Courtesy of Schwartz Besnosoff + SO Architecture

施瓦茨·贝斯诺索夫·索建筑

这一做法反映了一种试图为耶路撒冷提供一个通风的城市，打破物质和象征性的密度。我们相信，利用这座建筑来构建开放的城市空间，将有助于首都居民与政府大楼“交友”，并在市民和他们的机构之间制造积极的紧张关系。因此，我们决定把公园设在鲁平大道一侧的小区入口处。拟议中的这座建筑将作为一系列位于地块中心的小型单层建筑突出，以一种在不影响公园中心存在的情况下暗示该建筑的方式，该公园位于咖啡厅对面，为路过的游客提供服务。

This approach reflects an attempt to offer Jerusalem an airy urbanity, a break from the physical and symbolic density. We believe that utilizing the building to structure the open urban space will help the residents of the capital “make friends” with the government buildings and create a positive tension between the citizens and their institutions. Therefore, we decided to locate the park at the entrance to the quarter on the Ruppin Boulevard side. The proposed building will protrude as a series of small single-story buildings in the center of the land plot, in a way that hints at the structure without interfering with the central presence of the park, which is opposite the coffee shop that serves visitors passing by.

 Courtesy of Schwartz Besnosoff + SO Architecture

施瓦茨·贝斯诺索夫·索建筑

由于内部和内部、内部和外部之间的复杂相互作用，这导致了一个虚拟建筑。建筑类型学模仿带有绿色孔的瑞士奶酪的形式。绿色孔的大小和位置因级别而异。在12.00级，考古学层面，外部实际上是主要方面，而在最高层，群体中的洞更精细。

With complex reciprocity between the interior and interior, the interior and the exterior, this results in a virtuosi building. The building typology imitates the form of Swiss cheese with green holes. The size and location of the green holes varies among the levels. On Level –12.00, the archeology level, the outside is actually the main aspect, while on the highest stories, the holes in the mass are more refined.

 Courtesy of Schwartz Besnosoff + SO Architecture

施瓦茨·贝斯诺索夫·索建筑

建筑的外部形式是基于一个中心的几何和符号概念，它结合了总体规划所要求的所有设计原则，并创造了一条连接和统一它们的线，并有可能分几个阶段执行。该建筑被组织在计划，横截面，和立面作为建筑砖块放在一起。这是人类与环境之间相互关系的发展过程和进化创造过程的隐喻。

The exterior form of the building is based on a central geometric and symbolic concept that incorporates all of the design principles required by the overall plan, and creates a thread connecting and unifying them, with the possibility of execution in several stages. The building is organized in the plan, cross-section, and façade as building bricks laid upon one another. This is a metaphor of the process of the development of interrelations between humans and their environment and of the process of evolutionary creation.

 Courtesy of Schwartz Besnosoff + SO Architecture

施瓦茨·贝斯诺索夫·索建筑

该建筑分为三部分半层，从而确保了一个内部互动和灵活的空间，为不同的气氛和需要的展览。该建筑由元画廊、办公室、会议中心、学习区、实验室、储藏室、举办展览的房间、停车场和天文馆组成。该设计使自然博物馆和科学博物馆的无障碍程度达到最大。它可以独立操作建筑物的不同部分，例如天文馆、会议中心和面向Ruppin大道的咖啡店。职能的组织取决于所需的照明条件，要求自然光的功能已在上层组织起来，当你下降时，较低级别的功能容纳了需要较少光线和更多控制照明的功能。

The building is organized in three sections of half-stories, thus ensuring an inner interactive and flexible space for exhibitions with different atmospheres and needs. The building is composed of meta-galleries, offices, a conference center, study areas, labs, storerooms, rooms for setting up exhibitions, a parking lot, and a planetarium. The design enables maximal accessibility to the nature museum and the science museum. It enables separate operation of different parts of the building, such as, for instance, the planetarium, the conference center, and the coffee shop that faces Ruppin Boulevard. The organization of functions was determined by the required lighting conditions, functions requiring natural light have been organized on the upper levels and as you descend, the lower levels accommodate functions that require less light and more controlled lighting.

 Courtesy of Schwartz Besnosoff + SO Architecture

施瓦茨·贝斯诺索夫·索建筑

博物馆运动的过程被描述为一条在田野之间的直线路径，在一个元画廊系统中，一些在斜坡上，有些在平地上。该运动组织为一个中心的线性系统，具有不同的相互作用和选择。到达12点楼时，一台自动扶梯将参观者带到博物馆的屋顶-外面的展览馆。从屋顶展览，一个下降到天体物理画廊，从那里到出口/入口。移动计划创造了这样一种情况：屋顶上的移动是博物馆正式路径的一部分；我们认为这是非常重要的。

The course of the museum movement is characterized as a linear path between fields, within a system of meta-galleries, some on an incline and some flat. The movement was organized as a central, linear system, with different interactions and options. Upon arriving at Level –12.00, an escalator takes the visitors up to the roof of the museum – to the outside exhibition gallery. From the roof exhibitions one descends to the astrophysics gallery and from there to the exit/entrance. The movement plan creates a situation in which the movement on the roof is part of the formal museum path; we consider this very important.

 Courtesy of Schwartz Besnosoff + SO Architecture

施瓦茨·贝斯诺索夫·索建筑

该建筑的一些绿色屋顶构成了公园的延续，也有一些构成了内部运动的一部分，作为主题花园的平台。主题花园的基本理念是描绘以色列的景观，将屋顶划分成不同的区域，每个区域都代表着独特的景观。其结果是形成了一个构成以色列景观模式的屋顶-一种体验性和物理性的风景目录。公园层的屋顶可供参观公园的游客使用，并可在不进入博物馆的情况下获得博物馆的体验。

Some of the green roofs of the building constitute a continuation of the park and some constitute a section of the internal movement, as a platform for the theme gardens. The underlying idea of the theme gardens is characterization of the landscapes of Israel, achieved by dividing the roof into different areas each representing a unique landscape. The result is a roof that constitutes a pattern of the landscapes of Israel – an experiential and physical catalogue of scenery. The roofs on the park level are accessible to visitors to the park and enable a museum experience without entering the museum.

 Courtesy of Schwartz Besnosoff + SO Architecture

施瓦茨·贝斯诺索夫·索建筑

在夏季，博物馆外部的自然通风和夜间建筑物的交叉通风将成为可能。为了改善游客的热舒适性，我们会透过一套由外界进出建筑物的水渠和水池系统，增加湿气。在冬天，热团将被用来加热建筑物。建筑物白天升温，晚上和清晨保持相对较高的温度。

In the summer, natural ventilation of the outside areas of the museum and cross-ventilation of the building at night will be made possible. To improve the thermal comfort of the visitors, moisture will be added by means of a system of water channels and pools passing from the outside to and through the buildings. In the winter, the thermal mass will be used to heat the building. The building heats up during the day and maintains a relatively high temperature during the evening and the early morning hours.

 Courtesy of Schwartz Besnosoff + SO Architecture

施瓦茨·贝斯诺索夫·索建筑

水道以迷人的空间方式蜿蜒穿过建筑物。它是通过水中的自然光的来源，是灰色水的蓄水池、海水淡化池、瀑布和蓄水池。我们在建筑物和山之间建立了一种峡谷(干涸)。峡谷不仅是令人印象深刻的视觉吸引力，还是瀑布的底座、攀岩墙、树林和石头外层的通道，也是光线可以进入博物馆不同部分的地方。

The watercourse winds through the building in a fascinating spatial manner. It serves as a source of natural light through the water, as a reservoir of grey water, as a desalinization pool, as a waterfall and as a water accumulation pool. We created a sort of canyon (wadi) between the building and the mountain. In addition to being an impressive visual attraction, the canyon serves as the base of the waterfall, a climbing wall, a grove and the path of the outer coating of stones, as well as a place from which light can enter the different sections of the museum.

建筑师：Schwartz Besnosoff so建筑项目组：Gaby Schwartz，Shachar Lulav，Oded Rozenkier，Alejandro Fajnerman，Levav Shachar，Tomer Nachon，Noa Hefez，Noy Lazarovic，Omry Schwartz，Boaz Rotem客户：耶路撒冷城，发现耶路撒冷，耶路撒冷希伯来大学：2012年7月

Architects: Schwartz Besnosoff + SO Architecture Project Team: Gaby Schwartz, Shachar Lulav, Oded Rozenkier, Alejandro Fajnerman, Levav Shachar, Tomer Nachon, Noa Hefez, Noy Lazarovic, Omry Schwartz, Boaz Rotem Client: City of Jerusalem, Jerusalem Found, Hebrew University of JerusalemArea:30,000 sqm Year: July 2012