© Jac Currie

(Jac Currie)

架构师提供的文本描述。洛杉矶大屠杀博物馆(LAMOTH)的新建筑位于一个公共公园内，毗邻现有的洛杉矶大屠杀纪念馆。派拉蒙的设计策略是将建筑融入周围开阔的、公园的景观。博物馆被淹没在地下，使公园的景观继续在建筑物的屋顶上进行。现有的公园通道被用作连接元素，将公园的人流与博物馆游客的新循环结合起来。这些路径被变形到建筑物上，并以表面图案的形式被利用。

Text description provided by the architects. The new building for the Los Angeles Museum of the Holocaust (LAMOTH) is located within a public park, adjacent to the existing Los Angeles Holocaust Memorial. Paramount to the design strategy is the integration of the building into the surrounding open, park landscape. The museum is submerged into the ground allowing the park’s landscape to continue over the roof of the structure. Existing park pathways are used as connective elements to integrate the pedestrian flow of the park with the new circulation for museum visitors. The pathways are morphed onto the building and appropriated as surface patterning.

 © Benny Chan

(C)陈方安生

这种模式在博物馆的画廊上方继续存在，进一步连接了公园的景观和步行街。通过维护公园的材料托盘并将其延伸到博物馆，混凝土和植被的色调和纹理与现有的泛太平洋公园材料调色板相融合。这些简单的动作在保持公园、地形和景观的同时，为博物馆创造了独特的立面。博物馆以一堵弯曲的混凝土墙的形式从景观中显露出来，把它劈开，雕刻成地面，形成入口处。设计和建造了可持续的系统和材料，LAMOTH的建筑正在接受来自美国绿色建筑委员会的LEED黄金认证。

The patterning continues above the museum’s galleries, further connecting the park’s landscape and pedestrian paths. By maintaining the material pallet of the park and extending it onto the museum, the hues and textures of concrete and vegetation blend with the existing material palette of Pan Pacific Park. These simple moves create a distinctive façade for the museum while maintaining the parks topography and landscape. The museum emerges from the landscape as a single, curving concrete wall that splits and carves into the ground to form the entry.  Designed and constructed with sustainable systems and materials, the LAMOTH building is on track to receive a LEED Gold Certification from the US Green Building Council.

 Subterranean Level

地下水位

循环策略

Circulatory Strategy

顾客们在公园附近的车站开始他们的游行。他们的方式充满了笑声和运动的声音和景象-孩子们在公园里玩耍，和家人一起野餐。由于建筑物被部分淹没在长满草的公园景观之下，进入建筑物时，这种与公园的视觉和听觉联系会逐渐恶化，同时还会下降一个长坡道。进入后，游客们体验到了他们从一种嬉戏和无拘无束的公共公园氛围过渡到一系列充满摄影档案图像的孤立空间的高潮。

Patrons begin their procession at the drop off adjacent to the park. Their approach is pervaded by sounds and sights of laughter and sport—of kids playing in the park and picnicking with their families. Because the building is partially submerged beneath the grassy, park landscape, entry to the building entails a gradual deterioration of this visual and auditory connection to the park while descending a long ramp. Upon entering, visitors experience the culmination of their transition from a playful and unrestrained, public park atmosphere to a series of isolated spaces saturated with photographic archival imagery.

 © Iwan Baan

(Iwan Baan)

作为设计策略的一部分，强调建筑内容与景观环境之间的二分关系，以增强博物馆内部的经验，并寓意地将享受公共公园的欧洲森林狂欢者与20世纪30年代和40年代正在进行的可怕和不人道行为的地点联系起来。游客通过上升到现有纪念碑的水平离开博物馆，恢复与公园周围的视觉和听觉联系。

As part of the design strategy, this dichotomous relationship between building content and landscape context is emphasized to bolster the experience inside the museum and allegorically correlate the proximity with which European forest revelers enjoying public parks were to sites of horrific and inhumane acts being carried out in 1930’s and 40’s. Visitors exit the museum by ascending up to the level of the existing monument, regaining the visual and auditory connection with the park environs.

第一个房间包含一个大型的、单一的互动桌，模仿概念上的“社区”或餐桌。这场展览把一大群顾客聚集在一个互动展览周围。当参观者走下随后的房间时，室内画廊的灯光变得昏暗，两个单独的展品展示了不同的人群-减少了附近人群提供的“社区”。从第三个房间到第四个房间，随着环境照明变得越来越稀少，地板继续往下走，人们来到这个名为“集中营”的房间。

The first room incorporates a large, single interactive table, mimicking a conceptual “community” or dinner table. The exhibit brings a large group of patrons together around one interactive exhibit.  The lighting of the interior galleries dim as the visitor steps down into the subsequent rooms where two separate exhibits display divide the singular crowd—diminishing the “community” provided by people nearby. Through the third room and into the fourth, the floor continues to step down as ambient lighting becomes scarcer leading individuals to the room titled, “Concentration Camps.”

 © Iwan Baan

(Iwan Baan)

天花板很低，房间几乎完全由个人视频显示器照亮-只有笔记本那么大-这就限制了一个观众观看。游客现在被限制在博物馆中最孤立、最黑暗、最密集的地下区域。从这一点开始的旅程是提升和找到熟悉空间的舒适的旅程，因为地板水平开始上升，自然光开始再次穿透内部。最后上升到现有的纪念碑是充满了景观和声音的不受限制的公园土地。

The ceiling is low, and the room is almost entirely illuminated by individual video-monitors—about the size of a notebook—which limits viewing to a single spectator. The visitor is now confined to the most isolated, darkest and volumetrically concentrated underground area in the museum. The journey from this point forward is one of ascension and of finding the comfort of familiar space as floor levels begin to rise and natural lights begins to penetrate the interior once again. The final ascent up to the existing monument is filled with sights and sounds of unrestricted park land.

 © Iwan Baan

(Iwan Baan)

Architects Belzberg Architects

Location 100 The Grove Drive, Los Angeles, CA 90036, United States

Category Museum

Architect in Charge Hagy Belzberg

Design Team Andrew Atwood, Barry Gartin, Brock DeSmit, Carina Bien-Wilner , Christopher Arntzen, Cory Taylor, Daniel Rentsch, David Cheung, Eric Stimmel, Erik Sollom, Justin Brechtel, Philip Lee, Lauren Zuzack

Project Manager Aaron Leppanen

Area 27000.0 m2

Project Year 2010

Photographs Iwan Baan , Benny Chan, Jac Currie

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