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隈研吾设计的安徒生博物馆在丹麦向公众开放

建筑 2022-05-03 530 2

丹麦“奇幻世界”博物馆开幕

A ‘FANTASY WORLD’ MUSEUM OPENS IN DENMARK

继去年 6 月的软落成典礼后，丹麦的安徒生博物馆正式向公众开放，其建筑由隈研吾建筑事务所设计。博物馆的形状是一组弯曲的体量，被组织成一个花园迷宫。邀请游客探索这些在秋季早些时候向公众开放的中间公园空间。新开放的“HC Andersen Hus 博物馆”因此向欧登塞介绍了一个“幻想世界”，以庆祝这位 1805 年出生的作家。在这里查看设计邦之前对童话博物馆的报道！

Following its soft inauguration last June, Denmark‘s Hans Christian Andersen Museum officially opens to the public, with architecture by Kengo Kuma & Associates. The museum takes shape as a cluster of curving volumes, organized to create a garden labyrinth. Visitors are invited to explore these in-between park spaces which had opened to the public earlier in the fall. The newly opened ‘H.C. Andersen Hus Museum’ thus introduces a ‘fantasy world’ to Odense in celebration of the 1805-born author. See designboom’s previous coverage of the fairytale museum here!

所有图像© Rasmus Hjortshøj | @coast_studio

all images © Rasmus Hjortshøj | @coast_studio

将童话转化为建筑

TRANSLATING FAIRYTALES INTO ARCHITECTURE

Kengo Kuma & Associates (KKAA) 的建筑师设计了安徒生博物馆（在此处查看更多信息），将作者的童话故事转化为建筑空间。在安徒生的故事火药盒中，一棵树揭示了一个地下世界，在旁观者面前神奇地发掘出新的视角。博物馆的布置类似——所有的展览空间都位于地下。

Designing the Hans Christian Andersen Museum (see more here), the architects at Kengo Kuma & Associates (KKAA) translated the author’s fairytale stories into built space. In Andersen’s tale The Tinderbox, a tree reveals an underground world, which magically unearths new perspectives right in front of the beholder. The museum is arranged similarly — all the exhibition spaces are located underground.

与Cornelius Vöge 和 MASU Planning一起参与该项目的隈研吾解释说： “建筑设计背后的想法类似于安徒生的方法，一个小世界突然扩展到一个更大的宇宙。”

Kengo Kuma, who worked on the project alongside Cornelius Vöge and MASU Planning, elaborates: ‘The idea behind the architectural design resembled Andersen’s method, where a small world suddenly expands to a bigger universe.’

隈研吾向汉斯-克里斯蒂安-安德森学习

KENGO KUMA LEARNS FROM HANS CHRISTIAN ANDERSEN

在 "现实世界 "和 "幻想世界 "之间的旅程中，参观者永远在格子间和被迷宫般的树篱束缚的蜿蜒花园间穿梭。分隔这两个世界的半透明墙壁暗示了一种柔和而模糊的划分，很像安德森的故事。

A journey between the ‘real world’ and the ‘fantasy world,’ the visitor perpetually travels between the latticed volumes and the interstitial, meandering gardens bound by labyrinth-like hedges. The translucent walls which separates these two worlds suggests a soft and ambiguous division, much like that of Anderson’s stories.

其他形成博物馆空间的故事包括《小美人鱼》和《拇指姑娘》。一个展览空间被伪装成一池水，参观者可以在下面占据，从上面窥视。同时，一个巨人花园充满了超大的植物生命，仿佛参观者已经被缩小了。

Other stories which take shape as museum space include the Little Mermaid, and Thumbelina. An exhibition space is disguised as a pool of water, which visitors can occupy below and peer into from above. Meanwhile, a Giant’s Garden is filled with oversized plant-life as though visitors have been shrunken.

隈研吾设计的博物馆选址的意义在于欧登塞是安徒生的出生地。更重要的是，自1908年以来，该市一直设有H.C.安徒生之家的博物馆，这距离作者在1875年去世只有30多年。

the site of the Kengo Kuma-designed museum is significant as Odense is the birthplace of the Hans Christian Andersen. What’s more, the city has housed the H.C. Andersen House museum since 1908, just over thirty years after the author’s death in 1875.