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架构师提供的文本描述。JamesCarpenterDesignAssociates领导了耶路撒冷以色列博物馆的重组、扩建和新建筑，而Efrat-koalsky建筑师则负责修复该博物馆现有的建筑。扩建工程涉及新建筑(约95，000平方米)。(英国“金融时报”)，重新组织游客流通、入场展馆和画廊入口展馆，改善了游客的可访问性。现有博物馆展览馆的翻修面积约为100 000平方米。英国“金融时报”。耶路撒冷的特殊光线质量是经纬度、气候、地理和地形的产物，是独一无二的。我们认为，地方经验的一个组成部分是光的经验，鉴于其文化历史，耶路撒冷的光的特殊性显然是强大的。JCDA修复和扩建以色列博物馆的方法是将我们对景观中光线的仔细考虑与对现有建筑环境的严格关注结合起来。对博物馆的初步参观确定了需要重新连接现有的和相当特别的花园，由野口Isamu Noguchi与阿尔弗雷德曼斯菲尔德的地域解释现代主义建筑。指导原则是消除花园与校园建筑内部之间的障碍，并将地中海强烈光线条件博物馆的问题转化为整合光的感官体验的机会。我们的设计将光和光信息组织并插入到新的体系结构中。这些光信息具体体现了校园景观中的光的质量，并被用来激活入口处展馆、画廊入口处和连接两者的主要地下通道-通道之路。

Text description provided by the architects. James Carpenter Design Associates led the reorganization, expansion and new construction of The Israel Museum, Jerusalem, while Efrat-Kowalsky Architects was responsible for the renovation of the museum’s existing buildings. The expansion involves new construction (~95,000 sq. ft.), the reorganization of visitor circulation, Entrance Pavilions and a Gallery Entrance Pavilion improving visitor accessibility. The renovation of the existing museum galleries comprise of ~100,000 sq. ft. The particular quality of light in Jerusalem, a product of longitude and latitude, climate, geography and topography, is unique. We believe that integral to the experience of place, is the experience of light and, in view of its cultural history, the particularities of light in Jerusalem is evidently powerful. JCDA’s approach to the renovation and expansion of the Israel Museum was to merge our careful consideration of light in the landscape with a rigorous attention to the existing built environment. Initial visits to the museum established the need to re-connect the existing, and quite extraordinary, garden by Isamu Noguchi with Alfred Mansfeld’s regional interpretation of Modernist architecture. A guiding principal was to dissolve the barriers between the garden and the campus’ building interiors and to transform the problem for a museum of the intense light conditions of the Mediterranean, into an opportunity to integrate a sensory experience of light. Our design organizes and inserts light and light information into the new architecture. This light information specifically embodies the quality of light found within the campus landscape and is used to activate the Entrance Pavilions, the Gallery Entrance Pavilion and the major below ground passage connecting the two - the Route of Passage.

 © Tim Hursley

蒂姆·赫斯利

光的经验在阈值范围内是特别强大的，JCDA的光策略是由将建筑物的信封分为两个部分的想法所深深的信息：封闭和阴影。这些组件支持在调节太阳强度的同时，以经验的方式呈现体积光和视图。这两个组成部分之间的关系也被精心调整，以创造一种穿越建筑和校园的通道感。正面深度的变化是经过调整的，甚至延伸到将其转换成阴影的外部通道。透明度和不透明度的发挥是对北/南、东/西曝光的回应，有时还会被打断，形成景观和校园中重要元素的框架视图。分散校园的空间体验既直观又崇高。从该机构藏品的百科全书性质出发，JCDA创造了一段穿越博物馆公共空间和间隙空间的旅程，这种旅行直觉地向前推进，并创造出一种发现的感觉。体积光是通过博物馆的这条通道的组织原则，并通过选择性的透明表达曼斯菲尔德地中海山顶村庄的理想。JCDA重新解释了狭窄的小巷和沉陷的绿洲的感官，创造了由现象光驱动的空间体验的明确安排。

The experience of light is particularly powerful within thresholds, and JCDA’s strategies for light were deeply informed by the idea of separating the building envelopes into two components: enclosure and shade. These components support the experiential presentation of volumetric light and views while moderating the sun’s intensity. The relationships between these two components were also carefully modulated to create a sense of passage through the built architecture and across the campus. The shifts in the depth of facades are adjusted, even stretched to transform them into shaded exterior passages. The play of transparency and opacity responds to both north/south and east/west exposures and is sometimes interrupted to frame views of important elements in the landscape and campus. The spatial experience of the decentralized campus becomes simultaneously intuitive and sublime. Drawing from the encyclopedic nature of the institution’s collections, JCDA has created a journey through the museum’s public and interstitial spaces that progresses intuitively and creates a sense of discovery. Volumetric light is the organizing principal for this passage through the museum and articulates Mansfeld’s Mediterranean hilltop village ideal through selective transparency. JCDA has reinterpreted the sensuality of narrow alleys and sunken oases by creating a defined arrangement of spatial experiences animated by phenomenal light.

 © Tim Hursley

蒂姆·赫斯利

通过在画廊入口处刻出一个垂直空间，就可以在现有的卡特步行街下面开辟出一条通道之路，这将引导游客从博物馆的入口建筑群沿着一个略微倾斜且条件舒适的空间进入画廊入口馆，并进入画廊入口展馆的最低层。最初的卡特步行街被设想为一种进行式体验，它将定义博物馆的整体体验，而通道之路则在博物馆的内心保持着进退和到达的体验感。尽管在地面以下，通道的路线是一个发光和积极的经验。就像在沉陷的绿洲中，通道被保护不受直接的太阳照射，但是日光会隔一段时间进入空间，以标明通道的长度。这个概念是在明亮的大气中转换一种深度感。沿着卡特长廊的一系列狭窄的庭院连接着长廊和通道的路线。上面的植物墙和庭院里的植物在被通道中的微扩散玻璃捕捉之前，调节了光线的质量。水磨石地板和铸造陶瓷墙板的深色表面反射出细微的灰色阴影，而酸性刻蚀玻璃捕捉到的生动的光线进一步提供了一种休息感和更高的观察能力，为游客准备通过博物馆百科全书收藏的体验做好准备。

By carving out a vertical volume at the Gallery Entrance Pavilion, it was possible to create the Route of Passage below the existing Carter Promenade, which would lead visitors from the museum’s entrance complex to the Gallery Entrance Pavilion along a slightly inclined and comfortably conditioned space, and into the Gallery Entrance Pavilion’s lowest level. The original Carter Promenade was envisioned as a processional experience that would define the overall experience of the museum and the Route of Passage maintains the experiential sense of progression and arrival within the Museum’s heart. Despite being below the ground plane, the Route of Passage is a luminous and active experience. As in a sunken oasis, the passage is protected from the direct sun, but daylight filters into the space at intervals marking one’s passage along its length. The concept was to transpose a sense of depth within a luminous atmosphere. A sequence of narrow courtyards along the Carter Promenade above connect the promenade and Route of Passage. Plant walls above and plantings in the courtyards moderate the quality of light before it is captured by the slightly diffused glass of the passage. The dark surfaces of the terrazzo floor and cast ceramic wall panels reflect light generating subtle shades of grey, while the dramatically animated light captured by the acid-etched glass further gives a sense of repose and heightened observation preparing visitors for the experience of passage through the museum’s encyclopedic collections.

 © Reid Freeman

里德·弗里曼

水的特点是卡特长廊的长度。具有棱柱轮廓的铸玻璃产生足够的湍流来控制水的流动，同时引导运动动画光穿过水的特征，向下进入通道的扩散玻璃墙与外墙之间的缝隙中。挡土墙覆盖着无光泽的白色陶土板，将光线反射到扩散的玻璃墙上。汹涌的水声也激活了庭院的宁静空间体验，创造了地下通道与野口花园之间的听觉连接。水的特征遵循卡特步行街的台阶和坡道的组合，形成棱柱铸造玻璃块和铸玻璃台阶的剖面，这些部分具有棱柱状和清晰的浇铸区域。在浇铸玻璃的台阶和水平区域，浇铸玻璃型材控制和激活水。水的特点激活光和声音，标志着从博物馆入口到画廊从地面和地下通道的路线。

The water feature runs the length of the Carter Promenade. Cast glass with a prismatic profile creates enough turbulence to control the flow of water while directing kinetically animated light through the water feature and down into the slot between the Route of Passage’s diffused glass wall and the exterior retaining wall. The retaining wall is clad with matt white terracotta panels, reflecting light onto the diffused glass wall. The sound of the bubbling water also activates the tranquil spatial experience of the courtyards creating an aural connection between the below ground Route of Passage and the Noguchi Garden. The water feature follows the combination of steps and ramps of the Carter Promenade, resulting in sections of prismatic cast glass blocks and sections of cast glass steps that feature prismatic and clear areas to the casting. The water is controlled and activated by the cast glass profiles in both the stepped and level areas of cast glass. The water feature activates light as well as sound, marking the path from the museum entrance to the galleries both above ground and in the below ground Route of Passage.

 © Reid Freeman

里德·弗里曼

水的特征遵循卡特步行街的台阶和坡道的组合，形成棱柱铸造玻璃块和铸玻璃台阶的剖面，这些部分具有棱柱状和清晰的浇铸区域。在浇铸玻璃的台阶和水平区域，浇铸玻璃型材控制和激活水。水的特点激活光和声音，标志着从博物馆入口到画廊从地面和地下通道的路线。从纸模型和模拟开始探索百叶窗的概念，研究进展到包括白天的分析和材料的生产。这些薄片是由定制的挤压陶瓷制成的。全尺寸模拟是为了检验和验证的想法和采光分析。

The water feature follows the combination of steps and ramps of the Carter Promenade, resulting in sections of prismatic cast glass blocks and sections of cast glass steps that feature prismatic and clear areas to the casting. The water is controlled and activated by the cast glass profiles in both the stepped and level areas of cast glass. The water feature activates light as well as sound, marking the path from the museum entrance to the galleries both above ground and in the below ground Route of Passage. Starting from paper models and mock-ups to explore the idea of the louvers, research evolved to include daylighitng analysis and material production. The lamellas are produced from a custom extruded ceramic. Full scale mock-ups were fabricated to test and verify both the idea and the daylighting analysis.

 © Tim Hursley

蒂姆·赫斯利

JCDA力求在现有语言的基础上加以加强，以提高寻路能力和与博物馆所体现的现有建筑、景观和艺术的联系水平。有了进入博物馆的经验，JCDA了解到，复兴卡特步行街不仅很重要，而且至关重要的是把它延伸到街上，重新建立整个步行街的通畅景观。JCDA与博物馆合作，取消了以前位于博物馆中心的服务(票务、咖啡馆和零售服务)，并将其定位在博物馆入口处。通过使用将这些新的服务架构联系起来的方法，JCDA寻求创建一个强大的阈值体验。在地面上，游客对门票/信息、餐饮和购物的需求由三栋独立的建筑物阐述，而地下三栋大楼则由一个地下室层组成，供出入、储存和支持。通过将这个现在解放的空间与同一区域的一个未建造的模块结合起来，既可以扩大画廊空间，也可以在现有建筑群的中心创建画廊入口展馆。画廊入口展馆是博物馆的中央组织中心，允许各博物馆部门依次探索。参观各种收藏品和临时展览的先后顺序现在已得到澄清和编排，丰富了各部门的总体经验。

JCDA sought to build upon the existing language, and reinforce it to improve the level of wayfinding and connection to the existing architecture, landscape and art embodied in the museum. With the experience of entering the museum, JCDA understood that not only was it important to revive the Carter Promenade, but it would be critical to extend it to the street and re-establish the unobstructed view from the street up the entire promenade. JCDA worked with the museum to remove the services (the ticketing, café and retail) previously at the center of the museum and locating them at the museum entrance. By using the method by which these new service buildings are articulated JCDA sought to create a powerful threshold experience. Above ground, the visitors’ needs for tickets/information, dining and shopping are articulated by three separate buildings, while below ground these three buildings consist of a single basement level for access, storage and support. By combining this now liberated space with an un-built module in this same area, it was possible to both expand gallery space and create the Gallery Entrance Pavilion in the heart of the existing complex. The Gallery Entrance Pavilion is the museum’s central organizing hub, allowing for the sequential exploration of the various museum departments. The sequence through which visitors are introduced to the various collections and temporary exhibitions is now clarified and choreographed, enriching the overall experience of each department.

 © Tim Hursley

蒂姆·赫斯利

曼斯菲尔德的每一座模块化建筑都由一个坚固的混凝土箱组成，其上方是中央支撑的双曲抛物面。ClearStory窗口占据了盒子和屋顶之间的狭小空间。因此，明亮的光线占据了相对黑暗的空间。他的工作重点是雕刻和连接负面空间创造了他的模块卷。这些空间是独立的，与更广阔的校园隔绝。JCDA采取了一个密切相关的，但相反的方法，建立所有的玻璃展馆在调谐阴影外壳。其结果是一种开放的感觉和与校园的联系。博物馆翻新和扩建的想法是轻微地触及博物馆现有的建筑和景观，并保持博物馆的建筑优势。JCDA将博物馆的百科全书藏品与其非凡的校园交织在一起，部署了光线，让游客们在校园内畅通无阻，提高了对耶路撒冷之光的短暂特性的体验和发现。

Each of Mansfeld’s modular buildings consists of a solid concrete box covered by centrally supported hyperbolic paraboloid floating above it. Clearstory windows occupy the narrow space between box and roof. As a result, slivers of bright light occupy the relatively dark spaces. His work was focused on carving and linking the negative spaces created by his modular volumes. The spaces are self-contained and insulated from the wider campus. JCDA took a closely related, yet opposite approach by building all glass pavilions within tuned shading enclosures. The result is a sense of openness and connection with the campus. The museum’s idea for the renovation and expansion was to touch the museum’s existing architecture and landscape lightly and to preserve the museum’s architectural strengths. JCDA’s has interwoven the museum’s encyclopedic collections and its extraordinary campus, deploying light to articulate the visitors’ passage through the campus, heightening the experience and discovery of the ephemeral qualities of the Jerusalem’s light.

 General Plan

Architects Efrat Kowalsky Architects, James Carpenter Design Associates

Location Jerusalem, Israel

Category Museum

Production Architect A. Lerman Architects Ltd

Area 8820.0 m2

Project Year 2010

Photographs Tim Hursley, Reid Freeman

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