韦斯特蒙斯特兰文化历史中心

Kult是Vreden镇的一个新的文化中心，是其文化路线上一个充满活力的焦点。它将一个1.400平方米的艺术历史博物馆与该地区的文化管理部门、当地档案馆、教育区、旅游信息点以及活动和临时展览空间结合起来。该中心的目的是在敏感地将自己融入中世纪遗产和建立一个当代地标，积极促进弗里登的文化和社会生活之间走一条微妙的路线。它的雕塑性是直接从环境中发展出来的，沿着弗莱登的中世纪城墙延伸出小规模的住房结构，并界定了城镇的边缘。

The kult is a new cultural hub for the town of Vreden and a vibrant focal point on its cultural route. It combines a 1.400 sqm artistic-historical museum with the cultural administration of the district, the local archives, an educational area, a tourist information spot and spaces for events and temporary exhibitions. The centre aims to walk the delicate line between sensitively integrating itself in the medieval heritage and establishing a contemporary landmark that actively contributes to Vreden’s cultural and social life. Its sculpturality is directly developed from the context, extending the small-scale structure of the housing along Vreden’s medieval wall and defining the town's edge.

一条新的城市文化路线从城镇周围开始，通过护城河和文化馆进入：在其中庭，该路线与建筑的中心轴和垂直轴相交，后者通过一个雕塑楼梯进入博物馆区域。从这一点上看，参观者可以清楚地看到复杂的组合和功能。楼梯本身不仅是不同展览的分布空间，而且也是中庭的代表性背景，有时用于会议、节日和音乐会。

A new urban cultural route begins in the town surroundings and enters Vreden over a moat and through the kult: it is in its atrium that the route intersects with the building's central and vertical axes, the latter leading up through a sculptural staircase into the museum areas. From this point the visitors have a clear overview of the complex ensemble and functions. The staircase itself is not only a distribution space to the different exhibitions but is also the representative backdrop of the atrium, sometimes used for conferences, festivals and concerts.

总的来说，在现有的四个机构中增加了两个新的机构，塑造了一个涵盖从14世纪到今天的时间跨度的综合体。特别是，14和16世纪的列名建筑构成了该地区战前建筑的罕见范例。70年代和80年代的两座建筑，即以前的哈马兰博物馆，与教育区和屋顶景观的延续结合在一起。为了保持历史层的可读性，外墙被巧妙地移位和细化，以回顾原来的风格，而不同的街区则用当地的砖块包覆，在颜色上轻轻地变化。其结果是一个连贯的组合，但也坦率地宣布了不同身份的并置，和谐地共存而不相互挑战。

In total, two new bodies have been added to the four existing ones, shaping a complex that covers a time span from the 14th century to the present day. In particular, the 14th and 16th century listed buildings constitute a rare example of pre-war architecture in the area. The two buildings from the 70s and 80s, formerly the old Hamaland Museum, are bound together with educational areas and with the continuation of the roofscape. To preserve the legibility of the historical layers the facades are subtly shifted and detailed to recall the original styles, while the different blocks are clad with local bricks that gently change in colour shade. The result is a coherent ensemble that nevertheless frankly declares the juxtaposition of diverse identities, harmoniously coexisting without challenging each other.

如果说外部包层自然地融入了几乎是农村的环境，那么内部的包层则被剥去，露出了原始木材纹理的混凝土结构。沿着中央主干轴线，鲜艳的黄色点缀也增加了对比的特征，将博物馆的附属空间、两个接待处和档案室联系在一起。

If the outer cladding naturally blends into the almost rural surroundings, this is peeled away on the inside to reveal the concrete structure in raw timber texture. A contrasting character is also added by vivid yellow accents along the central backbone axis, binding the museum’s ancillary spaces, the two receptions and the archive.

中央开口提供了均衡的自然光照，同时也识别了不同的博物馆区域，方便了人们的定位。在一楼，楼梯通向展览的世俗部分，那里的角窗可以看到中世纪的港口，这是弗里登当时经济重要性的来源。在二楼，即博物馆的宗教部分，楼梯指向两个北窗，展示了该镇的两座教堂，它们仍然主导着弗雷登的天际线。文化馆在其100米长的斜屋顶下有六座建筑，分别属于四个不同的世纪。由于对材料进行了极其精确的研究，在这种风格和历史的多样性中创造一个连贯的合奏是可能的。使用当地的砖头是客户的要求，我们广泛支持。同一材料的不同颜色被用来赋予每个历史层以自己的身份。所选择的砖块类型是压制的，由当地工厂以传统技术生产，其特点是颜色深浅变化大，形状不规则，表面粗糙。这导致了外墙的极大自然性，尽管有很大的延伸性，但远远不是粗暴或纪念性的。

Central openings provide a well-balanced natural illumination besides identifying the different museum areas and facilitating the orientation. On the first floor the staircase leads to the secular part of the exhibition where corner windows open the view to the medieval port, the source of Vreden’s economic importance of the time. On the second floor, the clerical part of the museum, the stair points to two north windows, displaying the town’s two churches, which still dominate the Vreden skyline. The kult embraces under its 100-meters long pitched roofs six buildings, belonging to four different centuries. Creating a coherent ensamble out of such stylistical and historical diversity has been possible thanks to an extremely accurate research of materials. Using local bricks was a requirement of the clients that we widely supported. Different color nuances of the same material are used to grant every historical layer with its own identity. The chosen bricks type is form-pressed, produced by a local factory with a traditional technique and is characterized by high variations in color shades and irregularities of shapes and roughness of the surfaces. This leads to a great naturalness of the facades that, despite having great extension, are very far from being brutal or monumental.

在室内，带有中央楼梯的中庭的雕塑感通过原始木架纹理的裸露混凝土表面得到了加强。在这里，建筑技术的自然不规则性再次允许了一种有趣的阴影游戏。为了平衡结构的粗糙，接待处、商店和咖啡馆的家具都设计成生动的黄色表面，照亮了暖灰色。

In the interior instead the sculpturality of the atrium with its central staircase is enhanced by bare concrete surfaces in raw timber frame texture. Here again the natural irregularities of the constructive technology allows for an interesting shadow-play. To balance the roughness of the structure, the finitures of the reception, shop and cafe are designed with vivid yellow surfaces that light up the warm grey.

展览区以光滑的石膏板表面为特色，为室内提供柔和的分布式照明，使不同的空间柔和地融合在一起。颜色渐变的主题也可以在水磨石地板上读到。它被认为是一个连续的灰色和略微发亮的表面，但仔细观察，所有现有的颜色都可以从封闭的石头中读出。在列名建筑的部分，墙壁要么用粘土灰泥覆盖，要么退到原来的砖块包层。

The exhibition areas feature instead smooth gypsum plaster surfaces that provide the interior with a soft distributed illumination that gently blends the different spaces. The theme of the color gradiation can also be read in the terrazzo floor. It is perceived as a continuous grey and slightly shiny surface, but looking closely all the existing colors can be read in the enclosed stones. In the sections of the listed buildings the walls have been either covered with clay plaster, or set back to the original brick cladding.

院子和广场的外部铺装与颜色概念相一致，为一个强大的组合创造了一个连接组织。

The outer paving of the courtyards and piazza contitue the color concept, creating a connective tissue for a powerful ensemble.

Project: Kult

Architects: Bleckmann Krys Architekten, Pool Leber Architekten

Location: VREDEN, GERMANY

Area: 5950 m²

Year: 2018

Manufacturers: RHEINZINK, FSB, Gutmann, Heradesign, Knauf, Object Carpet, Plaka, Schüring Ziegelwerke, Brakel, Datteln, Denkendorf, Gescher, Grafenau, Weißenburg

Photographs: Brígida González