位于美国阿肯色州本通维尔的新的水晶桥美国艺术博物馆(Mohe Safdie，2011)的中心，该博物馆商店是当地一位建筑师将其插入到一个现有的3040平方英尺弯曲混凝土空间中。当地举行了一次竞赛，以寻找一名建筑师，可以为整个博物馆的经验，并为博物馆提供一个实用的和触觉博物馆商店。提供的空间结构很重，混凝土柱支撑着一个绿色的屋顶，上面严重地解剖了空间。西面的店面打开进入广场，使眩光和热量增加了一个问题。店主想要一种温暖、自然和触觉的商店体验，被博物馆的赞助者理解为博物馆体验的延伸。

Located in the heart of the new Crystal Bridges Museum of American Art (Moshe Safdie, 2011) in Bentonville, Arkansas, USA, the museum store is an insertion by a local architect into an existing 3,040 square foot curved concrete space. A local competition was held to find an architect that could contribute to the overall museum experience and provide the museum with a functional and tactile museum store. The space provided was heavily structured with concrete columns supporting a green roof above which severely dissecting the space. The west-facing storefront opened on to the entry plaza, making glare and heat gain an issue. The owner desired a store experience that was warm, natural, and tactile and understood by museum patrons as an extension of the museum experience.

 Courtesy of Timothy Hursley

蒂莫西·赫斯利

考虑到几位当地艺术家将出现在博物馆的商店里，我们的分析集中在著名的篮子制造商利昂·尼胡斯(亨茨维尔，阿肯色州)的作品上，他以奥扎克年轻的白橡树制成精美的雕塑篮子而闻名。他的制作过程使用了传统的夹板技术和新的建筑方法，简单的重复元素。在特定的路径上挤压出强烈的形式轮廓。这一过程是开发一套统一的、覆盖零售空间的系统的来源。

Mindful that several local artists would be featured in the museum store, our analysis focused on the work of celebrated basket maker, Leon Niehues (Huntsville, Arkansas), known for his beautifully crafted sculptural baskets made from the young white oak trees of the Ozarks.  His process of making uses traditional splint techniques together with new construction methods, simple repetitive elements, and strong formal profiles extruded along specific paths. This process was the source for developing a unified system of articulation that envelopes the retail space.

 Courtesy of Timothy Hursley

蒂莫西·赫斯利

一系列平行的樱桃胶合板肋骨是从BIM模型在当地直接制作而成，在奥扎克(Ozark)收获，组织空间，在后壁形成天花板和磨坊。一台数控机床提供了切割224件精确和独特的零件所需的技术。类似于一种被称为层板的蘑菇的肋底，表面起伏，以创造一个优雅的剖面，同时也服务于实际的功能，提供阴影，从强烈的西方太阳。层板系统的孔隙度和规律性为加热和冷却系统、照明和悬挂商品提供了固有的灵活性。贴有纹理的绿色织物覆盖的展示墙结束了零售商店的末端，并补充了樱桃木地板和层压板表面。层板的形式和结构试图使博物馆的美学产生共鸣。在给定的曲面空间与零售商店的实际需求之间进行协调。

A series of parallel cherry plywood ribs, fabricated locally straight from the BIM model, harvested locally in the Ozarks, organizes the space and forms the ceiling and millwork on the rear wall.  A CNC machine provided the technology needed to cut 224 precise and unique pieces.  Likened to the ribbed underside of a mushroom known as a lamella, the surface undulates to create an elegant sectional profile while also serving the practical function of providing shade from the intense western sun. The porosity and regularity of the lamella system provide an inherent flexibility for heating and cooling systems, lighting and hanging merchandise.  Textured green fabric covered display walls terminate the ends of the retail store and compliment the cherry wood floor and lamella surfaces.  The form and structure of the lamella attempts to resonate the aesthetic of the museum, mediating between the given curved raw space and the practical needs of the retail shop.

 Courtesy of Timothy Hursley

蒂莫西·赫斯利

独立定制的欧扎克胡桃木和玻璃体进一步组织了空间，提供整体展示和存储，同时作为感官弯曲天花板和后壁的对立面。该方案的几何图形被转换成一个三维空间命题，充满了当地的材料和工艺，表达了与美国艺术中独特的情感的亲缘关系。

Free-standing custom Ozark walnut and glass vitrines further organize the space, providing integral display and storage while serving as a counterpoint to the sensual curved ceiling and rear wall.  The geometry of the plan is transformed into a three dimensional spatial proposition imbued with local materials and craftsmanship, expressing a kinship with the unique sensibility found in American Art.