格罗宁根博物馆，格罗宁根，荷兰

建筑设计及室内设计：亚历山德罗·门迪尼，弗朗西斯科·门迪尼，米凯莱·德路奇，菲利浦·斯塔克，蓝天组，马丁·巴斯，乔布工作室，亚米·海因

格罗宁根博物馆，格罗宁根，荷兰

建筑设计及室内设计：亚历山德罗·门迪尼，弗朗西斯科·门迪尼，米凯莱·德路奇，菲利浦·斯塔克，蓝天组，马丁·巴斯，乔布工作室，亚米·海因

1.2 外景/Exterior views

荷兰格罗宁根博物馆由5个不同部分组成：当代艺术、临展、画廊、陶瓷和考古/历史，此外还有功能和服务区。

建筑位于沃宾登运河中，由两座桥通向河岸，其中一座是步行和骑自行车的吊桥。建筑全部采用桩基，用于展览和服务的下层在水面以下60cm。

大部分建筑元素都是混凝土预制的。不同区段的立面采用了不同的建造技术：

（1）涂色混凝土板；

（2）由意大利公司Abet Laminati制作的金色厚塑料层压板。

格罗宁根博物馆是根据艺术建筑的理念设计的，建筑本身与多种元素融为一体，包括绘画、装饰、装置、新雕塑和不同形式的视觉表达，特别是设计。

但这不是传统意义上的艺术综合，而是对上述领域的创作方法进行的融合与转译。其目的在于创造一种源于对象的现象，实现高度复杂的表述。建筑自身的博物馆特性完美地融合了艺术品展览上体现出的博物馆生命。建筑本身代表着博物馆艺术品的体系，展品在与建筑环境结合的同时又受到它的影响，使容纳与表达合二为一。

建筑设计将博物馆视为一种城中乌托邦，一个充满惊奇的幻想园，一座极富表现力的美的宫殿，间接体现高等教育价值的、有机的精神迷宫。

作为体现创作的艺术特性的手段，这座博物馆不可或缺的是其自身的微观纪念性。作为保存艺术的载体，这座博物馆必须成为一座微型学院，具有完好的功能性和科学性。为了实现这些多元化的目标，这座格罗宁根建筑根据不同部门的划分，采用富有象征性和仪式性的历史对称平面布局；而它最突出的特征在于其形象有如水中一叶扁舟。从立面上看，它又仿佛一件庞大的设计作品，用不同材料制成的兼具雕塑性和绘画性的建筑。建筑叙事的能力、风格化的设备和自我表现在建筑大师米凯莱·德路奇、菲利浦·斯塔克、弗兰克·斯特拉、蓝天组以及彼得·埃森曼的设计上得以彰显。他们的创作使这座博物馆成为一座“建筑的博物馆”。这座博物馆作为一种偶发艺术的场景表现，源于相互交织的两个思路，即兼顾对主要视觉艺术和对博物馆、住宅、剧院和教堂等不同建筑类型的考量。两个思路在此汇成一线：建筑成为艺术，而艺术成为纯粹的、政治的奇观，是形而上的意象，又是不代表意识形态的沉思。这座博物馆是一件全艺术之作，实现人类最高精神化的、其宇宙幻想的乌托邦。这种以宏观的时间和人本尺度认知建筑的方式成为学术界与先锋派的交点。它试图通过人类最原初的理念将二者结合在一起。

格罗宁根博物馆的观众跨过大桥后会来到一座神秘林般的卫城岛，唤起人们心中的乌托邦情怀。这正是建筑群交错的意义链创造的效果，并从其标识的阐释序列中得以升华。它象征着对重生、对新态度、对人类未知的新领域的永恒探索。

就城市环境而言，这座新建筑的目标是成为城市节点上的地标，车站到市中心的轴线与运河的交点。它是市民情感的寄托，但不突出城市的个性。它呼唤的是一种既宁和又卓越、既安静又鲜明的新元素。构成建筑的要素包括：

（1）一座带有两个广场的桥，与两岸相连，赋予博物馆一种启蒙时代要塞的印象。

（2）一座金塔成为整个博物馆的点睛之笔，彰显出艺术品殿堂的气势，捍卫着宝库的安全。

（3）临展、现代艺术和画廊的序列展厅，灵活多变又一气呵成；同时外观有着强烈的色彩表现力。

（4）古代陶瓷和本地考古与历史展厅能将展品反射到室外。

（5）中心的多功能建筑在基座中有中庭、咖啡厅、剧场、图书馆和为公众及学者服务的文化设施，此外还有行政和运行设施。

建筑在室外有两个层次的解读：远距离的综合性解读和近距离对表面的解读。有些表面材质尺寸巨大，其光泽和特殊的阿拉伯花饰赋予细部一种尊严，又使整体呈现出一种如珠宝般闪耀、如蜃楼般漂浮的幻境。很多部位的材料和要素都有一种设计感和雕塑感，而与建筑符号无关。它的材料和颜色（淡蓝、金色、银色、黑色、赭石、黄色和粉色）是微妙多变的，又以不同寻常的方式组合在一起，犹如立体主义的作品。材料包括金色层压板、彩色丝网层压板、定型模板浇注的彩色混凝土、中世纪风格的砖墙、压铸铝板、马赛克、阳极化青铜窗框、陶瓷和木材建成的广场和大桥、带水泥柱的铁栏杆、纺织品、壁龛、雕塑和绘画元素，以及向城市展示博物馆室内元素的电子屏。建筑的夜间照明突出了它的无形效果、艺术性和轻灵。从博物馆学的角度看，当代艺术和临展区的主画廊没有一扇窗，完全采用舞台灯光，因此能根据要求改变设置。墙面与绘画、地面与雕塑、房间与装置之间的关系进行了重新考虑和设计。隐蔽了技术系统的主展厅成为一种概念性的立体几何、一种抽象空间、一种愉悦与神秘的感官环境。

彩色的油毡地面和墙面会根据作品的置换涂上不同的颜色，为艺术品戏剧化的展示创造了变幻无穷的背景。对房间个性化尺度及其相互关系的研究则是为了避免空间和精神上的疲劳以及枯燥的重复。

同时，建筑大师负责的3个区域也基于同样的标准，根据常展的需要各自进行了独特的诠释。画廊由蓝天组负责。由菲利浦·斯塔克负责的东西方古代陶瓷展区是在纯粹并具有象征意义的环境中展现装饰艺术魔力和生理挑战的舞台。由米凯莱·德路奇设计的地区考古与历史展区以三维绘画的序列表达了回归史前时代的历史螺旋。

格罗宁根博物馆并没有一个主题，而是每个区域都有自己准确而多样化的专题。从某种意义上讲，这是一座由若干小型博物馆组成的博物馆。

这就使之成为一种典范，将综合博物馆简而化之，并成为展示一切知识并进行创新的理想之地的普遍模式。格罗宁根博物馆的理想是无所不及的社会关系，并通过3个理念得以体现：将宇宙视为审美的总体，将艺术创作视为全人类的特权，将本体的展示视为反纪念和文化地域性的逆笔。□ （尚晋 译）

3 金塔/Golden tower4 外景/Exterior view

The Groninger Museum in Groningen，the Netherlands has five different sections: contemporary art， temporary shows， picture gallery，ceramics， and archaeology/history. In addition，there are functional areas and service areas.

The building lies in the middle of a canal （the Verbindingskanaal） and is connected to the banks by two bridges， one of which is a drawbridge for pedestrians and cyclists. Standing entirely on a foundation of piles， the building has a lower level for exhibitions and services with the foor lying 60 centimeters underneath the water level.

Most of the construction elements are prefabricated in concrete. The facades of different wings were built using diferent techniques:

（1） Painted concrete panels

（2） Gold-coloured panels of thick plastic laminate made by Abet Laminati

The invention of the Groninger Museum was conceived according to the concept of artistic architecture， where the building itself is intimately assembled with other ingredients such as paintings，decorations， installations， new sculptures and diferent means of visual expressions， especially design.

This is not the traditional idea of synthesis of arts， but rather a blend and translation of the methods of the above-mentioned disciplines that has the aim of obtaining an object-based phenomenon with a high degree of narrative complexity. The continuity between the building's own museological character and living museum represented by the artwork on display is seamless. The building itself represents a system of museum works， and the exhibited pieces integrate with and are influenced by the architectural surroundings that contain and express them.

Te architectural design considers the museum as a possible urban utopia， as an imaginary place full of surprises， as a house of beauty with a high degree of expressive content， as an organic mental labyrinth that shows its higher educational value only indirectly.

As an instrument representing the artistic side of creation， the museum cannot do without its own mini-monumentality. As an instrument that preserves art， the museum must respond to a mini-academy that is perfectly functional and scientifc. To reach these diverse goals， the building in Groningen， whose most explicit characteristic is that of sitting in the water like a ship， has a layout in plan that is symmetrical， ancient， highly iconic and ritual， based on a division into diferent departments. In elevation， it turns into a macro design object， a sculptural and pictorial piece of architecture made of different materials. Its ability to tell a story， its stylistic devices and self-representation are accentuated by the designs of the guest architects Michele De Lucchi， Philippe Starck，Frank Stella， Coop-Himmelblau and Peter Eisenman. Their contributions turn the museum into a "museum of life-size buildings". The scenic output of this museum object as a happening is based on a play of two interlinked lines of thought. One is the equal consideration of the main visual arts， and the other is the equal consideration of different types of architecture: museum， house， theater and church. Here， where these two lines of thought entwine， architecture is considered an art， and art is considered a spectacle of pure， non-political，metaphysical visions， a contemplative activity devoid of an ideological message. Tis museum is a piece of total art， a Gesamtkunstwerk with which to realize the utopia of the maximum spiritualization of humankind and its cosmic imagination. Tis way of understanding the condition of architecture in a large temporal and humanistic dimension lies at the crossroads between academia and avant-garde. It attempts to unite them by means of the most archetypical notions that humankind can refer to.

After crossing the bridge， visitors to the island of the Groninger Museum will discover an acropolis like a secret forest， inducing them to assume a utopian stance that is the fruit of the complex's hybridized chain of meanings， amplified by the descriptive sequence of its signs. It is an example of the eternal quest for rebirth， new attitudes， and territories still unknown to humankind.

As for the urban context， the new building aims to be a landmark at an important spot of the city， on the axis from the station to the center， interrupted by the canal. It is an emotionally fundamental point for citizenry， but was devoid of urban identity， so much so that it cried out for the presence of a new element that would be placid but highly visible，safe and characteristic. The pieces making up the construction are

（1） a bridge with two piazzas that connects the two banks， giving the impression of the museum as a fortress of the Enlightenment

（2） a gold tower as the pre-eminent element of the whole museum. It exalts rather than hides the storage of the artwork， and safeguards it as a treasure

（3） the department containing a stacked sequence of temporary exhibitions， modern art and the picture gallery， all in an elastic order，without interruptions， externally showing strong polychrome expressivity

（4） the department of ancient ceramics and local archaeology and history， which reflects its contents on the outside

（5） the central multi-purpose building on a base containing the atrium， café， theatre， library， cultural services for the public and for scholars， and administrational and operating services.

On the outside， the architectural complex has two levels of interpretations. At a distance， the reading is more synthetic and compact， while from close up， the surfaces show their textures， some of which are outsize， their shine and special arabesques that ennoble the details， giving the whole a certain evanescence linked to the idea of a jewel， a mirage，an instance of foating. In many parts， the materials and elements are design-like and sculpture-like， and have no references to architectural iconography. The materials and colours （light blue， gold， silver，black， ochre， yellow and pink） are delicate but highly diverse. They are combined in unusual ways， like in Cubism. Materials are gold-coloured laminate； polychrome silkscreened laminate；coloured concrete poured in shaped formwork；brickwork with a medieval feel； die-cast aluminum panels； mosaic； bronze anodized window frames；piazzas and bridges in ceramics and wood； iron balustrades with cement columns； fabrics； niches；sculptural and pictorial elements； and writing on an electronic panel to pour forth to the city the indoor contents of the museum. The nocturnal illumination of the building accentuates its effects of immateriality， artistry and suspension. From a museological viewpoint， the typical gallery room of the contemporary art and temporary exhibition sections is absolutely without windows and fully equipped with stage lights in order to change the setting according to requirements. The solutions to the relationship between wall and painting，floor and sculpture， small room and installation were rethought and redesigned. The typical room is conceived as conceptual stereometry， as abstract space， as a sensorial environment of joy and mystery equipped with invisible technical systems.

The coloured linoleum floors and the walls painted different colours according to the artwork's rotation generate a theatricalized exposition of the artwork that offers infinite staging possibilities. A study of the dimensions of the individuality of the rooms and the relationships between them aims to avoid physical and mental fatigue and obsessive repetition.

In turn， the three sections entrusted to the guest architects reflected the same criteria， but on the basis of their autonomous interpretations， and according to the need of showing the permanent collections. The picture gallery was interpreted by Coop-Himmelblau. Te section for ancient Western and Eastern ceramics by Philippe Starck hosts the magic and the physiological challenge of the minor arts in a rarefied and emblematic climate. Te section for regional archaeology and history by Michele De Lucchi expresses the spiral of history moving backward to prehistoric times in a sequence of three-dimensional paintings.

The Groninger Museum is not specialized，rather each of its sections is characterized on its own， asking for precise and diverse specializations. In a certain sense， this is a museum made up of a number of smaller museums.

This makes it a possible example， a simplification of a universal museum， a general formula for an imaginary place where all knowledge can be shown and reinvented. As such， the ambition of the Groninger Museum is universal social relations， which it proposes through three ideals: the cosmos seen as an aesthetic totality； artistic creativity as the prerogative of all humanity； and the presentation of itself as an anti-monument， as a message against cultural territoriality.

5 效果图/Rendering6 平面/Floor plan7 立面/Elevation8 外景/Exterior view9 内景/Interior view10.11 外景/Exterior views12 楼梯/Stairs

WA：色彩在这个项目中的作用是什么？

亚历山德罗·门迪尼：博物馆的每个组成部分都有不同的色彩，其依据包括所用的材料和在整体上创造建筑和谐的愿望。存放艺术品的金塔象征着艺术的宝库。点彩画式的墙面能融入周围的树林。蓝天组设计的大块金属板象征着船的侧面。巨大的砖基座代表它的内涵，即城市的历史。顶部的轻型铝圆柱能让人们感受到其中陶瓷藏品的轻盈。这些内容不胜枚举，并延续到了室内。墙面的色彩搭配由艺术家选定，并可以日后替换。

WA：本项目中最具创造性和吸引力的设计是什么？门迪尼：或许最明确的想法有两个。一是让所有的画廊都只用人工照明。二是为观众创造了迷宫式的路线。这两个设计带着观众逐步进入一个奇妙的境地，充满惊奇的氛围让人仿佛置身异界。

WA：在设计过程中最困难的部分是什么？

门迪尼：将博物馆放在运河上最重要的位置、城市的中心，是市民争论的焦点。为此举行了很多会议、争辩和政治决策。

WA：使用者和社群的反馈如何？

门迪尼：一开始，公众中最传统的阵营对此表示不解，是反对的。但很快博物馆就成了城市的地标、自豪和喜悦的象征。在当时的馆长弗兰斯·哈克斯的英明领导下，博物馆举行了很多展览和活动。自此以后，这个多彩建筑的正能量征服了整个荷兰。

WA：本项目是如何提升公共空间品质的呢？

门迪尼：最近（在落成后20年），博物馆的材料和功能都进行了全面整修。新的视觉语言和气色给了它第二次生命。在荷兰的文化体系中，这座博物馆是最激动人心的试验场，面向科学与大众的工艺美术与设计发展的顶峰。□（尚晋 译）

WA: What is the role of the colour in this project？

Alessandro Mendini （AM）: Each of the different parts that make up this museum has a precise colour dictated by the materials used and the desire to obtain an eclectic piece of architecture when seen as a whole. Te gold tower that contains the storage of the artwork symbolizes the treasure that art is. The pointillist polychrome walls blend in with the surrounding trees. Te large metal sheets by Coop-Himmelblau represent the fanks of ships. Te huge brickwork base refers to its contents， the history of the city. Te light aluminum cylinder on top reminds us of the lightness of the porcelain kept inside. Te list goes on， and all this continues with the interiors，where the palette of colours for the walls was chosen by artists， and where the colours can be changed over time.

WA: What is the most creative and attractive solution？

AM: Perhaps the most precise ideas were two. Te first is having made all the gallery rooms receive only artifcial light. Te second is to have designed a labyrinthine visitor route. These two decisions progressively lead visitors into a strange situation，with unexpected atmospheres， like in a different world.

WA: What was the most difcult part in the process of design？

AM: Te urbanistic decision to position the museum in the most important part of the canal， in the heart of the city， was a highly relevant bone of contention among the citizenry. It involved meetings， debates and political decisions.

WA: What is the feedback from the users and the community？

AM: In the beginning， the most traditionalist part of the public was against it and perplexed. But in little time， the museum became the landmark of the city， and its pride and joy. Exhibitions and activities were many and frequent， thanks to the brilliant Frans Haks， the director at the time. From there，the positive energy of this polychrome piece of architecture won over the whole of Holland.

WA: How did this project improve the quality of the public space？

AM: Recently （20 years after the inauguration）， the whole museum received a facelift in its materials and functions， gifting it with a second life， updated in visual linguistics and imbuing it with new freshness. In the cultural system of the Netherlands，this museum represents one of the most stimulating places for experimentation， and it offers the crest of developments in craft arts and design， both on scientifc and popular levels.

13-24 内景/Interior views

项目信息/Credits and Data

建筑设计/Architectural Design: Alessandro Mendini，Francesco Mendini， Alchimia with Gerda Vossaert and Alex Mocika

合作设计师/Guest Architects: Philippe Starck， Coop-Himmelblau， Michele De Lucchi with Ferruccio Laviani and Geert Koster， Team 4， Albert Geertjes and Geert Koster

翻新设计师/Restoration Architects & Designers: Maarten Baas， Studio Job， Jaime Hayon

施工监理/Construction Supervision: Team 4， Groningen，the Netherlands

承建商/Contractor: Twijnstra Gudde NV， Deventer， the Netherlands

结构工程/Structural Engineering: Ingenieursbureau Wassenaar BV， Haren， the Netherlands

技术系统/Technical Systems: Van Heugten BV， Haren， the Netherlands

照明/Lighting: Piero Castiglioni， Milan

总面积/Total Surface Area: 14，200m2

设计时间/Design Time: 1990

竣工时间/Built Time: 1994

翻新时间/Restoration Time: 2010

摄影/Photos: Photography Erik and Petra Hesmerg （fig. 1-4， 10，12，20，21）， Coop-Himmelb（l）au （fig.8）， Margherita Spiluttini （fg.9）， Marten de Leeuw（fg.11，15-19，23）， Robert Kot （fg.13）， Peter Tahl （fg.14，22，24）

图片/Images and Drawings: Atelier Mendini

特别感谢格罗宁根博物馆对本刊的大力支持。/Special thanks to Groninger Museum for the great support to make this publication possible.

评论

柳亦春：格罗宁根博物馆的再次亮相将我们又带回后现代建筑风格的鼎盛时期。难得一堆响当当且个性强烈的建筑师能凑出这么一座风格统一——一如Alessi设计品店中的某个物件——又如此优雅而且诙谐的建筑。我想一定是细节的品味和素养造就了这座建筑，在简单的几何形体下，可能真的颜色和图案能决定一种空间的质量。视觉艺术并没有将空间抹杀，它能更快速地将人们的情感带入其中。

张利：叙事性的建筑如何摆脱场景化与主题公园的意象，这似乎永远是个难题。由AA的弄潮儿们于1980-1990年代荷兰北部小城所做的这个群组实验也不例外。除了毫不隐晦的对城堡的当代拼贴式勾勒尚有点儿类型学上的启示外，要想在这组建筑中找出更多的21世纪的价值是困难的。色彩的使用对建筑本身的粗糙进行了一定程度的补救，虽然其效果是有限的。

Comment

LIU Yichun: The re-inauguration of Groninger Museum has brought us back in the heydays of postmodern architecture. It is rare to see so many well-known architects with strong personality putting together such an elegant and witty building with， in the end， unifed style， just like a selection of an Alessi design shop. I believe it is the detail of the taste and quality that has created this building. In a simple geometric form， it might be true that colours and patterns determine the quality of space. Visual art does not obliterate the role of space， but instead， attracts people's emotions into it more quickly.

ZHANG Li: How to separate buildings with narrative spaces from theme parks？ Tat is the question. When the daring AA alumni gathered in Groningen， and tried to make this cluster project， they were haunted too by this question. Except for the typological inspiration of the unmistakable reference to a traditional castle which is achieved through collage and abstraction， there is very little to talk about the building in the 21st century today. Te use of colour may have generated some remedies， albeit very limited ones.

Groninger Museum， Groningen， the Netherlands， 1994

Architects & Designers: Alessandro Mendini， Francesco Mendini， Michele de Lucchi， Philippe Starck， Coop-Himmelb（l）au， Maarten Baas， Studio Job， Jaime Hayon