© Åke E:son Lindman

C.E：Son Lindman

架构师提供的文本描述。自从艺术史学家拉格纳·约瑟夫森(RagnarJosephson)开始收集记录艺术过程的档案以来，大约80年前，Skissernas Musuem、艺术过程和公共艺术博物馆(Museum Of Art Process And Public Art)逐渐发展成为一大群建筑，除了容纳世界上最大的素描收藏外，它还是博物馆身份的重要载体。这是博物馆历史上的第一个延伸，它只涉及它的界面，包括门厅、餐厅、商店和多功能大厅。

Text description provided by the architects. Since Art Historian Ragnar Josephson started to gather an archive documenting the artistic process, about 80 years ago, Skissernas Musuem, Museum of Artistic Process and Public Art, has gradually grown to a large cluster of buildings that, apart from housing the world’s largest collection of sketches, is an important carrier of the identity of the Museum. This is the first extension in the museum’s history that solely addresses its interface, with foyer, restaurant, shop and a multi-purpose hall.

新增加的稍微弯曲的体积是突出到现有的雕塑公园，释放它的抓地力的街道网格，而不是锁定通过公园的对角线方法。这是建筑师汉斯·韦斯特曼1959年设计的入口轴线。新的门厅空间很高，既可以容纳这个既有的木板形成的混凝土体积和公园里生长的树木，也能够站在相当庞大的现有博物馆的旁边。然而，这家新餐厅是因为尊重建筑师约翰·塞尔辛(JohanCelsing)在2005年加入的一项新规定，为了不干预之前扩建的面向公园的大窗户，这家餐厅一直保持低调。从1959年起，原有的入口卷被整合成一个体积、配件、商店和接待处。

The new addition of slightly bent volumes is projecting itself into the existing sculpture park, releasing it’s grip of the street grid and instead latching on to the diagonal approach through the park. This is the axis of entrance that the large extension by architect Hans Westman dated 1959 was designed for. The new foyer space is very tall to take in both this existing board formed concrete volume and the grown trees of the park, but also to be able to stand up next to the rather massive existing museum volumes. The new restaurant, however, is due to respect for a more recent addition by architect Johan Celsing, dated 2005, kept low to not intervene with the previous extension’s large window facing the park. The original entrance volume from 1959 becomes integrated as a volume fitting shop and reception.

© Åke E:son Lindman

C.E：Son Lindman