©Iwan Baan

SANAA建筑事务所设计扩建的悉尼艺术博物馆开幕
SANAA’s New Sydney Landmark at the Art Gallery of New South Wales

由专筑网江鹏，小R编译

澳大利亚一座重要的艺术博物馆——悉尼新南威尔士美术馆（AGNSW）外的横幅宣告了该机构的民主目标。他们宣称：“艺术属于所有人”，并宣传免费入场。

获得普利兹克奖的SANAA建筑事务所的建筑师Kazuyo Sejima和Ryue Nishizawa将这一愿景铭记于心，他们扩建了AGNSW一座18万平方英尺的建筑单体，建筑已经对公众开放。该建筑由一系列相互连接的展馆组成，并从该市的皇家植物园向世界著名的港口延伸。玻璃的大量使用和细长柱子支撑的风筝状屋顶，使得整个建筑显得更加透明与亲切，与博物馆现有的建筑，或者更准确地说，一系列建筑形成鲜明对比，所有这些建筑都坐落于19世纪晚期悉尼新古典主义的砂岩立面的后面。

Sydney is home to one of the most recognizable buildings in the world: Jørn Utzon’s Opera House. The shot of its shell-like nesting roofs, with the trussed arch of the Harbour Bridge rising beyond, is without question the image most associated with the city.
But now, half a century since the completion of Utzon’s building, Sydney has an architectural landmark with an entirely different character—the expansion of the Art Gallery of New South Wales designed by the Pritzker Prize–winning architects Kazuyo Sejima and Ryue Nishizawa, principals of Tokyo-based SANAA. Said to be the state’s largest cultural investment since the Opera House, the museum’s new stand-alone building seems barely there—at least when viewed from some angles from the west, at the edge of the Domain, the city’s expansive public park adjoining its Royal Botanic Garden. From these vantage points, it reads as a single-story glazed pavilion with an adjacent plaza sheltered under a wavy canopy of glass.


Photo © Iwan Baan


Art © Francis Upritchard, photo © Art Gallery of New South Wales

位于东京的SANAA建筑事务所与澳大利亚建筑师事务所合作，在2015年的一次新扩建项目邀请赛中一举中标。他们的方案被AGNSW负责人 Michael Brand称为“一个非凡而复杂的场地设计”。设计师不仅需要应对陡峭的地形，还必须应对一条建于20世纪50年代的高速公路。尽管随后建造了一座桥将两边的地块连接起来，但平台有限的承载力意味着任何解决方案都必须结构落地。而二战时期遗留下来的两个地下混凝土燃料库也带来了类似的结构挑战。该项目的结构工程师、Arup的负责人Andrew Johnson表示：“扩建部分位于旧址上，部分位于桥和燃料库的范围内。”

Tokyo-based SANAA, paired with the Australian practice Architectus, was selected in 2015 in an invited competition to design the new expansion. Their scheme negotiates what AGNSW director Michael Brand calls “an extraordinary site but a complex one.” Not only did the designers need to work with the steep terrain, they also had to contend with a freeway built in the 1950s that sliced through the site. Though a subsequently constructed land bridge united the two halves, the platform’s limited bearing capacity meant that any solution had to touch down lightly. The presence of two subterranean WWII-era concrete fuel bunkers offered similar structural challenges. “The expansion is partly on virgin ground, partly on the land bridge, and partly on the bunkers,” says Andrew Johnson, a principal at Arup, the project’s structural engineer.


Photo © Iwan Baan


Photo © Iwan Baan

扩建的建筑体量还包括一个连接新旧建筑的广场，在波浪形曲面玻璃和层叠的展馆的下方。这些建筑不仅由玻璃构成，还使用了葡萄牙石灰岩和夯土。这些建筑体量创造出阶梯式的公共区域，连接室内和室外，同时使博物馆的展览空间增加了近一倍。新的画廊展示了AGNSW的国际当代收藏品，但也赋予了原著民和托雷斯海峡（Torres Strait）岛民艺术一个最重要的地位。这些画廊被命名为“Yiribana”（在悉尼土著语言中是“这样”的意思），从旧建筑的地下室被移动到一个清晰可见的位置，毗邻新建筑的入口。

The expansion’s assemblage includes a plaza linking old and new under a canopy of wave-like curved glass and the cascading boxes. These are defined not only by glazing, but also by walls of Portuguese limestone and of rammed earth. The volumes create terraced public areas—both indoors and out—while nearly doubling the museum’s exhibition space. The new galleries showcase AGNSW’s international contemporary collection but give pride of place to the holdings of Aboriginal and Torres Strait Islander art. These galleries, named Yiribana (“this way” in the Aboriginal language of Sydney), have been moved from a basement in the old building to a highly visible location directly adjacent to the new building’s entrance.


Art © Takashi Murakami/Kaikai Kiki, photos © Iwan Baan


photos © Iwan Baan


Photos © Iwan Baan


© Art Gallery of New South Wales, Zan Wimberly

然而，扩建工程并非完全的新建。其中一个最引人注目的室内空间是2.4万平方英尺的“箱型”画廊，它由一个燃料库改造而成。从一个螺旋楼梯往下，可以到达这个巨大的展览空间，墙壁上还遗留了曾经存放燃料的痕迹。建筑师说，把它纳入博物馆是有意义的。Nishizawa说：“你可以在那里感受到历史。”在“箱型”画廊的揭幕仪式上，阿根廷艺术家Adrián Villar Rojas在画廊现有的125根混凝土柱中穿插了由钢、树脂和有机材料组成的纪念性构筑物。很庆幸在接近黑暗的地方可以欣赏到这个令人难忘的装置。

One of the new building’s structures is not new at all. It is one of the two existing fuel bunkers now repurposed as a 24,000-square-foot gallery (the other serves as the loading dock). The vast exhibition space is reached by descending a pristine white spiral stair that contrasts with the gritty storage tank, whose walls are still stained with oil. The architects say that it just made sense to incorporate the bunker into the museum. “You can feel the history there,” says Nishizawa. Like the Turbine Hall at London’s Tate Modern, by Herzog & de Meuron, the space will house temporary, site-specific pieces. For the Tank’s inaugural commission, Argentinian artist Adrián Villar Rojas has interspersed monumental objects combining steel, resin, and organic materials among the forest of 125 existing concrete columns. The haunting installation is viewed in near darkness.


Photos © Art Gallery of New South Wales, Zan Wimberly


Photos © Art Gallery of New South Wales, Zan Wimberly


© Art Gallery of New South Wales, Jenni Carter

路人甚至不用进入博物馆就能欣赏到一些艺术作品。例如，毗邻新广场的一个由玻璃幕墙装饰的“连廊”展示了Yiribana画廊的一些展品。目前展出的是雕塑家Lorraine Connelly Northey用从灌木丛中收集的废弃金属片制成的一系列物品。从2023年年中开始，人们将可以在前往Woolloomooloo湾的途中穿过广场，穿过土著艺术家Jonathan Jones创作的景观。他的作品现在正在安装中，它将展示原著民用火管理土地和生态系统的做法。

Passersby will be able to take in some of the art without even going inside the museum. For instance, a glass-enclosed “loggia” adjacent to the new plaza displays some of the Yiribana gallery’s contents. Currently on display there is a series of objects by sculptor Lorraine Connelly-Northey made of discarded sheet metal collected from the bush. And starting in mid-2023, people will be able to traverse the plaza on their way down to Woolloomooloo Bay, walking through a landscape created by Indigenous artist Jonathan Jones. His piece, which is now being installed, will showcase an Aboriginal practice that uses fire to manage the land and ecosystems.


Art © Adrián Villar Rojas, photo © Jörg Bauman





项目信息

建筑师：SANAA-Sejima Kazuyo，Ryue Nishizawa，负责人；合伙人山田由美子；Asano Yagi，项目建筑师；Soo Kim、Hiroaki Katagiri、Takayuki Hasegawa、Riccardo Cannata、Enrico Armellin、Misha Mikhail Nemkov、Ichio Matsuzawa、Hana Greer，设计师
执行建筑师：Architectus
顾问：Arup（结构、消防、水力学、照明、安保）、Steensen Varming（m/e、垂直交通）、表面设计（立面）、GGN、McGregor和Coxall（景观）、Atelier Ten、WSP（环境设计）、SO（标识）、Akin Atelier（商店设计）
总承包商：Richard Crookes Construction
客户：新南威尔士美术馆
面积：183000平方英尺
成本：2.36亿美元
完工日期：2022年12月

来源
隔音天花板：Ecophon
垂直交通：Liftronic
能源管理：Alerton
光伏：LG

Credits
Architect: SANAA — Kazuyo Sejima, Ryue Nishizawa, principals; Yumiko Yamada, partner; Asano Yagi, project architect; Soo Kim, Hiroaki Katagiri, Takayuki Hasegawa, Riccardo Cannata, Enrico Armellin, Misha Mikhail Nemkov, Ichio Matsuzawa, Hana Greer, designers
Executive Architect: Architectus
Consultants: Arup (structure, fire, hydraulics, lighting, security), Steensen Varming (m/e, vertical transport), Surface Design (facade), GGN, McGregor and Coxall (landscape), Atelier Ten, WSP (environmental design), SO (signage), Akin Atelier (shop design)
General Contractor: Richard Crookes Construction
Client: Art Gallery of New South Wales
Size: 183,000 square feet
Cost: $236 million
Completion Date: December 2022

Sources
Acoustical Ceilings: Ecophon
Vertical Transport: Liftronic
Energy Management: Alerton
Photovoltaics: LG