项目概况:
建筑设计:KVDK architecten
地点:荷兰(Keukenhof, Stationsweg 166A, 2161 AM Lisse, The Netherlands)
主持建筑师:Arie Korbee
建筑面积:2140.0 m2
完工时间:2018
照片版权:Sjaak Henselmans, Ronald Tilleman, Paul Kozlowski
 
项目简介:
从乡村庄园到文化公园
库肯霍夫(Keukenhof)以其花园盛名。于1950年和1958年的国家花卉展览期间奠基,这个花园是历史悠久的库肯霍夫庄园的一部分。这个庄园,其历史追溯到1658年,设有一个带人工堤坝的梯田花园,在当时的荷兰十分少见。1860年整个公园由著名的父子景观设计组合 J.D 和 L.P Zocher 重新设计。这个庄园自此获得国家遗产的地位,在2010年的整体规划中,库肯霍夫城堡周围的地区被指定为“文化公园”。
 
库肯霍夫文化公园总体规划
这个整体规划,高于一般博物馆的功能,旨在保存庄园的历史背景同时带来新的动力。KVDK 建筑事务所最终将博物馆的概念转化成一个符合场地的混凝土体量设计。一个巧妙而复杂的策略将博物馆设置于历史上堤防的核心区,从而占据景观、历史梯田、开放的沙滩区域以及树木茂密的沙丘之间的枢纽位置。紧密的协商过程和仔细的测量过程让博物馆的选址得到了荷兰文化遗产部门的许可,这个部门是负责监督国家古迹的政府机构。
 
创新和与众不同
规划中做为文化元素的博物馆本身由 VandenBroek 基金会赞助。这个由拥有 Dirk 连锁超市的 Jan Van de Broek 家族成立的基金会,委托了 KVDK 建筑事务所的 Arie Korbee 来设计一个小型当代日光博物馆。项目要求,以及场地的历史性带来的限制,让这个建筑呈现出内敛的表达方式。竖立于公园的树林中,且没有过渡地带。室内空间灵活,符合基金会本身关于食品和消费主题的展览需求,且给未来的临时展览带来可能。同时,画廊可以被横向分割,而大楼梯也可以作为展览区域和座位。路线根据古根海姆原则,游客从最高层开始,跟随展览一层层向下移动,空间是流畅连贯的。
 
路线建筑
“路线建筑”让游客穿过不同层高的空间、不经意地走过光线充足的、和外部景观结合的角落。这种光线和景观的不断变化带来多样的气氛。在建筑的核心区,两条实现可以汇聚到一个玻璃走道上,游客可以和大自然接触,并通过角落的窗户欣赏到城堡的壮丽降色。这个窗户的垂直排布,成为了城堡窗户的现代诠释,简单的几何形状和棱角折射闪耀的光线。对于黄金分割有了解的人可以认出窗户中所包含的比例设计。在外部,微妙地呼应了客户的背景,一个公共的路线穿过建筑,让游客可以以“橱窗购物”的形式感受博物馆的藏品。
 
在利瑟艺术博物馆,艺术,建筑和自然形成了一个整体的体验。
 
谦虚和热情
该建筑由两个主要体量组成。一个体量嵌入堤坝中并支撑上部“浮动”的另一个体量。悬臂由四根树状柱子高高举起。建筑的外观由细长和土色的 Petersen 砖组成,低调和材料的单一化与周围的树林相呼应。锐角的长立面于博物馆南面的道路平行。在入口处,堤坝和雨篷之间的巨大玻璃幕墙让建筑的核心向游客们敞开。这种透明度让堤坝本身仍然完全可见。
 
建筑内,赤陶土色的地砖带着游客从两块粗糙的深色石墙内走向更明亮的楼层,这也模仿了在堤坝内的空间体验。
 
全面的可持续性
这个建筑采用了多种智能、被动可持续性设计。例如宽敞的玻璃入口,让日光进入展览空间,因此减少了窗户数量的要求,也简化了气候控制。博物馆仓库在堤坝中心,因此无需冷却和遮挡系统。同时还有多个可持续设计:热能储存、厕所废水处理系统和一个步入式绿色屋顶。
 
高价值的藏品需要高性能的建筑服务系统和安全系统,包括绝缘良好、低热透射率的建筑外壳。每个展览空间都配备了制动空调和 LED 灯。大量的过滤日光有助于减少能源消耗,同时提供更自然的博物馆体验。嵌入堤坝,材料选择和绿色屋顶相结合,也为博物馆提供了坚固耐用的外观。
 
每个人的艺术博物馆
该博物馆将于2018年底向公众开放。参观 LAM 的一个特点就是将观看和探索结合一体。博物馆的应用程序帮助所有年龄段的人都有订制的体验,艺术作品从古典静物到超现实主义图像,装置,视频和数字艺术。所有的艺术作品都与博物馆的主题有关:食物和消费。



Urban Design:Rho
Installations Advisor:Deerns Raadgevende Ingenieurs B.V.
Design Team:Wim van der Ham, Tim Stolwijk, Guido Kaas, Albert van der Niet
 
Contractor:IBB Kondor B.V.
Constructor:Constructiebureau Bogaards
Client:VandenBroek Foundation

From country estate to cultural park
The Keukenhof is famous around the world for its flower garden. Laid out between 1950 and 1958 for a National Flowering Bulb Exhibition, the garden is part of the grounds of the historical Keukenhof country estate. Dating from 1658, it featured a terraced garden with an artificial dike, unique in the Netherlands at that time. In 1860 the entire park was redesigned by the celebrated father and son landscape architects J.D. and L.P. Zocher. The estate has since been accorded national heritage status. In a masterplan drawn up in 2010, the area around Keukenhof Castle was designated a ‘cultural park’.
 
 
Keukenhof cultural park masterplan
The aim of the masterplan, which encompassed the possibility of a museum, was to give the estate new impetus while respecting the historical context. The museum option was eventually translated into a specific site and concrete form by KVDK architects. One ingenious but also complicated strategy involved placing the foundations in the historical dike core, thereby making the museum the pivot point between a landscaped approach, the historical terraced landscape, the open sandy area and the wooded dune ridge. Intensive consultation and careful dimensioning ensured that the plan for a museum on this sensitive spot was wholeheartedly embraced by the Cultural Heritage Agency of the Netherlands, the government body that oversees the register of national monuments.
 
 
New and different
The VandenBroek Foundation established by the Jan Van den Broek family, founders of the well-known Dirk supermarket chain, decided to take on the museum element of the cultural project and commissioned architect Arie Korbee of KVDK architects to design a small-scale, contemporary daylight museum. This brief, together with the constraints imposed by the cultural and natural-history character of the location, has resulted in a modern building with a restrained architectural expression. The building rises up unannounced from among the trees in the park: there are no transitional zones. The interior was required to be flexible to allow the foundation’s food- and consumption-oriented collection to alternate with future loan exhibitions. Accordingly, the galleries can be divided widthways and the grand staircases can be used as both exhibition space and seating. The routing follows the Guggenheim principle, whereby visitors start at the highest point and automatically pass through all the exhibition spaces as they descend - a fluid movement that provides spatial continuity.
 
 
Route architecturale
The ‘route architecturale’ meanders through high- and low-ceilinged spaces and past unexpected areas of daylight that engage explicitly wth the park landscape. The variation in daylighting and views out makes for a constantly changing atmosphere. In the heart of building two sight lines converge on a glass walkway from where visitors have contact with nature on all sides and, via a corner window, a marvellous view of the castle. This window, flanked by the modern equivalent of cathedral windows with their vertical articulation, produces a sparkling play of light in the angle of the simple geometrical form. Aficionados will recognize the golden section in the various proportions. Outside, in a subtle reference to the client’s background, a public path wends its way through the building, giving visitors a shop-window foretaste of the museum’s treasures.
In the Lisser Art Museum art, architecture and nature are experienced as a single whole.
 
 
Modest and welcoming
The building consists of two main volumes. One volume is embedded in the dike and supports the upper, ‘floating’ volume. The cantilever is borne aloft by just four, tree-like columns. The understated, monolithic materialization of the exterior, which is attuned to the surrounding wood, consists of elongated, earth-coloured Petersen bricks. The acute-angled long elevation runs parallel to the road to the south of the museum. At the entrance, the dike core opens up in a generous welcoming gesture via a glass curtain wall placed between the huge awning and the cutaway dike. Thanks to this transparency the dike remains fully visible. The experience of being inside a dike is reinforced upon entering where a floor of terracotta-coloured bricks leads the visitor between two rough dark stone walls towards the daylight and the lighter materialization of the upper floors.
 
 
Sustainable in every degree
The design features several smart, passive sustainable solutions. The spacious glazed entrance, for example, diffuses the daylight in the exhibition spaces, thereby reducing the number of windows needed and simplifying climate control. The museum depot is in the heart of the dike so that there is no need for cooling or shading. There are active sustainable measures as well: thermal energy storage, a grey water system for toilets, and a walk-on green roof.
 
 
The valuable collection items require high-performance building services and security systems, including an extremely well-insulated, low thermal transmittance building envelope. Every exhibition space is equipped with occupancy-reactive air-conditioning and LED lighting. The abundance of filtered daylight helps to reduce energy consumption while also making for a more natural museum experience. The embedding in the dike, the choice of materials and the green roof combine to lend the museum a robust appearance built to endure.
 
 
Museum of art for everyone
The museum will be open to public by the end of 2018. A key feature of a visit to the LAM is the experience of viewing and exploring together. With the aid of the museum’s special phone app, people of all ages can enjoy a personal tour of some exciting artworks ranging from classical still lifes and hyperrealistic images to installations, videos and digital art. All the artworks are related to the main theme of the museum: food and consumption.
 
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