© Liao Yusheng

廖玉生

与大量建筑作品一样，Vitra设计博物馆的故事开始于一场火灾。1981年的一个晚上，一个闪电击中了Vitra的校园，设置了一个地狱，把校园的一半减少到第二天早上闷烧的废墟。在这场灾难的爆发中，维拉会委托一些来自世界各地的著名建筑师，包括安藤忠雄、阿尔瓦罗·西扎和扎哈·哈德(ZahaHaidad)，为建筑物的设计做出贡献，以取代那些在大火中失去的建筑，使20世纪后期的一些著名设计师对一系列项目进行改造。[1]

As with a number of great works of architecture, the Vitra Design Museum’s story began with a fire. One night in 1981, a single bolt of lightning struck the Vitra Campus setting off an inferno which reduced half of the campus to smoldering ruins by morning. In the wake of the devastation, Vitra would commission a number of notable architects from around the world—including Tadao Ando, Alvaro Siza, and Zaha Hadid—to contribute designs for buildings to replace those lost in the blaze, curating a sequence of projects by some of the late 20th Century’s most celebrated designers.[1]

As with a number of great works of architecture, the Vitra Design Museum’s story began with a fire. One night in 1981, a single bolt of lightning struck the Vitra Campus setting off an inferno which reduced half of the campus to smoldering ruins by morning. In the wake of the devastation, Vitra would commission a number of notable architects from around the world—including Tadao Ando, Alvaro Siza, and Zaha Hadid—to contribute designs for buildings to replace those lost in the blaze, curating a sequence of projects by some of the late 20th Century’s most celebrated designers.[1]

盖里对校园的贡献来自于20世纪80年代末。在30年的经营过程中，维特拉积累了大量的椅子和其他家具。该公司最初计划将这些物品放置在一个简单的棚屋式结构中，提供公共展览和存储设施。然而，在设计过程中，这一简单的任务变得更加雄心勃勃；原先设想的私人藏品展示空间演变为Vitra设计博物馆，这是一个致力于研究、传播和推广设计的独立组织。

Gehry’s contribution to the campus came in the late 1980s. Over its (then) three decades in business, Vitra had accumulated a sizable collection of chairs and other pieces of domestic furniture. The company initially planned to house these articles in a simple shed-like structure, providing both public exhibition and storage facilities. During the design process, however, this simple mandate grew more ambitious; what had been envisioned as a display space for a private collection evolved into the Vitra Design Museum, an independent organization dedicated to the research, dissemination and popularization of design.[2]

Gehry’s contribution to the campus came in the late 1980s. Over its (then) three decades in business, Vitra had accumulated a sizable collection of chairs and other pieces of domestic furniture. The company initially planned to house these articles in a simple shed-like structure, providing both public exhibition and storage facilities. During the design process, however, this simple mandate grew more ambitious; what had been envisioned as a display space for a private collection evolved into the Vitra Design Museum, an independent organization dedicated to the research, dissemination and popularization of design.[2]

 © Liao Yusheng

廖玉生

到了20世纪80年代，加拿大裔美国人盖里已经以“解构主义”建筑师的身份而声名大噪。他的作品在当时拒绝了现代主义冰冷的不朽性，而是寻求与周围环境的完整，并创造出与人类尺度更清晰的空间。这种哲学最好的例子可能是他自己在加利福尼亚威尼斯的家，他的家有锯齿状的、斜凸出的链环和玻璃。事实上，他早期的作品几乎完全是由直线和角度组成的，这与他所采用的起伏的雕塑风格大相径庭。只有在维特拉设计博物馆(Vitra Design Museum)-他在欧洲的第一座意识到的建筑-之后，格里的标志性风格才开始出现。

By the 1980s, the Canadian-American Gehry had already made a name for himself as a “Deconstructivist” architect. His body of work by the time rejected the cold monumentality of Modernism, instead seeking integrity with its surroundings and creating spaces that related more clearly to human scale. This philosophy was perhaps best exemplified by his own home in Venice, California, with its jagged, oblique protrusions of chain link and glass. In fact, his early work was almost exclusively composed of straight lines and angles, a far cry from the undulating, sculptural style he has since adopted. It was only with the Vitra Design Museum, his first realized building in Europe, that Gehry’s now signature style began to emerge.[3,4]

By the 1980s, the Canadian-American Gehry had already made a name for himself as a “Deconstructivist” architect. His body of work by the time rejected the cold monumentality of Modernism, instead seeking integrity with its surroundings and creating spaces that related more clearly to human scale. This philosophy was perhaps best exemplified by his own home in Venice, California, with its jagged, oblique protrusions of chain link and glass. In fact, his early work was almost exclusively composed of straight lines and angles, a far cry from the undulating, sculptural style he has since adopted. It was only with the Vitra Design Museum, his first realized building in Europe, that Gehry’s now signature style began to emerge.[3,4]

设计博物馆与德国建筑师格拉姆·恩特·普费尔(GinnterPfeifer)合作进行设计，在Gehry的小规模解构项目和Grander之间，设计博物馆是一个清晰的过渡，他更清楚地了解他的美学。它既不是完全角状，也不是完全弯曲的，而是一种混合物，具有在整个结构中在浅角度相交的两种性质的体积。在白色石膏中完成的倾斜曲线很可能是对位于法国边境附近的LeCorbuiler的巴黎圣母院(NotreDameduHut)的参考。同时，覆盖屋顶和一些墙面的锌合金电镀不仅引用了尼古拉斯·格林肖附近的工厂建筑，而且还呼吁盖赫里的后期作品，这些作品将完全套在抛光的金属中。[5]

Designed in collaboration with German architect Günter Pfeifer, the Design Museum is a clear transition between Gehry’s smaller-scale Deconstructivist projects and the grander, sleeker aesthetic for which he is better known. It is neither fully angular nor fully curved but a mixture, with volumes of either nature intersecting at shallow angles throughout the structure. The sloping curves, finished in white plaster, are likely a reference to Le Corbusier’s Notre Dame du Haut, located nearby across the French border. The zinc alloy plating which covers the roof and some wall planes, meanwhile, not only references a nearby factory building by Nicholas Grimshaw, but calls forward to Gehry’s later works, which would be sheathed entirely in polished metals.[5]

Designed in collaboration with German architect Günter Pfeifer, the Design Museum is a clear transition between Gehry’s smaller-scale Deconstructivist projects and the grander, sleeker aesthetic for which he is better known. It is neither fully angular nor fully curved but a mixture, with volumes of either nature intersecting at shallow angles throughout the structure. The sloping curves, finished in white plaster, are likely a reference to Le Corbusier’s Notre Dame du Haut, located nearby across the French border. The zinc alloy plating which covers the roof and some wall planes, meanwhile, not only references a nearby factory building by Nicholas Grimshaw, but calls forward to Gehry’s later works, which would be sheathed entirely in polished metals.[5]

 © Liao Yusheng

廖玉生

 © Liao Yusheng

廖玉生

大楼内部由四个主要展示展厅、生产区、一个测试实验室、自助餐厅、多用途室和办公室组成。正是这些空间的功能要求决定了构成建筑形式的体积塔、桥梁和立方体的大小，但它们的排列显然是由一种创造空间阴谋感的愿望决定的。[6]除了参考巴黎圣母院之外，还包括曲线。也可能是受到附近的维特拉工厂的启发：焦距元素是柔和的，横扫的曲线。这也许意味着一种集体运动的感觉，适合于一个工业制造的地方。

The interior of the building comprises four main display galleries, production areas, a test laboratory, cafeteria, multi-purpose room, and offices. It is the functional requirements of these spaces that helped to dictate the size of the volumetric towers, bridges, and cubes that compose the form of the building, but their arrangement was evidently dictated by a desire to create a sense of spatial intrigue.[6] The inclusion of curves, beyond referencing Notre Dame du Haut, may also be inspired by the nearby Vitra factory: the focal elements being gentle, sweeping curves. This, perhaps, was meant to imply the feeling of a collective movement, fitting for a place of industrial manufacturing.[7]

The interior of the building comprises four main display galleries, production areas, a test laboratory, cafeteria, multi-purpose room, and offices. It is the functional requirements of these spaces that helped to dictate the size of the volumetric towers, bridges, and cubes that compose the form of the building, but their arrangement was evidently dictated by a desire to create a sense of spatial intrigue.[6] The inclusion of curves, beyond referencing Notre Dame du Haut, may also be inspired by the nearby Vitra factory: the focal elements being gentle, sweeping curves. This, perhaps, was meant to imply the feeling of a collective movement, fitting for a place of industrial manufacturing.[7]

尽管维特拉设计博物馆拥有8000平方英尺(743平方米)的展览空间，但它是世界上致力于设计的领先机构之一。展区位于建筑物的两层，由一系列展厅组成(其中两个展厅由一个戏剧性的螺旋楼梯连接)。上面的屋顶上有一个很大的横线，在灯光下给展位洗澡。主要家具系列最初仅由Vitra首席执行官罗尔夫·费尔鲍姆(Rolf Fehlbaum)的大约200把现代和现代椅子组成，此后已发展到6，000多件家具，包括椅子、餐具、消费电子产品和建筑原型。[8，9，10]

Despite its 8,000 square feet (743 square meters) of exhibition space being relatively modest for a museum, the Vitra Design Museum is nonetheless one of the world’s leading institutions dedicated to design. The display areas occupy two floors of the building, consisting of a series of exhibition halls (two of which connected by a dramatic spiral stairway). A large cross is cut into the roof above, bathing the exhibition spaces in light. The main furniture collection, originally consisting solely of Vitra CEO Rolf Fehlbaum’s approximately 200 Modern and contemporary chairs, has since grown to over 6,000 objects including chairs, cutlery, consumer electronics, and architectural prototypes.[8,9,10]

Despite its 8,000 square feet (743 square meters) of exhibition space being relatively modest for a museum, the Vitra Design Museum is nonetheless one of the world’s leading institutions dedicated to design. The display areas occupy two floors of the building, consisting of a series of exhibition halls (two of which connected by a dramatic spiral stairway). A large cross is cut into the roof above, bathing the exhibition spaces in light. The main furniture collection, originally consisting solely of Vitra CEO Rolf Fehlbaum’s approximately 200 Modern and contemporary chairs, has since grown to over 6,000 objects including chairs, cutlery, consumer electronics, and architectural prototypes.[8,9,10]

 © Liao Yusheng

廖玉生

维特拉设计博物馆于1989年向公众开放，近三十年来一直受到广泛赞誉。它流畅的、动态的、相互关联的体积构成给人留下了一种瞬间而持久的印象；建筑作家兼评论家保罗·海耶(Paul Heyer)称赞这座建筑，称其为“外部白色形态的不断变化的漩涡，似乎彼此之间没有明显的联系，其内部是动态而强大的相互作用，反过来又直接表现了外部的旋涡。”作为一个整体，它将自己分解成一个相互交织的连贯展示。[11]对盖里本人来说，维特拉设计博物馆代表了一种改变生命的顿悟：“我喜欢我在素描时所能做的造型，而我从未想过我会在一栋建筑里这样做。”我建立的第一件事是德国的维特拉。“[12]无论你对盖里独特的建筑风格采取何种立场，都不能否认它已经成为一种全球性的轰动-它诞生于德国一个隐蔽角落的一个工厂校园里的一个中等大小的博物馆里。

The Vitra Design Museum opened its doors to the public in 1989 and has enjoyed widespread acclaim in the almost three decades since. Its fluid, dynamic composition of interconnected volumes made an instant and lasting impression; architectural writer and critic Paul Heyer lauded the building, describing it as “a continuous changing swirl of white forms on the exterior, each seemingly without apparent relationship to the other, with its interiors a dynamically powerful interplay, in turn directly expressive of the exterior convolutions. As a totality it resolves itself into an entwined coherent display.”[11] For Gehry himself, the Vitra Design Museum represented a life-altering epiphany: “I love the shaping I can do when I’m sketching and it never occurred to me that I would do it in a building. The first thing I built of anything like that is Vitra in Germany.”[12] Whatever stance one takes on Gehry’s unique architectural style, it cannot be denied that it has become a global sensation – a sensation which was born in a modestly-sized museum in a factory campus in a discreet corner of Germany.

The Vitra Design Museum opened its doors to the public in 1989 and has enjoyed widespread acclaim in the almost three decades since. Its fluid, dynamic composition of interconnected volumes made an instant and lasting impression; architectural writer and critic Paul Heyer lauded the building, describing it as “a continuous changing swirl of white forms on the exterior, each seemingly without apparent relationship to the other, with its interiors a dynamically powerful interplay, in turn directly expressive of the exterior convolutions. As a totality it resolves itself into an entwined coherent display.”[11] For Gehry himself, the Vitra Design Museum represented a life-altering epiphany: “I love the shaping I can do when I’m sketching and it never occurred to me that I would do it in a building. The first thing I built of anything like that is Vitra in Germany.”[12] Whatever stance one takes on Gehry’s unique architectural style, it cannot be denied that it has become a global sensation – a sensation which was born in a modestly-sized museum in a factory campus in a discreet corner of Germany.

[1]Fiederer，卢克。“广告经典：维特拉消防局/扎哈哈迪德”建筑日报。2016年4月21日[进入]。[2]“校园建筑设计师-维特拉设计博物馆”。维特拉。2017年3月19日[进入]。[3]“Frank Gehry”大英百科全书。2016年11月23日[进入]。[4]“Vitra国际制造设施和设计博物馆”。古根海姆博物馆。2017年3月18日[进入]。[5]Parvin，Nami。“维特拉设计博物馆和工厂弗兰克盖里”阿奇奥。2017年2月20日[进入]。[6]帕文。[7]“Vitra国际制造设施和设计博物馆”[8]“关于我们”。维特拉设计博物馆。2017年3月18日[进入]。[9]“Vitra国际制造设施和设计博物馆”，[10]Santana，Saida。维特拉设计博物馆：设计与建筑的重要空间。Azureazure2017年3月19日[进入]。11 Parvin。

[1] Fiederer, Luke. "AD Classics: Vitra Fire Station / Zaha Hadid." ArchDaily. April 21, 2016. [access]. [2] "Campus Architektur - Vitra Design Museum." Vitra. Accessed March 19, 2017. [access]. [3] "Frank Gehry." Encyclopædia Britannica. November 23, 2016. [access]. [4] "Vitra International Manufacturing Facility and Design Museum." Guggenheim Museum. Accessed March 18, 2017. [access]. [5] Parvin, Nami. "Vitra Design Museum and Factory | Frank Gehry." Arch2O. February 20, 2017. [access]. [6] Parvin. [7] “Vitra International Manufacturing Facility and Design Museum.” [8] "About Us." The Vitra Design Museum. Accessed March 18, 2017. [access]. [9] “Vitra International Manufacturing Facility and Design Museum.” [10] Santana, Saida. "Vitra Design Museum: A Vital Space for Design and Architecture." Azureazure. Accessed March 19, 2017. [access]. [11] Parvin.

[1] Fiederer, Luke. "AD Classics: Vitra Fire Station / Zaha Hadid." ArchDaily. April 21, 2016. [access]. [2] "Campus Architektur - Vitra Design Museum." Vitra. Accessed March 19, 2017. [access]. [3] "Frank Gehry." Encyclopædia Britannica. November 23, 2016. [access]. [4] "Vitra International Manufacturing Facility and Design Museum." Guggenheim Museum. Accessed March 18, 2017. [access]. [5] Parvin, Nami. "Vitra Design Museum and Factory | Frank Gehry." Arch2O. February 20, 2017. [access]. [6] Parvin. [7] “Vitra International Manufacturing Facility and Design Museum.” [8] "About Us." The Vitra Design Museum. Accessed March 18, 2017. [access]. [9] “Vitra International Manufacturing Facility and Design Museum.” [10] Santana, Saida. "Vitra Design Museum: A Vital Space for Design and Architecture." Azureazure. Accessed March 19, 2017. [access]. [11] Parvin.

德国建筑师弗兰克·盖里参考维特拉设计博物馆，保罗·海耶项目年照片廖玉生类画廊

Architects Gehry Partners Location Weil am Rhein, Germany Architect Frank Gehry References Vitra Design Museum, Paul Heyer Project Year 1989 Photographs Liao Yusheng Category Gallery

Architects Gehry Partners Location Weil am Rhein, Germany Architect Frank Gehry References Vitra Design Museum, Paul Heyer Project Year 1989 Photographs Liao Yusheng Category Gallery