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設(shè)計(jì)單位? Herzog & de Meuron

項(xiàng)目地點(diǎn)? 美國費(fèi)城

建成時(shí)間? 2025年

建筑面積? 1691平方米

本文英文原文由Herzog & de Meuron提供，由有方編譯。

考爾德花園（Calder Gardens）并不是一座傳統(tǒng)意義上的博物館。從一開始，業(yè)主就希望打造一個全新的、私密而又不斷變化的空間，讓人們以不同以往的方式接觸亞歷山大·考爾德的作品。雖然建筑依然承擔(dān)著傳統(tǒng)博物館的典型技術(shù)需求，但它被設(shè)想為一種新的藝術(shù)體驗(yàn)場所：一個藝術(shù)、建筑、自然、人群與周邊城市相互交織的空間。

Calder Gardens is not a conventional museum. From the beginning the client wanted a space that would provide a totally new, intimate and ever-changing encounter with the work of Alexander Calder. While the building is still tasked with the typical technical requirements of a traditional museum, it is conceived as a new type of place for being with art: a place that provides an interplay between art, architecture, nature, people, and the surrounding city.

費(fèi)城是考爾德的出生地，也是此前兩代考爾德藝術(shù)家生活過的地方，他們都在這座城市留下了自己的印記。他們的雕塑作品散落在本杰明·富蘭克林大道上，這條大道源自19世紀(jì)的“美麗城市”運(yùn)動，兩端坐落著美國最著名的兩座博物館——費(fèi)城藝術(shù)博物館與巴恩斯基金會。而這條大道又被下沉的葡萄藤街高速切割開來，就像許多美國城市在20世紀(jì)中期的情況一樣，撕裂了原有的城市肌理。考爾德花園就位于這兩條重要道路的交匯點(diǎn)。

Philadelphia is Calder’s birth city and was the home of two previous generations of Calders who, as artists, left their own impressions on the city. Their sculptures can be found along the Benjamin Franklin Parkway, a boulevard that is a product of the 19th century ‘city beautiful’ movement and is anchored by two of America’s most remarkable museums, the Philadelphia Museum of Art and the Barnes Foundation. Cutting across this Parkway is the sunken Vine Street Expressway which, like many of its counterparts in other American cities, sliced through the existing city fabric in the mid-20th century. Calder Gardens is located at the intersection of these two significant streets.

考爾德花園的基地是一塊平坦而逐漸收窄的地塊，位于大道對面，與羅丹博物館和巴恩斯基金會相望。南側(cè)沿著地塊長邊延伸的是一條駛出匝道，西邊的22街和東邊的21街主要是車行通道。盡管地處市中心，但這個地塊是被遺留下來的邊角空間，本身缺乏吸引力。公路的噪音無時(shí)無刻不在，很少有人會特意走進(jìn)這里。如何在這片城市空白中創(chuàng)造一個目的地，成為項(xiàng)目的核心挑戰(zhàn)。

The site of Calder Gardens is a flat, tapered piece of land located across the broad Parkway from the Rodin Museum and the Barnes Foundation. A highway offramp extends along its long southern edge while 22nd Street to the west and 21st Street to the east are primarily used as vehicular throughways. Despite its central location, the site is a leftover space without much obvious charm. The sound of the highway is always present, and few people have had reason to walk through the site. Creating a destination within this urban void was a central challenge for the project.

形式、色彩與運(yùn)動，是考爾德藝術(shù)中最顯著的特征。在提出本項(xiàng)目的概念時(shí)，設(shè)計(jì)團(tuán)隊(duì)刻意避免將這些特征直接作為設(shè)計(jì)元素加以采納。同樣，設(shè)計(jì)也回避了大道兩側(cè)博物館群已經(jīng)具備的宏大建筑語匯。在這樣的前提下，團(tuán)隊(duì)決定：這個項(xiàng)目的樣貌不應(yīng)該是一座建筑，而是一座花園，建筑則包含于其中，并通過一系列彼此不同的“異質(zhì)空間”逐步展露。

Form, color, and movement are the most obvious aspects in Calder’s art. When the concept for Calder Gardens was conceived, it sought to avoid rather than adopt the use of these characteristics as possible design elements. Likewise, the design avoids the monumental architecture of the already impressive collection of museums which line the Benjamin Franklin Parkway. With these parameters in mind, it was decided that the face of this project should not be a building. Instead, it is a garden with a building within that reveals itself step by step as a series of distinct, heterotopic spaces.

墻與圓盤

The Wall and The Disc

從大道望去，一面逐漸收窄的金屬墻成為草地般的花園的背景。這堵墻屏蔽了部分公路的噪音，同時(shí)為花園營造出面向大道的界面。東北角與西北角的路徑引導(dǎo)游客穿行花園，最終匯聚于中央唯一的入口處，這里有一道折疊的金屬雨棚覆蓋著內(nèi)部為木質(zhì)的入口區(qū)域。

When viewed from the Parkway, a tapered metal wall forms a backdrop to a public meadow-like garden. The wall reduces the sound of the highway and frames the garden towards the Parkway. Pathways from the northeast and northwest corners draw visitors through the garden towards a single central opening where a folded metal canopy covers a wood-lined entry area.

隨著游客逐漸靠近入口，建筑則開始顯露。一個大型的中央圓盤在核心處形成廣場，同時(shí)也為下方展廳提供屋頂。東側(cè)是幾何上純粹的圓形“下沉花園”，西側(cè)是細(xì)長不規(guī)則的“遺跡花園”，兩者被嵌入地面，分別為考爾德的雕塑作品提供受保護(hù)的室外展示空間，并將自然光引入周邊展廳。圓盤與金屬墻的交匯處定義了入口位置。一扇狹窄的窗戶能讓人一窺下方的展廳。

As visitors approach the entry, the architecture comes into view. A large central disc forms a plaza at the center and provides a roof to the galleries below. A geometrically pure circular ‘Sunken Garden’ towards the east and an elongated irregular ‘Vestige Garden’ to the west are carved into the ground on either side of the disc. They create protected outdoor spaces for Calder’s sculptures and bring light into the surrounding galleries. The intersection of the disc and the wall define the entry. A single window offers a glimpse to the galleries below.

金屬墻的背面以熏黑的木材覆蓋，朝向公路一側(cè)，呈現(xiàn)出類似谷倉的簡潔建筑形態(tài)。從這側(cè)望去，低矮的建筑僅能在經(jīng)過時(shí)一瞥，不會刻意吸引注意。其內(nèi)部包含必要的辦公空間、裝卸區(qū)，以及一個內(nèi)部為木質(zhì)的小型大廳。不同于大多數(shù)博物館寬闊恢宏的入口空間，這個大廳的尺度更為親切，具有家庭式氛圍，為訪客開啟參觀體驗(yàn)提供了不同尋常的開端。

The backside of the metal wall is covered with blackened wood and forms a simple barn-like building towards the highway. The low building is only seen in passing from this vantage point and does not draw attention to the project. It contains a few necessary staff spaces, a loading area and a small wood-lined lobby. The lobby is different than the typical large-scale spaces that define most museum entryways. It is domestic in scale and engages the individual as they begin their Calder Gardens experience.

逐步展開

Step by Step

從大廳進(jìn)入，參觀者下行至展廳。一道大型樓梯將人們帶到“公路展廳”。這道樓梯同時(shí)也作為小型階梯式劇場，可供人們在此聚集。長而低的橫向窗戶框出公路與城市的景象；下方可見“高廳”。公路展廳是高廳中的夾層，觀眾可在此俯瞰欣賞考爾德的懸掛雕塑。一道與上方金屬墻對應(yīng)的梁體將高廳與圓盤下的空間分隔開。梁上方的狹縫能讓人一窺下方展廳。

From the lobby, visitors descend to the galleries below. A large stair brings people down to the ‘Highway Gallery’. The stair functions as a small auditorium for gathering. A long, low linear window frames a view of the highway and city beyond; the ‘Tall Gallery’ is seen below. The Highway Gallery is a mezzanine within this tall space and gives the viewer an opportunity to experience a Calder mobile from an elevated position. A beam corresponding with the wall above separates the Tall Gallery from the space below the disc. A narrow slot above the beam offers a glimpse into the gallery below.

從公路展廳夾層出發(fā)，一道走廊與樓梯包裹在粗糙的深色混凝土中。這段“立方體”樓梯引導(dǎo)人們下行至地面，通往形成外部花園的遺跡般的空間。正如其他所有的空間一般，這道樓梯也為展示考爾德的作品提供了另一種獨(dú)特的機(jī)會。

From the Highway Gallery mezzanine, a passage and stair are lined with a dark, rough concrete surface. This ‘Cuboid’ stair links people to the ground and the vestige-like spaces that form the outer garden. As with all leftover spaces, the stair offers another distinct opportunity to display Calder’s work.

樓梯通向主展廳層。穿過高廳，觀眾會來到位于圓盤之下、充滿自然光的“開放展廳”。其幾何形式在東西兩側(cè)呈正交，在北側(cè)則為弧形，呼應(yīng)上方圓盤。大型窗戶面向遺跡花園，引入自然光，并將中央展廳與花園相連。兩個錯開的弧形墻體圍合出一間小型“后殿展廳”，空間中沒有突兀的角落，以免干擾觀者的注意力。開放展廳與后殿展廳共同構(gòu)成一個可以從多角度欣賞考爾德大小作品的空間組合。

The stair arrives on the main gallery level. Passing through the Tall Gallery, the visitor encounters the daylit ‘Open Plan Gallery’ below the disc. The geometry of the Open Plan Gallery is orthogonal on the east and west and curved towards the north, reflecting the disc above. A large window opens towards the Vestige Garden bringing in natural light and connecting the central space with the garden outside. A small ‘Apse Gallery’ is created from two offset curved walls – this gallery has no visible corners which could distract from the view of the art inside. Together, the Open Plan and Apse galleries allow a variety of Calder’s large and small works to be seen from multiple perspectives.

從開放展廳出發(fā)，一道狹縫揭示出“下沉花園”與“弧形展廳”的入口。開放展廳是一片充滿光線、與外部相連的空間；而弧形展廳則是一個完全內(nèi)向的空間，暴露的混凝土結(jié)構(gòu)墻讓其具備最佳的光線控制條件。在這里可以展出考爾德的紙上作品、光敏雕塑，以及考爾德家族成員創(chuàng)作的繪畫。下沉花園位于這一空間的中心。一件靜態(tài)雕塑將被置于密植的弧形綠墻前，再次為觀者提供與作品互動的獨(dú)特背景。

From the Open Plan Gallery, a narrow slot reveals the ‘Sunken Garden’ and the entry to the ‘Curved Gallery’. While the Open Plan Gallery offers a light-filled space with views to the outside, the Curved Gallery provides a fully internalized space with exposed concrete foundation walls and maximum control over light conditions. This space can be used to show Calder’s works on paper, light sensitive sculptures and the paintings done by Calder’s ancestors. The Sunken Garden is at the center of this space; a single stabile will be placed against a densely planted curved wall offering yet again a different background to experience Calder’s work.

遺跡

Vestiges

場地的歷史痕跡在平面幾何與花園構(gòu)型中顯現(xiàn)。相鄰供水管的偏移位置決定了地下平面的折角邊界。大道修建前原有城市街區(qū)的地基遺跡，則啟發(fā)了遺跡花園的幾何形態(tài)。一座“準(zhǔn)展廳”為戶外提供了一個洞穴般的半覆蓋空間，作為內(nèi)部高度受控的展廳與外部開放花園的過渡。

The historical conditions of the existing site surface in both the interior plan geometry and garden configuration. An offset of an adjacent water main establishes the kinked boundary of the underground plan. Traces of the historical foundations from the city grid which pre-dated the Parkway inform the geometry of the Vestige Garden. A ‘Quasi Gallery’ provides a cave-like, covered outdoor space that mediates between the highly controlled gallery spaces on the interior and the exposed garden spaces outside.

這些空間共同鼓勵策展人以全新、出人意料的方式展示考爾德的多元作品。它不僅提供了沉思與專注的場所，也營造出一段空間序列，而非傳統(tǒng)的展廳體驗(yàn)。考爾德花園是一個隨著步伐逐漸展開的世界。

Together, these spaces encourage curators to display Calder’s multifaceted work in ever new and unexpected ways. It provides a place of contemplation and focus and offers a spatial sequence rather than a classical gallery experience. Calder Gardens is a world that unfolds as you walk through the door.

設(shè)計(jì)圖紙 ▽

完整項(xiàng)目信息

PROJECT KEY DATA

Project Official Name: Calder Gardens

Location: Philadelphia, PA, USA

Construction Start: 19 Jun 2023

Completion: 31 Jul 2025

Client: CP 2023, c/o Neubauer Family Foundation, Philadelphia, PA, USA

Client Representative: Aegis Property Group, Philadelphia, PA, USA

Herzog & de Meuron Project Team

Partners: Jacques Herzog, Pierre de Meuron, Jason Frantzen (Partner in Charge)

Project Team: Aurélien Caetano (Associate, Project Director), Mehmet Noyan (Associate, Project Director), Ninoslav Krgovic (Project Manager), Antoine Foehrenbacher, Julia Hejmanowska, Josh Helin, Neda Mostafavi, Daria Nikolaeva, Martin Jonathan Raub, Camilla Vespa, Rio Weber, Xin Yue Wang, Benjamin Muller

PLANNING

Design Consultant: Herzog & de Meuron Basel Ltd, Basel, Switzerland

Executive Architect: Ballinger, PA, USA

SPECIALIST / CONSULTING

Structural Engineer: Ballinger, PA, USA

MEPF / AV / IT: Altieri Sebor Wieber, LLC, CT, USA

Landscape: Richard Herbert, NY, USA

Lighting: Flux Studio Ltd, MD, USA

Civil / Geotech: Pennoni, PA, USA

Concrete: Reginald Hough Associates, NY, USA

Waterproofing & Roofing: Simpson Gumpertz & Heger

Acoustics: Metropolitan Acoustics, PA, USA

Security: Cerami Associates, DC, USA

Signage: Karlssonwilker Inc., NY, USA

Vertical Transportation: VDA, NJ, USA

Code: Jenson Hughes, MD, USA

Sustainability: Re:Vision Architecture, PA, USA

Specifications: Conspectus, MD, USA

Digital Rendering: Xaos GbmH, Basel, Switzerland; Aron Lorincz Ateliers, Budapest, Hungary; Bloomimages, New York, Inc

Food Service: Corsi Associates

Concrete: Madison Concrete Construction, PA, USA

Architectural Woodwork: Hagen Construction Inc, PA, USA

Metal Wall Systems: Bamco Inc, Architectural Wall Systems, NJ, USA

Glazing System: National Glass & Metal Co., PA, USA

Landscape: Mayfield Gardens, Inc, PA, USA

Mechanical: Wm. J. Donovan Co., PA, USA

Electrical: Armour & Sons Electric, PA, USA

SPECIAL COLLABORATORS

Landscape Designer: Piet Oudolf, Hummelo, NL

Structure Consultant: Guy Nordenson and Associates, NY, USA

Concrete Consultant: Huber Straub AG, Basel, Switzerland

Concrete Restoration: Strotmann und Partner, Siegburg, Germany

BUILDING DATA

Site Area: 69,325 sqft / 6,440 m2

Gross Floor Area (GFA): 18,207 sqft / 1,691 m2

GFA above ground: 4,962 sqft / 460 m2

GFA below ground: 13,245 sqft / 1,230 m2

Number of levels: 2

Footprint: 7,000 sqft / 650 m2

Length: 190 ft / 57 m

Width: 36 ft / 10 m

Height: 17 ft / 5 m

Gross Volume (GV): 512,400 cbft / 14,509 m3

Facade surface: 25,960 sqft / 2,411 m2

DETAILED DATA

GFA: 18,207 sqft / 1,691 m2

Net SF: 13,281 sqft / 1,233 m2

Use / Function

Interior benches (8): Custom hemlock x-bench designed by HdM, manufacturer by Mack Custom Woodworking LLC, NY, USA

Ticketing desk: Custom oak ticketing desk designed by HdM, manufactured by Mack Custom Woodworking LLC, NY, USA

Exterior benches at Entry: Custom hemlock x-bench designed by HdM, manufacturer by Mack Custom Woodworking LLC, NY, USA

Interior benches (1): Custom hemlock x-bench designed by HdM, manufacturer by Hagen Construction Inc, PA, USA

Security Desk: Custom hemlock security desk designed by HdM, Manufactured by Mack Custom Woodworking LLC, NY, USA

Nesting Tables: Custom ash Tenerife Tables CG 1D, 1E, 4D designed by HdM, Manufactured by Von Rickenbach Swissag, Muotathal, Switzerland

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