© Sjaak Henselmans

(Sjaak Henselman)

从乡村庄园到文化公园，科肯霍夫以其花圃闻名世界。这座花园是在1950年至1958年期间为一次全国开花灯泡展览而布置的，是历史上的科肯霍夫乡村庄园的一部分。从1658年开始，它的特色是一个梯田花园，有一个人造堤坝，在当时的荷兰是独一无二的。1860年，整个公园由著名的父子景观设计师J.D.和L.P.Zocher重新设计。此后，该遗产被授予国家遗产地位。在2010年制定的一份总体规划中，科肯霍夫城堡周围的地区被指定为“文化公园”。

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’.

 © Sjaak Henselmans

(Sjaak Henselman)

文化公园总体规划的目的是在尊重历史背景的同时，给遗产注入新的动力，包括博物馆的可能性。博物馆的选择最终被KVDK建筑师翻译成一个特定的地点和具体的形式。一个巧妙但也很复杂的策略是在历史的堤坝核心上放置地基，从而使博物馆成为景观设计、历史梯田景观、开阔沙地和树木茂密的沙丘山脊之间的枢纽点。密集的协商和仔细的尺寸规划确保在这一敏感地点建立博物馆的计划得到荷兰文化遗产局的全力支持，该机构是监督国家古迹登记的政府机构。

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.

 © Ronald Tilleman

罗纳德·蒂尔曼

由著名的德克连锁超市创始人简·范登布鲁克家族建立的新的和不同的范登布鲁克基金会，决定承担文化项目的博物馆元素，并委托kvdk建筑师的建筑师Arie korbee设计一个小型的当代日光博物馆。这一简略，加上地理位置的文化和自然历史特征所施加的限制，形成了一座建筑表现有限的现代建筑。这座建筑是在公园的树木中突然升起的：没有过渡区。内部需要灵活，以允许基金会的食品和消费为导向的收集，以替代未来的贷款展览。因此，画廊可以划分为宽通道，大楼梯可以用作展览空间和座位。路线遵循古根海姆原则，游客从最高点开始，在下降时自动穿过所有展览空间-一种提供空间连续性的流动运动。

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.

 © Sjaak Henselmans

(Sjaak Henselman)

 Circulation

路线建筑-“路线建筑”在高低天花板的空间中蜿蜒而行，穿过那些明显融入公园景观的意料之外的日光区域。采光和视野的变化造就了一种不断变化的气氛。在建筑的中心，两条视线汇合在一条玻璃人行道上，从那里游客可以接触到四周的自然，通过一个角落的窗户，可以看到城堡的奇观。这扇窗户以现代的大教堂窗户为侧翼，垂直连接，在简单的几何图形的角度上产生了亮丽的光的效果。狂热者会以不同的比例认识黄金部分。在外面，在一个微妙的参考客户的背景下，一条公共道路蜿蜒穿过大楼，让参观者在商店橱窗前品尝到博物馆的珍宝。在李塞尔艺术博物馆中，建筑和自然是一个整体。

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.

 © Ronald Tilleman

罗纳德·蒂尔曼

谦逊和欢迎的建筑由两大部分组成。一个体积嵌入在堤坝和支持上，‘浮动’的体积。悬臂仅由四根树状的柱子支撑.外表的一种低调、整体的物化，与周围的木材相协调，由细长的土色彼得森砖组成。尖角的长高与博物馆南面的道路平行。在入口处，堤坝的核心打开了一个慷慨的欢迎姿态，通过一个玻璃幕墙放置在巨大的遮阳和切割堤坝之间。由于这种透明度，堤坝仍然完全可见。进入堤坝后的体验会得到加强，在那里，一层赤褐色的砖块会让游客在两堵粗糙的暗色石墙之间，朝着日光和更轻的上层物化的方向前进。

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.

 © Ronald Tilleman

罗纳德·蒂尔曼

在每个程度上的可持续设计特点是几个聪明，被动的可持续解决方案。例如，宽敞的玻璃入口处使展览空间中的日光扩散，从而减少了所需窗户的数量，并简化了气候控制。博物馆仓库位于堤坝的中心，因此不需要冷却或遮阳。也有积极的可持续的措施：热能储存，一个灰色的厕所水系统，和一个步行的绿色屋顶。

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.

 © Sjaak Henselmans

(Sjaak Henselman)

这些珍贵的藏品需要高性能的建筑服务和安全系统，包括一个隔热性极强、热透光率极低的建筑围护结构。每一个展览空间都配有专用空调和LED照明。丰富的过滤日光有助于减少能源消耗，同时也创造了一个更自然的博物馆体验。嵌在堤坝中，材料的选择和绿色屋顶的结合，使博物馆的外观坚固耐用。

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.

 © Ronald Tilleman

罗纳德·蒂尔曼

该博物馆将于2018年年底向公众开放。参观林区的一个主要特色，是一起观赏和探索的体验。借助博物馆的专用手机应用程序，所有年龄的人都可以亲自参观一些令人兴奋的艺术品，从古典静物和超现实的图像到装置、视频和数字艺术。所有的艺术品都与博物馆的主题有关：食物和消费。

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.

 Axonometric

Architects KVDK architecten

Location Keukenhof, Stationsweg 166A, 2161 AM Lisse, The Netherlands

Architect in Charge Arie Korbee

Design Team Wim van der Ham, Tim Stolwijk, Guido Kaas, Albert van der Niet

Urban Design Rho

Installations Advisor Deerns Raadgevende Ingenieurs B.V.

Area 2140.0 m2

Project Year 2018

Photographs Sjaak Henselmans, Ronald Tilleman, Paul Kozlowski

Category Museum

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