© Tomasz Zakrzewski

c.Tomasz Zakrzewski

架构师提供的文本描述。在拜特姆罗兹巴克区的社会和经济退化中心内，在教区的倡议下，建立了一个专门为当地社区服务的新公共空间，作为一个沉思和休闲的场所，也是一个现代建筑综合体，其中包括为青年工作、展览和音乐会设计的多功能房间。

Text description provided by the architects. Within socially and economically degraded centre of Rozbark district in Bytom, on the initiative of the parish, a new public space dedicated to the local community has been established, as a place for contemplation and leisure and also a complex of modern buildings containing multi-functional rooms designed for the youth work, exhibitions and concerts.

毗邻教堂的空间在功能上和美学上都与前绿色广场的地形相连接，以创造一个玫瑰花花园，这是指当地传说中的圣海辛斯(SaintHyacinth)。具有宗教性质的地形构成了一种构图，成为这座寺庙的宏伟建筑的背景。除了花园外，这座建筑群的主要元素是与教区举办的文化教育活动相联系的两个展馆。

The space adjacent to the church has been functionally and aesthetically linked to the terrain of the former green square in order to create a Rosary Garden, referring to the local legend of Saint Hyacinth. The terrain of the religious nature makes a composition, which becomes a background for the monumental edifice of the temple. Apart from the Garden, the main elements of the complex are two pavilions connected to the cultural - educational activities run by the parish.

 © Tomasz Zakrzewski

c.Tomasz Zakrzewski

设计的建筑物有宗教公共房间，以及一些展区和短期音乐剧形式的空间。这两座建筑作为场地规划的固有部分，得益于当代文体学与现代材料的对比，与新罗马神庙形成鲜明对比。同时，通过形式和尺度，把握地方的历史意义层次。

The designed buildings hold religious common rooms, as well as some exhibition areas and spaces for short musical - theatrical forms. Both of the buildings as inherent parts of the site plan, thanks to the contemporary stylistics along with the modern materials, contrast with the Neo-Roman temple. At the same time, through the form and the scale, the historical meaning hierarchy of the place is held.

花园的概念是指圣贤的形象，被称为念珠的老师。因此，念珠板所代表的圣器元素已沿步行街排列，而玛丽安石窟连同水的特征已放置在地块的中央部分。

The idea of the Garden refers to the figure of Saint Hyacinth, known as a teacher of the rosary. Thus, the sacral elements represented by rosary boards have been arranged along the pedestrian alleys and Marian Grotto along with the water feature have been put in the central part of the plot.

二十个闪电球，指的是念珠的传说，补充了这一构图。它们是宗教性质的聚会场所。鉴于它的位置和它以前的使用方式，该地块已被同时形成，以创造一个共同的地方-一个花园的日常休闲和娱乐。

Twenty lightning spheres referring to the rosary legend complement the composition. They are meant to be a meeting place of religious nature. In view of the location and the way it was previously used, the plot has been contemporarily shaped in order to create a common ground – a garden of daily leisure and recreation.

盆景的几何布局受到植物的支持，植物的起伏为人们提供了观想的场所，同时也提升了城市周边的审美价值。广泛排列的纯林的植物，木制梯田，以及一些矿物表面，让观看者可以轻松地阅读项目的目标，并将混沌组成的地形变成这个友好的空间。保护历史上的树木，使新的元素与环境景观相匹配。

Restrained geometric layout of the pots has been supported with the plants, fluctuation of which provides contemplation-friendly place, while upgrading aesthetical value of the surrounding as a trademark of the city. Widely arranged pure stand of the plants, wooden terraces as well as some mineral surfaces allow the beholder to read the project goals easily and turning chaotically composed terrain into this friendly space. The preservation of the historic stand of trees allow the new elements match the context landscape.

 © Tomasz Zakrzewski

c.Tomasz Zakrzewski

教区房子旁边的大楼有排练室、舞台(A楼)和后台设施。展馆覆盖着多个倾斜的绿色屋顶，并放置在一个位置，这将防止它遮住历史教堂。这座建筑面朝教堂，在需要的时候，很容易打开。它允许底层在夏季成为一个有屋顶的外部场景。周围环境的主要目的是延续现有的城市建筑构成。

The building next to the parish house hosts the rehearsal room, stage (building  A) and the backstage facilities. The pavilion is covered with multi-hipped green roof and placed in a location, which would prevent it from obscuring the historical church. The building faces the church with a glazing – easy to open, when it is needed.  It allows the ground floor to become a roofed exterior scene during summer time. The main purpose for the surroundings was the continuation of the existing urban-architectural composition.

一楼内部的自然延伸是在展馆的玻璃结构旁边的外部区域。为了关闭分配给观众的空间，在情节的角落里提出了一个长凳。这件街道家具是用来请客的。由于这栋建筑本身包含了许多不同活动的房间，从戏剧到音乐剧到展览，它的内部装饰受到了约束和友好的整理，例如木材和大型印刷品，展示了这个地方历史上的几分钟。

A natural extension of the ground floor interior is the external area next to the glazing structure of the pavilion. In order to close the space assigned to the audience, a bench in the corner of the plot has been proposed. This piece of the street furniture is meant to invite. Since the building itself contains rooms for many diverse events from theatrical, through musical to exhibitions, its interiors received restrained and friendly finishing, such as wood and large-scale printouts, illustrating a few moments from the history of the place.

 -1 Floor Plan

-1楼图

为提供支助和维修，提议B楼包括公用空间和住宿室。为了减少对现有历史教堂和教区房屋的影响，建筑结构已部分埋在地下，离地面仅剩一层楼，而且还覆盖了一个植被屋顶。这座建筑的设计意图是在风格上与整个建筑群相辅相成。

The building B, containing common space along with accommodation rooms has been proposed in order to provide support and maintenance. To reduce an impact on the existing historical church and the parish house, the building structure has been partially placed underground, with just one storey left above the ground and also it has been covered with a vegetal roof. The design of the building is intended to be stylistically complementary to the whole complex.

目标是恢复社会和经济退化地区的活力，最后将其还给当地社区。该项目已在考虑到所有最佳实际标准的情况下被起诉。来自所有地形和屋顶的雨水被收集在地下的蓄水池中。它已在施工过程中使用。

The goal was to reinvigorate the socially and economically degraded area, eventually followed by giving it back to the local community. The project has been prosecuted with all the best actual standards taken into account. Rainwater from all the terrain and from the roofs is collected in a storage reservoir placed underground. It was already being used during the construction process.

 © Tomasz Zakrzewski

c.Tomasz Zakrzewski

这些天来，它被用来给花园里的植物浇水。这两座建筑都覆盖了植被屋顶，这不仅使它们与历史庙宇相适应，而且为它们提供了热舒适、环境友好的途径，改善了当地的城市环境。

These days it is used to water the plants in the garden. Both buildings are covered with the vegetal roofs, which not only make them fit well in the context of the historical temple, but also provide them the thermal comfort, environmentally friendly approach and improve local urban environment.

Architects Medusa Group

Location Bytom, Poland

Category Cultural Center

Architects in Charge Przemo Łukasik, Łukasz Zagała

Project Year 2014

Photographs Tomasz Zakrzewski