架构师提供的文本描述。退伍军人成立于19世纪初，是一个为“混乱的下层阶级”开放的改革所，目的是教育和重新社会化人民。学院成立后不久，一个可改革的社会的理想主义、进步的观念就被抛弃了。这个村庄与外界紧密隔绝，变成了监狱村；自愿监禁变成了监禁。这些年来，在全区，更多的监狱和毗邻的功能被建立起来，把一个大面积的地方变成了一个监狱聚集地。

Text description provided by the architects. Veenhuizen was founded at the beginning of the 19th century as an open reformatory for the “disorderly underclass”, with the aim to educate and re-socialise people. Soon after the opening of the institute the idealistic, progressive concept of a reformable society was left. The village was hermetically closed off from the outside world and was transformed into a prison village; voluntary confinement became imprisonment. Over the years, in the whole region around Veenhuizen, more prisons and adjoining functions were built turning a large area into a prison colony.

 © Ulrich Schwarz

乌尔里希·施瓦兹

退伍军人可以作为一个典型的古典主义总体规划，其中的城市规划和建筑形成了一个Gesamtkunstwerk。在一个“正常”的村庄里，市场决定了中心的位置，在威亨曾发现了一个巨大的监狱法庭。

Veenhuizen can be typified as a classicistic master plan in which city planning and architecture form a Gesamtkunstwerk. Where in a “normal” village the market place defines the centre, in Veenhuizen one finds an enormous prison court.

 © Ulrich Schwarz

乌尔里希·施瓦兹

围绕中央监狱法院，沿轴向街道系统，许多相关的建筑综合体被放置。为了发展一个整体的概念，直到最小的细节，所有的建筑物都被铭文，如“工作和祈祷”，“纪律和秩序”或“工作就是生命”。

Around the central prison court, along the axial street system, many related building complexes are placed. To develop a total concept till the smallest detail, all the buildings were given inscriptions like “work and pray”, “discipline and order” or “work is life”.

 © Ulrich Schwarz

乌尔里希·施瓦兹

经过监狱系统的改革，许多经典建筑仍然没有功能。为了保持前监狱殖民地的独特性质，决定对现有的建筑物进行大幅度的重新规划。改造后的建筑群之一就是所谓的“工艺品中心”。在过去，这个建筑群是一群专门的手工业用的建筑物，囚犯在那里劳动。此外，“工艺品集群”收到了一个新的文化节目，并被改建为博物馆。

After a reformation in the prison system many of the classic buildings remained without a function. To preserve the unique character of the former prison colony, a decision was made to drastically re-programme the existing buildings. One of the transformed building complexes is the so called ‘crafts centre’. In former times this complex was a cluster of buildings meant for specific crafts where prisoners were put to labour. Also the ‘crafts cluster’ received a new cultural programme and was remodelled as a museum.

 © Ulrich Schwarz

乌尔里希·施瓦兹

“工艺品群”是Gesamtkunstwerk Veenhuizen的组成部分，具有国家纪念碑的地位。随着时间的推移，由于增加了多个屋顶、谷仓和砖瓦加长，复杂的建筑变得难以辨认。设计的核心是对所有不合适的建筑部件进行战略性拆除。这一策略是与考古学有关的，其目的是将建筑清理到原来的形式，并恢复古典主义理想城市的城市核心理念。

The ‘Crafts cluster’ is an integral part of the Gesamtkunstwerk Veenhuizen, which has a national monument status. Over time the complex deteriorated beyond recognition through the addition of multiple roofs, barns and brickwork extensions. The nucleus of the design was the strategic demolition of all non-fitting building parts. This strategy is related to archaeology, the objective of this was to clear the building to their original form and to restore the urban core idea of a classicistic ideal city.

 © Ulrich Schwarz

乌尔里希·施瓦兹

为了达到这一目标，几乎40%的现有建筑必须拆除。对这一行动的一个实际援助是，棚屋、谷仓和屋顶的大部分都覆盖着石棉。此外，近15年的空缺也给建筑物留下了巨大的隐性损害的痕迹。但即使在这些结论之后，即使是最原始的棚屋的拆除，也导致了与“纪念碑委员会”的广泛讨论。建筑各部分的建筑价值必须与社会历史价值相比较.

To achieve this goal almost 40% of the existing building mass had to be demolished. A practical assistance to this operation was the fact that large parts of the sheds, barns and roofs were covered with asbestos. Also almost 15 years of vacancy had left its mark in the form of substantial, hidden damages to the structures. But even after these conclusions the demolishment of even the most primitive shed led to far stretching discussions with the ‘Monument Commission’. The architectonic value of every building part had to be weighted against the social-historical value.

 © Ulrich Schwarz

乌尔里希·施瓦兹

在修复过程中，目标不仅仅是实现建筑物的“原始”状态。通过拆除烟囱等各部分，结合遗址的严格布局，为游客安排了历史的、极严格的、严格的老兵形象。

In the restoration the goal was not only the achieve an ‘original’ state of the buildings. By removing all parts such as chimneys and other details, in combination with the stringent layout of the site, the historical, extremely rigid and strict character of Veenhuizen was arranged for visitors.

 © Ulrich Schwarz

乌尔里希·施瓦兹

在整理完整的工艺组合后，独立的建筑也被重新装修。这些建筑最初是为了纯粹的实用目的而设计的，这就是为什么它们忽略了适合公共建筑的每一种空间姿态。

After tidying the complete craftscluster as an ensemble, also the separate buildings were remodelled. The buildings were originally designed for pure pragmatic causes, this is why they missed every sort of spatial gesture that is fitting for a public building.

 © Ulrich Schwarz

乌尔里希·施瓦兹

为了弥补这一“宏伟”的不足，拆除后仍然保留的外墙上的大开口被作为增加新的外墙元素的起点。这些新的要素加强了城市规划中建筑物之间的一致性。豪华的，4米高的结构玻璃窗与4米高的门结合在一起，这些门都是用黑镜玻璃隔开的。从外部看，立面元素不仅以纯功能的方式关闭了洞口，而且还强调了现有建筑的不朽性。

To compensate for this lack of ‘grandeur’, the large openings in the exterior walls, which remained after demolition, were taken as a starting point to add new façade elements. These new elements strengthen the coherence between the buildings within the urban plan. Lavish, four meter high structurally glazed windows were combined with four meter high doors which are cladded in black mirror glass. Seen from the outside the façade elements not only close the openings in a pure functional way, but also emphasise the monumentality of the existing buildings.

 section 02

section 02

通过新的外观元素的统一，强调了集合作为博物馆的用途及其公共功能。外观元素的约束方面通过其反射质量得到巩固，从而以多种意想不到的方式反映彼此之间的不同建筑。这样，建筑物之间和周围环境就有了很强的联系。

Through the unity of the new façade elements, the use of the ensemble as a museum and its public function is underlined. The binding aspect of the façade elements is consolidated by their reflective quality, thus reflecting the different buildings in each other in a multitude of unexpected ways. In this way the buildings gain a strong connection with each other and with their surroundings.

 section 04

section 04

此外，外观要素是实现最大限度的“历史安排”战略的一部分。为了实现这一点，元素不仅适合于现有的开口，而且作为一个新的历史层，与现有的砖块重叠。这样，现有的建筑以及新的元素保持了他们的自主性和真实性，同时实现了一种牢固的关系，在这种关系中，两者都更加强大。最初的砖瓦建筑暴露在外观元素的后面，类似于一个展示窗口。

Furthermore the façade elements are part of the strategy to achieve a maximum ‘arrangement of history’. To realise this, the elements are not just fit into the existing openings, but overlap the existing brickwork as a new historic layer. In this way the existing buildings as well as the new elements keep their autonomy and authenticity, while achieving a strong relationship in which both are stronger. The original brickwork buildings are exposed behind the façade elements similar to a display window.

在室内设计中，采用了“历史安排”的策略来揭示隐藏的、空间的潜能。最有可能成为主要公共建筑的最有趣的建筑是以前的“铁匠的工作场所”。大比例，四米高的底层，加上令人印象深刻的屋顶建筑，构成了博物馆的良好起点。不幸的是，这座建筑的平面图很差，中间有承重墙，还有一层地板挡住了人们对这座奇特的圆形木屋顶建筑的看法。

Also in the interior design the strategy of ‘arrangement of history’ was used to expose hidden, spatial potential. The most interesting building with the largest potential to become the main public building was the former ‘blacksmith’s working-place’. Large proportions, a four meter high ground floor in combination with an impressive roof construction formed a good starting point for a museum. Unfortunately the building had a poor floor-plan division with load bearing walls in the middle of the space and a floor blocking the view to the extraordinary round, wooden roof construction.

 © Ulrich Schwarz

乌尔里希·施瓦兹

为了使建筑物具有属于博物馆的空间质量，在整个建筑宽度的10米范围内打开了地板。通过这样做，屋顶建筑从底层就可以看到，这给了建筑一种特殊的空间体验。此外，一个整体，钢楼梯连接底层和上层。

To give the building the spatial quality belonging to a museum the floor was opened over the full width of the building over a length of 10 meters. By doing this the roof construction is visible from the ground floor, giving the building a special, spatial experience. Furthermore a monolithic, steel staircase connects the ground floor with the upper floor.

 section 03

section 03

对整个内部都进行了整体式的处理，并以一种清醒的方式进行了详细的描述，也通过将整个画成明亮的白色。地板是用闪闪发亮的白色混凝土漆完成的。内部的外观，尽管结构上的变化，故意处理的方式是如此的同质化和综合存在于新的和历史性的。一个新的博物馆空间出现，它被设计成一个历史的，古典主义的内部布局的历史投影。正因为如此，内饰很适合整个合奏。

To whole interior was treated monolithic and was detailed in a sober way, also by painting the whole in bright white. The floor is finished in a shiny white concrete paint. The appearance of the interior is, despite the structural changes, deliberately treated in a way so homogeneity and synthesis exists between the new and the historic. A new museum space appears which is designed as an arranged historical projection of a historical, classicistic interior. Because of this the interior fits well in the total ensemble.

整个项目是按照“安排历史”的战略来设计的。历史建筑群并不是简单地展示出来的，它本身就讲述了一个关于历史和建筑元素的故事。所有使用的手段：清洗，新的层和古典主义的内部来源于一种信念，即不是历史的中断，而是连续性是重要的。仿佛建筑师的原始工艺集群在完成一百年后，得到了改造他自己的项目的委托。

The entire project is designed according to the strategy of the ‘arranged history’. The historical building complex is not simply shown, but in itself tells a story about history with the elements of architecture. All used means: the cleansing, the new layer and the classicistic interior stem from the conviction that not historical breaks but continuity is important. As if the architect of the original crafts cluster hundred years after completion received the commission to remodel his own project.

液化石油气(LPG Oficina De ArquArchtura)提供

Courtesy of LPG oficina de arquitectura