“Ruhr.2010-欧洲文化之都”是埃森和鲁尔所面临的日新月异的项目的名称。“Pott”在德国被亲切地称为“Pott”，它正在摆脱生产煤炭和钢铁的历史，并转变为一个“新型多中心文化大都市”。高飞的目标。但这似乎是可以实现的-当然，只要这条路线是用里程碑铺就的，比如2010年初落成的新博物馆福尔光大楼。

“Ruhr.2010 - European Capital of Culture” is the name of the project with which Essen and the Ruhr are confronting changing times. The “Pott”, as the area is affectionately known in Germany, is shaking off its coal-and-steel-producing past and mutating into a “new-style polycentric cultural metropolis”. A high-flying objective. But one that nevertheless appears to be achievable - certainly as long as the route is paved with milestones like the new Museum Folkwang building inaugurated at the beginning of 2010.

这一特殊里程碑的源头是英国著名建筑师大卫·齐波菲尔，他不仅在建筑界，而且对他最近在柏林重建新博物馆等项目也有了极大的熟悉。他的专长：“感受自己的方式”现有的结构，总是享受到他最深的尊重。他又一次将这门专业与新佛光博物馆大楼结合起来。1960年建造的周期博物馆，现在通过两块玻璃交叉连接到新的结构上，是整个规划过程的出发点；1983年建造的延伸部分，因此在当地没有人喜欢。

The source of this particular milestone is British star architect David Chipperfield, who has achieved great familiarity - not only within the architectural world - with projects such as his recent restoration of the New Museum in Berlin. His speciality: “feeling his way into” existing structures that invariably enjoy his deepest respect. He has again been able to put this speciality through its paces with the new Folkwang Museum building. The period museum built in 1960, which is now linked to the new structure by means of two glass crossovers, was the point of departure for the entire planning procedure; the extension built in 1983 and so unloved locally had to go.

Chipperfield成功地避免了把一些陌生的东西放在原来的旁边，并在新旧之间创造了一种共生结构。正如Chipperfield自己所说，他想保留老建筑的“DNA”：简单的形式。几乎透明的墙壁可以从内部向外观看。Chipperfield热情洋溢地说：“这座建筑很朴素，很简单。”而“简单”则是最令人敬佩的。这也是我们在新建筑中遇到的同样的灵感。一个面积为25，000平方米的场地内有六座建筑，彼此成直角，给人的印象是一块巨大的实心砌块。原始数据到此为止。

Chipperfield has impressively managed to avoid placing something alien next to the original and has created a symbiotic structure between old and new. As Chipperfield himself puts it, he wanted to retain the “DNA” of the old building: simple forms. Virtually transparent walls afford views from the inside outwards. “This building is so plain and simple”, Chipperfield enthuses. And “simple” is said with the greatest of admiration. It’s the same inspired simplicity one encounters in the new building. A site measuring 25,000 square metres houses six structures set at right angles to one another to give the impression of a massive solid block. So much for the raw data.

然而，新结构的实际效果却是轻松而诱人的。通过与旧建筑的类比，可以看到建筑内部和内部的景致；光线弥漫在结构综合体中，照亮了它存在的最黑暗的角落。它是一个由亭台楼阁和内部庭院，半透明的墙壁和窗户组成的建筑。庄重优雅的现代装束，一种简约的建筑风格-远离某些建筑的浮华和杂乱-鼓励眼睛抓住本质-在这种情况下，就是展示的艺术。

The actual effect of the new structure, however, is breezy and inviting. There are views in and through, by analogy with the older building; light pervades the structural complex, illuminating the darkest corners of its existence. It is an architecture of pavilions and interior courtyards, translucent walls and windows. Sober elegance in a modern guise, a reductionist style of building that - far removed from the pomp and clutter of some architecture - encourages the eye to take in the essence - in this case the art on display.

一种半透明的，像蓝宝石一样的正面，由回收玻璃的长方形面板组成，色调变化，以反映入射阳光的强度。一种颜色和质地与室内地板非常接近的浅灰色铸石构成了建筑的基本路线。
一条宽阔的外部楼梯从Bismarckstrasse通向新的入口区域，它被布置成一个开放的内部庭院，里面有餐厅和书店，并通过玻璃立面来屏蔽街道。

A translucent, alabaster-like facade made up of rectangular panels of recycled glass changes in tone to reflect the intensity of the incident sunlight. Light-grey cast stone of a colour and texture that closely approximate to the interior flooring forms the building’s base course.
A wide exterior staircase leads from Bismarckstrasse into the new entrance area, which is laid out as an open interior courtyard complete with restaurant and bookshop and is shielded from the street by means of a glass facade.

就像从门厅里升起的一个小岛一样-就像其他空间实体一样-装饰着一片整洁的白色地板和无数的玻璃墙，是一张胡桃木贴面现金桌。实际上，我们可以从这个有利的角度把整座建筑都取进去，并在适当的情况下为艺术、阅览室或图书馆制定一条可行的路线。事实上，正如六十年代初期的楼宇一样，所有向公众开放的空间，都是在一个无级的水平上，这进一步促进了顾客的定位能力。这座新建筑最突出的一面无疑是展厅：一个巨大的长方形空间，白色的墙壁和抛光的平板地板在上面延伸了一个1400平方米的天窗结构，真是一种令人发人深省的喜悦。

Rising up like an island from the foyer, which - like the other spatial entities - is decorated an unfussy white with ground screed floors and numerous glass wall sections, is a walnut veneer cashdesk. It’s actually possible to take in the whole building from this vantage point and to confidently make a bee-line for the art, the reading room or the library as applicable. Further facilitating patrons’ powers of orientation is the fact that, as in the original 1960s building, all spaces open to the public are on a single stepless level. The most outstanding aspect of the new building is undoubtedly the exhibition hall: a giant rectangular space with white walls and polished screed flooring above which extends a skylight structure 1,400 square metres in size, a truly illuminating delight.

奇普菲尔的哲学说，游客应该有进入一个小村庄的感觉。一旦他们开始谈判佛光村的航线网络，他们就不应该失去方向感。因此，光和透明度可以发挥关键作用。眼睛一遍又一遍地从里面吸引到周围的建筑物和绿色植物的区域，其中一些在玻璃砌块后面展开，作为建筑物的一部分，产生了一种内外扩散的感觉。这里有一个看上去自由的天空，只受几乎看不见的玻璃的限制。如果不是因为一件事，那么从建筑内外观看这些活动的区别是可以忽略不计的。展出的艺术品在外面是看不见的。新博物馆福光博物馆(
)提供了丰富多样的空间序列，有充足的日光进入六米高的展区、图书馆和阅览室。一个多功能的房间和一个活动区域。在大型展厅旁的临时展览，佛光博物馆容纳德国海报博物馆以及摄影和图片收藏。Chipperfield指的是“博物馆的悖论”，它希望在艺术中迷失自我，但却保持着空间的方向感。这是可能的，只有当所有的部分是完全协调的。只有这样，简单和退缩才能在一个空间内展开。

The Chipperfield philosophy states that visitors should get the feeling of entering a small village. They shouldn’t lose their sense of direction once they start negotiating the network of routes within this village of Folkwang. Light and transparency accordingly have a key role to play. Over and over again the eye is drawn from the inside to buildings round about and to areas of greenery, some of which unfold behind glazed blocks as part of the building, generating a sense of diffusion both inside and out. There is a seemingly free view of the sky, restricted only by barely perceivable glass. The difference between watching the goings-on inside the building from outside or within is negligible if it weren’t for one thing - the art on display, which can’t be seen from outside.
The new Museum Folkwang delivers a richly varied sequence of spaces with plenty of daylight entering the six-metre-high exhibition areas, a library plus reading room, a multifunction room and an event area. Next to the large hall for temporary exhibitions, the Museum Folkwang houses the German Poster Museum as well as the Photographic and Graphic Collections. Chipperfield refers to a “museum’s paradox”, that wish to lose oneself in the art but nevertheless keep one’s spatial sense of direction. This is only possible if all parts of the whole are perfectly coordinated. Only in this way can simplicity and withdrawal unfold within a space.

本项目产品

PRODUCTS IN THIS PROJECT

FSB也为整个系统做出了贡献：采用不锈钢制造的门把手设置为7215和7245(产品范围分别为1015和1045)。这些都是事实，直截了当的模特儿.这两个句柄的基本模型很可能是在20世纪30年代提出的。FSB的设计师约翰尼斯·波特把它提炼成了公司的一种清脆的形状。7245变体是7215手柄模型的门到门版本。这两种门把手设计是否能与奇普菲尔的作品相媲美，就其“天生简单的天才”而言，可能会引起争议。

FSB, too, has contributed a part to the whole; with door handle sets 7215 and 7245 (product ranges 1015 and 1045) in stainless steel. These are both matter-of-fact, straightforwardly styled models. The base model for the two handles is likely to have been thought up in the 1930s. FSB designer Johannes Potente refined it into a crisp shape for the company. The 7245 variant is the return-to-the-door version of the 7215 handle model. Whether these two door handle designs can match Chipperfield’s work in terms of its “genius born of simplicity” may be subject to dispute.