加拿大蒙特利尔美术馆

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所 在 地：加拿大

历史在时间的旅程中通过不断地叠加，为人们提供审视文化与环境的不同视角，而Saucier + Perrotte建筑事务所为蒙特利尔美术馆第五分馆的设计亦具有同样的效果。设计中，该分馆通过将一系列矿物岩层叠加，最终形成了一个霍恩斯坦艺术品收藏中心。分馆大楼悠然地漂浮在街道上空，大理石层相互叠加在一起，塑造出一个具有雕塑外观的立体空间。空间内部陈列艺术收藏品，成为奉献给下一代蒙特利尔艺术爱好者的理想胜地。最近，Saucier + Perrotte建筑事务所的该设计已宣布进入决赛。项目中使用了带灰纹的白色大理石，从建筑风格和质地上均与蒙特利尔美术馆其他分馆的风格十分协调。新馆简单的几何构造使博物馆所在的校园更为现代，并成为毕晓普大街上一座醒目的建筑，同时还为博物馆未来的建设进程提供了些许灵感。大理石的使用很好地捕捉到了该建筑项目的精髓——一座用隐喻的手法诠释出岩石的特质和自身在现代化的城市文脉中的地理姿态得建筑。大理石所众所周知的物理优势——乳白色的表面、既平滑又粗糙的质地——在历史上一直被人类高度美化。设计者在新馆的设计中将外表具有反射性、光滑细腻、半透明的岩石与玻璃并置，将两者合二为一，形成一座大理石状的庞然大物。一个灰色的具有动态美感的内侧立方体结构既自成一室又担任着分馆内的寻路标志一职。它通向一个宽敞的美术陈列室，并成为建筑内的垂直通道。雄伟的楼梯纵贯整座大楼，为人们提供一个城市和天空的透视图。分馆由一条悬空的走廊通往现有的Demarais分馆，走廊十分宽敞，可作为非正式展览、展览会开幕日和其他学校团体集合的场地。悬浮的大理石建筑往地下继续延伸，形成一个颇深的地下空间。地下空间与街道相连，除了有各种儿童教育项目外，还是建筑的公共区域。从展区/研讨会区的底层向上便到达了一个三角形的空间，看起来仿佛垂悬在上方的美术陈列室与下面的水平面之间。这一区域被用作接待室和沿街的动态公共空间。倾斜的玻璃表面将光和影投射到下方的空间，这里有供学生团体入座的石质露天座位，还有一个咖啡馆。墙上的交流屏幕既可以用作专业展示，又使得这片空间在路人眼里更具活力。建筑的外墙各具特色。临毕晓普大街的外墙上那有着垂直纹理的白色大理石给人一种地理层次感。北面和南面的墙面均覆盖着一层灰白相间的遮光玻璃。在Desmarais分馆与新馆间之间的一堵乳白色玻璃外墙成为一座垂直的天窗，向人们展示出一个随着时间的变化时而不透明时而半透明的灰色空间。这座光墙同时被用来为紧邻它分布的美术陈列室提供照明。

译者：筑龙网 碧色苍穹
译稿版权归筑龙网所有，转载请注明出处。
Just as layers of history accumulate through time to offer varying perspectives on culture and environment， Saucier + Perrotte’s design for the Fifth Pavilion of the Montreal Museum of Fine Arts is composed of a series of mineral strata that form a home for the Hornstein collection of art. Floating gently above street level， each marble stratum is superimposed to produce a sculpted volume containing the collection and defining a space dedicated to the next generation of Montreal art lovers. Their proposal was recently announced as a finalist in the competition. Through the use of white marble with gray veins， the project’s tectonic and materiality harmonizes with the existing pavilions of the Museum. The very simple geometric composition of the new project elegantly punctuates the urban space of the museum campus， announcing its presence on Bishop Street， and offering cues for anticipated future phases of the Museum. The use of marble captures the essence of the project — an architecture that metaphorically interprets the stone and its geological presence within the urban context. The well-known physical properties of marble — its opalescence， smooth and rough qualities — have been beautifully highlighted throughout history. The design of the new pavilion juxtaposes the stone’s qualities of reflectivity， polished smoothness， and translucency with that of glass， synthesizing the two into a marble-like object in the urban fabric. A dynamic， gray interior volume functions as both architecture and way-finding， allowing access to the large gallery spaces and indicating the vertical circulation route through the building. This monumental stair extends the entire height of the building as a scenographic path of curated vistas toward the city and sky. Elevated connections toward the existing Demarais Pavilion are generous spaces for informal exhibition， vernissages， and additional school group gathering. On the site — below the floating volume of marble — is a deep imprint of the form suspended above. Accessible from the street， this space serves as the public zone of the building as well as housing the children’s educational programs. Raising the exhibition area / workshop space from the ground level reveals this triangular space， which appears to be suspended between the galleries above and the level below. This zone serves as a welcome area / dynamic public space along the street. An inclined， glazed surface directs light and views toward the lower level whose sculptural bleachers serve as seating for student groups and a forecourt for the cafe/cafeteria. An interactive screen enables formal presentations and also animates the space from the point of view of passersby. The building’s facades differentiate the various states of matter. The white， vertically veined marble on the Bishop Street facade gives an impression of geological stratification. The north and south facades are clad with opaque white-gray colored glass panels. The opalescent glass facade in the interstice between the Desmarais pavilion and the new wing acts as a vertical skylight that suggests an object that is both opaque and translucent gray depending on the time of day. This light well also is used to illuminate the adjacent galleries.

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