MESEUM OF CONTEMPORARY ART
当代博物馆艺术
boothFacing page:The former Hamburger Bahnhof in Berlin is a distinguished example of the neoclassical style of the 1840s;it cead to be ud as a station as long ago as 1904.
面对页面：Hamburger Bahnhof在柏林是1840年代新古典主义风格的一个杰出的例子；早在1904年它已不再是用作站。
In some countries,such as the USA and Britain,redundant railway buildings have pod problems of reu,which are usually exacerbated by their grand scale.In Germany,the railway heritage was decimated by wartime bombing.Berlin suffered badly.(One of the major casualties,the splendid Anhalter Bahnhof,was left as a gutted shell and was torn down by the DDR in the 1960s.)The original Hamburger Bahnhof,the terminus for trains from Hamburg,was built in 1845-47,the iron and glass sheds being prefaced by a handsome neoclassical frontage in stone by Ferdinand Wilhelm Holz.(The plan of the station was unusual,in that tracks ran through arches in the terminal building to turntables,ud to turn around locomotives.)The building was a key monument of the first German railway age,but after less than 40 years of u it was clod and trains were diverted to a new station.In 1904-6 the building was converted to a muum of transport and engineering,a u which continued until the Second World War,when it was damaged but not destroyed.The muum conversion,designed by Ernst Schwartz,include
d the construction in 1912-15 of gallery wings flanking the main frontage,which were in keeping with the original building.
在一些国家,如美国和英国,多余的铁路建筑已经构成重用的问题,这种问题通常加剧了其规模宏大。在德国,铁路遗产被战时炸弹摧毁，柏林受到严重影响。(一个主要的伤亡,富丽堂皇的安哈尔特巴赫夫,被烧毁的外壳,在1960年代被拆除的DDR)。最开始的Hamburger Bahnhof，建于1845-47年，列车的终点站起始于Hamburger，铁和玻璃棚被一个英俊的新古典主义者费迪南德威廉霍尔兹点缀在临街石头上。（空间站的计划是不寻常的,在这个追踪中，穿过航站楼的拱门到转盘,用于扭转机车。）建筑是德国第一个铁路时代的一个重要纪念碑,但不到40年的使用它就关闭了，火车转变成一个新车站。在1904 到1906年，建筑交通和工程转变成一个博物馆。,当它被破坏而不是摧毁的时候，这种使用一直持续到第二次世界大战期间。博物馆的功能转换,包括建设1912 - 15的画廊，是由恩斯特施瓦茨设计,通过将它的翅膀置于主要的正面的侧面,和原始建筑保持一致。
The Hanburger Bahnhof survived in a mi-moribund cocoon,with many of its exhibits still extant but with no public access,from 1945 until 1984,when it pasd into the hands of th
swime West German authorities.A well-attended ries of trial exhibitions led to a decision to convert it into a modern art muum.A 1989 competition was won by Kleihues.While the transformation of the building was underway,the Wall came down and the project took its place as part of the renaissance of the new capital of a united Germany.(Just across the Invalidenstras,the Lehrter Bahnhof-another wartime loss-is being rebuilt by von Gerkan. Marg as a key element in Berlin’s public transport strategy.)Kleihues sought to retain the historic identity of the station transport muum,while radically transfiguring its image.Railways were the symbol of the change in nineteenth-century Germany.Now,contemporary art has a similar role in challenging established patterns of life and thought.
巴赫夫在mi-moribund Hanburger茧中幸存,它的许多展品现在仍然存在但没有公共访问的权限。在1945年到1984年,它传递到了西德当局手中。通过多人参加一系列的试验展览，最终决定将它转变成一个现代艺术博物馆。1989年这项竞赛项目由Kleihues胜出。虽然建筑的转变正在进行中,但是柏林墙壁倒塌和这个项目在文艺复兴时期德国统一的新资本中占据了一部分位置。(正如Invalidenstras时期， Lehrter Bahnhof，是另一个战时的损
失，后期被von Gerkan重建。玛格在柏林的公共交通策略是一个关键的要素。)Kleihues试图保留车站交通博物馆的历史身份,而从根本上美化其形象。铁路是19世纪德国变化的象征。现在,当代艺术在具有挑战性的生活和思想的建立模式上也有类似的作用。
Kleihues much admired the existing buildings for their rational elegance,part of a tradition which linked Schinkel and von Klenze,via Benhrens,to Mies and the Modern Movement.The train shed(later main exhibition hall)had been flanked by two solid wings which Kleihues replaced with new gallery blocks. The galleries are top-lit and barrel-vaulted in deference to the tradition of railway architecture.Externally they are clad in thin aluminum (or glass) panels contained within a steel-framed,strongly expresd structural system,of great steel buttress sitting on a limestone ba and topped by a stone parapet.(perhaps there are memories here of Behrens’s famous turbine factory.)Service zones parate the new galleries from the main hall,which has been cleaned, repainted and refloored but not otherwi altered.The architect’s intention was to echo the geometry of the original structure:the ction of the new galleries is the classics VItruvian circle within a square.Kleihues’s own sublime geometry is concerned with the dialogue,ce
ntral to all his work,between the classical tradition and modernity.
legendary>布拉德皮特 僵尸
Kleihues备受推崇现有建筑进行理性的优雅，部分的传统，它通过 Benhrens到 Mies 以及现代运动和von Klenze辛克尔相连。火车棚（后主展览馆）的两侧是两个固体的翅膀，她被Kleihues用新画廊块代替。这些画廊被顶部点缀和隧道化,考虑到传统的铁路建筑。外部他们用一个含钢架薄铝(或玻璃)面板包裹,强烈表达结构体系,这个伟大钢拱坐落在石灰石基地和一个石头栏杆上。(也许有Bbehren的著名涡轮工厂的记忆)。服务区域独立于主要大厅的新画廊,它已经被清洗,重新粉刷和重装地板，但却从不改变。建筑师的意图是回波原始的几何结构:新画廊的部分经典使用在一个广场上，它维特着鲁威的样式。Kleihues自身崇高几何是被关心的话题,他所有工作的中心,大都在古典传统与现代之间。
Interventions to the nineteenth-century buildings were kept to a minimum and detailed with fastidious care.The extreme minimalism of the new fit-out-granite paving,white-painted steel stairs and rails and white plaster walls-provides a neutral context not only for paintings but for large-scale installation art.Kleihues has been an active and sometimes acerbic commentator on the reconstruction of Berlin.His reasmblage of Berl
in’s ‘lost’ railway terminus has produced not only an excellent container for contemporary art,but an exemplar of the way that uncompromising modern design can enhance an old building.
十九世纪的建筑物的介入被保持到最低限度和认真详细考究。这个极端简约的用新的花岗岩铺平道路,用白色的钢楼梯、钢轨和白色石膏墙体的方式提供了一个中立的环境，不仅用于作画，而且作为大型装置艺术。在柏林的重建上，Kleihues曾经是一个活跃的,有时尖刻的评论员。他的作品，关于柏林的“失去”铁路终点站的重装配，这种被认为不妥协的现代设计加强了一个老建筑建设，不仅是当代艺术的一个优秀的文本,而且是一个方式方法的范例。
Above:Section through the transformed building;new galleries-only one has been built so far-flank the refurbished train shed.
Facing page:The bridge over the entrance doors connects the two new staircas .
六级题目上图：从改造后的建筑选择：只有一个新画廊，到目前为止建立了有侧翼的翻新列车棚。
页：延续性动词桥梁横跨入口门连接两个新楼梯。accompany过去式
Ground-floor plan 地面平面图
1、Joph Beuys gallery 博伊斯画廊
2、Lobby 序厅
3、Staff entrance 员工入口
4、Exhibition space 展览空间
5、Bookshop 书店
6、Large gallery 大画廊
7、blossom什么意思>yes i amHistorical hall 历史馆
违约责任英文The nineteenth century train shed has a rare elegance that has been respected in the transformation project and which well complements the display of large works.
