奧克蘭戰爭紀念博物館 - Te Ao Marama South Atrium  
Auckland War Memorial Museum - Te Ao Marama South Atrium  



由專筑網一顆塵土，小R編譯

奧克蘭戰爭紀念博物館于1929年在奧克蘭地區成立，它是一座重要的新古典主義建筑，具有體量大、材料和細節豐富等特點，同時還有大面積的彩色玻璃照明。1960年，建筑師應用一些簡單的材料和細節將建筑向南擴建。2006年建筑內改造了一個南部中庭，形成了一個新的公共入口，并插入了一個碗狀空間。

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).



這座建筑位于奧克蘭Pukekawa，曾經與Tamaki Makarau的文化遺產格格不入。在建筑的內部，游客的體驗需要了解傳統部落，同時轉變為與奧克蘭多樣化的人口相關的內容。這種反復迭代的加法阻礙了南北之間的自然聯系，導致了糟糕的游客體驗。

這些問題在未來博物館總體規劃中得到了解決，釋放了國家重要建筑的可能性，創造了轉型的雙文化建筑，實現了新西蘭殖民歷史和今天的對話。

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.



廣泛的咨詢塑造了符合文化協議和博物館運營的作品，既能滿足公眾的期望又可以施行多樣化的治理。有關文物工程的資源同意書來源于與文物相關者深入接觸后。詳細的分析推動了博物館遺產指導原則的發展。這是對傳統體量、比例、材料和細節的關注與尊重，同時也是對當代設計的回應。建筑師將現代博物館的要求和新的空間類型結合起來，在功能需求得以證明，同時以與原始結構同等質量的方式交付的情況下，允許對遺產進行干預。

Te Ao Mārama南中庭、紀念碑畫廊和Te Ara Oranga南通道是總體規劃的第一階段。

Te Ao Mārama樹立了一個具有國際意義的先例，對于雙文化游客來說，這里的建筑、藝術品和內容融合了傳統部落和太平洋的故事。碗狀形式得以充分實現，并通過豐富的流動材料語言創造了一個歡迎、到達、定向、飲食和零售的公共集散空間。

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.



新的林蔭大道將各個空間連接起來，直觀地引導游客并展示新的畫廊。畫廊已經全面更新，提供了全方位的展覽服務，呼應了傳統體量，窗戶和自然采光都有參考形式。

1929年的建筑以來自歐洲和大洋洲的材料而聞名。設計方案應用了水磨石地板和玄武巖門檻，液體纖維灰泥天花板，青銅和鋼鐵大門，黃銅條鑲嵌和木材貼面，所有因素都服務于現代游客，目的是給博物館帶來統一感，最終超越時代。

Tawa面板引導游客，為內部空間帶來溫暖的感受，將經過修復的Tasmania黑木門開向Maori院落，同時不同的面板交替出現，擁有900年歷史的古老河流Totara也應用于進入南側中庭的主要入口。

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.









建筑設計：fjcstudio, Jasmax, designTRIBE
地點：新西蘭，奧克蘭
項目時間：2021年
類別：博物館

團隊：
建筑設計：fjcstudio, designTRIBE
建筑師：Jasmax Architects
遺產保護建筑師：Salmond Reed Architects Heritage Architects
聲學設計：Marshall Day Acoustics Pty Ltd  
攝影：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