比利时皇家美术馆
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荷兰建筑事务所KAAN Architecten在2003年赢得了由佛兰芒政府委托的国际竞赛，随后开始了对安特卫普 “比利时” 皇家美术博物馆 “也称为KMSKA” 的综合总体规划、翻新和扩建工作。这个项目为19世纪辉煌而被忽视的建筑带来了当代魅力。除了是安特卫普市最后几个大胆新古典主义建筑的代表之一外，该博物馆还收藏着跨越七个世纪的丰富艺术品：从佛兰芒的原始艺术到表现主义，从绘画到素描和雕塑。佛兰芒政府文化、青年和传媒部在整个建筑翻新中投资了约1亿欧元。
这座博物馆坐落在16世纪的城堡废墟上，并与引人注目的星形城市结构交织在一起，最初由建筑师雅各布·温德斯 “Jacob Winders” 和弗兰斯·范戴克 “Frans Van Dyck” 于19世纪设计。它于1890年向公众开放。
KMSKA被构想成为一个白天光线充足的博物馆，游客可以在其中欣赏到令人惊叹的艺术品，同时也能通过多个观景点欣赏到外部景观和内部庭院。在20世纪，展览设计和博物馆布局方面的新发展对建筑的布局带来了根本性的变化，修改了原始的循环路线和与城市的连接。
在21世纪初，当KAAN Architecten开始对博物馆的总体规划、翻新和扩建工作时，安特卫普的南部社区开始逐渐通过公共投资和城市改造获得更大的价值。建筑师最大胆的举措之一是完全隐藏了博物馆的扩建部分 —— 新部分从外部看不见 —— 以突显杰出的19世纪建筑的遗产价值和韧性，这座建筑坐落在这个快速变化的区域中。
扩建部分与强大的历史结构共存，而不是削弱其雄伟的特点。“21世纪博物馆和19世纪博物馆在尺寸、光线和氛围上都是如此不同和强烈。它们体现了一个标志性的对比，同时又被设计为灵活的空间，以迎接未来的展览。”KAAN Architecten的建筑师和联合创始人Dikkie Scipio教授如是说。
KMSKA现在分为三个领域：公共入口区域 “感知”、中央展览空间 “观赏” 和建筑后部的办公室 “工作”。
从勒波尔德·德瓦尔广场 “Leopold de Wael square” 开始，一座宏伟的楼梯通向博物馆：大型修复的橡木门打开通向入口大厅，其中设有几个博物馆设施，如交互式信息区、咖啡馆、礼堂、书店和咖啡角，以及通往街道地板层的圆形楼梯，那里设有图书馆、衣帽间和供大型团体使用的第二个入口。
入口大厅通向宏伟的德凯泽尔大厅 “以艺术家尼凯斯·德凯泽尔 “Nicaise de Keyser” 命名”，它起着引导游客进入两种不同路线和体验的关键作用：一种是沿着大楼梯上楼，通往翻新后的19世纪博物馆的主楼层；另一种是继续笔直向前，带领游客进入21世纪的新博物馆。
在参观历史博物馆时，游客穿过一系列以深粉色、绿色和红色为色调的展厅；橡木门、高大的柱子和石膏装饰的天花板共同传达出古老的壮丽感。在一楼，大窗户通过视觉上与周围明亮而朴素的内部相连接，而在二楼，主要大厅由宽敞的玻璃穹顶照亮，并配有优雅的沙发，供那些欣赏艺术大师的人使用。令人印象深刻的鲁本斯和范戴克大厅将展示部分收藏的亮点，因此它们位于建筑物的核心位置。
收藏品储藏室位于两个主要展厅的下方，位于街道水平面下，位于原始19世纪的防空洞掩体位置。比高门更高的特大型画作可以从储藏室经过原始的19世纪舱门之一运送到上层楼。从这个位置开始，并按照特定路线，一条纤细的垂直舱口轨道可以将画作传送到相邻的展厅。
继续参观博物馆，游客来到新的21世纪展览空间，这是一个完全自主的场所，建在四个原始庭院内，并巧妙地展开在博物馆的结构核心。这些空间由明亮的白色展厅组成，从顶层的198个三角形朝北的屋顶元素中传递着日光，并通过四个大型采光井，地板至天花板高达23米。这些天窗设计旨在引导和扩散光线，它们的结构还包括额外的照明，以弥补季节性日光损失。新博物馆的三维聚氨酯高光地板增强了这些空间的令人眼花缭乱的效果。一系列强烈的垂直空间体验使游客的体验脱离了实体，与建筑的历史身份相对比。
在新的扩建部分“切割”了博物馆的实体质量的地方，添加了微妙的大理石镶嵌，回应了优雅的19世纪博物馆的材质。一条长而令人印象深刻的线性楼梯将一楼的新展厅与位于顶楼的展厅连接起来，同时还可以进入中间楼层，该楼层专门用于展示诸如蚀刻和素描等精致艺术品。这些黑色展柜也可以通过四个采光井看到，其特点是浓烈的深蓝色。所选择的色彩方案与原始的色彩搭配有关，但使用了更明亮的变化。
为了为新的博物馆场所和先进的技术设施提供必要的空间，已经做出了谨慎的决定，比如移动鲁本斯和范戴克大厅之间的原始墙壁的位置，以便连接蓝色展柜和上方的新展厅。翻新的另一个显着特点是一楼的5.5 x 9米可旋转的墙壁，它可以旋转以便于物流流程，并允许艺术品或大型物体进入宽敞的艺术电梯。
建筑师：KAAN Architecten “Kees Kaan，Vincent Panhuysen，Dikkie Scipio” 高级项目负责人：Walter Hoogerwerf 项目团队：Valentina Bencic，Maicol Cardelli，Alice Colombo，Aksel Çoruh，Davis de Cos Roman，Sebastian van Damme，Paolo Faleschini，Raluca Firicel，Eva French i Gilabert，Michael Geensen，Narine Gyulkhasyan，Marco Jongmans，Martina Margini，Giuseppe Mazzaglia，Laura Ospina，Maurizio Papa，Ismael Planelles Naya，Giacomo Rizzi，Ralph van Schipper，Kim Sneyders，Koen van Tienen，Niels Vernooij，Martin Zwinggi
After winning an international competition in 2003 commissioned by the Flemish Government, Dutch architecture office KAAN Architecten has worked intensively on the complex masterplan, renovation and extension of the Royal Museum of Fine Arts in Antwerp (Belgium), also known as KMSKA (Koninklijk Museum voor Schone Kunsten Antwerpen), bringing contemporary allure to a glorious, overlooked beauty of the 19th century. In addition to being one of the last examples of bold neoclassical architecture in the city of Antwerp, the museum houses a rich art collection that embraces seven centuries of art: from Flemish Primitives to expressionists, from paintings to drawings and sculptures. The Department of Culture, Youth and Media of the Flemish Government has invested approximately 100 million euro in the overall renovation of the building.
Rising above the remains of the 16th century citadel and intertwined within the remarkable star-shaped urban fabric, the museum was originally designed in the 19th century by architects Jacob Winders and Frans Van Dyck. It opened to the public in 1890.
KMSKA was conceived as a daylight museum, where visitors would enjoy a promenade surrounded by stunning artworks as well as the external landscape, witnessed through its multiple lookouts over the city and the inner patios. During the 20th century, new developments in exhibition design and museum distribution brought fundamental changes to the building's layout, modifying the original circulation route and the connection with the city.
In the early 2000's, while KAAN Architecten started working on the museum’s masterplan, renovation and extension, the southern neighbourhood of Antwerp began to progressively gain greater value through public investments and urban transformation. One of the architects' most intrepid initiatives was to completely conceal the extension of the museum within its existing inner structure — the new addition is not visible from the outside — in order to highlight the heritage value and the resilience of the outstanding 19th century building, nestled in this fast-changing district.
The extension co-exists with the powerful historical structure without diluting its monumental character. “Both the 21st and the 19th century museum couldn’t be more different and more intense. They embody an emblematic contrast in dimensions, light and atmosphere, while being designed as flexible spaces to welcome future exhibitions.” affirms Prof. Dikkie Scipio, architect and co-founder of KAAN Architecten.
KMSKA is now divided into three realms: a public entrance area (feel), central exhibition spaces (see) and offices (work) at the rear side of the building.
From Leopold de Wael square, a grand staircase grants access to the museum: large restored oak doors open onto the entrance hall, which features several museum facilities such as an interactive information zone, a café, an auditorium, a bookshop with a coffee corner and a circular staircase to the street floor level where a library, a cloakroom and a second entrance for large groups are located.
The entrance hall leads to the majestic de Keyserzaal (named after artist Nicaise de Keyser), which serves the pivotal role of introducing the visitors to two different routes and experiences: one, going up the grand staircase, leads to the main floor of the renovated 19th century museum; the other, continuing straight ahead, leads visitors to the new 21st century museum.
While visiting the historical museum, guests walk through an enfilade of exhibition rooms tinted in dark pink, green and red; oak doors, tall columns and ceiling ornaments in plasterwork collectively convey a feeling of ancient grandeur. The colour palette chosen during the renovation process directly relates to the museum’s original colours. On the first floor, large windows visually connect the bright yet modest interiors with the surroundings, while on the second floor, the main halls are lit by wide glass canopies and equipped with elegant sofas for those enjoying the art masters. The impressive Rubens and Van Dyck halls will host some of the highlights of the collection and are therefore positioned at the very core of the building.
The collection depot, relocated inside the original location of the air-raid shelter bunker, is located underneath the two main exhibition halls, at the street level. Extra-large paintings, taller than the high doors, can travel from the depot through one of the original 19th century hatches to the upper floors. From this position and following a specific route, a track of slender vertical hatches can deliver the paintings to the contiguous halls.
Continuing their visit through the museum, visitors approach the new 21st century exhibition space, a completely autonomous venue, built within the four original patios and wisely unfolding at the heart of the museum’s structure. These spaces consist of bright white exhibition halls, where daylight beams in from 198 triple triangulated north-facing roof elements located on the top hall and flooding through four large lightwells, measuring up to 23 metres floor-to-ceiling. These skylights are designed to guide and diffuse the light, and their structure also features additional lighting to compensate for the seasonal loss of daylight. The three-dimensional urethane high-gloss floors of the new museum enhance the dazzling effect of these spaces. A sequence of strong vertical spatial experiences dematerialize the visitor’s experience and juxtapose it with the historical identity of the building.
Where the new extension ‘cuts’ the museum’s solid mass, subtle marble inlays have been added, echoing the elegant 19th century museum’s materiality. A long, impressive linear staircase connects the new exhibition halls on the first floor to those located on the top floor, also granting access to an intermediate floor, which is dedicated to displaying delicate artworks such as etchings and drawings. These dark cabinets are also visible through the four lightwells and are characterized by intense dark blue. The chosen colour scheme is related to the original colour palette but uses brighter variations.
In order to allocate the necessary space for the new museum premises and its advanced technical installation, careful decisions have been taken, such as shifting the position of the original wall between the Rubens and Van Dyck halls in order to bridge the blue cabinets and the new exhibition halls above. Another remarkable feature of the renovation is the 5,5 x 9 metre pivoting wall on the first floor that can rotate to facilitate logistic flows and to allow artworks or large objects to access the wide art-elevator.
Architect: KAAN Architecten (Kees Kaan, Vincent Panhuysen, Dikkie Scipio) Senior project leader: Walter Hoogerwerf Project team: Valentina Bencic, Maicol Cardelli, Alice Colombo, Aksel Çoruh, Davis de Cos Roman, Sebastian van Damme, Paolo Faleschini, Raluca Firicel, Eva French i Gilabert, Michael Geensen, Narine Gyulkhasyan, Marco Jongmans, Martina Margini, Giuseppe Mazzaglia, Laura Ospina, Maurizio Papa, Ismael Planelles Naya, Giacomo Rizzi, Ralph van Schipper, Kim Sneyders, Koen van Tienen, Niels Vernooij, Martin Zwinggi