering place for people in an otherwise fairly congested street scape with narrow sidewalks.
   

底层平面图/Ground Floor

© Alican Aktürk

该博物馆的建造使用的三种主要材料有砂岩，铜和铜合金。由于展览空间的规模大小来源于排列的年代顺序和收藏的空间顺序，因此在设计的三维空间中，通过虚实空间的交替设立使这一概念进一步突出。

Three main materials used in the Project is sandstone, eternite and copper cladding sheets. Since the exhibition area dimensions derived from the chronological and dimensional order of the collection, the concept further accentuated in three dimensions with alternating solids and voids with this triple material usage.
   

© Alican Aktürk

© Alican Aktürk

低辐射的玻璃系统有助于防止回收不必要的及有害的照射光线。

Low E glazing system helps to prevent collection from unwanted and harmful sun rays.

© Alican Aktürk

© Alican Aktürk

© Alican Aktürk

© Alican Aktürk

位置图/Location

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模型/Model

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平面图/Floor Plan

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剖面图/Section

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细节/Details

平面图/Floor Plan

图解/Diagram

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建筑设计：TEGET
项目区位：土耳其，伊斯坦布尔
建筑师负责人： Mehmet Kütükçüoğlu, Ertuğ Uçar
设计团队： Alev Dağlı, Saro Dionyan, Hande Köksal, Mert üçer, Senem Akçay
总建筑面积：15000.0 m2
项目时间：2010年
摄影：Alican Aktürk
建设单位：SISECAM
建筑调研与修复：Atölye Mimarlık-Sinan Omacan, Rıdvan Övünç
结构工程：Tem Mühendislik
机械工程：Okutan Mühendislik
电气工程：Yurdakul Mühendislik
测量工程：İmge Harita Mühendislik
消防顾问：Alara Mühendislik
照明顾问：Kroma Aydınlatma

Architects: TEGET
Location: Istanbul, İstanbul, Turkey
Architects in Charge: Mehmet Kütükçüoğlu, Ertuğ Uçar
Design Team: Alev Dağlı, Saro Dionyan, Hande Köksal, Mert üçer, Senem Akçay
Area: 15000.0 m2
Project Year: 2010年
Photographs: Alican Aktürk
Manufacturers: SISECAM
Building Survey & Restoration: Atölye Mimarlık-Sinan Omacan, Rıdvan Övünç
Construction Engineering: Tem Mühendislik
Mechanical Engineering: Okutan Mühendislik
Electrical Engineering: Yurdakul Mühendislik
Surveying Engineering: İmge Harita Mühendislik
Fire Consultancy: Alara Mühendislik
Lighting consultancy: Kroma Aydınlatma


出处：本文译自www.archdaily.com/，转载请注明出处。