奥克兰战争纪念博物馆 - Te Ao Marama South Atrium
Auckland War Memorial Museum - Te Ao Marama South Atrium
由专筑网一颗尘土，小R编译
奥克兰战争纪念博物馆于1929年在奥克兰地区成立，它是一座重要的新古典主义建筑，具有体量大、材料和细节丰富等特点，同时还有大面积的彩色玻璃照明。1960年，建筑师应用一些简单的材料和细节将建筑向南扩建。2006年建筑内改造了一个南部中庭，形成了一个新的公共入口，并插入了一个碗状空间。
Auckland War Memorial Museum was established in Auckland Domain in 1929 with a significant neo-classical building of generous volumes, proportions, rich materiality, detailing and powerful stained-glass roof lighting. Future additions in 1960 extended south albeit with simpler details and materiality. The 2006 works internalised the South Atrium, with a new public entry and inserted the “tanoa” (a pacific bowl form).
这座建筑位于奥克兰Pukekawa，曾经与Tamaki Makarau的文化遗产格格不入。在建筑的内部，游客的体验需要了解传统部落，同时转变为与奥克兰多样化的人口相关的内容。这种反复迭代的加法阻碍了南北之间的自然联系，导致了糟糕的游客体验。
这些问题在未来博物馆总体规划中得到了解决，释放了国家重要建筑的可能性，创造了转型的双文化建筑，实现了新西兰殖民历史和今天的对话。
Sited on Pukekawa, in Auckland Domain, the European architecture was at odds with the cultural heritage of Tamaki Makarau. Inside, the visitor experience required transforming to acknowledge mana whenua, and evolve to be relevant to Auckland’s diverse population. The iterative additions blocked natural connections between the north and south leading to a poor visitor orientation experience.
These issues were addressed in the Future Museum Masterplan, unlocking the potential of the nationally significant building to create transformational bicultural architecture, enabling dialogue between New Zealand’s colonial history and today.
广泛的咨询塑造了符合文化协议和博物馆运营的作品，既能满足公众的期望又可以施行多样化的治理。有关文物工程的资源同意书来源于与文物相关者深入接触后。详细的分析推动了博物馆遗产指导原则的发展。这是对传统体量、比例、材料和细节的关注与尊重，同时也是对当代设计的回应。建筑师将现代博物馆的要求和新的空间类型结合起来，在功能需求得以证明，同时以与原始结构同等质量的方式交付的情况下，允许对遗产进行干预。
Te Ao Mārama南中庭、纪念碑画廊和Te Ara Oranga南通道是总体规划的第一阶段。
Te Ao Mārama树立了一个具有国际意义的先例，对于双文化游客来说，这里的建筑、艺术品和内容融合了传统部落和太平洋的故事。碗状形式得以充分实现，并通过丰富的流动材料语言创造了一个欢迎、到达、定向、饮食和零售的公共集散空间。
Extensive consultation shaped the works to comply with cultural protocols and museum operations, meet public expectations, and a diverse governance. Resource Consent for the heritage works were obtained by in-depth engagement with heritage stakeholders. Careful analysis led to the development of museum heritage guiding principles. This delivered respectful, yet contemporary design responses to heritage volumes, proportions, materials and attention to detail to integrate modern museum requirements and new space typologies. Heritage interventions were permitted where functional requirements could be proven and delivered with an equivalent quality of the original fabric.
Te Ao Mārama South Atrium, Cenotaph galleries and Te Ara Oranga Southern Pathway are the first phase of the Masterplan to be delivered.
Te Ao Mārama sets a new precedent, of international significance, for a bi-cultural visitor experience where architecture, artwork and content integrate mana whenua and Pacific narratives. The tanoa bowl form is fully realised and held within a rich flowing material language, creating a civic space for welcome, arrival, orientation, eating and retail.
新的林荫大道将各个空间连接起来，直观地引导游客并展示新的画廊。画廊已经全面更新，提供了全方位的展览服务，呼应了传统体量，窗户和自然采光都有参考形式。
1929年的建筑以来自欧洲和大洋洲的材料而闻名。设计方案应用了水磨石地板和玄武岩门槛，液体纤维灰泥天花板，青铜和钢铁大门，黄铜条镶嵌和木材贴面，所有因素都服务于现代游客，目的是给博物馆带来统一感，最终超越时代。
Tawa面板引导游客，为内部空间带来温暖的感受，将经过修复的Tasmania黑木门开向Maori院落，同时不同的面板交替出现，拥有900年历史的古老河流Totara也应用于进入南侧中庭的主要入口。
New boulevards connect Te Ao Mārama to the Māori Court, intuitively guiding visitors and revealing new galleries. Galleries have been comprehensively renewed with new gallery services to floors and ceiling shields that reveal heritage volumes, window’s and natural lighting, with referential forms.
The 1929 architecture is renowned for its materiality from Europe and Australasia. The form and materials in the new interventions pay homage with beautiful terrazzo flooring and basalt thresholds, fluid fibrous plaster ceiling shields, bronze and steel portals, brass strip inlays and extensive use of timber veneers – all reconsidered for today’s visitor. The intention is to bring a holistic and unifying experience to the museum which ultimately transcends specific eras.
Tawa veneer panels guide visitors and bring warmth to the internal boulevards, which seamlessly integrate the restored Tasmania Blackwood doors opening into the Maori Court with alternating bands of Tawa and Blackwood veneer. 900-year old river recovered Totara is used for the ceremonial gateway entry into the south atrium.
建筑设计：fjcstudio, Jasmax, designTRIBE
地点：新西兰，奥克兰
项目时间：2021年
类别：博物馆
团队：
建筑设计：fjcstudio, designTRIBE
建筑师：Jasmax Architects
遗产保护建筑师：Salmond Reed Architects Heritage Architects
声学设计：Marshall Day Acoustics Pty Ltd
摄影：Dennis Radermacher
Architect: fjcstudio、Jasmax、designTRIBE
Location: quckland, quckand, New zealand
Project Year: 2021
Category: Museums
Team:
Architect: fjcstudio in collaboration with designTRIBE
Architects: Jasmax Architects
Heritage Architects: Salmond Reed Architects Heritage Architects
Acoustics: Marshall Day Acoustics Pty Ltd
Photographer: Dennis Radermacher
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