德扬博物馆
GOLDEN GATE PARK, SAN FRANCISCO, CALIFORNIA, USA 1999 2005
Competition 1999Project 2000-2002Realization 2002-2005
The M.H. de Young Memorial Museum houses numerous collections, representing a variety of cultures from all over the world. The works of art in these collections go from the present day all the way back to the beginnings of human history. The museum is therefore not a homotopical site, defined by a homogeneous, self-contained approach to art, but rather a heterotypical site that is open and receptive to the artistic diversity of our planet.
The architecture of the new building seeks to communicate this diversity; it is an embodiment of the open-ended concept of art fostered by the museum. It expresses the distinctiveness of different cultures and, at the same time, it is a place of common ground, where diversity meets and intersects, where otherwise hidden kinships between divergent cultural forms become visible and tangible.
Innovative architecture alone does not suffice to do justice to these requirements; the curatorial concept must be equally innovative. Conversations with curators and visitors at an early stage allow us to incorporate ideas on architecture, urban planning, landscaping, and curating as coequal components of a dialogue-oriented planning process. In curatorial terms, we tried to provide a variety of exhibiting conditions, resulting in a kind of typology of exhibition spaces. We wanted to define different types of exhibition spaces that reflect the differences in background and evolution of the works of art.
We worked on the assumption of two main groupings: works created in the context of our Western understanding of art and those created as part of a superior cultural or religious system.
Correspondingly, the new de Young Museum offers classically proportioned rooms or galleries with fixed walls and overhead lighting. These are ideal for viewing and studying the paintings, sculptures, and furniture of the 19th and 20th century collections of American art. Other galleries with a freer, more open arrangement and primarily artificial illumination are intended for objects from Central and South America, Africa, and Oceania. Closed spaces are scattered in between, like fixed stars accentuating the visitor’s tour of the museum.
In exploring possible designs for the new museum, we originally came up with the idea of separate buildings, like pavilions, placed throughout the park, each housing a different collection and giving expression to the diversity of cultures. It gradually became clear that it would be more meaningful to house all the components under one roof, in one interrelated, but varied architectural context. We thought of a kind of organism with several limbs or extensions, like the fingers of a hand. We arranged the building in three parallel bands (or fingers) so that the park fills the spaces in between and reaches all the way into the heart of the new building where it forms inner courtyards. Nature, trees, plants, and water, in various forms, are an integral part of the building.The three parallel elements do not lay side by side like detached, abstract art containers but are interconnected and interrelated so that viewers experience in space the interfaces and areas of friction among the cultures represented at the de Young Museum. The architecture of the new museum is not narrative; it is not a romantic interpretation of encounters between cultures; nor is it an abstract space for the storage of art objects; the architecture intends to visibly demonstrate and foster our awareness of the coexistence and equality of cultures.
The contacts and switches between the sections of the new museum can be seen as specific places within the greater organism as a whole. At the same time, they are places that join and separate – from inside to outside and back again.
The tripartite structure of the buildings that rub against each other like continental shelves makes it possible for the Golden Gate Park to penetrate the museum. This is one architectural strategy: to make the architecture of the new building permeable, open, and inviting for the people of San Francisco. For this reason much of the first floor is non-ticketed. The entire lobby, the main court, the restaurant, the museum store, and the children’s gallery are open to park visitors free of charge and, at the top of the tower, a panorama deck affords a view of the park and the city.
A second architectural strategy involves the large roof, which expresses the collective gesture of people gathering together. It projects all the way out to the Japanese Tea Garden and provides a pleasant outdoor area regardless of rain or shine. The roof is conceived as a filigreed structure that casts intricate patterns of light and shadow on the ground.
A third architectural element, the Education Tower, is a clearly identifiable landmark that looks out on the nearby JFK drive and the city. Given the location and the placement of the museum building and the concourse, the figure of the tower takes a geometrical stand in relation to the strict rectangular grid of the city. The Education Tower is literally the hinge between museum and city. It affords a view, an overview, and insight into the various cultures of this world at this select location in Golden Gate Park of San Francisco.
© Herzog & de Meuron, 2005
Since its opening in 2000, the Tate Modern has had a substantial impact not only on the artistic, cultural and social life of London – it is, in fact, the world’s most visited contemporary art museum –, but also on the urban design and development of the South Bank and Southwark. The museum extension redefines this part of the city even with greater intensity, proposing the creation of a public square on its southern front that allows, thanks to a direct passage connecting it with the north side through the Turbine Hall, to join Southwark with the Thames.
The most distinct element of the extension is a pyramidal tower whose geometry addresses at once the urban context and the existing building to which it is adhered. Underneath it are the Oil Tanks, which have already been transformed into galleries for live artistic activities. The tower has rooms of different sizes, as well as galleries with less conventional geometries and educational spaces. Aside from doubling the exhibition areas, the extension offers a variety of public spaces for relaxation and reflection, for activities, group learning and private study. These spaces are spread over the tower and linked by a generous public circulation system rising through the building.
Furthermore, it was important for the new structure to be visible from the north shore of the Thames, so it was designed to be clearly seen behind the iconic chimney of the Tate Modern without competing with it. The integration of the extension with the existing building and with the skyline of the city is, in fact, one of the main goals of the project, as well as favoring the orientation of visitors both outside and inside. At the same time, this desire to blend the new building with its surroundings is expressed on the new facades, which use brick as in the old structure but in a new way, with a perforated brick screen through which light filters in the day and through which the building will glow at night. The brickwork also reacts to the inclined faces by stepping to approximate the pure geometry. With these simple actions, texture and perforation, the brickwork is transformed from a solid and massive material to a veil that covers the concrete skeleton of the new building. This continuous wrap of perforated brickwork is broken through the introduction of horizontal cuts to allow for views, daylight and natural ventilation, making it easier to interpret the internal programming and planning of the building when seen from the city.
The Tate Modern has had a substantial impact on London since the opening of the first phase in 2000. Beyond its influence on the city’s artistic, cultural and social life, it has been a key for the urban development of the South Bank. Keeping up with this, the recently completed extension of the museum, known as the Switch House, provides new public space and connects the Thames with Southwark, taking people from the north side through the existing building and the Turbine Hall out to a new city plaza to the south.
Tate Modern is the world’s most visited museum of modern and contemporary art. It now aims to fully integrate the display, learning and social functions to meet the challenges of a 21st century art institution. Thus the project integrates numerous parameters, developed in close collaboration with the Tate, that had gradually been condensed into a pyramidal form generated from the combined geometries of the site and the existing building. The clover-shaped dramatic subterranean oil tanks are at the heart of these plans and they are a point of departure for the new building. The first phase turned the vast physical dimensions of the existing structure into a tangible reality, by digging out the Turbine Hall; now, the oil tanks not only form the foundation of the new building, but are also the starting point for intellectual and curatorial approaches. These approaches require a range of gallery spaces, large and small, along with less conventional ‘As Found’ spaces and better facilities for the gallery’s popular learning programmes.
As well as doubling the gallery space, the project creates a diverse collection of public spaces for recreation, relaxation, group learning and private study. These spaces are spread over the building and linked by a generous public circulation system. The vertical orientation of the Switch House is clear and, from the north, it can be seen rising behind the power station without competing with its iconic chimney. The old and new elements of the Tate Modern are expressed as a whole, a characteristic that is further emphasized by the use of the same base palette of bricks and brickwork.
Arranged in a radical new way, the brick forms a perforated screen which filters the light coming in during the day, and through which the building glows at night. The brickwork reacts to the inclined faces by gradually stepping back, transforming itself from a massive material to a veil that covers the concrete skeleton. Strategic horizontal cuts break the continuous brick wrap, affording views and providing daylight and natural ventilation inside.
笛洋美术馆(de Young Museum)于1895年成立于旧金山内的金门公园(Golden Gate Park)。美术馆以其创始人--旧金山早期报人笛洋（M.H.de Young）先生命名。在长达一百多年的时间里，笛洋美术馆一直是旧金山这座城市文化结构中不可分割的一部分并且吸引了数百万居民和游客前往参观。2005年10月15日，新笛洋美术馆在旧笛洋美术馆原址上落成。由著名的瑞士建筑师事务所Herzog & de Meuron和旧金山华人建筑师邝锦华和陈肖莲创办的Fong & Chan Architects事务所共同打造设计的新笛洋美术馆成为了旧金山的标志性美术馆，展出博物馆所保存的珍贵美国艺术收藏，藏品从十七世纪贯穿到二十世纪，并包含非洲、大洋洲和美洲的艺术品。根据《艺术新闻》（The Art Newspaper）2012年4月统计，新笛洋美术馆是美国密西西比河以西访问人数最多的美术馆，位列北美地区访问量最大的美术馆第六位，并且在全世界中访问量位居第三十五位。
笛洋美术馆的历史和建筑
笛洋美术馆(de Young Museum)于1895年首次开放，是于1894年在美国举办的芝加哥哥伦布纪念博览会(World’s Columbian Exposition),亦称芝加哥世界博览会的延续。当时，它被安置在一座埃及复兴式结构内，这原来是博览会的美术大楼。该建筑在1906年的旧金山地震中遭受到严重破坏，因此被关闭了一年半进行维修。不久之后，随着美术馆的稳步发展，急需一个新的空间来满足其不断增长的观众。在1915年，巴拿马-太平洋国际博览会建筑协调员路易斯•克里斯蒂安•马尔加特（Louis Christian Mullgardt）设计了一座西班牙式的平板风格建筑，新大楼于1919年竣工。在1921年，笛洋美术馆增加了一个中央区，和塔楼一起成为美术馆的标志。另外，美术馆的西翼于1925年竣工，同年，笛洋先生逝世。1929年，原埃及风格的大楼被宣布为危房并被拆除。到1949年为止，由于太平洋的海风的腐蚀使得支撑钢架生锈，笛洋先生之前精心设计的混凝土装饰变成危险建筑，于是被拆除。美术馆在1989年洛马普雷塔地震中损毁严重因而被拆毁，新大楼最终在2005年落成。往事如烟，老美术馆只剩下水池附近的花瓶和狮身人面像，以及大楼前的几棵棕榈树仅供游人缅怀。
为了抵御未来可能发生的地震，特制的滚珠轴承滑板和粘性流体阻尼器系统吸收其中的动能并转换成热量使得新大楼可以向上移动91厘米。一开始，新美术馆的建在城市公园的中心这件事备受争议，为此，旧金山的市民在两次投票中都否决了政府为新馆提供拨款的议案。第二次申请失败后，美术馆曾想把馆址搬迁到金融区。不过，这时正好得到支持者的慷慨资助，使得美术馆继续保存在金门公园内。设计师们对自然环境中的建筑物的外观设计非常小心。来自奥克兰的景观设计师沃尔特•胡德（Walter Hood）设计了美术馆的新花园。美术馆的外观被15,154.2平方米的铜板包裹，这些铜板最终将氧化并呈现绿色调的独特质感，以呼应附近的桉树。为了进一步与周边环境协调一致，建筑的造型为切割状，目的是使栽种了48棵树的花园和庭院一览无遗，于是门前的棕榈树和这些铜板使得博物馆入口特别戏剧化。高度44米高的塔楼，外型有如一个庞大倒置的梯型，登上塔顶观众透过三百六十度无遮碍的玻璃窗可以看到金门公园的音乐大厅，欣赏到金门和马林岬角的景色。
三层楼高的美术馆主体包含三落中庭，游客进到馆内步行于馆内与中庭之间，户外公园的景致与中庭的植栽融入室内，美术馆外墙一片片的透明玻璃使得金门公园内的游客不用进入美术馆当中也可以窥见馆内的展品，而且从馆内也能够观看公园的绿意盎然。
笛洋美术馆的收藏 笛洋美术馆陈列从17世纪到21世纪的美国艺术，国际当代艺术、纺织品和服饰，以及来自美洲、太平洋和非洲的艺术品。其中，美国艺术收藏包括超过1000幅绘画，800件雕塑和3000件装饰艺术品，艺术品的创作时间从1670年至今。笛洋美术馆是美国西部地区收藏美国艺术最全的艺术博物馆，也是完整地呈现非土著美国艺术史的全美十大美术馆之一。自1894年加利福尼亚冬季国际博览会在金门公园内的美术大楼举办以来，在1924年笛洋纪念博物馆制度化，以及新笛洋美术馆于2005年重新开放，美术馆的永久收藏成倍地增长。1978年，美国艺术收藏发生质的飞跃，原因是约翰•洛克菲勒三世（John D. Rockefeller III）和布兰切特•胡克•洛克菲勒（Blanchette Hooker Rockefeller）夫妇决定向旧金山美术博物馆捐赠他们收藏的110幅绘画，29幅素描和2件雕塑作品，所有捐赠陈列在笛洋美术馆。洛克菲勒三世在1979年的遗赠与布兰切特在1993年的遗赠是美术博物馆最重要的艺术品组成之一。笛洋美术馆的美国艺术收藏按照时间和地区划分为多个展区，包括：美洲土著和西班牙殖民地；英殖民地；联邦时代艺术与新古典主义;维多利亚风格和现实主义; trompe l’oeil静物;哈德逊河画派、巴比松画派和调性主义；印象派和垃圾箱画派;工艺美术;现代主义;社会现实主义与美国风景；超现实主义与抽象;节拍、流行和具象；当代艺术。这些画廊把装饰艺术和绘画、雕塑放在一起展示，并且强调展品的艺术、社会和政治背景。另外，从1991年开始，美术馆的美国艺术部设立了史密森学会美国艺术档案缩微胶卷收藏，其美国艺术研究中心是美国西海岸最重要的美国艺术研究中心。
在1988年，笛洋美术馆承诺收藏国际当代艺术。除了传统媒介的作品之外，这承诺也扩大了博物馆的新媒体或多媒体艺术品收藏，涵盖装置和观念作品，馆方认为视频和其他时间性媒体以及摄影和其他镜头性媒体更准确地反映当代艺术实践。这些镜头性和时间性媒介可以说代表着新的发展领域，该馆的此类收藏包括奈杰尔•普尔（Nigel Poor）、凯瑟琳•瓦格纳（Catherine Wagner）、丽贝卡• 宝兰哲（Rebeca Bollinger）和阿兰•亚斯(Alan Rath)等美国艺术家的作品，以及阿尼旭•卡普尔(Anish Kapoor)、奥德•纳德卢姆（Odd Nerdrum）、戈特弗里德•郝文（Gottfried Helnwein）、桃瑞丝•沙尔塞朵（Doris Salcedo）、大卫•纳什（David Nash）、芭芭拉•赫普沃斯(Barbara Hepworth)和理查德•迪肯(Richard Deacon)等国际艺术家的作品。
值得一提的是，该美术馆的非洲、太平洋和美洲土著收藏。馆内的非洲收藏包括来自苏丹东部、几内亚海岸、西非和中非、非洲东部和南部以及非洲大陆其他地方的超过1400件具有代表性的艺术品。非洲艺术收藏以主题形式呈现，而不是地理上的划分，强调了艺术的审美和表现力。海洋系收藏的核心部分是1894年在金门公园加利福尼亚州冬季国际博览会形成的。接着，美术馆收藏了雕塑、编织品、树皮布、陶瓷和石制等海洋系作品，现收藏量超过3000多件。美洲艺术收藏在艺术史、人类学和世界历史都具有重要的国家级意义，这些藏品使得该馆成为该领域的文化研究和学习的主要资源。