来自

FJMT Studio

.

Appreciation towards

FJMT

Studio

for providing the following description:

The Tasmanian Museum and Art Gallery (TMAG) is of national significance as it is one of the oldest museums and art galleries in Australia and is the primary repository of Tasmanian natural and cultural material collections. Its campus at Constitution Dock on Hobart’s waterfront includes a rich collection of heritage buildings including the Commissariat Store (1808-10), the Private Secretary’s Cottage (1815) and Custom House(1902). These individual buildings are significant in their own right as they are themselves artefacts and are an important part of the TMAG collection. The Stage 1 Redevelopment and Adaptive reuse interweaves the heritage buildings, new contemporary elements and archaeology to reveal what was obscured and compromised and create a rich experience for visitors.

Inspiration is drawn from references of local artefacts and imagery within TMAG’s extensive collection as well as a rigorous response to existing built heritage fabric. What results is an architectural response which successfully integrates intricacies of the existing heritage forms with innovative architectural design. The integration of new contemporary and conservation works were carried out to best practice and in accordance with Burra Charter principles1. The aim was to ‘do as much as necessary but as little as possible’.

Subsequently, new contemporary insertions were carefully refined and crafted. A consistent language for the new work was applied throughout the site to allow for originaland new elements to be distinguished. Upholding a high standard of conservation, the Redevelopment promotes the longevity of a prominent and significant site for Hobart.

建筑师主要通过几个要素来激发历史空间的新活力。

With the Adaptive reuse of TMAG a series of new elements were integrated into the existing heritage fabric to create a coherent museum complex. The new design provides a fully functioning modern facility which incorporates a variety of uses and well considered connected spaces, from office and administration to public and function spaces through to conservation, display and archaeologically significant zones. The focus was to provide public access and reveal new opportunities whilst minimising impact to the existing buildings and surrounding spaces. This included areas which has previously restricted public access due to the configuration and fragile nature of the buildings. For example,sensitive intervention was required in the Bond Store to ensure access and compliance as well as the the implementation of fire protection and services to allow public gallery and museum use.

Previously concealed details and archaeology were uncovered during the construction process and the opportunity to showcase these discoveries was embraced. The project adopted an innovative approach by combining traditional materials and construction methods to repair and adapt. The most significant example is the 1901 roof and central lantern (glazed on four sides) over the Central Gallery which was carefully and meticulously raised one floor level (approx 4m) using a system of synchronised hydraulic jacks and without requiring the roof to be dismantled. This enabled a new mezzanine to be positioned and connect to the adjacent heritage fabric of the Henry Hunter buildings which surround the Central Gallery space. The mezzanine provided new opportunities of connecting between the different museum spaces within Henry Hunter as well as enabling visitors to experience the space as never before.

Another important adaptive reuse was on level 2 flooring of the Bond Store which was patched and repaired with precision craftsmanship to retain the maximum amount of its fabric as well as evidence of its patchwork evolution and previous use.

The carefully articulated suspended timber forms located through the museum  are incrementally rotated planes that provide a contemporary thread of  building fabric thathelps to provide an interpretation and representation of the significant detailed collections.

These forms help orientate visitors as they pass through the many interconnected spaces that form part of the TMAG campus by providing a constant reference point at each destination. The white painted steel spiral staircase is another key insertion into the heritage fabric which connects all levels of the Bond Store and Custom House. There is also a new lift adjacent to this stair connecting these levels. The stair provides a very dramatic experience of a contemporary element against the backdrop of significant heritage fabric within a very confined space. This volume in which the stair sits is enclosed with a glass roof with a layer white fixed louvres below the glass which further elevates the visitors experience within this space.