架构师提供的文本描述。林茨的新哥特式马里安东大教堂是奥地利最大的教堂，计划于1855年开始，1924年被封为圣。相比之下，Domplatz广场本身就是一个混乱的地方，可以说它几乎是“未完成的”，因为最初将街道之间的整个四合院(称为Stifter、Hafner、Baumbach)和赫伦大街(Herrenstrasse)的想法都取消了，并建立了一个公园，但这一想法并没有得到落实。相反，各种干预措施，如私人创建的前花园和建造车库，导致了各种不同的情况，从城市规划的角度来看，这种情况并不令人满意，需要通过竞争来解决。后者还将包括建造一个旅馆和地下停车场，以及振兴广场西南侧现有的两座巴洛克式建筑。

Text description provided by the architects. The neo-gothic Mariendom cathedral of Linz, on which planning commenced in 1855 and which was consecrated in 1924, is the largest church in Austria. Domplatz square was itself a muddle in comparison and might be described as almost “unfinished”, given that the original idea to free up the entire quadrangle between the streets called Stifter-, Hafner-, Baumbach- and Herrenstrasse, by removing all buildings and creating a park, was not implemented. Instead various interventions such as privately created front gardens and the construction of garages led to a heterogeneous situation, which was unsatisfactory from the point of view of urban planning and was to be resolved by means of a competition. The latter was also to include the construction of a hotel and underground car park as well as the revitalisation of two existing baroque buildings on the southwest side of the square.

该项目的一个重要的基本想法是创造一个新的城市规划情况。Domplatz广场被从各种发展中解放出来，而铺设的交叉网格安排阻碍了主导方向性的出现，从而有利于一个慷慨的、中立的表面，从而允许丰富的各种用途。在赫伦盖斯现有的建筑领域，通过与周围街道的连接和新酒店的单独定位，形成了一个紧凑、独特的小广场和小巷组合；将现在已城市化的多姆帕兹集中在城市中心的交汇处，即广场的一个地方。这两座巴洛克式住宅都恢复了原来的面貌，得到了振兴和改善。他们现在住在长期居住的公寓，一家餐馆和研讨会设施。

One of the important fundamental ideas behind the project was to create a new urban planning situation. Domplatz square was freed of various developments, and the cross-grid arrangement of paving hinders the emergence of a dominant directionality so as to favour a generous, neutral surface that permits a rich variety of uses. In the area of the existing buildings by Herrengasse a compact, distinct ensemble with mini-squares and alleys was created through forging links with the surrounding streets and by means of the solitary positioning of the new hotel; concentrating the now urbanised Domplatz at the interface to the heart of the city, a place at the square. Both baroque houses were returned to original, revitalised and improved. They now house long-stay apartments, a restaurant and seminar facilities.

 © Paul Ott photografiert

C.Paul Ott Photografiert

新酒店是一座自信的、雕塑式的纸牌建筑，一方面对邻近建筑物的布置和垂直程度作出反应，另一方面又对教堂的微妙和主导结构作出回应。该建筑“漂浮”在广场之上，其质量溶解成一个混凝土框架，而它的形态，在正面的褶皱和轮廓变得更加纤细的顶部，连接大教堂的形式，突出了与现有巴洛克建筑一起实现的小部件的整体效果。一个漏斗状的中庭，从上面点燃，穿过酒店大楼，因此排除了狭窄、阴暗的走廊，并重复了内部透明和开放的主题。实际的房间是宽敞的，通风的，全高度的玻璃墙提供了一种与大教堂和周围环境密切相关的感觉。

The new hotel is a confident, sculptural solitaire building, on the one hand reacting to the arrangement and vertical extent of neighbouring buildings and, on the other, offering a response to the simultaneously delicate and dominant structure of the cathedral. The building “floats” above the square, its mass dissolving into a concrete framework, whilst its morphology, with folds in the facade and a profile becoming more slender towards the top, connects with the form of the cathedral chancel and underlines the small component ensemble effect achieved together with the existing baroque buildings. A funnel-shaped atrium, lit from above, cuts through the hotel building, thus ruling out narrow, dingy corridors and repeating the theme of transparency and openness in the interior. The actual rooms are spacious and airy, with full-height glass walls offering a sense of close involvement with the cathedral and immediate surroundings.