改建后：E 馆中的伊萨尔音乐厅门厅，2021 年 © HGEsch

前变压大厅是新文化中心的核心 © HGEsch

根据最初设想，欧洲最大的文化中心加斯泰格中心应在慕尼黑原发电站的旧址上临时搭建，但是后来，另一充满力度、令人信服而又重点突出的方案成功地付诸实施。这一方案出色地兼顾了对原有大厅的改造和扩建建筑的设计，以致在落成开幕式时就有人建议长期使用这一对孪生姊妹式建筑。

Munich’s Gasteig, Europe’s largest cultural center, was originally intended to only occupy the old power plant premises in Munich temporarily. But a solution was developed that is so powerful, attractive, and focused on the essential — both in its conversion of the existing hall and in the construction of the new extension — that there was already talk of making permanent use of the Januslike building duo at its opening.

慕尼黑加斯泰格文化中心是欧洲最大的文化中心之一。它占地2.3万平方米，拥有慕尼黑爱乐乐团的大型音乐厅以及成人教育中心、城区图书馆和音乐与戏剧学院。然而，1978 年建成的文化中心因全面翻修而关闭数年。市政府决定在翻修期间将爱乐音乐厅、成人教育中心和图书馆搬迁到靠近市中心的一处隶属慕尼黑市政公司的场地。为此，根据规划要求，应采用模块化结构建造一座规模较小、造价低和耗费少的新建筑，并将其与建于 1929 年的原变电大厅即E馆相连接。该项目作为一个临时解决方案应以较低预算在最短时间内完成。2018年举行了建筑设计竞赛，进行招标。

变压大厅的外立面 © HGEsch

改造后变压大厅内的市图书馆 © HGEsch

New meets old: glazed “joint” between the transformer hall andthe new concert hall

在设计竞赛中，我们为改建和新建建筑提出了基本相同的策略：两者都应将重点放在设计任务的主要方面。在此基础上，对历史悠久的变压大厅进行清理，清除所有干扰性内部设施，使其成为一座具有大教堂效果的工业功能建筑：玻璃天花板经过修复，跨越各个楼层的中庭改造成为中央门厅，无论白天还是夜晚，都能展现恢弘的空间效果。图书馆和成人教育中心作为临时插建的设施设置在中庭周围的开放式回廊层，节省了资源。当年的工业遗迹予以保留，随处可见，从起重机轨道到一楼地面上的铁轨，大型涡轮机和变压器曾沿该铁轨驶入大厅。蓝色涂层的回廊栏杆经过清洗，如今熠熠生辉，成为引人注目的标志性元素。

2018 – 2021

In the competition, we proposed the same basic strategy for the conversion as for the new construction. Both would be focused on the essential aspects of the brief. The historic transformer hall was cleaned and rid of all obstructing fixtures in order to highlight its cathedral-like presence as a utilitarian industrial building. The glass roof was restored so that the atrium that extends through all the stories can function as a central foyer and appear in all its bold extravagance, both day and night. The library and adult education center, recognizable as temporary inserts, were placed on the open gallery levels around the atrium at a low cost. The vestiges of industrial use remain visible everywhere, from the crane tracks to the railway tracks embedded in the first-story floor that once served to transport giant turbines and transformers within the hall. The shiny, blue-painted gallery railings were cleaned and are now a distinctive and symbolic element.

Access to the concert hall made of wooden modular elements: It is acoustically decoupled from the outer shell.

由新老建筑结合处前往音乐厅的通道 © HGEsch

Stairway to the concert hall in the gap between old and new

Acoustic wall cladding in the concert hall

音乐厅室内一瞥 © HGEsch

临时音乐厅是在旧楼旁边新建的模块化建筑。在这方面，我们同样力求简洁：由于工程预算紧张，音乐厅的外墙依然保持质朴形象，而室内则满足了爱乐音乐厅的各项要求，并拥有出色的声学效果。建筑壳体采用市面标准构件制成的普通钢结构，成本低廉，组装和拆卸速度也很快。音乐厅容纳1800个座位，其由预制实木单元构成，采用简单插入式系统。整个结构是“坚固建筑”的典范，其各个组成部分完全可以重复使用。理论上讲，整座音乐厅建筑可以像马戏团的帐篷一样随时拆卸，然后在新的地点重新组装。这座外观简朴的临时音乐厅一方面与周围的工业传统氛围相呼应，另一方面也体现了其作为临时方案的特点，同时也突出了原变压大厅的异常精致的外立面。整个新旧建筑的设计非常令人信服，以至于市长在开幕式致辞中表示，他希望在慕尼黑市中心长期保留这个新的文化场所。同时，由于我们的建筑易于拆卸和重建，已经有其他城市询问如音乐厅在慕尼黑使用到期可否将它接到当地使用。或许正是这种全面的简洁性，无论是精心独到的改建，还是低消耗而又敞亮的新建筑代表建筑业的未来。在慕尼黑，以上两种概念方案均作为可单独辨识的厅馆建筑现身，它们就像不同气质的孪生姊妹一样相互补充，相映生辉。

The temporary concert hall is set next to the old building as new modular construction. Here, again, we were striving for a visible reduction. Whereas the outer shell remains deliberately modest due to financial constraints, the hall interior meets all the demands for a philharmonic orchestra concert hall with excellent acoustics. The outer shell is a simple steel structure made up of standard elements that are available at a low cost and can be quickly dismantled and reconstructed. The 1,800-seat concert hall consists of a simple slot-in system of prefabricated, solid wood elements. The entire structure is a prime example of “robust construction” using elements that are completely recyclable. Theoretically, the whole concert building could be collapsed like a circus tent at any time and reconstructed elsewhere. The unassuming exterior of this temporary hall pays tribute to the industrial past of its surroundings and to its character as a transitional solution, while at the same time giving precedence to the unusually extravagant facade of the old transformer hall. The design of the total ensemble consisting of old and new construction turned out to be so compelling that the city’s Lord Mayor, in his speech at the opening, mentioned wanting to keep this new cultural venue in the middle of Munich for the longer term. At the same time, other cities had already been inquiring as to whether they could have the concert hall after its time in Munich had expired because it’s so simple to dismantle and reassemble. Perhaps this concentrated simplicity that is manifested in the meticulous conversion and the resource-friendly but spatially generous new construction is precisely where the future of building lies — all the more so when a change of use and a hall building focused on the essential complement one another as they do in Munich, like fraternal twins with very different character traits.

首层平面图 © gmp

Ground floor plan

三层平面图 © gmp

Second floor plan

加斯泰格汉普8号伊萨尔爱乐音乐厅

德国慕尼黑

2021年

业主：慕尼黑加斯泰格文化中心

1929年设计（变压大厅）：赫尔曼·莱滕斯托弗，弗里茨·贝布洛

1950 年重建设计：威廉·冯·古姆贝茨

Gasteig HP8 Isarphilharmonie

Munich, Germany

2021

Client: City of Munich

Design 1929 (transformer hall): Hermann Leitenstorfer, Fritz Beblo

Reconstruction 1950: Wilhelm von Gumberz