阿布达比罗浮宫
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博物馆与大海。
所有气候都喜欢例外。寒冷时更温暖，热带地区更凉爽。人们不太能够抵抗热量的冲击。艺术作品也是如此。这些基本观察影响了阿布扎比卢浮宫。它希望创造一个宜人的世界，平静地结合光与影、反射与宁静。它希望成为一个国家、历史和地理的一部分，但又不成为一个平庸和传统的复制品。它还旨在强调罕见相遇所带来的迷人魅力。
在海上建造一个人工群岛是相当不寻常的。更不寻常的是看到它被一个遮阳伞所保护，形成了一片光之雨。
通过船只进入博物馆或者从岸边走上浮桥到达博物馆的可能性同样是非同寻常的，然后像一个期待已久的游客一样受到欢迎，愿意欣赏独特的藏品，留连于诱人的书店，或品尝当地的茶、咖啡和美食。
这是一个既宁静又复杂的地方。在一系列不同的博物馆中，它们之间培育着各自的差异和真实性。
这是一个建立在阿拉伯建筑主要象征——圆顶上的项目。但在这里，圆顶是一个现代的提案。
一个直径180米的双重圆顶，提供水平、完美辐射的几何形状，一种随机穿孔编织材料，提供了一种被阳光突然打破的遮荫。白天，圆顶在阿布扎比的阳光下闪耀。夜晚，这片受保护的景观是星光下的绿洲。
阿布扎比卢浮宫成为城市漫步的最终目的地，一个沿海花园，一个凉爽的避风港，在白天和夜晚都充满光的庇护所，其美学与其作为珍贵艺术品的圣殿的角色是一致的。
设计
普利兹克奖得主建筑师让·努维尔从传统的阿拉伯建筑文化中汲取灵感，将阿布扎比卢浮宫设计为一个位于海上的“博物馆城市”。它对比鲜明的白色建筑借鉴了麦地那和阿拉伯低矮的定居点。总共有55栋个别但相连的建筑，包括26个画廊，构成了这个博物馆城市。建筑物的外立面由3900块超高性能纤维混凝土 "UHPC" 板组成。
博物馆设计是传统设计与现代建筑技术的结合。宁静的环境鼓励游客享受太阳和圆顶、海洋、建筑物和陆地之间不断变化的关系。
一个直径180米的巨大圆顶覆盖了博物馆城市的大部分区域。这个令人印象深刻的结构可以从海上、周围地区和阿布扎比市中心看到。圆顶由Waagner Biro "钢结构专家" 建造，由八个不同层次组成：四个外层覆盖着不锈钢，四个内层覆盖着铝，由一个五米高的钢框架分隔。该框架由10000个结构组件预先组装成85个超大元素，每个平均重量为50吨。
圆顶的复杂图案是高度研究过的几何设计的结果。图案在八个相互叠加的层次中以不同的尺寸和角度重复出现。每一道光线穿过八个层次后才出现或消失。结果是一个电影般的“光之雨”效果，随着太阳在一天中的路径而变化。夜晚，它形成了可在内外看到的7850颗星星。这种“光之雨”效果经过多年的模型和模拟，并成为该概念的一个定义特征之一。
圆顶由四个永久性桥墩支撑，每个桥墩间距110米，在博物馆建筑内部隐藏，给人一种圆顶悬浮的印象。内圆顶高程从地面到覆盖板的底部为29米。圆顶的最高点比海平面高40米，比地面高36米。
阿布扎比卢浮宫的复杂工程概念使其成为近年来建造的最具创新性和挑战性的博物馆项目之一。
博物馆的建设从2013年持续到2017年。
室内展览空间
包括博物馆画廊、临时展览空间和儿童博物馆在内的室内展览空间总面积为8600平方米，永久画廊占地约6400平方米。
两层楼的儿童博物馆提供了大约200平方米的空间，供阿布扎比卢浮宫最年轻的游客使用。
博物馆画廊
由让·努维尔特别设计，博物馆画廊的地板、墙壁和天花板表面加强了阿布扎比卢浮宫的宫殿般的尺度感。地板铺设由青铜边框的石材模块组成：在所有的画廊中，石材的选择都与展示的艺术作品的时期相呼应。墙壁提供了挂画的灵活性：所有的附属设备都可以隐藏在特殊的墙槽内。
过滤的自然光可以出现在所有的画廊中，无论是来自具有周围环境景观的侧面窗户还是通过天顶照明。这涉及到使用玻璃镜将阳光捕捉并引导到画廊空间，同时也分散射出光线以避免眩光。博物馆画廊内有17个玻璃天花板，每个天花板由18种不同类型的玻璃板组成。总共有超过25,000块玻璃单元。这些玻璃天花板结合了自然和人工照明，为展示的艺术品提供了最佳的照明系统。
陈列柜也是专门由比利时根特的Meyvaert公司为阿布扎比卢浮宫制造的。它们采用最先进的材料制造，并设计成可以灵活适应展示艺术品轮换的展示柜。
为了满足博物馆画廊内的严格环境控制要求，设计团队开发了一个系统，其温度和湿度不能偏离摄氏21度或5%的湿度范围超过一度。这保证了艺术品和游客的环境条件异常稳定。画廊内的火灾检测和抑制系统需要采取特殊措施，以避免对艺术品造成损害。
餐厅
由让·努维尔设计，阿布扎比卢浮宫的餐厅由模块化的隔间组成。精致的室内设计灵感来自阿拉伯图案，这些图案被雕刻在Corian面板上。由让·努维尔设计的家具与充满光明的室内和海景相辅相成。定制的吊灯，由让·努维尔设计，由Mobilier国家制造，悬挂在七张VIP桌上。餐厅预计于2018年开放。
咖啡厅
让·努维尔为博物馆咖啡厅设计灵感来自1960年代的Op艺术 "光学艺术" 运动。从某些角度看，咖啡厅似乎完全是单色的 "白色"；从其他角度看，咖啡厅的内部充满了颜色，就像是对博物馆对面的当地海洋环境和港口的抽象反映。地板、墙壁、天花板和家具都是由让·努维尔专门为该场地设计的。
家具设计
让·努维尔为阿布扎比卢浮宫设计了一个家具系列，称为“阿布扎比卢浮宫系列”。家具由Poltrona Frau制造，可以在博物馆的公共空间、展览画廊和VIP区域找到。家具基于一个可以适应空间比例的模块化系统。与白色建筑形成对比，黑色皮革家具既严谨又符合人体工程学。
导视系统
菲利普·阿佩洛伊格与阿特利埃·让·努维尔合作设计了博物馆的标识系统。文本以阿拉伯语、英语和法语三种语言呈现，并以阿拉伯和罗马文字体实施。黎巴嫩字体设计师克里斯蒂安·萨基斯特别为博物馆创作了一种专用的阿拉伯字体，名为阿布扎比卢浮宫阿拉伯语，这种新字体将传统的楷体风格与阿佩洛伊格现有的Colvert阿拉伯字体相结合。对于罗马字母文本，阿佩洛伊格选择了Frutiger LT字体，因为它对于标识牌来说具有清晰和易读的特点。象征系统的设计响应了博物馆的建筑，特别是通过圆顶八层过滤的“光之雨”创造的抽象形状。每个象征是几个这些形状的组合，形成了轮廓和物体。
环境特点
圆顶保护建筑和室外广场免受阳光的照射，提高了游客的舒适度，并减少了能源消耗。这使游客可以在一年四季在一个自我调节的“微气候”中户外流通。低调但有效的被动能源系统自然地增强了建筑物的冷却效果，并优化了水的使用。设计团队采用被动设计技术来改善圆顶下的遮蔽外部条件。
被动设计技术利用建筑物的自然形态和材料的固有性质来改善气候条件。设计中采用的技术包括：
-圆顶屋顶的太阳遮挡效果和建筑物自身的遮挡效果；
-优化的屋顶穿孔，以允许自然采光而不产生过多的太阳辐射；
-裸露的热容量，如夜间冷却的石地板和覆层；
-浅色和反光材料。
其他现代环境技术包括：
-高度隔热和气密的建筑外壳；
-高效的供暖、通风和空调 "HVAC" 系统、照明和卫生装置。
这些技术共同实现了以下效益：
-42%的太阳辐射减少；
-27.2%的能源使用减少；
-27%的用水减少。
能源和水的计量确保资源的有效利用，而泄漏检测则可以发现任何意外的用水。
阿布扎比卢浮宫的设计目标是获得LEED银级评级，并已获得3颗Estidama设计评级。
场地的淹没
在建造过程的开始阶段，博物馆建在一个干船坞内，这在萨迪亚特岛的西南角创造了一个新的、临时的海岸线，用从海床抽取的沙子填充。
共挖掘了503,000立方米的沙土，安装了4,500根桩来形成博物馆的基础。这项任务于2010年完成。
从2016年开始，选定的泵被关闭，开始将海水与场地融合的过程。最后一个阶段涉及在阿布扎比卢浮宫周围的临时墙内泵海水，将水位提高到海平面，然后拆除水力截断墙并最终建造永久性的海洋防护设施。
这个过程大约需要八个星期来完成。
防波和防风
阿布扎比卢浮宫由大约280根海洋桩、混凝土防浪堤、潮池和一个专门设计的“穿戴墙”系统保护免受开放海洋的影响。
博物馆的穿戴墙由预制的超高性能混凝土单元制成。每个单元高四米，重约10吨。特殊的混凝土材料保护了博物馆免受波浪的影响，并使单元能够抵抗外弯力，包括退潮。
行人广场位于海拔四米处。它配有封闭的栏杆，以保护游客免受恶劣风暴的影响。
The museum and the sea.
All climates like exceptions. Warmer when it is cold. Cooler in the tropics. People do not resist thermal shock well. Nor do works of art. Such elementary observations have influenced Louvre Abu Dhabi. It wishes to create a welcoming world serenely combining light and shadow, reflection and calm. It wishes to belong to a country, to its history, to its geography without becoming a flat translation, the pleonasm that results in boredom and convention. It also aims at emphasizing the fascination generated by rare encounters.
It is rather unusual to find a built archipelago in the sea. It is even more uncommon to see that it is protected by a parasol creating a rain of light.
The possibility of accessing the museum by boat or finding a pontoon to reach it by foot from the shore is equally extraordinary, before being welcomed like a much-awaited visitor willing to see unique collections, linger in tempting bookstores, or taste local teas, coffees and delicacies.
It is both a calm and complex place. A contrast amongst a series of museums that cultivate their differences and their authenticities.
It is a project founded on a major symbol of Arab architecture: the dome. But here, with its evident shift from tradition, the dome is a modern proposal.
A double dome 180 metres in diameter, offering horizontal, perfectly radiating geometry, a randomly perforated woven material, providing shade punctuated by bursts of sun. The dome gleams in the Abu Dhabi sunshine. At night, this protected landscape is an oasis of light under a starry dome.
Louvre Abu Dhabi becomes the final destination of an urban promenade, a garden on the coast, a cool haven, a shelter of light during the day and evening, its aesthetic consistent with its role as a sanctuary for the most precious works of art.
Jean Nouvel
Design
Pritzker-prize winning architect Jean Nouvel sought inspiration for the concept of Louvre Abu Dhabi in traditional Arabic architectural culture, and designed Louvre Abu Dhabi as a ‘museum city’ in the sea. Its contrasting series of white buildings take inspiration from the medina and low-lying Arab settlements. In total, 55 individual but connected buildings, including 26 galleries, make up this museum city. The façades of the buildings are made up of 3,900 panels of ultra-high performance fibre concrete (UHPC).
The museum design is a collaboration between traditional design and modern construction techniques. The tranquil environment encourages visitors to enjoy the ever-changing relationship between the sun and the dome and between sea, buildings and land.
A vast dome, 180 metres in diameter, covers the majority of the museum city. This impressive structure is visible from the sea, the surrounding areas and Abu Dhabi city centre. Constructed by Waagner Biro (specialists in steel structures), the dome consists of eight different layers: four outer layers clad in stainless steel and four inner layers clad in aluminium, separated by a steel frame five metres high. The frame is made of 10,000 structural components pre-assembled into 85 super-sized elements, each weighing on average 50 tonnes.
The dome’s complex pattern is the result of a highly studied geometric design. The pattern is repeated at various sizes and angles in the eight superimposed layers. Each ray of light penetrates the eight layers before appearing or disappearing. The result is a cinematic ‘Rain of Light’ effect as the sun’s path progresses throughout the day. At night, it forms 7,850 stars visible from both inside and out. This ‘Rain of Light’ effect has been the subject of many models and mock ups over the years and is one of the defining features of the concept.
The dome is supported by four permanent piers, each 110 metres apart, hidden within the museum buildings to give the impression that the dome is floating. The interior dome elevation is 29 metres from the ground floor to the underside of the cladding. The highest point of the dome is 40 metres above sea level and 36 metres above ground floor level.
Louvre Abu Dhabi’s complex engineering concept has made it one of the most innovative and challenging museum projects built in recent times.
The construction of the museum took place from 2013 to 2017.
Interior exhibition spaces
The interior exhibition spaces, comprising museum galleries, temporary exhibition spaces and Children’s Museum, make up 8,600 square metres, with permanent galleries covering approximately 6,400 square metres.
The two-storey Children’s Museum lays out around 200 square metres for Louvre Abu Dhabi’s youngest visitors.
Museum galleries
Specially designed by Jean Nouvel, the floors, walls and ceiling surfaces of the museum galleries re-enforce the palatial dimensions of Louvre Abu Dhabi. The floor paving is made of stone modules framed in bronze: throughout the galleries, the choice of stone responds to the period of the artworks on show. The walls provide hanging flexibility: all subsidiary equipment may be concealed within special wall slots.
Filtered natural light can be present in all the galleries, either from lateral windows with views onto the surrounding environment or through zenithal lighting. This involves the use of glass mirrors to capture sunlight and direct it into the gallery spaces while also scattering rays to avoid glare. There are 17 glass ceilings within the museum galleries. Each is made up of 18 different types of glass panels. In total, there are over 25,000 individual pieces of glass. These glass ceilings incorporate both natural and artificial lighting to provide an optimal lighting system for the artworks on display.
The display cases were also specifically constructed by Meyvaert in Ghent, Belgium for Louvre Abu Dhabi. They incorporate state-of-the art materials and have been designed to adapt flexibly to the rotation artworks on display.
To meet stringent environmental control requirements within the museum galleries, the design team developed a system which cannot deviate by more than one degree from 21 degrees centigrade or 5% humidity range. This guarantees exceptionally stable environmental conditions for artworks and visitors. Fire detection and suppression systems within the galleries require special measures in order to avoid damage to the artwork.
Restaurant
Designed by Jean Nouvel, the restaurant at Louvre Abu Dhabi is made up of modular compartments. The intricate interior design takes inspiration from Arabic patterns, which have been engraved into Corian panels. The furniture, also designed by Jean Nouvel, complements the light-filled interiors and panoramic views of the sea. Bespoke chandeliers, designed by Jean Nouvel and manufactured by Mobilier national, hang over the seven VIP tables. The restaurant is expected to open in 2018.
Café
Jean Nouvel’s design for the museum café is inspired by the Op Art (optical art) movement of the 1960s. From certain angles, the café seems entirely monochrome (white); from others, the café interiors are full of colour, like an abstracted reflection of the local maritime environment and port opposite the museum. The floors, walls, ceilings and furniture have been designed specifically for the site by Jean Nouvel.
Furniture Design
Jean Nouvel has designed a furniture series for the Louvre Abu Dhabi, known as the ‘Louvre Abu Dhabi Line’. Manufactured by Poltrona Frau, the furniture can be found in the public spaces, the exhibition galleries and VIP areas of the museum. The furniture is based on a modular system that can be adapted to the proportions of the space. Contrasting with the white buildings, the black leather furniture is both rigorous and ergonomic.
Wayfinding
Philippe Apeloig collaborated with Ateliers Jean Nouvel to design the signage of the museum. Text is in three languages, Arabic, English and French, and implemented in both Arabic and Roman script. Lebanese typographer Kristyan Sarkis created a bespoke Arabic typeface, Louvre Abu Dhabi Arabic, especially for the museum. This new typeface combines the classic Naskh style of Arabic calligraphy with Apeloig’s existing Colvert Arabic font. For the Roman alphabet texts, Apeloig chose Frutiger LT typeface due to its clarity and readability for signage. The design of the pictograms responds to the museum’s architecture, particularly the abstract shapes created by the ‘rain of light’ filtering through the dome's eight layers. Each pictogram is a combination of several of these shapes, creating silhouettes and objects.
Environmental features
The dome protects the buildings and outdoor plaza from the sun, improves comfort for visitors and reduces energy consumption. This allows visitors to circulate outdoors year-round in a self-regulated ‘micro-climate’. Low-profile but effective passive energy systems naturally enhance the cooling of the buildings and optimise water usage. The design team employed passive design techniques to improve sheltered outside conditions under the dome.
Passive design techniques use the natural form of buildings and inherent properties of materials to improve climatic conditions. The techniques incorporated in the design include:
-Solar shading effect of dome roof and self-shading of buildings;
-Optimised roof perforations to allow daylight without excess solar gain;
-Exposed thermal mass such as stone floor and cladding that can benefit from night time cooling;
-Light-coloured and reflective materials.
Other modern environmental technologies include:
-Highly insulated and air-tight building envelope;
-Highly efficient heating, ventilation, and air conditioning (HVAC) systems, lighting and sanitary fittings.
Together, these techniques achieve the following benefits:
-42% reduction in solar gain;
-27.2% reduction in energy use;
-27% reduction in water use.
Energy and water metering ensures resource efficiency, while leak detection flags any unintended water use.
Louvre Abu Dhabi’s design is targeting a LEED Silver rating and has achieved a 3 pearl Estidama Design Rating.
Flooding of the site
At the beginning of the construction process, the museum was built within a dry dock which created a new, temporary coastline on the south-west corner of Saadiyat Island, backfilled using sand pumped from the sea bed.
503,000 cubic metres of sand were excavated and 4,500 piles were installed to form the museum’s foundations. This task was completed in 2010.
From 2016, selected pumps were shut down to begin the process of integrating the sea with the site. The final stage involved pumping seawater within the temporary walls around Louvre Abu Dhabi, raising the water level to match the sea level, followed by the removal of the hydraulic cut-off wall and the final construction of permanent marine defences.
This process took approximately eight weeks to complete.
Wave breaking and storm proofing
Louvre Abu Dhabi is protected from the open sea by approximately 280 marine piles as well as concrete breakwaters, tidal pools and a specially designed ‘wearing wall’ system.
The museum’s wearing wall is made from precast units of ultra-high-performance concrete. Each unit is four metres high and weighs about 10 tonnes. The special concrete material protects the museum from the effects of waves and enables the units to resist outward bending forces, including receding tides.
The pedestrian plaza is set at four metres above mean sea level. It is equipped with closed balustrades to protect visitors from wave action during severe storms.