Bjerkebæk游客中心

公司：	Carl-Viggo Hølmebakk	类型：	建筑
地区：	挪威	标签：	文化空间

挪威作家诺贝尔奖获得者西格丽德温塞特（Sigrid Undset）从1919年到1949年去世一直居住在比耶凯贝克。在这段时间里，她将几间旧的木屋重新安置，并将部分场地改造成一个美丽的花园。1982年，该房产受到了法律的保护。今天，项目变成了利勒哈默尔的一个传统老建筑的露天博物馆。

Norwegian author and Nobel-prize winner Sigrid Undset lived at Bjerkebæk from 1919 to her death in 1949. During this period of time she relocated several old log houses to the premises and adapted part of the grounds into a beautiful garden. In 1982 the property was protected by law. Today Bjerkebæk is managed and maintained by Maihaugen – an open-air museum of traditional old buildings in Lillehammer.

在过去的几年里，这些建筑和场地已经被翻新，作为博物馆使用。游客中心是2002年举行的公开建筑竞赛的结果，新建筑的主要目标是在夏季作为游客中心使用，有一个咖啡馆和一个小商店以及其他服务功能。此外，该中心还包括一个礼堂和展览区，主要用于展示Sigrid Undset曾经在此的的生活和工作，但也用于潜在的其他展览或安排。

During the past few years the buildings and grounds have been refurbished to be used as a museum. The visitor’s centre is a result of an open architectural competition held in 2002. The main objective of the new building is to function as a visitor’s centre during the summer season, with a café, a small shop among other service functions. In addition the centre serves a purpose in relieving the garden and older houses from wear, why an auditorium and areas for exhibitions – mainly for displaying the life and work of Sigrid Undset, but also for potential other exhibitions or arrangements, are also included.

该建筑与老建筑拉开距离，形成一个大栅栏的一侧，围住受保护的建筑。建筑理念是在相对侵入性的周围环境和一个被屏蔽的内部环境之间提供一个明确的分离。项目是从一条繁忙的街道上进入的，在一个以体育场馆及其停车场为主的街区。通过游客中心的入口是进入该设施的唯一公共通道。

The building is placed drawn away from the older buildings, forming one side of a large fence enclosing the protected property. The architectural idea has been to provide a clear separation between the comparatively intrusive surroundings, and a shielded, inner environment. Bjerkebæk is accessed from a busy street, in a neighbourhood predominated by a sports arenas and their parking lots. The entrance through the visitors centre is the only public doorway to the facilities.

功能空间沿着建筑的背面被组织起来，这使得入口立面具有封闭和不显眼的表现。朝里走，公共区域向郁郁葱葱的花园和Sigrid Undset的老宅开放。这些受保护的建筑可以通过盘旋在老围场上的混凝土坡道进入。游客中心的两端都有覆盖的露台。

Functional spaces are organised along the back of the building, which gives the mural entrance façade a closed and unobtrusive expression. Towards the inside the public areas open up to the lush garden and the old residence of Sigrid Undset. These protected buildings are accessed via a concrete ramp hovering over the old paddock. Both ends of the visitors centre have covered terraces.

修长的玻璃幕墙被设计成一个大型的、灵活的展示区，老房子作为背景和主要对象。旋转安装的展示板将允许空间和展览形式的变化，也将主房间从几乎封闭的状态变为完全开放。然而，现在的展览是独立于建筑本身而建造的，而且不确定最初的设计是否会被实施。

The elongated glass façade is designed to function as a large, flexible display, with the old houses acting as a backdrop and main object. Swivel-mounted display panels would permit a mutiltude of space- and exhibition forms, and also change the main room from nearly closed to completely open. However, the exhibition now in place is built independent from the building itself, and it is uncertain whether the original design will ever be implemented.

该建筑的主要结构是一块原地混凝土板，它支撑在 "nopsa-stein "的承重混凝土和砌体墙上；这是一种混凝土砖格式的砌块。在玻璃后面，板块由钢和混凝土支柱支撑。铸造的混凝土和砖石表面没有经过处理。混凝土地板是用未粉碎的骨料浇铸的，并进行了抛光。还有预制混凝土（长椅）、釉面砖、石板和瓷砖的元素。在弯曲的玻璃外墙中，使用了双层剖面玻璃。木制门窗是用松木制作的，而朝西的立面是用结构玻璃系统制作的。所有的锡制品都使用了镀锌钢，包括扶手也是由镀锌钢制成的。木质内饰、门窗都用光亮的渗透油处理。该建筑有电热地板和平衡通风系统。

The main structure of the building is an in situ concrete slab resting on load bearing concrete and masonry walls in “nopsa-stein”; a concrete brick-format masonry block. Behind the glass the slab I supported by steel and concrete pillars. Cast concrete and masonry surfaces have been left untreated. The concrete floor was cast using uncrushed aggregate and polished. There are also elements of prefabricated concrete (benches), glazed brickwork, slate and tiles. In the curved glass-façade walls double profile glass is used. Wooden doors and windows are made in pine whereas the west facing façade is made in a structural glazing system. Zink is used in all the tinwork. Handrails are made of galvanized steel. Wooden interiors, doors and windows are treated in glossy penetrating oil. The building has electric heated floors and a balanced ventilation system.

设计师寄语

现在回想起来，我一直在想，这个建筑到底有没有变得比竞争方案更好。在整个过程中，无论是功能上还是概念上，建筑的组织一直很简单，这使得它在从图纸阶段到建成结构的漫长过程中相对稳固。然而，我们，与该项目合作的人，不得不不断提醒自己，这种简单性并不是建筑质量的同义词，最重要的解决方案往往不那么明显，缺乏有力的论据。对我来说，这是一个悖论，既与当代建筑业的氛围有关，当然也与一般的竞赛形式有关。

Designer Remark

In retrospect I have wondered whether the building has become better than the competition scheme or not. Throughout the process the organisation of the building has been simple, almost schematic – both functionally and conceptually – which has made it relatively robust in the long process from competition to built structure. We, who have worked with the project however, have constantly had to remind ourselves that this type of simplicity is not synonymous with architectural quality – that the most important solutions often are less obvious and lack the powerful arguments. To me this is a paradox both in relation to the contemporary atmosphere in the building industry and of course to the competition form generally.