Before. Image Courtesy of Kostrenčić-Krebel

之前。Kostrenčić的形象礼貌

架构师提供的文本描述。前州

Text description provided by the architects. PREVIOUS STATE

公共广场位于扎达尔的历史中心，位于这座古罗马城镇的枢轴之一-德库马努斯(Decumanus)。这就是城门几百年来一直坐落在中世纪的地方。该遗址孕育着历史遗产，散发着真正的地中海氛围。此外，形成广场的大多数建筑对城市来说都是最重要的，无论是在历史上的功能上，还是在建筑价值上。

The public square is located in the historical centre of Zadar, at the end of one of the cardinal axis of this ancient Roman town: the Decumanus. This is where the town gate was situated for centuries and into the medieval times. The site is pregnant with historical heritage and radiates a genuine Mediterranean atmosphere. Also, most of the buildings forming the square were of greatest importance for the city, both in their function through the history, and in their architectural value.

 Courtesy of Kostrenčić-Krebel

Kostrenčić提供

这个遗址的另一个具体特征是，这个空间实际上是一个不断流动的城市序列，从文艺复兴时期防御性堡垒脚下的五个威尔斯广场开始，一直延续到我们重建的广场和广场，然后通过仍然存在于城市组织中的罗马德库马努斯(RomanDecumanus)与今天的城市中心罗马论坛(RomanForum)连接起来。

Another specific characteristic of the site was, that the space in  question is actually a continual flowing of urban sequences starting with the Five Wells Square  at the foot of the Renaissance defensive bastion, continuing through the square and plaza which we rebuilt, and then connecting with the Roman Forum, today’s city centre, via Roman Decumanus still existing in the urban tissue.

在对城市基础设施进行一些改进的过程中，在现有的广场中央，发现了一些非常重要的考古文物-罗马帝国城门入口的遗迹，以及一座中世纪大门附近的遗迹。

During some improvement of the infrastructure of the city, in the middle of the existing square, some very important archaeological artefacts were found – remains of the City entrance from the Roman Empire, and very near a medieval gate.

 Ground Floor Plan

干预目的

AIM OF INTERVENTION

比赛简报的主要条款之一是，必须将罗马和中世纪的建筑发现结合在广场的中心地带，与城市的当代城市生活相结合。问题是如何在广场以下1.60米的地方很好地展示这些历史遗迹，同时又能保持这些实用的公共空间。

One of the main terms of the competition brief was the imperative to integrate the architectural finds from both the Roman and medieval times nestled in the very heart of the square, with contemporary urban life of the city. The problem was how to realise a good presentation of these historical remains at about 1.60 m below the square level and still preserve the functional public space at the same time.

 © Damir Fabijanić

达米尔·法比贾尼(Damir Fabijanić)

下一个问题是，根据扎达尔地区城市的具体生活方式，路面和城市设备的衔接，其中一方面包括通往中心的步行路线，另一方面是各种文化活动的场所。历史建筑工艺品的背景可以作为一个“舞台设计”，也可以作为一个非常非正式的公共空间与漂亮的小餐馆。除了这一切，广场上还有两棵美丽的梧桐树，已经有一百多年的历史了。

Next problem was the articulation of the pavement and urban equipment according to the specific way of life of the city in that part of Zadar, which include, on the one hand, a pedestrian route to the centre, and on the other hand a place for different kinds of cultural happenings. The background of the historical architectural artefacts can be used as a “stage design”, but also as a very informal public space with nice small restaurants. Beside all that, on the square there are two beautiful sycamore trees, over a hundred years old.

不幸的是，由于许多不同的原因(包括90年代初克罗地亚战争期间的轰炸)，这个地方在过去十年被遗弃，急需整修。

The place was unfortunately, for many different reasons (including the bombing during war in Croatia in early 90-thies), derelict in the last decade with the urgent need of refurbishing.

 © Damir Fabijanić

达米尔·法比贾尼(Damir Fabijanić)

干预说明

DESCRIPTION OF INTERVENTION

这个网站最大的问题是，在这个相对较小的空间里，有太多重要的工艺品和功能需求。我们决定将建筑干预减少到“基本”，一种几乎看不见的姿态，一种“清洗”，它将最有效地突出内在但隐藏的价值，同时产生新的潜力、新的解释和新的身份。

The biggest problem of the site was that there were too many important artefacts and functional demands on this relatively small space. We decided to reduce the architectural intervention to the "essential", a barely visible gesture, a sort of "cleansing" that will optimally highlight the immanent yet hidden value, while at the same time engendering a new potential, new interpretations and new identities.

 © Damir Fabijanić

达米尔·法比贾尼(Damir Fabijanić)

考虑到考古遗迹，我们把它们整合到广场的活组织中，而不掉进用广场最有活力的部分建造“露天博物馆”的陷阱。这一方面是通过仔细地重建目前广场上的地面层下的考古发现来实现的，另一方面，在罗马和中世纪的发现和现代广场之间建立了一个“玻璃界面”。

Considering the archaeological remains, we integrate them into the living tissue of the square, without falling into the trap of making an “open air museum” out of the most vibrant part of the square. This has been achieved by, on the one hand, carefully reconstructing the archaeological finds beneath the present-day ground level of the square – anastylosis – and, on the other hand, making a “glass interface” between the Roman and medieval finds below and the contemporary square above.

 Floor Plan

广场被连接成一个连续的表面的地形，创造了一个平滑和流体排列，连接所有不同的海拔广场。同样地，城市家具的选择也被压制了。广场的倾斜和它的组成元素-考古学上的沉睡和由木制长凳构成的绿色岛屿-构成了唯一的城市设备。

The square is articulated as the topography of a continuous surface, creating a smooth and fluid alignment that connects all the different elevations of the square. By the same token, the urban furniture of choice was subdued. The very inclination of the square and its constituent elements - the archaeological anastylosis and the green islands framed by a wooden bench - form the sole urban equipment.

 © Damir Fabijanić

达米尔·法比贾尼(Damir Fabijanić)

在我们努力为这个美丽的，虽然破旧的空间找到合适的建筑布局时，我们试图解释公共广场作为城市和社会生活的创造者的身份，它既依赖于连续性，也依赖于对新事物的开放。

In our effort to find the appropriate architectural articulation for this beautiful, albeit dilapidated, space, we try to interpret the identity of a public square as the generator of urbanity and social life that rests both on continuity but also openness to the new.

 Section DD

DD节

广场的最后一种印象是平常人之间的某种东西-仿佛一直都在那里-以及一些游客所表达的有些奇怪和奇怪的东西-透明的效果和玻璃与石材路面的连续反射，突显出完全简单的效果，这是令人惊讶的。

The final impression of the square is something between ordinaries – as if always been there – and something slightly strange and weird, as some of visitor has expressed – the amazement of utter simplicity underlined by effect of transparency and reflection of glass in continuity with stone pavement.

 Courtesy of Kostrenčić-Krebel

Kostrenčić提供

从照片上可以看出，广场已经被广泛接受为社交活动的场所，也是散步和非正式会议的首选场所。还有，这个广场是由建筑师尼古拉·巴·罗曼(Nikola Bašić)建造的海洋机关与罗马论坛之间的主要旅游路线，穿过这座古老的历史城市，一直延伸到他的东南端。

As can be seen on photos, the square has been widely accepted as a place of social events, and is a favourite place for stroll and casual meetings. Also, with that square is defined the main tourist route between the Sea Organ made by architect Nikola Bašić, the Roman Forum and through the old historical city to his south-eastern end.

 Floor Plan

广场的生活区不仅仅是设计决策的总和，它存在于情感、氛围和脾脏之中，当地方的美内在融入设计时，人们也意识到有必要在未来为新的利用方式提供空间。

The living area of the square is a lot more than just sum of design decisions, it exists in the emotion, the atmosphere, and the spleen, as the beauty immanent on the place was integrated in design, there was also awareness of the need to provide a space for a new way of utilization in the time to come.

Architects Kostrenčić-Krebel

Location Trg Petra Zoranića, 23000, Zadar, Croatia

Category Heritage

Architect in Charge Aleksandra Krebel, Alan Kostrenčić

Design Team Zoran Šušulić, Jelenko Hercog, Hrvoje Giaconi, Hrvoje Turkulin, Ivan Vadanjel, Darovan Tušek, Bruno Lovrenčić, Slavica Polić

Area 2900.0 sqm

Project Year 2013

Photographs Damir Fabijanić