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二战时，梅兹是法国马其诺防线后的第一个城市。然而，先前以采矿业为支柱的梅兹，近年来随着矿业的衰落，许多人因失业而远走他乡。为扭转格局，政府决定投入巨资兴建梅兹蓬皮杜中心(以下简称“梅兹馆”)，希望艺术能给江河日下的经济注入新鲜活力。蓬皮杜中心首任馆长蓬杜•于丹说，“博物馆不再是存放失去了社会功能的作品的祭坛，而是艺术家会见公众，并激发公众创意的地方。”果然，这里在日后成为民众的波普建筑宫殿，创造了被全世界复制的民主文化空间的新概念。

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，梅兹馆呢？“我们希望梅兹馆也能代表类似的精神，”其主要建筑师之一坂茂说，“不是复制旧有的，而是同样具有对公众的开放性。”

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，这位1957年生于日本的建筑师，因其纸管建筑设计在灾区应急重建方面的贡献而获得国际声望。 “是的，像一个马戏团大帐篷，”坂茂说，“市民可以聚集在这里，这是一个大集会场。”说到最为惹眼的“草帽屋顶”，坂茂透露，其灵感来自于他7年前买的一顶竹子编织、油纸糊面的中国斗笠。

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.

整个屋顶由东方传统建筑常用的木结构支撑。用云杉做成的总长18公里，重650吨的梁在屋顶构成结实而有韧度的多层网状结构，上面覆盖着8,000平方米的半透明白色玻璃纤维。这使得该馆白天光线充足，晚上夜景也非常靓丽。从“帽尖”处升起的冲天细柱，最高点离地77米，象征1977年在巴黎开馆的蓬皮杜中心。值得特别细看的是，这样硕大的屋顶，并非重重扣在其下的主体建筑上，而是通过位于博物馆外部的柱子支撑，本身不与墙体直接接触，保证了建筑内外空气流通。

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.

负责建筑内部设计的是让•德•加斯汀纳。3个长方体的常设展厅，如同3个相互间隔45度角的抽屉，从“草帽”掀起的褶皱下成扇形错落伸出。宽大的落地玻璃覆盖展厅外墙，既满足了常设展品对温度、湿度的苛刻要求，又为展厅提供了充足的采光。更美的还在于，从这三只“眼睛”向外张望，正好能看到梅兹城市的地标——哥特式大教堂、城堡，以及100年前在德国占领下建成的莱茵火车站。

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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