Museum Tonofenfabrik Lahr
The former Tonofenfabrik (Clay Oven Factory) is situated in the historic centre of Lahr in Germany, close to the remains of the medieval castle ‘Storchenturm’ and the medieval town wall. In danger of complete deterioration, the listed building has been reinvented as a City Museum utilizing this strategic urban location to create a destination for tourists and residents alike involving them with the history and heritage of Lahr in a way the old museum in the city’s park was never able to. The old industrial brick building was not only transformed into a modern museum, but the somewhat incomplete ‘L’ shaped volume has been completed by a new stair tower forming a coherent ensemble of old and new.
前Tonofenfabrik（粘土烤箱工廠）位於德國拉爾的歷史中心，靠近中世紀城堡’Storchenturm’遺址和中世紀城牆。 在完全惡化的危險中，列入名單的建築物已被重新改造為城市博物館，利用這個戰略性的城市位置為遊客和居民創造了一個目的地，讓他們了解Lahr的歷史和遺產，就像城市公園裡的舊博物館一樣。 從來沒有。 舊的工業磚建築不僅變成了現代化的博物館，而且有些不完整的“L”形體積已經由一個新的樓梯塔完成，形成了一個新舊的連貫的整體。
Architects: heneghan peng architects
Location: Lahr, Germany
Lead Architects: Shih-Fu Peng, Andreas Dopfer, Kathrin Klaus, Johanna Dreier, Seyhan Özgen
Area: 1800.0 m2
Project Year: 2017
Photographs: Thomas Bruns, Ute Zscharnt
Manufacturers: Lamilux, Reckli, Schüco
首席建築師：Shih-Fu Peng，Andreas Dopfer，Kathrin Klaus，Johanna Dreier，SeyhanÖzgen
照片：Thomas Bruns，Ute Zscharnt
The new stair tower clad in red concrete does not only create a new seamless loop through the exhibition but together with the existing building and its chimney transforms the ensemble into a highly recognisable, almost iconic presence in the urban space that quickly has become an integral part of the city’s identity.
In addition to the presentation of the multi-layered history of Lahr and its inhabitants within the building, the redevelopment of the public space surrounding the museum completes the urban ensemble, finally allowing important historic layers and structures in the centre of Lahr to become legible once more.
The design for the building opens the historic gate at the street corner to create a welcoming entrance while expanding the ground floor outwards into the urban plaza, utilizing two newly created openings in the northern façade. This permeable interface between city and building establishes an important destination within the city that is not only a museum but a highly frequented place for local encounter and events.
To continue this strong connection between the interior and the public realm, the ground floor houses mainly public space such as the foyer, café and small museum shop. In addition, parts of the permanent exhibition are on display in this non-ticketed area, acting as an appetizer to invite people in and so that the history of the city moves even further into the public eye. The stair tower takes a major role in establishing a clear and intuitive circulation that guides the visitor through the exhibition and which is being articulated to the outside in the formal manifestation of the red concrete façade.
為了繼續保持內部與公共領域之間的緊密聯繫，一樓主要設有公共空間，如門廳，咖啡廳和小型博物館商店。 此外，永久性展覽的部分展示在這個非購物區域，充當邀請人們的開胃菜，使城市的歷史進一步進入公眾視野。 樓梯塔在建立清晰直觀的循環中起主要作用，引導參觀者通過展覽，並在紅色混凝土立面的正式表現中向外界表達。
Within the museum, two opposite approaches characterise the design: The exhibition areas in the historic industrial building have been restored subtly and restrain to preserve a maximum of the existing fabric and its character. The focus lies on the display of the colourful variety of the artefacts in the exhibition itself, designed by MuseoConsult and Studio Kernland.
在博物館內，兩種相反的方式描繪了設計：歷史悠久的工業建築中的展覽區域經過精心修復和限制，以保留現有面料及其特徵的最大化。 重點在於MuseoConsult和Studio Kernland設計的展覽中各種各樣的人工製品展示。
With its sinuous combination of pigmented concrete and the sharp metallic geometry of the balustrades and ceilings, the new circulation space continuous the formal language of its outside appearance and creates a spatial experience in contrast to the bright white rooms of the exhibition – a place intentionally designed as a resting point of reduced sensory experience in between the density of the exhibition.
由於色素混凝土與欄杆和天花板的尖銳金屬幾何形狀的蜿蜒組合，新的流通空間延續了其外觀的形式語言，並創造了與展覽的明亮白色房間形成對比的空間體驗 – 一個有意設計的地方 作為在展覽密度之間減少感官體驗的休息點。
Jan Merk, the president of the Association of the Museums of Baden Württemberg, has highlighted the significance of the building in the museum landscape of the federal state dominated by community-run institutions. He described the project as a highly successful combination of the Traditional and the Modern that fulfils the mission of a museum to collect, preserve and communicate, but furthermore acts as a repository of knowledge, entertainment machine and platform for participation.
巴登符騰堡博物館協會主席揚·默克（Jan Merk）強調了建築在由社區管理機構主導的聯邦政府博物館景觀中的重要性。 他將該項目描述為傳統與現代的非常成功的組合，它完成了博物館收集，保存和交流的使命，而且還充當知識，娛樂機器和參與平台的存儲庫。
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