德国,莱茵河畔,经典重温:维特拉设计博物馆与工厂/弗兰克·盖里

维特拉博物馆亦是一家独立的私人基金会,由首席执行官Rolf Fehlbaum成立于1989年。博物馆主要关注家具与室内设计,收藏了Charles and Ray Eames、George Nelson、Alvar Aalto、Verner Panton、Dieter Rams、Richard Hutten以及Michael Thonet等人的作品。收有这些藏品的这座现代建筑是弗兰克·盖里在欧洲的首件作品,其中包括Rolf Fehlbaum的私人收藏、生产大厅以及维特拉工厂的门房。

弗兰克·盖里的建筑风格是显而易见的,这座解构主义雕塑建筑与他惯常的设计之间的区别仅仅在材料方面,这次只采用了白色石膏与钛锌合金。正如建筑师所说的:“我在画草图的时候就喜欢尽情发挥,而从未想过会用在建筑中。德国的维特拉项目是我第一次将尽情发挥的成果付诸实践。”

维特拉博物馆建筑面积仅有8000平方英尺(约743.2平方米),共有两层,是世界上最大的家具收藏馆,藏品跨越年代最丰富,风格也最多样,从十九世纪一直到现代的家具都包括在其中。塔楼、斜坡道与立方体建筑融合了多种功能,再加上建筑的体量,这些都是根据照明装置以及规划设计的必要条件来设计的。

在该建筑背后,工厂厂房与附近由Nicholas Grimshaw设计的建筑在大小和高度上都相互协调。从塔楼与坡道中能发现博物馆形式上的联系,这两处地点均与生产区域、展厅、测试实验室、自助餐厅以及多功能室和办公室相连。

建筑评论家Paul Heyer是这样形容参观体验的:“外观的白色造型如同一个不断变化的漩涡,它们看上去彼此之间毫无联系,而内部的相互作用却不可忽视,反过来直接表现为外部的螺旋形式。建筑作为一个整体,将自己分解成一种盘绕而又连贯的展览场地……”博物馆四周环绕着樱桃林与草地,还毗邻Claes Oldenburg的雕塑“Balancing Tools(平衡的工具)”,以及由安藤忠雄设计的会议馆。

建筑师:弗兰克·盖里

地点:德国莱茵河畔

项目年份:1989

资料提供: Vitra Design Museum, Paul Heyer

摄影:Liao Yusheng, Newsbuilding


An independent private foundation, the Vitra Museum was founded in 1989 by the CEO Rolf Fehlbaum. Focusing mainly on furniture and interior design, the museum features work from Charles and Ray Eames, George Nelson, Alvar Aalto, Verner Panton, Dieter Rams, Richard Hutten and Michael Thonet. The modern architecture which houses these collections was the first building of Frank Gehry in Europe, and included the museum for Rolf Fehlbaum’s private collection, production hall, and gatehouse for the factory of Vitra.

More on the museum after the break.

Easily recognizable as the architectural style of Frank Gehry, the deconstructive sculptural building differs only slightly than his usual designs in that he limits his materials to white plaster and a titanium-zinc alloy. As said by the architect, “I love the shaping I can do when I’m sketching. And it never occurred to me that I would do it in a building. The first thing I built of anything like that is Vitra in Germany.

At only 8,000-square-feet, the two-story Vitra Museum is one of the world’s largest collections of furniture, with pieces from most periods and styles beginning with the nineteenth century and continuing into the modern era. A functional mix of towers, ramps and cubes, the volumes of the building are determined by lighting and programmatic necessities.

At the rear end of the building, the factory hall relates to the adjacent building by Nicholas Grimshaw in both size and height. A formal link between the museum is found in the towers and ramps, which bridge together the production areas, showroom, test laboratory, cafeteria, a multi-purpose room and offices.

Paul Heyer, an architecture critic, described the visitor’s experience as “a continuous changing swirl of white forms on the exterior, each seemingly without apparent relationship to the other, with its interiors a dynamically powerful interplay, in turn directly expressive of the exterior convolutions. As a totality it resolves itself into an entwined coherent display…” Surrounded by a meadow of cherry trees, the museum is also nearby to Claes Oldenburg’s sculpture Balancing Tools, as well as a conference pavilion by Tadao Ando.

Architect: Frank Gehry

Location: Weil am Rhein, Germany

Project Year: 1989

References: Vitra Design Museum, Paul Heyer

Photographs: Liao Yusheng, Newsbuilding