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繁华城市中的垂直公共空间|圣保罗Moreira Salles博物馆第1张图片


Moreira Salles Institute / Andrade Morettin Arquitetos

由专筑网王子铭,李韧编译

文字描述由建筑事务所提供。该项目是圣保罗Paulista大街博物馆。

修建一座新的博物馆是一件非常重大的事件,博物馆在当代城市中发挥的作用良多,不仅促进艺术与文化的相关活动,更是促进了城市空间的发展活力。

Text description provided by the architects. Project for a Museum on Paulista Avenue- the new IMS of São Paulo.
The creation of a new museum is always an extraordinary event. It is fundamental the role they play in contemporary cities, not only for promoting events related to art and culture, but especially for bringing interest and vitality to urban spaces.

繁华城市中的垂直公共空间|圣保罗Moreira Salles博物馆第2张图片

© Nelson Kon

在此情况下,新IMS总部为博物馆的出现提供了契机,这个机构实例雄厚,并在巴西文化背景中占有重要地位。IMS在举办展览和文化活动方面拥有十分丰富的经验,然而如今的圣保罗却没有IMS公司的展览空间,这与其理念宗旨截然相反。新总部将提供更多空间来满足具体的展览需求,但其目标不在于此,它首先应该是能够代表并创造出时代精神价值的场所机构。为此,博物馆的设计必须以同样的方式进行思考,由内而外地展现出企业价值,最终成为IMS纲领性和象征性的世界平台。

It is in this context that the new IMS headquarters will emerge. An institution already consolidated and of marked presence in the Brazilian cultural scene. Owning a precious collection and with extensive experience in the promotion of exhibitions and cultural events, IMS does not have an exhibition space in São Paulo today that is consistent with its possibilities. The new headquarters will supply the concrete need for more space, but it will be much more than that: it is born, above all, the desire to create a place that represents the values and the spirit of the institution. The museum emerges from the inside out and for this reason the new headquarters must be thought in the same way, having as main motivation to be a programmatic and symbolic platform for the IMS.

繁华城市中的垂直公共空间|圣保罗Moreira Salles博物馆第3张图片

© Nelson Kon

因此,我们即可以想象一个对公众开放的现代博物馆机构,它与城市有着自由和直接的关系,同时也提供了一个宁静而包容的内部环境,其可以与人行道相互融合,让街道上的人们从空间与尺度的角度自然地过渡到博物馆内部,其中伴以特定的光线质感,最终整个参展流线都让参观者感受到独特的空间体验。

That way, we imagine an accessible museum, anchored in the present, that has a free and direct relationship with the city and, at the same time, offers a calm and welcoming internal environment; a museum capable of balancing the vibration of the sidewalks with the nature and scale of museum spaces; a space that demands a very particular quality of light and perception of time; Finally, a museum of an outstanding character, that provides a unique and personal experience for those who visit it.

繁华城市中的垂直公共空间|圣保罗Moreira Salles博物馆第4张图片

© Nelson Kon

为了使建筑达到预期的效果,建筑师从两个基本条件着手分析和设计,即空间质量与城市背景。除了要求的复杂功能之外,博物馆设计的重点在于内部空间所具有的空间质感及其相互联系,以及确定新建筑与城市之间的最终关联。

In order for the proposed building to meet these qualities, we proceed to the analysis and interpretation of two fundamental parameters for the design of the project: the program and the urban context. What was of interest here, beyond the complex functional requirements presented, was to determine the articulations and qualities desired for the museum's internal spaces, as well as to define what kind of relationship was intended to be established between the new building and the city.

繁华城市中的垂直公共空间|圣保罗Moreira Salles博物馆第5张图片

© Nelson Kon

项目概述

从项目的分析中,建筑师根据空间的使用性质,对必要的区域和空间进行量化,在垂直方向创建一个由开放透明至逐渐闭合的渐变空间。这张图表达了加强建筑与公众之间的联系和连续的必要性,同时也要保护行政和服务空间的隐私性。因此,建筑师必须向公众提供缓冲及公共服务区域。

The Program
From the analysis of the program we elaborate a quantification of the necessary areas and a grouping of the spaces according to their nature, creating a gradient that goes from the most open and permeable to the most restricted and controlled. This diagram represents the intention to reinforce the connections and continuities between the programs open to the public and to preserve the privacy and control of the administrative and service programs. As a result of this reasoning, we must distribute separate circulations to the public, for administrative and areas for loading and services.

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图解/Diagram 02

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图解/Diagram 10

从这个分析中也可得出,空间应该是包容的,特别是在展览区域,因为在新博物馆的计划中展厅仍然是主体空间,但它们也必须是灵活可控的场所,来满足不同展览方式的所需条件。

From this analysis, we also concluded that the spaces should be generous, especially in the exhibition areas, given the role of protagonist that will have within the scheme of the new museum. They must also be flexible and have the controlled environment, with the ideal conditions to accommodate the collection and the different modalities of exposure.

繁华城市中的垂直公共空间|圣保罗Moreira Salles博物馆第8张图片

© Nelson Kon

繁华城市中的垂直公共空间|圣保罗Moreira Salles博物馆第9张图片

© Nelson Kon

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© Nelson Kon

为了创建一个协调的功能组合,建筑师把礼堂、教室、多媒体空间和图书馆集中到一个单一的体量中,形成了研究所空间的媒体库。这些功能的设置与展览空间形成十分明显的对比效果,来平衡公众对博物馆内部的注意力。而图书馆的部分空间则为人们自习所用,其可以与门厅相连,整合为一个悬浮的小礼堂。同时设计的目标也是在保证每个空间正常运转的条件下,让各种功能形式的表达与文化交流相互融合在一个连续的空间内。

With the objective of creating a significant group of programs, we gathered the auditorium, classrooms, multimedia space and library into a single, integrated body, forming the Institute's new Media Library. This set creates an important counterpoint for the exhibition rooms, able to balance the attention within the museum. So, part of the library can work as a convivial space for those who attend classrooms, as these, when integrated, become a small suspended auditorium that relates simultaneously to the library and the foyer. It was also our goal, to bring the various forms of expression and media in a more fluid and continuous space, without losing the necessary restraints for the proper functioning of each space.

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© Nelson Kon

基地情况

Paulista大街是这个城市里为数不多的黄金地段,这里聚集了各种各样的人群与活动,同时这里也是一个多元混合的民主场所。这种罕见的地域品质,再加上开放的规模和优越的地理位置,使Paulista大街成为圣保罗最有活力的城市空间。

The Place
The Paulista Avenue is one of the few places in the city where we find a huge variety of people and programs living in one place. One of the few places where we have a mixed, plural and more democratic city. This rare quality, coupled with the generous scale and the privileged geographical situation, makes Paulista Avenue one of the most interesting and lively spaces in São Paulo.

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图解/Diagram 03

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图解/Diagram 05

转移重点至基地的周边环境,建筑师标识出这条路上的一些重要结点。在与Consolação大道的交汇处,由于各个地铁站和公交站点的聚集,因此具有较大的交通流量,并且因前方隧道的存在,导致该街道的人行道非常狭窄。基地的位置正好位于大街尽头,从那里可以看到Pacaembu山谷和城市美景。

Adjusting the focus to the surroundings near the new museum, we identified some singularities of that section of the avenue. The intersection with Consolação Avenue translates into a great movement of vehicles and people, due to the proximity of the various subway stations and the bus corridor. The sidewalk, at this point, is narrower, due to the presence of the tunnel just ahead. We are right at the end of the avenue, from which opens a wide look to the valley of the Pacaembu and the spike of Dr. Arnaldo Avenue.

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© Nelson Kon

该地块规模为20×50米,地势平坦,周围有13至18层的建筑物,基地周围环绕着一系列不规则的建筑体量,因此这是一个非常特殊的位置。当进入这个地段时,站在人行道的水平面上,建筑师意识到这个空间与周围的环境并没什么关系。因此在分析问题之后再次提出:博物馆和城市之间应当建立什么样的关系?同时室内外空间又应当怎样连接?

The plot, with 20 x 50 meters, is flat and surrounded by buildings from 13 to 18 floors on all sides: a gap in the sequence of profiled volumes along the avenue. This is a truly extraordinary location. On the other hand, when we get inside the lot, at the level of the sidewalk, we realize that the space offers few openings and connections with the surroundings. The questions that we asked at the beginning of this analysis are put again: what is the relationship that we want to establish between the museum and the city and how does this decision affect the articulation of the museum's internal spaces?

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© Nelson Kon

设计方法

建筑师解决的办法是把博物馆的底层架空,将其主要空间转移到高于Paulista大街15米的中心位置,并利用楼梯走廊等元素将其与街道环境连接,从而在博物馆、城市和居民之间建立了一个全新的开放关系。随着这种空间操作替换了原有的城市空隙,展现出一个由地块边界所限制的封闭建筑体量,使得城市界面更加完整,同时也为博物馆的内部空间创造了丰富的可能性。

The Design Approach
The solution was to transfer the ground floor of the museum - its main articulating element - from the base to the center of the building, fifteen meters above the level of Paulista Avenue, creating a totally new and open relationship between the museum, the city and its inhabitants. With this displacement, we leave a claustrophobic and restricted condition imposed by the boundaries of the lot, to conquer the view of the city, at the same time we create the possibility of a new articulation of the internal spaces of the museum.

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Cortesia de Andrade Morettin Arquitetos

建筑师将建筑物的首层向Paulista大街开放,其中结合了多种不同功能,同时,这里也是一个大型的城市客厅以及Paulista大街人行道的延伸部分,它引导着过往游客通过扶梯或电梯到达大楼的中心。博物馆的餐厅也完全向公众开放,极大丰富了街道的层次感。

This operation has the effect of releasing the level of Paulista Avenue for it to work, together with the first underground, as a distribution platform of the different circulations that feed the building. Conceived as a large urban hall, the level of Paulista Avenue becomes extension of the sidewalk, leading the visitor through escalators and elevators to the heart of the building. It is there that is also the museum's restaurant, fully open to the public, reinforcing the multiple character of the avenue.

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© Nelson Kon

这种类似在地铁车站内熟悉的运动流线,使得从城市规模到博物馆规模的转变产生了一定的过度关系。在这过程中,来自街道的噪音被隔绝,光线的强度和质感发生变化,直到到达楼层平面之后以崭新的视角面向城市。这种操作手法将建筑与街道从对抗的关系中解放出来,并且与街道的关系更加紧密,创造出一个充满活力的城市空间,同时适应博物馆所要求的强度和环境质量。随着规模和时间的推进,一个全新的城市空间已经呈现在我们眼前。

In this transfer, which refers to the familiar movements of subway stations, there is a first transition from the scale of the city to the scale of the museum. Along the way, the sounds and the agitation coming from the street fade, the intensity and nature of the light change, until you reach the raised ground floor, facing the city, which opens in a totally renewed perspective. Released from a closer and direct confrontation with the street, it was possible to create a vibrant and energetic space, but adjusted to the intensity and the environment desired for the museum. The scale and the time have changed. We are inside the new IMS.

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© Nelson Kon

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© Nelson Kon

如前所述,通过底层架空,将主题空间转移的做法,重新平衡了建筑物的重心,使得其具有很强的开放性,这一结果再次超越了功能的束缚,很好的解决了博物馆的大体量规模与街道流动人群间的矛盾。站在楼层平面俯瞰,参观者可以清晰地感知所有的功能空间。而最底层已经变成了一个开放性极强的广场,里面还包括一家商店和咖啡厅。悬浮在广场上方的是封闭的展览厅,其下部是一个专门用于电影、音乐、文学以及各方面知识研究讨论的大型会议空间。

As has been said, with this transfer we rebalanced the gravity center of the building, bringing the main programs closer to the ground floor. This result, once again, goes beyond merely functional aspects. It is a question of adjusting the displacements and journeys to the scale and time that are most pertinent to the museum. From the elevated ground floor, the visitor's perception of the program spaces is clear and direct. The ground floor has been converted into a convivial and distribution plaza, which also has a shop and café; above this square, hovering over it, are the exhibition spaces, protected in a closed volume; below, the programs of the Midiateca are grouped, which act as a great meeting space dedicated to cinema, music, literature and, more generally, research and production of knowledge.

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© Nelson Kon

仓库和其他辅助用房,例如艺术品临时存储空间、图书馆书库及各种设备用房, 均被设置在地下二层,设备层通过一个大型钢梯和只限内部技术人员使用的电梯与建筑物的其余部分相连。

The warehouses and other areas of support to the museum - such as the temporary storage space for works of art, library collections and varied stocks - are in the 2nd underground. This floor is connected to the rest of the building by means of a large cargo lift and a set of elevators and stairways restricted to staff and technical personnel.

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平面图/Floor Plan - Floors Floor Plan - Floors

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平面图/Floor Plan - Floors Floor Plan - Floors

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平面图/Floor Plan - Floors Floor Plan - Floors

博物馆的空间属性是在相互穿插碰撞的功能体块间的空隙中被感知,而立面则采用了半透明的双层玻璃表皮,将内部的博物馆空间隐约展现给城市,同时也使得内部光环境的质量达到了预期的效果,给予参观者一个宁静舒适的场所。同样,照亮这些空间的光线带着城市的痕迹,把周围的城市情景也融入到博物馆之中。

The spatiality of the museum is given and perceived, above all, from the voids of the building, which are the spaces of movement and encounter that spread between the program volumes and the facade of the building. The facade materiality, solved with a translucent double-layer glass skin, gives a quality of light that corresponds exactly to what we wanted from the beginning of the project, when we imagined the interior of the museum as a backwater - a quiet and welcoming space for the Visitor. In the same way, the light that takes care of these spaces carries with it the city's trace, bringing into the museum the memory of the world around it.

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© Nelson Kon

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© Nelson Kon

建筑材料的选择建立了与城市文化的关联。在首层,建筑师使用了长久以来在Paulista人行道上使用的葡萄牙马赛克地砖。另一方面,也使用了与人行道水泥饰面相对应的玄武岩,覆盖整个博物馆的楼层地面,从而在视觉上产生连续的空间感受。

The choice of some materials reinforces this desire to build meaningful relationships with the city. In the elevated ground floor, we recovered the portuguese mosaic floor that for a long time was used in the sidewalks of Paulista Avenue. On the other hand, we use basalt, a material that makes a direct correspondence with the cement of the sidewalks, to cover the entire floor of the museum at street level, in such a way that we have a continuous space.

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轴测结构/Axonometric Structure

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© Nelson Kon

最后,这个建筑如何与城市场所发生关系呢?建筑师使用半透明玻璃作为第二层表皮,使得博物馆形成一个完整方形体量,同时具有的吸引力,与Paulista大街的其他建筑物相比可以展现出自身的独特性。另一方面,半透明的建筑体量成为其自身的第二特征,其内部环境丰富的层次变化随着空间中观察者位置的不同而改变。因此,博物馆的内部活动在城市空间中被巧妙地表现出来。

Finally, there is the question of how the building is placed in the city. The use of translucent glass as second skin causes the museum to be perceived as a well-defined volume, intact, with the necessary force to establish its place among the neighbors and other buildings of Paulista Avenue. On the other hand, its properties of light and translucency create for the building a second register, which is changeable depending on the nature of the environment and the position of the observer. As a result, the interior of the museum is subtly manifested in urban space.

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© Nelson Kon

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© Nelson Kon

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© Nelson Kon

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© Nelson Kon

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Cortesia de Andrade Morettin Arquitetos

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底层平面图/Ground Floor Plan

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平面图/Floor Plan +4.20

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平面图/Floor Plan +7.35

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平面图/Floor Plan +10.50

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细节/Details

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立面细节/Facade Details

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剖面图/Section

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图解/Diagram 07

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图解/Diagram 09

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图解/Diagram 11


设计单位:Andrade Morettin Arquitetos
项目地点:巴西,圣保罗
竞赛团队: Beatriz Moretti, Fábio Ucella, Flora Fujii, Gabriel Sepe, Júlio Beraldo, Lauro Rocha, Valeria Mónigo
项目团队:Adriane De Luca (coord.), Raphael Souza (coord.), Carlos Eduardo Miller, Eduardo Miller, Felipe Fuchs, Fernanda Carlovich, Fernanda Mangini, Gabriel Sepe, Jaqueline Lessa, Melissa Kawahara, Murilo Zidan
建筑面积:8662.0平方米
项目年份:2017年
建筑摄影:Nelson Kon, Courtesy of Andrade Morettin Arquitetos
制造商:Otis, Eleve
竞赛顾问:Museologia - álvaro Razuk; Desempenho ambiental e eficiência energética - Andrea Vosgueritchian; Estrutura - Ycon / Yopanan Rebello; Fundações - Geraldo Moretti, Cláudio Wolle; Hidráulica, elétrica e ar condicionado - Grau / Douglas Cury; Acústica - Gustavo Nepomuceno; Luminotécnica - Carlos Albert Kaiser; Conservação - Ilo Codognotto; Legislação - Sílvia Helena; Vídeo – Bijari.

项目协调:Canal e Musse - Eng. José Luiz Canal
工作督导团队:Camila Lazzari /JoséLeandro da Silva
结构设计:Ycon Engenharia / GOP
基础设计:Moretti Engenharia Consultiva
电气设计:LZA Engenharia
幕墙设计:Front Inc. / Grupo Galtier
物理设计:Greenwatt Consultores de Energia
消防安全:GPIC / LZA Engenharia
自动化设计:GPIC
规范:Urben Arquitetura
声学设计:HarmoniaAcústica/ Akkerman,Holtz
灯光设计:Peter Gasper&Associados / Lux Projetos
防水设计:PROASSP项目管理和咨询
电梯设计:EmproComércioe Engenharia em Transporte Vertical
安全设计:Fleury Consultores
可视化编程:Quadradão
餐厅和咖啡厅:Walderez NogueiraSoluçõesGastronômicas
施工单位:All'e Engenharia
建筑制图:Paint Consult / Walter Adoglio Jr

Architects: Andrade Morettin Arquitetos
Location: Av. Paulista, 2424 - Bela Vista, São Paulo - SP, 01310-300, Brazil
Contest Team: Beatriz Moretti, Fábio Ucella, Flora Fujii, Gabriel Sepe, Júlio Beraldo, Lauro Rocha, Valeria Mónigo
Project Team: Adriane De Luca (coord.), Raphael Souza (coord.), Carlos Eduardo Miller, Eduardo Miller, Felipe Fuchs, Fernanda Carlovich, Fernanda Mangini, Gabriel Sepe, Jaqueline Lessa, Melissa Kawahara, Murilo Zidan
Area: 8662.0 m2
Project Year: 2017
Photograph: Nelson Kon, Courtesy of Andrade Morettin Arquitetos
Manufacturers: Otis, Eleve
Contest Consultancy: Museologia - álvaro Razuk; Desempenho ambiental e eficiência energética - Andrea Vosgueritchian; Estrutura - Ycon / Yopanan Rebello; Fundações - Geraldo Moretti, Cláudio Wolle; Hidráulica, elétrica e ar condicionado - Grau / Douglas Cury; Acústica - Gustavo Nepomuceno; Luminotécnica - Carlos Albert Kaiser; Conservação - Ilo Codognotto; Legislação - Sílvia Helena; Vídeo – Bijari.

Project Coordinator: Canal e Musse - Eng. José Luiz Canal
Work Supervision Team: Camila Lazzari / José Leandro da Silva
Structre: Ycon Engenharia / GOP
Bases: Moretti Engenharia Consultiva
Electric: LZA Engenharia
Facade: Front Inc. / Grupo Galtier
Climate: Greenwatt Consultores de Energia
Fire Safety: GPIC / LZA Engenharia
Automation, telecommunication and audiovisual: GPIC
Legislation: Urben Arquitetura
Acoustics: Harmonia Acústica / Akkerman, Holtz
Lighting: Peter Gasper & Associados / Lux Projetos
Waterproofing: PROASSP Project Management and Consulting
Elevators: Empro Comércio e Engenharia em Transporte Vertical
Safety: Fleury Consultores
Visual Programming: Quadradão
Restaurant and cafe: Walderez Nogueira Soluções Gastronômicas
Construction: All’e Engenharia
Painting: Paint Consult / Walter Adoglio Jr


出处:本文译自www.archdaily.com/,转载请注明出处。

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