架构师提供的文本描述。锦州市是一个人口300万的城市，位于北京东北不足500公里的地方。在一个填海的地区，新建了一个176公顷的大型公共公园，以此来阐明锦州的城市延伸。在第一阶段，该公园主办了2013年锦州世界景观艺术博览会，一旦世博会关闭，该地区将成为一个新的城市发展的中心公园。

Text description provided by the architects. The urban extension of Jinzhou, a city of three million inhabitants located less than 500 kilometres north-east of Beijing, has been articulated by the creation of a new large public park of 176 Ha in an area reclaimed from the sea. During a first phase, the park hosts the 2013 Jinzhou World Landscape Art Exposition and once the Expo is closed, the area will become the central park of a new urban development.

 © Ben McMillan

本·麦克米伦

20名国际设计师已被委托在公园不同地点的一个可比较的圆形周界内设计20个项目，将方案和设计的身份与设计师的文化背景联系起来。

20 international designers have been commissioned to design 20 projects within a comparable circular perimeter in different locations of the park linking the program and the identity of the designs to the cultural background of the designers.

 Courtesy of Casanova + Hernandez Architects

由Casanova Hernandez建筑师提供

世博会的设计基于这样一种悖论，即全球化虽然通常与当地文化特性的破坏相联系，但也可能产生某种身份认同。马赛克公园项目超越了这一范围，旨在市民和地方之间建立一种联系，赋予该地点更广泛的意义。

The design of the Expo is based on the paradox that globalization, although it has typically been associated with the destruction of local cultural identity, may also be able to generate some kind of identity. The Mosaic Park project goes beyond that and aims to create a link between citizens and the place, giving a wider meaning to the site.

 Courtesy of Casanova + Hernandez Architects

由Casanova Hernandez建筑师提供

该项目尝试了文化融合的概念，这种现象是在东西方几个世纪的商业和文化交流中发展起来的。

The project experiments with the concept of cultural hybridization, which is a phenomenon developed during many centuries of commercial and cultural exchange between West and East.

一方面，在公园的人行道和长凳上，以及博物馆的外墙上，使用不同颜色的破碎的本地陶瓷碎片，让人想起罗马帝国在整个欧洲广泛流传的马赛克传统，这种传统一直沿袭着历史，带来了技术解决方案，例如加泰罗尼亚现代派建筑师使用的Trecandís技术。

On the one hand, the use of broken local ceramic pieces of different colours for the materialization of the pavement and benches of the park and for the facades of the museum evokes the mosaic tradition that was widespread throughout Europe by the Roman Empire and that has evolved along history till the present day bringing technical solutions such as the trecandís technique used by the Catalan modernist architects.

 © Ben McMillan

本·麦克米伦

另一方面，公园的几何学灵感来自于宋代儒器物和葛窑陶瓷制品中从10世纪发展而来的中国瓷器的裂纹釉。梅赛克公园和陶瓷博物馆提醒市民，锦州地区曾经是陶瓷的生产区，虽然这个传统已经消失了好几个世纪，如今却被遗忘了。

On the other hand, the geometry of the park is inspired by the crackled glaze of the Chinese porcelain developed from the 10th century during the Song Dynasty in the Ru Ware and Ge Ware ceramic pieces. The Mosaic park and the Ceramic Museum remind citizens that the Jinzhou region was once a production area of ceramic and porcelain, although this tradition was lost for centuries, being nowadays forgotten.

 Courtesy of Casanova + Hernandez Architects

由Casanova Hernandez建筑师提供

混合景观：建筑与景观的混合

Hybrid landscape: mix of architecture and landscape

该项目代表了当代城市公园的典范，它既不是自然景观的碎片，也不是城市景观的一部分，而是两者的混合体。马赛克公园是建筑与景观、自然与技巧相结合的混合体。

The project represents the paradigm of the contemporary urban park, which is neither a fragment of the natural landscape nor a landscaped piece of the city, but the mix of both of them. Mosaic Park presents a hybrid character that combines architecture with landscape, and nature with artifice.

 © Ben McMillan

本·麦克米伦

公园的不规则几何图形在空间上展开成一个裂缝状的三维地形，在那里景观和建筑融合成一个由884个不规则的平面构成的连续的表面。

The irregular geometry of the park is spatially unfolded into a crackled three-dimensional topography, where landscape and architecture merge into a continuous surface formed by 884 irregular planes.

此外，这一几何图形体现为一个多色马赛克，由四种不同种类的花和颜色与马赛克，由当地的陶器碎片创造。鲜花和陶瓷混合成一个色彩丰富的马赛克，把自然和当地的工艺品结合在一起。

Moreover, this geometry is embodied as a polychromatic mosaic formed by combining flowers of four different species and colours with mosaics created with broken pieces of local Chinese pottery. Flowers and ceramic blend into a colourful mosaic that brings nature and local crafts together.

 © Ben McMillan

本·麦克米伦

陶瓷博物馆的建筑几何学是公园裂缝几何学的延伸，它是用同样的瓷砖在公园的路面上实现的，这些瓷砖结合在建筑的正面，有玻璃的开口，也有不规则的图案。

The building geometry of Ceramic Museum is conceived as an extension of the crackled geometry of the park, and it is materialized using the same ceramic tiles used for the pavement of the park, which are combined in the building facade with glazed openings also following irregular patterns.

由植物表面和陶瓷表面形成的多色马赛克为项目提供了几何和视觉的统一，避免了通常的硬景观和软景观之间的分离。景观与建筑、马赛克公园与陶瓷博物馆，融合为一件作品，同时也是多方面和令人惊讶的，其特点是混杂的特征和强烈的塑料含量。

The polychromatic mosaic formed by vegetal and ceramic surfaces provide geometric and visual unity to the project avoiding the usual separation between hardscape and softscape. Landscape and architecture, Mosaic Park and Ceramic Museum, merge into a single work, at the same time multifaceted and surprising, characterized by its hybrid character and strong plastic content.

 Courtesy of Casanova + Hernandez Architects

由Casanova Hernandez建筑师提供

公共生活激活剂

Public life activator

公园和博物馆是公共生活的活跃者，有两种方式。

Park and museum work as activators of public life in two ways.

一方面，马赛克公园试图激活公共空间的使用。该项目的标志性性质是一个吸引游客享受多感官体验的吸引力。公园的不同元素根据人类的规模进行了尺寸，为步行、坐和玩耍提供了舒适的空间。公园还配备了长椅，为公民自发集会创造了非正式场所。

On the one hand, Mosaic Park seeks to activate the use of the public space. The iconic nature of the project serves as an attraction that invites visitors to enjoy a multi-sensory experience. The different elements of the park have been dimensioned according to the human scale to provide comfortable spaces for walking, sitting and playing. The park has also been equipped with long benches to create informal places for spontaneous meetings among citizens.

 Courtesy of Casanova + Hernandez Architects

由Casanova Hernandez建筑师提供

另一方面，陶瓷博物馆作为锦州文化和社会生活的活化剂，试图唤起游客对过去的好奇，传递失落的传统，最后通过展览和公众活动的节目，为市民创造一个新的交汇点。

On the other hand, the Ceramic Museum functions as an activator of the cultural and social life of Jinzhou, trying to arouse the visitor's curiosity about the past of the place, transmitting a lost tradition, and finally creating with a program of exhibitions and public events a new meeting point for the citizens.

社会平台

Social platform

陶瓷博物馆的设计是一个开放的结构，随着时间的推移，该项目提供了一个新的社交平台，展示当地艺术家、设计师和工匠的作品，这些艺术家、设计师和工匠从事陶瓷和陶瓷传统的工作和实验。

The Ceramic Museum is designed as an open structure, where the program evolves over time offering a new social platform to showcase the work of local artists, designers and artisans who work and experiment with the tradition of ceramic and porcelain.

它旨在唤起公民对其传统的兴趣，但更重要的是，它寻求通过为当地手工艺品的展览、传播和销售建立一个具有象征意义的现代空间来促进当地的创意产业和当代设计。

It intends to arouse the interest of citizens about their traditions, but more importantly it seeks to promote local creative industry and contemporary design by building an emblematic and modern space for the exhibition, dissemination, and sale of local handicrafts.

最终，陶瓷博物馆的目标不仅是激发公众对公园的利用，也是为了促进当地经济和城市的文化生活，以便在其主要休闲目的之外，实现更广泛的社会影响。

Ultimately, the Ceramic Museum aims not only to energize the public use of the park, but also the local economy and the cultural life of the city, in order to achieve a wider social impact, beyond its primary leisure purpose.

 Floor Plan