2012年10月，根特祭坛画的修复活动开始了，其中涉及到范艾克兄弟对原始油漆层的重新曝光。该项目的前两个阶段已于2020年春季完成。最后一个阶段，即内部面板的上层注册，将在2022年至2025年之间进行。根特祭坛画自20世纪80年代以来一直被安装在别墅礼拜堂内。从宗教和文化旅游的角度来看，委员们决定为祭坛画提供一个新的位置。
In October 2012, the restoration campaign of the Ghent Altarpiece which involved the re-exposure of the original layers of paint by the Van Eyck Brothers commenced. The first two phases of the project were completed in spring 2020. The last phase, the upper register of the inner panels, will follow between 2022 and 2025. The Ghent Altarpiece has been installed in the Villa Chapel since the 1980s. From a religious and cultural-tourist point of view, the commissioners decided to provide a new location for the Altarpiece.
这个新的位置成为圣事礼拜堂，是高唱诗班的中央和最大的拱形礼拜堂。同时，在大教堂的地下室和唱诗班里建造了一个新的游客中心。对大教堂的所有部分和相邻的会堂来说，最佳的可及性是非常重要的。整个项目是在佛兰德斯旅游的先锋项目–佛兰德斯大师主题的杠杆项目（2018-2020年期间）的框架内进行的。
This new location became the Sacrament Chapel, the central and largest apsidal chapel of the high choir. At the same time, a new visitor center was built in the crypt and the choir from the cathedral. Optimal accessibility to all parts of the cathedral and the adjacent chapter house was of huge importance. The entire project took place within the framework of the Leverage project on the theme of Flemish Masters (period 2018-2020), the spearhead project of Tourism Flanders.
可见性可及的特点。进入大教堂后，你会立即注意到整个大教堂的伟大之处。位于北横厅的游客中心的入口旨在与大教堂的整体相融合，但同时也要吸引人们的注意力。通过使用教堂中已有的材料（木头、微妙的黄铜填充物），储物柜融入了整体，并起到了镶板的作用（参考了南横厅入口处的对置镶板）。开放的黄铜入口门吸引了人们的注意力，并邀请游客进入游客中心。
Visibility accessible character. Upon entering the cathedral, you immediately notice the greatness of the whole. The entrance to the visitor center in the northern transept was intended to blend in with the cathedral as a whole, but at the same time to attract attention. By using materials already present in the church (wood, subtle brass infills), the lockers blend into the whole and function as a paneling (a reference to the opposing paneling of the entrance portal in the southern transept). The open brass entrance door attracts attention and invites the visitor to enter the visitor center.
毫不含糊的建筑语言。各个空间通过整合一个反复出现的、明确的建筑而联系在一起，其特点是细节设计简单，材料选择完全一致。反复出现的元素在零散的场地中起到了引导作用。这是对现有宝贵环境的最大尊重。黄铜材料形成了一条金线，在历史框架中绣出了新的干预措施（坡道、门、柜台、楼梯、栏杆等）。它引导游客参观这个项目。
Unambiguous architectural language. The various spaces were linked together by integrating a recurring, unambiguous architecture, characterized by simplicity in detailing and a thoroughly homogeneous choice of materials. The recurring elements act as a guide in the fragmented site. This with the greatest respect for the existing and valuable environment. The brass material forms the golden thread that embroiders the new interventions in the historical framework (ramps, doors, counter, stairs, railings, etc.). It guides the visitor through the project.
木制家具（储物柜、橱柜……）扮演着次要的角色。在黄铜明确要求自己存在的地方，木制的干预相当巧妙地塑造了家具，这对于游客中心的运作是必要的。由于黄铜和木质元素已经频繁出现在大教堂中，新的填充物采用相同的材料，再次有助于创造一个连续的整体。最后，混凝土是路线的整体支撑，它本身并不占主导地位，而是一直在支撑（聚混凝土的地板，裸露混凝土的现浇电梯井，……）。混凝土的柔和灰色使游客的注意力集中在大教堂的天然石材元素上。浅灰色的水泥砖，与流通区域的聚混凝土具有相同的色调，构成了地下室的地板。
The wooden furniture (lockers, cabinets, …) play the second fiddle. Where brass clearly claims its presence, the wooden interventions rather subtly shape the furniture, which is necessary for the functioning of the visitor center. Because brass and wooden elements are already frequently present in the cathedral, the new infills, in the same material, again contribute to the creation of a continuous whole. Finally, the concrete is the overall support for the route in which it itself never dominates but always supports (floors in poly concrete, the cast-in-place lift shaft in exposed concrete, …). The soft gray of the concrete keeps the visitor’s attention on the natural stone elements of the cathedral. Light gray cement tiles, in the same color tonality as the poly concrete in the circulation areas, form the flooring in the crypt.
Architects: Bressers Architecten
Area: 6125 m²
Year: 2021
Photographs: Tim Van de Velde
City:Ghent
Country:Belgium