© Georg Aerni

(Georg Aerni)

架构师提供的文本描述。当时的想法是设计一座专门为爵士乐服务的建筑。把这两门学科结合起来是一项挑战，因为爵士乐以即兴和意外的方式工作，而建筑则避免随机，试图规划和修复事物，使它们持续下去。第二个问题是如何将一座新建筑融入巴塞尔老城镇的成熟城市结构。在我们的研究中，我们意识到，虽然建筑物本身已经被交换了好几次，但在几个世纪里，这个地点的建筑方案并没有发生太大的变化。因此，我们决定相信“建筑-槽”，并在旧城市地图的基础上创造建筑的体积。其结果是一个多样化的体积与一个庭院在中心。

Text description provided by the architects. The idea was to plan a building which is dedicated to jazz. It was a challenge to bring the two disciplines together as jazz music works with improvisation and serendipity while architecture seaks to avoid random and tries to plan and fix things to make them persist. The second question was how to integrate a new building into the grown city structure of the old town in Basel. During our research we realized that the plan of the buildings on the site hasn't changed much during centuries although the buildings themselves were exchanged several times. So we decided to believe in the "architecture-trouvée" and create the building's volume on the base of the old citymap. The result is a diverse volume with a courtyard in the center.

 © Georg Aerni

(Georg Aerni)

我们在院子周围组织了大楼的内部流通。

We organized the building's interior circulation around the courtyard.

在复杂的建筑中，这会导致不同的路径和多个随机会议，而不是简单、有效的方式。我们的目的是在大楼内建立一门课程，从排练室开始，你几乎是私下练习，然后继续在走廊里遇见其他人，并在院子里达到高潮，那里有很多人互动。

This leads to various paths and manifold random meetings rather than short, effective ways in a complex building. Our intention was to create a course inside the building which starts from the rehearsal rooms where you practice almost privately, continues in the hallways where you meet other people and culminates in the courtyard where many people interact.

 © Georg Aerni

(Georg Aerni)

由于这座建筑的空间计划在一开始就没有修好，我们不得不找出学校和音乐家的具体需求。在我们的调查中，我们意识到没有完美的彩排室。有些人喜欢在教堂里玩耍，有些人喜欢在车库里练习，有些人喜欢在他们的客厅里玩耍。唯一的共同点是需要日光和私密的气氛。我们不提供灵活的房间，我们提供不同的房间，具有不同的尺寸和音质，留给音乐家选择。

As the space programme of the building wasn't fix at the start we had to find out the specific needs of the school and the musicians. During our survey we realized that there is no such thing as the perfect rehearsal room. Some people prefer to play in churches, others like to practice in a garage and some people play in their living rooms. The only common ground was the need for daylight and an atmosphere of private cosiness. Instead of flexible rooms we provided various rooms with different dimensions and acoustic qualities to leave it to the musicians to choose.

 Floor Plan / Elevation

平面图/立面

拥有50多个不同彩排室的空间调色板由3个有特色的录音室完成-表演室包括一个木制的声音身体，一个飞翔的声音天空，一个内倾的演出室，一个专业的录音室和一个爵士乐俱乐部，向城市开放，作为一个与公众交流的界面。

The space palette with over 50 different rehearsal rooms is completed by 3 characteristic recording- and performance rooms such as a wooden sound body with a flying acoustic sky, an introverted performance room combined with a professional recording studio and a jazz club which opens up to the city and serves as an interface to the public.

 © Georg Aerni

(Georg Aerni)

由于声学的要求，室内空间物化更优越、更丰富。声学需要塑造建筑很多，因为它是必要的建设几乎第二所房子内和米厚的墙壁。

The materialization of the interiour spaces is superior and rich due to the acoustic requirements. Acoustic needs shape the building a lot as it was necessary to built almost a second house inside the house and metres thick walls.

 © Georg Aerni

(Georg Aerni)

虽然这些空间没有第二次存在，但它是室内设计的连贯统一，它把外部的体积多样性凝聚在一起，创造了建筑的同一性。

Although none of the spaces exist a second time its the coherent union of the interior design which holds together the volumetric diversity of the outside and creates the identity of the building.

 © Georg Aerni

(Georg Aerni)

将庭院解释为城市内部，使工程具有很强的质量。作为一个领域，校园这个词的原意是在这里实现的，包括社交和太空。室内空间和外部空间交织在一起，把房子和城市以及学校和公众联系在一起。

The interpretation of the courtyard as an urban interior gives the project a strong quality. The word campus in it's original meaning as a field is implemented here, both socially and spacewise. Interior and exterior space are mingled which links the house and the city as well as the school and the public.

 © Georg Aerni

(Georg Aerni)

Architects Buol & Zünd

Location Utengasse 15, 4058 Basel, Switzerland

Category Cultural Center

Design Team Robert Müller, Vincenzo Maddalena, Rémy Schuster, Jules Hausherr, Johannes Schäfer, Franziska Moog, Yannick Schnetz, Bruno Radelfinger, Reem Al- Wakeel, Martin Schröder, Judith Sagl

Project Year 2013