架构师提供的文本描述。重新编剧科卡剧院：科卡剧院最初是莫斯科的礼物，在阿尔巴尼亚共产主义与后斯大林主义的俄罗斯发生争执之前。

Text description provided by the architects. Re-scripting Korca‘s theatre: The theatre in Korca was initially a present from Moscow prior to Albanian Communism‘s falling out with Post-Stalinist Russia.

它的苏联古典主义后来又被剥夺为巴尔干艺术的一部分。

Its Soviet classicism was then stripped back to a sort of Balkan Art déco.

 Concept. Drawing courtesy of BOLLES+WILSON

概念。博尔斯·威尔逊提供的绘画

 © Roman Mensing

罗马货币

大型三角剧院广场，大到足以举行民族主义游行，在2009年博尔斯·威尔逊赢得了科卡历史中心的国际规划比赛后，成为了重新格式化的主题。目前几乎已完全实施的总体规划的主轴是布列瓦尔·舍恩·格尔吉(St.George)，这座城市的新枢纽是一座步行街，以剧院广场(现由博尔斯·威尔逊(Bolles Wilson)的2014年“天空中的红色酒吧”(Red Bar In The Sky)为高潮)-该广场是2009年BW 2009总体规划的最后阶段-聚焦于剧院广场。这座教堂作为科耳曼人欣赏历史城市精致谷物的了望塔，坐落在中央步行街的尽头(由BW美化)。

The large triangular Theatre Square, big enough for nationalistic parades, became a subject for re-formatting when in 2009 BOLLES+WILSON won the international planning competition for the historic centre of Korca. The main axis of the now almost fully implemented masterplan is the Bulevard Shën Gjergji (St. George), the new hub of the city, a pedestrian promenade culminating in the Theater Square (now anchored by BOLLES+WILSON‘s 2014 Red Bar in the Sky – which focuses the Theatre Square, the concluding phase of the B+W 2009 masterplan. The campanile which functions as a lookout tower for Korcians to appreciate the delicate grain of their historic city is located at the end of the central pedestrian boulevard (landscaping by B+W).

 © Roman Mensing

罗马货币

下一个干预是剧院本身-实际上是给了一个新面孔(或许多新面孔)。通过将一座双层礼堂改造成一架大的耙式飞机，增加了座位容量.

The next intervention was the theatre itself – quite literally given a new face (or lots of new faces). Seating capacity was increased by converting a two-tier auditorium to a large raked plane.

 © Roman Mensing

罗马货币

 © Roman Mensing

罗马货币

 © Roman Mensing

罗马货币

与所有BollesWilson阿尔巴尼亚项目一样，设计方法涉及PeterWilson的手绘概念，由当地的方便办公室解释（在这种情况下是DEAStudio）。一种诱饵的方法"翻译失败"错误的解释（在这里的情况下，当承包商发现他们的头在一本书时）“阿尔巴尼亚语的渲染”但没有细节，彼得·威尔逊(PeterWilson)进一步草绘的问题，这次是1:1的细节直接在墙上)。

The design method as with all BOLLES+WILSON Albanian projects involved Peter Wilson‘s hand drawn concept interpreted by a local facilitating office (in this case DEA Studio). A methodology that baits ‘lost in translation‘ misinterpretations (as was the case here when the contractors were found scratching their heads at a book of ‘Albanian Bling Renderings‘ but no details, a problem solved by Peter Wilson further sketching, this time 1:1 details direct on the wall).

 Plan. Drawing courtesy of BOLLES+WILSON

计划。博尔斯·威尔逊提供的绘画

喜剧和悲剧的面具属于戏剧意象，在这里，他们加入了140个更小的面具-观众，由当地的波特瓦西拉QKovlevica手工制作的。80厘米高的个性化面具每个都占据艺术品的格子正方形。黑色的悲剧面具是凸面的，白色的喜剧面具是凹面的，这些建筑的原理也是手绘的。

The masks of comic and tragedy belong to theatre iconography, here they are joined by 140 smaller masks – the audience, hand crafted in terracotta by the local potter Vasillaq Kolevica. The 80 cm high individualized masks each occupy a grid square of the Art déco facade. The black tragic mask is convex, the white comic mask is concave – the construction principles for these were again hand sketched.

 © Roman Mensing

罗马货币

漫画面具是在一个侧面的附件(现在有一个内部宏伟的楼梯)，一个立方体包覆黑色玄武岩。面具的周长是由不锈钢型材定义的，其中的白色石膏压痕是凹进的。不幸的面具黑色的不祥轮廓是由聚苯乙烯绝缘块建造的。边缘半径是草图，但最终1：1演示用面包刀是必要的，以沟通的想法，他的建设者。这里的表面再一次被涂成一个巨大的日本“无剧院”面具。

The comic mask is on a side annex (that now houses an internal grand stair), a cube clad in black basalt. The perimeter of the mask is defined by a stainless steel profile inside of which the white plaster indentation is recessed. The ominous black silhouette of the tragic mask is built up of polystyrene insulation blocks. Edge radii were sketched but ultimately a 1:1 demonstration with a bread knife was necessary to communicate the idea to he builders. The surface here is again plastered to resemble a giant Japanese ‘ No-theatre‘ mask.

 Comic mask. Drawing courtesy of BOLLES+WILSON

滑稽面具。博尔斯·威尔逊提供的绘画