The James Simon Galerie in Berlin’s Museum Island is the latest cultural project by David Chipperfield Architects. Photography: Simon Menges

Next summer will see the opening of a sixth building on Berlin’s Museum Island, and the first entirely new building there for almost a century. The James Simon Galerie is named after James Simon (1851-1932) who was one of the great patrons of the German arts. He not only collected and donated a great deal of historical art and objects to the Berlin State Museums, but also funded expeditions to Mesopotamia and Egypt – including the one that brought the bust of Nefertiti to Berlin.

明年夏天将看到柏林博物馆岛第六栋大楼的开幕，以及在那里建造了近百年的第一座全新建筑。詹姆斯·西蒙·加莱丽在詹姆斯·西蒙(1851-1932)之后被任命为德国艺术的伟大支持者之一。他不仅收集和捐赠了大量的历史艺术和文物到柏林国家博物馆，而且还资助了美索不达米亚和埃及的探险活动，包括把尼弗蒂的胸围带到柏林。

But this new building is not a museum. Designed by David Chipperfield Architects, it will serve as a visitors’ centre for all five museums on the island. The building will provide direct access to the neighbouring Pergamon Museum (home of such treasures as the Ishtar Gate and the Pergamon Altar) and the Neues Museum (home of the Egyptian collection, including that iconic bust of Queen Nefertiti) which was reconstructed by Chipperfield in 2009. The exterior of what appears essentially to be a long, raised colonnade alongside a vast stone staircase belies a surprisingly large interior at ground level and below, which contains a central ticket office and information centre, a cloakroom, museum shop, a café, a 300-seat auditorium and a 700 sq m exhibition space.

但这座新楼不是博物馆。它由大卫·齐波菲尔建筑师设计，将成为岛上所有五个博物馆的参观中心。这座建筑将直接进入邻近的Pergamon博物馆(Ishtar门和Pergamon祭坛等珍宝的所在地)和Nees博物馆(埃及收藏品的所在地，包括2009年Chipperfield重建的王后Nefertiti标志性半身像)。从本质上看，这座建筑的外部似乎是一条长长的、高耸的柱廊，旁边是一条巨大的石阶，里面有一个令人惊讶的地下和地下大室内，其中包括一个中央售票处和信息中心、一个衣帽间、一家博物馆商店、一家咖啡馆、一个可容纳300个座位的礼堂和一个700平方米的展览空间。

The building is made of reconstituted stone with natural stone aggregate blends. Photography: Simon Menges

该建筑是由重组石头与天然石料混合而成。摄影：西蒙·蒙格斯

Urs Vogt, the project architect, describes the James Simon Galerie as ‘landscape architecture’, essentially a ‘welcoming public space’ that allows access and provides visitors with a place to hang out and enjoy the city views, as well as use the facilities before and after entering the museums. It will not be the only entrance and exit – all the museums will retain their current ticket offices and facilities – but it will be the first port of call for large groups and coach parties so, put bluntly, the building is a transit space. One that will relieve the pressure on the historical buildings and help control the flow of the traffic of a projected six million tourists per year.

项目建筑师URSVogt描述了JamesSimonGalerie为“景观建筑”，基本上是一个“欢迎公共空间”，允许访问并向游客提供悬挂和欣赏城市景观的场所，以及在进入博物馆之前和之后使用设施。这并不是唯一的入口和出口，所有的博物馆都将保留他们目前的门票办公室和设施，但它将成为大型团体和长途汽车方面的第一口电话，所以直截了当地说，大楼是一个中转空间。这将缓解历史建筑上的压力，并帮助控制每年预计600万游客的流量。

As such, the materials selected by the architects have been chosen to last, but they are of superb quality and there is a sense that no expense (of the 134 million euro budget) was spared in this respect. The main building is precast concrete with a special aggregate of local marble, sandblasted by hand to give attractive variations in the surface quality. The floors are limestone or dark oak parquet. The huge reinforced glass window panels are framed in bronze, the door handles and handrails are also bronze, and the wood panelling of the shop and cloakroom areas is lavishly-patterned walnut veneer. Additional materials are thick felted wool-covered bench seating and huge floor-to-ceiling Kvadrat grey wool curtains as well as softly burnished copper mesh ceiling panels in the café area.

因此，建筑师选择的材料是最后选择的，但它们具有极好的质量，并且有一种意义，即在这方面没有开支(1.34亿欧元预算)。主楼为预制混凝土，采用局部大理石的特殊骨料，用手进行喷砂处理，使表面质量有吸引力的变化。地板是石灰岩或黑橡木镶木地板。巨大的强化玻璃窗面板是以青铜为框架的，门把手和扶手也是青铜，商店和景房地区的木板镶板是奢华图案的核桃饰面板。另外的材料是厚毡毛覆盖的长凳座位和巨大的地板到天花板的KVadrat灰色毛幕，以及在卡福区域柔和的磨光的铜网天花板镶板。

This luxurious interplay of simple materials, combined with views of the surrounding buildings provided by strategic openings cut into the monolithic concrete, could be seen as signature Chipperfield: the classical historical allusion is powerful but not dictatorial or defined, rather, the modern and past intersect one another continually. §

简单材料的这种奢华的相互作用，结合了被切割成单片混凝土的战略开口所提供的周围建筑的视图，可以被看作是签名芯片领域：古典历史典故是强大的，但不是独裁的或定义的，相反，现代和过去不断地相互交叉。?

该结构充当通往该岛的网关和入口建筑物。摄影：西蒙·孟斯（SimonMenges）的建筑起到了通往岛上的大门和入口建筑的作用。摄影：SimonMenges

该工作室创建了一个设计，作为弗里德里希8月Stagler附近建筑的延续。摄影：DavidChiperfield建筑师的UTEZsCharnt，该工作室创建了一个设计，该设计作为弗里德里希8月Stagler附近建筑的延续。摄影：DavidChiperfield建筑师UTEZsCharnt

大量的建筑确保了新建筑不会妨碍任何重要的景观。摄影：DavidChipperfield建筑公司的UTE Zscharnt-巨大的体积确保了新建筑不会妨碍任何重要的景观。摄影：大卫·奇普菲尔建筑师的尤特·扎伦特