非常感謝 Processoffice 予gooood分享以下內容。Appreciation towards Processoffice for providing the following description.

里加拉脫維亞國家藝術博物館的主樓建造于1903年到1905年之間，供里加市藝術博物館和里加藝術推廣協會使用。建筑由波羅的海的德國建筑師及藝術歷史學家Wilhelm Neumann設計，他也是博物館的第一位主管。

博物館由公園和林蔭道環繞，是里加令人印象最為深刻的建筑之一。建筑結構以及展廳尺度根據當時對藝術博物館的需求設計；宏偉的立面采用巴洛克和古典主義形式；中央山墻上的雕塑由雕刻家August Volz創造。建筑室內，前廳和樓梯扶手上的裝飾元素為新藝術風格；上層大廳中裝飾有六幅半圓形畫作，由偉大的拉脫維亞畫家Vilhelms Purvītis和愛沙尼亞古典繪畫大師Gerhard von Rosen繪制。

館內常規展覽展示了波羅的海地區和拉脫維亞自十八世紀中葉到20世紀中葉專業藝術的發展歷程。拉脫維亞國家藝術博物館通常舉辦展覽和科學會議，也會舉行豐富多彩的文化藝術活動，參與國際項目并且編制博物館發行物。除了常規展覽和特展，該藝術博物館還以其提供的教育項目聞名。

▽ 建筑鳥瞰，Birdview

The main building of the Latvian National Museum of Art in Krišjā?a Valdemāra Street was built between 1903 and 1905 for the needs of the Riga City Museum of Art and the Riga Society for Art Promotion; the building was designed by the museum’s first director, the Baltic German architect and art historian Wilhelm Neumann (1849–1919).

The monumental building is one of the most impressive on the ring of parks and boulevards around Riga. The structure and the dimensions of the exhibition rooms correspond to the requirements of an art museum in turn of the century Europe. The majestic façade is designed in the baroque and classicist styles; the sculptural group of the central fronton was created by the sculptor August Volz (1851–1926). The interior of the building, the vestibule and the ornamentation of the staircase banister, features elements of Art Nouveau. The upper floor lobby is adorned by six decorative semicircle paintings by the great Latvian painter Vilhelms Purvītis (1872–1945) and the master of Estonian classical art, Gerhard von Rosen (1856–1927).

The permanent displays of the museum trace the development of professional art in the Baltic region and Latvia from the mid-1700s to mid-1900s. The Latvian National Museum of Art regularly holds art exhibitions and scientific conferences, as well as diverse art and culture events, takes part in international projects, as well as compiles and edits museum publications. Alongside the permanent and temporary exhibitions, the Latvian National Museum of Art is known for its educational programmes.

▽ 建筑沿街立面，The front facade of the building

改造
Reconstruction

博物館主樓為一座紀念性建筑并具有國家重要性，在其建成投用的105年間，沒有經歷過重大的修復。此次建筑改造旨在創造一座用于保存和展示藝術作品的當代博物館，同時為人們提供舒適的環境，讓他們可以在博物館中學習，有意義地度過閑暇時光。

2010年5月25日，里加市議會舉辦了一場國際建筑設計競賽，為改造及擴建拉脫維亞國家藝術博物館征集方案。2010年9月30日，經過評委會一致認定，Processoffice建筑師事務所提交的方案獲得優勝。建筑師于2011年1月24日簽訂博物館的改造、修復及擴建項目合同，正是開始了設計建造工作。項目需要對破舊的歷史建筑進行現代化改造，并且解決其空間不足的問題。

博物館的建筑改造設計于2012年完成，施工開始于2013年初，并于2015年末全面竣工。改造后的拉脫維亞國家藝術博物館于2016年5月4日正式向公眾開放。

The main building of the museum is an architectural monument of national importance and has served its purpose without major repair for 105 years. It was therefore decided to reconstruct and extend the building with the aim of creating a contemporary museum infrastructure for the preservation and exhibition of artworks as well as to provide the optimal environment for people to be able to learn and spend their free time constructively in the museum space.

On 25 may 2010 the Riga City Council announced an international architectural competition for the reconstruction and extension of the Latvian National Museum of Art building at 10a, Kr. Valdemāra Street. On 30 September 2010 the jury unanimously agreed that the best proposal was “VV 903” submitted by the Lithuanian architects’ office Processoffice and on 24 January 2011, a contract was signed for the design of the building project for the reconstruction, restoration and extension of the Latvian National Museum of Art. The project has not only to modernise the existing building which is in a very poor condition but also to solve the problem of an acute lack of space.

The development of the reconstruction project of the Museum’s building was completed in 2012. The construction works started in early 2013 and building was fully compleated by end of 2015. The Latvian National Museum of Art was officially opened to the public on the 4 May 2016.

▽ 從后側庭院看向建筑，View from the rear courtyard

里加拉脫維亞國家藝術博物館建筑改造的三個策略
Three Aspects of the Reconstruction Strategy for the Building of the Latvian National Museum of Art in Riga

考慮到建筑本身具有特殊性，它代表了當地歷史，是重要的文化遺產，建筑師在進行擴建設計的時候采取了以下三個策略：

– 保留歷史建筑的體量和主要細節
– 改造及擴建的博物館功能以清晰的現代體量呈現，加建空間只進行最低限度的設計
– 對歷史建筑的功能空間進行重新設計，使其可以得到更為有效的利用并且能夠和擴建部分連結為一個整體，方便人們使用。

從下述方面著手，建筑師提供了一個功能完善且美觀的設計方案以對里加拉脫維亞國家藝術博物館實行修復、改造以及擴建，在保留歷史建筑作為城市地標的外觀的同時，保證其可以滿足現在功能的需求。

Considering the unique architecture of the building, its representational importance and significant contribution to the cultural heritage, the proposed extension strategy is based on:

– retention of the existing building capacity and authentic details;
– need for renewal and extension of museum functions in the clearly expressed modern volume and subtle minimal design of the additional spaces;
– redesign of the functional strategy of the existing building enabling more efficient use and ergonomic integration of the extension.

Based on the following aspects, we offer a functionally and aesthetically balanced design project for the restoration, reconstruction and extension of the building of the Latvian National Museum of Art preserving the existing building as a historical urban landmark and ensuring its modern functionality.

▽ 建筑師將盡可能地保留原有建筑中的功能元素，Restoration with the maximum preservation of the functional building elements

歷史遺跡
Aspect of Heritage

現存的博物館建筑為國家歷史建筑，被列入了國家重點保護建筑名單，是最能代表里加的建筑物之一。根據項目需求，建筑師將盡可能地保留原有建筑中的功能元素，運用現代技術對裝飾性細節進行維護。

As the current museum building is regarded a national architectural monument and listed building of the state significance No. 6530, it is one of the most representative architectural objects in Riga. According to the project, its restoration is intended with the maximum preservation of the functional building elements, use of the modern technology and maintenance of the original decorative details.

▽ 上層展覽空間，The upper floor exhibition hall

美學
Aesthetic Aspect

為了解決缺少展覽空間的問題，建筑師對現存的閑置空間進行了調整，設置附加功能，并且以地下層擴建部分為中心創造了新的展覽空間。通過將新建區域設置在地下，原有的歷史建筑可以得到最大程度的保存。在這棟獨特的博物館建筑邊僅建造了一片包括一座黃銅露天劇場的低調混凝土庭院，保持了建筑本身的地標特色。

To solve the problem of shortage of the exposition space, we offer the adjustment of the existing unused building space, additional functions, as well as formation of new exhibition spaces concentrated in the new extension, which is designed below the ground level. By such placement of the new extension below the ground level it is possible to maximize the preservation of the building as the historical urban landmark. Next to such exceptional position of the museum building, only the neutral concrete courtyard with an amphitheatre in brass is added.

▽ 地下展示空間，The underground exhibition hall

功能
Functional Aspect

為了實現博物館建筑的現代化改造，設計團隊將注意力集中在了發展功能策略上，根據邏輯分類重新進行空間布局，將未來的博物館功能組織整合入現有的建筑之中。為了滿足博物館的需求，建筑師進行了如下功能處理手法：

– 不在地面上建設其他體塊，將當代展區、倉庫、修復工作室和輔助設施設置在地下的加建空間中
– 在地下加建空間上方，公園和博物館建筑之間的區域設置方形的公共空間，其中設有露天咖啡廳、影院、室外藝術裝置等，可供人舉辦豐富的公共活動
– 管理功能以及公共空間設置在博物館一層，包括教室、咖啡廳或餐廳、會議廳、兒童教育課堂等，人們可以從公園或者街道進入其中。建筑中央部分建造了一座新的樓梯，將一層、地下擴建空間和二層大廳連接在一起
– 除了歷史建筑中已有的展示空間，建筑師將穹頂以及沒有在使用的閣樓也改造成了展廳。為了滿足展覽需求，屋頂上設置了天窗以及自然光控制裝置
– 為了讓建筑更為方便實用，設計團隊提議將屋頂重新設計，創造一個觀景露臺，并且保證自然光可以通過原有的天窗照亮三樓的展廊。穹頂區域可以用來展示當代裝置藝術，人們也可以由此進入屋頂露臺。

Working on modernization of the museum building, we have concentrated on the development of the functional strategy, also drawing attention to redistribution of space and logical classification, grouping and connection of the existing and future museum premises and functions. In response to the needs of the museum, we have come to the following functional approach:

– Leaving the site free of any new ground-based volumes, we propose to construct the space for temporary exhibitions, storages with restoration workshops and ancillary facilities in the new extension below the ground level.
– Above the underground extension, in between the park and museum building, we suggest a square – stylized social space with an outdoor café, video projection, art installations in the open air and other public events.
– The ground floor is adapted for administrative and public functions of the museum – classrooms, cafeteria/ restaurant, conference hall, children’s education classes, which can be accessible both, from the street and park side. New stairwell in the central part of the building connects the ground floor with the new extension and the main hall on the first floor.
– In addition to the existing exhibition space in the old building, we propose to use the cupola and part of the currently unused attic as the exposition spaces. To comply with the requirements for the exposition space, we propose to install skylights with natural light control.
– For convenient and practical use we suggest to redesign the part of the roof in a way that it could accommodate a terrace with picturesque panoramas, while allowing the natural light in on the second floor exhibition galleries through the original skylights. The impressive cupola space could be used for temporary installations and for access to the roof terrace.

▽ 再利用的穹頂與閣樓空間，the cupola and part of the currently unused attic are used as the exposition spaces.

▽ 下層展覽空間通過天窗采光，Natural light enters the second floor exhibition galleries through the original skylights

暴露的檔案館和工作室
Exposed Archives and Workshops

擴建的部分與歷史建筑風格迥異，主要設置博物館的技術及輔助用房。在公共入口通往展示大廳的環形坡道中，游客可以看到在傳統博物館中不對外開放的內部空間，如檔案館和藝術收藏室等。修復工作室被設置在玻璃中庭中，人們可以從展示大廳或透過腳下的玻璃地板觀察其中的景象。用來搬運展品的12×3.5米的巨大升降臺與露臺整合在一起，為地下擴建空間帶來自然光照的同時讓大廳中的游客得以一窺其中的奧秘。

The new extension is clearly distinguished from the historic building and hosts primarily the technical and ancillary premises of the museum. Walking through the public access loop (the entrance ramp) to the exposition halls visitors can observe the previously and traditionally invisible inner premises of the museum, such as archives of art collections. The restoration workshops can be observed both, from the exhibition hall in the glass covered atrium and from above, while walking on the glass floor. The large 12,0 x 3,5m lifting platform for exhibition delivery transport is integrated into the open air patio and provides natural light and occasional view for the visitors in the lobby of the new extension.

▽ 通向地下展廳的樓梯，The staircase to the underground floor

▽ 環形坡道，The entrance ramp

▽ 修復工作室被設置在玻璃中庭中，The restoration workshops in the glass covered atrium

▽ 地下修復區，The restoration workshops

公共廣場
Public Square

廣場的主要目的是提供公眾聚會的平臺，擴展博物館展示藝術品的可能性。整體的混凝土表面一方面讓使用更加方便，另一方面可以凸顯歷史建筑標志性的外觀，如同雕塑一般，同時清晰地標識出了博物館地下加建部分的體量。

在廣場中間設置了一座露天劇場，中庭底部鋪有9×9米的玻璃地面，游客可以透過玻璃觀察博物館一天中的人來人往；此外，玻璃地面還作為天窗，使陽光照入地下展區。

Main purpose of the square is to serve as a platform for public gatherings thus extending the museum’s possibilities to display art objects. The monolith concrete surface proposed for easier functional use also exposes the iconic shape of the old museum as a sculpture and clearly marks the new volume of the underground museum extension.

In the middle of the square, we propose an amphitheatre with the 9 X 9 m glass covered atrium at the bottom for the visitors to watch through it observing the everyday life of the museum, while also functioning as a skylight for the exhibition space.

▽ 混凝土庭院中的黃銅露天劇場，The neutral concrete courtyard with an amphitheatre in brass

▽ 一層平面，First Floor

▽ 負一層平面，-1 Floor / 負二層平面，-2 Floor

▽ 一層平面，First Floor / 二層平面，Second Floor

▽ 三層平面，Third Floor / 四層平面，Fourth Floor

▽  立面，Elevation

▽  剖面，Section

Facts
Status: Competition 1st place 2010, technical project 2011-12, completion 2015, opened in 2016.
Location: 10A Krišjā?a Valdemāra street, Riga, Latvia
Client: Riga City Council Property Department
Program: Original building by Wilhelm Neumann: restoration and new exhibition halls in the cupola and attic spaces. 1st floor replanned to include a conference hall, cafeteria, bookshop, children education rooms and museum administration offices.
New extension – 3 exhibition halls, artwork storages, restoration workshops, supporting and technical premises.
Space: Total area: 8,249 m²; public space 2,500 m²
Budget: 34m euro
Architects:
Processoffice: Vytautas Biekša, Rokas Kil?iauskas, Marius Kanevi?ius, Giedrius Špogis, Je?i Stankevi?, Aust? Kuliešiūt?, Migl? Nainyt?, Giedr? Datenyt?, Mantas Petraitis, Sandra Dum?iūt?, Povilas Marozas, Sandra Šlepikait?Andrius Skiezgelas Architecture: Andrius Skiezgelas, Gilma Teodora Gylyt?, Rasa Mizarait?
Restoration: Arhitektoniskās Izpētes Grupa: Artūrs Lapi?š, Marina Mihailova, Guntars Jansons
Structural Engineering: Engineers’ office Būve un Forma: Jānis Prauli?š, Jānis Krasts, Kaspars Š?ore, Olga Opol?enova, Solvita Š?ore, Māris Grāvītis
Climate, Water Supply and Sewer Systems: Engineers’ office Būve un Forma: Je?ena Uspenska, Tatjana Grava, Sergejs Pivovarovs, Rasa Vilka
Fire Safety: US&L: Genādijs Kuzmins, Alina Kavalera / UG Projekts: Juris Šmits
Electrical and Low Voltage Systems:
Daina-EL: Ingus Moza?evskis, Eduards Lūsis, Ilgvars Kozlovs, Viktors Grin?uks
Lafivents: Andris Krūmi?š, Nikolajs Bogdanovs
Telekom Serviss: Igors Musijenko
Lighting Consultants: Think Light, Moduls
Landscape: Ainavu arhitekti: Daiga Veinberga, Līga Valdmane
Photography: Norbert Tukaj

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