作为游客和当地人的目的地，扩建后的博物馆将在正常运营时间后向周边社区开放。它将容纳一个多用途的空间，零售，定向剧院，改变画廊和教育项目，以及博物馆和公共汽车在主要通道下车。

A destination for both tourists and locals, the expanded museum will open itself to the surrounding community beyond normal operating hours. It will house a multi-purpose space, retail, orientation theatre, changing gallery and educational programs as well as the museum and a bus drop-off on the main thoroughfare. 

 © Davis Brody Bond

戴维斯·布罗迪·邦德

来自建筑师：在成立32年来，国家大黑人在蜡像馆已经经历了显著的增长。每年有超过15万游客，是马里兰州最受欢迎的旅游景点之一。与社区的联系一直是博物馆的一个重要焦点，它对它的社区和它的个别赞助者产生了深远的积极影响。将博物馆设在巴尔的摩东部奥利弗区的决定，是出于培养该机构与其社区之间牢固关系的愿望而作出的一个有意识的决定。博物馆的愿景支持“教育、历史和榜样，以帮助文化上处于不利地位的青年克服疏离感、失败主义和绝望感。”

From the architects: In the thirty-two years since its founding, The National Great Blacks in Wax Museum has experienced significant growth. With over one hundred fifty thousand visitors annually, it is one of the Maryland’s most beloved tourist attractions. Connection to the community has always been an important focus of the Museum; it has had a profound positive impact on its neighborhood and among its individual patrons. The decision to locate the museum to the Oliver district of East Baltimore was a conscious one stemming from a desire to nurture a strong relationship between the institution and its community. The museum’s vision endorses “education, history, and example to help culturally disadvantaged youth overcome feelings of alienation, defeatism and despair.”

 East Elevation. Image © Davis Brody Bond

东海拔。图像(戴维斯·布罗迪·邦德)

博物馆的设计首先在城市规划中进行，其中确定了三项指导原则：激活街道边缘、加强绿地和延长博物馆的运营时间，以最大限度地发挥城市街区的潜力。这些指导原则直观地放置博物馆画廊和公园在后方，以最大限度地增加绿地，并缓冲他们远离道路上的噪音和相邻的排屋。与此形成鲜明对比的是，博物馆的多功能、零售、定向剧院、更换展厅、教育功能和公共汽车下车都被放置在东北大道的主干道上，以激活街景，并将博物馆在社区中的存在扩大到正常营业时间以外。

The design of the museum began with an exercise in urban planning which identified three guiding principles: activate the street edge, enhance greenspace, and extend the operational hours of the museum to maximize the potential of the city block. These guiding principles intuitively placed the museum galleries and park in the rear to maximize the amount of greenspace and buffer them from road born noise and the adjacent row homes. In contrast the museum’s multi-purpose, retail, orientation theatre, changing gallery, educational functions, and the bus drop-off are all placed along the main thoroughfare of East North Avenue to activate the streetscape and extend the museum’s presence in the community beyond normal operating hours.

该设计团队与马里兰州历史信托基金和城市设计建筑审查小组合作，试图整合东北大道两侧的两本历史书籍，以补充和对比上下浮动的书籍。在东部，BauernschmitMansion大厦(建于1893年)将进行修复，并将在未来作为会议和教育中心发挥作用，而位于大楼西端的消防局(建于1894年)将保留外墙，并进行全面的内部改造，以便将来作为儿童博物馆使用。历史建筑锚定了遗址的两端，使新博物馆能够漂浮在历史建筑之上，并向外螺旋移动，并辅之以一种开放和透明的底层体验。

Working with Maryland Historical Trust and the Urban Design Architectural Review Panel, the design team sought to integrate two historic bookends at each side of East North Avenue to both compliment and contrast the floating volume above and in between. To the east, the Bauernschmidt Mansion (built in 1893) will be renovated with a period correct restoration and will function in the future as a conference and educational center, while the Firehouse, (built in 1894) located at the west end of the block, will retain the exterior walls and receive a full interior retrofit for its future use as a children’s museum. The historic structures anchor both ends of the site allowing the new museum to float above and spiral outward over the historic structures complimented by an open and transparent ground floor experience.

 © Davis Brody Bond

戴维斯·布罗迪·邦德

大的悬垂在两侧和后方，提供被动阴影的画廊，创造有盖的人行道，并形成自然进入点的地面水平。沿东北大街的结构悬空形成了一个天然的广场和入口点，以加强这一重要的城市边缘。此外，该设计还利用30‘坡地地形，通过一系列蓄水池和人工湿地梯田，创造了一个重力收集雨水收集系统，同时整齐地将一个自然通风的70个停车场放在后院下面。

Large overhangs to the sides and rear, provide passive shading to the galleries, create covered walkways, and form natural entry points for the ground level. The structural overhang along East North Avenue forms a natural marquee and entry point to reinforce this important urban edge. The design additionally utilizes the sites 30’ sloping topography to create a gravity collected rainwater harvesting system via a series of cisterns and constructed wetland terraces while neatly tucking a naturally ventilated 70 stall parking garage under the rear yard.

 Courtyard. Image © Davis Brody Bond

院子。图像(戴维斯·布罗迪·邦德)

博物馆的画廊序列是以纪念花园为中心的一次按时间顺序排列的体验。通过螺旋式地塑造这种线性体验，建筑创造了历史、空间和展览的重叠，在加纳的阿肯语“Sankofa”中，这意味着：“回到过去，我们才能向前迈进；所以我们理解为什么和如何成为今天的我们。”这个计划和空间的上升螺旋创造了一个建筑隐喻，用于我们过去的复辟，以便向前迈进。

The gallery sequence for the museum is planned as a chronological experience centered on the memorial garden. By spiraling the shape of this linear experience the building creates an overlap of history, space, and exhibits that speaks to the word in the Akan language of Ghana ‘Sankofa’ which means; "to go back and reclaim our past so we can move forward; so we understand why and how we came to be who we are today.” This ascending spiral of program and space creates an architectural metaphor for the reclamation of our past in order to move forward into the future.

 Site Plan. Image © Davis Brody Bond

现场计划。图像(戴维斯·布罗迪·邦德)

一楼画廊通过使用平缓倾斜的展览地板和一系列偏移展览墙壁，整合了现场的自然地形。通过模仿1：30的场地坡度，底层画廊创造了一个有机的展览序列，视觉上连接到公园后面。一级画廊将展出非洲以外的展品，直至工业革命。博物馆的2层展览馆将是从工业革命到现在的展品的所在地，位于上述浮动通道玻璃和超高性能混凝土(UHPC)的体积内。从过去到现在到未来的自然发展达到了三楼教育和多用途空间的顶峰，这些空间向外一直延伸到屋顶公园。作为未来的象征，公共屋顶提供了一个更广阔的世界视野，鼓励游客超越眼前的环境去思考，同时提供大巴尔的摩和地平线的视野。

The first floor gallery integrates the natural terrain of the site through the use of a gently sloping exhibit floor and a series of offset exhibit walls. By emulating the 1:30 site slope the ground floor gallery creates an organic exhibit sequence that visually connects to the park beyond. The level 1 gallery will house exhibits from Out of Africa up to the Industrial Revolution. The museum’s level 2 galleries will be home to exhibits ranging from The Industrial Revolution to the present and are situated within the floating channel glass and Ultra High Performance Concrete (UHPC) volume above. The natural progression from past to present to future culminates in the third floor education and multi-purpose spaces that open outward to the rooftop park. Symbolic of the future, the public rooftop provides a broader view of the world encouraging visitors to think beyond their immediate surrounding while providing views of greater Baltimore and the horizon.

 © Davis Brody Bond

戴维斯·布罗迪·邦德

该建筑采用简单的材料调色板木材，玻璃，超高性能混凝土(UHPC)和金属面板.对比度通过纹理，阴影和阴影来创造黑白的体验。底层主要是用玻璃覆盖，以最大限度地提高从东北大街到公园以外的透明度。较低的画廊外壳，虽然主要是在玻璃覆盖使用一系列的弹性玻璃和偏移墙，以允许周围的光线进入画廊，同时限制直接的阳光。浮动上部的体积使用一个管理墙系统，通过使用UHPC和通道玻璃的复合幕墙系统来缓冲画廊。UHPC肋骨提供了一个支撑通道玻璃外壳的结构框架。该腔是背光的条形LED灯，由光伏屋顶面板供电，以提供一个发光的影响，类似于通过蜡烛的茎的光。

The building utilizes a simple material palette of wood, glass, ultra-high performance concrete (UHPC), and metal panel. Contrast is provided through texture, shade, and shadow to create a monochrome experience of black to white. The ground floor is largely clad in glass to maximize the transparency from East North Avenue to the park beyond. The lower gallery enclosure, though largely clad in glass uses a series of spandrel glass and offset walls to allow ambient light into the gallery while limiting direct sunlight. The floating upper volume uses a trombe wall system to buffer the galleries through the use of a composite curtain wall system of UHPC and Channel Glass. The UHPC ribs provide a structural frame that hold the channel glass skin. The cavity is backlit with strip LED lights powered by photovoltaic roof panels to provide a glowing affect similar to light passing through the stem of a candle.

 Roof. Image © Davis Brody Bond

屋顶。图像(戴维斯·布罗迪·邦德)

新的国家大黑人蜡像馆将成为社区居民和游客的目的地；充满艺术、文化、教育和社区欢迎感的充满活力的可持续性模式。

The new National Great Blacks in Wax Museum will be a destination for neighborhood residents and tourists alike; a vibrant model of sustainability filled with arts, culture, education, and a welcoming sense of community. 

希望博物馆建成后能实现LEED黄金。

It is hoped that the museum will achieve LEED Gold upon completion. 

建筑师戴维斯布罗迪邦德位置1601东北大街，巴尔的摩，MD 21213，美国类别博物馆建筑，室内，规划戴维斯布罗迪邦德S/MEP工程，照明，可持续性，安全，AV/IT，代码咨询Buro Happold网站

Architects Davis Brody Bond Location 1601 East North Avenue, Baltimore, MD 21213, United States Category Museum Architecture, Interiors, Planning Davis Brody Bond S/MEP Engineering, Lighting, Sustainability, Security, AV/IT, Code Consulting Buro Happold Site & Civil Engineering STV Inc Landscape Architecture Gustafson Guthrie Nichol Historic Preservation EHT Traceries Inc Kitchen Consultant Hopkins Foodservice Specialists Inc Cost Estimating Pete Federman FAIA Exhibit Design Taylor Studios Inc Client The National Great Blacks in Wax Museum Project Manager EBEI Area 135000.0 ft2 Photographs Davis Brody Bond