muzej pejzaž - oris · 5-c obojeni perforirani metal 5-d friz 5-e rolani zaklon od sunca 5-f...

1312 Louvre – Lens Museum, Lens, France SANAA, Louvre-Lens Museum

fotografijephotography by

Roland Halbe (rh)Ljubaznošću/ Courtesy of Museum Louvre – Lens:Iwan Baan (ib)Catherine Mosbach (cm)Hisao Suzuki (hs)

portretportrait

Takashi Okamoto

Muzej Louvre - Lens, Lens, Francuska SANAA, Muzej Louvre - Lens12

¶ Godine 2005. Jean-Paul Aillagon, tadašnji ministar kulture u vrijeme predsjednika Jacquesa Chiraca, donosi odluku o izgradnji ogranka muzeja Louvre u Lensu. Višestoljetna po vijest muzeja, bogatstvo njegovih zbirki, njegovo značenje u umjetničkom životu Francuske čine ovu odluku važnim kul-turnim činom s više implikacija. Pariški mastodont projektom Louvre-Lens provodi svoju revoluciju. Prvo, muzej Louvre-

-Lens izborom smještaja ispituje sudjelovanje jedne velike

Muzej pejzaž

The Museum Landscape

Ryue Nishizawa Kazuyo Sejima

arhitektiarchitects

napisao written by

Dominique Boudet

¶ In 2005, Jean-Paul Aillagon, the Minister of Culture at the time of President Jacques Chirac, passed a decision to build an extension to the Louvre Museum in Lens. The many centuries of the museum’s history, the vastness of its collections, but above all its central role in France’s cultural system, made this decision an important cultural act with many implications. With its Louvre-Lens project, the Parisian mastodon is leading a revolution. First, by its location, the Louvre-Lens museum

kulturne institucije u prostornom uređenju. Drugo, svojom arhitekturom mijenja izgled institucije i treće, načinom na koji izlaže umjetnička djela otvara nove perspektive u prenošenju kulture široj publici. ¶ Od njegovog osnutka u vrijeme Francu-ske revolucije, odnosi Louvrea i ostatka nacionalnog teritorija svodili su se na ustupanje nekoliko djela provincijskim muze-jima. Louvre-Lens je nešto sasvim drugo: sa svojih 28 000 m2

(od kojih je 16 000 m2 dostupno posjetiteljima) integrira sve

reverses the relationship of the largest art institution with the nation’s territory. Second, by its architecture, it changes the institution’s image. Third, by the way it exhibits artworks; it opens a new perspective for the transfer of art culture to a large public. ¶ From the museum’s founding at the time of the French Revolution, relations between the Louvre and the rest of the nation were limited to loaning some artworks to pro-vincial museums. Louvre-Lens is a radical change: it is a sizeable

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ground floor plan

Tlocrt prizemlja1 Ulazni prostor2 Scena3 Galerija za privremene izložbe4 Muzejski dućan5 Informativni centar i knjižnica6 Kafeterija7 Prostor za piknik8 Salon za mecene9 Prostor za članove10 Atelje11 Galerie du Temps 12 Pavilion de Verre

Tlocrt podruma13 Multimedijalni prostor Espace

Découverte14 Skladišta za umjetnička djela15 Prostor za okupljanje16 Uredi17 Mali auditorij18 Informativni centar i knjižnica19 Dvorana za predavanja20 Atelje

Ground floor plan1 Entrance2 Scene3 Gallery for temporary exhibits4 Museum shop5 Info center and library6 Café7 Picnic space8 Mecene Salon9 Members space10 Atelier11 Galerie du Temps12 Pavilion de Verre

Basement plan13 Multimedia space Espace

Découverte14 Storage for art work15 Gathering Space 16 Offices17 Small auditorium18 Info centre and library19 Lecture hall20 Atelier

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basement plan

16 17oris, number 81, year 2013oris, broj 81, godina 2013

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dimenzije jednog muzeja: izložbene galerije, auditorij, peda-goške ateljee, skladišta, ateljee za restauraciju. Kompletno i trajno opremljen objekt otvorio je svoja vrata 4. prosinca 2012. na sjeveru Francuske. Pravi doprinos gradu domaćinu. ¶ Može se reći da se odabirom grada Lensa najbogatiji muzej svijeta smjestio u najsiromašnijem gradu Francuske. Ništa nije pošte-djelo ovaj mali grad s 35 000 stanovnika. Nakon velikih raza-ranja tijekom dva svjetska rata, grad je doživio progresivno

choice: to place a major cultural facility not in a strong and urban environment but in a cultural and economic desert. ¶ It may be said that in selecting the city of Lens, the richest museum in the world found its home in France’s poorest town. Nothing spared this small town of some 35, 000 inhabitants. After massive destruction during the two world wars, the town experienced a progressive decline of its industries, even the most important industry – coal. By applying to host the

part of the Louvre collections decentralized in one place. With its 28,000 m2 (16,000 m2 available to visitors), Louvre-Lens integrates all the dimensions of a museum: exhibition galleries, auditorium, educational ateliers, reserves, a restoration work-shop. It is a permanent and fully-equipped public facility which opened its doors on 4 December 2012 in the north of France. A real contribution to the host town. But in selecting Lens for its extension, the Louvre made a courageous and innovative

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SANAA, Louvre-Lens MuseumSANAA, Muzej Louvre - Lens

5 Informativni centar i knjižnica6 Kafeterija9 Prostor za članove11 Galerie du Temps 12 Pavillon de Verre 13 Multimedijalni prostor

Espace Découverte14 Skladišta za umjetnička djela17 Mali auditorij18 Informativni centar i knjižnica20 Atelje

5 Info center and library6 Café9 Members' space11 Galerie du Temps12 Pavilion de Verre13 Multimedia space Espace

Découverte14 Storage for art work17 Small auditorium18 Info centre and library20 Atelier

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nestajanje svojih industrija, pa i najvažnije među njima – eksploatacije ugljena. Kandidiravši se za domaćina objekta i osiguravši 80% troškova (150 milijuna eura), dužnosnici regije Nord-Pas de Calais htjeli su iskoristiti priliku: dobiti lokomo-tivu s kojom bi promijenili sliku propalog područja i s vreme-nom privući investitore. Usto Louvre-Lens čini dio opsežnog projekta prekvalifikacije i transformacije starog rudarskog područja, Euralensa, kojeg su vodili krajobrazni arhitekt Michel Desvigne i arhitekt Christian de Portzamparc. ¶ Regionalni su dužnosnici naročito istaknuli adut geografskog položaja. Smješten na križanju velikih cestovnih pravaca prema Belgiji ili Londonu kroz tunel pod kanalom La Manche te jedan sat udaljen vlakom od Pariza ili Bruxellesa, ovaj se teren može nadati i privlačenju dijela putnika koji stalno prolaze sjeverom Francuske. Prvi rezultati posjećenosti, 400.000 posjetitelja u prva tri mjeseca nakon otvorenja (cilj: 700.000 u prvoj godini) pokazuju da su u pravu. ¶ Na kraju, grad je ponudio simboličan teren: područje posljednjeg rudnika koji je ostao u funkciji (zatvoren je 1960. godine), na kojoj se odlagao izvađeni ugljen prije transporta vagonima do obližnje željezničke postaje. Nakon što su velike strukture eksploatacije bile uklonjene, ovaj se napušteni industrijski teren veličine 20 hektara pretvorio u dugu čistinu kojom u daljini dominiraju najviša odlagališta rudničkog otpada u Europi. ¶ Preostalo je još odabrati arhi-tekta koji će oblikovati projekt. ¶ Na međunarodnom natječaju suprotstavila su se tri francuska arhitekta – Rudy Ricciotti, Lacaton-Vassal i mladi lokalni arhitekt Alzua, čije su prve rea-lizacije prošle zapaženo – i tri međunarodna prvaka: Zaha Hadid, Sanaa (Kazuyo Sejima i Ryue Nishizawa) i Steven Holl. Žiri je bio podijeljen: političari su više zagovarali veliku arhi-tektonsku gestu koju je predlagala posebice Zaha Hadid, kustosi muzeja Louvre zauzimali su se za vrlo miran, diskretan,

museum and securing 80% of the costs (€150 million), the government of the Nord-Pas de Calais region wanted to seize an opportunity: to obtain a locomotive to change the image of the devastated area, which would in turn attract investors. Besides, Louvre-Lens is a part of a large project to reclassify and transform the old mining area, Euralens, led by landscape architect Michel Desvigne and architect Christian de Portzam-parc. ¶ The regional governmental heavily emphasized one advantage: the geographic location. Situated on the crossroads of major routes to Belgium and London through the Channel Tunnel, and one hour by train from Paris or Brussels, this place can hope to attract part of the flow of travellers who often pass through the north of France. The figures – 400,000 visi-tors in the first three months after the opening, with a target of 700,000 in the first year – show they were right. ¶ In the end, the town offered a symbolic site: the area of a mine closed in 1960 where the extracted coal was stored before its trans-port to the nearest railway station. After the large mining structures were removed, this abandoned industrial plot of 20 ha turned into a long plain with the highest slagheap in Europe dominating the surroundings in the distance. ¶ It remained to select the architect who would design the project. ¶ An inter-national competition brought into confrontation three French architects – Rudy Ricciotti, Lacaton-Vassal and Jérôme de Alzua, a talented young local architect – and three interna-tional champions – Zaha Hadid, Sanaa (Kazuyo Sejima and Ryue Nishizawa) and Steven Holl. The selection committee was indecisive: the politicians were for a grand architectural ges-ture, like the one proposed by Zaha Hadid, the curators were in favour of the very peaceful, discrete, almost non-present project of the Sanaa architectural office. Eventually, the deci-sion was made by the Louvre’s director in favour of the

La Galerie du Temps, tlocrt

La Galerie du Temps, plan

La Galerie du Temps, presjek

La Galerie du Temps, section

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Galerie du Temps Pavillion de Verre

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Muzej Louvre-Lens prije je umjetnička instalacija bliska Christovim radovima, nego zgrada

The Louvre-Lens museum seems more like an artistic installation similar to Christo’s work, than a building

detalji pročelja

facade details

Legenda4-a Grilja protiv sunca4-b Dvostruko staklo svjetlarnika 10+(8+8) mm4-c Unutrašnje pokretne žaluzine4-d Boja na čeličnoj T gredi w250t=20 x h600-

1100 t=10 mm4-e Aluminijski panel - saće t=2+20+1 mm4-f Izolacija t=140 mm4-g Beton t=280 mm4-h Aluminijski panel - saće t=1+(1+18+1) mm4-i Polirana betonska greda t=150 mm4-j Izolacija 90 mm (floor heating)4-k Strukturalni beton t=240 mm

5-a Kalzip5-b Akustična ploča5-c Obojeni perforirani metal5-d Friz5-e Rolani zaklon od sunca5-f Laminirano staklo 6+6 mm5-g Transom5-h Transom5-i Dvostruko staklo 10+(8+8) mm5-j Stup5-k Galvanizirana rešetka5-l Grilje prirodne ventilacije5-i Polirana betonska greda t=130 mm5-j Izolacija 110 mm (podno grijanje)5-k Strukturalni beton t=210 mm

Legend4-a Sunshade grille4-b Double glazing glass skylight 10+(8+8)mm4-c Interior movable louver4-d Paint on steel T-beam w250t=20 x h600-

1100t=10mm4-e Aluminium honeycomb panel t=2+20+1mm4-f Insulation t=140mm4-g Concrete t=280mm4-h Aluminum honeycomb panel t=1+(1+18+1)mm4-i Polished concrete screed t=150mm4-j Insulation 90mm (floor heating)4-k Structural concrete t=240mm4-j Insolation 90mm (floor heating)4-k Structural concrete t=240mm

5-a Kalzip5-b Acoustic board5-c Painted perforated metal5-d Fascia5-e Sunshade rolled screen5-f Laminated glass 6+6mm5-g Mullion5-h Mullion5-i Double glazing 10+(8+8)mm5-j Column5-k Galvanized grating5-l Natural ventilation grille5-i Polished concrete screed t=130mm5-j Insulation 110mm (floor heating)5-k Structural concrete t=210mm

curators. ¶ It was a remarkable decision: contrary to the ten-dency of making museum architecture an expression of the institution’s power, sometimes to the detriment of the art-works, the Louvre chose a proposal without pomposity, a neu-tral, yet sophisticated architecture. ¶ The Sanaa project appears simple, at first glance even simplistic: five volumes in a row, barely connected at the corners, each containing one pro-gramme element. The architects compared this layout with beached boats (unknown how) on this infertile ground. Actu-ally, their preoccupation was to disturb the terrain as little as possible and to preserve the last traces of mining activity, the coal wagon tracks. Their primarily objective was to conjoin the building with the site in order to form an architecture-land-scape. The volumes are low, single-level (outside height: six metres), very slightly bent and leaning towards the slope, with

gotovo neprisutan projekt ureda Sanaa. Naposljetku je kod ravnatelja Louvrea prevagnulo mišljenje kustosa. ¶ Radi se o odluci vrijednoj pažnje: suprostavljajući se tendenciji takve arhitekture muzeja koja izražava moć institucije, ponekad na štetu umjetničkih djela, Louvre je izabrao neutralnu, ali sofi-sticiranu arhitekturu. ¶ Projekt ureda Sanaa djeluje jedno-stavno, na prvi pogled simplicistički: ulančanih pet volumena jedva povezanih na uglovima, od kojih svaki volumen sadržava jedan element programa. Arhitekti uspoređuju ovaj razmještaj s nasukanim lađama (ne znamo kako) na toj neplodnoj zemlji. U stvari, njihova preokupacija bila je smjestiti se na teren i pritom ga minimalno uznemiriti, sačuvati posljednje tragove (tračnice za vagone ugljena) i prvenstveno združiti zgradu s čistinom kako bi se formirala arhitektura-pejzaž. Volumeni su niski, u jednoj razini (vanjska vidljiva visina: 6 metara), vrlo

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blago zakrivljeni i nagnuti u smjeru kosine, uz alternaciju neprozirnih fasada izložbenih galerija i transparentne ovješene fasade predvorja i paviljona predviđenog za lokalne umjetničke produkcije. Najprimjetniji element je vanjska obloga neprozir-nih dijelova izvedena u aluminiju koji nije ni mat ni sjajan, a više upija pejzaž no što ga odražava. Efekt je zadivljujući pri prilazu muzeju do kojeg vodi uski put s parkirališta: posjetitelj poste-peno otkriva usku plavičastu vrpcu gdje se granica zdanja stapa s nebom, koja kao da se pruža cijelom dužinom terena. Prije umjetnička instalacija bliska Christovim radovima nego zgrada. ¶ Usprkos prekrasnom učinku na okoliš, ovaj ulančani razmještaj nije bez nedostataka. Primijetit ćemo da je negiran odnos sa širim krajolikom. Muzej je zatvoren u svojoj čistini, enklavi odvojenoj od grada. Odsutnost višeg volumena one-mogućava otkrivanje ljepote rudarskog krajolika, toliko karak-terističnog sa svojim nizovima kućica rudara. Nadalje, slijed

volumena formira neprekinutu, preko 300 metara dugu fasadu, odvajajući dvije strane parka, čime jedini prolaz biva moguć samo središnjim predvorjem. Zbog toga su rijetki posjetitelji koji se upuštaju u avanturu obilaska zgrade. Možda će s vre-menom i rastom drveća intervencije krajobrazne arhitektice Catherine Mosbach, odgovorne za uređenje parka, animirati ovaj dugi vijenac. Zasad posjetitelji moraju prijeći svojevrsnu čistinu, ogromnu betonsku ploču posutu prstenima mahovine. ¶ Interijer otkriva i nedostatak i prednost razmještaja volu-mena: arhitektonska promenada ubrzo se pretvara u dugi hod koji vodi s jednog kraja na drugi i natrag, no hodnika nema:

an alternation of non-transparent façades of the exhibition halls and the transparent curtain walls of the hall and the pavil-ion for local artistic production. The most prominent element is the panels of the walls: their aluminium skin, neither shiny nor matt, seems more to absorb the landscape than reflect it. The effect is impressive when approaching the museum by a narrow road from the car park: the visitor gradually discovers a thin ribbon which stretches along the entire site. It seems more like an artistic installation similar to Christo’s work, than a building. ¶ Despite its beautiful landscape effect, this string of low buildings is not without drawbacks. One has to notice that the relationship with the wider location is negated. The museum is enclosed in its park, an enclave separated from the town. The lack of a higher volume prevents us from discovering the beauty of the mining landscape, so characteristic with the strings of miners’ houses. Furthermore, the sequence of

volumes forms an unbroken, over−300-metre-long façade, separating two sides of the park, the only passage being through the middle hall. Therefore, visitors venturing a walk around the building are rare. Perhaps, in time, with the devel-opment of the trees , the interventions of landscape architect Catherine Mosbach, responsible for the design of the park, will animate this long façade. For now, visitors have to cross a wide void, a giant concrete plate scattered with moss rings. ¶ The interior reveals both the disadvantages and benefits of the building’s lay-out: the architectural promenade soon turns into a long walk leading from one end to the other and back; but

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poveznice su direktne iz jednog prostora u drugi. Veliko pred-vorje (4 000 m2) služi kao raskrižje. Tu se u staklenim paviljo-nima, koje mogu zatvoriti zavjese (rješenje kojem su arhitekti skloni), nalaze knjižnica, prostor za djecu, vip sala, kut za piknik i tako dalje. Dva kružna stubišta vode do podrumskog dijela zgrade gdje su vidljiva skladišta. Preostali prostor je znatan. No mjesto djeluje hladno, impersonalno. ¶ Na krajevima dija-gonale predvorja otvaraju se dvije izložbene galerije; jedna za stalne izložbe, nazvana Galerie du Temps i druga, nešto kraća, za privremene izložbe. Ove se galerije ubrajaju u najznačajnije elemente projekta. Tu se otkrivaju sve karakteristike arhitek-ture ureda Sanaa: skrivanje strukture, neutralnost prostora, homogeno osvjetljenje, prozirnost. ¶ U Galerie du Temps

arhitektura i scenografija združene su u uspješnu sintezu. Bli-zak slijed (razmak od 1,50 metara) tankih metalnih greda (debljine 12 mm) ritmizira strop i osigurava kontrolu zenitalnog osvjetljenja. Zakrivljeni zidovi (konveksni na jednoj strani, kon-kavni na drugoj) obloženi su istim aluminijskim panelima kao i fasada, što proizvodi identične efekte: sliku u kojoj se stapaju izložena djela i pokreti posjetitelja. Pod je izveden u svijetlo-sivom poliranom betonu. ¶ Dužine 125 metara i širine 25 metara, oslobođena svih potpornja, slobodne visine ispod greda od 5 metara, Galerie du Temps idealan je prostor za ‘revoluciju’ koju je priželjkivao Henri Loyrette, glavni ravnatelj Louvrea. Razumljivo je zašto se zalagao za izbor projekta ureda

Sanaa. U ovoj laganoj arhitekturi, posve suprotnoj glomaznosti niza dvorana pariške palače, kustosi se mogu osloboditi ogra-ničenja organizacije u odjele. U galeriji u potpunosti oslobo-đenoj prepreka, s 205 djela koja pružaju transverzalnu viziju umjetnosti: pokrivajući razdoblje od preko 4000 godina, slike, skulpture, keramika i ostali predmeti su ispremiješani. Krono-loški slijed ključnih datuma, decentno označen na jednom od zidova, indicira razdoblja iz kojih datiraju izložena djela. Za Vincenta Pomarcdea, glavnog kustosa Louvrea, Louvre-Lens nije mali Louvre, već drugačiji Louvre. Drugačija koncepcija prezentacije djela, njihovog odnosa s publikom. Suradnja između kustosa i muzeografa, Adriena Gardèrea, rezultirala je potpunim uspjehom. Zidovi su oslobođeni bilo kakvog vješanja

kako bi se postiglo slobodno kretanje publike. Djela su stoga postavljena na postolja, platforme, vertikalne panele, grupi-rana po razdobljima i srodnosti. Cirkulacija publike je neome-tana čak i nedjeljom pri velikoj posjećenosti. Blizina djelima je iznenađujuća. A njihova je osvijetljenost savršeno izvedena kontroliranim zenitalnim osvjetljenjem. ¶ Ovdje se manje poziva na znanost i poznavanje nego na pogled. Od grčkog kourosa iz 6. stoljeća pr. Kr. do hinduističke kacige iz 16. sto-ljeća naše ere, a zatim do Botticellijeve slike prolazimo ne postavljajući si pitanja. Hijerarhije više nema, stoga otkrivamo vlastite kvalitete svakog djela. ¶ I bit ćemo jednako zadivljeni divnim Rembrandtom – dirljivom u svojoj humanosti, koliko

there are no passages or corridors: links are direct from one space to the other. The large hall (4000 m2) serves as a cross-roads. There, several round glass pavilions that can be closed by curtains (a solution often adopted by these architects) to host a library, a children’s corner, a vip salon, a picnic site and so on. Two circular stairways lead to the basement with visible storage space. The rest of the space is immense. But, every-thing seems cold, impersonal. ¶ Two exhibition galleries open at the diagonal ends of the hall; one for permanent exhibitions, called Galerie du Temps, and the other, somewhat shorter, for temporary exhibitions. These galleries are among the most remarkable components of the project. They reveal all the characteristic features of Sanaa architecture: vanishing

structure, neutrality of space, homogenous and diaphanous atmosphere. ¶ In the Galerie du Temps, the architecture and scenography merge into a successful synthesis. Thin (12 mm) metal beams, set in close sequence (only 1.50 m between adjoining beams), give the ceiling rhythm and ensure control of the zenith light. The curved walls (convex on one side, con-cave on the other) are dressed in the same aluminium panels as the façade, with identical effects: the images of the exhib-ited artworks and of the visitors’ motions are blurred. The floor is made of a light grey polished concrete. ¶ Galerie du Temps is 125 metres long and 25 metres wide, free of any columns or pillars, with five metres of free height under the beams. It is

the ideal space for the ‘revolution’ that Henri Loyrette, the President of the Louvre, desired. Therefore, it is understandable that he promoted Sanaa project. This light architecture, totally opposite from the series of impressive rooms in the Parisian palace, liberates the curators of the limitations of departmental organization. In this gallery with no obstacles, 205 artworks offer a transversal vision of art, covering a period of more than 4000 years; the paintings, sculptures, ceramics and other art objects are mixed. The chronological order of key dates is inconspicuously marked on one of the walls and indicates the period of production of the exhibited artworks. For Vincent Pomarède, the chief curator of the Louvre, ‘Louvre-Lens is not a little Louvre, but a different Louvre. A different concept of

presenting artwork, their relation with the audience.’ The col-laboration between the curators and the museographer, Adrien Gardère, resulted in a great success. The walls are free of any hanging so the audience can move freely. The artworks have been mounted on posts, platforms, vertical panels and grouped according to time period and affinity. The circulation of visitors is unobstructed even on Sundays when it is rather crowded. The proximity to artwork is fascinating and surprising. And the lighting achieved perfectly with controlled zenith lights. ¶ This presentation appeals not to a visitor’s knowledge of art but to his ability to look without prejudice at works of art. We pass by a Greek kouros from the 6th century bc to a Safavid helmet

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i delikatnošću scene lova izvedene na egipatskoj paleti za šminku. Eto revolucije: odvojiti pogled od znanja kako bi mogao slobodno funkcionirati. Pogledu povratiti njegovu slo-bodu. ¶ Međutim, u projektu Louvre-Lens poznavanje i dublji pristupi nisu ignorirani: tu nastupa uloga dodijeljena galeriji za privremene izložbe. Tema obrađena za otvorenje muzeja bila je renesansa. Tema sljedeće izložbe je Rubens i njegovo

from the 16th century ad, then to a Botticelli painting, without any questions. There is no more hierarchy so that we can dis-cover the inherent qualities of each artwork. ¶ And one will be as moved by a Rembrandt, beautiful and full of humanity, as a delicate hunting scene engraved on an Egyptian make-up pal-ette. Here is the revolution: to avert our eyes from knowledge and let them roam free. ¶ However, the Louvre-Lens project

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doba. Najveći muzej svijeta ima snagu iznenaditi kako bi trajno podržavao strategije obnavljanja u Galerie du Temps i privre-menim izložbama te učiniti Louvre-Lens trajnom točkom kul-turne atrakcije na sjeveru Francuske.

does not ignore knowledge and a deeper insight: this is the role of the gallery for temporary exhibitions. The theme for the opening was the Renaissance. The next is Rubens and his era. The largest museum in the world has the power to perma-nently support the strategy of renewal of both the Galerie du Temps and the temporary exhibitions. And to turn Louvre-Lens into a permanent cultural attraction in the north of France.

(hs)

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