奇普菲爾德建筑師展示了柏林新國家美術(shù)館的更新，Chipperfield Architects在德國柏林的 Neue Nationalgalerie展示了其標志性現代主義建筑的翻新工程。

你無(wú)需成為建筑學(xué)者即可了解柏林的 Neue Nationalgalerie。該博物館由路德維?！っ芩埂し驳铝_設計并于 1968 年開(kāi)放，不僅是德國城市的重要文化目的地，擁有豐富的現代藝術(shù)收藏品，而且還是 20 世紀現代主義的全球標志。但自最初開(kāi)放以來(lái)，多年的使用和沒(méi)有重大的翻新工程使得這座開(kāi)創(chuàng )性的建筑需要更新。輸入大衛·奇普菲爾德和他的團隊在奇普菲爾德建筑事務(wù)所，并會(huì )場(chǎng)剛剛重新開(kāi)放經(jīng)過(guò)廣泛，六年之久的改款。?

建筑師們使用了具有里程碑意義的建筑簡(jiǎn)潔、幾乎簡(jiǎn)約的 形式，成為其創(chuàng )造者所代表的國際風(fēng)格的象征——玻璃包裹的低矮、正交形狀，使用網(wǎng)格、金屬和混凝土，這是當時(shí)的先驅。這也是密斯凡德羅在現代主義移民美國之前在歐洲實(shí)現的唯一項目。

建筑師解釋說(shuō)，翻新工程包括主體結構的內部和外部以及室外 雕塑花園，優(yōu)先考慮“最小的視覺(jué)妥協(xié)”。功能和技術(shù)更新范圍從空調、照明和安全維修，到重新設計咖啡館、博物館商店、殘疾人通道和藝術(shù)處理基礎設施。然而，對建筑物原始結構的干預盡可能保持輕巧。

'拆開(kāi)如此權威的建筑是一種奇怪的經(jīng)歷，但卻是一種特權。新國家美術(shù)館是我和許多其他建筑師的試金石。從它的外觀(guān)背后看，它的天才和缺陷都暴露無(wú)遺，但總的來(lái)說(shuō)，它只會(huì )加深我對密斯遠見(jiàn)卓識的欽佩。因此，我們的工作本質(zhì)上是外科手術(shù)，解決了保護這一愿景的技術(shù)問(wèn)題。當然，在一座沒(méi)有地方躲藏的建筑物中執行這樣的任務(wù)是令人生畏的，但我們希望這位心愛(ài)的病人除了運行更順暢外，似乎沒(méi)有受到任何影響，”大衛奇普菲爾德說(shuō)。?

除了與建筑工程相關(guān)的建筑慶?；顒?dòng)外，重新開(kāi)放還將在畫(huà)廊的廣闊空間中推出許多新的展覽和展示——其中一個(gè)重點(diǎn)是美國雕塑家亞歷山大·考爾德。

英文版

Chipperfield Architects reveals refresh of Neue Nationalgalerie in Berlin,Chipperfield Architects reveals its refurbishment of the iconic modernist architecture at the Neue Nationalgalerie in Berlin, Germany.

you don’t need to be an architecture scholar to know of the Neue Nationalgalerie in Berlin. Designed by Ludwig Mies van der Rohe and opened in 1968, the museum is not only a key cultural destination within the German city, holding a rich collection of modern art, but it is also a global icon of 20th century modernism. But years of use and no major renovation works since its original opening left this seminal building in need of an update. Enter David Chipperfield and his team at Chipperfield Architects, and the venue has just reopened following an extensive, six-year-long facelift.?

The architects worked with the landmark piece of architecture’s clean, almost minimalist form that became emblematic of the International Style its creator represents – a glass-wrapped low, orthogonal shape using grids, metal and concrete that was pioneering for the time. It is also the only project by Mies van der Rohe to be realised in Europe, before the modernist emigrated to the USA.

The refurbishment works include the interior and exterior of the main structure as well as its outdoor sculpture gardens, prioritising ‘a(chǎn) minimum of visual compromise,’ explain the architects. Functional and technical updates ranged from air-conditioning, lighting and security repairs, to redesigning the café, museum shop, disabled access and art handling infrastructure. Intervention to the original fabric of the building, however, was kept as light as possible.

‘Taking apart a building of such unquestionable authority has been a strange experience but a privilege. The Neue Nationalgalerie is a touchstone for myself and many other architects. Seeing behind its exterior has revealed both its genius and its flaws, but overall it has only deepened my admiration for Mies’ vision. Our work was therefore surgical in nature, addressing technical issues to protect this vision. Certainly carrying out such a task in a building that leaves no place to hide is daunting, but we hope to have returned this beloved patient seemingly untouched except for it running more smoothly,’ says David Chipperfield.?

Apart from the architectural celebrations linked to the building works, the reopening also sees the launch of a number of new exhibitions and displays in the gallery’s vast spaces – including one focusing on American sculptor Alexander Calder.?