建筑师的。

From the architect.

澳大利亚恐龙时代博物馆虽然身材相对较小，但却是考克斯·雷纳迄今为止最重要的公共建筑。它也在很大程度上是因为它在恢复和保护澳大利亚主要恐龙发现方面所起的关键作用，澳大利亚被认为是世界上最重要的五大恐龙之一。

Although relatively small in stature, the Australian Age of Dinosaurs Museum is Cox Rayner’s most significant public building to date. It is also wrought large by its key role in a major operation of recovering and conserving Australia’s major dinosaur finds, regarded as one of five most significant worldwide.

 © Christopher Frederick Jones

克里斯托弗·弗雷德里克·琼斯

这是一个壮观的遗址，在遥远的北昆士兰台地边缘，旨在放大其设置和恐龙负载的巨大冲积景观。它更大的设计目的是进化出一种新的、不同的方法来创造一个典型的澳大利亚当代乡村建筑，而不是最著名的轻量级成语。

It is spectacularly sites on the edge of a remote north Queensland mesa, and designed to amplify both its setting and its dinosaur-laden vast alluvial landscape. Its larger design purpose has been to evolve a new and different approach to creating a archetypical Australian contemporary rural architecture than the lightweight idiom which is most renowned.

 © Christopher Frederick Jones

克里斯托弗·弗雷德里克·琼斯

该建筑包括一个游客解释中心，一个气候控制的藏品厅，行政中心，博物馆商店，便利设施和户外聚集空间，志愿者是从那里被组织起来的。通过空间的接近，进入和旅行的经验是设计出来的，强调与直接和更广泛的景观领域，抽象和变色龙的亲和力。

The building comprises a visitor’s interpretation centre, a climate-controlled collections hall, administration centre, museum shop, amenities and outdoor gathering space from which volunteers are marshalled. The experience of approaching, entering and journeying through the spaces is devised to accentuate affinity with the immediate and wider landscape realms, abstracted and chameleon like.

我们对这一行动的热情，以及埃利奥特家族从牧场主到古生物学家的转变，诱使我们完全无偿地工作；它是通过非凡的土墙制作、短暂的屏幕、节理、灯光和硬件来回报的，创造了我们最“完整”的建筑作品。

Our passion for the operation, and the Elliott family who transformed from cattle ranchers to palaeontologists, enticed us to work entirely pro-bono; it being returned in extraordinary crafting of earthen walls, ephemeral screens, joints, lights and hardware creating our most ‘complete’ architectural work.

 Elevations

正如项目描述中所指出的那样，概念框架的核心思想是创造一种新的澳大利亚当代内陆建筑类型学，有别于传统轻量级建筑，后者构成了自然景观的内在延伸。在这种情况下，这个想法体现在一个博物馆，它是由它所处的地球构成的，它的形式和细节引用了台面的裂缝和其他特征，在岩石上创造了一个变色龙般的存在。

Conceptual Framework As noted in the Project Description, the core idea was to create a new typology of Australian contemporary outback architecture, distinct from the stereotypical lightweight one, which forms an intrinsic extension of the natural landscape. In this case, this idea is manifest in a museum which is made of the earth on which it sits, its forms and details referencing fissures and other characteristics of the mesa setting, creating a chameleon-like presence atop the rock.

到达和进入的经验强调了这一概念，通过一个狭窄的孔径，一系列洞穴状空间的封闭格式，或开放的空间体积，采取广泛的澳大利亚阳伞的特点。这一概念与其说是为了复制一种土卫二，倒不如说是为了产生一种与台面特征和恐龙强大的力量协同作用的氛围-9900万年前，恐龙在这段时间里游走了一片几乎没有什么变化的景观。

The experience of arrival and entry accentuates this concept, through a narrow aperture to a series of cave-like spaces in enclosed format, or to an openable spatial volume that takes on the character of a broad Australian parasol. The concept is not so much to replicate a troglodite, rather to generate an atmosphere synergistic with the mesa character and the robust power of the dinosaur which 99 million years ago roamed a landscape little changed over this time.

 © Christopher Frederick Jones

克里斯托弗·弗雷德里克·琼斯

AAOD博物馆通过参与和参观，对振兴摇摇欲坠的温顿社区至关重要。这是一个巨大的成功。博物馆也是澳大利亚第一个致力于保护我们恐龙遗产的博物馆，也是世界上为数不多的这样的博物馆之一。

Public and Cultural Benefits The AAOD Museum is pivotal to revival of the flailing Winton community, both through involvement and visitation. It has been a dramatic success. The Museum is also Australia’s first dedicated to conservation of our dinosaur heritage, and one of only few such in the world.

建筑形式与语境的关系设计是高原景观的水平延伸和台面悬崖峭壁的垂直延伸，同时具有“现在性”和变色龙式的“不存在”，因此既突出又短暂。它的外部遮阳檐是由镇上的历史酒吧提供的，生锈的穿孔屏风和灯是手工制作的，是从遗址树木的影子图案中提取出来的。

Relationship of Built Form to Context The design is that of a horizontal extension of the plateau landscape and a vertical extension of the mesa cliffscape, a simultaneously ‘present’ and chameleon-like ‘non-presence’, thus both prominent and ephemeral. Its external shade canopies were informed by those of the historic pubs in town, and the rusted perforated screens and lights, made by hand, derived from shadow patterns of the site’s trees.

 © Christopher Frederick Jones / Angus Martin Photography

克里斯托弗·弗雷德里克·琼斯/安格斯·马丁摄影

这个计划正好符合Elliott家族的要求，因为它能够处理人的各种能力，在一个简单的框架内推断复杂性，并创造一系列的经验和目标点。

Program Resolution The plan fits precisely the Elliott family’s brief for its ability to handle varied capacities of people, to infer complexity within a simple framework, and to create a sequence of experiences and destination points.

联盟纪律真正完整的联合纪律是家庭-父亲、母亲、两个儿子和女儿-成为类似于艺术家的不同手艺领域的专家，一个典型的例子是手用氧化火焰切割的穿孔铁丝网。

Allied Disciplines The genuinely integral allied discipline was that of the family - father, mother, two sons and daughter – who became experts in different fields of craft akin to artists, a prime example being the hand oxy-torched cut perforated iron screens.

 © Christopher Frederick Jones

克里斯托弗·弗雷德里克·琼斯

成本/价值的结果从来没有在我们的经验中，一个项目的成就如此之少，从人(建筑师，建筑商，社区成员)捐赠时间和材料，以满足一种热情，总成本不到100万美元。

Cost/Value Outcome Never in our experience before has a project achieved so much for so little, from people (architects, builders, community members) donating time and materials to fulfil a passion, the overall cost less than $1 million.

对客户和用户需求的回应，除了上文所说的，温顿社区成员在开幕之夜捐赠100万美元运营该博物馆，证明了它在该地区复兴中的作用。

Response to Client and User Needs In addition to what has been said above, the donation in one opening night of $1M to run the museum by members of the Winton community is testimony to its role in the region’s revival.

 © Christopher Frederick Jones

克里斯托弗·弗雷德里克·琼斯

澳大利亚恐龙时代本质上是可持续的。它几乎完全是由其所在地的土地形成的，是由当地社区劳工建造的。它的水来源于附近的一口井，电力来自现场发电机，但它的藏品大厅达到了博物馆标准的气候控制条件。很少有元件是从该区域以外购买或进口的。这些硬件都是手工制作的；防晒霜是用手打孔的铁板，防晒霜自然会生锈，而地脚板则是用同样的乳胶模子织成的，这些乳胶模子是用来支撑和保护恐龙化石的。

Sustainability The Australian Age of Dinosaurs is inherently sustainable. It almost totally is formed from the earth of its site and was constructed by local community labour. Its water is sourced from a nearby well and its power from on-site generators, yet it achieves museum-standard climate control conditions for its collections hall. Very few of its elements are purchased or imported from outside the region. The hardware is hand-crafted from off-cuts; the sunscreens are naturally rusted iron plates perforated by hand, and the earth panels are textured using the same latex moulds that are used to cradle and protect the dinosaur fossils.

 © Michael Rayner

迈克尔·雷纳

中央和室外的集合和解释空间自然通风，很容易关闭，形成阴影和屏风在极端条件下的空间“茧”，同样容易打开，就像一个大的澳大利亚雨伞时，温带占优势。

The central and outdoor canopied gathering and interpretive spaces are naturally ventilated, readily closed down to form with shades and screens to ‘cocoon’ the spaces in extreme conditions, and equally readily opened like a large Australian umbrella when temperate conditions prevail.

从更广泛的角度来看，这座建筑的设计目的是尽量减少对其景观的影响-即使它一旦被拆除，它也可能被压碎并溶入土地。然而，如果它能持续几代人，它的结构和物质性将使它能够比轻巧的框架建筑持续更长的时间。我们真诚地相信，AAOD包含了澳大利亚可持续内陆建筑的新词汇。

From the broader perspective, the building is designed to have minimal imposition on its landscape – even to the point where if it were ever removed it could be crushed up and dissolve back into the land. Yet if it were to endure for generations, its construction and materiality would enable to last longer than lighter-framed architecture. We genuinely believe that the AAOD embodies a new vocabulary for sustainable outback Australian architecture.