Veenhuizen成立于19世纪初，是为 “无序的下层社会 “设立的开放式教养院，目的是对人们进行教育和再社会化。该机构开放后不久，理想主义的、进步的可改造社会的概念就被抛弃了。村庄与外部世界密不透风，变成了一个监狱村；自愿禁闭变成了监禁。多年来，在Veenhuizen周围的整个地区，更多的监狱和相邻的功能被建立起来，把一大片地区变成了监狱殖民地。
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.
Veenhuizen可以说是一个典型的古典主义总体规划，其中城市规划和建筑形成一个Gesamtkunstwerk。在一个 “正常 “的村庄里，市场决定了中心，而在Veenhuizen，人们发现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.
围绕着中央的监狱法庭，沿着轴向的街道系统，许多相关的建筑群被放置。为了形成一个完整的概念，直到最小的细节，所有的建筑都被赋予了 “工作和祈祷”、”纪律和秩序 “或 “工作就是生活 “等铭文。
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”.
在监狱系统的改革之后，许多经典的建筑仍然没有功能。为了保护前监狱殖民地的独特特征，决定对现有的建筑进行大幅度的重新规划。被改造的建筑群之一是所谓的 “工艺中心”。在以前，这个建筑群是为特定的手工艺而建的建筑群，囚犯们在这里劳动。此外，”手工艺集群 “还接受了一个新的文化项目，并被改造成一个博物馆。
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.
手工艺集群 “是Gesamtkunstwerk Veenhuizen的一个组成部分，它具有国家纪念碑的地位。随着时间的推移，该建筑群由于增加了多个屋顶、谷仓和砖砌的延伸部分而恶化得面目全非。设计的核心是对所有不适合的建筑部分进行战略性的拆除。这一策略与考古学有关，其目的是清除建筑的原始形态，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.
为了实现这一目标，几乎40%的现有建筑体量必须被拆除。对这一行动的一个实际帮助是，大部分的棚屋、谷仓和屋顶都被石棉覆盖。此外，近15年的空置也给建筑结构留下了大量隐性损坏的痕迹。但是，即使在得出这些结论后，即使是最原始的棚屋的拆除也会导致与 “纪念碑委员会 “进行深入的讨论。每个建筑部分的建筑学价值都必须与社会历史价值进行权衡。
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.
在修复过程中，目标不仅是实现建筑的 “原始 “状态。通过拆除所有的部分，如烟囱和其他细节，结合严格的场地布局，为游客安排了Veenhuizen的历史，极其严格和严谨的特征。
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.
在将整个手工业集群作为一个整体进行整理后，独立的建筑也被重新改造。这些建筑最初是为了纯粹的实用主义而设计的，这就是为什么它们错过了适合于公共建筑的各种空间姿态的原因。
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.
为了弥补这种 “宏伟 “的缺失，拆除后留下的外墙上的大开口被作为一个起点，以增加新的立面元素。这些新元素加强了城市规划中的建筑之间的协调性。奢华的、四米高的结构性玻璃窗与四米高的黑色镜面玻璃门相结合。从外面看，这些立面元素不仅以一种纯粹的功能方式关闭了开口，而且还强调了现有建筑的纪念性。
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.
通过新的立面元素的统一，强调了该建筑群作为博物馆的用途及其公共功能。外立面元素的约束性通过其反射质量得到了巩固，从而以多种意想不到的方式反映了不同建筑之间的关系。通过这种方式，建筑之间以及与周围环境获得了强有力的联系。
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.
此外，立面元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，这些元素不只是适合现有的开口，而是与现有的砖墙重叠，作为一个新的历史层。通过这种方式，现有的建筑以及新的元素都保持了它们的自主性和真实性，同时实现了一种强有力的关系，使两者都更加强大。原有的砖砌建筑暴露在立面元素的后面，类似于一个展示窗口。
同样在室内设计中，”历史的安排 “的策略被用来暴露隐藏的空间潜力。最有趣的、最有潜力成为主要公共建筑的建筑是以前的 “铁匠的工作场所”。大的比例，四米高的底层与令人印象深刻的屋顶结构相结合，形成了一个博物馆的良好起点。遗憾的是，该建筑的楼层划分不合理，空间中间的承重墙和地板挡住了通往非凡的圆形木质屋顶结构的视线。
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.
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.
为了使建筑具有属于博物馆的空间质量，地板被打开，覆盖了建筑的整个宽度，长度为10米。这样一来，从底层就可以看到屋顶结构，给建筑带来一种特殊的空间体验。此外，一个整体的钢制楼梯将底层和上层连接起来。
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.
整个室内被处理成整体，并以一种冷静的方式进行了细节处理，还将整体涂成亮白色。地板是用闪亮的白色混凝土涂料完成的。尽管结构发生了变化，但内部的外观被刻意处理，因此新的和历史的之间存在着同质性和合成性。一个新的博物馆空间出现了，它被设计成一个历史性的、古典主义的内部的历史投影。正因为如此，这个内部空间很好地融入了整个建筑群。
整个项目是根据 “排列的历史 “的策略设计的。历史建筑群不是简单的展示，而是本身就用建筑的元素讲述了一个关于历史的故事。所有使用的手段：清洗、新层和古典主义的内部都源于这样的信念：不是历史的中断，而是连续性的重要。就像原来的手工艺集群的建筑师在完成一百年后收到了改造自己的项目的委托。
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.
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.
Architects: Atelier Kempe Thill
Area: 5200 m²
Photographs: Ulrich Schwarz
City：VEENHUIZEN
Country：The Netherlands