Wingårdhs建筑师和WikerstålArkitekter领导了瑞典19世纪国家博物馆的五年翻修，该博物馆最初由柏林新博物馆的建筑师弗里德里希·奥古斯特·斯图勒于1866年设计，使建筑和画廊与现代标准保持同步 - 并期望，同时在保存和现代化之间达成微妙的平衡。改造重新思考和重新概念化过程导致揭开窗户，重新利用两个庭院，安装玻璃屋顶和新的雕塑电梯井。在画廊中，Joel Sanders Architect提供了一套“套件”，为博物馆的历史悠久的房间带来灵活的展示。
Wingårdhs architects and Wikerstål Arkitekter have led the five-year renovation of Sweden’s 19th century Nationalmuseum originally designed in 1866 by Friedrich August Stüler, architect of the Neues Museum in Berlin, that brings the building and galleries up to date to contemporary standards – and expectations, while striking a delicate balance between preservation and modernisation. The remodelling, rethinking and reconceptualisation process led to uncovering windows, the repurposing of two courtyards, the installation of a glass roof, and a new sculptural lift shaft.While in the galleries, Joel Sanders Architect provided a ‘kit of parts’ for bringing a flexibility of display into the historic rooms of the museum.
该博物馆的成立时间早于1792年，即卢浮宫前一年，由古斯塔夫三世国王授予他的艺术收藏品。该系列最初在皇宫入住，于1866年搬迁至其专门建造的场地。然而从建筑诞生到19世纪末至今，博物馆对瑞典作为一个国家和社区的意义不断变化 - 自博物馆进行重大更新至今已有近150年的历史。
The museum was founded even earlier than it’s building in 1792, one year before the Louvre, by King Gustav III who granted his art collection to the Swedish state. Originally taking up residence at the Royal Palace, the collection moved to its purpose-built premises in 1866. Yet from its architectural birth, to the late 19th century and until today, the idea of what a museum means to Sweden as a nation and community has continued to shift – and it’s been nearly 150 years since the museum has had a major update.
The restoration effort led by Josefin Larsson and Gert Wingårdh from Wingårdhs and Erik Wikerstål from Wikerstål Arkitekter returns the museum to its former glory with material choices loyal to the original design. The stone façade was refitted with the same local Borghamm stone Stüler commissioned, and the two newly covered courtyards lined with fresh limestone. Beneath the museum, exposed brick arches have been restored and revealed for the first time, opening up space for public cloakrooms and toilet facilities.
The respectful maintenance of the building reflects a continuation of its history, and the values of what a national museum means symbolically. In Europe of the 1820s, when plans for the museum building were being made, the museum was seen as an essential asset to a civilised nation. Later in the century, this developed further as art began to be considered beneficial to the population for industry and design education. Stüler captured these values through his original design, creating a Renaissance building that resembled a Venetian Palace on its own island, Blasieholmen, opposite the Swedish Royal Palace. Yet its construction in local limestone from Borghamm, granite from Huvudsta and Kolmarden marble, hailed it as a product of the country.
在保持与其建筑相关的民族自豪感的同时，新装修的博物馆也庆祝其现代化：南庭院现在拥有宽敞的电梯井，需要满足博物馆的当代需求。它的设计为石头空间带来温暖，工匠在现场组装编织黄铜条的外观。同样，玻璃屋顶为建筑物引入了新的角度和材料 - 让人联想起蓬皮杜和大英博物馆对玻璃的干预 - 每个圆顶由104个玻璃三角形组成，在一系列小金字塔中形成棱镜效果。
While upholding the national pride associated with its architecture, the newly renovated museum also celebrates its modernisation: the south courtyard now holds a capacious lift shaft, required to meet the contemporary demands of the museum. Its design brings warmth to the stone space with an exterior of woven brass strips assembled on site by craftsmen. Equally, the glass roof introduces new angles and materials to the building – reminiscent on a smaller scale to the Pompidou and British Museum interventions with glass – each dome is composed of 104 glass triangles creating a prism effect, within a series of small pyramids.
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