打開www.RENEWAL-ZONE.com了解更多

W博物館1982年設(shè)立于韋爾特一座著名的遺產(chǎn)建筑中。建筑曾作為市政廳使用。最古老的部分可以追溯到16世紀(jì)，1911年的一次大規(guī)模修復(fù)帶來了目前仍可見的文藝復(fù)興風(fēng)格外觀。2019年至2021年期間，博物館開展了一次翻新，并在后方增建了新的設(shè)施，以金色立面呈現(xiàn)。

Photo: Arjen Schmitz

建于1913年的正立面和北立面為文藝復(fù)興風(fēng)格，仿若貝殼圍繞著原建筑。新建筑的外立面發(fā)揮了更為統(tǒng)一的外殼效果，在建筑后側(cè)及南北立面上打造了一個(gè)“金色外殼”，使金色的建筑與原建筑比鄰而立。寬闊的Meikoel一側(cè)的南立面，真實(shí)地講述著這座建筑的歷史。

Photo: Arjen Schmitz

南立面的中心展示出源自1548年的原始特征，而在靠近市場(chǎng)的一側(cè)，可以看到1913年啟用的文藝復(fù)興風(fēng)格的立面。面向Nieuwe Markt的部分自2021年起換上了金色新外觀。

Photo: Arjen Schmitz

位于“韋爾特 8 號(hào)”的新博物館入口可從地面層進(jìn)入，對(duì)于建筑和公共空間來說都是一個(gè)絕佳的位置。后方的擴(kuò)建部分設(shè)計(jì)不同但定位明確，始終作為多功能空間服務(wù)于博物館。最顯著的改變體現(xiàn)在后方的建筑中，這里建造了緊急樓梯、電梯、廁所、以及辦公室、會(huì)議室和倉庫。

Photo: Arjen Schmitz

作為當(dāng)今世俗社會(huì)中的一處圣地，博物館匯集了各種文化遺產(chǎn)藝術(shù)品，為后世所傳承。建筑的后立面以Tecu?金材料覆蓋，致敬了由金、銀或黃銅制成的圣物箱。這也是對(duì)W博物館展出的宗教藝術(shù)藏品的有趣回應(yīng)。

Photo: Arjen Schmitz

正如圣物盒上的雕塑和繪畫講述著所供奉的圣人的故事，現(xiàn)代的金色立面設(shè)有兩塊屏幕，投射著藝術(shù)影像和當(dāng)前的展覽信息。巨大的窗戶成為了藝術(shù)品的展示艙，而藝術(shù)品又成為了展覽的窗口或視覺焦點(diǎn)柜，讓路人仿佛觀賞圣物箱中的文物一樣一睹博物館的寶藏。

Photo: Arjen Schmitz

金色的后立面完全由百葉窗組成，由于預(yù)算有限，百葉窗是固定的，僅主入口處的可以打開和關(guān)閉。百葉窗之間的接縫為40毫米，立面的細(xì)致設(shè)計(jì)讓所有百葉窗看似均可打開，仿佛隱藏在快門背后的文物藝術(shù)品的展示柜。如果所有的百葉窗能夠打開，古老的后墻也會(huì)展現(xiàn)出來，宛如一幅中世紀(jì)的多聯(lián)畫或降臨節(jié)日歷。

Photo: Arjen Schmitz

設(shè)計(jì)者致力于尋找一種能夠代表文化寶藏的材料，從而為珍貴的歷史提供美麗的參考，為后世所留存。

Photo: Arjen Schmitz

博物館外立面上安裝了1毫米厚度的覆層，為了增加硬度和穩(wěn)定性，所有板材均沿邊緣褶曲。此外，每塊Tecu?金面板后都粘有20毫米厚的硬壓絕緣板，以確保更優(yōu)的硬度和抗沖擊性。

Photo: Arjen Schmitz

Tecu?金的覆層為后方的擴(kuò)建部分提供了隔熱效果，該處是辦公空間所在地，因此這一性能非常重要。主建筑部分未選用隔熱材料，以防止因過度潮濕而出現(xiàn)問題?？紤]到使用需要，主建筑配備了空調(diào)設(shè)施。

Photo: Arjen Schmitz

可逆性：舊窗框和后立面的窗戶仍維持原樣，僅外墻做了隔熱處理，在前側(cè)安裝Tecu?金材質(zhì)的覆層。由于隔熱設(shè)施的存在，原有立面的窗臺(tái)和其他典型特征得到了保留。

Photo: Arjen Schmitz

? Maurice Mentjens

Museum W was established in Weert, in what was once the city hall and a prominent heritage building, in 1982. Although the oldest sections of this buil-ding date all the way back to the 16th century, it owes its current appearance primarily to a large-scale Renaissance Revival-style restoration carried out in 1911. The museum underwent yet another renovation in 2019- 2021, during which it was provided with a new extension to the rear, fitted with a golden fa?ade.?

Photo: Arjen Schmitz

? Maurice Mentjens

The front and north fa?ades, erected in 1913 in the Renaissance Revival style, were constructed like a shell around the original building. The fa?ade of the new building also serves as a shell, but more consistently so. More specifi-cally: a 'golden shell' has been created over the rear of the building, on the north and south fa?ade, making the golden building the 'neighbour' of the old building.

The south fa?ade on the broad Meikoel virtually recounts the history of the building.

? Maurice Mentjens

At the centre of the south fa?ade, the original features from 1548 can be dis-cerned, while the fa?ade that was erected in 1913 in the Renaissance Revival style is apparent on the side adjacent to the Markt. The section facing the Nieuwe Markt features the new golden fa?ade from 2021.

Photo: Arjen Schmitz

The new museum entrance can be entered at ground level and is located on 'the 8 of Weert', an outstanding situation for both the building and the public space. The rear extension, which has always been multifunctional, can there-fore once again be used to serve the museum and is designed differently yet unambiguously. The most prominent changes were made to the rear building, where an emergency staircase, a lift, toilets, as well as offices, meeting rooms and a depot were built.

? Maurice Mentjens

Only 'a few mistakes from the past' were repaired in this heritage-listed buil-ding, such as the removal of the existing lift, the meter cupboard and modular ceilings.

The attic can now be accessed by a contemporary staircase that was incor-porated into the existing stairwell with the greatest respect for the building's heritage, with the precision of a surgical operation.?

? Maurice Mentjens

Museums are the holy places of our present-day secularized society, and works of art are the relics of every culture, which are reserved for posterity by museums. The rear fa?ade was clad with Tecu?Gold in reference to reliqua-ries that were also made of gold, silver, or brass.

Photo: Arjen Schmitz

This is also an interesting reference to the collection of religious art on display at Museum W.

? Maurice Mentjens

Just as the sculptures and paintings on reliquaries recount the story of the saints to which they were dedicated, the modern golden fa?ade features two screens on which art videos and information about current exhibitions are projected. The large windows serve as showcases for the works of art, which in turn serve as display windows or visual depositories, to give passers-by a glimpse of the museum's treasures, as if they were relics in a reliquary.?

? Maurice Mentjens

The golden rear fa?ade is composed entirely out of shutters, which have been fixed in place due to financial constraints. Only the door to the main entrance can be opened and closed. With 40-millimetre-wide seams between the shut-ters, the fa?ade is detailed in such a way that it makes it appear as if all the shutters can be opened and as if there is a display case containing a relic or a work of art behind each shutter. If it would have been possible to open the shutters, the old rear wall would also become visible – like a medieval polyp-tych or an Advent calendar.

Photo: Arjen Schmitz

We looked for a material that can represent cultural wealth and therefore serve as a beautiful reference to our priceless history, which must be preserved for future generations.?

? Maurice Mentjens

The cladding installed on the fa?ade of the museum is 1 mm thick, and all sheets are folded at the edges for increased rigidity and stability. In addition, a 20 mm-thick hard-pressed insulation panel has been glued behind each Te-cu?Gold panel to ensure even greater stiffness and higher impact resistance.

Photo: Arjen Schmitz

Tecu?Gold cladding enables the rear extension to be insulated, which is im-portant considering that this is where the offices are located. Insulation was deliberately not applied to the main building to prevent problems resulting from excessive moisture, but it is nevertheless air-conditioned out of neces-sity.

? Maurice Mentjens

Reversible: the old window frames and windows in the rear fa?ade were left intact. Only the fa?ade was insulated, with Tecu?Gold cladding placed in front of it. Thanks to insulation package, the windowsills and other projecting features of the existing fa?ade could be retained.

? Maurice Mentjens

Project Name:?Museum W

Location:?Markt 7, Weert, The Netherlands

Realisation date:?05-21-2021

Tecu Material:?Tecu Gold 1 mm

Client:?Municipality Weert

Architect:?Maurice Mentjens

Photographer:?Arjen Schmitz

·? END? ·