建筑名稱：The Harley Gallery
建筑位置: Welbeck, Worksop, Nottinghamshire, England
建筑設(shè)計(jì): Hugh Broughton Architects
主設(shè)計(jì)師：Hugh Broughton
所獲獎(jiǎng)項(xiàng)：RIBA East Midlands Awards
客戶: The Harley Foundation
攝影:© Hufton+Crow
Hugh Broughton Architects于2012年Harley博物館新館的邀請(qǐng)競(jìng)賽中勇得頭籌，而其項(xiàng)目終于落成并于2016年3月20日正式對(duì)外開(kāi)放，展出歸屬于私人收藏家的一系列畫(huà)作、雕塑、書(shū)籍等珍貴的藏品。這個(gè)面積約890平米的新館莊重而優(yōu)雅，填補(bǔ)了這個(gè)位于諾丁漢郡、由修道院改建而來(lái)的博物館缺失的空間序列，大大提升了參觀者的游覽體驗(yàn)。
Hugh Broughton Architects has completed a new gallery on the Welbeck Estate in Nottinghamshire.
The new gallery, which has officially opened to the public on 20 March 2016, show changing displays of the historic Portland Collection, one of the finest accumulations of paintings, sculpture, books, tapestries and furniture in private hands in Britain. The collection includes Michelangelo’s rarely seen Madonna del Silenzio (c.1538) and the pearl earring worn by Charles I at his execution in 1649 – and many of the works have not been on public display until now.
The new 890 square metre gallery is set within the grounds of the existing Harley Gallery. Its design complements the heritage of the site and the historic interiors in the state rooms of Welbeck Abbey, whilst enhancing the visitor experience. The project was won through an invited competition organised by Malcolm Reading Consultants in 2012.
嚴(yán)肅又不失活潑
建筑的主體空間位于廢棄的賽馬訓(xùn)練場(chǎng)圍墻之內(nèi)，來(lái)自精巧的丹麥?zhǔn)止ごu塊與粗曠的石墻形成了鮮明對(duì)比，卻又異常和諧。凸起的鋅板拱頂動(dòng)感十足，活躍了修道院嚴(yán)肅的空間氛圍，也帶來(lái)了極富張力的內(nèi)部空間。玻璃圍合而成的入口空間輕盈靈動(dòng)，背靠石墻遙望庭院內(nèi)列植的小樹(shù)和毗鄰的建于19世紀(jì)的歷史建筑。石灰?guī)r貼面的前臺(tái)后側(cè)三面通高的玻璃窗戶保持了室內(nèi)空間與北側(cè)茂密叢林的視覺(jué)聯(lián)系。而諸如洗手間、辦公室和儲(chǔ)物間等服務(wù)設(shè)施，則位于建筑的地下空間中。
The new gallery is housed within the walls of the Tan Gallop, a redundant structure, which was previously used for training racehorses. Externally, elevations have been crisply detailed in handmade Danish brick, which contrasts with and complements original stone walls. Protruding barrel-vaulted zinc roofs provide a dynamic roofline, evoking silhouettes of the Abbey and hinting at the drama within.
Visitors arrive via a courtyard, which the new gallery shares with The Harley Gallery, The Harley Café and Welbeck Farm Shop. A glazed entrance pavilion provides a light and airy threshold with clear views on to a line of trees and a 19th century lodge, now offices. Within the entry pavilion, the original stone walls of the Gallop have been exposed to view. A limestone-clad reception desk sits in front of three full height windows with views to a mature landscape to the north. Top-lit stairs treated with contemporary white walls lead down to other facilities including public toilets, staff areas and lockers contained within a basement.
The Portland Collection has been assembled by the Cavendish-Bentinck family, who have lived at Welbeck for over 400 years. The new gallery is part of The Harley Foundation, which was set up in 1977 by the late Duchess of Portland to encourage creativity and to support the visual arts.
悅享藝術(shù)
新館內(nèi)部空間輕松明快，讓人驚嘆不已，通過(guò)建筑材料、變化豐富的空間尺度、色彩和材質(zhì)肌理與修道院內(nèi)的歷史建筑相呼應(yīng)。在第一個(gè)22米的長(zhǎng)展廳內(nèi)，全尺度的玻璃天窗將拱形屋頂切分為兩個(gè)部分，大大小小的油畫(huà)作品沐浴在柔和的散射光線之中，向世人展示著豐富的色彩層次和筆觸。盡端的大門(mén)框起了放滿金銀器皿的玻璃櫥窗，讓人分不清其是畫(huà)作還是真實(shí)存在。而旁邊較大的珍寶展廳被劃分成了三個(gè)區(qū)域，朝北的窗戶引入的自然光線照亮了其中兩個(gè)空間，而位于低矮天花之下，由人工照明設(shè)備控制的房間，則放置著微型畫(huà)作和光敏物件。
The galleries have been designed as a place of delight and surprise, reflecting the historic architecture of the Welbeck Estate through their materiality, changing scales, colour and texture. The architectural concept creates a structure for John Ronayne’s exhibition design and allows placement of The Portland Collection at centre stage, whilst also celebrating light, space and volume.
The first gallery that visitors enter is the 22m Long Gallery with a cycloidal fibrous plaster ceiling set under a barrel vault roof, seemingly cut in half by a full length translucent rooflight, filling the space with diffuse light and creating the perfect environment to display oil-painted portraits. At the far end a doorway leads to a vitrine of gold and silver, creating an alluring termination to views. From this enclosed space visitors emerge into a larger, more flexible Treasury Gallery, which is sub-divided into three zones. Two areas are lit by north lights and one features low ceilings and controlled lighting for the display of miniatures and light sensitive objects.
The inaugural displays will include miniature portraits selected by Sir Peter Blake, showing 20 March to 18 September 2016.
設(shè)計(jì)與藝術(shù)相得益彰
Hugh Broughton Architects的設(shè)計(jì)總監(jiān)Hugh Broughton說(shuō)到：“能夠有機(jī)會(huì)成為Welbeck這個(gè)杰出的歷史建筑遺產(chǎn)中的一部分是我們的榮幸，業(yè)主William Parente在設(shè)計(jì)過(guò)程中也給予了我們極大的支持。我們利用光線、體量、色彩和肌理的豐富變化，創(chuàng)造了一個(gè)與環(huán)境相契合、耐看而極富吸引力的建筑。”
Hugh Broughton, Director Hugh Broughton Architects said:
“Welbeck has an extraordinary architectural heritage and we are honoured to have been given the opportunity to add to this with the new gallery for The Portland Collection. The building is the product of an extraordinarily creative collaboration with our client, William Parente, and reflects our mutual interests in combining light, volume, colour and texture to produce architecture which is contextual, enduring and engaging for visitors.”
而項(xiàng)目的業(yè)主William Parente則說(shuō)到：“Hugh Broughton將未來(lái)與Welbeck的建筑現(xiàn)狀糅合在了一起。長(zhǎng)長(zhǎng)的畫(huà)廊十分復(fù)古，而入口處輕巧的玻璃、鋼結(jié)構(gòu)和19世紀(jì)圍墻的配搭相得益彰。手工制造的磚塊契合了莊園和Harley基金會(huì)對(duì)手工藝的追求，而氣候控制系統(tǒng)也保證了建筑的可持續(xù)性。Hugh為我們帶來(lái)了一個(gè)兼具美觀與實(shí)用的作品，很高興能夠跟他合作。”
William Parente, grandson of the 7th Duke of Portland, said:
“Hugh Broughton, who many people will know for his extraordinary sci-fi British Antarctic Survey station (it ‘walks’ over a moving glacier as required) has managed to combine that visionary enterprise with a close study of existing buildings at Welbeck. So the toplit Long Gallery recalls some of the 5th Duke’s underground spaces, while the entrance pavilion marries the lightness of glass and steel to the brute power of the original 19th century walls. And his use of handmade bricks is entirely in keeping with the artisan traditions of Welbeck and The Harley Foundation, while he has followed Welbeck’s emphasis on sustainability with a sophisticated climate control system based around air source energy. Hugh has created a beautiful and functional building, and it has been great fun working with him.”
