National Museum Complex

 © Assen Emilov

阿森·埃米洛夫

架构师提供的文本描述。保加利亚最近加入欧洲联盟后，索非亚国家博物馆建筑群的第一阶段，正值保加利亚社会正在重新评估文化价值，并迫切需要一种新的自信和积极的身份认同。

Text description provided by the architects. Following Bulgaria’s recent accession to the European Union, Phase I of the National Museum Complex in Sofia, comes at a time when Bulgarian society is undergoing a reevaluation of cultural values and is in great need of a new self-assured and positive identity.

这座位于首都历史中心的博物馆由欧洲区域重建基金资助，将展示该国最重要的两种艺术收藏品-国家美术馆和国家外国艺术馆。

The museum complex in the capital’s historic center is funded by the European Fund for Regional Redevelopment and will showcase the country’s two most important art collections - those of the National Art Gallery and the National Gallery for Foreign Art.

场地历史

SITE HISTORY

位于亚历山大内夫斯基广场，博物馆建筑群占据了一个非同寻常的历史遗址。在过去的一个世纪里，大教堂广场和周围的建筑发生了一系列的变化，对这个地点与城市的关系产生了深远的影响。

Located on Alexander Nevsky Square, the museum complex occupies a site of extraordinary history. Over the past century the cathedral square and the surrounding buildings have seen a number of transformations that have had a profound effect on the way the site relates to the city.

 Courtesy of Yanko Apostolov Architects

YANKO Apostolov建筑师提供

亚历山大内夫斯基广场与博物馆遗址于1926年。

Alexander Nevski Square with the museum site in 1926.

 Courtesy of Yanko Apostolov Architects

YANKO Apostolov建筑师提供

皇家印刷厂-1887年建成。

The Royal Printing House - built 1887.

19世纪末，皇家印刷厂的三层建筑将广场设计成了东方的框架。在第二次世界大战结束时，印刷厂受到严重破坏，首先适应了技术大学的需要，后来又适应了国家外国艺术馆的需要。

In the late 19th century the three story building of the Royal Printing House framed the square to the east. Severely damaged at the end of WWII, the printing house was adapted first for the needs of the Technical University and later for the needs of the National Gallery for Foreign Art.

 Courtesy of Yanko Apostolov Architects

YANKO Apostolov建筑师提供

第二次世界大战对索非亚的空袭，1944年。

WWII air raids over Sofia, 1944.

 Courtesy of Yanko Apostolov Architects

YANKO Apostolov建筑师提供

前技术大学(中心)和国家外国艺术画廊(极右)的建筑，2010年。

The buildings of the former Technical University (center) and the National Gallery for Foreign Art (far right), 2010.

在50年代增加了技术大学的新翼，并随后将皇家印刷厂改编为80年代的国家外国艺术馆，将该遗址作为一个完整的城市街区。

The addition of the new wings of the Technical University in the 50’s and the subsequent adaptation of the Royal Printing House as the National Gallery for Foreign Art in the 80’s enclosed the site as a complete urban block.

到了90年代中期，共产主义垮台后，国家机构的重组，以及随之而来的所有权不确定性，使技术大学大楼及其内部庭院变成了一个腐烂的空壳。

By the mid 90’s reorganization of state institutions after communism’s collapse and the ensuing ownership uncertainty left the Technical University building and its interior courtyard as a decaying empty shell.

 Courtesy of Yanko Apostolov Architects

YANKO Apostolov建筑师提供

开始施工前的庭院：以前的工地挖掘和建筑填埋场使得内部庭院与周围街道脱节。

The courtyard before commencement of construction: previous site excavations and building in-fills had left the inner courtyard disconnected from the surrounding streets.

 Courtesy of Yanko Apostolov Architects

YANKO Apostolov建筑师提供

从大学实验室的前涡轮大厅看：尽管这些建筑破旧不堪，但博物馆画廊与内部庭院之间建立特殊联系的潜力从一开始就很明显。

View from the former turbine hall of the university laboratories: despite the buildings’ dilapidated state the potential for creating a special connection between the museum galleries and the inner courtyard was apparent from the start.

博物馆设计

MUSEUM DESIGN

2010年，城市街区的最后改造开始于保加利亚文化部组织的一次国际建筑竞赛，目的是将该遗址变成一个国家视觉艺术博物馆，在一个屋檐下汇集几个世纪的保加利亚、欧洲、亚洲和非洲艺术。

In 2010 the final transformation of the urban block began with an international architectural competition organized by the Bulgarian Ministry of Culture to turn the site into a national museum of visual arts that brings together under one roof several centuries of Bulgarian, European, Asian and African art.

穿过博物馆雕塑场的很长一段

Long section through the museum’s sculpture court

扬科·阿波斯托洛夫(Yanko Apostolov)和穆塞奥普兰(Museoplan)的获奖作品利用了遗址独特的历史和现有院落的潜力，成为博物馆的象征中心，也是索非亚市民和游客的聚集地。

The winning competition entry by Yanko Apostolov and Museoplan drew on the site’s unique history and the potential of the existing courtyard to become a symbolic heart of the museum and a meeting place for the citizens and visitors of Sofia.

这个曾经失去的内部庭院现在被高架起来，连接周围的街道，创造了一个新的文化公共空间-一个露天雕塑花园，可以用于艺术设施和特殊的公共活动。

The once-lost inner court is now elevated to connect to the surrounding streets creating a new cultural public space – an open air sculpture garden that can be used for art installations and special public events.

 Museum complex circulation diagram

博物馆复环流图

博物馆复环流图

Museum complex circulation diagram

新的建筑组织覆盖在城市弗瑞塔石灰岩的大量使用中，完成了建筑群的聚集，同时保持了由附近的亚历山大·内夫斯基大教堂和国家外国艺术画廊的屋顶所建立的体积等级。以重要的视线为中心，翻新后的庭院充当了博物馆参观者的定位装置和出发点。

Clad in the much used in the city Vratza limestone, the new building tissue completes the massing of the complex while maintaining the volumetric hierarchy established by the nearby Alexander Nevsky Cathedral and the roofline of the National Gallery for Foreign Art. Centered on important lines of sight, the renovated courtyard acts as an orientation device and a point of departure for the museum visitors.

一个完整的博物馆项目是围绕开放庭院组织的，以实现艺术画廊，公共空间，行政办公室，艺术存储和修复实验室的最佳功能整合。新的高架地面平面充当一个地平线，将上面的公共空间和艺术画廊与下面的艺术存储和服务空间隔开。

A full spectrum of museum programs are organized around the open courtyard achieving optimum functional integration of art galleries, public spaces, administration offices, art storage and restoration labs. The new elevated ground plane acts as a horizon separating the public spaces and art galleries above from art storage and service spaces below.

国家博物馆建筑群在很大程度上是一个适应性建筑再利用的项目，通过优化场地利用、回收和使用当地材料，大大减少了体现的能量。通风立面和使用新材料产生了高性能的建筑围护结构.外部遮阳和动态照明控制提供最佳的观看环境在画廊，同时尽量减少能源消耗。通过一个上升的地板系统提供的空气保持了整个博物馆的稳定的小气候，而行政办公室的混合模式通风则进一步优化了能源的使用并提高了舒适性。绿色屋顶和抗旱景观减少热岛效应以及尽量减少用水。

Largely a project of adaptive building reuse, the National Museum Complex greatly reduces embodied energy through optimum site utilization, recycling and use of local materials. Ventilated facades and use of new materials produce a high-performance building envelope. Exterior shading and dynamic lighting control provide optimum viewing environment in the galleries, while minimizing energy consumption. Air supplied through a raised floor system maintains stable microclimate throughout the museum, while mixed-mode ventilation in the administration offices further optimizes energy use and improves comfort. Green roofs and drought resistant landscaping reduce the heat island effect as well as minimize water usage.

 Courtesy of Yanko Apostolov Architects

YANKO Apostolov建筑师提供

 Courtesy of Yanko Apostolov Architects

YANKO Apostolov建筑师提供

 © Assen Emilov

阿森·埃米洛夫

 © Assen Emilov

阿森·埃米洛夫

 © Assen Emilov

阿森·埃米洛夫

画廊屋面外遮阳板

Galleries’ roof exterior shading panels

 Courtesy of Yanko Apostolov Architects

YANKO Apostolov建筑师提供

顶灯画廊

Top lit galleries

 Courtesy of Yanko Apostolov Architects

YANKO Apostolov建筑师提供

雕塑画廊

Sculpture galleries

 © Assen Emilov

阿森·埃米洛夫

 Courtesy of Yanko Apostolov Architects

YANKO Apostolov建筑师提供

 © Assen Emilov

阿森·埃米洛夫

博物馆的咖啡馆露台俯瞰这座城市

The museum’s café terrace overlooking the city

文化相关性

CULTURAL RELEVANCE

国家博物馆建筑群为索菲亚市中心提供了一个有价值的文化场所。该项目恢复了在公共领域失去的空间，并赋予了它新的意义-一个艺术可以开始为索非亚市民和游客的日常生活带来新思想的地方。

The National Museum Complex contributes a valuable cultural venue to Sofia’s downtown. The project recovers a lost space in the public realm and charges it with new meaning - a place where art can start bringing new ideas into the daily lives of the citizens and visitors of Sofia.

第一阶段和最终的第二阶段(计划于2015年建造)是更广泛的总体计划中的两个关键步骤，目的是建立一个博物馆集群，促进国家收藏品和历史城市结构之间的协同作用。

Phase I and eventually Phase II (scheduled for construction in 2015) are two critical steps in a wider master plan to create a museum cluster that promotes synergy between the national collections and the historical city fabric.