© Stefan Müller

斯特凡·穆勒

架构师提供的文本描述。作为1200万国标重建项目的一部分，位于利物浦零售区中心的具有历史意义的布鲁科特钱伯斯已经恢复了活力，并得到了扩大。该项目对利物浦市中心的重建起到了重要作用。在设计中，一等建筑(城市中最古老的建筑)得到了精心修复，新的2250平方米的扩建-一个新的表演艺术展厅-容纳了200个座位的表演空间和艺术画廊。这个新翼重新建立了原来学校的形式。它恢复了女王安妮H形布局，完成于1717年，但在第二次世界大战期间在城市的猛烈轰炸中丢失。

Text description provided by the architects. The historic Bluecoat Chambers in the heart of Liverpool’s retail district has been revitalised and expanded as part of a £12m redevelopment project. The project plays a significant part in the regeneration of Liverpool city centre. The design sees the Grade 1 Listed building (the oldest building in the city) carefully restored and a new 2250 m² extension built - a new performing arts wing - housing a 200-seat performance space and art galleries. This new wing re-establishes the form of the original school. It restores the Queen Anne H-shape layout, completed in 1717 but lost during heavy bombing of the city during world war two. 

 © Stefan Müller

斯特凡·穆勒

设计的中心概念是将新旧主题紧密结合在一起的相互保护的方法。BIQ把海湾窗户和露台屋这样的英语主题带入了21世纪-这种新的造型重复了砖砌的露台，窗户的节奏也在回荡，而不是模仿安妮女王风格的原始外观。同样的方式，新的延伸与原来的建筑有共鸣；新的建筑细节的元素，如现代铝框架，可以在旧建筑中看到。

The central concept of the design is a reciprocal approach to conservation with old and new motifs closely entwined. biq brings English motifs like the bay window and the terrace house into the 21st Century – the new form repeats a brick terrace and the rhythm of the windows echo but do not imitate, the ones on the original Queen Anne style façade. In the same way that the new extension has resonance with the original building; elements of new architectural detail, such as modern aluminium frames, can be seen in the old building.

这种方法，在旧的拾起新的，是继续在室内设计。旧的内部已经被剥离回到了它的基本形式，墙壁涂成白色，木制品漆成黑色，线条干净，鲜明的对比有助于突出，而不是忽视原有的特征。

This approach, where the old picks up the new, is continued in the interior design. The old interior has been stripped back to its basic form with the walls painted white and the woodwork painted black – producing clean lines and stark contrasts that serve to highlight, not to ignore, the original features. 

 © Stefan Müller

斯特凡·穆勒

该建筑的定义是有限的材料范围和有限制的调色板-色彩丰富的堆焊砖，氧化物铜屋顶，铸造混凝土抛光地板和门框，欧洲橡木板门，和青铜配件。其结果在物质上是真实的，它的结构，强烈地减少建筑表达，甚至在前景上，甚至修道院，同时参考原始结构的构造。

The building is defined by a limited range of materials and a restrained palette – richly coloured stack-bonded brickwork, oxide copper roofing, cast concrete polished floors and door frames, European oak panelled doors, and bronze fittings. The result is materially true to its construction, strongly reduced in architectural expression, perhaps even monastic in outlook, whilst referential to the tectonics of the original structure.

这座建筑多年来一直在变化，BIQ设计的扩建工程是这些建筑历史发展的延续，这些年来，这些建筑经历了一代砖块的发展。BIQ故意决定使用砖块，但选择了一种现代粗糙的砖，堆放在瓷砖上，只向一个方向铺设，形成网格模式。短的正面只显示头部，而长的正面只显示担架-这是建筑物最醒目的特征之一。

The building has changed continuously over the years and biq designed the extension as a continuation of the buildings’ historic development that has seen a generation of bricks over the years. biq made a deliberate decision to use bricks but chose a modern rough brick, stacked in tile bond and only laid in one direction to form a grid pattern. The short facades only show the headers while the long facades only show the stretchers - one of the most visually striking features of the building.

 © Stefan Müller

斯特凡·穆勒

新的延伸部分有一个山墙屋顶，位于一楼的性能空间之上，它本身就是一个封闭的盒子，它在花园的水平上悬挂着一个新的柱廊，并有规则的直线开口贯穿其中。它可以看到花园的景色，但也可以被封闭，允许表演在完全黑暗或自然光下进行。

The new extension features a gable roof that sits above the first floor performance space, itself a closed box, which overhangs a new colonnade at garden level, punched through with regular rectilinear openings. It has views out over the garden but can also be sealed off and will allow performances to occur in complete darkness or with natural light 

新翼的展览空间是沿着花园的柱廊组织起来的。这座“秘密花园”得到了加强和改进，同时保留了它作为城市绿洲和城市中心放松场所的特殊品质。鹅卵石的前院也得到了修复。

The exhibition spaces in the new wing are organised along the garden’s colonnade. This ‘secret garden’ has been enhanced and improved, whilst retaining its special quality as an urban oasis and place to relax in the heart of the city. The cobbled front courtyard has also been restored.

 © Stefan Müller

斯特凡·穆勒

画廊的墙壁和天花板被设想为大画框。混凝土墙用石膏板填充，形成方格内的正方形。由此产生的plinth和cornding包含这些服务。天花板上的凹槽遮住了灯光，也通过吸收声音来帮助声学。

The gallery walls and ceilings are conceived as large picture frames. The concrete walls are recessed with a plasterboard infill creating a square within a square. The resulting plinth and cornicing contain the services. The recesses in the ceiling conceal lights and also help with acoustics by absorbing sound.

建筑师们在原来的建筑中发现了29种不同的楼层。补救这些不同的高度以满足当前的访问要求是一项挑战。BIQ的方法是引入两个新的垂直环流核来巩固不同的水平。建筑师决定移除一些旧结构，以便更容易地与新结构集成。现在流通路线畅通，所有的水平都可以通过电梯达到。

The architects discovered 29 different floor levels in the original building. It was a challenge to remedy these different heights to meet current access requirements. biq’s approach was to introduce two new vertical circulation cores that consolidate the different levels. The architects made the decision to remove some of the old structure so that it could be more easily integrated with the new. Now the circulation routes are clear and all levels can be reached by lift.

 © Stefan Müller

斯特凡·穆勒

重组现有空间和创造更好的残疾人通道，将辅之以新的零售空间、改进的功能和会议室、文化商务办公室和艺术和手工艺工作室。

The re-organisation of existing spaces and creation of better disabled access throughout will be complemented by new retail spaces, improved function and meeting rooms, cultural business offices and arts and crafts studios. 

整个重新开发的关键是旧的与新的相遇；三层的空隙垂直地将重新配置的工作室空间组织到新的机翼上。这个高耸的空间被设计成没有生命的节目，它向用户和游客展示了新旧建筑之间的联系。建筑师们还设计了大楼的大部分家具，包括多功能的画廊模块和布鲁科特自己的办公家具。

The crux of the whole re- development is where old meets the new; a three-storey void vertically organises reconfigured studio spaces to the new wing. Designed to be inanimate in programme, the soaring space serves to present the user and visitor alike with an explanation of the connection between new and old.The architects also designed much of the building’s furniture, including multi-functional gallery modules and the Bluecoat’s own office furniture.

Architects Hans van der Heijden Architect

Location School Lane, Liverpool, Merseyside L31, United Kingdom

Category Cultural Center

Architect in Charge Hans van der Heijden Architect

Design Team Theo van de Beek, Marjolein van Eig, Hans van der Heijden, Helen Webster, Rick Wessels

Project Year 2008

Photographs Stefan Müller