架构师提供的文本描述。在韩国，在一个历史和传统丰富的城市地区开设一个当代博物馆仍然是一个罕见的挑战。这座博物馆坐落在曾经的首尔中心，位于京博宫和布肯传统村之间。该网站包括许多代表首尔传统和长期政治历史的结构。

Text description provided by the architects. Inserting a contemporary museum into an urban district rich in history and tradition is still a rare challenge in Korea. This museum is located in what was once the center of Seoul, between to Gyeongbokgung Palace and the Bukchon traditional Village. The site includes many structures that represent Seoul’s traditions and long political history.

 © Hongsoon Park

红松公园

600年来，这个地方一直被用作朝鲜王朝的行政中心，这两座可以追溯到那个时代的建筑仍然是博物馆建筑群的一部分。在20世纪初，日本对朝鲜的殖民统治期间，占领军的一座砖房被挑衅性地加到了这块土地上。

For 600 years, this spot was used as Jongchin-Bu; the administrative center of the Chosun dynasty; two buildings dating to that era remain as part of the museum complex. During the early 20th century colonization of Korea by Japan, a brick building housing the occupying army was provocatively added to the site.

 © Jongoh Kim

金(Jongoh Kim)

1945年朝鲜解放后，这些砖房成为韩国国防安全司令部的重要组成部分，因此在1980年，这个地方成了对春斗焕(Chun Doo-Hwan)政府发动政变的中心。一座毗邻的建筑，曾被用作医院，也被保存下来，专门为韩国总统服务。1979年，朴正辉总统被部下刺杀，死在这里。

After Korea’s liberation in 1945, these brick buildings became a key part of Korea’s Defense Security Command—and thus in 1980, the site became the center of a coup staged against the Chun Doo-Hwan administration. An adjacent building once used as a hospital, also preserved, dedicated to the care of Korea’s presidents. In 1979, when President Park Jung Hui was assassinated by his subordinate, he died here.

 © Jongoh Kim

金(Jongoh Kim)

然而，在大部分时间里，一般公民都不被允许进入这个网站，尽管它位于首尔的心脏地带。

Throughout much of this time, though, average citizens were not allowed to enter the site, even though it was in the heart of Seoul.

 First Floor Plan

一层平面图

2006年，国防安全司令部撤出了这个地点，提出了如何在当代使用它的问题。2009年，政府决定建立一个当代博物馆，强调文化在现代社会中的作用。举行了一场竞赛，吸引了大多数韩国著名建筑师；评审团成员包括巴里·伯格杜尔(Barry Bergdoll)、Sejima和Arata Iszaki。

In 2006, the Defense Security Command withdrew from this spot, raising the question of how it should be used in our contemporary age. In 2009, the government decided to build a contemporary museum, emphasizing the role of culture in modern society. A competition was held, attracting most leading Korean architects; the jury included Barry Bergdoll, Kazuyo Sejima and Arata Isozaki.

 © Jongoh Kim

金(Jongoh Kim)

根据该遗址的历史，竞赛简报要求以国防安全指挥大楼为主要入口，尊重和保存朝鲜时期的两座历史建筑。我们赢得了这次比赛，与首尔最大的建筑公司之一Siaplan合作。

In light of the history of the site, the competition brief required that the Defense Security Command building should be used as the main entrance and the two historic buildings from the Chosun Dynasty must be respected and preserved. We won this competition, working with one of Seoul’s largest architectural firms Siaplan.

 © Jongoh Kim

金(Jongoh Kim)

一个当代博物馆，也是一个与过去的链接。

A contemporary museum but also a link to the past.

正如竞赛简报所建议的，我们利用1980年政变开始的大楼作为我们的主要入口。紧靠在里面的是一系列用于短期商店和临时轮流展览的小空间，所有这些都可以在不购买门票的情况下进入。

As suggested by the competition brief, we utilized the building where the 1980 coup started as our main entrance. Immediately inside are a series of small spaces that are used for short-term shops and temporary, rotating exhibitions, all of which can be accessed without buying an entrance ticket.

 © Myung Rye Park

明麦公园

中间的庭院包围了朝鲜王朝遗留下来的建筑。建筑群内还设有展厅，与朝鲜王朝的建筑、前国防安全指挥部办公室、毗邻的庆伯贡宫和布肯传统村庄有着视觉上的联系。

The middle courtyard enfolds the structures remaining from the Chosun dynasty. Within the complex there are also exhibition halls visually tied to the buildings from the Chosun Dynasty, the former Defense Security Command office, the adjacent Gyeongbokgung Palace and Bukchon traditional village.

 © Jongoh Kim

金(Jongoh Kim)

非结构化博物馆。

Unstructured Museum.

但我们也增加了48，372平方米的新空间，将用来容纳当代艺术。

But we also added 48,372 square meters of new space to this site, ones that would be used to house contemporary art.

 © Hyunjun Mihn

米贤君

我们建立非结构化博物馆的想法赢得了比赛的胜利。我们没有为博物馆创造一个强大的象征形式，而是建立了一系列开放的庭院，在历史碎片和现代空间之间进行调解。这些庭院是以游客为导向的，为首尔的历史景观打开了博物馆内外的景观。

Our idea for an Unstructured Museum won the competition. Instead of creating a strong symbolic form for the museum, we established a series of open courtyards that mediated between the historic fragments and modern spaces. The courtyards are visitor-oriented, opening up views in and through the museum to underscore Seoul’s historical landscape.

他们还解决了社区反对这样一座大型建筑被引入城市的密集结构，通过建立公众可进入的空间向公众开放。博物馆的馆藏各不相同，但比例很均匀，几何学也很简单，这是当地历史风格的一种衬托。

They also addressed neighborhood opposition to such a large building being introduced into the dense fabric of the city by creating publicly accessible spaces open to the public. The museum's volumes are varied but carefully proportioned and the geometry simple, a foil for the historical styles already found on the site. 

 © Hyunjun Mihn

米贤君

打开站点和上下文之间的配置。

Open configuration between the site and the context.

首尔市打算修建一条步行街，穿过遗址中心；我们在博物馆内建立了一条公共道路，院落就在这条小路的边缘，扩大和缩小了它的规模。这个松散的轮廓抹去了博物馆和周围社区之间的界限。

The city of Seoul intended a pedestrian street to cut through the center of site; we established a public path within the museum, and courtyards are located at the edge of this path, expanding and contracting its dimensions. This loose outline erases the boundaries between the museum and surrounding neighborhood.

 © Jongoh Kim

金(Jongoh Kim)

庭院为公众提供了一个地方，尤其是那些来自附近的人，可以随意接触博物馆的艺术，因此，由于缺乏明确的边界，人们可以更深入地参与艺术活动，而没有做出有意识的决定。然而，一个庭院却没有得到如此非正式的对待：朝鲜王朝建筑的空间是一个正方形，承认了它们的历史重要性。

The courtyards offer a place for the public, especially those from the neighborhood, to come in casual contact with the museum’s art, and thus the lack of a distinct border encourages one to engage more deeply with the arts without having made a conscious decision to do so. One courtyard, however, is not treated so informally: the space for the Chosun dynasty structures is a square, acknowledging their historical importance.

 © Jongoh Kim

金(Jongoh Kim)

谦虚的外在，越来越强大的内在。

Modest outside, increasingly powerful within.

我们的外部处理与谨慎沉默，鉴于强大的对象已经部署在网站上。弯曲的陶瓷砖是我们用来将建筑物与邻里联系起来的材料之一；它们是对旧建筑屋顶瓷砖的当代认可。

Our exterior is handled with careful reticence, in light of the strong objects already deployed on the site. Curved terra-cotta tiles are among the materials we used to tie the structure to the neighborhood; they are a contemporary acknowledgement of the older buildings' roof tiles.

 © Young Chea Park

青车公园

自始至终，建筑的规模和质量都是与环境相匹配的。相比之下，当代艺术的内部是高耸的和强大的，这在一定程度上是通过把博物馆的主要水平及其院落降低到等级以下来完成的。展厅结构松散，立体，自然光线将目光吸引到街角相邻的空间，有时是水平的，有时是垂直的。

Throughout, the building’s scale and mass are sympathetically proportioned to fit the context. By contrast, the interior for contemporary art is soaring and powerful; this is in part accomplished by dropping the main level of the museum and its courtyards below grade. The exhibition halls are loosely structured and three-dimensional, the eye drawn by natural light into adjacent spaces at corners, opening up the spaces sometimes horizontally, sometimes vertically.

 © Jongoh Kim

金(Jongoh Kim)

博物馆邀请每一个人，无论是老的还是年轻的，当地的和游客，都能在不损害任何一项的情况下，吸收遗址丰富的历史和当代艺术的活力。

The museum invites everyone, old and young, local and tourist, to take in both the rich history of the site and the dynamic power of contemporary art without compromising either one.

Architects Hyunjun Mihn, mp_art architects

Location 30 Samcheong-ro, Jongno-gu, Seoul, South Korea

Category Museum

Area 52101.0 sqm

Project Year 2013

Photographs Hyunjun Mihn, Myung Rye Park, Jongoh Kim, Hongsoon Park, Young Chea Park