Sluzewski Culture Centre WWAA + 307kilo

2015-02-22 01:00

 © Rafał Kłos

łKłos

架构师提供的文本描述。文化中心设计的最后形式由两个要素决定：第一，对象的情况和城市环境；第二，方案确定的文化中心的功能。现有的、原始的文化中心也是灵感的源泉，以及邻近的生态、教育农场和塔尔尼尼街7号的一所幸存的乡村住宅。整个方案由两座相互连接的建筑物组成，但每一栋都可以单独运作。

Text description provided by the architects. The final form of the Cultural Centre design was determined by two elements: the first, the situation and an urban context of the object, the second, its function defined by the programme. The existing, original cultural centre was also a source of inspiration, together with the adjacent ecological, educational farm and a survived country house at 7 Tarniny Street. The whole programme consists of two, interconnected buildings, however, each of them can function separately.

 © Rafał Kłos

łKłos

该项目的基本部分和进入建筑物的主要入口设置在-1层，从入口广场通过圆形剧场楼梯进入。这座沉入水中的盆在戏剧、露天表演中起到了舞台的作用.它温暖的木地板看起来很有吸引力，是在各种活动之间玩耍和放松的地方。同时，它可以很容易地拆卸，以维护通过下面的雨水收集器。

The basic part of the project and the main entrance into the building are placed on -1 level, which is accessed by amphitheatrical staircase from the entrance square. This submerged basin functions as a stage during theatrical, open-air performances. Its warm, wooden flooring looks inviting as a place for playing and relaxing between various activities. At the same time it can be easily disassembled for the maintenance of rain collector passing beneath.

 © Rafał Kłos

łKłos

通过改变传统的农用地形式，这种设计不仅深深地植根于这个地方的传统和文化之中，而且还体现了对城市和功能区边界的尊重，并在某种程度上采用了一种儿童的习俗。像。由于将建筑物的主要功能放在-1层(地下)，底层被视为一个相对较小、传统的形式和材料房屋建造的开放的公共空间。它们中的每一个都可以从地区一级访问，并且每个功能都具有一种功能，例如，一个艺术讲习班或一个文学俱乐部。

By adapting a traditional form of a farmstead, the design is not only deeply set in the tradition and culture of the place, it also shows respect for the borders of urban and functional zones and in a way employs a sort of convention of children? iconography. Due to placing the main function of the building on -1 level (below the ground), the groundfloor level has been treated as an open, public space where relativelly small, traditional in form and material houses are constructed. Each of them can be accessed from the area level, and each of them serves one function, e.g., an art workshop or a literature club.

 Floor Plan

建筑物一面全玻璃的墙壁，一边可以俯瞰公园，另一面是巴赫街，让漫步在文化中心周围的婴儿车可以一瞥里面正在进行的活动，而不是忽略了苏古溪地区的绿色植物景观。该建筑物的这种布局使其内部与周围的连接达到最大限度。事实上，中心的房地已成为城市的公共空间，中心的活动超出了其边界。

Fully glazed walls of the building overlooking the park on one side, Bach Street on the other, allow the strollers walking around the Cultural Centre to have a glimpse of activities taking place inside, not missing the view of the greenery of the S³u¿ew Brook area. Such layout of the building allowed for maximum connection of its interior with the surrounding. As it were, the premises of the Centre become public space of the city, the activities of the Centre reach beyond its borders.

 © Rafał Kłos

łKłos

因此，建筑的对象是克制和友好的，通过使用可能的当代手段，它试图将传统的城市布局元素与简单、自然的装饰材料连接起来。一座被绿色植物淹没的朴实无华的建筑，被认为是发生在那里的事件的背景。本设计所依据的假设是，实现这类功能的物体的建筑在教育和文化方面发挥着极其重要的作用，例如通过塑造审美意识和生态意识。

Accordingly, the architecture of the object is restrained and friendly; by using possibly contemporary means  it tries to interconnect the traditional elements of urban layout with simple, natural finishing materials. An unpretentious building, submerged in the greenery, is supposed to be the background for events happening there. The present design bases on assumption that the architecture of an object fulfilling this sort of functions plays an immensely important educational and cultural role, e.g., by shaping esthetic and ecological awareness.

 © Rafał Kłos

łKłos

因此，决定将微型畜牧场纳入中心的核心，建议使用风能和太阳能作为替代能源，最后是农用地规划中的物体布局，这可以理解为一种合乎道德的建筑方法，尊重当地的环境。

Hence, the decision about introducing mini animal farm into the very heart of the Centre, the proposal of employing wind and solar energy as alternative sources and finally the layout of the object on the farmstead plan which can be read as an ethical approach to architecture with respect for the context of the place.