竞赛建筑师Shigeru潘基文/Shigeru ban、Nobutaka Hiraga、Mamiko Ishida、Asako Kimura、Anne Scheou/Toshi Kubota、Hiroshi Maeda(平面设计师)；Jean de Gastines建筑，巴黎/Jean de Gastines；Gumuchdji建筑师、伦敦/Philip Gumuchdjii、Shinya Mori、Ralf Eikelberg Design、Shigeru潘基文建筑事务所、巴黎/Shigeru潘基文、Gerardo Perez、Marc Ferrand、Jacques Marie、Fay al Tia ba、Elsa Neufville、Vincent Laplante、Alessandro Bolinfi、Hiromi Okada、Jeong Hoon Lee、Jae Whan Shin、Jonathan ThornHill、Rahim Danto Barry；Jean de Gastines Architecture，Paris/Jean de Gastines竞争结构顾问Ove Arup，London-Cecil Balmond Design，工地管理结构顾问(第一阶段)Ove Arup，London/Paul Nuttall，索菲·勒布尔瓦，本·刘易斯，戴维·格拉西，安德鲁·劳伦斯，霍格·费尔特，马蒂厄·雅克·德·迪克斯穆德，詹姆斯·麦克莱恩；(第二阶段)Terrell，巴黎-Zbigniew Koszut，Laurence Dallot Structure for the Timber Roof Hermann Blumer，Waldstatt(瑞士)MEP Ove Arup，London/Emmanuelle Danisi，佛罗伦萨Collier，James Whelan，Chris Moore；Gecénierie，Paris-Philippe Vivier，勒内·安德里安照明L‘观察站1，巴黎-Geroges Berne，Anthony Perlot，Rmy Cimade比利亚；巴黎图标-Akari-Lisa Ishii工料测量师J.P.Tohie

Competition Architects Shigeru Ban Architects / Shigeru Ban, Nobutaka Hiraga, Mamiko Ishida, Asako Kimura, Anne Scheou / Toshi Kubota, Hiroshi Maeda (graphic designer); Jean de Gastines Architectes, Paris / Jean de Gastines; Gumuchdjian Architects, London / Philip Gumuchdjian, Shinya Mori, Ralf Eikelberg Design, Site administration Shigeru Ban Architects Europe, Paris / Shigeru Ban, Gerardo Perez, Marc Ferrand, Jacques Marie, Fayçal Tiaïba, Elsa Neufville, Vincent Laplante, Alessandro Boldrini, Hiromi Okada, Jeong Hoon Lee, Jae Whan Shin, Jonathan Thornhill, Rahim Danto Barry; Jean de Gastines Architectes, Paris / Jean de Gastines Competition Structure Consultant Ove Arup, London – Cecil Balmond Design, Site administration Structure Consultant (1st phase) Ove Arup, London / Paul Nuttall, Sophie Le Bourva, Ben Lewis, David Gration, Andrew Lawrence, Holger Falter, Mathieu Jacques de Dixmude, James McLean ; (2nd phase) Terrell, Paris– Zbigniew Koszut, Laurence Dallot Structure For The Timber Roof Hermann Blumer, Waldstatt (Switzerland) MEP Ove Arup, London / Emmanuelle Danisi, Florence Collier, James Whelan, Chris Moore; Gec Ingénierie, Paris– Philippe Vivier, René Andrian Lighting L’Observatoire 1, Paris – Geroges Berne, Anthony Perrot, Remy Cimadevilla; Icon, Paris - Akari-Lisa Ishii Quantity Surveyor J.P Tohier & Associés, Paris – Eric Le Dreo, Gerald Lamory Acoustics Commins Acoustics workshop, Paris – Daniel Commins Security Consultant Cabinet Casso & Cie, Paris - Michel Walkowiak General Contractor Demathieu & Bard, Metz Timber Roof Holzbau Amann, Weilheim-Bannholz (Germany) / Döbele Tobias, Martin Pfundt, Fredy Oberle, Klaus Tröndle, Peter Amann Timber Roof Structural Analysis SJB / Franz Tshuemperlin, Samuel Keller Roof Membrane Taiyo Europe, Munich (Germany) – Koffi Alate, Peter Wright, Massimo Maffeis, Thomas Winkler Site Area 12 000 m² Construction Cost 51M€ Manufacturers Loading... More Specs Less Specs

 © Didier Boy De La Tour

迪迪埃·德拉之旅

当我开始设计的时候，我的第一个想法是关于当今世界各地的艺术博物馆的两个最近的现象。第一个趋势，已经成为众所周知的“毕尔巴鄂效应”，诞生于西班牙毕尔巴鄂的古根海姆博物馆，由弗兰克o盖里设计，并于1998年完成。策略是在一个国际上不知名的城市创造雕塑建筑来吸引旅游业，这最终是成功的。但有人认为，这种建筑破坏了它的功能，无视艺术家和工作人员的关注，创造一个个人纪念碑，造成展示和观看艺术的恶劣条件。

My first thoughts when beginning the design were two recent phenomena concerning art museums throughout the world today. The first trend, which has become widely known as the “Bilbao Effect”, was born from the Guggenheim Museum in Bilbao, Spain, designed by Frank O. Gehry and completed in 1998. The strategy was to create sculptural architecture in an internationally unknown city to draw tourism, and it was ultimately a success. But there is an opinion that this kind of architecture spoils its functionality by disregarding the concerns of artists and staff, to produce a personal monument resulting in poor conditions for displaying and viewing art.

作为另一个极端的例子，有一种改造旧工业建筑的方法，为作品展示创造一个最佳的空间，不管建筑是多么中性。伦敦的泰特现代博物馆和2003年在纽约州北部为DIA艺术基金会完成的DIA：灯塔就是这些成功的例子。与其选择任何一个极端，我认为创造一个设计概念，考虑到展示和观看艺术的方便，而建筑给游客留下了深刻的印象。

As an example at the other extreme, there is a method of renovating old industrial architecture to produce an optimal space for the exhibition of works, however neutral the architecture may be. The Tate Modern in London, and the Dia:Beacon completed in 2003 in upstate New York for the Dia Art Foundation are such successful examples. Rather than choosing either extreme, I thought to create a design concept which considered the ease of displaying and viewing art, while architecturally leaving a deep impression with visitors.

 © Didier Boy De La Tour

迪迪埃·德拉之旅

为了创造功能空间，我把程序整理成简单的卷，并在它们之间清晰地循环。为了简化它们之间的功能关系，对它们进行了三维排列.

In order to create functional spaces, I articulated the program into simple volumes with a clear circulation amongst them. They were arranged three-dimensionally, in order to simplify their functional interrelationship.

 Floor Plan

一般的画廊对长度的要求是不同的基于一个15米宽的模块，以创建三个简单的方形管与长，90米深的矩形体积在里面。这三根管子垂直堆放在一个六角形钢框架塔周围，其中包括楼梯和电梯。在三个移位的画廊管的分层天花板下所创造的空间构成了大尼夫画廊。

The general galleries with varying requirements for lengths were based on a 15m wide module to create three simple square tubes with long, 90m deep rectangular volumes inside. The three tubes are stacked vertically and arranged around a hexagonal steel frame tower which contains the stairs and elevators. The space created beneath the tiered ceilings of the three shifted Gallery Tubes make up the Grand Nef Gallery.

 © Didier Boy De La Tour

迪迪埃·德拉之旅

蓬皮杜中心这一附件的主要目的是能够向公众展示更多的作品(全部藏品中只有大约20%在巴黎展出)，以及能够展示巴黎博物馆由于梁下有5.5米高而无法展出的非常大的作品。为了满足这一要求，18米作为大Nef画廊下最高的天花板高度被保留下来。

The main purpose for this annex to the Centre Pompidou was to be able to show more works to the public (only about 20% of the entire collection is exhibited in Paris), and to be able to display the very large works that cannot be shown in the Paris museum due to the 5.5m ceiling height under the beams. To accommodate this requirement, 18m was maintained as the highest ceiling height under the Grand Nef Gallery.

该地点是原开关站的位置，目前站以南，并与城市中心的城市北部。为了建立与城市相关的延续，在三间画廊的两端的大画窗上，可以看到城市的纪念碑。通过这个设计，建筑和城市成为一体。最上面的画廊管的图片窗口3帧大教堂的景观，象征梅茨，和画廊地铁2帧中央站。由于梅茨靠近德国边境，以及过去多次战争，这座城市曾多次在法德之间交手。因此，这座车站是这座城市历史的重要组成部分，在梅茨被德国占领期间，它是一座新罗马风格的纪念碑。

The site is the location of the original switchyard south of the current station, and is isolated from the urban center of the city to the north. To establish contextual continuation with the city, the large picture windows at the ends of the three gallery tubes frame views to the city’s monuments. Through this design, the building and the city become one. The picture window of the uppermost Gallery Tube 3 frames the view to the cathedral, the symbol of Metz, and Gallery Tube 2 frames the central station. Owing to Metz’s proximity to the German border and the many wars of the past, the city has changed hands between France and Germany on several occasions. This station is thus an important part of the city’s history, a monument in the neo-Romanesque style during a period when Metz was under German occupation.

 © Didier Boy De La Tour

迪迪埃·德拉之旅

除了三个画廊管，有一个圆形的卷，包括创造工作室与餐厅在顶部，和一个方形的卷，包括一个礼堂，办公室，和其他后面的房子节目空间。一种六角形的木屋结构，悬浮在所有独立的空间上，以便将它们统一成一个完整的整体。对法国人来说，六边形是他们国家的象征，因为它与法国的地理形状相似。此外，六角形由六角图案和等边三角形组成，这些三角形受亚洲传统编织竹帽和篮子的启发。虽然它倾向于形成三角形来创造平面内的刚度，通过将整个表面划分成三角形，六个木材元素会在每个交叉口会聚，产生极其复杂的连接。通过创建一个六边形和三角形的模式，只有四个木头元素曾经相交。这些交叉口不使用机械金属接头，因为如果使用它们，表面就会变大，元素的长度都会变得独特，这就增加了连接的复杂性，也增加了连接的成本。相反，每个成员互相重叠，类似于竹子柳条。这个想法来自于1999年我在巴黎一家古董店里发现的一顶中国传统编织帽子，当时我正在为汉诺威世博会设计日本馆。我和弗雷·奥托合作，把展馆设计成纸管网壳结构，自从他第一次看到他在斯图加特大学设计的轻型结构和概念设计研究所以来，我对拉丝网结构着迷，同时也留下了一些疑问。当我看到那顶中国帽子时，这些疑虑都消除了。

Aside from the three Gallery Tubes, there is a round volume containing the Creation Studio with a restaurant on top, and a square-shaped volume containing an auditorium, offices, and other back of house program spaces. A timber roof structure in the form of a hexagon hovers over all of the separate volumes in order to unify them into a cohesive whole. To the French, the hexagon is a symbol of their country, as it is similar to the geographical shape of France. Furthermore, the hexagonal is composed of a pattern of hexagons and equilateral triangles inspired by traditional woven bamboo hats and baskets of Asia. Although it is preferred to form triangles to create in-plane stiffness, by dividing up the whole surface into triangles, six wood elements would converge at each intersection producing extremely complex joints. By creating a pattern of hexagons and triangles only four wood elements ever intersect. The intersections do not use mechanical metal joints, because if they were used, the surface would become voluminous and the lengths of the elements would all become unique, increasing the complexity and also the cost of the joints. Instead, each member overlaps one another similar to bamboo wickerwork. This idea came from a traditional woven Chinese hat I found in an antiques shop in Paris in 1999 while designing the Japan Pavilion for the Hanover Expo. I was collaborating with Frei Otto to design the pavilion as a paper tube grid-shell structure, and since first seeing his design of the Institute for Lightweight Structures and Conceptual Design at the University of Stuttgart, I was fascinated with the tensile wire-mesh structure while also being left with some doubts. When I saw the Chinese hat, these doubts were cleared.

 Floor Plan

弗雷奥托的铁丝网允许使用最小数量的材料形成一个有趣的三维内部空间，但最终金属丝只是一个线状构件，为了建造一个正常的屋顶，必须在铁丝网上形成一个木材外壳。当我看到这个的时候，我想知道用木材(层压板)制作网格结构的可能性，它可以很容易地在二维弯曲，在那里屋顶可以直接放在顶部。由于木材既可以作为受拉构件，也可以作为受压构件，因此，我认为它可以作为一个受压的壳体结构来实现，而不是一个拉网状结构。自那时以来，我一直在发展木材结构，如Uno Chiyo纪念馆提案(Iwasuni市，2000年)、IMAI医院日托中心(秋田，2001年)、Atsushi Iai纪念体育馆(Akita，2002年)、竹屋(休斯顿，得克萨斯州，2002年)、Frei Otto实验室提案(德国科隆，2004年)。这项工作在蓬皮杜梅茨中心现已完工的屋顶上达到了顶峰。在比赛阶段，通过与竹屋面的联系，Arup的塞西尔·巴蒙德(Cecil Balmond)负责屋面的结构，并提出了一种木钢混合结构，但在赢得比赛后，如前所述，开发了一种完整的木屋顶结构。

Frei Otto’s wire-mesh allowed the formation of an interesting three-dimensional interior space using the minimum amount of materials, but in the end the wire was only a linear member, and in order to build a normal roof, a timber shell had to be formed over the wire-mesh. When I saw this, I wondered about the possibility of making a grid structure using wood (laminated timber) that can be easily bent two-dimensionally, where the roof can be placed directly on top. Since timber can be used as both a tensile member and compressive member, I thought it could be realized as a compressive shell structure, in addition to being a tensile mesh structure. Since then, I have continued to develop timber structures, such as Uno Chiyo Memorial Museum Proposal (Iwakuni City, 2000), Imai Hospital Daycare Center (Akita, 2001), Atsushi Imai Memorial Gymnasium (Akita, 2002), Bamboo Roof (Houston, Texas, 2002), Frei Otto Laboratory Proposal (Cologne, Germany, 2004), and this work has culminated in the now completed roof of the Centre Pompidou Metz. During the competition phase, through ties from Bamboo Roof, Cecil Balmond of Arup was in-charge of the structure for the roof, and a timber and steel hybrid structure was proposed, but after winning the competition, as stated above, a completely timber roof structure was developed.

 © Didier Boy De La Tour

迪迪埃·德拉之旅

这一概念的另一个重要方面是从内部到外部空间的延续，以及这些关系所产生的空间序列。建筑物通常是盒子，只有当内部和外部被墙隔开时才开始。然而，只要有一个屋顶，就能创造出一个空间。近几年来，艺术越来越多地被认为是与大众隔绝的概念。越来越多的人不愿意花钱进入一个盒子看他们甚至可能不理解的作品。博物馆不是一个盒子，而是一个聚集在一个大屋顶下的地方，它是周围公园的延伸。由于它更容易进入没有墙壁，外观是由玻璃百叶窗，可以很容易地移除。密斯·范德洛位于柏林的新国家美术馆的墙壁都是玻璃砌成的，但只能在视觉上透明，不能被称为物理透明。

Another important aspect of the concept is the continuation of interior to exterior spaces, and the sequence of spaces borne from these relationships. Buildings are generally boxes that only begin when the interior and exterior are separated by walls. However, a space can be created with the presence of just a roof. In recent years art has become more and more conceptual that it is distancing the general public. There is an increasing number of people not willing to pay money to enter a box to view works that they may not even comprehend. Instead of a box, the museum is a gathering place under a large roof that is an extension of the surrounding park. As it is easier to enter without the presence of walls, the façade was composed of glass shutters that can be easily removed. Mies van der Rohe’s New National Gallery in Berlin has walls that are all in glass, but is only visually transparent, and cannot be called physically transparent.

 Floor Plan

大容量的论坛可以免费访问，人们可以在那里喝茶，自由地欣赏那里的雕塑和装置，同时被画廊里的艺术品所吸引，并随着时间的推移逐渐体验空间序列。大顶板与各体积之间的间隙区域具有不同的功能。首先，它是一个聚会的论坛空间。其次，在第一和第二画廊的顶部，它是一个展览空间，展示雕塑，利用自然光线透过屋顶过滤。这两个展位中的840平方米是原计划中没有要求的额外空间。不幸的是，由于预算原因，原先在竞赛中提出的第3展厅楼的餐厅不得不取消(根据法国建筑规范，地面以上28米以上的一般用途楼层被认为是一座高层建筑，这使得紧急疏散和安全预防措施非常复杂)。这些是这个体系结构的概念。

The large volume of the forum can be accessed free of charge, where people can have tea and freely enjoy the sculptures and installations there while they are drawn by glimpses of the artwork in the galleries, and gradually experience the sequences of spaces as they proceed further. The interstitial areas between the large roof and each volume have various functions. First, it is a forum space for gathering. Secondly, on top of Gallery Tubes 1 and 2, it is an exhibition space for displaying sculptures, taking advantage of the natural light filtering in through the roof. The 840 square meters of these two exhibition spaces were extra spaces not originally requested in the program. Unfortunately, the restaurant atop Gallery Tube 3 which was originally proposed during the competition had to be cancelled due to budgetary reasons (according to French building code general purpose floor use higher than 28m above ground are considered a high rise building, which makes emergency evacuation and safety precautions very complex). These are the concepts of this architecture.

Architects Shigeru Ban Architects

Location Centre Pompidou-Metz, 1 Parvis des Droits de l'Homme, 57020 Metz, France

Category Museum

Area 11330.0 m2

Project Year 2010

Photographs Didier Boy De La Tour

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