譯文摘錄：
二戰(zhàn)時，梅茲是法國馬其諾防線后的第一個城市。然而，先前以采礦業(yè)為支柱的梅茲，近年來隨著礦業(yè)的衰落，許多人因失業(yè)而遠走他鄉(xiāng)。為扭轉(zhuǎn)格局，政府決定投入巨資興建梅茲蓬皮杜中心(以下簡稱“梅茲館”)，希望藝術(shù)能給江河日下的經(jīng)濟注入新鮮活力。蓬皮杜中心首任館長蓬杜•于丹說，“博物館不再是存放失去了社會功能的作品的祭壇，而是藝術(shù)家會見公眾，并激發(fā)公眾創(chuàng)意的地方。”果然，這里在日后成為民眾的波普建筑宮殿，創(chuàng)造了被全世界復(fù)制的民主文化空間的新概念。
Metz is the first city behind the France’s World War II Maginot line. However, the former mining town has witnessed a decline in the mining industry in recent years. As a result, many people have lost their jobs and left for other places. In view of this, local government decided to make a larger investment to build Centre Pompidou-Metz (hereinafter referred to as Centre Metz) with the aim that art can inject new vigor and vitality to the worsening economy. The first curator of Centre Pompidou said that “a museum is no longer an altar to store works which have lost their social functions, but a site for artists to meet the public and stimulate their creativity”. As expected, the place has become Pop Architecture for the public and created a new concept of democratic cultural space which is being replicated around the world.
那么，梅茲館呢？“我們希望梅茲館也能代表類似的精神，”其主要建筑師之一坂茂說，“不是復(fù)制舊有的，而是同樣具有對公眾的開放性。”
So what about Centre Metz? “We hope Centre Metz can also represent the similar spirit,” said Shigeru Ban, one of the major architects, “not just copy the old things, but similarly, open to the general public.”
坂茂，這位1957年生于日本的建筑師，因其紙管建筑設(shè)計在災(zāi)區(qū)應(yīng)急重建方面的貢獻而獲得國際聲望。 “是的，像一個馬戲團大帳篷，”坂茂說，“市民可以聚集在這里，這是一個大集會場。”說到最為惹眼的“草帽屋頂”，坂茂透露，其靈感來自于他7年前買的一頂竹子編織、油紙糊面的中國斗笠。
Born in 1957, Shigeru Ban is a Japanese architect and has won international recognition for his design of paper dome in emergency reconstruction in disaster-hit regions. “Yes, it looks like a large circus tent”, Shigeru Ban said, “residents can gather here, it’s a big meeting place.” When it comes to the eye-catching “straw rooftop”, Shigeru Ban revealed that the inspiration comes from a Chinese bamboo hat, made of bamboo and pasted with oilpaper that he bought seven years ago.
整個屋頂由東方傳統(tǒng)建筑常用的木結(jié)構(gòu)支撐。用云杉做成的總長18公里，重650噸的梁在屋頂構(gòu)成結(jié)實而有韌度的多層網(wǎng)狀結(jié)構(gòu)，上面覆蓋著8,000平方米的半透明白色玻璃纖維。這使得該館白天光線充足，晚上夜景也非常靚麗。從“帽尖”處升起的沖天細柱，最高點離地77米，象征1977年在巴黎開館的蓬皮杜中心。值得特別細看的是，這樣碩大的屋頂，并非重重扣在其下的主體建筑上，而是通過位于博物館外部的柱子支撐，本身不與墻體直接接觸，保證了建筑內(nèi)外空氣流通。
The entire rooftop is propped up by a timber structure which is often used in traditional Eastern architecture. 18km in length and weighing 650 tons, the spruce beams are to construct the strong multi-layered structure in the rooftop, and are covered by 8,000 square meter of semitransparent, white fiber-glass. This enables the Centre Metz to enjoy sufficient light during the day and picturesque nightscape. The towering spire rising from the “tip of the hat” is 77 meters high, alluding to the 1977 opening date of the original Centre Pompidou in Paris. What merits such thorough scrutiny is that a large rooftop does not press heavily on the main body of the centre beneath it; rather, it is propped up by the beams outside of the museum without directly touching the wall, so ventilation is ensured throughout the building.
負責(zé)建筑內(nèi)部設(shè)計的是讓•德•加斯汀納。3個長方體的常設(shè)展廳，如同3個相互間隔45度角的抽屜，從“草帽”掀起的褶皺下成扇形錯落伸出。寬大的落地玻璃覆蓋展廳外墻，既滿足了常設(shè)展品對溫度、濕度的苛刻要求，又為展廳提供了充足的采光。更美的還在于，從這三只“眼睛”向外張望，正好能看到梅茲城市的地標——哥特式大教堂、城堡，以及100年前在德國占領(lǐng)下建成的萊茵火車站。
Jean de Gastines is responsible for the interior design. The three rectangular exhibition halls stretch out from the wrinkles of “the straw hat” in a fan shape, like three drawers which are separated in a 45 degree angle from each other. Large floor to ceiling windows cover the exterior wall, which not only meets the strict requirement for temperature and humidity control, but also provides the halls with adequate lighting during the day. What’s more beautiful is looking through the “three eyes’, you can see Metz city’s landmarks – the Gothic cathedral, the Castle and the Rhine Railway Station which was built under German occupation 100 years ago.
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