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奥克兰战争纪念博物馆于1929年在奥克兰领地公园建成，它是一座重要的新古典主义建筑，体量巨大，材料与细节丰富，彩色玻璃天幕提供充足的光照。1960年向南侧扩建，只是细节与材料变得更为简单。2006年的扩建包围出一个南侧中庭，加入了一个新的公众入口，并置入了“tanoa”的形式（一种太平洋风格的碗状式样)。

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).

▼南侧中庭及碗状建筑， south atrium and inserted bowl form ©️ Dennis Radermacher

这座欧式建筑位于奥克兰领地公园的Pukekawa，与 Tamaki Makarau（毛利语中的“奥克兰“）的文化遗产并不协调。在内部，观众体验需要转变，以认可mana whenua（毛利语中的“本土人民”）的地位，并加以改进以强调奥克兰多样化的人口组成。反复的增建阻碍了南北之间的自然联系，导致了游客糟糕的方位感受。这些问题在未来博物馆总体规划中得到解决，这释放了这座国家重要建筑的潜力，从而创造出转换式的双重文化建筑，实现了新西兰殖民历史与当今之间的对话。

设计经过大量的商讨、咨询，将这座建筑塑造为一个符合文化礼仪和博物馆运作、满足公众的期望以及多样化管理的作品。遗产工程的资源许可书（Resource Consent）是在与遗产保管所有者深入接触后签署的。缜密的分析促使了博物馆遗产指导原则的改善。这次设计表达了尊重但又十分当代，回应了遗产体量、比例、材料以及对细节的关注，将现代主义博物馆的需求和新的空间类型整合在一起。在功能性需求被证实必要的情况下，对遗产的干预才得以允许，并以与原始结构同等的质量实施。

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.

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.

▼中庭入口， entrance to the atrium ©️ Dennis Radermacher

▼碗状结构下方的公共空间， public space under the bowl-shaped structure ©️ Dennis Radermacher

总体规划的第一阶段包括Te Ao Mārama南中庭、阵亡纪念碑画廊和Te Ara Oranga南走廊。Te Ao Mārama为观众的双重文化体验树立了一个具有国际意义的先例，在这里，建筑、艺术作品和展览内容融合了本土和太平洋的叙事。tanoa碗状形式被完全实现，并在丰富的流动性材料语言中得以维持，创造了一个用于迎接、抵达、导航、餐饮以及商店的市民空间。

新的大道将Te Ao Mārama中庭与毛利大厅（Māori Court）连接起来，以直观的方式引导游客并揭晓新的画廊。画廊已经全面更新了地板和天花板的服务设施，显露出遗产体量、窗户和自然采光，并引用了原有形式。

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.

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.

▼走廊，corridor ©️ Dennis Radermacher

1929年的建筑以其来自欧洲和大洋洲的材料而闻名。在新设计中，形式和材料向经典致敬，使用了美丽的水磨石地板和玄武岩门槛、流动纤维石膏天花吊顶、铜和钢质大门、黄铜条带镶嵌以及大量使用的木材贴面——所有这些均为今日的游客而考虑。其目的是带来一个整体的统一体验，使之成为一座最终超越特定时代的博物馆。

Tawa面板引导游客，并为内部大道带来温暖色调，将修复后的开向毛利大厅的塔斯马尼亚黑木大门与交错的Tawa和黑木面板无缝整合在一起。拥有900年历史的古老河流Totara被恢复，用作进入南部中庭的仪式性入口。

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.

▼选取的材料向经典致敬，又符合今日使用者的需求，the form and materials pay homage and at the meantime are reconsidered for today’s visitor ©️ Dennis Radermacher

▼首层平面图， ground floor plan ©️ Jasmax

▼上层平面图， upper floor plan ©️ Jasmax

▼剖面图， upper floor plan ©️ Jasmax

Completion date：2021
in collaboration with designTRIBE – Architect：fjcstudio
Architects：Jasmax
Heritage Architects：Salmond Reed Architects
Acoustics：Marshall Day Acoustics Pty Ltd

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