玛丽罗斯博物馆

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所 在 地：英国 朴茨茅斯

Mary Rose Museum by Wilkinson Eyre and Pringle Brandon Perkins+Will

再现16世纪都铎战舰的玛丽?罗斯博物馆今天正式开放，这座椭圆形被木制材料包裹的建筑是由Wilkinson Eyre建筑事务所（伦敦办公室）设计的。玛丽?罗斯博物馆坐落于英国朴茨茅斯，馆内展示了船只上作为战舰的部分，也就是在沉于海底437年前，“玛丽?罗斯”号为国王亨利八世海军战队效力的那33年的样子。就像精心制作一个珠宝盒来放珍贵的宝石一样，设计团队联合打造了一个外部起到保护作用，内部则用作观赏的展馆来展示“玛丽?罗斯”号。博物馆的设计从内而外展开，设计师从古老战舰上获取了许多灵感。博物馆吸人眼球的船身外形、人工制品和展品，都让访客对这非凡历史有美妙体验。“玛丽?罗斯”船体的右舷部分在项目中心，精心设计的“热箱”环境内。船体右舷的边上就是虚拟的左舷船体。左舷船体高度被提高了三层，在上面可以观望整个船身，同时其本身就是展示展品的真实长廊。装载着“玛丽?罗斯”号战舰的博物馆，世界上最大的都铎文物收藏室，其建筑形式暗示着博物馆藏品的历史意义，同时宣告了一个重大而全新的文化景点的到来。Wilkinson Eyre建筑事务所的创始董事Chris Wilkinson说：“当你拥有像‘玛丽?罗斯’这样能一直保留世界想象力的珍宝时，博物馆的建筑结构只是辅助。然而，建筑结构又对博物馆向世界展示非凡展品起到非常重要的作用。展馆必须勾起访客的兴趣，提升这个重要文化景点的访客体验。”
建筑结构在像“玛丽?罗斯”这样迷人的作品面前，需要做的是补充，而不是分散其本身的特质。这样一来，面对的挑战就是要找到合适的建筑语言，帮助博物馆讲述古老战舰的故事，同时为朴茨茅斯历史船坞添上一抹属于现代建筑的自信。新建筑简单纯粹的椭圆外形和“玛丽?罗斯”号的环形几何形状呼应；怀旧的木质材料让人回忆起战舰古老的船体，展示了16世纪革新的卡维尔施工法。为了使建筑物更有海洋遗产的感觉，木质材料还被染成了黑色，以反映英格兰本土的船棚架构。博物馆的位置临近“胜利”号战舰和海军部大楼，而其本身作为18世纪后期的干船坞，已经被列为历史遗迹，这样的历史背景使面对的挑战更加困难。为了照顾到周围建筑的大小和规模，博物馆的高度设置的尽可能低，其低调的贝壳型金属屋面也遵循这样的逻辑。为了保证船体得到保护，室内的空间体积也根据环境控制的精确标准缩小。主建筑两侧都附带有矩形展馆。一个展馆内设正门接待，咖啡厅和商店，另一个则作为学习中心和主机房。项目的整体构图属于现代建筑，优雅简洁的外形和透露的神秘气息吸引着访客的进入和探索。
博物馆内部设计的精华在于它定格了1545年7月19号那天，“玛丽?罗斯”号翻船、沉没前几秒钟的舱内场景。通过细致的考古发掘和对每一个发现位置的确切记录，项目小组了解了“玛丽?罗斯”号的内部情况，并重新拼合这些原始内容——家具，武器，军备和所有船上的物品，一甲板一甲板拼凑，模拟历史中的样子。设计师用一个虚拟的船体来展示丢失的左舷部分，船体上满是装满炮的炮架、炮弹、枪炮家具、存储物、箱子、绳子和索具。进博物馆参观的访客走在保存下来的右舷和位于三层高度上的虚拟左舷之间，欣赏着主要船用材料的实物，就像真的走在“玛丽罗斯”号战舰的甲板上一样。船上甲板下的走道遵照船尾到船首的甲板形状，甲板偏低的地方，天花板也被设置的较低，这样的设计增加了博物馆“在船内”的气氛。馆内空间特意设计成暗色调，隔绝了自然光照，唯一的灯光不是打在展品上就是藏在过道扶手下面，照明的同时打造一个甲板之下的黑暗幽闭空间。
译者：筑龙网 小鱼
译稿版权归筑龙网所有，转载请注明出处。
A museum housing sixteenth century Tudor warship the Mary Rose opens today in an elliptical timber-clad building designed by London office Wilkinson Eyre Architects. Located in the historic dockyard of Portsmouth， England， the Mary Rose Museum displays part of the ship that served the navy of King Henry VIII for 33 years before spending 437 years undiscovered at the bottom of the sea.Like crafting a jewellery box to house a precious gem，the design team has together created a building and interior that protects and showcases the Mary Rose.Designed from the inside-out， the Museum building takes many of its cues from the historic ship， allowing its hull， artefacts and exhibitions to take centre stage and create a visitor experience befitting this remarkable piece of history.At the heart of the project， within a carefully controlled 'hot box' environment， is the starboard section of the hull of the Mary Rose. Alongside it， a virtual port-side hull has been created over three levels to view the ship and house the context gallery. Encasing the Mary Rose and the largest collection of Tudor artefacts in the world is an architectural form that alludes to the historic significance of the Museum's collection and announces the arrival of a major new cultural attraction. Chris Wilkinson， Founding Director at Wilkinson Eyre Architects， said: "When you have a treasure like the Mary Rose， which continues to capture the world's imagination， the architecture of the building takes a supporting role. However， the building has a very significant part to play in projecting the Museum and its remarkable collection to the world， creating intrigue and heightening the visitor experience of this major cultural attraction."
The architecture
When working with such a fascinating artefact like the Mary Rose， the architecture needs to complement rather than distract. In this case， the challenge was finding the right architectural language to help articulate the story being told by the Museum， whilst adding a confident piece of contemporary architecture to Portsmouth Historic Dockyard.The simple， pure elliptical form of the new building is derived from toroidal geometry echoing the shape of the Mary Rose; its timber is reminiscent of the ship's historic hull， showcasing the innovative Carvel construction methods of the 16th Century. Further embedding the building in its maritime heritage， the timber has been stained black to reflect England's vernacular boat shed architecture. The challenges of the site's historic context， adjacent to HMS Victory and the listed Admiralty buildings， are compounded by the nature of the site itself: a late 18th Century Dry Dock that is listed as a Scheduled Ancient Monument. Care has been taken to keep the height of the Museum as low as possible to remain sensitive to the proportions and scale of the surrounding buildings. The low-profile， shell-shaped metal roof follows this logic and reduces the internal volume of space which has to be environmentally controlled to precise standards to ensure the conservation of the hull.Two rectangular pavilions are attached to each side of the main building， one housing the main entrance reception， café and shop， and the other occupied by the Learning Centre and main plant room. The overall composition is a piece of contemporary architecture， an elegantly simple form with an air of mystery that encourages visitors to enter and explore.
The interior
The essence of the design of the interior evolved from the frozen moment in time seconds before the Mary Rose capsized and sank on 19th July 1545. Following the painstaking archaeological excavation and recording of the exact location of every find， the project team could see inside the Mary Rose and reunite the original contents-fittings，weaponry，armament and possessions–deck-by-deck. A virtual hull was constructed to represent the missing port side with all the guns on their original gun carriages， cannonballs， gun furniture， stores， chests， rope and rigging. Visitors to the Museum walk in between the conserved starboard section of the hull and the virtual hull on three levels， seeing all the main shipboard material in context as though they are on board the Mary Rose. The atmosphere of being on the ship is further enhanced by the walkways following the shape of the deck from stern to bow and low ceilings on the lower deck. The Museum spaces are deliberately dark with daylight excluded and the only lighting either focused on the objects or concealed under the walkway handrail， lighting the space and re-creating the dark claustrophobic spaces below decks.

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