质朴的乡村生活经历对画家彼得·奥古斯特·伯克斯提格（Peter August Böckstiegel，1889-1951）带来了深刻的影响，并在其朴素的绘画风格中得到了细致的展现。伯克斯提格父母曾经居住过的祖宅（后续成为他的私人住所）及其所在的乡村环境也频繁成为他画作中的主角。
▼项目概览，project overview ©Claudia Dreysse
The painter Peter August Böckstiegel (1889-1951) got strongly influenced by the nativeness and simplicity of peasant life in his homeland. His groundedness find expression in his works, and thus, the rural environment of his parents’ house – which later was again his private residence – repeatedly became motifs for his paintings.
This very approach was followed by the design of the open space, which integrates the new museum building into the environment of the former residential building. We were taking the existing, rural-like structures and strengthen these in their simplicity and clarity.
▼将建筑融入周边景色，new museum integrated into environment ©Claudia Dreysse
In the motive of the orchard meadow, the change of high and cut fields and meadows and finally the grids in the corn are reflected. The new order carefully covers this basis and becomes legible. The materials and shapes of the lawn paths and the in-situ concrete surfaces with brushed surface are reduced to a simple shape and reveal the manufacturing process. The original craftsmanship is the principle of the design.
▼通向博物馆的台阶采用现浇混凝土，steps towards museum made of in-situ concrete ©Claudia Dreysse
▼台阶掩映在草丛中， steps hidden in the grass ©Claudia Dreysse
▼几何式屋顶，geometry of the roof ©Claudia Dreysse
▼博物馆入口，entrance of the museum ©Claudia Dreysse
The paths to and around the museum building are layered on top of the area. Horizontal plains seem to be floating over the slanted meadow slope. The design of the usable areas on top of the building are reflecting the geometry of the roof – they are detached as “splinters” from the museum in the meadow.
▼博物馆屋檐下的休息空间，rest space under the museum eaves ©Claudia Dreysse
▼草丛中的小型互动空间，small activity space within the meadows ©Claudia Dreysse
The fruit trees represent today’s productive landscape aspect. We have developed an irregular grid pattern from the existing trees and added new plantings to it. This is how the pattern of the fruit trees follows the motif of the arrayed sheaves of corn. It also forms the basis for changing mowing patterns, which are adapted to the use of the space, and consequently the tree axles are either open or small clearings are mowed for accomodating events. The visual connection between Böckstiegel House and the new museum building was created by removing some disruptive decorative shrubs.
▼果园中碎石的小路，path with fine gravel through the orchard ©Claudia Dreysse
A mowed path covered with fine gravel leads through the orchard offering some great views during a stopover. Visual connections with the Böckstiegel House become evident inside and through the adjacent forest and alongside the forest borders, which are again painting motifs of Peter August Böckstiegel. Adjacent to the path there is a “green classroom” for museum education with a view towards the house of Böckstiegel’s birth.
▼从博物馆可以看到故居，view of the Böckstiegel House from museum ©Claudia Dreysse
▼窗外质朴的乡村景观， rural landscape outside the window ©Claudia Dreysse
▼平面，plan ©Planergruppe Oberhausen
PROJECT: MUSEUM PETER AUGUST BÖCKSTIEGEL
LANDSCAPE ARCHITECTS: PLANERGRUPPE OBERHAUSEN
ARCHITECTS: HABERMANN DECKER ARCHTEKTEN, LEMGO
PLANNING PHASE: 2015 TO 2018
REALIZATION YEAR: 2018
AREA: 1.100 SQ. M.
PHOTOGRAPHS: CLAUDIA DREYSSE