© Pedro Pegenaute

佩德罗·佩佩诺特

架构师提供的文本描述。MXSI凭借其为G sta Serlachius博物馆开展的项目，在西班牙建筑师协会高级理事会颁发的国际项目竞赛类别中赢得了2013年西班牙国际建筑奖。

Text description provided by the architects. MX_SI with their project for the Gösta Serlachius Museum won the Spanish International Architecture Award 2013 in the International Project Competition category awarded by the Higher Council of the Associations of Architects in Spain.

位于巴塞罗那的MX_SI建筑工作室获得了芬兰G sta Serlachius当代艺术博物馆扩建项目的国际竞赛一等奖。他们的项目是在提交的579份建议书中选定的，使其成为芬兰历史上参与程度最高的项目。

MX_SI architectural studio, based in Barcelona, won the first prize of the international competition for the extension to the Gösta Serlachius Contemporary Art Museum in Finland. Their project was selected among 579 proposals submitted, making it the competition with the highest level of participation in the history of Finland.

MX_SI的作品包括位于格拉纳达的Federico Garcia Lorca中心，它还设计了一座桥梁，将新博物馆与Taavetinsaari岛连接起来，并建议设计Harry Kivij rvi的艺术作品，使它们成为景观的一部分。

MX_SI, whose works include the Federico Garcia Lorca Centre in Granada, have also designed a bridge to join the park where the new museum is located with the island of Taavetinsaari and suggested the layout of Harry Kivijärvi’s artworks so they form part of landscape.

2014年6月13日，芬兰M NTT的新当代艺术博物馆G sta Serlachius开幕，该博物馆由设在巴塞罗那的建筑公司MX_SI设计，是2011年国际公开竞赛的获奖者，由Serlachius基金会在芬兰建筑师协会的支持下举办。比赛共收到来自42个国家的579份参赛作品，使其成为芬兰有史以来最受欢迎的作品。

June 13th, 2014 saw the inauguration of the new Contemporary Art Museum Gösta Serlachius in Mänttä, Finland, designed by MX_SI, the architecture firm based in Barcelona, winners of the international open competition in 2011, organized by the Foundation Serlachius with the support of the association of Finnish architects SAFA. 579 entries from 42 countries were received for the competition, raising its profile to that of the most popular ever in Finland.

 © Pedro Pegenaute

佩德罗·佩佩诺特

比赛的目的是扩建乔尼梅庄园，这是一座原本未被设想为博物馆的建筑，并于1983年重新装修，作为该中心的总部。

The competition was for an extension to the Joennimei manor, a building that had not been originally conceived as a museum and was refurbished in 1983, to serve as the headquarters for the centre.

MXSI工作室、MaraPartida、BorisBezan和HectorMendoza的建筑师提供的解决方案使这些设施能够适应举办当代艺术巡回展览，同时解决由于博物馆́自身藏品不断增加而产生的空间问题。这座新建筑是在一个抽象的石化森林的背景下建立起来的，它位于历史上重要的乔尼梅庄园旁边，形成了一个入口广场。MX_SI作为当地合作伙伴，在赫尔辛基与Huttunen-Liasti-Pakkanen建筑师合作开发该项目和监督建筑工地。

The solution provided by the architects from the MX_SI studio, Mara Partida, Boris Bezan and Hector Mendoza, has enabled the facilities to be adapted to host contemporary art travelling exhibitions while solving the problem of space due to museum ́s own growing collection. The new building is erected against a backdrop of an abstract petrified forest and is situated to form an entrance plaza alongside the historically important Joennimei manor. MX_SI collaborated with Huttunen-Lipasti-Pakkanen Architects in Helsinki as local partners for the development of the project and construction site supervision.

 © Tuomas Uusheimo

(3)TuomsUusheimo

新的建筑尊重原来的东西，同时确保有可能用现代语言创造自己的建筑，而不会失去自己的身份。内部和外部大气之间的流动和持续对话所产生的空间丰富性，加上预计体积的和谐，以及它如何适应其周边地区的景观，是已在项目上转移和作出标记的价值。

The new building respects what was originally there while ensuring the possibility to create its own architecture with modern language without losing its identity. The spatial richness generated by the fluid and continuous dialogue between the interior and exterior atmospheres in conjunction with the harmony of the projected volume, and how it has adapted to the landscape around its perimeter area are the values which have been transferred and made their mark on the project.

 Ground Floor Plan

在建造新大楼的同时，MXSI被委托承担将位于Melasj rvi湖海岸的一个公园的博物馆与Taavetinsaari岛连接起来的机会，实现了外部展览空间的自然增加。一座桥梁的建造结构简单，奇异，保持了最初项目的形式和概念的外观。除了建筑物的标志外，还有一个与艺术作品与景观相结合的元素，也是由MX_SI建筑工作室监督的。

Parallel to the construction of the new building, MX_SI has been commissioned to undertake the opportunity to connect the museum, located in a park on the shores of Lake Melasjärvi, with the island of Taavetinsaari, achieving a natural increase in external exhibition space. A bridge was constructed with a simple, singular structure, keeping the formal and conceptual appearance of the initial project. An element that coexists with the integration of the works of art into the landscape, which in addition to the signage of the building, was also supervised by MX_SI architectural studio.

 © Pedro Pegenaute

佩德罗·佩佩诺特

Serlachius基金会成立于1933年，目的是照顾和维护G sta Serlachius(1876-1942)收藏的艺术品，他拥有芬兰最大的造纸厂之一。目前，博物馆展出的有价值的作品跨越芬兰艺术运动的各个时期，从最早的作品到多产的黄金时代、现代主义和当代创作。还有超级流行！由Timo Valjakka主办的展览，包括美国和芬兰流行艺术经典。

The Serlachius Foundation was created in 1933 with the purpose of taking care of and maintaining the art collection amassed by Gösta Serlachius (1876-1942), owner of one of the largest paper mills in Finland. Currently, the museum exhibits valuable works spanning the various periods of the Finnish art movement, from the earliest works to the prolific Golden Age, modernism and the contemporary creation. As well as the SuperPop! exhibition curated by Timo Valjakka, including American and Finnish Pop art classics.

在建筑外部，建筑呈现出一系列的立式图景，并强调了建筑内部结构的节奏感。在多层之间，一个通风的立面系统被设计成云杉木条，独立地扭曲到材料本身的构造极限上，从而实现了一个沿整个海拔变化的三维纹理的效果。正面的想法也考虑到时间对像木头这样的活生生的材料的影响，所以决定在它的所有元素中加入一种半透明的金色色调。在最初的几年里，建筑将保持一个一致的形象，这将褪色，以让位给所需的银色色调的特点，这种木材老化。

On the outside, the building presents a series of vertical mullions that follow and emphasize the rhythm of the interior structure. Between the mullions a ventilated facade system was designed of spruce wood strips twisted independently to the tectonic limit of the material itself, thereby achieving an effect of a three-dimensional texture that varies along the entire elevation. The facade idea also considered the effect of time on a living material like wood, so it was decided to add a semi-transparent golden hue to all its elements. During the first years the building will thus maintain a consistent image that will fade to make way for the desired silver tones that characterize this wood as it ages.

 © Pedro Pegenaute

佩德罗·佩佩诺特

为了减少建筑物在如此敏感的环境中的视觉影响，建筑物设法分解成较小的碎片。体积被某些切割或不规则形状的切口打断，这些切口被反光玻璃表面覆盖。这些切口的结果是对无限镜子空间的感知；门或森林走道以光学方式横向细分建筑物。

To reduce the visual impact of a building in such a sensitive environment, the building seeks to decompose into smaller fragments. The volume is interrupted by certain cuts, or irregularly shaped incisions, which are covered with a reflective glass surface. The result of these incisions is the perception of spaces of infinite mirrors; doors or forest walkways optically subdividing the building transversely.

 © Pedro Pegenaute

佩德罗·佩佩诺特

在内部，建筑物是按照从外部开始的路径组织起来的。这条道路被突如其来的、令人惊讶的光线入侵所跨越，主要是由于建筑体积的切口也提供了外部景观。这些入侵将原本是直线的道路转变成一条情感的道路，这要归功于不断重复的结构框架和中断的节奏，这些结构框架和中断允许外部空间渗透到建筑物内。

Inside, the building is organized to continue with the path which starts from the outside. This path is crossed by a sudden and surprising invasion of light caused mainly by the incisions in the volume of the building that also offer exterior views. These invasions transform what would have been a lineal path into an emotional one, thanks to the rhythm of the constant repetition of the structural frames and interruptions that allow external spaces to penetrate inside the building.

从技术上讲，这个项目是芬兰第一批用木结构、外墙和饰面建造大型公共建筑的例子之一。尽管有严格的防火规定，但仍有可能在整个建筑物内看到结构木架。重要的是避免覆盖结构，以感知材料的光滑纹理和天花板的弯曲表面，强调梁的稳定节奏。

Technically, this project represents one of the first examples of large-scale public buildings in Finland to have been built with structures, external walls and finishes in wood. Despite the strict fire regulations, it was possible to leave the structural wooden frames visible inside the entire building. It was important to avoid covering the structure to perceive the smooth texture of the material and the curved surface of the ceiling accentuated by the steady rhythm of the beams.

这一结构也是为了在规划未来展览时给予室内空间更大的灵活性。两边都有支撑，释放了建筑元素，释放了画廊的中央部分，框架也被计算成能够容纳大型艺术品，甚至可以挂在屋顶梁上的作品。

This structure was also designed to give greater flexibility to the interior spaces when planning future exhibitions. Supports have been left at the sides thus freeing up on building elements and releasing the central parts of the galleries, the frames have also been calculated to be able to hold pieces of large scale works of art which can even be hung from the roof beams.

随着公园成为感官之旅和博物馆游客体验之旅的一部分，这个项目也开始在更大范围内向外延伸。翻修和引进了新的公园区，设计了连接公园和Taavetinsaari岛的桥梁，并在景观中放置了新的艺术元素，例如Harry Kivij rvi的雕塑，这些作品反过来又使博物馆与其所在的自然环境产生了新的对话。

As the park became part of the journey for the senses and the museum visitor experience, the project also began to take on part of the outside on a larger scale. New parkland areas were renovated and introduced , the bridge connecting the park with the island Taavetinsaari was designed and new elements of art were also positioned in the landscape , such as the sculptures by Harry Kivijärvi, works which in turn pose a new dialogue between the museum and the natural environment in which it is located.

 © Pedro Pegenaute

佩德罗·佩佩诺特

该项目的一些奖项和表彰包括：2015年欧洲联盟当代建筑奖提名-米斯·范德罗赫奖(Mies Van Der Rohe)、阿奎图拉·埃斯帕尼奥拉国际建筑奖(ArquArchtura Espa Ola Internacional)获奖，以及西班牙Premio nan奖。在芬兰，获得了2014年最佳木制项目奖和芬兰迪亚建筑奖以及芬兰土木工程协会的终结者奖。

Some of the project’s prizes and recognitions include a nomination for the European Union Prize for Contemporary Architecture - Mies van der Rohe Award 2015 , a winning prize at the Arquitectura Española Internacional and a recognition at Spain’s Premio NAN. In Finland has received the prize for the best wooden Project 2014 and a finlaist at the Finlandia Prize for Architecture and also at the Civil Engineering Association in Finland.

其他奖项还包括年度青年建筑师奖、2014年YAYA奖、朗姆酒杂志奖决赛以及我们的木材设计功勋奖。

Other prizes also include the Young Architect of the Year Award, YAYA2014, finalist at the RUM magazine awards and Merit Award in our Wood Design & Building Awards program, Canadian Wood Council/Conseil canadien du bois( www.cwc.ca)