9·11纪念馆馆长爱丽丝·M·格林沃尔德(Alice M.Greenwald)描述说：“博物馆的建筑师们不得不应对一系列具有挑战性的物质条件和保护任务。”“但是，更重要的是，他们还必须考虑到网站的神圣性，这就要求人们对地点的真实性如何影响游客的情绪有一个非同寻常的理解。”

“The architects of the Museum had to respond to a challenging set of physical conditions and preservation mandates,” described Alice M. Greenwald, Director of the 9/11 Memorial Museum. “But, even more importantly, they also had to consider the sanctity of the site, which required an extraordinary understanding of how authenticity of place could impact visitors’ emotions.”

这座11万平方英尺的博物馆旨在“展示和保存9·11事件的历史和记忆，同时记录袭击的影响并探讨其持久的意义”。这座博物馆最初是从世贸中心(World Trade Center)的广场和由Sn hetta设计的玻璃展馆进入的。在这里，为9/11遇难者家属提供了一个小礼堂和私人空间，在游客被引导下由“丝带”组成的温柔队伍之前。

Designed to “present and preserve the history and memories of the events of 9/11, while documenting the impact of the attacks and exploring their enduring significance,” the 110,000 square foot museum is first accessed from the plaza of the World Trade Center and through a glass pavilion designed by Snøhetta. Here, a small auditorium and private space for 9/11 victims’ families is provided, before visitors are guided down a gentle procession formed by “the Ribbon.”

 3. Model of the “Ribbon”, the Ramp that Gently Descends and Guides Visitors from the Plaza to the Bedrock Level. Image © Davis Brody Bond

3.模型的“丝带”，缓缓下降的坡道和引导游客从广场到基岩层。图像(戴维斯·布罗迪·邦德)

 Section. Image © Davis Brody Bond and Snøhetta

部分。图像(戴维斯·布罗迪·邦德和Sn hetta)

这条丝带的灵感来源于在袭击发生后用来清除现场残骸的坡道。它是博物馆的主要流通地，带领游客体验一种沉思的体验，它揭示了9·11事件的故事，最终在基岩层面达到顶峰，世贸中心的塔楼被剪掉的基柱仍在那里。

The Ribbon was inspired by the ramp used to remove debris from the site in the aftermath of the attacks. It serves as the Museum’s main circulation, leading visitors through a contemplative experience that reveals the story of 9/11 before ultimately culminating at the bedrock level where the sheared base columns of the World Trade Center towers remain.

整个像样的框架景观提供了一个泥浆墙的一瞥，“最初的挡土墙是为了抵御垃圾填埋场和河流的侧向力量而建造的，在塔楼倒塌后幸存下来。”

Throughout the decent, framed views offer a glimpse of the slurry wall, "the original retaining wall that was built to withstand the lateral forces of landfill and river, and which survived the collapse of the towers."

 Plan of the Bedrock Level. Image © Davis Brody Bond

基岩层规划。图像(戴维斯·布罗迪·邦德)

在丝带的尽头，“下降继续沿着维西街的楼梯(”幸存者的楼梯“)，这些楼梯被数百人用来逃到安全的9/11。它最终导致了两个展览空间和基金会大厅，这是博物馆的巅峰空间，其巨大的规模传达了遗址的巨大意义，并增强了人们对过去所没有的东西的认识。“

At the end of the Ribbon, “the descent continues down along the Vesey Street Stairs (“Survivors’ Stairs”), which were used by hundreds to escape to safety on 9/11. It ultimately leads to two exhibition spaces and Foundation Hall, the Museum’s culminating space whose sheer scale conveys the enormity of the site and reinforces awareness of the absence of what once was there.”

这两个展览空间位于双子塔的脚印内，就在纪念馆的倒影池下面。历史展览馆取代了北塔，而纪念展览、教育中心和原建筑的发掘占据了南塔的空间。

The two exhibition spaces are located within the footprints of the Twin Towers, directly below the Memorial’s reflecting pools. A historical exhibition gallery takes the place of the North Tower, while a memorial exhibition, education center, and excavation of the original structure occupies the space of the South Tower. 

 World Trade Center Tridents in the entry pavilion by Snøhetta. Image © Amy Dreher

由Sn hetta组成的世界贸易中心展馆中的三叉戟。形象(艾米·德雷赫)

戴维斯·布罗迪·邦德(Davis Brody Bond)的联邦航空局(FAIA)的史蒂文·M·戴维斯(Steven M.Davis)说：“这个遗址的历史重要性及其象征意义，使得我们必须在集体体验和个人体验之间“我们依靠四个原则来指导我们的工作：记忆、真实性、规模和情感，希望能为游客提供最敏感、尊重和信息丰富的体验。”

“The historic importance of the site and its symbolism made it essential for us to find a balance between the collective and the individual experience,” says Steven M. Davis, FAIA of Davis Brody Bond. “We relied on four principles to guide our work: memory, authenticity, scale and emotion, hoping to provide the most sensitive, respectful and informative experience for visitors.”

记忆：“设计的主要目标之一是提醒人们在9/11之前网站上存在着什么。世贸中心的塔楼被固定在纽约市的天际线上，也是成千上万人日常生活的一部分。在博物馆里，倒置的塔楼让人想起了他们在城市生活中的存在。“

Memory: “One of the primary goals in the design was to remind people what existed on the site before 9/11. The World Trade Center towers were fixtures on the New York City skyline and part of the daily life of hundreds of thousands of people. Within the Museum, the inverted volumes of the towers bring to memory their presence in the life of the city.”

真实性：“很少有纪念物占据他们纪念活动的地点。博物馆位于袭击发生的地方，也是恢复过程开始的地方。它让访问者直接接触网站。这些文物也说明了这种真实性。其规模从纪念性到亲密性不等，包括泥浆墙、基岩上的地基和柱基，以及在回收过程中精心挑选的文物。“

Authenticity: “Few memorials occupy the site of the events they commemorate. The Museum is located where the attacks occurred and where the recovery process began. It gives visitors a first-hand encounter with the site. The artifacts also speak to this authenticity. Ranging in scale from the monumental to intimate, they include the slurry wall, the foundations and column bases at bedrock, as well as artifacts carefully selected during the recovery.” 

 South Tower with Box Beam Columns. Image © Red Square Design

南塔有箱梁柱。图像(红场设计)

规模：“世界贸易中心规模巨大，9·11事件的影响也是如此。原有建筑物的规模已得到保留，并促成了这次访问的影响。基金会大厅是一个像大教堂一样的空间，一个冥想的地方。它的一边是北塔的体积，另一边是60英尺的泥浆墙。它还存放着58吨重的钢“最后一柱”，于2002年5月30日被隆重拆除，标志着为期9个月的地面零恢复工作的正式结束。

Scale: “The World Trade Center was enormous, as was the impact of 9/11. The scale of the original building has been preserved and contributes to the impact of the visit. Foundation Hall is a cathedral-like space, a place of meditation. It is bordered on one side by the North Tower volume and on the other by the 60-foot slurry wall. It also houses the 58-ton steel “Last Column” that was ceremoniously removed from the site on May 30, 2002, marking the official end of the nine-month Ground Zero recovery effort.”

情感：“游客将如何体验博物馆一直是一个重要的考虑在其设计。该设计确保游客在面对情绪强烈的主题时，包括允许和促进庄严和沉思时刻的领域。“

Emotion: “How visitors will experience the Museum has been a significant consideration in its design. The design ensures that visitors, when confronting subjects of emotional intensity, includes areas that allow and promote moments of solemnity and contemplation.” 

9/11纪念馆由三种基本材料组成-混凝土、铝和木材-所有这些材料都是为了唤起“遗址的原始特征和恢复时期，同时也为游客提供熟悉和舒适的触觉元素”。

The 9/11 Memorial Museum is comprised of three basic materials - concrete, aluminum, and wood - all of which are intended to evoke “both the raw character of the site and the period of recovery, yet also provide tactile elements that are familiar and comfortable to the visitor.”

建筑师戴维斯布罗迪邦德位置世界贸易中心，纽约，美国类别博物馆建筑师主管史蒂文M戴维斯，FAIA；公司名称：中国国际航空公司AIA展馆入口建筑师Sn hetta展览设计师当地项目有限公司历史展览设计师莱曼设计区2014年110000.0平方米项目年红场设计，戴维斯·布罗迪·邦德，戴维斯·布罗迪·邦德和Sn海塔，艾米·德雷尔，沃利·戈贝茨制造商装货.

Architects Davis Brody Bond Location World Trade Center, New York, NY, USA Category Museum Architects in Charge Steven M. Davis, FAIA; Carl F. Krebs, AIA Pavilion Entry Architect Snøhetta Exhibition Designers Local Projects, LLC Historical Exhibition Designer Layman Design Area 110000.0 m2 Project Year 2014 Photographs Red Square Design, Davis Brody Bond, Davis Brody Bond and Snøhetta, Amy Dreher, Wally Gobetz Manufacturers Loading...