立陶宛“失落的犹太小镇”博物馆，纪念逝去的生命与文化 / LMA

编译：王子萱 | 校对：王子萱 | 2026.04.10 14:43

设计单位 Lahdelma & Mahlamäki Architects (LMA)

项目地点 立陶宛舍杜瓦

建成时间 2025年

建筑面积 4900平方米

本文英文原文由LMA提供，由有方编译。

“失落的犹太小镇”犹太博物馆的概念源于立陶宛小镇舍杜瓦（Šeduva），这一在1941年8月一夜之间被摧毁的村庄及其文化。该村共有664名犹太人在附近森林中被处决。随着生命的消逝，舍杜瓦悠久而丰富的历史也随之湮灭。博物馆的建立旨在纪念这些逝去的生命与文化，这不仅属于犹太文化，也属于整个欧洲文化。

The concept behind The Lost Shtetl Jewish Museum is based on a destroyed village of Šeduva and its culture, which vanished overnight in August 1941. 664 Jews from the village were executed in the nearby forests. Along with human lives, Šeduva's long and rich history was also lost. The museum was built to commemorate the lost lives and culture, which represented not only Jewish but also European culture.

博物馆由一组极简、抽象的“房屋”体量构成，采用四坡屋顶。这些体量共同营造出一种如梦似幻的聚落景观，仿佛一个由房屋组成的村庄，即“犹太小镇”（shtetl）。建筑本身成为对消失村庄的象征。

The museum consists of minimalist, abstract ‘houses’ with hip roofs. They form a dreamscape of a group of houses, a village – a shtetl. The building is a symbol of the lost village.

展厅的建筑与功能概念通过屋顶设计得以体现。展厅上部呼应外部体量的形态，屋脊处设置的天窗使自然光以可控的方式进入室内。上部空间营造出开阔感，而下部空间则以展览的集中性为特征。

The architectural and functional concept of the galleries is reflected in their roof design. The upper part of the gallery echoes the shape of the outer shell. Skylights in the roof ridge allow natural light to enter the space in a controlled manner. The upper part of the gallery creates a sense of open space, while the lower part is characterized by the intensity of the exhibition.

入口层的展厅遵循相同原则，同时通过精心设置的开口引入外部开阔景观的视线。一层的工作人员空间同样如此，可望见历史墓地。空间设计遵循普适性与长期使用的原则，使展厅在数十年后仍可灵活更新展览内容。

The galleries on the entrance floor follow the same principle, but they offer carefully considered views of the open landscape outside. This also applies to the staff facilities on the first floor, which have a view of the historic cemetery. The design of the spaces has been guided by the principle of general applicability and long-term usability: the gallery spaces allow for the renewal of exhibitions even decades later.

博物馆的立面采用海洋级铝材，这是一种耐久且可回收、寿命长的材料。铝板以类似木瓦的形式排列，形成鳞片状表面，随一天与四季的变化而呈现出不同的光影效果。近看时，板材表面呈现出压制形成的点状肌理；远观时，有时显得平滑，有时纹理更加突出。其色彩在白色、银灰之间变化，时而低调，时而明亮。

The museum's facades are made of marine aluminium, a durable and recyclable material with a long life span. The aluminium sheets, reminiscent of wooden shingles, are arranged to form a scale-like surface that lives and reflects light according to the cycle of the day and the seasons. Up close, the surface of the sheets reveals a dotted texture pressed into it. The surface appears smooth at times, while at other times its texture becomes more prominent. It appears sometimes white, sometimes silver-grey, sometimes muted and sometimes vibrant.

所选材料使建筑融入周围的景观与天空，同时也呼应了立陶宛乡村中常见的风化农舍建筑。屋脊方向及其不同的坡度营造出一种刻意为之的雕塑性随机感。除海洋级铝材与木材外，室内外还使用了暖色调的浅色石英岩。

The chosen material blends the building into the landscape and the sky. This choice was also a reference to the weathered farm buildings typical of the Lithuanian countryside. The directions of the roof ridges and their varying steepness create a deliberate, sculptural randomness. In addition to marine aluminium and wood, warm-toned light quartzite stone is visible in both the interior and exterior.

建筑的承重结构采用现场浇筑混凝土完成，这在立陶宛公共建筑法规框架下几乎是唯一可行的方案。多样的技术设备、建筑的安全等级以及相关规范要求，使设计与施工过程中需投入大量时间与精力，以将技术设施尽可能隐藏于视线之外。

The load-bearing structures of the building were cast on site using concrete. This solution was practically the only one possible within the framework of Lithuanian legislation governing public construction. The versatile technical equipment, the building's security classification, and Lithuanian building regulations also required time and effort in the design and construction work to keep the technical installations out of sight.

博物馆周边被设计为一座纪念公园，其总体理念围绕“最后的旅程”展开。公园呈现出一系列景观场景，模拟舍杜瓦犹太人在被押往附近森林途中可能经历的环境，包括白桦林荫道、开花草地、湿地以及果园。园中还设置了若干落叶松结构的小型庇护所，其屋顶正逐渐呈现出自然的灰色。

The museum's surroundings have been designed to serve as a memorial park. The guiding principle has been the idea of the last journey. The park features a series of landscapes that the Jews of Šeduva might have encountered on their way to the nearby forests, where they were executed: a birch alley, flowering meadows, wetlands, and an orchard. A few larch shelters have been erected in the park, whose roofs are gradually taking on their own grey colour.

该项目的建设是一次重要的国际合作，由设计团队、施工方及业主共同参与，是一项独特的工程实践。来自美国、瑞士、意大利、英国、荷兰、爱沙尼亚、芬兰及立陶宛的多家公司参与了博物馆的设计与建造。

The construction project has been a major international collaboration between designers, builders, and the client organization. It can rightly be described as a unique project. Companies from the USA, Switzerland, Italy, the UK, the Netherlands, Estonia, Finland, and Lithuania have participated in the design and construction of the museum.