© Iñigo Bujedo Aguirre

c I igo Bujedo Aguirre

架构师提供的文本描述。每当我设法做一些真正的新东西时，它都是由周围现实中众所周知的元素构成的。它让我着迷，因为它是一种变态，一种未经授权的，不可接受的操作，我认为这是找到艺术中真正孤立的东西的唯一途径。

Text description provided by the architects. Any time I manage to make something genuinely new, it is made of well-known elements of surrounding reality. It fascinates me as a kind of perversion, kind of unauthorized, unacceptable operation and I think it is the only way to find something truly isolated in art.

 © Wojciech Kryński

c.Wojciech kryń滑雪

Tadeusz Kantor的艺术文献中心“CRICOTEKA”是艺术探索个人创造力之路的象征，跨越了演员和观众之间的边界，在创作者和接受者之间，让每个人都参与了一个活动-游戏-集体游戏。城市公共空间既是舞台又是观众，是一个不断演出的场所。它的价值在于消除内部和外部的边界，空间“流动”，它是共享的。创作者、艺术家、居民和游客都参与了创造空间的过程和活动，这些空间可以用选定的对象、结构、手段和方法来塑造。坎特的艺术中心应该宣传这一信息。

The Center of Documentation of the Art of Tadeusz Kantor “CRICOTEKA”, the symbol of artistic search for the individual path to creativity, crossing the border between the actor and the audience, between the creator and the and the recipient, engages everyone in an activity-game-collective play. The municipal public space constitutes both the stage and the audience; it is a venue for constant performance. Its value lies in effacing the borders between the inside and the outside, the space “flows”, it is shared. The creator, artist, residents and visitors all take part in the process, activity of creating space which can be shaped with selected objects, structures, means and methods. The Center of Kantor’s art should promote this message.

 © Iñigo Bujedo Aguirre

c I igo Bujedo Aguirre

这座建筑的目的不是作为艺术家个人艺术作品的静态呈现，而是作为他对艺术的动态视野的延续，打破传统，不仅是因为形式的自主性，而且也是为了使艺术家和他的作品得以发展的创作过程。创造的空间是行动的“准备”，它可以呈现出一种正在发生的性质。

The building is not intended to function as a static presentation of the individual artistic works of the artist but rather as a continuation of his dynamic vision of art breaking away with conventions, valuing it not only for the autonomous character of form but also for the creative process which allows for the development of the artist and his work. The created space is a “preparation“ for action, which can take on a happening nature.

维斯杜拉河、它的河岸和周围的指示环境都是“物体和道具”，它们可以参与演出，它们在舞台上的出现(通过天花板上的镜子反射)为创造性的使用提供了基础。

The Vistula river, its banks and directs surroundings are “objects and props” which can take part in the play and their presence on the stage (through a mirror reflection on the ceiling) provides grounds for creative use.

 © Wojciech Kryński

c.Wojciech kryń滑雪

根据坎特的创作设想，博物馆建筑不需要与周围环境相结合，现有的博物馆建筑不需要通过与原初功能的认同来实现其自然，而是通过对形式和内容的自觉对比，创造冲突和“冲突”的理由，从而标志着它们在迄今为止冷漠的环境中的存在。创造性活动的目的不是将结构确定为一种形式，而是它与周围环境的互动方式。

According to Kantor’s creative visions, the museum building need not be integrated with the surroundings and the existing building does not fulfill its nature trough identification with is original function, but through a conscious contrast of form and content they create grounds for conflict and “clash”, thus marking their presence in the hitherto indifferent surroundings. The purpose of creative activity is not identifying the structure as a form but rather the way it interacts with the environs.

放弃开发整个地块地的想法，为了表演、展览、表演、发生在维斯库拉河畔“剧院”等目的而解除它，将形式和内容的影响范围扩大到城市的整个城市规模。

Abandoning the idea of developing the entire parcel ground and relieving it for purposes such as performances, exhibitions, shows, happenings in the Vistula riverside “theatre” extends the range of influence of the form and its content to the entire urban scale of the city.

 © Iñigo Bujedo Aguirre

c I igo Bujedo Aguirre

改变一个背着桌子的人的典型形象，是物质、物体和人之间“冲突”的象征，通过他的创造性努力，他投入了一种新的形式，赋予了新的“部分”以意义，并构成了源于创作者的思想和“物质”选择的反馈。

Transforming the characteristic image of a man carrying a table on his back is a symbol of the “clash” between the matter, the object and  a human being who-through his creative effort – invest a new form, endows the new “piece” with meaning and constitutes feedback originating from the combination of the idea of a creator and the choice of “material”.

 © Wojciech Kryński

c.Wojciech kryń滑雪

新复杂的特定区域并不构建一个固定的函数顺序，而是为特定的编程元素创建一个语义层次结构。

Particular zones of the new complex do not build a fixed order of functions, but rather create a semantic hierarchy for particular programmed elements.

 First Floor Plan

一层平面图

从远处可以看到两种形式，在功能上有充分的多样性，支配空间，与矛盾勾心斗角，造成情感紧张，并在情结中心创造“行动场”。扩大的进入区利用区域内及其之下的空间，向参与者-游客介绍“行动”，包括作出选择、发现“材料”。

Two forms visible from afar, adequately diverse in terms of functions, dominate the space, intrigue with the contradictions creating emotional tension and create the "field" of action in the centre of the complex. Expanded entry zones use space in the area and under it surface, introducing the participants-visitors to "action", consisting in making choices, discovering the "material".

增加的建筑看起来像一个包裹着的“物体”，有一个“神秘”和足够的功能结构，隐藏在包装后面。建筑群新部分的建造在材料和静态方面(材料：钢、钢筋混凝土、玻璃)都采用非常规的解决办法，而建筑物的结构是形成外部“剧院”空间的思想的结果和衍生，并在整个安排的各个要素之间创造了相互的张力。

The added building looks like a wrapped “object” with a “mysterious” and adequate to its function structure which is hidden behind the packing. The construction of the new part of the complex applies non-conventional solutions both in their material and static aspects (material: steel, reinforced concrete, glass) and the structure of buildings is resultant and derivative of the idea to form an external “theatre” space and create mutual tension between the individual elements of the entire arrangement.

 Third Floor Plan

三层平面图

Cricoteka建筑以两根竖井为基础，由空间钢筋混凝土钢桁架构成的两个交叉拱的形式。第三根柱子是钢的，双摇杆.支座桁架在给定的实现条件下，在荷载作用和效用作用下，均为常挠度。由于复杂的几何和其他扩展，执行者的提升值是不同的，这包括在十字架的设计中。依靠钢筋混凝土预制轴是通过五个锅轴承和一个镜头实现的。上部皮带桁架的水平力由嵌在轴上的特殊锚固结构承载。下部传动带的水平力依次通过轴壁上的推力传递。

Cricoteka building has a form of two intersecting arches made of spatial reinforced concrete steel truss based on two shafts. The third pillar is a steel, double-rocker. The branch support truss’s given implementing raise equal to their constant deflection under load and utility. Due to the complex geometry and other extensions, the raise values of the executive are different, which was included in the design of the cross. Rely on reinforced concrete prefabricated shafts was implemented through five pot bearings and one of the lens. Horizontal forces from the upper belt trusses are carried by special anchoring structures embedded in the shafts. The horizontal forces from the lower belts are passed in turn by the thrust on the walls of the shafts.

 © Iñigo Bujedo Aguirre

c I igo Bujedo Aguirre

“Cricoteka”是作为一个公用事业机构设立的，因此保留了在城市全景中构成一个特征甚至是一个主要特征的权利。建筑物的规模-适当平衡-可以减少周围高层建筑的负面影响。假设的高度与建筑物的背景高度相似，比最近在附近建造的酒店要低得多。

“Cricoteka” was established as a public utility institution and as such reserves the right to constitute a characteristic or even a dominant feature in the panorama of the city. The scale of the building – appropriately balanced - may reduce the negative influence of the surrounding tall buildings. The assumed height is similar to the height of the building in its background and much lower than the hotel recently built in the neighborhood.

 © Iñigo Bujedo Aguirre

c I igo Bujedo Aguirre

Architects Wizja Architects, nsMoonStudio

Location Nadwiślańska, Kraków, Poland

Category Museum

Architects in Charge (Wizja sp. z o.o.) Stanisław Deńko (Wizja sp. z o.o.)

Architects in Charge (nsMoonStudio) Agnieszka Szultk, Piotr Nawara (nsMoonStudio)

Area 3567.0 sqm

Project Year 2014

Photographs Wojciech Kryński , Iñigo Bujedo Aguirre