曼徹斯特猶太博物館一個(gè)為期兩年的項(xiàng)目修復(fù)了一座 19 世紀(jì)的猶太教堂，提供了一個(gè)新的咖啡館、商店、學(xué)習(xí)工作室、廚房和畫廊空間。

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曼徹斯特猶太博物館長期以來一直是 Cheetham Hill 去工業(yè)化社區(qū)內(nèi)的一個(gè)受歡迎的社區(qū)空間。它最初于 1984 年開放，收藏了超過 31,000 件物品，記錄了曼徹斯特猶太人移民和定居的故事。

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Cheetham Hill 曾經(jīng)是蓬勃發(fā)展的紡織業(yè)的中心，在工業(yè)革命期間，它成為了來自世界各地的大量猶太人的家園，其中許多人來到這里尋找工業(yè)、就業(yè)或避難所。今天，這個(gè)由零售公園、倉庫和建筑商組成的擁擠街區(qū)與一條主干道相交，似乎不太可能成為歷史文化機(jī)構(gòu)的所在地。

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在關(guān)閉兩年后，該博物館在公民設(shè)計(jì)局 (CDB) 進(jìn)行了重大修復(fù)和擴(kuò)建后重新開放。它被賦予了一個(gè)新的入口，它引人入勝且燈火通明，現(xiàn)在使它能夠與 Cheetham Hill 擁擠的街景競爭，同時(shí)也歡迎來自繁忙街道的游客。

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背光 Cor-10 外墻是對現(xiàn)有華麗建筑的引人注目的補(bǔ)充 - 被列為二級保護(hù)的西班牙和葡萄牙猶太教堂，由 Edward Salomons 于 1874 年以摩爾復(fù)興風(fēng)格建造。 Cor-10 飾有精美的穿孔：抽象的摩爾人這些圖案補(bǔ)充了現(xiàn)有的建筑，同時(shí)也認(rèn)可了 Cheetham Hill 現(xiàn)有的穆斯林社區(qū)。

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博物館對國家開發(fā)銀行的要求是設(shè)計(jì)奇瑟姆山的新城市“客廳”。認(rèn)識到這一公民挑戰(zhàn)，國家開發(fā)銀行將廣泛的社區(qū)參與置于博物館計(jì)劃的核心。迭代過程涉及一系列活動，包括歡迎社區(qū)利益相關(guān)者進(jìn)入空間，為博物館制定自己的設(shè)計(jì)。

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隨著游客在新舊建筑之間無縫移動，國開行的設(shè)計(jì)呈現(xiàn)了一條新的歷史通道。列入名單的建筑增加了一個(gè)新的擴(kuò)建部分，作為游客的起點(diǎn)。從這個(gè)擴(kuò)建部分的中庭開始，他們可以在溫馨的猶太風(fēng)格咖啡館聚會，或者繼續(xù)前往與 All Things Studio 合作設(shè)計(jì)的一樓畫廊。從這里，游客可以通過前婦女畫廊進(jìn)入猶太教堂，追溯猶太婦女歷史上穿過該空間的步驟。

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在 Katy Marks 的帶領(lǐng)下，該設(shè)計(jì)很好地平衡了公共公共空間與更安靜、沉思的空間。在一樓，猶太教堂歷史悠久的入口被保留在新入口旁邊，作為一個(gè)和平的流通空間。通過中庭和畫廊，留出小角落供聆聽和觀察。

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食物被優(yōu)先考慮作為博物館與參觀者之間分享和交流的媒介。博物館的設(shè)計(jì)和正在進(jìn)行的項(xiàng)目都基于通過食物建立跨文化聯(lián)系。為此，在建筑物的后面建造了一個(gè)“學(xué)習(xí)廚房”。該空間由可伸縮的玻璃中庭提供天窗，為烹飪活動和研討會提供設(shè)施。

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博物館的猶太教堂已經(jīng)以法醫(yī)強(qiáng)度進(jìn)行了修復(fù)。翻新后的油漆與保留下來的座椅布局相映生輝；微妙的展示展示了來自座椅前乘客的驚人保存的個(gè)人文物。此外，前猶太教堂將作為演出和音樂會的活動場所。為了支持這一點(diǎn)，視聽基礎(chǔ)設(shè)施巧妙地塞進(jìn)了現(xiàn)有的座椅和欄桿中。

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可持續(xù)性在博物館的重建中發(fā)揮了重要作用。通過修復(fù)現(xiàn)有的猶太教堂，該設(shè)計(jì)節(jié)省了超過 250 噸的 CO 2。對現(xiàn)有的時(shí)期特征進(jìn)行了改造，以保留可持續(xù)性方面的收益。維多利亞時(shí)代的日光浴被重新用作通風(fēng)裝置，同時(shí)在屋頂上安裝了高性能絕緣被子以保留建筑物的傳統(tǒng)特征。新的擴(kuò)建部分坐落在一個(gè)帶有一樓新鮮空氣通風(fēng)室的熱巨大的平板上。這些措施共同將建筑物的碳強(qiáng)度降低了 20%。

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國家開發(fā)銀行的第一座完工建筑與曼徹斯特猶太博物館的新方向相得益彰。這種設(shè)計(jì)不僅植根于曼徹斯特猶太社區(qū)的多樣性，也植根于更廣泛的城市的多樣性。它的成功源于他們將建筑的歷史融入其更廣泛的社會和環(huán)境可持續(xù)性。

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建筑師的觀點(diǎn)

建造這座建筑的過程是一種愛的勞動。它的每個(gè)方面都引發(fā)了具有挑戰(zhàn)性的對話、個(gè)人歷史和驚喜。我們甚至在墻壁中發(fā)現(xiàn)了一個(gè) 1873 年的時(shí)間膠囊。

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猶太教堂建筑的結(jié)構(gòu)具有傳記性質(zhì)，我們希望將其帶入新博物館——它是由故事構(gòu)成的。立面就是一個(gè)很好的例子：原建筑師愛德華·所羅門 (Edward Salomons) 設(shè)計(jì)的猶太教堂覆蓋著摩爾人的建筑圖案，以反映塞法迪社區(qū)的地理起源，而不是任何明確的猶太象征意義。這感覺像是跨越宗教和文化差異進(jìn)行對話的重要機(jī)會。

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Salomons 受到 Owen Jones 作品（記錄在 V&A 檔案中）的影響，所以我們花了很多時(shí)間看他的畫。我們對他的技術(shù)圖紙和幾何練習(xí)特別感興趣，而不是采用單一模式并將其復(fù)制到立面上，其中分析過程清晰可辨。每個(gè)節(jié)點(diǎn)都是八點(diǎn)幾何的不同表現(xiàn)形式，適用于 Cor-10 并根據(jù)圖案的密度進(jìn)行分級，在夜間產(chǎn)生斑駁、閃爍和閃爍的效果。

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這是一個(gè)很長的過程，探索這些模式的組成以及它們對社區(qū)的意義?！拔覀冇懈嗟墓餐c(diǎn)而不是分裂我們的東西”的想法現(xiàn)在比以往任何時(shí)候都更有意義。

Katy Marks，公民設(shè)計(jì)局局長

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客戶觀點(diǎn)

經(jīng)過近十年的規(guī)劃、籌款和協(xié)商，更不用說全球大流行，我們已準(zhǔn)備好向世界展示我們美麗的新博物館。

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公民設(shè)計(jì)局巧妙地設(shè)計(jì)并整合了一個(gè)現(xiàn)代擴(kuò)建部分，該擴(kuò)建部分連接到我們列為二級 * 的猶太教堂，使博物館的占地面積增加了一倍。Cor-10 擴(kuò)建部分向猶太教堂的原始建筑師 Edward Salomons 的設(shè)計(jì)致敬，展示了靈感來自猶太教堂的西班牙和葡萄牙根源的美麗幾何圖案，在夜間像裝飾燈籠一樣發(fā)光。猶太教堂本身最初建于 1874 年，經(jīng)過精心修復(fù)，恢復(fù)了原來的裝飾方案，成為博物館中心的活物。

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我們位于曼徹斯特歷史悠久的猶太區(qū) Cheetham Hill，也是該市文化最多元化的地區(qū)之一。與當(dāng)?shù)厣鐓^(qū)建立聯(lián)系是我們工作的重要組成部分，擁有如此熱情和包容的新建筑是一項(xiàng)重要資產(chǎn)。我們歡迎的新入口現(xiàn)在引起人們的興趣并邀請人們進(jìn)入，以回應(yīng)歷史反饋，有些人認(rèn)為舊博物館入口可能會令人生畏并且“不適合我”。

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我們的新咖啡館和學(xué)習(xí)廚房將使我們能夠通過食物將人們聚集在一起，并且我們第一次擁有一個(gè)完全可訪問的畫廊，我們可以在那里展示我們的收藏品，帶領(lǐng)游客踏上旅程，了解旅程、社區(qū)和社區(qū)的普遍主題。身份。

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我們的新建筑體現(xiàn)了我們的雄心和使命，即通過猶太故事展示和分享普遍經(jīng)驗(yàn)，將人們聚集在一起，建立聯(lián)系。我們將利用我們的收藏、建筑和項(xiàng)目，大膽探索和結(jié)合教育、文化和藝術(shù)體驗(yàn)，鼓勵(lì)我們接觸的人感受并相信我們在一起會更好。

Max Dunbar，曼徹斯特猶太博物館首席執(zhí)行官

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英文版

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A two-year project has restored a 19th century synagogue with the provision of a new café, shop, learning studio, kitchen and gallery space.

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The Manchester Jewish Museum has long been established as a welcoming community space within the de-industrialised neighbourhood of Cheetham Hill. It originally opened in 1984 and has a collection of over 31,000 objects which document the story of Jewish migration and settlement in Manchester.

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Once the centre of a thriving textile industry, during the Industrial Revolution Cheetham Hill itself became home to a large Jewish population from across the world, many of whom arrived in search of industry, employment, or sanctuary from persecution. Today, this crowded neighbourhood of retail parks, storage warehouses and builderss merchants, intersected by a main road, seems an unlikely location for an historic cultural institution.

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After a two-year closure, the museum has reopened after a major restoration and extension by Citizens Design Bureau (CDB). It has been given a new entrance which inviting and brightly lit, now allows it to compete with Cheetham Hill’s crowded streetscape, while also welcoming visitors inside from the busy street.

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The backlit Cor-ten fa?ade is a compelling addition to the ornate existing building – the Grade II-listed Spanish and Portuguese Synagogue, built in the Moorish Revival style by Edward Salomons in 1874. The Cor-ten is detailed with fine perforations: abstracted Moorish motifs which complement the existing architecture while also recognising Cheetham Hill’s present Muslim community.

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The museum’s brief to CDB was to design the new urban ‘living room’ of Cheetham Hill. Recognising this civic challenge, CDB placed wide community engagement at the core of the museum’s programme. The iterative process involved a range of activities, including welcoming community stakeholders into the space to draw up their own designs for the museum.

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CDB’s design presents a new passage through history as visitors move seamlessly between the old and new architectures. A new extension has been added to the listed building, serving as a starting point for visitors. Beginning in the central atrium of this extension, they can convene in the homely kosher-style café, or continue to a first-floor gallery designed in collaboration with All Things Studio. From here, visitors access the synagogue through the former women’s gallery, retracing of the steps that Jewish women would have historically taken through the space.

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Led by Katy Marks, the design does well to balance public communal spaces with quieter, contemplative spaces. On the ground floor the synagogue’s historic entrance is conserved beside the new entrance as a peaceful circulation space. Through the atrium and gallery, small nooks are set aside for listening and observing.

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Food has been prioritised as a medium for sharing and communion between the museum and its visitors. Both the design and ongoing programme of the museum are based around establishing cross-cultural connections via food. To aid this, in the rear of the building a ‘learning kitchen’ has been built. The space, skylit by a retractable glass atrium, offers facilities for culinary events and workshops.

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The museum’s synagogue has been restored with forensic intensity. Renovated paintwork shines alongside the preserved seating plan; subtle displays show uncannily preserved personal artefacts from the seat’s former occupants. In addition, the former synagogue will serve as an event space for gigs and concerts. To support this, audio visual infrastructure is deftly tucked into the existing seats and balustrades.

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Sustainability played an important role in the redevelopment of the museum. By restoring the existing synagogue, the design conserves over 250 tonnes of CO2. Existing period features were retrofitted to preserve the gains in sustainability. The Victorian sunburners were repurposed as ventilation extracts, whil a high-performance insulation quilt was installed in the roof to preserve the building’s traditional character. The new extension sits on a thermally massive slab with a ground-floor fresh air plenum. Together these measures reduce the carbon intensity of the building by 20 per cent.

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CDB’s first finished building complements the new direction of the Manchester Jewish Museum. A design rooted in the diversity of not just Manchester’s Jewish community, but also of the wider city. Its success stems from their incorporation of the history of the building into its wider social and environmental sustainability.

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Architect’s view

The process of making this building has been a labour of love. Every aspect of it has thrown up challenging conversations, personal histories and surprises. We even found a time capsule from 1873 buried in the walls.

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The fabric of the synagogue building had a biographic quality to it which we wanted to bring to the new museum – the sense that it is made of stories. The fa?ade is a good example of this: The original architect, Edward Salomons, designed the synagogue to be covered in Moorish architectural motifs, as a reflection of the geographic origins of the Sephardi community, rather than any explicitly Jewish symbolism. This felt like an important opportunity for conversations across religious and cultural difference.

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Salomons was influenced by the work of Owen Jones (documented in the V&A archives) so we spent a lot of time, looking at his drawings. Rather than take a single pattern and copy it across the fa?ade, we were particularly interested in his technical drawings and exercises in geometry, in which the analytical process is clearly discernible. Each node is a different manifestation of eight-point geometry, adapted for Cor-ten and graded in the density of the pattern, giving a dappled, glinting and twinkling effect at night.

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It has been a very long process, exploring the composition of these patterns and the intertwined history of communities for which they would have held meaning. The idea that ‘we have more in common than that which divides us’ feels more relevant now than ever.

Katy Marks, director, Citizens Design Bureau

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Client's view

After almost a decade of planning, fundraising and consultations, not to mention a global pandemic, we are ready to show the world our beautiful new museum.

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Citizens Design Bureau has sensitively designed and integrated a contemporary extension that connects to our Grade II*-listed synagogue, doubling the footprint of the museum. The Cor-ten extension pays tribute to the designs of the synagogue’s original architect Edward Salomons, showcasing beautiful geometric patterns inspired by the synagogue’s Spanish and Portuguese roots, glowing at night like a decorative lantern. The synagogue itself, originally built in 1874, has been painstakingly restored to its original decorative scheme, standing as a living artefact at the heart the museum.

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We are situated in Cheetham Hill, Manchester’s historic Jewish quarter and one of the city’s most culturally diverse areas. Connecting with our local communities is a vital part of our work and to have such a welcoming and inclusive new building is a major asset. Our welcoming new entrance now intrigues and invites people in, responding to historic feedback that some people felt the old museum entrance could feeling intimidating and ‘not a place for me’.

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Our new Café and Learning Kitchen will allow us to bring people together through food and, for the first time, we have a fully accessible Gallery, where we can display our collection, taking visitors on a journey through the universal themes of journeys, communities and identities.

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Our new building embodies our ambition and mission to be a place that brings people together to make connections by showing and sharing universal experiences through Jewish stories. We will use our collection, building and programme to boldly explore and combine educational, cultural and artistic experiences to encourage those with whom we come into contact to feel and believe we are all better together.

Max Dunbar, chief executive, Manchester Jewish Museum

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