项目负责人(第一阶段)托马斯·越茨克，延斯·鲍斯特尔曼项目负责人(第二阶段)法比安·海克尔餐厅现场

Project Lead (Phase 1) Thomas Vietzke, Jens Borstelmann Project Lead (Phase 2) Fabian Hecker Restaurant mise en scene & Gift Shop Melodie Leung, Maha Jutay, Claudia Glas-Dorner, Evgeniya Yatsyuk, Kevin Sheppard, Carine Posner, Maria Leni Popovici, Loulwa Bohsali, Karine Yassine, Steve Blaess Conservation Architects Liam O’Connor Architects Lighting Isometrix Structure, Services, Fire ARUP Kitchen Sefton Horn Winch Planning Consultants DP9 Project Management Rise Cost Consultants & Contract Administrator Gleeds Manufacturers Loading... More Specs Less Specs

 © Luke Hayes

(卢克·海耶斯

架构师提供的文本描述。蛇形萨克勒画廊由两个不同的部分组成，即19世纪经典砖结构-“杂志”-和21世纪拉伸结构的转换。因此，蛇形萨克勒画廊是继罗马MAXXI之后的第二个艺术空间，扎哈·哈迪德建筑师创造了一个新旧结合的艺术空间。该杂志于1805年被设计成火药商店。它由两个生砖桶拱形空间(火药储存地)和一个带有正面柱廊的较低的方形包围结构组成。直到1963年，这座建筑一直用于军事用途。从那时起，皇家公园就把这座建筑用作储藏室。因此，到目前为止，“杂志”仍未得到充分利用。随着时间的推移，这座历史建筑及其周围发生了许多修改和改造。

Text description provided by the architects. The Serpentine Sackler Gallery consists of two distinct parts, namely the conversion of a classical 19th century brick structure - The Magazine – and a 21st century tensile structure. The Serpentine Sackler Gallery is thus - after MAXXI in Rome - the second art space where Zaha Hadid Architects have created a synthesis of old and new. The Magazine was designed as a Gunpowder Store in 1805. It comprises two raw brick barrel vaulted spaces (where the gunpowder was stored) and a lower square-shaped surrounding structure with a frontal colonnade. The building continued to be in military use until 1963. Since then Royal Parks used the building for storage. The Magazine thus remained underutilised until now. Over time, much amendment and alteration has occurred inside the historic building and its surroundings.

 © Luke Hayes

(卢克·海耶斯

改变为公共艺术画廊的工具是决定恢复“杂志”大楼的历史安排，将其作为一个封闭的独立展馆，使以前的庭院被覆盖，成为内部的展览空间。为了揭示原来的中心空间，以前火药商店里的所有非历史隔墙都被拆除了。在入口处测量拱门的fl被恢复，而历史木材门架起重机被维护。必要的服务和照明被谨慎地整合在一起，以免干扰空间的“发现”质量。这些地下室现在是画廊空间序列的一部分。

Instrumental to the transformation into a public art gallery was the decision to reinstate the historic arrangement of the Magazine building as a free standing pavilion within an enclosure, whereby the former courtyards would be covered and become internal exhibition spaces. In order to reveal the original central spaces, all nonhistoric partition walls within the former gunpowder stores were removed. The fl at gauged arches over the entrances were reinstated whilst the historic timber gantry crane was maintained. Necessary services and lighting were discreetly integrated as to not interfere with “as found” quality of the spaces. These vaults are now part of the sequence of gallery spaces.

 © Luke Hayes

(卢克·海耶斯

周围的结构已经被澄清和合理化，成为一个连续的，开放的展览空间，围绕着两个中心的化妆室，从而遵循利奥·冯·克伦兹的Glyptothek早期模型的简单和清晰，作为一个目的建造的画廊。以前的庭院，变成了室内灯火通明的画廊空间.纵向屋顶灯提供自然日光进入整个画廊序列围绕中央拱顶和一个FI带百叶窗系统，他们创造了完美的照明展览空间。可伸缩的百叶窗允许一个完全的黑色画廊。连续的天光使建筑物中央核心的垂直凸出(包含两个拱顶)在内部清晰可辨。这些重建和改建是与遗产专家利亚姆·奥康纳合作并与英国遗产和威斯敏斯特市议会协商设计的。除了展览空间外，修复和改装的“杂志”还为蛇形博物馆的策展队提供了博物馆、商店和办公室。

The surrounding structure has been clarifi ed and rationalized to become a continuous, open sequence of exhibition spaces looping around the two central powder rooms, thus following the simplicity and clarity of Leo von Klenze’s Glyptothek as an early model for a purpose built gallery. What was a courtyard before, became an interior top-lit gallery space. Longitudinal roof lights deliver natural daylight into the whole gallery sequence surrounding the central vaults and with a fi xed louver system they create perfectly lit exhibition spaces. Retractable blinds allow for a complete black-out of the galleries. The continuous sky-light makes the vertical protrusion of the central core of the building (containing the two vaults) legible on the inside. These reconstructions and conversions were designed in collaboration with heritage specialist Liam O’Connor and in consultation with English Heritage and Westminster City Council. In addition to the exhibition spaces the restored and converted Magazine also houses the museum shop and offi ces for the Serpentine’s curatorial team.

 © Luke Hayes

(卢克·海耶斯

该扩展包含一个慷慨的，开放的社会空间，我们期待着使蛇形萨克勒画廊的活力，作为一个新的文化和烹饪目的地。扩建设计的目的是补充平静和坚实的古典建筑与一个轻，透明，活力和鲜明的当代空间的21世纪。因此，新旧的综合就是对比的综合。新的扩建感觉是短暂的，就像一个临时的结构，尽管它是一个功能齐全的永久性建筑。这是我们第一次永久拉伸结构和我们目前对曲线结构曲面的研究的实现。量身定制的玻璃纤维编织纺织薄膜是建筑物承重结构的组成部分。它延伸和连接一个周边的环形梁和一套内立柱，突出屋顶的最高点。不使用周边柱，边缘梁-一个扭曲的梯子桁架支撑在三个点-下降到支持地面在前面，在后面，在自由的西侧。在东侧，这条边梁(以及延伸处的屋顶)在杂志的栏杆上方摆动。一条线性的玻璃条给出的外观，屋顶是悬停在杂志之上，没有接触。因此，“杂志”的西方外墙在新的延伸范围内成为一堵内墙，而不失去其原有的功能和美。这一细节与扩展的整体特征是一致的，即“轻触”干预。

The extension contains a generous, open social space that we expect to enliven the Serpentine Sackler Gallery as a new cultural and culinary destination. The extension has been designed to complement the calm and solid classical building with a light, transparent, dynamic and distinctly contemporary space of the 21st century. The synthesis of old and new is thus a synthesis of contrasts. The new extension feels ephemeral, like a temporary structure, although it is a fully functional permanent building. It is our fi rst permanent tensile structure and realization of our current research into curvelinear structural surfaces. The tailored, glass-fi bre woven textile membrane is an integral part of the building’s loadbearing structure. It stretches between and connects a perimeter ring beam and a set of fi ve interior columns that articulate the roof’s highpoints. Instead of using perimeter columns, the edge beam - a twisted ladder truss supported on three points - dips down to the supporting ground in front, in the back, and on the free west side. On the east side this edge beam (and thus the roof of the extension) swings above the parapet of the Magazine. A linear strip of glazing gives the appearance that the roof is hovering above the Magazine without touching. The Magazine’s western exterior brick wall thus becomes an interior wall within the new extension without losing its original function and beauty. This detail is coherent with the overall character of the extension as a ‘light touch’ intervention.

 © Luke Hayes

(卢克·海耶斯

信封是由一个弯曲的，无框架的玻璃墙完成的，悬臂从地面到达边缘梁和织物屋顶。新扩建的内部是一个明亮，开放的空间，光线从四面八方涌入，并通过5个钢柱打开作为轻铲。屋顶的防碎裂曲率以其雕塑的、有机的浮性使空间充满活力。唯一的FI元素在空间内是厨房岛和一个长长的平滑的酒吧柜台，沿杂志的砖墙。桌子、宴会和椅子被设计成一个连续的Voronoi图案，让人联想到有机细胞的结构。我们的目标是创造一种强烈的审美体验，一种似乎是周围大自然令人愉悦的美的延伸和对当代艺术之谜的诱人邀请之间振荡的氛围。

The envelope is completed by a curved, frameless glass wall that cantilevers from the ground to reach the edge beam and fabric roof. The interior of the new extension is a bright, open space with light pouring in from all sides and through the 5 steel columns that open up as light scoops. The anticlastic curvature of the roof animates the space with its sculptural, organic fl uidity. The only fi xed elements within the space are the kitchen island and a long smooth bar counter that fl ows along the Magazine’s brick wall. The tables, banquets and chairs are designed as a continuous Voronoi pattern, reminiscent of organic cell structures. Our aim is to create an intense aesthetic experience, an atmosphere that seems to oscillate between being an extension of the delightful beauty of the surrounding nature and of being an alluring invitation into the enigma of contemporary art.

 Ground Floor Plan

Architects Zaha Hadid Architects

Location 29 Exhibition Rd, London SW7 2AS, UK

Category Gallery

Design Zaha Hadid with Patrik Schumacher

Project Director Charles Walker

Project Team Ceyhun Baskin, Torsten Broeder, David Campos, Suryansh Chandra, Inanc Eray, Matthew Hardcastle, Dillon Lin, Elke Presser, Marina Duran Sancho, Timothy Schreiber, Jianghai Shen, Marcela Spadaro, Anat Stern, Laymon Thaung, Claudia Wulf

Area 1566.0 m2

Project Year 2013

Photographs Luke Hayes

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