© Stijn Bollaert

(Stijn Bollaert)

架构师提供的文本描述。在第二次世界大战期间，在Dossin兵营，25267人被驱逐到德国和波兰的集中营。在20世纪70年代，这座建筑被细分为公寓。

Text description provided by the architects. From the Dossin Barracks, 25,267 people were deported to concentration camps in Germany and Poland during WWII. In the 1970’s, the building was subdivided into apartments.

 © Stijn Bollaert

(Stijn Bollaert)

与人们所想的相反，新的博物馆并不是住在兵营本身，也就是驱逐出境的地点。相反，是在前拘留所所在地的军营对面寻找空间。这两座建筑物之间的开放广场，即一个交通路口，将两座建筑物连接起来。

Contrary to what one might think, the new museum is not housed in the barracks itself, the site where the deportation occurred. Rather, space was sought across from the barracks, on the site of the former house of detention. The open square between the two buildings, a traffic junction, links the two buildings. 

 © Stijn Bollaert

(Stijn Bollaert)

这所拘留所原来的、被毁的墙是由一堵新墙来补充的，这堵墙清楚地界定了博物馆的边界。这堵墙是沿着旧城城墙的遗骸建造的，并在一定程度上构成了建筑物的下部结构。博物馆大楼的前厅墙决定了它的形状。一堵墙，里面有一座建筑物，部分在上面。

The house of detention’s original, ruined wall is complemented by a new wall clearly defining the museum’s boundaries. The wall is built along the remains of the old town wall and makes up, in part, the building’s substructure. The museum building’s forecourt wall defines its shape. A wall with a building partially inside it and partially on top of it.

 © Stijn Bollaert

(Stijn Bollaert)

营房和博物馆前院墙之间的露天广场已经铺好了。因此，它成为一个可识别的，公共的城市位置。人们首先看到的是广场，通过这种方式，它在城市中享有一个正常而真实的地方。营房和营房的内部庭院重新占据了他们在街道上的位置。

The open square between the barracks and the museum’s forecourt wall has been paved over. Thus it becomes a recognizable, communal location in the city. The first thing one sees is the square, that, In this way, enjoys a normal and authentic place in the city. The barracks and the barrack’s inner courtyard regain their location in the street.

 © Stijn Bollaert

(Stijn Bollaert)

一楼与城市不互动。广场中心没有明显的入口大厅，这是朝一边的。唐纳德·贾德说得对：对称是规则，不对称是例外。这个项目是个例外，它不试图按照“规则”来解决任何问题；入口不是对称的，而是“被搁置”的。它不是位于营房大门的对面，它没有天篷或遮阳篷，它几乎是一个二级入口，一个滑动门：一辆火车的欢迎车。网格的几何结构不是简单的，立面的底层网格与网格的内部结构布局不同。

The ground floor does not interact with the city. At the center of the square one finds no easily conspicuous  entrance hall; this is set off to one side. Donald Judd was right: symmetry is the rule and asymmetry the exception. This project is the exception, it doesn’t try to resolve  anything according to "the rules”;  the entrance is not symmetrical, it is, rather, "set aside".  It is not situated across from the barracks gate, it has no canopy or awning, it is almost  a secondary entrance, a sliding gate: a railway car’s welcome . The grid, the geometry of the structure is not simple. The underl

 © Stijn Bollaert

(Stijn Bollaert)

两层：底层和顶层，享受自然光线；三个中间层是无窗的。在底层，代表犹太教12个部落(祖先亚伯拉罕的儿子以撒的12个儿子的后裔)的12个铸铁柱支撑着这座建筑。

Two levels: the ground floor and the top floor, enjoy natural light; the three intermediate levels are windowless. On the ground floor, 12 cast-iron columns representing the 12 tribes of Judaism (descended from the twelve sons of Isaac, the son of the patriarch Abraham) support the building.

 © Stijn Bollaert

(Stijn Bollaert)

第二层和第三层的窗户-每个窗户的尺寸各不相同-是用总共25 267块砖砌起来的。从一个人离开一楼的大而明亮的公共房间到进入顶层的那一刻起，参观者就被送到展览馆去了。这次相遇是一次与历史的相遇。一个人会重新发现自己。没有中央中庭，没有建造的连续体，没有或实际上没有自然光。博物馆的房间需要有控制的光线，光完全由摄影人员指导。大多数犹太教堂都有窗户，空气流通，充满了光。这座博物馆的窗户被砌成了砖块，25267块砖块遮住了日光，见证了人们的缺席和孤独。以这种方式，上层也不与城市互动。只有在顶层，才有可能在楼外流通。在这里，人们可以看到城市，更重要的是军营，军营前面的广场，尤其是营房的内部庭院。

The windows on the 2nd and 3rd floors– the dimensions of which vary per window – are bricked up with a total of 25,267 bricks. From the moment one exits the large, bright common room on the ground floor up to the point one enters the top floor, the visitor is given over to the exhibit. The encounter is a meeting with history. One rediscovers oneself. There is no central atrium, no built continuum, no or practically no, natural light. The museum rooms necessitate controlled light, light directed entirely by the scenographer. Most synagogues have windows and are airy and filled with light. This museum has bricked-up windows and 25,267 bricks keeping daylight out, bearing witness to absence and loneliness. In this way the upper floors do not interact with the city, either. Only on the top floor is it possible to circulate outside, ¾ of the way around the building. Here one may behold the city and more importantly the barracks, the square in front of the barracks and above all, the barrack’s inner courtyard.

 © Stijn Bollaert

(Stijn Bollaert)

首先也是最重要的，新的建筑希望成为一个裸露的框架，让场景自由地填满。建筑物的顶端和主体之间既有楼梯，也有电梯。虽然主体仍然是免费的展览空间，顶层是专门用于其他组成部分的节目。

First and foremost, the new building desires to be a bare frame to be filled in freely by the scenography. Between the building’s apex and its main body are both a staircase and an elevator. While the main body remains free for exhibition space, the top floor is devoted to other components of the program.

 © Stijn Bollaert

(Stijn Bollaert)

可持续性是建筑工作的一个主要主题。重点是长寿，因此，这主要意味着随着时间的推移强调变化和变化。这个建筑，这个博物馆，这个地方，必须在记忆中印上很长一段时间。该建筑，场地，希望成为建筑诠释的文化意义和博物馆作为机构的作用。

Sustainability is a main theme in the architectural work. The focus is on longevity and mostly this therefore means an emphasis on change and changeability over time. This building, this museum, this place, must imprint upon the memory for a very long time. The building, the site, desires to be the architectural interpretation of the cultural significance and the role of the museum as institution.

Architects awg architects

Location Mechelen, Belgium

Category Museums & Exhibit

Lead Architect bOb Van Reeth

Project Manager Jonas Van de Walle and Bob Van Abbenyen

Client Flemish Government

Program Memorial, Museum and Documentation Centre on Holocaust and Human Rights

Area 6093.0 sqm

Project Year 2012

Photographs Stijn Bollaert