诺瓦切拉修道院博物馆改造扩建

公司：	MoDusArchitects	类型：	建筑
地区：	德国	标签：	旧改项目

该修道院始建于1142年，坐落在布列瑟农（意大利）附近的艾萨克山谷的葡萄园盆地中，不仅代表了当今南蒂罗尔州最重要的建筑群之一，而且也是当时卓越的奥古斯丁修道院。就像一个自给自足的小村庄，修道院建筑群中的每一个建筑都发挥着特定的作用：组成的教堂、小教堂、磨坊、车间、酒窖和农舍形成了一个不可磨灭的核心--其中一部分已经被改造成博物馆。

Founded in 1142 and nestled within the vineyard lined basin of the Eisack valley near Bressanone (Italy), the abbey not only represents one of the most significant architectural ensembles in South Tyrol today, but also stands as a preeminent Augustinian Abbey of its time. Like a small, self-sufficient village, each building within the monastery complex played a specific role: the constituent churches, chapels, mills, workshops, wine cellars and farmhouses formed an indelible nucleus—only a portion of which has been converted into a museum.

“我们的新建筑有助于引导游客进入修道院的场地，并参与其历史，以尊重过去和未来的建筑语言来确定新的位置和新的设计。”MoDusArchitects公司的创始人之一Matteo Scagnol和Sandy Attia说。

Our new addition helps orient visitors to the Abbey grounds and participates in its layered history, positing new positions and new vocabularies with an architectural language respectful of both the past and the future. — affirms Matteo Scagnol, co-founder with Sandy Attia of MoDusArchitects

MoDus事务所的设计为旧建筑注入了新的功能，并重新调整了修道院的附属结构和主要建筑之间的关系。从外面看，这个项目只有从重建的服务建筑群中出现的发黑的铜板桥可以看出，这些建筑在上层与主回廊相连。

MoDusArchitects’ addition injects new functions into old buildings and rewires the relationships between the ancillary structures and the main buildings of the Abbey. From the outside, the project is only evident by the blackened, copper clad bridge that emerges from a cluster of reconstituted service buildings that connect to the main cloister at the upper level.

部分拆除、部分翻新和部分修复，该项目在主回廊的17世纪侧翼的背景下，介入了三个次要的、相邻的结构。第一座建筑被“开膛破肚”，将农用仓库改造成通风的、双高的入口中庭空间，并有一个俯瞰的夹层。另一方面，第二座建筑取代了被拆除的单层盥洗室，并建造了一个楼梯和电梯塔，与回廊的古董翼相连接。第三个也是最后一个结构经过翻新，在地面上安置了一个研讨会和活动空间，有一个新配置的室外庭院，在上层有一个临时展览空间和唱诗班室。

Part demolition, part renovation and part restoration, the project intervenes in three secondary, adjacent structures set against the backdrop of the 17th century wing of the main cloister. The first building is gutted to transform the agrarian storehouse into the airy, double-height space of the entry atrium with an overlooking mezzanine level. The second building on the other hand, replaces the demolished, one-story lavatorium with a sweeping stair and elevator tower that bridges over to the antique wing of the cloister. The third and final structure is renovated to house a seminar and event space at the ground level with a newly configured outdoor courtyard, and a temporary exhibition space and choir room on the upper level.

新的中庭设有定制的售票台、展示柜和灯具，其铜、木和玻璃的衔接细节在新暴露的修复后的倾斜木屋顶的屋檐和粗糙的石膏工程中创造了新的对话。

The new atrium features the custom-built ticket counter, display cases and light fixtures whose articulated details of copper, wood and glass create new conversations within the newly exposed eaves of the restored, pitched wooden roof and the rough-hewn plaster work.

参观者离开入口大厅向室外走去，开始他们在修道院回廊的参观，路线蜿蜒穿过修道院，经过18世纪的图书馆和一个新修复的17世纪的壁画房间，然后在楼梯间的顶部，通过桥接回到上层的新增加的地方，结束了这个回路。这样，设计既是博物馆序列的起点，又是博物馆序列的到达点。完成博物馆的参观，走出修道院的古墙，进入新桥的空间，一个大窗户提供了一个视觉上的释放：在翻新的仓库屋顶上的一个预缩视图，可以扣回圣安杰洛小教堂的方向，同时也提供了进入修道院的围墙花园和葡萄园的特权视野。

Visitors leave the entry hall heading outdoors to begin their tour at the Abbey cloister, the itinerary winds through the monastery, passing through the 18th century library and a newly restored 17th century frescoed room to then conclude the circuit by bridging back to the new addition on the upper level, at the top of the stairwell. In this way MoDusArchitects’ project is both the starting point and the point of arrival of the museum sequence. Completing the museum visit and stepping beyond the antique walls of the Abbey into the space of the new bridge, a large window provides a visual release: a foreshortened view over the rooftop of the renovated storehouse snaps back to the Sant’Angelo chapel for orientation, while also affording privileged views into the walled garden of the Abbey, and the vineyards beyond.

布什敲击的裸露的混凝土墙，抹平的混凝土地板，以及厚实的栗木制品提供了一个触觉背景，使空间序列完整地回到了再次通往中庭的层叠的楼梯。这些建筑元素在微妙的色调和自然材料的氛围中保持一致；通过对有限的设计调色板的有节制的使用，使新与旧通过独立的细节得到调和，无论是楼梯的护栏、门窗，还是垂直和水平表面的处理，都给人一种宁静的感觉。

Bush hammered, exposed concrete walls, trowel-finished concrete floors, and thick chestnut woodwork provide a tactile backdrop to bring the spatial sequence full circle back to the cascading stairs that lead to the atrium once again. The architectural elements are held together in an atmospheric balance of subtle tones and natural materials; a sense of serenity is afforded by the measured use of a limited design palette whereby the new and old are reconciled through discrete details, be it from the parapet of the stair, the fenestration, to the finishing of the vertical and horizontal surfaces.

该项目伴随着保罗-雷纳的艺术干预，他对圣奥古斯丁花园的浪漫和俏皮的解释为室内的清醒创造了一个异想天开的设计语言。当游客从回廊的上层回到入口大厅时，Renner对修道院的植物遗产进行了如诗如画的解说，沿着电梯塔的金属包层展开。

The project is accompanied by the artistic interventions of Paul Renner whose romantic and playful interpretations of the hortus sanctis augustini create a whimsical sidekick to the sobriety of the interiors. Renner’s picturesque excursus on the botanical heritage of the Abbey unfolds along the metal cladding of the elevator tower as visitors descend from the upper level of the cloister back to the entry hall.

MoDusArchitects的作品以一种精辟的方法结构了诺瓦切拉修道院不同建筑时期的异质性，将历史和现代词汇融为一个平衡的整体。空间序列的设计和它们的触觉，空虚的触觉信息，时间的流逝，以及只有游客才能体验到的更多的短暂的品质，将修道院提供的一切带到了未来。

MoDusArchitects’ work takes on the heterogeneity of the disparate architectural time periods of the Novacella Abbey with an incisive approach that melds together both historical and contemporary vocabularies in a balanced whole. The design of the sequence of spaces and their haptic, tactile messages of emptiness, time passing and the more ephemeral qualities that only the visitor can experience, carry forward all that the Abbey offers into the future.