曼彻斯特犹太博物馆一个为期两年的项目修复了一座 19 世纪的犹太教堂，提供了一个新的咖啡馆、商店、学习工作室、厨房和画廊空间。

曼彻斯特犹太博物馆长期以来一直是 Cheetham Hill 去工业化社区内的一个受欢迎的社区空间。它最初于 1984 年开放，收藏了超过 31,000 件物品，记录了曼彻斯特犹太人移民和定居的故事。

Cheetham Hill 曾经是蓬勃发展的纺织业的中心，在工业革命期间，它成为了来自世界各地的大量犹太人的家园，其中许多人来到这里寻找工业、就业或避难所。今天，这个由零售公园、仓库和建筑商组成的拥挤街区与一条主干道相交，似乎不太可能成为历史文化机构的所在地。

在关闭两年后，该博物馆在公民设计局 (CDB) 进行了重大修复和扩建后重新开放。它被赋予了一个新的入口，它引人入胜且灯火通明，现在使它能够与 Cheetham Hill 拥挤的街景竞争，同时也欢迎来自繁忙街道的游客。

背光 Cor-10 外墙是对现有华丽建筑的引人注目的补充 - 被列为二级保护的西班牙和葡萄牙犹太教堂，由 Edward Salomons 于 1874 年以摩尔复兴风格建造。 Cor-10 饰有精美的穿孔：抽象的摩尔人这些图案补充了现有的建筑，同时也认可了 Cheetham Hill 现有的穆斯林社区。

博物馆对国家开发银行的要求是设计奇瑟姆山的新城市“客厅”。认识到这一公民挑战，国家开发银行将广泛的社区参与置于博物馆计划的核心。迭代过程涉及一系列活动，包括欢迎社区利益相关者进入空间，为博物馆制定自己的设计。

随着游客在新旧建筑之间无缝移动，国开行的设计呈现了一条新的历史通道。列入名单的建筑增加了一个新的扩建部分，作为游客的起点。从这个扩建部分的中庭开始，他们可以在温馨的犹太风格咖啡馆聚会，或者继续前往与 All Things Studio 合作设计的一楼画廊。从这里，游客可以通过前妇女画廊进入犹太教堂，追溯犹太妇女历史上穿过该空间的步骤。

在 Katy Marks 的带领下，该设计很好地平衡了公共公共空间与更安静、沉思的空间。在一楼，犹太教堂历史悠久的入口被保留在新入口旁边，作为一个和平的流通空间。通过中庭和画廊，留出小角落供聆听和观察。

食物被优先考虑作为博物馆与参观者之间分享和交流的媒介。博物馆的设计和正在进行的项目都基于通过食物建立跨文化联系。为此，在建筑物的后面建造了一个“学习厨房”。该空间由可伸缩的玻璃中庭提供天窗，为烹饪活动和研讨会提供设施。

博物馆的犹太教堂已经以法医强度进行了修复。翻新后的油漆与保留下来的座椅布局相映生辉；微妙的展示展示了来自座椅前乘客的惊人保存的个人文物。此外，前犹太教堂将作为演出和音乐会的活动场所。为了支持这一点，视听基础设施巧妙地塞进了现有的座椅和栏杆中。

可持续性在博物馆的重建中发挥了重要作用。通过修复现有的犹太教堂，该设计节省了超过 250 吨的 CO 2。对现有的时期特征进行了改造，以保留可持续性方面的收益。维多利亚时代的日光浴被重新用作通风装置，同时在屋顶上安装了高性能绝缘被子以保留建筑物的传统特征。新的扩建部分坐落在一个带有一楼新鲜空气通风室的热巨大的平板上。这些措施共同将建筑物的碳强度降低了 20%。

国家开发银行的第一座完工建筑与曼彻斯特犹太博物馆的新方向相得益彰。这种设计不仅植根于曼彻斯特犹太社区的多样性，也植根于更广泛的城市的多样性。它的成功源于他们将建筑的历史融入其更广泛的社会和环境可持续性。

建筑师的观点

建造这座建筑的过程是一种爱的劳动。它的每个方面都引发了具有挑战性的对话、个人历史和惊喜。我们甚至在墙壁中发现了一个 1873 年的时间胶囊。

犹太教堂建筑的结构具有传记性质，我们希望将其带入新博物馆——它是由故事构成的。立面就是一个很好的例子：原建筑师爱德华·所罗门 (Edward Salomons) 设计的犹太教堂覆盖着摩尔人的建筑图案，以反映塞法迪社区的地理起源，而不是任何明确的犹太象征意义。这感觉像是跨越宗教和文化差异进行对话的重要机会。

Salomons 受到 Owen Jones 作品（记录在 V&A 档案中）的影响，所以我们花了很多时间看他的画。我们对他的技术图纸和几何练习特别感兴趣，而不是采用单一模式并将其复制到立面上，其中分析过程清晰可辨。每个节点都是八点几何的不同表现形式，适用于 Cor-10 并根据图案的密度进行分级，在夜间产生斑驳、闪烁和闪烁的效果。

这是一个很长的过程，探索这些模式的组成以及它们对社区的意义。“我们有更多的共同点而不是分裂我们的东西”的想法现在比以往任何时候都更有意义。

Katy Marks，公民设计局局长

客户观点

经过近十年的规划、筹款和协商，更不用说全球大流行，我们已准备好向世界展示我们美丽的新博物馆。

公民设计局巧妙地设计并整合了一个现代扩建部分，该扩建部分连接到我们列为二级 * 的犹太教堂，使博物馆的占地面积增加了一倍。Cor-10 扩建部分向犹太教堂的原始建筑师 Edward Salomons 的设计致敬，展示了灵感来自犹太教堂的西班牙和葡萄牙根源的美丽几何图案，在夜间像装饰灯笼一样发光。犹太教堂本身最初建于 1874 年，经过精心修复，恢复了原来的装饰方案，成为博物馆中心的活物。

我们位于曼彻斯特历史悠久的犹太区 Cheetham Hill，也是该市文化最多元化的地区之一。与当地社区建立联系是我们工作的重要组成部分，拥有如此热情和包容的新建筑是一项重要资产。我们欢迎的新入口现在引起人们的兴趣并邀请人们进入，以回应历史反馈，有些人认为旧博物馆入口可能会令人生畏并且“不适合我”。

我们的新咖啡馆和学习厨房将使我们能够通过食物将人们聚集在一起，并且我们第一次拥有一个完全可访问的画廊，我们可以在那里展示我们的收藏品，带领游客踏上旅程，了解旅程、社区和社区的普遍主题。身份。

我们的新建筑体现了我们的雄心和使命，即通过犹太故事展示和分享普遍经验，将人们聚集在一起，建立联系。我们将利用我们的收藏、建筑和项目，大胆探索和结合教育、文化和艺术体验，鼓励我们接触的人感受并相信我们在一起会更好。

Max Dunbar，曼彻斯特犹太博物馆首席执行官

英文版

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

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.

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.

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.

The backlit Cor-ten façade 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.

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.

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.

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.

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.

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.

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.

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.

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.

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 façade 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.

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 façade, 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.

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

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.

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.

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’.

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.

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