架构师提供的文本描述。2012年2月26日至5月28日在明斯特展出的是“金色荣耀”展览。“威斯特伐利亚中世纪国库艺术”，由威斯法伦-利佩区域理事会、蒙斯特教区和明斯特大学英才群“宗教与政治”共同开发。展览展示了一些最好的金匠的作品，从中世纪晚期在威斯特伐利亚。大约300件世俗和神圣的作品可以看到1500平方米：象征无限，魔法和神圣，表达和证明他们的权力和财富的主人。展览将在明斯特同时在两个地方展出：在LWL国家艺术和文化历史博物馆和在Domkammer。

Text description provided by the architects. On display in Münster from February 26 to May 28, 2012 is the exhibition “Golden Glory. Medieval Treasury Art in Westphalia”, developed by the Westfalen-Lippe Regional Council, the diocese Münster and the excellence cluster “Religion and Politics” at the University of Münster. The exhibition presents some of the finest goldsmith’s work from the late medieval period in Westphalia. Some 300 secular and sacral pieces may be seen across 1500 square meters: symbols for the infinite, the magical and the divine, expression of and testament to the power and wealth of their owners. The exhibition will be shown in Münster at two places simultaneously: at LWL State Museum for Art and Cultural History and at the Domkammer .

 © Christian Richters

克里斯蒂安·里氏

这两个展览场地都与蒙斯特·董普拉兹接壤。然而，LWL博物馆目前正在进行翻修，而Domkammer入口处一直很难找到。大型展览缺乏空间，也缺少一个更方便进入的适当入口。此外，馆长不仅希望展示历史文物，而且还希望展示它们是如何被创造出来的手工过程。于是产生了建造一个小的、有吸引力的展馆的想法，里面有一个黄金作坊和一个信息点：展览期间的临时建筑，应该反映展览的主题，并引起人们对董普拉兹的注意。

Both exhibition sites border the Münster Domplatz . However, the LWL Museum is currently undergoing renovation and the Domkammer entrance has always been hard to find. The large exhibition suffers from lack of space, as well as an appropriate, more easily accessible entrance. In addition was the curatorial wish to present not only the historical objects, but also the artisanal process showing how they were actually created. Thus arose the idea to erect a small, attractive pavilion containing a gold workshop as well as an information point: a temporary construction for the duration of the exhibition that should reflect the exhibition theme and draw notice to the Domplatz.

 © Christian Richters

克里斯蒂安·里氏

明斯特的金展馆，2007和2012年

Münster’s Glittering Gold Pavilions, 2007 and 2012

总部位于明斯特的建筑集团“模块化节拍”由马克·居内维希和简·坎普肖夫组成，负责设计展馆。他们已经在2007年为“Skulptur Projekte münster”建造了一个便携式临时展馆，吸引了很多人的注意，不仅仅是因为它的金色外墙。ModulorBit与蒙斯特建筑学院(MSA)的学生一起为“金色荣耀”(GoldenGlory)开发了他们的新作品。在他们受命的时候，Günnewig和Kampshoff正在寻找一个在学校教学的研讨会主题。

The Münster-based architectural group “modulorbeat”, consisting of Marc Günnewig and Jan Kampshoff, was commissioned to design the pavilion. They had already created a portable, temporary pavilion in 2007 for “skulptur projekte münster”, which garnered much attention, not only due to its gold-coloured façade. Modulorbeat developed their new creation for “Golden Glory” together with students from the Münster School of Architecture (msa). At the time of their commission, Günnewig and Kampshoff were searching for a seminar theme to teach at the school.

 © Christian Richters

克里斯蒂安·里氏

在整个学期中，几种不同的设计被开发，链接，修改，丢弃，然后重新修改，一旦确定了建筑在Domplatz上的确切位置。在第二批学生的帮助下，他们开始规划和实现95平方公里的面积。米亭，在六周内完工。

In varying groups throughout the semester, several designs were developed, linked, revised, discarded and then revised anew, once the construction’s precise location on Domplatz had been determined. With a second group of students, they commenced planning and the realization of the 95 sq. metre pavilion, which was completed in six weeks’ time.

 © Christian Richters

克里斯蒂安·里氏

为了弥补董普拉兹的坡度，展馆的顶部是由现场混凝土和木材制成的简单桩，一旦拆除，就不会留下任何痕迹。这座建筑有四个“翅膀”的十字形布局。每个机翼都像漏斗一样向内张开，这样布局就更像一个抽象的风车，而不是十字架。这种效果对游客来说是一种诱人的姿态，因为里面的小道通向中央的车间区域。

In order to compensate for the slope of the Domplatz, the pavilion was built on top of simple piles made of in-situ concrete and wood, which would leave no traces once they were dismantled. The building has a cross-shaped layout with four “wings”. Each wing open inwards like a funnel, so that the layout is more reminiscent of an abstract windmill than a crucifix. The effect is an inviting gesture to visitors, as the inside path opens up onto the central workshop area.

 © Christian Richters

克里斯蒂安·里氏

墙壁是用全木胶合板做的。室内可见木材，给铸造区带来了一种强劲、有弹性的氛围。从外面看，紧凑型展馆似乎也很结实，但这里的外墙覆盖着引人入胜的金铜金属面板。沿着四个翅膀的每一个发光板的沟状的垂直轮廓向中央变窄。这就创造了一种动态的节奏，在这种节奏中，闪闪发光的金属与光线和阴影混合在一起，这些光线和阴影随着太阳从头顶掠过而转移。这座小亭子似乎是一座轻便的手风琴式建筑，随时都可以折叠起来运送到另一个地方。

The walls are made of full wooden plywood panels. Indoors, the wood is visible, lending the foundry area a robust, resilient atmosphere. From the outside, the compact pavilion seems similarly robust, but here the façade is covered in eye-catching, gold-copper metal panels. The furrowed, vertical profile of the shimmering panels along each of the four wings narrows towards the centre. This creates a dynamic rhythm, in which the sparkling metal mixes with a play of light and shadows that shifts with the passing of the sun overhead. The small pavilion seems to be a portable, accordion-like construction that could be folded up and transported to another location at any time.

 © Christian Richters

克里斯蒂安·里氏

精确的建筑成就了很多，但很少，同时允许一个愉快的游戏：简单的形式和材料获得难以置信的复杂性，通过微妙和精确的位移，将项目提升到一个最有趣的建筑。尽管它的布局是对称的，但它从来不像一个十字架，而是似乎在每一个新的角度上都重新创造了自己。这唤醒了一次又一次绕着大楼转一圈的冲动，从四翼末端的大开口往中央看。

The precise construction achieves a lot with little, while allowing for a merry playfulness: the simple forms and materials gain incredible complexity through subtle and precise displacements, elevating the project to a most entertaining building. Despite its symmetrical layout, it never looks like a cross but instead seems to reinvent itself at every new perspective. This awakens the urge to circle around the building again and again to look through the large openings at the end of the four wings into its centre.

 © Christian Richters

克里斯蒂安·里氏

天花板-高玻璃元素完全打开了建筑，所以从外面的视野延伸到铸造厂和其他地方-通过轻微倾斜的轴线-到达相反的开口。突然间，这座小建筑显得令人吃惊地深了起来。这座建筑不仅体现了展览的主题，更体现在精湛的工艺和不寻常的细节上，特别是在临时展馆中。

Ceiling-high glass elements open up the building completely, so that the view from outside reaches into the foundry and beyond – through the lightly askew axis – to the opposite opening. Suddenly, the small building appears to be amazingly deep. The architecture reflects the theme of the exhibition not only with its brilliant encasement, but much more in the fine workmanship and meticulous details that are unusual, especially for a temporary pavilion.

 © Christian Richters

克里斯蒂安·里氏

使用非常少的材料和颜色的选择，展馆的内部设计允许集中这一精细和详细的工作。地板、天花板和所有墙壁，就像所有的家具和其他部件一样，都是用浅色的木头制作的。这包括滑动门，通过滑动门可以将铸造厂与信息区域分开。相比之下，所有与工作直接相关的东西都漆成了漆黑的：台灯、工作表面、螺丝夹子，甚至油污散热器、电灯电缆和厨房水槽。

Using a very reduced selection of materials and colours, the pavilion’s interior design allows for the concentration required by this fine and detailed work. Floor, ceiling and all walls are, like all furniture and other components, crafted from a light coloured wood. This includes the sliding door, through which the foundry can be separated from the information area. In contrast, everything having directly to do with the work has been painted pitch black: the table lamps, the work surfaces, the screw clamps, and even the oil radiators, lamp cables and the kitchen sink.

 floor plan

内部不仅设计，而且完全由模块化的节奏与学生一起建造。事实上，所有使用的元素都是成本效益高、标准化的部件，可以在任何五金店找到；一致的设计和统一的配色方案使它们变得优雅。这不仅是为了设计，而且也是铸造厂的小主角的舞台：黄金元素在黑色背景下更容易辨认。

The interior was not only designed but also completely built by modulorbeat together with the students. In fact, all elements used are cost-effective, standardized components that can be found in any hardware shop; the consistent design and uniform colour scheme are what transform them into something elegant. This is not merely for design’s sake, but serves as a stage for the foundry’s small protagonists: the golden elements are more recognizable when set against black.

因此，这种奇妙的建筑从大到小，在各个层次上都发挥着作用。即使从远处看，金色的外墙也吸引了路人-并指明了里面的路，在那里，木头和黑色的工作表面，然后把目光引到最微小、最有价值的东西-这些物体，这其实就是所有这些东西的本质所在。这是明斯特所见过的最金黄的铸造厂，它唤醒了游客们对临时建筑可能会要求的最伟大的恭维：“留恋吧，你真是太美了！”

Thus this marvellous architecture functions on all levels, from big to small. Even from a distance, the golden façade attracts passers-by and indicates the way inside, where the wood and black work surfaces then lead the eye to the tiniest, most valuable things – the objects, which this is all actually about. This is the most golden gold foundry that Münster has ever seen, and awakens in its visitors what might be the greatest compliment a temporary building could ask for: the wish to call out, “linger on, thou art so fair!”

 © Christian Richters

克里斯蒂安·里氏