© Jan Kofod Winther

扬·科夫德·温瑟

架构师提供的文本描述。新的Moesgaard博物馆位于Sk de滚滚的田园景观中。它的倾斜屋顶景观的草，苔藓和鲜艳的野花，这是一个强大的视觉地标，即使是从海洋。

Text description provided by the architects. The new Moesgaard Museum is uniquely situated in the rolling bucolic landscape of Skåde. With its sloping roofscape of grass, moss and brightly-coloured wild flowers, the building is a powerful visual landmark perceptible even from the sea.

 © Martin Schubert

马丁·舒伯特

长方形屋顶飞机似乎从景观中生长出来，在夏天，它将形成野餐、烧烤、户外讲座和传统的仲夏篝火的区域。冬天下雪时，倾斜的屋顶将变成这个城市最好的雪山。

The rectangle-shaped roof plane seems to grow out of the landscape and during the summer it will form an area for picnics, barbeques, outdoor lectures and traditional Midsummer Day’s bonfires. Come winter snowfall, the sloping roof will become transformed into the city’s best sledding hill.

这座建筑的内部设计是为了唤起多样的梯田景观，这是由考古发掘的灵感，因为它们逐渐挖掘了历史的各个层次，并揭露了失落的文明。参观者可以经历一系列生动的展览和科学实验，就像旅行者在时间和空间上一样。大楼的中心是门厅，这里还设有带室外座椅的咖啡厅。从门厅，梯田的地底打开了从屋顶花园和奥胡斯湾令人印象深刻的景色。

The interior of the building is designed to evoke a varied terraced landscape, which is inspired by archaeological excavations as they gradually unearth the layers of history and expose lost civilisations. The visitor can move through a vivid sequence of exhibitions and scientific experiments – like a traveler in time and space. The heart of the building is the foyer, which also holds a café with outdoor seating. From the foyer, the terraced underworld opens up to the light from the roof garden and the impressive view of the Aarhus Bay.

 © Martin Schubert

马丁·舒伯特

Exhibition design

建筑、自然、文化和历史融为一体，成为一种全面的游客体验。博物馆多年的展览经验和研究将被用来为展示文化史提供一种新的方法。Moesgaard博物馆将能够以一种吸引孩子、父母和祖父母的方式促进他们作为一个机构的知识。对每个人来说，不管他们的观点是什么，都是有意义的。

Architecture, nature, culture and history fuse together into a comprehensive visitor experience. The museum’s many years of exhibition experience and research will be drawn upon to inform a new approach to the presentation of cultural history. Moesgaard Museum will be able to facilitate their knowledge as an institution in a way that is captivating and provocative to children, parents, and grandparents. There is something for everyone regardless of their point of view.

 Floor Plan

博物馆拥有明亮的庭院、露台和类似洞穴的小房子，将支持和推广许多新的和可供选择的展览，在这些展览中，技术的运用与更像作坊的安排结合在一起，让游客们能看到考古学家和人种学家是如何工作的。

With its bright courtyards, terraces and small cave-like ‘houses in the house,’ the museum will support and promote many new and alternative types of exhibitions where the use of technology is combined with a more workshop-like arrangement to give visitors a glimpse of how archaeologists and ethnographers work.

 © Jens Lindhe

(Jens Lindhe)

选择建筑物的材料与建筑物的整体表现相协调；同时详细考虑了声学、经济、技术设置、维护、耐用性、配色和可持续性。博物馆的内墙通常被漆成或留下粗糙的混凝土。在混凝土梁之间安装了一个吊顶系统，以调节建筑物的声学，而梁的结构仍然可见。展厅的木地板是在混凝土板之上，为了舒适，声学和一般的审美吸引力。

The materials of the building have been selected to harmonise with the overall expression of the building; at the same time acoustics, economy, technical settings, maintenance, durability, colour pallette and sustainability have been considered in detail. The museum’s interior walls are generally painted or left as rough concrete. A mounted ceiling system has been installed between the concrete beams to regulate the building’s acoustics, while the beam structure remains visible. The wood floors of the exhibition rooms are raised above the concrete slab, for comfort, acoustics, and general aesthetic appeal.

 © Jens Lindhe

(Jens Lindhe)

建筑物的外部由屋顶的姿态所支配，屋顶是从景观中升起的一种具体形式。屋顶表面被草覆盖着，人行道也被设计成紧急逃生路线。

The exterior of the building is dominated by the gesture of the roofline, which rises as a concrete form from the landscape. The roof surface itself is covered in grass with walking paths that are designed to also function as emergency escape routes.

 © Jens Lindhe

(Jens Lindhe)

Sustainability

建筑与技术的相互作用是建筑美观、舒适、节能的关键。在亨宁·拉森建筑师事务所，我们把减少能源使用作为我们的首要战略，从而使可持续发展的概念具体化。我们之所以这样做，是因为我们相信，专注于能源可以在项目的各个方面创造出全面的质量。这是基于2012年出版的“知识设计”一书的方法论。制定了具体的重点领域，其基本目标是在经济、社会和环境三个可持续性水平上创造价值。

The key to aesthetic, comfortable and energy-efficient buildings is found in the interaction between architecture and technology. At Henning Larsen Architects, we have made the concept of sustainability tangible by focusing on the reduction of energy use as our primary strategy. We have done this with the belief that focusing on energy can create comprehensive quality in every aspect of a project. This is based on the methodology of our book “Design with Knowledge,” which was published in 2012. Specific focus areas have been developed with the fundamental objective of creating value at three levels of sustainability—the economic, social and environmental.

 © Jens Lindhe

(Jens Lindhe)

可持续性一直是莫斯加德博物馆整体建筑布局中的一个重要因素。南面屋顶表面(称为屋顶正面)确保计算基础的节能建筑，这是为了达到能源一级的地位。

Sustainability has been a significant factor in the overall architectonic arrangement of Moesgaard Museum. The south-facing roof surface (dubbed the roof facade) ensures the calculated basis for an energy-efficient building, which is designed to achieve energy class 1 status.

 © Martin Schubert

马丁·舒伯特

关于Moesgaard博物馆

About Moesgaard Museum

由来已久的Moesg rd博物馆是一个区域性的、专门的考古学和人种学博物馆，在附近的Moesg rd庄园已经运营了40多年。新博物馆的展览将包含一系列丹麦史前的独特发现。其中有两个铁器时代的发现：c。2300岁的GrauballeMan，世界上保存最完好的沼泽尸体；以及一些来自IllerupAdal的特殊武器祭品。后者是博物馆藏品中的一部分，反映了1800年前发生的祭祀传统、长距离合同和权力斗争。

The long-established Moesgård Museum, a regional and specialist museum of archaeology and ethnography, has been operating from the nearby Moesgård manor house for over 40 years. The exhibitions in the new museum building will contain a series of unique finds from Danish prehistory. Among these are two Iron Age finds: the c. 2,300-year-old Grauballe Man, the world's best preserved bog body; and, a number of exceptional weapon sacrifices from Illerup Ådal. The latter constitutes a segment of the museum’s collection which reflects sacrifice traditions, long distance contracts and power struggles that took place 1,800 years ago.

 © Martin Schubert

马丁·舒伯特

Architects Henning Larsen Architects

Location Aarhus, Denmark

Category Exhibition Center

Team from Henning Larsen Architects Louis Becker (Responsible Partner), Niels Edeltoft (Project Manager), Troels Troelsen (Design Responsible, Competition Phase), Elizabeth Ø. Balsborg (Architect and Design Manager), Birte Bæk, Carsten Fisher, Gitte Edelgren, Greta Lillienau, Hans Vogel, Henrik Vuust, Irma Persson Käll, Johnny Holm Jensen, Julie Daugaard Jensen, Lars Harup, Lars Krog Hansen, Magnus Folmer Hansen, Mai Svanholt, Maja Aasted, Martha Lewis, Matthias Lehr, Peter Koch, Sarah Kübler, Stefan Ernst Jensen

Area 16000.0 m2

Photographs Jens Lindhe, Martin Schubert , Jan Kofod Winther, Jacob Due

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