Ordrupgaard Museum 奧德魯加德博物館

Ordrupgaard is a museum of French impressionism and Danish golden age. The museum has a collection of paintings by artists such as Monet, Gauguin and Hammershøi.

With an extension of the architect Zaha Hadid in 2005 and Finn Juhl’s house in 2008, the museum has got a strong architectural profile. In addition to the permanent collections – the French, the Danish and Wilhelm Hansens – the museum has changing special exhibitions and contemporary art in the open sky at Kunstpark Ordrupgaard.

Ordrupgaard是法國印象派和丹麥黃金時代的博物館。 博物館收藏了莫奈,高更和Hammershøi等藝術家的畫作。

隨著建築師Zaha Hadid在2005年和Finn Juhl在2008年的擴建,該博物館擁有強大的建築特色。 除了永久收藏品 – 法國,丹麥和威廉·漢森 – 博物館還在Kunstpark Ordrupgaard的開闊天空中改變了特別的展覽和當代藝術。

Architect:Zaha Hadid
Patrick Schumacher
Associate Architect:PLH Arkitekter
Remodelation Architect:Zaha Hadid, Patrik Schumacher
Engineer:Ove Arup & Parnters, Birch & Krogboe
Structural Engineer:Jane Wernick Associates, Birch & Krogboe
Acoustic Engineer:Birch & Krogboe
Electrical Engineer:Arup Lighting
Developer:Museo Ordrupgaard y Ministerio de Cultura Danés
Built in:1918
Remodeled in:2001-2005
Location:Charlottenlund, Denmark

建築師:Zaha Hadid
帕特里克舒馬赫
副建築師:PLH Arkitekter
改造建築師:Zaha Hadid,Patrik Schumacher
工程師:Ove Arup&Parnters,Birch&Krogboe
結構工程師:Jane Wernick Associates,Birch&Krogboe
聲學工程師:Birch&Krogboe
電氣工程師:Arup Lighting
開發商:Museo Ordrupgaard和Ministerio deCulturaDanés
建於1918年
改編自:2001-2005
地點:丹麥夏洛滕隆






Introduction
The Ordrupgaard Museum was built in 1918 as a country house and venue for the remarkable collection of Impressionist paintings and French and Danish Fauves magnate who owned the Wilhelm Hansen. The building has been a public museum since 1953. With the expansion carried out in 2005 by architect Zaha Hadid and Finn Juhl’s house in 2008, the museum has acquired a strong architectural profile.

介紹
Ordrupgaard博物館建於1918年,是一個鄉村別墅和場地,收藏了大量印象派畫作以及擁有Wilhelm Hansen的法國和丹麥野獸樂隊。 該建築自1953年以來一直是一個公共博物館。隨著建築師Zaha Hadid和Finn Juhl在2008年的擴建,該博物館已經獲得了強大的建築形象。

Extension
The extension by Zaha Hadid in Ordrupgaard redefined the relationship between the gardens of the building, creating a new landscape itself in harmony with its environment, while allowing visitors an unfragmented between the construction route, collections and gardens in a smooth and continuous interaction between the different elements and aspects of the place.
The proposal submitted by the architect won a competition organized by the Ministry of Culture of Denmark in 2001.

延期
Zaha Hadid在Ordrupgaard的擴建重新定義了建築花園之間的關係,創造了一個與環境和諧相處的新景觀,同時允許遊客在建築路線,收藏和花園之間進行不分割,在不同的建築之間進行平滑連續的互動 這個地方的元素和方面。
建築師提交的提案贏得了丹麥文化部於2001年組織的競賽。

House of Finn Juhl
Finn Juhl was a Danish architect, interior designer both as an industrial, best known for his furniture design. It was one of the main figures in the creation of “Danish Design” in the 1940s.
Your own home is an example of the intention of Juhl as an architect and designer. He built the house in Ordrup Kratvænget 15 in 1942 on a 1,700 sqm property, next to Park Ordrupgaard. Thanks to a private donation Lyngbye Birgit Pedersen, the house is now a permanent part of Ordrupgaard. The doors opened to the public on April 3, 2008.

House of Finn Juhl
Finn Juhl是丹麥建築師,室內設計師,都是工業界,以家具設計而聞名。 它是20世紀40年代創作“丹麥設計”的主要人物之一。
你自己的家是Juhl作為建築師和設計師的意圖的一個例子。 他於1942年在OrdrupKratvænget15建造了這座房子,佔地1,700平方米,毗鄰Park Ordrupgaard。 感謝私人捐贈Lyngbye Birgit Pedersen,這座房子現在已成為Ordrupgaard的永久組成部分。 大門於2008年4月3日向公眾開放。

KONICA MINOLTA DIGITAL CAMERA

Concept
The design is based on personal interpretation of Zaha Hadid relative to the surrounding landscape and the relationship with the original building, both in size and proportions, and the space for new galleries. The realization of this interpretation has doubled the space available for exhibition and for the public.

“… The extension of the Ordrupgaard presented an opportunity to explore new formal relations between the components of the museum and the garden that frames, to the extent that the set is a kind of topography itself…” (Zaha Hadid)

As in many other projects designed by Hadid, the architect has worked to decode and interpret the environment. Before beginning made field studies in the Park Ordrupgaard, the result has resulted in a sophisticated molded figure almost “hanging” in the undulating terrain. It has been said that the extent resembles a beached whale and a spaceship. Regardless of the associations, is a building that folds neatly to the topography of the landscape.

概念
該設計基於Zaha Hadid對周圍景觀的個人解釋以及與原始建築的關係,無論是大小和比例,還是新畫廊的空間。這種解釋的實現使展覽和公眾的空間翻了一番。

“…… Ordrupgaard的擴展提供了一個探索博物館組成部分和花園之間新的正式關係的機會,這種關係在一定程度上是一種地形本身……”(Zaha Hadid)

與Hadid設計的許多其他項目一樣,建築師致力於解碼和解釋環境。在開始在Park Ordrupgaard進行實地研究之前,結果導致了一個複雜的模塑人物幾乎“懸掛”在起伏的地形。據說它的範圍類似於擱淺的鯨魚和宇宙飛船。無論這種關聯如何,建築物都可以整齊地折疊到景觀的地形上。

Spaces
The new building with a glass facade which reflects the surrounding landscape and glimpses inside, gets its counterpoint opacity by a black leather made in situ concrete that surrounds, complemented by various excavations and embankments completing your disposal on the ground.
The experience of space is the main point of the extension, which is both in harmony and in contrast to the old manor house. The extension has doubled the space Ordrupgaard, which now stands at more than 3,300 sqm, creating room for new exhibition facilities, multipurpose room, a hall and a cafeteria.

空間
新建築的玻璃幕牆反映了周圍的景觀和內部的一瞥,通過黑色皮革製成的現場混凝土環繞,並通過各種挖掘和堤防完成您在地面上的處理,從而獲得了相對的不透明度。
空間體驗是延伸的主要方面,與舊莊園相比,這是和諧的。 該擴建項目佔地面積增加了一倍,Ordrupgaard現在佔地面積超過3,300平方米,為新的展覽設施,多功能廳,大廳和自助餐廳創造了空間。

Inside
The new access is from a courtyard that physically separates the new building of the old building of the French Gallery.
The Foyer runs parallel to the yard, pointing visitors the direction of the 5 new galleries, illuminated slits act as orientation devices.
Inside, the building was opened as a “fluid space”, which is difficult to detect the transition between galleries and corridors between floors and ceilings.

The rooms constantly engage the curves of the land with the roof up and down as it progresses. Large glass surfaces and the surrounding landscape approach let in daylight reinforcing the integration of the building.

A long sloping ramp divides temporary and permanent galleries and spaces leads to the Multipurpose Room and Café facing the garden. Coffee bright white at one end of the curved building, right in the garden, creates the feeling of some ultra-modern and elegant conservatory.
In many places, the walls are steep and irregular, exploring a variety of twisted angles.


新的通道來自一個庭院,該庭院將法國畫廊舊建築的新建築物分開。
門廳與院子平行,指向遊客5個新畫廊的方向,照明狹縫充當定位設備。
在內部,建築物被打開為“流動空間”,很難檢測到地板和天花板之間的走廊和走廊之間的過渡。

隨著房間的進展,房間不斷地將土地的曲線與屋頂一起上下移動。大型玻璃表面和周圍的景觀方法讓白天加強了建築的整合。

一個長長的斜坡分隔臨時和永久的畫廊和空間通往面向花園的多功能廳和咖啡廳。彎曲的建築的一端咖啡明亮的白色,就在花園裡,營造出一些超現代和優雅的溫室的感覺。
在許多地方,牆壁是陡峭和不規則的,探索各種扭曲的角度。

Gallery
Natural light and moderates filtered as it passes through the building envelope, the ceiling. The concrete-washed dark shares the spotlight with glass, others with curved some extreme angles. But in the heart of the building, where art is, spaces are almost “pampered”. Here, the gray concrete ceiling cut with ramps light, always with the right intensity for display and conservation of the paintings.

畫廊
自然光和溫和度在通過建築物外殼,天花板時被過濾。 混凝土水洗的黑暗與玻璃共享聚光燈,其他人則彎曲一些極端角度。 但在藝術建築的中心,空間幾乎被“寵愛”。 在這裡,灰色的混凝土天花板用斜坡燈切割,總是具有適當的強度,用於展示和保存繪畫。

Terrazas
The terraces are designed to connect with existing in the gardens of the Mansion, allowing visitors a new visual connection.

特拉薩斯
露台的設計旨在與Mansion花園中的現有建築相連,為遊客提供全新的視覺連接。

Structure

The western gallery is actually a cantilevered extension connects with the old building at the second floor. No visual markers of the transition, apart from a sliver of light on both sides of the wall, passed without problems the new to the old. This is a deliberate act, as the cantilever structurally does not benefit from the presence of the walls. Externally the union is recognized, forming a porch on the outside staircase takes visitors to the south garden and provides access to the spaces of the kitchen and other rooms on the floor.

This overhang that bridges issued thickness sandwich structure with 200mm insulation between the concrete outer skin 150mm 330mm to support the inner wall, also of reinforced concrete. These 680mm give an orientation of the structural logic, evident everywhere, from the appearance of acrylic stone bar to the curved walls that connect with old terrace, through the roof sailing on dark galleries and flows below ground, guiding visitors along the ramp to the temporary exhibition hall free of ties to that land rises and joins the landscape.

結構體

西部畫廊實際上是一個懸臂式延伸部分,與二樓的舊建築相連。除了牆壁兩側的光線之外,沒有過渡的視覺標記,沒有問題,新的舊的。這是一種蓄意的行為,因為懸臂在結構上不會受益於牆壁的存在。在外部,工會得到認可,在外面的樓梯上形成一個門廊,遊客可以到南花園,並可以進入廚房和地板上的其他房間。

這個懸臂橋樑發出厚度夾層結構,在混凝土外皮150mm 330mm之間有200mm的絕緣,以支撐內壁,也是鋼筋混凝土。這些680毫米呈現出結構邏輯的方向,從丙烯酸石條的外觀到連接舊露台的彎曲牆壁,通過黑暗畫廊的屋頂航行和地下流動,引導遊客沿著坡道到臨時與該土地無關的展廳升起並加入景觀。

Materials
In the construction of the solid structure they are mainly used reinforced concrete, glass and insulation glazing.
In the smooth, fluid motion old Ordrupgaard extension transmits a graceful transition between landscape and architecture. Large glass facades draw light and nature into the building, turn the building was cast in black lava concrete. The tactile black color seems almost alive in its game of shades, sometimes other gray matte black shiny, depending on the light and time of day.

物料
在堅固結構的構造中,它們主要用於鋼筋混凝土,玻璃和隔熱玻璃。
在流暢,流暢的運動中,舊的Ordrupgaard擴展在景觀和建築之間傳遞了優雅的過渡。 大型玻璃幕牆將光線和自然光投射到建築物中,轉向建築物時投下了黑色熔岩混凝土。 黑色的觸感似乎在它的色調遊戲中幾乎存在,有時其他灰色啞光黑色閃亮,取決於光和時間。

FROM:https://en.wikiarquitectura.com/building/ordrupgaard-museum-extension/

https://kunsten.nu/artguide/venue/ordrupgaard/

FROM:Ordrupgaard museum © Zaha Hadid Architects

FROM:Magasinet Beton – Ordrupgaard

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