柏林二十世纪博物馆及周边环境整合 德国柏林文化广场

客 户：普鲁士文化遗产基金会

主创建筑师：肖诚

设计团队：印实博，何啟帆，毛伟伟，凌峥，王静

景观设计：北京创翌善策

用地面积：14,700平方米

总建筑面积：27,700平方米

设计时间：2015-2016年

奖项荣誉：全球十强优胜方案

Client:Prussian Cultural Heritage Foundation

Chief architect:Xiao Cheng

Project architect:Yin Shibo,He Qifan,Mao Weiwei,Ling Zheng,Wang Jing

Landscape Design:Beijing Chuangyi Good Strategy

Site Area:14,700m2

Gross Floor Area:27,700m2

Date:2015-2016

Awards:Shortlisted in this competition’s top ten

2015 年10 月，由普鲁士文化遗产基金会发起的“柏林20 世纪博物馆以及周边城市整合设计竞赛”开始全球征集报名及方案征选。2016 年2 月10 日第一轮竞赛结果公布。深圳市华汇设计有限公司的参赛作品《THE SQUARES》从全球460 家设计机构中脱颖而出，入选全球10 强，同时，深圳华汇设计也是亚洲唯一一家入选机构。在全球460 家设计机构竞选中，作为亚洲唯一建筑方案入选机构，入围本次竞赛全球十强。

In October 2015,the Prussian Cultural Heritage Foundation sponsored the "Berlin competition for integrated design of museum and surrounding cities in the 20th century" to solicit designs worldwide.The outcome was published in the first round on February 10,2016.THE SQUARES created by Shenzhen Huahui Design Co.,Ltd.comes to the fore among the 460 agencies around the world,which is shortlisted for the top ten.More importantly,Huahui is also the only one Asian candidate.Among the 460 design agencies,Huahui,as the only one Asian candidate,is shortlisted for top ten.

柏林文化广场（Kulturforum Berlin）位于德国柏林蒂尔加藤区。围绕着一座19世纪的教堂——圣马泰教堂，这里有新国家美术馆（密斯·凡·德·罗设计）、音乐厅（汉斯·夏隆设计）、新国家图书馆（汉斯·夏隆设计）、绘画画廊、工艺美术博物馆等多座文化建筑。这里是柏林的文化亮点，也定义了波茨坦广场以西的城市空间。未来的柏林20 世纪博物馆，就将坐落在教堂边“群星环绕”的中心广场上。

Kulturforum Berlin is located in Tiergarten of Berlin,Germany.Centering on the church built in the 19th century -Sainte Marthe,a wide range of cultural buildings get together here,including national art gallery (designed by Mies van der Rohe),concert hall (designed by Hans Scharoun),national library (designed by Hans Scharoun),gallery and museum of arts and crafts.Here is the culture spot of Berlin,which defines an urban space westward in Potsdamer Platz.You are expected to see the Berlin 20th century museum in the central plaza.

19 世纪到20 世纪30 年代这里经历了贵族乐园到帝国之都的巨变，大量传统建筑被拆除，使得文脉难寻，1943 年到1945 年的空袭又将该区域摧毁的面目全非，1946 年之后包括夏隆在内的建筑师门开始对这片区域进行战后建设，速度惊人，各建筑物的设计建造时间短，且相互叠合，在这期间，大家更多的是将单个的建筑做到精彩，较少考虑到相互之间的城市关系，以致建筑形象各异，空间上缺乏秩序和联系，缺少了街道界面的整合，此外相对单一的功能，也使得这个区域缺乏足够的活力。

The period from the 19 century to the 1930s has seen that this place turned into imperial capital from an aristocrat park,during which a wide range of ancient buildings were demolished and city memory was interrupted.Worse still,it fell apart in an air raid from 1943 to 1945.Scharoun and other architects embarked on post-war reconstruction after 1946 at an alarming rate.At that time,all kinds of structures were quickly designed,completed and overlapped.Although single building is amazing,the interrelation is absent in the whole city.Architectural images of all shapes are everywhere,without spatial orders and connections and uniformity of streets.Besides,single function also deprives of inherent vitality.

在这个充满历史复杂性的世界级艺术展示区，我们需要仔细的思考：一座新的博物馆，到底是以一种什么样的姿态献给柏林？以什么样的姿态融入建成环境中？以什么样的方式让人们通过艺术与历史对话？又应该以怎样的方式融入当代生活？

Faced with the world-class art exhibition full of complicated history,we need to ponder the way that a new-built museum locate in Berlin,integrates into existing buildings,has a dialogue with art and history and becomes a part of contemporary life.

将原有基地，一个缺乏场所特征和公众参与的城市空地“a square”，藉由柏林新国家美术馆特有的正方形的形式语言“the square”，通过尺度的消解和形态的重构，形成一个开放、兼容，并将建筑与景观自然融合的城市开放空间，成为艺术与公众自由相遇的新场所“the squares”！如果说艺术的本质是向原点回归，那么柏林新国家美术馆的设计便是通过“黑色正方形”表达出了强烈的终极意识，而这种思想与现代主义的艺术浪潮有着密切的关联。

The base used to be "a square" -an urban pen place without its own feature and public participation.By means of "the square" -a form language of the special square created by the Berlin New National Art Gallery,an open and inclusive urban space combining a building with natural landscape is built by decomposing the scale and reconstructing form.If the essence of art is returning,Berlin New National Art Gallery is to deliver a forceful ultimate awareness through its "black squares." This viewpoint is closely associated with modernism's artistic ideology.

作为国家美术馆的延伸，20 世纪现代艺术博物馆批判性的继承了“the square”的形式意涵，同时也吸收了国家博物馆群“gallery of the living”的核心价值，通过对“方形”的消解，将一座地景式的建筑置入场地，来最大化的保留各个重要建筑之间的视觉关系。

As the derivate of the national art gallery,the Berlin 20th century museum critically inherits form and implication of "the square" and also includes the core value of the "gallery of the living." By deconstructing the square,a building of underground landscape is placed to maximize visual relationship amid major structures.

设计的核心理念是，将原有基地-一个缺乏场所特征的公共参与的城市宝地“A Square”，藉由柏林新国家美术馆特有的正方形的形式语言“the square",通过尺度的解和形态的重构，形成一个开放，兼容，并将建筑与景观自然融合的城市开发空间。

The base used to be "a square" -an urban pen place without its own feature and public participation.By means of "the square" -a form language of special square created by the Berlin New National Art Gallery,an open and inclusive urban space combing building with natural landscape is built by decomposing scale and reconstructing form.This is the core design philosophy.

在平面上，通过门厅和进厅区分出公共区域和展览区域，将博物馆商店教育培训餐饮等开放性的功能围绕门厅布置，将展览区域围绕进厅布置，进厅的中空使得不同展厅的位置和主题被全景呈现；在剖面上，将公共部分布置在地上和半地下，将展览区域布置在半地下和全地下，目的是将博物馆的公共部分对城市最大化的开放，而无需自然光的展览空间中的展品得到合理的展览环境，高低起伏的广场“the squares”，使得参观的体验可以同时发生在室内和室外。模数沿用了国家美术馆的7.2x7.2 米。

Viewed from above,the lobby and porch will divide the whole area into a public area and an exhibition area.All open functional zones of display,store,education,training and canteen are around the lobby,while the exhibition area embraces the porch.In the middle of the porch,all exhibition halls and themes come into sight.From the side view,the public building is above and partly under the ground and the exhibition hall is semi-underground and underground.Such design is to make the public area open to the whole city as much as possible.All exhibits can be reasonably placed without support of natural light.As "the squares" fluctuate up and down,visitors can obtain a viewing experience inside and outside.Modulus follows the national gallery's dimension of 7.2＊7.2m.

进厅的天光可以使上下两层展览部分的非展品展示空间（交通空间）均能有自然光，而展示品参观空间则是完全可调节的人工照明，一条完整且紧凑的观展流线串联起上下两层不同的展厅，同时保持了max、artlibrary和media 的独立性。为了尽可能尊重艺术品的表达，每一个展厅空间形式规则，可适应不同形式的展览，仅通过展厅高度的变化来使不同尺度的艺术作品有合理的展示空间的尺度。这种理性的形式可使建筑概念得到有效的表达和实施。

Daylight from the porch lightens two stories of traffic space,while the exhibition hall is equipped with adjustable artificial lighting.An uninterrupted and compacted route pools the exhibition halls upstairs and downstairs together and have a max,artlibrary and media independent of each other.To safeguard the expression of artwork as much as possible,each exhibition hall is able to fit forms and rules of space.Artistic work will enjoy a reasonable dimension by changing heights of the exhibition hall.The rational form was made such as to express and fulfill architectural concept.

运用景观都市主义的核心精神，提案将建筑视作城市景观空间系统的一个要素，建筑即景观，景观即建筑，博物馆与城市空间相融合，形成艺术与公众自由相遇的新场所—THE SQUARES。

Following the kernel of landscape urbanism,the structure is advised to be an element of the urban landscape spatial system in the proposal.Building and landscape set off each other.The mixture of museum and urban space constructs THE SQUARES where art encounters public freedom.

第一轮竞赛后，主办方微调了设计任务书，更着重于建筑设计本身，希望新馆是一个更具当代文化生活特征、与周围现存建筑保持良好的城市关系、拥有高品质的展览空间的交流和活动新平台。于是有了我们的第二轮提案的概念——多义性边界。

After the first round,the sponsor modified the design task to emphasize architectural design in itself.A new platform for exchanges and events that is characterized by features of modern cultural life,gets on well with the existing structures and offers high-quality exhibition space that is expected.Then,we put forward the second proposal — a multivocal boundary.

透过多义性边界，我们尝试界定出周围建筑与博物馆的关系，街道与博物馆的关系，博物馆自身室内外的关系，以便在这里更清楚的看到不同关系给设计带来的问题和机会，能够使不同的需求在这里被满足。

On the basis of the multivocal boundary,we strive to outline the relationship of the surroundings and the museum,streets and museum and internal and external of the museum.In this way we can have a better perspective to observe problems and changes caused by different relations,further satisfying multiple demands.

这个提案最终没有赢，不过我们在后来的一次机会中，将多义性边界的概念发展并展现了出来……

In spite of failure,we later have another change to bring forth and show a multivocal boundary...