Courtesy of Ingarden & Ewý Architects + Arata Isozaki & Associates

英加林

架构师提供的文本描述。在评论2007年宣布获奖设计的裁决时，国际建筑竞赛评审团主席卢森堡建筑师博赫丹·帕乔夫斯基承认，在最后一轮评选的作品之间的选择反映了传统上对艺术中浪漫主义和古典主义倾向的分歧，最终决定最佳设计的是浪漫主义潮流的拥护者。我相信Bohdan Paczowski非常真实、准确地抓住并强调了我们项目最重要和最独特的特点之一，因为我们在投标中包括的-除了精确设计的功能和技术平面-正是开发自由和开放空间的梦想，这些空间由曲线和曲面定义，具有非常规的流动和划分，流畅地形成会议中心建筑的内部和外部形式。

Text description provided by the architects. Commenting on the 2007 verdict announcing the winning design, the president of the jury in the international architectural competition, Luxemburg architect Bohdan Paczowski, admitted that the choice between the works selected for the final round reflected the traditional division into the partisans of the romantic and classicist tendencies in art, and that it was finally the champions of the romantic current who determined the selection of the best design. I believe that Bohdan Paczowski very truthfully and precisely grasped and emphasised one of the most significant and distinctive features of our project, as what we included in our bid – besides the accurately designed functional and technological planes – was precisely the dream of developing free and open spaces, defined with curved lines and surfaces, with unconventional flows and divisions, fluently forming the interior and the external form of the Congress Centre building.

 Courtesy of Ingarden & Ewý Architects + Arata Isozaki & Associates

英加林

设计策略基于四个关键考虑因素。第一个也是最重要的是，决定利用地块本身的全景资产，在地块的东侧放置一个多层的门厅，并创造一个空间，让观众沿着栏杆的弯曲、灯光的液体线和奇异的楼梯旋转，欣赏市中心的全景和中央位置的瓦维尔，和Kazimierz充满了教堂的塔“Na Skałce”(在岩石上)和大部分圣凯瑟琳教堂。这样的门厅为观众形成了一个奇特的额外礼堂，但也是一个舞台，从克拉科夫(Kraków)的舞台上可以看到，尤其是在夜晚，从附近的维斯杜拉堤坝(Vistula堤)和瓦韦尔山(Wawel Hill)可以很好地看到克拉科夫。

The design strategy is based on four key considerations. The first and most important was the decision to use the panoramic assets of the site itself by placing a multi-storey foyer on the eastern side of the plot and by creating a space where the viewers would orbit along the curvatures of balustrades, the liquid lines of the lights, and the fantastic stairs, admiring the panorama of the City Centre with the centrally situated Wawel, and Kazimierz bristling with the towers of the Church “Na Skałce” (on the Rock) and the bulk of St Catherine’s Church. Such a foyer forms a peculiar additional auditorium for the audience, but is yet also a stage, a place from where Kraków is admired and which, especially when lit for the night, is perfectly visible from the nearby Vistula embankments and Wawel Hill.

 Floor Plan

该项目开展工作中的第二个重要因素是创造性地利用了这些限制，特别是需要调整建筑物的形状，使其符合街角地块弧形的几何形状，以及保护服务部门对其高度的建议-比附近的Grunwaldzkie环形楼高20米(65英尺)，在有技术需要的地点(例如在礼堂的舞台上)，可选择超过限额。这对结构形状的定义产生了很大的影响，包括屋顶的特征线。

The second significant factor in working on the project was the creative use of the limitations, notably the need to adjust the form of the building to the geometry of the arc of the corner plot, and the recommendations of the conservation services setting a cap on its height – 20 metres (65 feet) over the level of the nearby Grunwaldzkie Roundabout, with the option of exceeding the limit in spots justified by technological needs (e.g. over the stages of the auditorium halls). That had a powerful impact on the definition of the shape of the structure, the characteristic line of the roof included.

 Courtesy of Ingarden & Ewý Architects + Arata Isozaki & Associates

英加林

第三组决定涉及建筑物内三个主要大厅的空间类型：尊重投资者在每个大厅中所设想的功能和观众人数。这些决定是与泽崎太郎及其东京办事处合作作出的，该办公室由青木浩史(Hiroshi Aoki)和我的日本朋友组成的团队共同设计。20年前，我们与他们一起设计了Kraków Manggha博物馆。主厅的音乐会和大会的功能，选择了一个不完整的“葡萄园露台”的形状，因为在这个布局中，礼堂从两边拥抱舞台，这样减少了观众与现场之间的距离，尽管座位相对较多，但却营造了一种亲密的气氛。第二个大厅具有戏剧、音乐会和国会的功能，形成了一个传统的前台，底层有一个可移动的礼堂。第三个大厅，一个“演播室”式的大厅，有一个平地和灵活的礼堂布置，允许划分成两个音质分开的空间。

The following, third group of decisions concerned the spatial typology for the three main halls in the building: respecting the functions and numbers of spectators envisaged by the investor in each. These decisions were made in cooperation with Arata Isozaki and his Tokyo office managed by Hiroshi Aoki, with the team of my Japanese friends together with whom we designed the Kraków Manggha Museum twenty years ago. For the main hall, with its concert and congress functions, the shape of an incomplete “vineyard terrace” was selected, as in this layout the auditorium embraces the stage from the sides, in this way reducing the distance between the spectators and the scene and building an intimate atmosphere despite a relatively large number of seats. The second hall with its theatrical, concert, and congress functions, was formed into a traditional front stage with a movable auditorium on the bottom level. The third hall, a hall of the “studio” type with a flat floor and flexible auditorium arrangements, allows division into two acoustically separate spaces.

设计的第四个支柱是立面和屋顶的定义。铝质屋顶从Wawel露台上全部可见，形成了流向Vistula的级联，从河流和城市中心的一侧，从视觉上缩小了建筑物的规模。这座建筑的墙壁是由玻璃、陶瓷和铝组成的。为了使建筑物向城市的视野开放，它的东侧是玻璃的，而建筑物的两侧和背面则覆盖着一系列与适用于内部的颜色相对应的颜色的瓷砖，其中红色是指主大厅的颜色，石墨是第二个大厅的颜色，白色是门厅的颜色，以及用于屋顶装饰的银质铝。在建筑师的构想中，这样一种多元而多彩的构图是为了反映Dębniki区的运动和动态，该地区位于维斯特拉右岸，直到1909年才出现在克拉科夫市的界限内。因此，这座建筑的大小是确定这部分城市的发展规模的一种拟议手段，该地区位于科诺菲尼基街(Konopniiej Street)，位于会议中心以南。

The fourth pillar of the design was the definition of the façade and roof. The aluminium roof, visible in its entirety from the Wawel Terrace, was formed into cascades flowing down towards the Vistula which visually diminishes the scale of the building from the side of the river and City Centre. The walls of the building are a composition of glass, ceramics, and aluminium. To open the building to a view of the city, its eastern side is glazed, while the sides and back of the building are covered with an array of ceramic tiles in colours corresponding to the colour-scheme applied to the interior, with red being a reference to the colour of the main hall, graphite to the colour of the second hall, white as the colour of the foyer, and silvery aluminium which is used for the roof finish. In the architect’s conception, such a multi-element and colourful composition is to reflect the movements and dynamics of the Dębniki district developing on the right bank of the Vistula and which only found itself within the Kraków city limits in 1909. The size of the building is thus a proposed means of defining the scale of development in this part of the city, along Konopnickiej Street, south of the Congress Centre.

 Courtesy of Ingarden & Ewý Architects + Arata Isozaki & Associates

英加林

Architects Jacek Dubiel, Sylwester Staniucha, Dariusz Grobelny, Piotr Hojda, Sebastian Machaj, Grzegorz Miąsko, Joanna Bielawska-Ząbek, Olga Jasiak, Bartosz Kardaś, Piotr Kita, Tomasz Koral, Jakub Wagner, Anna Biskupska-Sperka, Sławomir Janas, Hiroyuki Mae, Agata Staniucha, Krzysztof Stępniak, Maciej Szromik, Jacek Szuba, Maciej Wierzbiński, Maja Wilczkiewicz-Janas, Tomasz Żełudziewicz, Marta Brańska, Joanna Domagalska, Sylwia Gowin, Łukasz Kępski, Jakub Turbasa, Bartosz Haduch (competition) IEA project administration: Renata Skowron

Location Krakow, Poland

Collaborating Architect Jacek Ewý

Main Architect Krzysztof Ingarden

Team Yoko Sano, Tadayuki Uchida

Area 36720.0 m2

Project Year 2014

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