项目小组Christoph Röttinger(协理，项目主任)、Christophe Leblond(项目经理)、Marco ZüRn(项目经理)EdytäRn(数字技术)、Farhad Ahmad(数字技术)、AuréLien Caetano、Delphine Camus、Tim Culbert、Arnud Delugeard、Carlos Higinio Esteban、Judith Funke、Daniel Graignic Ramiro、Yann Gramegna、Wolfgang Hardt(合伙人)、Thorsten KemperAron Lorincz(数字技术)、Donald Mak(协理)、Severin Odermatt、Valentin Ott、Alejo Paillard、Nathalie Rinne、Jordan Soriot、Raul Torres Martin(数字技术)、Guy Turin、Paul Vantieghem、Maria Vega Lopez、恺撒Zumthor Museography Jean-FrançChevrier、艺术史学家、ÉPijulet、巴黎、法国总规划Realbati(Realbati、Ruelisheim)(法国)Herzog

Project Team Christoph Röttinger (Associate, Project Director), Christophe Leblond (Project Manager), Marco Zürn (Project Manager) Edyta Augustynowicz (Digital Technologies), Farhad Ahmad (Digital Technologies), Aurélien Caetano, Delphine Camus, Tim Culbert, Arnaud Delugeard, Carlos Higinio Esteban, Judith Funke, Daniel Graignic Ramiro, Yann Gramegna, Wolfgang Hardt (Partner), Thorsten Kemper, Aron Lorincz (Digital Technologies), Donald Mak (Associate), Severin Odermatt, Valentin Ott, Alejo Paillard, Nathalie Rinne, Jordan Soriot, Raul Torres Martin (Digital Technologies), Guy Turin, Paul Vantieghem, Maria Vega Lopez, Caesar Zumthor Museography Jean-François Chevrier, art historian, assisted by Élia Pijollet, Paris, France General Planning Realbati (è Realbati, Ruelisheim, France) + Herzog & de Meuron SARL, France Structural Engineering ARTELIA, Oberhausbergen, France Acoustics Echologos, Livry-Louvercy, France Cost Consultant C2Bi, Strasbourg, France Facade Engineering PPEngineering, Basel, Switzerland. Prof. Jäger, Dresden, Germany Lighting Consultant Arup, London, UK Signage NEWID, Basel, Switzerland Landscape Consultant Cap Vert Ingénierie, Grenoble Tree Consultant August Künzel Landschaftsarchitekten, Basel, Switzerland Manufacturers Loading... More Specs Less Specs

 © Ruedi Walti

鲁迪·瓦尔蒂

架构师提供的文本描述。科马尔的Unterlinden博物馆扩建项目包括三个方面：城市发展、建筑和博物馆。它以重建、仿真和集成问题为中心。

Text description provided by the architects. The project for the extension of the Unterlinden Museum in Colmar encompasses three dimensions: urban development, architecture and museography. It centers on the issues of reconstruction, simulation and integration.

 © Ruedi Walti

鲁迪·瓦尔蒂

Urban development

扩建后，两个建筑综合体，物理连接的地下画廊，面对面地穿过Unterlinden广场。修道院由教堂、修道院、喷泉和一侧的花园组成的中世纪修道院。在广场的另一边，新的博物馆建筑反映了教堂的体积，与以前的市政浴室一起构成了第二个封闭的法庭。

After the extension, two building complexes, physically connected by an underground gallery, face each other across Unterlinden Square. The medieval convent consisting of a church, a cloister, a fountain and a garden stand to one side. On the other side of the square, the new museum building mirrors the church’s volume and, together with the former municipal baths constitutes a second, enclosed court. 

 © Ruedi Walti

鲁迪·瓦尔蒂

Architecture

我们正在寻找一种适合旧城的城市结构和建筑语言，但仔细观察后，我们就会发现它是当代的。

We were looking for an urban configuration and architectural language that would fit into the old town and yet, upon closer inspection, appear contemporary.

 © Ruedi Walti

鲁迪·瓦尔蒂

在这两座博物馆之间，昂特林登广场(Unterlinden Square)恢复了它的历史意义，回想起在修道院对面，马厩和农场建筑组成了一个被称为“阿克霍夫”(Ackerhof)的整体。博物馆翻新前的公交车站和停车场，如今已成为一个新的公共和城市空间。流经科尔马老城的辛恩运河已经重新开放，成为这个新公共空间的中心部分。在靠近水的地方，一所小房子标志着博物馆在广场上的存在：它的位置、体积和形状都是曾经矗立在那里的磨坊的位置、体积和形状。两扇窗户允许过路人向下看连接两个建筑物群的地下画廊。

Between the two museum complexes, Unterlinden Square has recovered its historical significance, recalling the times when, across from the convent, stables and farm buildings formed an ensemble known as the “Ackerhof”.  The bus stop and parking lot existing prior to the museum's renovation have now become a new public and urban space. The Sinn canal, which flows under Colmar's old town, has been reopened, becoming the central element of this new public space. Close to the water, a small house marks the museum's presence on the square: its positioning, volume and shape are those of the mill that once stood there. Two windows allow passers-by to look downwards at the underground gallery connecting the two ensembles of buildings.

 © Ruedi Walti

鲁迪·瓦尔蒂

迁至Unterlinden广场中心，面对运河，扩建博物馆的入口通向修道院，修道院的正面已被精心整修。翻修工程是与法国国家遗产部门的建筑师密切合作进行的。从最近过去的博物馆组成部分被移除，空间恢复到早期的状态。我们展示了原始的木天花板，重新打开了以前被堵住的窗户，眺望着修道院和城市。教堂的屋顶已经翻新，一层新的木地板安装在屋内。游客沿着一条新的混凝土螺旋楼梯走下，通向连接修道院和新建筑的地下走廊。

Moved to the centre of Unterlinden Square, facing the canal, the entrance to the expanded Museum leads to the convent, whose facade has been delicately renovated. The renovation works were carried out in close collaboration with the architects of the French national heritage department. Museological components from the recent past were removed and the spaces restored to an earlier state. We revealed original wood ceilings and reopened formerly blocked windows looking out on the cloister and the city. The church’s roof has been renovated, and a new wood floor installed in the nave. Visitors walk down a new, cast concrete spiral staircase leading to the underground gallery that connects the convent with the new building.

 © Ruedi Walti

鲁迪·瓦尔蒂

在里面，我们决定设计地下画廊和新的展览建筑(现在被称为“Ackerhof”)，它呈现了19世纪和20世纪的收藏品，以当代抽象的方式出现。阿克霍夫二楼的空间专门用于临时展览：其门廊屋顶和异常高度(11.5米)反映了对面的多米尼加教堂的比例/体积。前市政浴室的中央空间，即游泳池(“La Piscinine”)，现在与新的展览空间相连。它是音乐会、会议、庆祝活动和当代艺术设施的场所。前浴室的其他空间包括博物馆的管理、图书馆、面向新庭院的咖啡馆和面向Unterlinden广场的Colmar旅游办公室。

Inside, we decided to design the underground gallery and the new exhibition building (now called the “Ackerhof”), which present the 19th- and 20th-century collections, along contemporary, abstract lines. The space on the second floor of the Ackerhof is dedicated to temporary exhibitions: its gabled roof and exceptional height (11.5 meters) reflect the proportions/volumes of the Dominican church standing opposite. The central space of the former municipal baths, the swimming pool ("La Piscine”), is now connected to the new exhibition spaces. It serves as a venue for concerts, conferences, celebrations and contemporary art installations. The other spaces of the former baths house the administration of the museum, a library, a café facing the new courtyard and the Colmar Tourist Office facing Unterlinden Square.

 © Peter Mikolas

彼得·米科拉斯

阿克霍夫和小房子的正面是不规则的、手碎的砖块，在石英石和灰泥中与修道院的正面对话，几个世纪以来，这些石料和灰泥被多次重修。一些柳叶刀的窗户被切割成这些砖墙，屋顶的山墙是铜的。新的庭院是用砂岩铺成的，Unterlinden广场(Unterlinden Square)也是这样，而围墙是用与新建筑相同的砖块砌成的。在院子的中心，有一个苹果林-“水族馆”-是由石头和砖块组成的平台形成的。

The Ackerhof and the small house have facades made of irregular, hand-broken bricks, entering into dialogue with the convent facades in quarrystone and plaster that were redone many times over the centuries. A few lancet windows have been cut into these brick walls; the roof gables are in copper. The new courtyard is paved in sandstone, as is Unterlinden Square, while the enclosing walls are made of the same brick as the new buildings.  At the heart of the courtyard, an apple grove—the “Pomarium”—arises from a platform made of stone and brick.

馆藏和博物馆

Collection and Museography

在与让-弗朗索瓦·雪佛里尔和埃莉娅·皮约莱以及博物馆馆长的密切合作下，博物馆的版画和建筑是齐头并进的。这些收藏品包括中世纪和文艺复兴时期举世闻名的作品-最著名的是马提亚斯·格吕内瓦尔德(Matthias Grünewald)和尼古拉斯·冯·哈格诺(Nicolas von Hagenau，1505-1516年)的“Isenheim Altarala”，以及19世纪和20世纪初的纺织品、照片、绘画、雕塑、彩绘作品和民族志制品的图案、版画和图案，重点放在当地的艺术和艺术史上。从20世纪60年代开始，就建立了一批现代艺术收藏品。至于伊森海姆阿尔塔那块建筑，虽然它的展示框架已经被一种严肃的钢结构所取代，但它仍然保留在原来的、光线更多、教堂不那么杂乱的教堂位置上。这使得画好的木板看起来更像艺术品。11世纪到16世纪的绘画、雕塑、小祭坛和文物陈列在相邻的一楼和修道院里。楼下的地板展示了考古收藏。

In close collaboration with Jean-François Chevrier and Élia Pijollet, as well as with the museum’s curators, the museography and the architecture were developed hand in hand. The collections comprise works of worldwide renown from the Middle Ages and the Renaissance—most notably, the Isenheim Altarpiece by Matthias Grünewald and Nicolas von Hagenau (1505-1516)—as well as designs, prints and patterns for the production of textiles, photographs, paintings, sculptures, faience pieces and ethnographic objects from the 19th and early 20th centuries, with a focus on local art and art history. From the 1960s onwards, a modern art collection was built up. As to the Isenheim Altarpiece, it remains in its original if more light-filled and less cluttered convent church location, although its presentation frame has been replaced by a sober steel structure. This makes the painted wood panels look more like artworks.  Eleventh- to sixteenth-century paintings, sculptures, small altars and artifacts are on display on the neighboring ground floor and in the cloister.  The downstairs floor presents the archaeological collections.

 © Ruedi Walti

鲁迪·瓦尔蒂

地下画廊由三个非常不同的展览空间组成。从巡回展开始，我们就有了Unterlinden博物馆的历史，涵盖了19世纪和20世纪早期的一些作品。第二个画廊展示了博物馆最重要的三件作品：位于小房子下面，这个房间代表了扩建的Unterlinden博物馆的核心，将项目的三个维度结合在一起：城市发展、建筑和博物馆。

The underground gallery consists of a succession of three very different exhibition spaces.  Beginning the circuit, we have the history of the Unterlinden Museum, covering a section of 19th-century and early 20th-century works. The second gallery displays three of the Museum's most important pieces: located under the little house, this room represents the core of the expanded Unterlinden Museum, uniting the project's three dimensions: urban development, architecture and museography. 

 © Peter Mikolas

彼得·米科拉斯

在第一层和第二层，这座新建筑代表了20世纪收藏品的松散年代顺序。相互关联的空间单元组织和结构地板的整体体积，而不是细分它：这里的作品或组的作品是以彼此相关的方式展示的。

On the first and second floors, the new building represents a loose chronological sequence of the 20th-century collection. Interconnected spatial units organize and structure the floor's overall volume, rather than subdividing it: here works or groups of works are exhibited in relation to one another.

 © Ruedi Walti

鲁迪·瓦尔蒂

与收藏20世纪艺术的博物馆摄影一起，由让-弗朗索瓦·雪佛里尔策划的首次展览(2016年1月至6月)将作为一个杰出的例子，展示新获得的空间的用途，同时展示对收藏中特定作品的堪称楷模的阅读。

Together with the museography for the collection of 20th-century art, the inaugural exhibition (from January to June 2016), curated by Jean-François Chevrier, will serve as an outstanding example of the uses to which the newly acquired spaces can be put, while presenting an exemplary reading of specific pieces from the Collection.

 © Ruedi Walti

鲁迪·瓦尔蒂

Architects Herzog & de Meuron

Location Colmar, France

Category Extension

Partners Jacques Herzog, Pierre de Meuron, Christine Binswanger (Partner in Charge)

Partner Architect DeA Architectes, Mulhouse, France

Area 7700.0 m2

Project Year 2015

Photographs Ruedi Walti, Peter Mikolas

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