架构师提供的文本描述。人们常认为，čNik是受到威尼斯及其桥梁的启发，他对卢布尔雅尼察凯勒的混凝土河床进行了重新安排。确切地说，čNik的想法是什么，我们今天还不知道，但有一件事是肯定的：由于čNik的干预，卢布尔雅尼察河畔的氛围和布局具有威尼斯人的天分。和威尼斯一样，PlečNik设想并在河上架设了几座新的桥梁。其中两座城市，即三叠桥和鞋匠桥，被实现为公共区域和新的公共空间，这些公共空间被从河上解放出来，交给了市民。

Text description provided by the architects. It is often believed that Plečnik was inspired by Venice and its bridges in his rearrangement of Keller’s concrete river bed of Ljubljanica. What exactly Plečnik had in mind, we do not know today but one thing is certain: due to Plečnik’s interventions the ambience and layout of Ljubljanica riverside has a Venetian flair. As in Venice, Plečnik envisaged and placed several new bridges over the river. Two of them, namely the Triple Bridge and the Shoemakers’ bridge, were realized as public areas, new public spaces, which were liberated from the river and given to the citizens.

 © Miran Kambič

c Miran Kambič

čNik还计划并部分实现了屠夫桥和“鱼市”人行桥(RibijTRG广场和Gerber楼梯之间的人行桥)的桥梁通道。虽然最近建造的屠夫桥有一个现代的形象，鱼市人行桥等待着它的新解决方案。

Plečnik also planned and partially realized the bridge access for the Butchers’ bridge and the ‘’Fishmarket ‘’ footbridge (the footbridge between Ribij trg square and Gerber stairway). While the recently built Butchers’ bridge has a modern image, the Fishmarket footbridge awaits its new solution.

 © Miran Kambič

c Miran Kambič

因此，这座行人天桥应该是怎样的呢？čNik已经用河岸的布置确定了它的宽度，而河流决定了它的长度。考虑到邻近桥梁、鞋匠桥和三重桥的形式语言，它们都是以“新文艺复兴”的可塑性方式设计的，我们可以假设čNik的人行桥在形式上是丰富而突出的。他会把它建成一个装饰混凝土甲板还是作为一个浅弧形建筑？谁知道呢

What should, therefore, this footbridge be like? Plečnik already determined its width with his arrangement of the riverside, while the river determines its length. Taking into consideration the formal language of the neighboring bridges, the Shoemakers’ bridge and the Triple Bridge, which are designed in a "Neo-Renaissance" manner of plasticity, we can assume that Plečnik’s footbridge would have been formally rich and prominent. Would he have built it as a decorated concrete deck or as a shallow arc construction? Who knows?

出于对大师和他的艺术权威的记忆，把两个广场、国会和鱼市广场联系起来的想法，长期以来都没有得到满足。

Out of respect to the memory of the master and his artistic authority, the idea of linking the two squares, the Congress and the Fishmarket square, an unfulfilled desire for a long time.

直到木结构临时安排建立起来，这是由卢布尔雅那的建筑系学生发起的，并且被证明是一种勇敢的行为，同时也是一种没有争议的行为。它指出了新的桥梁连接的至关重要的必要性，但同时，由于它的临时性质，它并没有冒犯伟大大师的遗产。这就是为什么人们没有评判它的美学方面，而只是赞扬它的用处。多年来，这座桥的木结构已经腐烂，因此必须找到一个新的、永久的解决办法。

It was not until the wooden temporary arrangement was set up, which was initiated by the students of architecture from Ljubljana, and proved to be a courageous and, at the same time, a non-controversial deed. It pointed to the vital necessity of the new bridge connection, but at the same time – due to its temporary nature – it did not offend the legacy of the great master. That is why people did not judge its aesthetic aspects but merely praised its usefulness. Over the years the wooden construction of the bridge has decayed, so a new, permanent solution has to be found.

 © Miran Kambič

c Miran Kambič

因此，新的行人天桥应该是怎样的呢？如果我们正在寻找一个新的空间和程序格式的解决方案，那么可能性是无限的；反之亦然，如果我们想强调简单和谨慎，所有的解决方案都指向一个单一的最终解决方案。

What should therefore the new footbridge be like? If we are looking for a solution in the new spatial and program formats, then the possibilities are countless; and vice-versa, if we want to emphasize simplicity and discretion, all solutions are pointing toward a single final solution.

问题是，如何实现čNik的想法？一个人应该设计一个突出的创作对象，在河的走廊中有一个强大的存在，或者正好相反，一个谨慎的，安静的建筑，它居住在河上，几乎是一座桥的非物质概念？这两种解决办法都是可行和合法的。

The question arises, how to realize Plečnik’s idea? Should one design a prominent authorial object with a strong presence in the river corridor, or just the opposite, a discreet, quiet architecture, which dwells over the river almost as an immaterial idea of a bridge? Both solutions are possible and legitimate.

 © Miran Kambič

c Miran Kambič

在我们看来，在这个位置上，人行桥当然是必要的，但这里的空间非常充满了čNik自己留下的遗产，因此不与主人在正式领域竞争似乎是合理的；就像新的NUK大楼的情况一样。

In our opinion the footbridge is certainly necessary on this location, but the space is very much saturated with Plečnik’s own legacy, so that it seems reasonable not to compete with the master in the formal domain; just as was the case in the new NUK building.

因此，我们建议在河面上架设一座简约设计的透明、优雅的行人天桥，让沿河畅通无阻，但同时将两岸连接起来，作为河上的广阔视野。

It was our suggestion, therefore, to place a transparent, elegant footbridge of minimalist design over the river, one which will allow unobstructed views along the river but at the same time connect both banks as a wide viewpoint over the river.

 © Miran Kambič

c Miran Kambič

我们的目标是设计一座尽可能薄的桥梁，以及尽可能透明的桥梁栏杆。在这个项目中，我们利用了我们以前在钢结构设计和实现方面的所有经验，以及新材料和新技术的使用。

Our aim was to design a bridge that has a construction as thin as possible, and bridge railing as transparent as possible. In this project we used all our previously gained experience with steel construction design and realization, as well as the use of new materials and technologies.

 Cross Section 1

交叉第1节

如前所述，在这种方法中，所有的解决方案都会导致最终的形式，在这种情况下，不可能带走任何东西或进一步细化结构和形状。这使得这类解决方案类似，成果用厘米和十公分来衡量，而在形式上，尽管差别很小，但它们有助于设计的优雅。

As mentioned, in this kind of approach all solutions lead towards a final form, where it is impossible to take anything away or further thin down the construction and thus the shape. This makes solutions of this kind similar and the achievements are measured in terms of centimeters and decagrams – while in terms of form, despite the small differences - they contribute to the elegance of the design.

 © Miran Kambič

c Miran Kambič

从静态上说，这座人行桥是一个框架结构，其水平单元由一个薄钢箱组成，固定在卢布尔雅尼察河右岸的混凝土柱代表的垂直构件上。在对面的马卡隆加，铁塔只是靠在有两张弹性床的河岸上。钢桥面类似于一个浅的‘V’在急流段，甲板长25米，宽3.4米，建筑高度只有50厘米。

Statically speaking, the footbridge is a frame construction with the horizontal element comprising a thin steel box, fastened into the vertical element represented by a concrete pillar on the right bank of Ljubljanica River. On the opposite side, at Makalonca, the steel pylon is simply leaning on the bank with two elastic beds. The steel deck resembles a shallow ‘’V’’ in cress section, the deck measures 25 meters in length and 3.4 meters in width, with construction height of only 50 centimeters.

 © Miran Kambič

c Miran Kambič

朝向边缘，甲板缩小到只有25厘米，这给它一个非常优雅的外观。浅三角断面的甲板建立了一个动态的视觉对话，从河的看法。

Towards the edges, the deck narrows to mere 25 centimeters, which gives it a very elegant look. The shallow triangular cross-section of the deck sets up a dynamic visual dialogue with the views from the river.

从远处看，我们首先看到这座桥是一个薄的侧脊，甲板上有一个较低的悬挂板。后者是，当我们接近桥梁，扩大视觉和发展到桥下的桥梁甲板的整个视图。最后，它缩小到一个桥梁面板的感觉。

From a distance, we first see the bridge as a thin side ridge with one of the lower suspension panels of the deck. The latter is, as we are approaching the bridge, widening visually and developing under the bridge an entire view of the bridge deck. Finally it narrows to a perception of one of the bridge panels.

甲板在其最低点几乎触及中央拱廊开放的čNik的Makalonca外观，并被移离它的一段距离。桥面的颜色是白色的，与周围的河岸区域完全对应，同时河的倒影在桥的下表面形成了一道光线和阴影。结合上述视觉动力学，它给桥梁一个有趣的千变万化的感觉。

The deck in its lowest point almost touches the central arcade opening of Plečnik’s Makalonca façade and is removed from it with a distance. The deck is off-white in color which corresponds perfectly with the surrounding riverside area, while at the same time the reflections from the river create a play of light and shadow on the lower surface of the bridge. Together with the mentioned visual dynamics it gives the bridge an interesting kaleidoscopic feeling.

 © Miran Kambič

c Miran Kambič

在连接甲板和海岸，设计紧固和设置床时，我们决定采用“考古学”的方法。以这种方式，我们保留了原有的岸面外观，(虽然他们是在一定程度上被桥面对角线剖面所覆盖)。为此目的，地基和床被隐藏在立面后面-在马卡隆卡附近，桥面设置在PlačNk‘s立面后面的一张床上，必要时可通过河岸人行道覆盖的修订竖井进入。这是一个简单而又创新的解决方案，使外墙保持完整，以防这座桥在将来被另一种解决方案取代。

In connecting the deck to the shore and designing the fastening and setting up beds we decided for an ‘’archeological’’ approach. In this way we preserved the original appearance of the existing shore facades, (although they are in parts minimally covered by diagonal profile of the bridge deck). For this purpose the foundations and the beds are concealed behind façade surfaces – near Makalonca the bridge deck is set on a bed which is installed behind Plačnk’s façade and are, when necessary, accessible via revision shafts covered by the pavement of the riverside promenade. It is a simple, yet innovative solution to the problem, leaving the façade intact, in case this bridge will be replace with yet another solution in the future.

 Cross Section 3

交叉第3节

桥面被插入到čNik的装饰围栏之间的两岸，由水磨石制成。钢结构上的行走表面是多层的：中间层是电加热箔的环氧层，上部是铝型材，上面是浅灰色的阳极氧化(这是一种相对较新的解决方案，但在城市人行桥上还是使用了几次)。

The bridge surface is inserted into both shores between Plečnik’s decorative fence made of terrazzo. The walking surface over the steel construction is multi-layered: epoxy layers with mid-layer of electric heating foil, and upper layer made of profiled Aluminum profiles, which are anodized in light grey color (a relatively new solution but nonetheless used several times in urban footbridges).

 © Miran Kambič

c Miran Kambič

Architects Arhitektura d.o.o

Location Ljubljana, Slovenia

Category Bridges

Architects in Charge Peter Gabrijelčič, Boštjan Gabrijelčič

Project Year 2014

Photographs Miran Kambič