© Bruce Damonte

布鲁斯·达蒙特

架构师提供的文本描述。皮埃尔·拉森德馆-魁北克艺术第四座建筑-国家艺术博物馆-是一座雄心勃勃、甚至是隐秘的城市建筑。它不是创造一个标志性的强加，它形成了公园和城市之间的新联系，并给MNBAQ带来了一致性。

Text description provided by the architects. The Pierre Lassonde Pavilion—the Musée national des beaux-arts du Québec's fourth building is interconnected yet disparate—is a subtly ambitious, even stealthy, addition to the city. Rather than creating an iconic imposition, it forms new links between the park and the city, and brings coherence to the MNBAQ.

这座新建筑的复杂而敏感的环境产生了支撑设计的核心问题：如何在邀请城市进入的同时，将张伯斯-德巴蒂勒(Parc des Champs-de Bataille)延展？如何尊重和维护圣多米尼克教堂，同时在格兰德奥莱建立一个有说服力的存在？如何在同时扩大博物馆规模的同时，澄清博物馆的组织？OMA的解决方案是将所需的新画廊分三卷缩小，以容纳临时展览、永久的现代和当代收藏、装饰艺术和设计，以及因努伊特人的艺术品，创造出从公园向城市的级联。这座建筑的目的是把城市、公园和博物馆交织在一起，作为这三者的延伸。

The intricate and sensitive context of the new building generated the central questions underpinning the design: How to extend Parc des Champs-de-Bataille while inviting the city in? How to respect and preserve Saint Dominique church while creating a persuasive presence on Grande Allée? How to clarify the museum's organization while simultaneously adding to its scale?OMA’s solution was to stack the required new galleries in three volumes of decreasing size to house temporary exhibitions, permanent modern and contemporary collections, and Decorative Arts and design, as well as Inuit artworks, creating a cascade ascending from the park towards the city. The building aims to weave together the city, the park and the museum as an extension of all three simultaneously.

 © Bruce Damonte

布鲁斯·达蒙特

 Ground Level Plan

地面平面图

 © Bruce Damonte

布鲁斯·达蒙特

当他们下楼的时候，画廊的盒子按计划走了出来，把教堂修道院现有的庭院设计成框架，并将建筑定向到公园。公园延伸到博物馆(通过天窗和精心设计的窗户)和博物馆进入公园(虽然展示会延伸到露台和室外的突出楼梯)。

While they step down in section, the gallery boxes step out in plan, framing the existing courtyard of the church cloister and orienting the building towards the park. The park spills into the museum (through skylights and carefully curated windows) and the museum into the park (though the extension of exhibitions to the terraces and the outdoor pop-out staircase).

 © Bruce Damonte

布鲁斯·达蒙特

堆叠创造了一个12.6米高(42英尺)的大厅，庇护在一个戏剧性的20米(66英尺)大悬臂下。大厅是格兰德广场(Grande Allée)的接口，这是一个城市广场，用于博物馆的公共功能，以及通往画廊、庭院和礼堂的一系列入口。

The stacking creates a 12.6m-high (42 ft) Grand Hall, sheltered under a dramatic 20m (66 ft) large cantilever. The Grand Hall serves as an interface to the Grande Allée, an urban plaza for the museum's public functions, and a series of gateways into the galleries, courtyard and auditorium.

 © Bruce Damonte

布鲁斯·达蒙特

 © Bruce Damonte

布鲁斯·达蒙特

悬挑结构由混合钢桁架系统支撑，可容纳不受柱干扰的廊道。分层立面是结构、热和太阳能的结合，解决了魁北克省严寒的冬季气候对自然光和隔热的矛盾需求。三层玻璃表面由一个模拟桁架结构的二维印刷玻璃、一个三维浮雕玻璃和一层扩散玻璃组成。在画廊里，隔热墙位于半透明玻璃系统的后面，两者之间有一个缝隙，在夜间照亮建筑物，就像公园里的灯笼。大厅被玻璃幕墙围住，玻璃挡板使人们可以通过玻璃墙和天花板，畅通无阻地欣赏到查尔斯·贝莱格展馆的景色。半透明的画廊盒和清晰的大厅之间的对比加强了对建筑物堆叠和悬臂聚集的解读。

The cantilevered structure is supported by a hybrid steel truss system and accommodates galleries uninterrupted by columns. The layered façade is simultaneously structural, thermal and solar, addressing the seemingly contradictory needs of natural light and thermal insulation for Québec’s harsh winter climate. The triple layered glass façade is composed of a 2D printed frit that pattern mimics the truss structure, a 3D embossed glass, and a layer of diffuser glass. In the galleries, insulated walls are located behind the translucent glass system, with a gap between that lights the building at night like a lantern in the park. The Grand Hall is enclosed by a glass curtain wall with glass fins that allow virtually unobstructed and inviting views to the Charles Baillairgé pavilion through a glass wall and ceiling. The contrast between the translucent gallery boxes and clear grand hall reinforces the reading of the building’s stacking and cantilevering massing.

作为对画廊空间安静反映的补充，博物馆边缘的一系列活动-门厅、休息室、商店、桥梁、花园-提供了活动、艺术和公共散步的混合体。在此过程中，从一个巨大的螺旋式楼梯和一个外部突出的楼梯上精心设计的景色使游客与公园、城市和博物馆的其他部分重新连接起来。在盒子里，梅扎宁和俯瞰连接着临时和永久的展览空间。在每个画廊盒子的顶部，屋顶露台为户外展示和活动提供空间。

Complementing the quiet reflection of the gallery spaces, a chain of programs along the museum’s edge—foyers, lounges, shops, bridges, gardens—offer a hybrid of activities, art and public promenades. Along the way, orchestrated views from a monumental spiral stair and an exterior pop out stair reconnect the visitor with the park, the city, and the rest of the museum. Within the boxes, mezzanines and overlooks link the temporary and permanent exhibition spaces. On top of each of the gallery boxes, roof terraces provide space for outdoor displays and activities.

 © Bruce Damonte

布鲁斯·达蒙特

新的展览空间以130米(427英尺)长的通道与博物馆现有建筑相连，为博物馆40米(132英尺)的“罗莎卢森堡之家”创造了一个永久住所，由让·保罗·里奥佩尔(Jean-Paul Riopelle)执导。通过它的长度和海拔的变化，通道创造了一个令人惊讶的组合画廊空间，使游客，仿佛偶然，到其他博物馆综合体。

New exhibition spaces are connected to the museum's existing buildings by a 130m (427 ft) long passageway, creating a permanent home for the museum’s 40m (132 ft) "Hommage à Rosa Luxemburg" by Jean-Paul Riopelle. Through its sheer length and changes in elevation, the passage creates a surprising mixture of gallery spaces that lead the visitor, as if by chance, to the rest of the museum complex.

OMA赢得魁北克Beaux艺术博物馆扩建比赛

OMA wins competition for the Beaux Arts Museum in Quebec expansion

Architects OMA

Location Parc des Champs-de-Bataille, Québec City, Canada

Category Extension

Project Expansion of the Musée national des beaux-arts du Québec (MNBAQ)

Lead Design Architect OMA (New York)

Partner-in-Charge Shohei Shigematsu

Associate Architect Provencher_Roy Architectes (Montreal)

Client Musée national des beaux-arts du Québec

Area 14900.0 m2

Project Year 2016

Photographs Bruce Damonte

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