阿克伦艺术博物馆 | 未来博物馆的新视角

自16世纪鲁道夫二世和费迪南德二世的珍奇屋（“Wunderkammer”）以来，出现了博物馆的概念。蓝天组通过阿克伦艺术博物馆，发展了一个新的博物馆概念：“未来博物馆”。

The concept of museums has changed radically since the cabinet of curiosities (“Wunderkammer”) of Rudolf II and Ferdinand II in the 16th century. With the Akron Art Museum, we developed a new museum concept:  “a Museum of the Future”.

▼项目概览，overall of the project

引言

Quote

博物馆和城市空间的结合，共同形成了新型文化中心。今天的博物馆不再只是一个储存和展示知识的机构，它是一个城市概念。未来博物馆是城市中的一个三维标志，展示着我们的视觉世界。它们不仅仅是各种形式的数字和模拟视觉信息的展览空间，它们还可以作为一种城市体验。这意味着艺术应该能够从建筑中流出，而城市应该能够流入其中。这个区域变成了一个多功能空间，各种类型的人都可以在这里见面并举办各种不定期的活动。与其去博物馆只是为了欣赏艺术，还鼓励游客参与艺术演讲、参加音乐音乐会和艺术节，或者只是到这里逛逛打发零星的时间。因此，我们的设计既是一个城市连接器，也是一个目的地。

▼概念草图，concept sketch

The conventional functions of a museum and an urban space form together a new type of cultural center. The museum of today is no longer conceived only as an institution for storage and display of knowledge, it is an urban concept. The museum of the future is a three-dimensional sign in the city, which exhibits the content of our visual world. More than exhibition spaces that display diverse forms of digital and analog visual information, they function as spaces that cater to urban experiences. This means that art should be able to flow out of the building, and the city to flow inside. This zone becomes a hybrid space where various types of people can meet and unexpected events occur. Rather than going to the museum simply to look at art, visitors are encouraged to engage in artistic discourse, attend music and arts festivals, or simply pass the time until an appointment. Our design is therefore an urban connector as well as a destination point.

▼项目鸟瞰，aerial view of the project

阿克伦艺术博物馆是对现有博物馆结构的扩建，由三部分组成：水晶体结构、中心画廊和云屋顶。水晶体部分作为主入口，起到了引导与连接新老建筑的作用，它宽敞、灵活，可以为其他机构提供场地，用于举办宴会、艺术节等各种活动。

▼云屋顶结构示意图，schematic diagram of roof cloud structure

The building, an addition to an existing museum structure, is comprised of three parts: the Crystal, the Gallery Box, and the Roof Cloud.The Crystal, which is the main entrance, provides orientation and connection between the old and new parts of the building. It is the access area for public resources such as the lecture hall, classroom, library, café, and bookstore.

▼主入口，main entrance

▼扩建结构与原美术馆建筑之间形成富有视觉冲击力的对比，the extension provides a visual contrast to the original gallery building

中心画廊的内部空间宽敞、柱子极少，空间非常灵活，可以满足不同的展览需求。一台大型的货运电梯将卸货区与画廊连接起来，方便超大尺寸的作品进出仓储区域。画廊中没有自然采光，避免了阳光对展品的破坏。且使得空间内的光环境得到了严格的控制。悬于建筑上方的云屋顶以其物质体量的纯粹，模糊了博物馆建筑的边界。同时，作为城市的一座水平地标，它围合着室内空间并为室外环境提供荫蔽。

▼云屋顶结构示意图，schematic diagram of roof cloud structure

▼云屋顶尺度对比，roof cloud size comparison

The interior of the Gallery Box is an expansive space that has very few columns and is therefore extremely flexible for varying exhibition requirements. A large freight elevator brings oversized works to and from the storage areas and serves as a link between the loading dock and the Gallery Box. Natural light is eliminated in the galleries so that it can be strictly controlled, and damage from sunlight can be eliminated. The Roof Cloud, which hovers above the building, creates a blurred envelope for the museum because of its sheer mass and materiality. It encloses interior space, provides shade around the museum, and operates as a horizontal landmark in the city.

▼主入口立面，front facade

节能概念

Energy Concept

通过有策略地控制建筑体量以及利用日照，水晶体部分因照明、采暖及降温所消耗的能源被降到了最低。水晶体部分利用区域微气候的理念来调节温度，将能源集中用于人员所在的区域而不是整个空间，以此显著降低运作成本以及能耗。

▼水晶体结构剖面，section of the crystal structure

▼水晶体结构展开图，surface of the crystal structure

The necessary energy for lighting, heating, and cooling of the Crystal is minimized by strategic positioning of thermal mass in conjunction with extensive daylighting. The lobby utilizes microclimate zones as a heating and cooling concept. These different zones are determined by analyzing the type and anticipated length of occupancy in various areas of the Crystal and are conditioned through optimization of active and passive means. By eliminating the need to condition the entire air volume in the Crystal, and by focusing the energy used to condition the space in the areas where people are located, operating costs and energy use are significantly reduced.

▼水晶体结构，the crystal structure

▼水晶体作为主入口，起到了引导与连接新老建筑的作用，

the crystal structure serves as the main entrance, guiding and connecting the old and new

温度调节

Heating and Cooling with Building Mass

中心画廊与水晶体部分的楼板由铺设了冷热水管的现浇混凝土制成，并以此来调节室内温度。这种地板辐射系统比简单的强制空气调节系统更高效，因为它使用混凝土本身作为储热设备，为室内提供了一个稳定、持续的温控源。

▼大堂节能分析，lobby energy concept

The Crystal and gallery floors are composed of poured in place concrete slabs with water-filled tubes that supply heating and cooling by changing the temperature state of the massive floor slab. This radiant floor system is more efficient than simple forced air systems because it uses the mass of the concrete as a storage device that delivers a stable continuous source of heating and cooling.

▼大堂室内概览，overall of the lobby

▼室内平台，interior terrace

▼中心画廊与水晶体部分的楼板由铺设了冷热水管的现浇混凝土制成，

the Crystal and gallery floors are composed of poured in place concrete slabs with water-filled tubes

▼由楼梯看入口大堂，viewing the lobby from the stairs

日照

Daylighting

中心画廊和高屋顶的体量与位置使南向的水晶体免受阳光直射。同时，幕墙材料的反射率提高了水晶体中的自然光水平，降低了人工照明的需求。

The mass and location of the Gallery Box and Roof Cloud protect the southern oriented Crystal glazing from direct sunlight. At the same time, the reflectivity of the façade material raises natural light levels in the Crystal and reduces the need to power artificial light sources.

▼夜景，night view

▼施工过程，construction process

▼模型，model

▼总平面图，master plan

▼地面层平面图，ground floor plan

▼二层平面图，second floor plan

▼剖面图，sections

项目团队

业主：Akron Art Museum, Akron, Ohio, USA

规划设计：蓝天组建筑事务所 COOP HIMMELB(L)AU—Wolf D. Prix, Helmut Swiczinsky+Partner ZT GmbH

主持设计师：沃尔夫· 狄· 普瑞克斯 Wolf D. Prix

项目合伙人：Michael Volk

建筑设计师：Tom Wiscombe, Mona Marbach 
项目建筑师：Angus Schoenberger

团队成员： Mona Bayr, Marcelo Bernadi, Lorenz Bürgi, Mohamed Fezazi, Robert Haranza, Daniela Kobel, Dan Narita, Florian Pfeifer, Dionicio Valdez, Philip Vogt

执行建筑师：Westlake, Reed, Leskosky, Cleveland,Ohio, USA

结构工程：B+G Ingenieure, Bollinger and Grohmann GmbH, Frankfurt, Germany; De Simone ConsultingEngineers, San Francisco, USA

机械工程：IBE Consulting Engineers, Los Angeles, USA

声学工程：Arup Acoustics, New York, USA

照明设计：George Sexton Associates, Washington DC, USA

项目大事记

竞赛（首奖）：2001

项目规划启动：2002

工程启动：2004

项目启用：2007

项目参数

基地面积：8,370 m²

总使用面积： 8,244 m²

改造建筑使用面积：2,367 m²

新建建筑使用面积：5,877 m²

原有博物馆高度：16.76 m

新建建筑高度

中心画廊：11.25 m     屋顶：17.5 m   水晶体结构：17.5 m

建筑长度最大值：76 m（中心画廊）

建筑宽度最大值：38 m（中心画廊）

AKRON ART MUSEUM PROJECT TEAM

Client: Akron Art Museum, Akron, Ohio, USA

Planning：COOP HIMMELB(L)AU—Wolf D. Prix, Helmut Swiczinsky+Partner ZT GmbH

Design Principal：Wolf D. Prix

Project Partner：Michael Volk

Design Architects：Tom Wiscombe, Mona Marbach 
Project Architect：Angus Schoenberger

Project Team：Mona Bayr, Marcelo Bernadi, Lorenz Bürgi, Mohamed Fezazi, Robert Haranza, Daniela Kobel, Dan Narita, Florian Pfeifer, Dionicio Valdez, Philip Vogt

Executive Architect：Westlake, Reed, Leskosky, Cleveland,Ohio, USA

Structural Engineering：B+G Ingenieure, Bollinger and Grohmann GmbH, Frankfurt, Germany; De Simone ConsultingEngineers, San Francisco, USA

Mechanical Engineering：IBE Consulting Engineers, Los Angeles, USA

Acoustical Engineering：Arup Acoustics, New York, USA

Lighting Design：George Sexton Associates, Washington DC, USA

CHRONOLOGY

Competition(1st Prize)：2001

Start of Planning：2002

Start of Construction：2004

Completion：2007

PROJECT DATA

Site Area：8,370 m²

Total Usable Floor Area： 8,244 m²

Existing Building (Renovation) Usable Floor Area：2,367 m²

Extention(New Construction) Usable Floor Area：5,877 m²

Building Height Exist8ing Museum：16.76 m

Building Height New Building

Gallery Box：11.25 m     Roof：17.5 m   Crystal：17.5 m

Max. Building Length：76 m（Gallery Box）

Max. Building Width：38 m（Gallery Box）