© Arjen Schmitz

c.Arjen Schmitz

架构师提供的文本描述。乔·科宁

Text description provided by the architects. Jo Coenen & Co Amsterdam Public Library

位于乌斯特多克西兰的阿姆斯特丹(阿姆斯特丹公共图书馆)是建筑师乔·科宁(Jo Coenen)作品中的一个标志。连同位于埃因霍温中心的修长的v脂da tooren(v脂da Tower)和位于马斯特里赫特中心的Markt-maas项目(由典雅的商店、公寓、办公室和一个新的理事会会议厅组成)，阿姆斯特丹开放图书馆(Oba)可以被看作是jocoenen公司大规模建筑的丰硕成果。

The Openbare Bibliotheek Amsterdam (Amsterdam Public Library) on Oosterdokseiland is a hallmark in the oeuvre of Jo Coenen, architect. Together with the slender Vesteda Toren (Vesteda Tower) in the centre of Eindhoven and the Markt-Maas project in the centre of Maastricht, consisting of elegant blocks of stores, apartments, offices and a new council chamber, the Openbare Bibliotheek Amsterdam (OBA) can be seen as the rich harvest of large-scale constructions yielded by the firm of Jo Coenen & Co in the first decade of the twenty-first century.

JoCoenen(Heerlen，1949)在Eindhoven的Technische HogesSchool接受教育，他在中欧和南欧的接触中塑造并激励着他，自80年代以来，他创造了大量的结构。他最著名的项目之一是鹿特丹的荷兰建筑研究所(荷兰建筑研究所)、马斯特里赫特的StadsLavotheek(市政图书馆)，以及阿姆斯特丹KNSM E兰、马斯特里赫特的Céramique、Tilburg和Eindhoven的Smalle港的建筑和城市设计计划。

Jo Coenen (Heerlen, 1949), educated at the Technische Hogeschool in Eindhoven, moulded and inspired by his contacts throughout Central and Southern Europe, has created a large number of structures since the eighties. Ranking among his best-known projects are the Nederlands Architectuurinstituut (Dutch Institute for Architecture) in Rotterdam, the Stadsbibliotheek (Municipal Library) in Maastricht and master-plans for the architectonic and urban design of the KNSM Eiland in Amsterdam, the Céramique in Maastricht, the Kunstencluster in Tilburg and Smalle Haven in Eindhoven.

Eindhoven的V脂da Toren，马斯特里赫特的Markt-Maas和阿姆斯特丹的Openare书目，比它们的体积、对各自城市的意义以及它们是在同一时间建造的事实有更多的共同之处。所有这三个项目都是基于相关的动机，最好的表现是以图书馆为主导。

The Vesteda Toren in Eindhoven, the Markt-Maas in Maastricht and the Openbare Bibliotheek Amsterdam have more in common than their volume, their significance for the respective cities and the fact that they were built at the same point in time. All three projects are based on related motives, best illustrated by featuring the library in a leading role.

 © Arjen Schmitz

c.Arjen Schmitz

“把代表了许多世纪文化的成长中独立的书籍世界和建立一个经验图书馆的任务结合起来？”

“To unite the grown apart world of books, which represent many centuries of culture, and the assignment to create a library of experience?”

图书馆的设计是一项卓越的任务，它主要不是专注于外部构图的创造，而是一个立面的汇编，而是特别侧重于设计内心世界。

The design of a library is an assignment par excellence, which is primarily not focused on the creation of an exterior composition, a compilation of facades, but which is especially focused on designing the inner world.

 Floor Plan

“建筑与内部是不可分割的相互依存”

“Building and interior are indissoluble interdependent”

这就是为什么建筑师喜欢设计内部和外部的原因之一。在这个图书馆里，外部和内部是不可分割的统一。这项工作是一个占地28500平方米的城市围护工程，建筑面积约40米，宽40米，长120米。

This is one of the reasons why the architect preferred to design as well the interior as the exterior. In this library exterior and interior are indissoluble unified. The assignment is a piled up program of 28,500 m2 in an urban envelope with a volume of about 40 meters height, 40 meters width and a length of 120 meters.

 © Arjen Schmitz

c.Arjen Schmitz

从城市规划到建筑，从内部雕塑

From urban planning to building, a from-the-inside sculpture

只有透过雕刻家的眼睛，才能在具有约束力的城市规划范围内设计一个具有这些测量值的公共图书馆。这座建筑被磨碎，磨得像一块石头石，以确保里面的生活尽可能舒适。在一些地方，建筑物被从规定的城市边界倒退。由于这一结果，一个内在空间的存在，创造了自然光的内部空间。尽管这座建筑的庞大计划应该得到满足，但它还是有可能创造出一个多个形状子卷的分异建筑，在那里，像概览和方向一样的亲密关系可以结合在一起。从某种意义上说，外表是从内部思考出来的。其主要目标是“创造景点”，这些景点将发展出一种价值，让你决定留在这里，并得到光、空间和颜色的支持。由于活动的多样性，这些地点的联合发挥至关重要。这座建筑应该是每一根纤维都可以进入和开放的。不同的景点，独特的氛围，使游客亲切的建筑物。

The design of a public library with these measurements, within a binding urban plan, was only possible by looking through the eyes of a sculptor. The building is grated and sharpened like a stone monolith to make sure that the inner life will be as comfortable as possible. At some places, the building is set back from the prescribed urban borders. As a result of this, an inner space existed which creates natural light in the interior space. Despite of the immense program of the building, which was ought to be met, it was possible to create a diverge building with multiple shaped sub volumes where as well intimacy as overview and orientation can come together. The exterior is, in a way of speaking, thought out from the inside. The main goal was “to create spots”, which come to live and will develop a value which makes you decide to stay, supported by light, space and color. By the diversity of activities, a joint play of these spots is crucial. The building is supposed to be accessible and open in every fiber. Different spots with unique atmospheres make the visitors affectionate to the building.

 © Arjen Schmitz

c.Arjen Schmitz

建筑清单

Manifest for architecture

沉思也是图书馆内部的一个重要方面。这句话也被认为是一般建筑的一种表现。这是对日益增长的趋势的反应，时髦，过度和简洁的建筑。对于公共建筑，特别是保存书籍的建筑，它们代表着我们几百年来的文化思想，应该尊重它们。这是翻译的质量和谨慎。

Also the contemplative is an important aspect of the interior of the library. This sentence is also considered as a manifest of architecture in general. It is a response to the increasing tendency to snazzy, overweening and briefness in architecture. For public buildings and especially for buildings where books are preserved, which represent our cultural body of thought of many centuries, applies that they should be treated with respect. This is translated in quality and discretion.

 © Arjen Schmitz

c.Arjen Schmitz

不同气氛之间的对比可以在建筑物的组成中找到，内部也可以看到，外部也是如此。这座建筑由一个基座、中间和顶部组成。

The contrast between different atmospheres can be found in the composition of the building, as well the interior as the exterior. The building consists of a base plinth, middle and top.

“底座”代表着快速和简洁，具有城市和公共性质，而“中间”-书的保存地-象征着休息。“顶部”是人们聚会、放松、互动或讨论的场所，也是剧院和餐厅的所在地。顶部也有一个像基座一样的公共特性。

The “base plinth” represents the fast and briefness and has an urban and public character, while the “middle” – where the books are preserved – symbolizes rest. The “top”, where the theatre and restaurant are found, is the place where people meet, relax and interact or discuss. The top also has a public character like the base plinth.

“体验图书馆”一词被翻译为“按字符识别”。通过艺术，室内和灯光，增加了口音，使建筑创造了自己的特色。对“经验”的解释就是这样得到一个独特的内容。这使我们有可能把文化和任务的世界统一起来。

The term “experiencing library” is translated to “identification by character”. By art, interior and light, accents were added which caused the building to create its own character. The interpretation of “experience” gets a unique content this way. This made it possible to unite the grown apart world of culture and assignment.

 © Arjen Schmitz

c.Arjen Schmitz

运动是建筑感官体验的关键。材料的感知，细节，尺度，光和暗的对比，开放的还是封闭的，都是通过结构内部的运动来提高的。建筑物的建筑可以构造这些动作，引导它们并伴随着各种快速和缓慢的诱惑，断断续续的动作与持续的动作交替，通过呼吸空间和节奏上的差异。

Movement is crucial to the way architecture is experienced by the senses. The perception of the materials used, the details, the scale, the contrast between light and dark, open versus closed, are all heightened by movements within the structure. The architecture of a building can structure these movements, direct them and accompany them by a variety of fast and slow tempi, of staccato movements alternated with sustained ones, by breathing spaces and differences in rhythm.

从中央车站到OBA的路线沿着Oosterdokse兰的弯曲一侧行驶。这座建筑被一条通往天然石头入口的通道所预示，促使游客左转。

The route from the Central Station to the OBA runs along the curved side of Oosterdokseiland. The building is heralded by a passage way to the entrance made of natural stone, prompting visitors to take a left turn.

 Floor Plan

从着陆处可以看到建筑物的中心。在着陆的右边是一个热闹的广场，人们可以在这里相遇和放松，远离巨大的天篷的元素。

From the landing, one is offered a view into the heart of the building. To the right of the landing is a lively square, an area where people can meet and relax, protected from the elements by the huge canopy.

入口大厅是一个低天花板的区域，通过一个高天花板的大厅，过渡到下一个动作套路，到主大厅，左边有一个很大的区域，在那里你可以很容易地逐渐下降。一直向前是自动扶梯，提供有组织的上升断续动作。右边是几个露台，可以间接进入展区和中间层的图书馆多媒体部分。

The entrance hall is a low-ceilinged area, a transition to the next repertoire of movements, via a high-ceilinged hall, to the main lobby with an enormous area to the left, where one can easily and gradually descend. Straight ahead are the escalators offering an organized ascent of staccato movements. To the right are several terraces providing indirect access to the exhibition area and to the multimedia section of the library somewhat further on the intermediate floor.

 © Arjen Schmitz

c.Arjen Schmitz

通过自动扶梯，然后重复的运动，然后是不断不同的方式，因为空洞的位置。倒数第二层是不同的，因为它是对即将到来的事情的宣布。通过宽阔的楼梯，它打开到顶楼下的天篷，提供了一个广阔的望远镜景观阿姆斯特丹。

Via the escalators a repetition of movements then follows that are continually different because of the way the voids are situated. The penultimate floor is different, in the sense that it is an announcement of things to come. Via the wide stairs it opens out onto the top floor under the canopy offering a wide telescopic view of Amsterdam.

象征性地说，图书馆作为一个整体的建筑也在运动中。通过将自己从基础上解放出来，放弃凹面和凸面的排列，旋转、后退、突出，并这样做-只要在手头的情况下有可能-打破自己的边界，就会增强建筑参观者所能体验到的不同动作的效果。

The architecture of the library as a whole is also, figuratively speaking, in motion. By extricating itself from the base, abandoning the alignments with a concave and a convex façade, rotating, receding, projecting and in doing so – insofar as this is possible within the situation at hand – breaking loose from its own boundaries, it reinforces the effect of the different movements that visitors of the building can experience.

 © Arjen Schmitz

c.Arjen Schmitz

建设与技术

Construction and technique

在建筑学中，与建筑设计有关的所有决定都会影响建筑的许多方面。形式、功能和技术是密不可分的。突出的檐篷和侧壁的悬挂结构是公共图书馆的两个组成部分，说明了形式和功能方面的考虑如何对其建设产生了深远的影响。

In architecture, all decisions pertaining to the design of a building affect numerous aspects of its construction. Form, function and technique are inextricably linked. The sharply projecting canopy and the hanging construction of the side wall are two of the Public Library’s components that exemplify how both formal and functional considerations had far-reaching consequences for its construction.

为了使庞大而复杂的公共图书馆大楼具有灵活性和清晰的安排，只使用了有限的柱子，所有空间都尽可能开放，没有任何障碍。通过巧妙地设置不同的逃生路线，并在整个建筑物安装一个洒水系统，符合消防安全规定。这样，楼层就不需要划分。

In order to achieve flexibility and a clear arrangement of the extensive and complex Public Library building, only a limited number of columns were used and all spaces were left as open as possible, without any obstacles. Fire safety regulations were met by cleverly situating the different escape routes and by installing a sprinkler system throughout the building. By so doing, the floors did not need to be compartmentalized.

空调巧妙地解决了空隙作为竖井的功能，因此不需要安装任何额外的管道或风管。所有的电器都安装在一个凸起的地板上。这样，几乎所有可能分散视线的建筑形式或空间都被隐藏在视野之外。

The air conditioning was ingeniously solved by having the voids function as shafts so that there was no need to install any additional pipes or air ducts. All the electrics were installed within a raised floor. In this way, practically everything that could possibly distract the eye from the architectonic form or space was hidden from view.

由于其无隔断的楼层，图书馆可以很容易地适应其他布局，如果需要。目前图书馆与其后面办公大楼之间的隔断也可以很容易地移除。最后，作为持久能源试点项目的一部分，所有屋顶都配备了太阳能电池。

Because of its unpartitioned floors, the library can easily be adapted to other lay-outs, if required. The present partition between the library and the office building behind it can also easily be removed. Finally, all rooftops are equipped with solar cells, as part of a pilot project for durable energy.

 © Arjen Schmitz

c.Arjen Schmitz

自古以来，天然石材就被用于建造欧洲城市的公共建筑和公共区域。有了这种材料，就有可能实现高度复杂的细节，同时提高长轮廓的效果。几个世纪以来，在地板、墙壁、穹顶和拱门上使用天然石头，无论是在内部还是在外面，都是很普遍的。

Natural stone has been used for the construction of public buildings and public areas in European cities from time immemorial. With this material, it is possible to achieve a highly sophisticated detailing, while at the same time heightening the effect of long outlines. Throughout the centuries, the application of natural stone for floors, walls, domes and arches, both on the inside and on the outside, has always been common.

乔·科宁(Jo Coenen)对天然石的亲和力大于对砖块的亲和力-这是他在马斯特里赫特的塞拉米克项目(Cramique)工作时开发的一种偏好-他在马斯特里赫特经常使用的贝壳石灰石，由于其温暖的灰褐色，与混凝土和木材都有很好的协调。

Jo Coenen has a greater affinity for natural stone than for bricks – a preference he developed while working on the Céramique project in Maastricht – and simply hates synthetic materials. Owing to its warm greyish-brown colour, shell limestone, which is frequently employed in Maastricht, harmonizes well with both concrete and wood.

天然石材突出了建筑耐久的一面，使其具有一定的典雅性。它还能很好地老化，当门槛和楼梯磨损时，这只会起到增强建筑物的作用。

Natural stone accentuates the durable aspect of architecture and affords it a certain elegance. It also ages nicely and when thresholds and stairs become worn, this only serves to enhance the building.

用天然石头包覆一座建筑物，可以产生强有力的雕塑效果，使其看起来是由一件作品构成的。这一材料的唯一使用使公共图书馆能够在其所属的整体内保持独立性，同时还能将其与过去的中央车站邮局的天然石面连接起来。

Cladding a building with natural stone can produce a potent sculptural effect, making it appear to be made of one piece. The sole use of this material enables the Public Library to maintain its independence within the ensemble of which it is part, whilst also linking it to the natural stone façades of what used to be the Central Station Post Office.

天然石是一种非常耐用的材料。由于它只在荷兰很少使用，因此它加强了应用它的建筑物的区别，在这种情况下，它突出了图书馆作为一座公共建筑的特殊重要性。

Natural stone is an exceptionally durable material. Because it is only marginally used in the Netherlands, it reinforces the distinction of the buildings where it is applied and in this particular case underlines the special importance of the library as a public building.

 © Arjen Schmitz

c.Arjen Schmitz

在建筑中，光是保证建筑物正确运作和使用的一个非常重要的因素。

In architecture, light is a factor of great importance to guarantee the correct functioning and use of a building.

光，特别是自然光，可能有很大的差别。在公共图书馆那样大的建筑物中，有足球场那么大的面积和部分封闭，将自然光线带入建筑物并不是一件小事。

Light, particularly natural light, may vary considerably. In the case of a building the size of the Public Library, with a surface area the size of a soccer field and partially boxed in, bringing natural light into the building was no small task. 

 © Arjen Schmitz

c.Arjen Schmitz

乔·科宁(Jo Coenen)竭尽全力让白天的光线穿透建筑物的心脏，或者在不可能的地方提供自然光景观，例如，在大楼的后面，相邻的办公大楼通过建筑群中的一个切口与OBA隔开。通过弯曲图书馆的侧壁，凹面的光线穿透建筑物更深，凸起的一面起到海湾窗口的作用。空隙和楼层的开口也允许白天的光线进入建筑物。自动扶梯也是一种轻巧的物体，它在建筑物的中心提供了一个明亮的方向点，而白天的光线是无法到达的。

Jo Coenen went to great lengths to have day light penetrate the heart of the building or to provide natural light vistas where the former was not possible, for example at the rear of the building, where the adjacent office building was detached from the OBA through an incision in the architectural mass. By curving the side walls of the library, the light at the concave side penetrates deeper into the building and the convex side functions as a bay window. The voids and the openings in the floors also allow day light into the building. The escalators, which also serve as light object, provide a brightly lit point of orientation in the heart of the building which is inaccessible to day light.

 Floor Plan

宜人的景点

Pleasant spots

建筑物，特别是较大的建筑物，都应该有一定数量的令人愉快的地方：建筑物的一部分可能不是字面意义上的功能，但对建筑的良好运作却是必不可少的。这些也可以在公共图书馆找到，从大楼前面的广场开始：一个有吸引力的休闲区，与朋友会面，以及与其他游客接触。建筑物左边的大空地和精心执行的“梯子”从外面一直延伸到里面，也是宜人的娱乐场所。这同样适用于海湾窗户，人们可以从两个不同的方向远眺，远离相邻的建筑物、书架之间的宁静区域、露台和顶层剧院周围的区域，所有这些地方都是图书馆建筑提供额外质量的地方。

Buildings, especially the larger ones, all deserve to have a certain number of pleasant spots: parts of the building which may not be functional in the literal sense of the word, but are nevertheless essential for the architecture to function well. These can also be found at the Public Library, starting at the square in front of the building: an attractive area for relaxation, meeting up with friends and making contact with other visitors. The large open space outside to the left of the building and the carefully executed ‘ladder’ running from the outside through to the inside, are also pleasant spots for diversion. The same applies to the bay windows where one can look out into the distance in two different directions away from the adjacent buildings, the tranquil areas between the bookcases, the terrace and the area surrounding the theatre on the top floor, all spots where additional qualities are offered by the library’s architecture.

Architects Jo Coenen & Co Architekten

Location Oosterdokseiland 143, 1011 DL Amsterdam, The Netherlands

Category Community

Architect in Charge Jo Coenen

Design team Architects (exterior) Jo Coenen, Geert Coenen, Iwert Bernakiewicz, Max Bachinov, Gerard Extra, Hans Schoot, Will Stokkermans, Bart Erens, Frans Wesseling

Design team Architect (interior) Jo Coenen, Margriet de Zwart, Wil Ummels, Miriam Boot, Annebregje Snijders, Michela Barone, Ingrid Annokkee, Neeltje ten Westenend, Claudy Jongstra, Martijn Sandberg, NAT-architecten, Peter van Kempen, Gerard Extra, Will Stokkermans

Area 28500.0 sqm

Project Year 2007

Photographs Arjen Schmitz