瑞士圣莫里茨豪泽画廊，融合建筑与艺术的魅力空间

Hauser Wirth St. Moritz is located within an existing building, remodelled by Paris-based architect Luis Laplace. Photography: Katharina Lütscher. Courtesy Hauser Wirth

Art powerhouse Hauser - Wirth has opened a gallery space in the Swiss alpine town of St. Moritz. Paris-based architect Luis Laplace led the interior remodelling of a former retail space at the Palace Galerie to adapt it to Hauser - Wirth’s international exhibiting standards, while also bringing the contextually unique qualities now expected of the global brand. The gallery is Hauser - Wirth’s ninth location internationally and third Swiss location, since its founding in 1992 in Zurich.

艺术发电站豪泽

Laplace’s brief from Manuela and Iwan Wirth, founding directors at Hauser - Wirth, was to transform the two first floors of the existing building owned by Badrutt’s Palace Hotel in the centre of St Moritz into public gallery spaces and a last floor into showrooms for private viewings, with a comfortable space for entertaining.

laplace的简介：manuela和iwanWirth，Hauser创始董事

After working on Hauser - Wirth’s Somerset location in the UK where he converted a series of 18th-century farm buildings into exhibition spaces, and the interior design of the traditional ski chalet space, Le Vieux Chalet in Gstaad, which opened in 2015, Laplace has developed an understanding of the Hauser - Wirth concept, in which architecture and place has played an important role.

在豪泽工作之后

Photography: Katharina Lütscher. Courtesy Hauser - Wirth

摄影：Katharina Lütscher。礼节豪泽

‘While St. Moritz does have a consistent language for certain Hauser - Wirth’s details, it also adapts for a slightly different use,’ says Laplace, who designed the space to reflect its role as a seasonal resort that attracts attention for a shorter period of time and had to be extremely flexible.

而St.Moritz确实对某些HAUSER具有一致的语言

From Mayfair to Downtown LA, one can always expect something special from a Hauser - Wirth gallery, which brings a distinct knowledge of its neighbourhood and local art scene, while injecting something international into the urban fabric, becoming a design destination and an art crowd pilgrimage.

从梅菲尔到洛杉矶市中心，你总能从豪泽那里得到一些特别的东西。

The location of St. Moritz held a special significance to Iwan Wirth, as it was at the Hotel Carlton in 1987, that at the age of 17 he organised his first exhibition with works by Daniel Spoerri, Le Corbusier, and Marc Chagall. Creatively, the town has been known as the home to the Giacometti family and alpine painter Giovanni Segantini, as well as a resort attracting visitors such as Friedrich Nietzsche, Thomas Mann and artists including Gerhard Richter, Julian Schnabel, Richard Long, and Joseph Beuys.

圣莫里茨的位置对伊万·威思(Iwan Wirth)有着特殊的意义，就像1987年在卡尔顿酒店(Hotel Carlton)一样，17岁时，他举办了第一次展览，展出的是丹尼尔·斯波里(Daniel Spoerri)、勒·柯布西耶(Le Cor创造性地说，这座城市被认为是贾科梅蒂家族和高山画家乔瓦尼·塞甘蒂尼的家，也是像弗里德里希·尼采、托马斯·曼以及格哈德·里克特、朱利安·施纳贝尔、理查德·朗和约瑟夫·布伊斯等艺术家的度假胜地。

Photography: Katharina Lütscher. Courtesy Hauser - Wirth

摄影：Katharina Lütscher。礼节豪泽

‘Every site is unique,’ he says of the Hauser - Wirth galleries. ‘I believe that context is crucial for each jobsite, in this particular case [at St. Moritz] we played with the enormous amount of light coming inside the building via the snow’s reflection. We looked into a very special tone and finishes for the wood floor. While the finishes are very sharp, it feels natural to a mountain context. We also added a more mountain chalet approach thanks to soft finishings, materials, textures and fabrics.’

“每个网站都是独一无二的，”他在谈到豪泽时说。

This was far from the scene of the original site: ‘When I first visited the project, I found a three-floor concrete raw shell space, which is the opposite of Hauser - Wirth’s DNA,’ says Laplace. ‘This was a naked building combined with capricious partitions for a gallery’s uses built over time. We needed to transform this set up in rooms where you actually enjoy spending time.’

这与原址的场景相去甚远：“当我第一次参观这个项目时，我发现了一个三层楼高的混凝土原壳空间，这与豪泽正好相反。”

Laplace made a series of edits across the 410 sq m space including reversing a prominent and complicated vertical circulation, to place emphasis into the exhibition spaces. The resulting design allows the stairs to ’disappear’ into the rooms by hiding architectural elements with discreet lower walls or bookshelves. There were other major challenges to overcome. Large windows were also not ideal for the gallery use, ‘allowing excessive light inside and leaving too little space for art hanging’.

拉普拉斯在410平方米的空间上做了一系列的编辑，包括扭转一个突出而复杂的垂直循环，把重点放在展览空间上。所得到的设计允许楼梯通过隐藏具有离散的下壁或书架的建筑构件而“消失”到房间中。还有其他重大挑战要克服。大窗户也不适用于画廊的使用，“允许过度的光线进入内部并留下太少的空间用于艺术悬挂”。

Installation view, ‘Louise Bourgeois. Papillons Noirs’ at Hauser - Wirth St. Moritz. Photography: Stephan Altenburger Photography Zürich. © The Easton Foundation / VAGA at ARS, NY / ProLitteris, Zurich. Courtesy The Easton Foundation and Hauser - Wirth

安装视图，‘路易丝·布尔吉。豪泽

‘I decided to create an internal wall skin that would enable large art walls while keeping the existing façade intact. There was also an internal balcony suspended over three floors, useless for an art gallery. This took a lot of space, so I decided to close one floor, leaving only the first floor open to let natural light flow in the ground floor level,’ he says.

我决定创建一个内墙皮肤，这将使大型艺术墙壁，同时保持现有的外观完整。还有一个内部阳台悬挂在三层楼以上，对艺术画廊来说毫无用处。他说：“这需要很大的空间，所以我决定关闭一层楼，只让一层楼开放，让自然光在底层流动。”

However, the biggest challenge for Laplace was completing the project in just three months: ‘I still cannot believe what we have done in such a short period of time,’ he exclaims.

然而，拉普拉斯面临的最大挑战是在短短三个月内完成该项目：“我仍然无法相信我们在这么短的时间内做了什么，”他感叹道。

His hard work did not go underappreciated and the longstanding collaboration between architect and gallerists has matured further as a result. ‘After we completed the project, Iwan Wirth’s concluded that the St. Moritz gallery is a fusion of a Hauser - Wirth and Laplace universes. I have been working for the gallery, Manuela and Iwan for almost 20 years, so I know them quite well, somehow we’ve developed a deep mutual understanding about the use of art spaces in different sites.’ §

他的艰苦工作没有得到充分的赞赏，建筑师和Gallerists之间的长期合作也进一步成熟了。“在我们完成了这个项目之后，IwanWirth的结论是圣莫里茨画廊是一个HAUSER的融合。”

摄影：Katharina Lütscher。礼节豪泽

“沙龙”，作品从左到右：David Smith，“无题”，1959年；Jean Miró，Femmes et Oiseau dans la Nuit，1946年10月19日；Mark Bradford，“第一降下”，2018年；Philip Guston，“无题”(Wall)，1971年；Louise BourGeois，“无题(手指)”，1999年。安装视图

安装视图，‘路易丝·布尔吉。豪泽

摄影：Katharina Lütscher。礼节豪泽

安装视图，‘路易丝·布尔吉。豪泽