© Adam Mørk

亚当·莫尔克

架构师提供的文本描述。克赖斯特彻奇历史悠久的大教堂广场的五层楼高9500平方米的图书馆的设计支持了这座城市对公共空间的渴望，该公共空间能加强社区，促进识字和终身学习，庆祝文化和遗产的多样性，使人们回到市中心，并促进创新。在设计过程的早期，建筑师与Matpopore慈善信托组织合作，该组织的目标是确保当地NgāI Tūāhuriri人的价值观、愿望和叙述在克赖斯特彻奇的整个恢复过程中得到实现。他们对建筑设计的影响是巨大的-从建筑材料到物理取向，有着丰富的祖先织锦、传统知识和文化，贯穿于Tū牧区。

Text description provided by the architects. The design of the five-storey, 9,500-square-metre library in Christchurch’s historic Cathedral Square supports the city’s desire for a public space that strengthens the community, advances literacy and lifetime learning, celebrates diversity of culture and heritage, draws people back to the city centre, and fosters innovation. Early in the design process, the architects collaborated withMatapopore Charitable Trust, an organization whose objective is to ensure the values, aspirations and narratives of the local Ngāi Tūāhuriri people are realised throughout the recovery of Christchurch. Their influence on the design of the building is substantial—from building materials to physical orientation, there is a rich tapestry of ancestry, traditional knowledge, and culture woven throughout Tūranga.

Text description provided by the architects. The design of the five-storey, 9,500-square-metre library in Christchurch’s historic Cathedral Square supports the city’s desire for a public space that strengthens the community, advances literacy and lifetime learning, celebrates diversity of culture and heritage, draws people back to the city centre, and fosters innovation. Early in the design process, the architects collaborated withMatapopore Charitable Trust, an organization whose objective is to ensure the values, aspirations and narratives of the local Ngāi Tūāhuriri people are realised throughout the recovery of Christchurch. Their influence on the design of the building is substantial—from building materials to physical orientation, there is a rich tapestry of ancestry, traditional knowledge, and culture woven throughout Tūranga.

 © Adam Mørk

亚当·莫尔克

这种文化的表现首先体现在金色的面纱上，这层面纱在引人注目的平面上遮住了建筑物。它的视觉质量在日落时增强，当一天的最后一束光线发出一种深度的光时。从图书馆的上层可以看到周围起伏的小山，以及当地哈克亚麻的长而厚的叶片，这是传统文化习俗的基本自然资源。

This cultural representation is first evident in the golden veil that cloaks the building in a striking, graphic façade. Its visual quality intensifies at sunset when the day’s last rays of light draw out a depth of sheen. The vacillating form of the veil is inspired by the surrounding rolling hills that can be seen from the upper floors of the library, and the long, thick blades of the local harakeke flax that is a fundamental natural resource for traditional cultural practices.

This cultural representation is first evident in the golden veil that cloaks the building in a striking, graphic façade. Its visual quality intensifies at sunset when the day’s last rays of light draw out a depth of sheen. The vacillating form of the veil is inspired by the surrounding rolling hills that can be seen from the upper floors of the library, and the long, thick blades of the local harakeke flax that is a fundamental natural resource for traditional cultural practices.

 © Adam Mørk

亚当·莫尔克

当图书馆的参观者走近大楼时，他们会被吸引到通往图书馆与大教堂广场及周围建筑的非正式、欢迎的入口。地下是广场公共领域的延续，它是克赖斯特彻奇的主要城市空间之一，用于公众集会、活动、市场和表演。开放的，诱人的入口，唤起了重要的文化概念的华卡马努希里，热情和欢迎的‘引进’的到来的游客。

As library-goers approach the building, they are drawn into the informal, welcoming entrance that connects the library with Cathedral Square and surrounding buildings. The ground floor is a continuation of the public realm of the square, which is one of Christchurch’s key urban spaces for public gatherings, events, markets and performances. The open, inviting entrance evokes the important cultural concept of whakamanuhiri, the warm and welcoming ‘bringing-in’ of arriving visitors.

As library-goers approach the building, they are drawn into the informal, welcoming entrance that connects the library with Cathedral Square and surrounding buildings. The ground floor is a continuation of the public realm of the square, which is one of Christchurch’s key urban spaces for public gatherings, events, markets and performances. The open, inviting entrance evokes the important cultural concept of whakamanuhiri, the warm and welcoming ‘bringing-in’ of arriving visitors.

 © Adam Mørk

亚当·莫尔克

入口处是一家咖啡馆，也是一个技术和创新区，其中有一堵7米高、最先进的触摸屏墙。接待处的墙壁上装饰着一幅醒目的图案，描绘了当地鸟类在探索未知的过程中的情景。在主提升核心的空间中，这个设计垂直向上延伸到所有楼层，对当地的MāOri部落非常重要的五颜六色的动植物过渡。

Inside the entrance is a café, as well as a technology and innovation zone that features a seven-metre, state-of-the-art touchscreen wall. The reception area wall is adorned with a striking graphic that depicts local birds on a journey of discovery, searching into the unknown. Across the space at the main lift core, this design extends vertically upwards through all floors with multi-coloured transitions of flora and fauna important to Ngāi Tahu, the local Māori tribe.

Inside the entrance is a café, as well as a technology and innovation zone that features a seven-metre, state-of-the-art touchscreen wall. The reception area wall is adorned with a striking graphic that depicts local birds on a journey of discovery, searching into the unknown. Across the space at the main lift core, this design extends vertically upwards through all floors with multi-coloured transitions of flora and fauna important to Ngāi Tahu, the local Māori tribe.

 © Adam Mørk

亚当·莫尔克

 © Adam Mørk

亚当·莫尔克

为了加强大教堂广场的公民活动，第二层有一个社区竞技场-克赖斯特彻奇人民讨论、辩论、分享和庆祝的空间。社区竞技场是表示为一个独特的卷在图书馆的形式，并定位为最大限度的视觉连接到广场。图书馆的第二层也是NgāPurapura的所在地，这是一个儿童区，名为NgāI-塔胡族的祖先传统。NgāPurapura包括一个儿童阅读洞穴和一个活动室。

In an effort to enhance the civic activities of Cathedral Square, the second level houses a Community Arena—a space for the people of Christchurch to discuss, debate, share, and celebrate. The Community Arena is expressed as a distinct volume within the form of the library, and is positioned to maximise its visual connection to the square. The second level of the library is also home to Ngā Purapura, a children’s area named for Ngāi Tahu ancestral traditions. Ngā Purapura includes a children’s reading cave and an activity room.

In an effort to enhance the civic activities of Cathedral Square, the second level houses a Community Arena—a space for the people of Christchurch to discuss, debate, share, and celebrate. The Community Arena is expressed as a distinct volume within the form of the library, and is positioned to maximise its visual connection to the square. The second level of the library is also home to Ngā Purapura, a children’s area named for Ngāi Tahu ancestral traditions. Ngā Purapura includes a children’s reading cave and an activity room.

 © Adam Mørk

亚当·莫尔克

进一步进入图书馆，上三层有各种藏书、工作人员办公室、会议室和自修室、制作工作室、计算机实验室和音乐工作室等功能。坎特伯雷景观中的几个点，包括南阿尔卑斯山和班克斯半岛，可以从图书馆的上层看到，并推动屋顶露台的位置和方向。两个屋顶梯田之一位于北部和东北部，朝向重要的NgāI Tūāhuriri地标，包括格雷山；Tuahiwi，乡村聚居地和NgāI Tūāhuriri活动地点；夏威夷，新西兰MāOri的祖先家园，位于广阔的太平洋。第二，面向南的露台建立了一个强有力的关系克赖斯特彻奇大教堂和班克斯半岛，并进一步向南到Muttonbird群岛和南部边界的吴āI大胡岛。

Ascending further into the library, the upper three floors house various book collections, staff offices, meeting and study rooms, a production studio, a computer lab, and a music studio among other functions. Several points in the Canterbury landscape, including the Southern Alps and the Banks Peninsula, are visible from the upper levels of the library and drove the placement and orientation of the roof terraces. One of the two roof terraces is orientated to the north and northeast towards significant Ngāi Tūāhuriri landmarks including Mount Grey; Tuahiwi, the rural settlement and locus of Ngāi Tūāhuriri activity; and Hawaiiki, the ancestral homeland of New Zealand Māori located in the wider Pacific. A second, south-facing terrace sets a strong relationship to Christchurch Cathedral and Banks Peninsula, and further south to the Muttonbird Islands and southern boundaries of Ngāi Tahu.

Ascending further into the library, the upper three floors house various book collections, staff offices, meeting and study rooms, a production studio, a computer lab, and a music studio among other functions. Several points in the Canterbury landscape, including the Southern Alps and the Banks Peninsula, are visible from the upper levels of the library and drove the placement and orientation of the roof terraces. One of the two roof terraces is orientated to the north and northeast towards significant Ngāi Tūāhuriri landmarks including Mount Grey; Tuahiwi, the rural settlement and locus of Ngāi Tūāhuriri activity; and Hawaiiki, the ancestral homeland of New Zealand Māori located in the wider Pacific. A second, south-facing terrace sets a strong relationship to Christchurch Cathedral and Banks Peninsula, and further south to the Muttonbird Islands and southern boundaries of Ngāi Tahu.

 © Adam Mørk

亚当·莫尔克

建筑的五个等级由一个大的交错的心房连接，其特征是一个用于收集、阅读和休息的社会阶梯。心房的设计引用了来自祖传传统的超人类，他坚定地追求在他通过诸天的提升过程中的知识。普卡是当地Nghu部落的重要明星，被引用在心房上方的图案化天灯中。

The building’s five levels are connected by a grand, staggered atrium featuring a social staircase for gathering, reading, and resting. The design of the atrium references Tāwhaki, a superhuman from ancestral traditions, and his determined pursuit of knowledge in his ascent through the heavens. Puaka, a significant star for the local Ngāi Tahu tribe, is referenced in the patterned skylights above the atrium.

The building’s five levels are connected by a grand, staggered atrium featuring a social staircase for gathering, reading, and resting. The design of the atrium references Tāwhaki, a superhuman from ancestral traditions, and his determined pursuit of knowledge in his ascent through the heavens. Puaka, a significant star for the local Ngāi Tahu tribe, is referenced in the patterned skylights above the atrium.

 © Adam Mørk

亚当·莫尔克

Architects Architectus, Schimdt Hammer Lassen Architects

Location Christchurch, New Zealand

Lead Design Architect Schmidt Hammer Lassen Architects

Principal Collaborating Architect Architectus

Area 9500.0 m2

Project Year 2018

Photographs Adam Mørk

Category Library