架构师提供的文本描述。新的GB 27m玛丽·罗斯博物馆的设计-由威尔金森·艾尔建筑师(建筑师和设计团队组长)和普林格尔·布兰登·珀金斯(室内建筑师)-是一个合作的故事，项目团队将微妙的保护、当代建筑和专业技术专长结合在一起。其结果是一个真正独特的设计，揭示了著名的都铎号的秘密，标志着30年前玛丽·罗斯号从索伦特号(Solent)升起，在那里她一直未被发现，长达437年。就像制作一个珠宝盒来存放一个珍贵的宝石，设计团队共同创造了一座建筑和内部，以保护和展示玛丽玫瑰。博物馆建筑是从内部设计的，它从这艘历史船上提取了许多线索，让它的船体、工艺品和展览占据了舞台的中心，创造了一种适合这一非凡历史的游客体验。

Text description provided by the architects. The design of the new £27m Mary Rose Museum - by Wilkinson Eyre Architects (architect and design team leader) and Pringle Brandon Perkins+Will (architect for the interior) - is a story of collaboration, with the project team combining delicate conservation, contemporary architecture and specialist technical expertise. The result is a truly unique design that reveals the secrets of the famous Tudor ship, marking 30 years since the hull of the Mary Rose was raised from the Solent where she lay undiscovered for 437 years. Like crafting a jewellery box to house a precious gem, the design team has together created a building and interior that protects and showcases the Mary Rose. Designed from the inside-out, the Museum building takes many of its cues from the historic ship, allowing its hull, artefacts and exhibitions to take centre stage and create a visitor experience befitting this remarkable piece of history.

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在这个项目的核心，在一个精心控制的-欧元˜热盒-欧元™环境中，是玛丽玫瑰船体的右舷部分。在它旁边，一个虚拟港口侧船体已经创建了三个层次，以查看船舶和房子的上下文画廊。包裹玛丽玫瑰和世界上最大的都铎文物收藏是一种建筑形式，暗示了博物馆-欧元™的收藏的历史意义，并宣布了一个重要的新的文化吸引力的到来。Wilkinson Eyre建筑事务所创始人克里斯·威尔金森(Chris Wilkinson)说：“当你拥有像玛丽·罗斯(Mary Rose)这样的宝藏时，这座建筑的建筑将扮演辅助角色，它继续吸引着世界欧元的™的想象力。”然而，这座建筑在向世界展示博物馆及其非凡的藏品方面发挥了非常重要的作用，创造了阴谋，提高了游客对这一主要文化景点的体验。

At the heart of the project, within a carefully controlled ‘hot box’ environment, is the starboard section of the hull of the Mary Rose. Alongside it, a virtual port-side hull has been created over three levels to view the ship and house the context gallery. Encasing the Mary Rose and the largest collection of Tudor artefacts in the world is an architectural form that alludes to the historic significance of the Museum’s collection and announces the arrival of a major new cultural attraction. Chris Wilkinson, Founding Director at Wilkinson Eyre Architects, said: “When you have a treasure like the Mary Rose, which continues to capture the world’s imagination, the architecture of the building takes a supporting role. However, the building has a very significant part to play in projecting the Museum and its remarkable collection to the world, creating intrigue and heightening the visitor experience of this major cultural attraction.”

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普林格尔·布兰登·珀金斯威尔(Pringle Brandon Perkins Will)的校长克里斯·布兰登(Chris Brandon)说：“这座博物馆是独一无二的，是”世界上唯一一个从玛丽·罗斯和这艘船的考古发现中汲取灵感的博物馆。我们的任务是为玛丽·罗斯和她的艺术品创造一个适合它们的意义的展示会，所以我们设计了一个博物馆，它将重现数百年前在船上的经历，并创建一个上下文画廊来突出其珍贵的内容。来自海洋考古的背景，我终于可以将我对生命建筑和海洋考古学的两种激情结合起来。我希望玛丽·罗斯博物馆的参观者和我一样，对最终的结果感到兴奋。-欧罗在使用像玛丽·罗斯这样迷人的艺术品时，建筑需要补充而不是分散注意力。在这种情况下，挑战是找到正确的建筑语言来帮助阐明博物馆正在讲述的故事，同时为朴茨茅斯历史船坞增添一片自信的当代建筑。这座新建筑的简单、纯粹的椭圆形形状源于环形几何，与玛丽·罗斯号的形状相呼应；它的木材让人联想到欧元™号的历史性船体，展示了16世纪创新的Carvel建造方法。进一步将该建筑嵌入其海洋遗产，木材已被染成黑色，以反映英格兰-欧元™的乡土船棚建筑。二.

Chris Brandon, Principal of Pringle Brandon Perkins+Will (PBP+W), said: “This museum is unique – the only one in the world to take its inspiration from the archaeological finds of the Mary Rose and the ship herself. Our role was to create a showcase for The Mary Rose and her artefacts befitting their significance, so we designed a museum that would recreate the experience of being on board the ship hundreds of years ago and created a context gallery to highlight its precious contents. Coming from a marine archaeological background, finally I can unite my two passions in life - architecture and marine archaeology. I hope visitors to the Mary Rose Museum are as excited by the end result as I am.” When working with such a fascinating artefact like the Mary Rose, the architecture needs to complement rather than distract. In this case, the challenge was finding the right architectural language to help articulate the story being told by the Museum, whilst adding a confident piece of contemporary architecture to Portsmouth Historic Dockyard. The simple, pure elliptical form of the new building is derived from toroidal geometry echoing the shape of the Mary Rose; its timber is reminiscent of the ship’s historic hull, showcasing the innovative Carvel construction methods of the 16th Century. Further embedding the building in its maritime heritage, the timber has been stained black to reflect England’s vernacular boat shed architecture. ­­

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该遗址-欧元™的历史背景的挑战，毗邻HMS胜利和列出的海军部建筑物，由于该遗址本身的性质而更加复杂：一个18世纪末的干船坞，被列为一个预定的古代纪念碑。我们已小心保持博物馆的高度尽量低，以保持对周围建筑物的比例和规模的敏感。低轮廓，壳形金属屋顶遵循这一逻辑，减少了内部的空间体积，这必须在环境上控制到精确的标准，以确保船体的保存。主楼两侧各有两个长方形展馆，其中一个设有正门接待处、咖啡厅和商店，另一个由学习中心和主要植物室占用。整体构成是当代建筑的一部分，一种优雅而简单的形式，带有神秘的气氛，鼓励游客进入和探索。

The challenges of the site’s historic context, adjacent to HMS Victory and the listed Admiralty buildings, are compounded by the nature of the site itself: a late 18th Century Dry Dock that is listed as a Scheduled Ancient Monument. Care has been taken to keep the height of the Museum as low as possible to remain sensitive to the proportions and scale of the surrounding buildings. The low-profile, shell-shaped metal roof follows this logic and reduces the internal volume of space which has to be environmentally controlled to precise standards to ensure the conservation of the hull. Two rectangular pavilions are attached to each side of the main building, one housing the main entrance reception, café and shop, and the other occupied by the Learning Centre and main plant room. The overall composition is a piece of contemporary architecture, an elegantly simple form with an air of mystery that encourages visitors to enter and explore.

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室内设计的本质是从玛丽·罗斯号倾覆并于1545年7月19日沉没之前的冻结瞬间演变而来的。在艰苦的考古发掘和记录每一次发现的确切位置之后，项目组可以看到玛丽·罗斯号的内部，并将原来的装备、武器和财产-一层地重新组合在一起。建造了一个虚拟船体，用来代表丢失的港口一侧，其原始火炮车厢、炮弹、枪支家具、仓库、箱子、绳索和索具上都有枪支。参观博物馆的游客在船体的右舷部分和虚拟船体之间行走三层，在上下文中看到所有主要的船上材料，就像在玛丽·罗斯号上一样。结束画廊然后解释上下文画廊逐层在更传统的博物馆展示柜，由土地设计工作室设计。随着甲板从船尾到船头的形状以及下甲板上低天花板的形状，船上的气氛进一步增强。博物馆的空间是故意暗的，不包括日光，唯一的灯光不是集中在物体上，就是隐藏在人行道扶手下，照亮空间，重新创造甲板下面黑暗的幽闭空间。已经设计了两座博物馆内部建筑-欧元-“第一座是2013至2017/18年度，第二座是2018年之后。最初，玛丽玫瑰将留在她的保护茧，而她是干燥的，并通过窗口看到在三个层次的上下文画廊和电梯。不过，当保育工作完成后，环境廊走道便会开放，而玛丽玫瑰及她的所有内容亦会一并展示。

The essence of the design of the interior evolved from the frozen moment in time seconds before the Mary Rose capsized and sank on 19th July 1545. Following the painstaking archaeological excavation and recording of the exact location of every find, the project team could see inside the Mary Rose and reunite the original contents fittings, weaponry, armament and possessions – deck-by-deck. A virtual hull was constructed to represent the missing port side with all the guns on their original gun carriages, cannonballs, gun furniture, stores, chests, rope and rigging. Visitors to the Museum walk in between the conserved starboard section of the hull and the virtual hull on three levels, seeing all the main shipboard material in context as though they are on board the Mary Rose. The end galleries then interpret the context gallery deck-by-deck in more conventional museum display cases, designed by Land Design Studio. The atmosphere of being on the ship is further enhanced by the walkways following the shape of the deck from stern to bow and low ceilings on the lower deck. The Museum spaces are deliberately dark with daylight excluded and the only lighting either focused on the objects or concealed under the walkway handrail, lighting the space and re-creating the dark claustrophobic spaces below decks. Two museum interiors have been designed – the first for 2013 to 2017/18 and the second for the period after 2018. Initially the Mary Rose will remain in her protective cocoon while she is dried and be seen through windows on the three levels of the context gallery and the lifts. However, on completion of the conservation process, the context gallery walkways will be opened and the Mary Rose and all her contents will be seen together.