© Joep Jacobs

乔普·雅各布斯

架构师提供的文本描述。位于兹沃勒的基金会博物馆位于中世纪城市中心和开放的19世纪公园与运河之间的边界上，在前司法宫的屋顶上展开了壮观的展览。

Text description provided by the architects. Museum De Fundatie in Zwolle, situated on the border between the mediaeval city centre and the open 19th century parkland with its canals, has been extended with a spectacular volume on the roof of the former Palace of Justice.

布利雅克特上的法院是由建筑师爱德华·路易斯·德·康尼克于1938年以新古典风格设计的。德科宁克打算用这种建筑风格来象征新王国立法的统一。该建筑具有双重对称，有一个巨大的入口和一个中央入口大厅延伸超过两层。

The courthouse on Blijmarkt was designed by the architect Eduard Louis de Coninck in 1938 in the neo-classical style. De Coninck intended this style of architecture to symbolise the unity in the legislation of the new kingdom. The building has a double symmetry with a monumental entrance and a central entrance hall extending over two floors.

 © Joep Jacobs

乔普·雅各布斯

在城市一侧，独立建筑相对于布利雅克特的完整、中世纪的外墙略有凹陷。加上科林提安柱上一个鼓室的古典外墙结构，这使这座建筑独树一帜。这座建筑也是独立的，站在运河边，在波基特辛尔的绿色地带。19世纪下半叶，随着城墙的拆除，运河被布置成了英国景观风格的公共公园。

On the city side the free-standing building is slightly recessed in relation to the unbroken, mediaeval façade of Blijmarkt. Together with the classical façade structure of a tympanum on Corinthian columns, this gives the building a solitary character. The building is also free-standing on the canal side, in the green zone of Potgietersingel. The canals were laid out as a public park in the English landscape style in the second half of the 19th century, following the demolition of the city walls.

 © Joep Jacobs

乔普·雅各布斯

由于它的位置，这座建筑成为了两个截然不同的世界之间的纽带：一个是内向的、中世纪的、设防的城市，具有紧凑和静态的特征；另一个是19世纪的公园，具有外向、动态的特征。

Due to its location the building became a link between two distinct worlds: one an inward-orientated, mediaeval, fortified city with a compact and static character and the other a 19th century park with an outward-orientated, dynamic character.

 © Joep Jacobs

乔普·雅各布斯

1977年，这座建筑不再作为司法宫殿的功能，它被改造成政府规划部国家议会的办公室。在两个高等法院的房间里建造了一个阁楼。自2005年以来，经过建筑师古纳尔·达安的内部装修，这座建筑一直是基金会博物馆的所在地。

In 1977 the building ceased to function as a Palace of Justice and it was converted into offices for the Rijksplanologische Dienst, the government planning department. A mezzanine was constructed in the two high court rooms. Since 2005, following internal renovation by architect Gunnar Daan, the building has been the home of Museum De Fundatie.

 © Joep Jacobs

乔普·雅各布斯

博物馆收藏了包括伦勃朗、塞恩雷丹、特纳、莫奈、罗丹、梵高、蒙德里安和范德莱克的作品。此外，博物馆还举办了一些规模不大但讨论颇多的展览。在拉尔夫·基宁的领导下，这些临时展览非常成功，博物馆的扩建变得不可避免。尽管在历史城市中心扩建宫殿存在固有的问题，但博物馆抵制了放弃这座国家纪念碑的诱惑，选择了扩建它。

The museum has an extraordinary collection including works by Rembrandt, Saenredam, Turner, Monet, Rodin, Van Gogh, Mondrian and Van der Leck. In addition, the museum organises modest, but much discussed exhibitions. Under Ralph Keuning’s directorship these temporary exhibitions became so successful that extension of the museum became unavoidable. Despite the inherent problems of extending the palace in the historical city centre, the museum resisted the temptation to abandon this national monument and opted to extend it.

 © Joep Jacobs

乔普·雅各布斯

比尔曼·亨基特建筑公司于2010年设计了原法院大楼的扩建工程。建筑师休伯特-简·亨基特成功地说服了客户不要在现有的建筑旁边增加一个扩展：这会破坏它的孤立和对称的特性。地下延伸被证明在空间上太复杂了。相反，亨基特设计了一个扩展，在纪念性建筑的顶部有一个自主的音量。

Bierman Henket architecten designed the extension of the former courthouse in 2010. Architect Hubert-Jan Henket succeeded in persuading the client not to add an extension next to the existing building: this would have destroyed its solitary and symmetrical character.  An underground extension proved spatially too complicated. Instead Henket designed an extension with an autonomous volume on top of the monumental building.

 © Joep Jacobs

乔普·雅各布斯

就像正义宫把两个世界横向连接在一起一样，亨利把古典的静态建筑和当代延伸的流体力学垂直方向结合在一起。上层建筑，就像子结构一样，在两个方向上是对称的，但形状很像橄榄球。这两个完全不同的卷合在一起，形成了一个新的城市实体.在内部也有两种截然不同的解释：下面的长方形博物馆大厅与上面椭圆空间中流动的开放空间的经典继承。

In the same way that the Palace of Justice links two worlds in a horizontal direction, Henket couples the classical, static building with the fluid dynamics of a contemporary extension in a vertical direction. The superstructure, just like the substructure, is symmetrical in two directions, but the shape rather resembles a rugby ball. Together, the two totally-different volumes form a new urban entity. There are also two contrasting interpretations in the interior: the classical succession of rectangular museum halls below versus the fluid, open spaces in the elliptical volume above.

 © Joep Jacobs

乔普·雅各布斯

从一开始，负责保护古迹和历史建筑的部门Rijksdienst voor Cultureel Erfgoed和地方保护协会都对这一扩展的激进概念充满热情。根据通过发展维护的座右铭，习惯辩论和公开调查程序大大缩短。规划许可是在创纪录的时间内授予的。

Right from the outset, both the Rijksdienst voor Cultureel Erfgoed, the department responsible for the preservation of monuments and historical buildings, and local conservation societies were enthusiastic about the radical concept for the expansion. Under the motto preservation through development the customary debates and public inquiry procedures were considerably shortened. Planning permission was granted in record time.

 © Joep Jacobs

乔普·雅各布斯

直接穿过现有的建筑物，八根钢柱矗立在八个独立的基础上。这些柱子支撑着新的展区-有两层展厅，总面积为1，000平方米。因此，无论在结构上还是在建筑上，扩建都是独立于旧建筑的。扩展-也称为“艺术云”-覆盖着由Makkum Koninklijke Tichelaar公司生产的5.5万个三维陶瓷元素。加在一起，蓝色和白色混合釉面砖的长度分别为20x20厘米和10x10厘米，形成了一个微妙的表面，根据天气的不同，融合到天空中。在北面，日光洪流进入两个，新的展览楼层通过一个大的，玻璃窗格在瓷砖上层建筑。在里面，游客可以看到这座城市的全景。

Straight through the existing building, eight steel columns stand on eight individual foundations. The columns support the new extension – with two exhibition floors that total 1,000 m2. So, structurally and architecturally, the extension is independent of the old building. The extension – also called the Art Cloud – is clad with 55,000 three-dimensional ceramic elements produced by Koninklijke Tichelaar in Makkum. Together, the mixed blue-and-white glazed tiles measuring 20x20 cm and 10x10 cm, form a subtle surface which, depending on the weather, merges into the heavens. On the northern side daylight floods into the two, new exhibition floors through a large, glazed pane in the tiled superstructure. Inside, visitors have a panoramic view of the city.

 © Joep Jacobs

乔普·雅各布斯

随着延伸，原来的中央入口大厅被作为一个中庭进行，在那里两个博物馆世界汇合。中庭的玻璃电梯将参观者送到不同的楼层。楼梯位于楼层的外层。在旧的建筑里，它们是庄严而笔直的，在新的发展中，它们是流动的弯曲的。在既有建筑和扩建−之间有一条玻璃通道，新的和旧的在那里相遇。游客一边看中庭，一边可以看到城市和瓷砖延伸部分的底部。它的目标是在一座建筑中展示当代和古老的艺术-基金会博物馆-现在有了一个新的、真正的、独特的身份。

With the extension, the original central entrance hall has been carried through as an atrium where the two museological worlds converge. A glass lift in the atrium conveys visitors to the various floors. The stairways are located on the outer part of the floors. In the old building they are stately and straight, in the new development they are flowingly curved. A glass passageway runs between the existing building and the extension − where new and old meet.  On the one side visitors look into the atrium and on the other they have a view of the city and the underside of the tiled extension. With its aim of presenting contemporary and old art in one building – Museum De Fundatie now has a new, truly-unique identity.