在南加州建筑学院(SCI-ARC)和纽约市库珀联盟(Cooper Union)学习之后，潘基文回到了他的家乡日本，在那里他的第一个主要任务是展示阿尔瓦·阿尔托(Alvar Aalto)使用的纸管作为房间分隔器、展示平台和天花板松软的作品。这些管子不仅仅是一种功能元素，它还补充了Aalto作品的形状。潘基文还在一些项目中试验了住宅形式和材料，比如家具屋，用架子和储藏单元取代墙壁，用幕墙和纸屋来代替墙壁。2005年，日本神户大地震发生后，他开始尝试使用纸管和其他再生材料来提供救灾住所和临时建筑。

After studying at the Southern California Institute of Architecture (SCI-Arc) and the Cooper Union in New York City Ban returned to his native Japan, where his first major commission—an exhibition on the work of Alvar Aalto—employed paper tubes as room dividers, display platforms, and ceiling soffits. More than just a functional element, the tubes also complemented the shapes of Aalto’s work. Ban also experimented with residential form and material in projects such as the Furniture House, replacing walls with shelving and storage units, the Curtain Wall House, and the Paper House. Following the Great Hanshin Earthquake that struck the Japanese city of Kobe in 2005, he began experimenting with the use of paper tubes and other recycled materials to provide disaster-relief shelter and temporary structures.

 Nomadic Museum, New York. Image © flickr user informedmindstravel, licensed under CC BY-NC-ND

纽约游牧博物馆。图片c flickr用户信息正念斜纹，由-nc-nd授权

科尔伯特第一次联系潘基文是在2000年，他说要为灰烬和雪建立一个可移动的移动博物馆，但这个项目几年后仍将只是一个想法。[1]2002年在威尼斯的阿尔谢纳举办的首次展览为科尔伯特带来了举办巡回展览的恶名。展览设计-照片悬挂在画廊厚厚的石柱之间的电缆上-为潘基文的终极设计提供了灵感。

Colbert first contacted Ban about creating a transportable mobile museum for Ashes and Snow in 2000, but the project would remain little more than an idea for several years.[1] An initial display in 2002 at the Arsenale in Venice provided Colbert with the notoriety to mount a touring show, and the exhibition design—with the photos suspended on cables between the gallery’s thick stone columns—served as inspiration for Ban’s ultimate design.

 © flickr user paolomazzoleni, licensed under CC BY 2.0

(C)Flickr用户paolomazzoleni，在CC by 2.0的许可下

虽然不同地点的配置发生了变化，但结构的基本组成部分仍然相同。外墙由集装箱的棋盘堆叠而成，集装箱之间的空间被白色聚氯乙烯的倾斜部分占据。金属和纸管桁架在画廊的末端创造了一个古典的雏形，支撑着PVC薄膜屋顶。两排30英寸直径的纸管柱沿着画廊的中心行进，映照着亚瑟纳河的柱子，并勾勒出大教堂般的空间的“内殿”。一条宽阔的木板通道(从建筑脚手架中回收)贯穿于柱子之间，确定了循环路径，而地板的其余部分则被河床岩石占据。Alessandro竞技场的照明设计进一步强调最低限度的设计，从上面的固定装置照亮走道和放牧的柱子，和聚光灯为艺术创造鲜明的阴影河岩石地板。大部分的洞穴体积仍然在阴影中，保持对艺术的关注。

Although the configurations changed across the various locations, the basic components of the structure remained identical. Exterior walls consist of a checker-board stack of shipping containers, with the spaces between the containers occupied by sloping sections of white PVC. Metal and paper tube trusses create a classical pediment at the ends of the galleries, supporting the PVC membrane roof. Two rows of thirty-inch-diameter paper tube columns march down the center of the gallery, mirroring the columns of the Arsenale, and articulating the 'nave' of the cathedral-like space. A wide pathway of wooden planks (recycled from construction scaffolding) runs between the rows of columns and defines the circulation path, while the remainder of the floor is occupied by a bed river rock. Alessandro Arena’s lighting design further emphasize the minimal design, with fixtures from above illuminating the walkway and grazing the columns, and spotlights for the art creating stark shadows on the river rock floors. The bulk of the cavernous volume remains in shadow, keeping the focus on the art.

 Exploded Axonometric, New York

爆炸轴测仪，纽约

虽然结构本身似乎相对简单，但两个最初的旅游展览地点提出了重大的挑战。在纽约，这栋建筑被布置成一个连续的693英尺长的长廊，位于曼哈顿废弃的54号码头上，尽头是一片空地，用于放映科尔伯特作品的电影版本。[2]这座大楼填满了码头的宽度，老化的海洋结构无法承受起重机的重量。所有组件都必须从哈德逊河的驳船上安装，或者从内部安装。为了准备一个积极的八周建造计划，建筑团队在新泽西州的伊丽莎白建造了一个80英尺高的建筑模型，使团队能够制定出一个成功的策略来满足现场的独特限制。

Although the structure itself appears relatively simple, the two initial sites for the traveling exhibit posed significant challenges. In New York the building was arranged as one continuous 693-foot linear gallery, on Manhattan’s abandoned Pier 54, with an open space at the far end for the projection of a film version of Colbert’s work.[2] The building filled the width of the pier, and the ageing marine structure could not support the weight of a crane. All components had to be installed from barges in the Hudson River, or from within. To prepare for an aggressive eight week build schedule, the construction team built a full scale mock-up of an eighty-foot section of the structure in Elizabeth, New Jersey, allowing the team to develop a successful strategy to meet the site's unique constraints.[3]

结构中使用的大部分集装箱是在每个地点租用的，其余的用于将建筑部件从一个地点运到另一个地点。在纽约安装之后，潘基文和科尔伯特重新设计了大楼的布置，以改善流通状况。其结果是对圣塔莫尼卡版本的结构进行了一个H形规划，两个长廊部分围绕着一个中央空间，中间有一个蝴蝶屋顶，里面有电影展示和一家商店。这个版本建在圣塔莫尼卡码头附近的一个停车场上，但在解决纽约市严格的抗震法规方面确实遇到了新的障碍。为了确保结构的稳定性，船运集装箱安装在40英尺深的8英寸管道柱上，铝挤压取代了纽约使用的钢框架桁架。[4]除了结构和结构上的变化外，圣莫尼卡迭代还进行了轻微的美学转变，使用的是由锈色容器组成的单色调色板，提供更多的视觉一致性相比，似乎随机选择在54号码头。

The bulk of the shipping containers used in the structure were rented at each location, while the remainder were used to ship the building components from location to location. Following the New York installation, Ban and Colbert reworked the arrangement of the building to improve circulation. The result was an H-shaped plan for the Santa Monica version of the structure, with two long gallery sections flanking a central space with a butterfly roof, housing the film presentation and a shop. This version, built on a parking lot adjacent to the Santa Monica Pier, did not face the same construction challenges as the New York installation, but did encounter new hurdles in addressing the city’s strict seismic regulations. To ensure the stability of the structure, the shipping containers were mounted on eight-inch pipe columns drilled 40 feet into the ground, and aluminum extrusions replaced the steel frame trusses used in New York.[4] In addition to the structural and configuration changes, the Santa Monica iteration also made a slight aesthetic shift, using a monochromatic palette of rust-colored containers, providing more visual uniformity compared to the seemingly random selection at Pier 54.

 Section, Santa Monica

圣莫尼卡区

在世界各地的各种停留，科尔伯特的艺术受到了好坏参半的评价。另一方面，潘基文的建筑几乎得到了普遍的赞扬。正如大都会撰稿人菲利普·诺贝尔所说的：“这很容易成为纽约目前最好的公共空间总的来说，这座博物馆几乎没有展示出潘基文最优秀设计的那种朴素、脆弱的美。“

At its various stops around the world, Colbert’s art received mixed review. Ban’s building, on the other hand, was almost universally praised. As Metropolis contributor Philip Nobel said: “It is easily the best public space in New York right now  perhaps even good enough to make the insipid art it houses work.”[5] On the opposite side of the table, Los Angeles Times architecture critic Christopher Hawthorne expressed some disappointment, noting that, “[...] on the whole the museum suggests little of the modest, vulnerable beauty that marks Ban’s best designs.”[6]

 Nomadic Museum, Tokyo. Image © flickr user naoyafujii, licensed under CC BY-NC 2.0

东京游牧博物馆。图像c flickr用户naoyafujii，由-NC 2.0认证

最初打算前往世界各地的展览地点，潘基文的版本的游牧博物馆只在东京多停留一站，配置类似于圣塔莫尼卡设置。关于墨西哥城游牧博物馆的第四版，科尔伯特转向了哥伦比亚建筑师Simón Vélez。专为支持科尔伯特的照片而设计的Shigeru潘基文的建筑可能最终会给设计展示的艺术蒙上阴影。

Originally intended to travel to exhibition sites around the world, Ban’s version of the Nomadic Museum made only one more stop in Tokyo, with a configuration similar to the Santa Monica setup. For a fourth version of the Nomadic Museum in Mexico City, Colbert switched to Colombian architect Simón Vélez. Designed to recede in favor of Colbert’s photographs, Shigeru Ban’s building may have ended up overshadowing the art it was designed to showcase.

 Site Plan, Santa Monica

地点计划，圣莫尼卡

参考( reference的名词复数 ):

References:

[1]布鲁姆，贝丝。“旅游博物馆运送城市游客，”建筑记录，2005年5月，109。

[1] Broome, Beth. “A traveling museum transports urban visitors,” Architectural Record, May 2005, 109.

[2]Kristal，Marc。“潘基文漫游大教堂”，“大都会”，2005年6月，151。

[2] Kristal, Marc. “Ban’s Roaming Cathedral,” Metropolis, June 2005, 151.

[3] Kristal, 204.

[3] Kristal, 204.

[4]韦伯，迈克尔。“集装箱艺术：Shigeru潘基文在圣莫尼卡海滨的独创但节俭的游牧博物馆泊位”，建筑评论，2006年5月，52。

[4] Webb, Michael. “Container Art: Shigeru Ban’s inventive yet frugal Nomadic Museum berths on the Santa Monica beachfront,” Architectural Review, May 2006, 52.

[5]诺贝尔，菲利普。“码头的麻烦水域：在游牧博物馆，Shigeru潘基文生存与媚俗的密切联系，”大都会，2005年5月，90。

[5] Nobel, Philip. “Pier Over Trouble Waters: In the Nomadic Museum, Shigeru Ban survives a close call with kitsch,” Metropolis, May 2005, 90.

[6]霍桑，克里斯托弗。建筑评论；临时的码头压力案例；在游牧博物馆，Shigeru ban坐在动物照片的后座。洛杉矶时报。2005年3月9日：E1。

[6] Hawthorne, Christopher. “ARCHITECTURE REVIEW; A temporary case of pier pressure; With the Nomadic Museum, Shigeru Ban takes a back seat to animal photographs.” Los Angeles Times. 9 March 2005: E1.

建筑师Shigeruban建筑面积4180.0平方米

Architects Shigeru Ban Architects Area 4180.0 sqm Project Year 0