Ptuj Performance Center ENOTA

 © Miran Kambič

c Miran Kambič

架构师提供的文本描述。普图伊的多米尼加修道院拥有800多年的历史，这在不同程度上体现在它的建筑结构上。13世纪初，多米尼加人来到普图伊，当时他们在城墙内得到了一块地，就在西角的边缘。除了现有的罗马式建筑外，他们还开始建造修道院和教堂，其罗马式结构向目前巴洛克式的转变经历了几个过渡的哥特式阶段。修道院建筑群的其他部分也有着相似的命运；然而，更多的中世纪哥特式建筑保存在那里。

Text description provided by the architects. The Dominican monastery in Ptuj boasts more than 800 years of history, which is, in various degrees of apparentness, expressed in its building structure. The Dominicans came to Ptuj in the early 13th century, when they were given a plot within the city walls, at the very edge of the west corner. Alongside the existing Romanesque buildings, they began the construction of the monastery and the church, whose transformation of its Romanesque configuration to the current Baroque form had several interim Gothic phases. The rest of the monastery complex shares a similar fate also; however, much more of the Mediaeval, Gothic structure is preserved there.

 © Miran Kambič

c Miran Kambič

18世纪末，修道院解散后，这座建筑出现了许多用途，如兵营、医院、博物馆和提供社会住房，仅提及那些最重要的用途。在这段时间里，建筑群有起起落落，但它所扮演的每一个角色都留下了扩展和转换的痕迹。在巴罗克化过程中，这座建筑失去了全部的阿西达部分-将近一半的建筑面积-这是“遭受痛苦”最严重的部分。新巴洛克的内凹被挤压在剩下的纵向墙之间，直到今天，它的体积都是不寻常的，拉长的。在修道院解散后的一段时间内，教堂沿其垂直轴线分成三层，通过突破墙壁，产生了额外的窗户孔。在寺院的其余部分，这些干预措施的破坏性从来没有那么大；它们大多包括扩建和增加楼层，以及在修道院解散后，将更大的空间变成较小的空间。

After the dissolution of the monastery in the late 18th century, the building saw a number of uses, serving as barracks, a hospital, a museum, and providing social housing, to mention only those most significant. During this time, the building complex had its ups and downs, but each role it served left a mark in the shape of extensions and conversions. The nave was the part that "suffered" the most, having lost its entire apsidal portion - nearly a half of the building - in the Baroquisation. The new Baroque nave has been squeezed in between the remaining longitudinal walls and to this day exhibits its unusual, elongated volume. In the time after the dissolution of the monastery, the church was divided into three floors along its vertical axis, which effected the creation of additional window apertures by means of breaking through the walls. In the remaining part of the monastery, the interventions were never as destructive; mostly, they consisted of creating extensions and additional floors, and, after the dissolution of the monastery, converting larger spaces into smaller ones.

 © Miran Kambič

c Miran Kambič

多明尼加修道院的辉煌和鼓舞人心的过去，伴随着兄弟会解散后的不幸命运，翻修多米尼加修道院是一项艰巨的重大任务。要成功地翻新一座历史建筑，关键是要继续为其服务，并争取新的方案来展示其历史价值和艺术价值。这座建筑还必须在没有重大侵入性干预的情况下进行改造，以适应其未来的使用，这将损害其历史结构。一个大会和文化中心接近大楼建成时的功能：在过去，修道院发挥了文化和科学中心的作用，而在中世纪，教堂是室内公共表演的唯一场所之一。

With its splendid and inspiring past, followed by an unfortunate fate after the dissolution of the fraternity, the renovation Dominican monastery represents a demanding task of great responsibility. For a successful renovation of a historical building, the key is to keep the building in service and strive for the new programme to showcase its historical value, as well as artistic merit. The building also has to be adapted to its future use without major invasive interventions, which would damage its historical structure. A congress and cultural centre comes close to the function which the building had in the time of its completion: in the past, monasteries performed the role of cultural and scientific centres while in the Middle Ages, churches served as one of the only venues for indoor public manifestations.

 © Miran Kambič

c Miran Kambič

由于方案的相似之处，修道院建筑群几乎完美无缺地为新的组织方案服务。主活动厅位于过去的中段，其余的辅助空间都围绕着修道院排列；在以前的食堂里有一个较小的大厅，在过去的工作空间里有另一个。修道院是一个入口大厅，是所有穿过建筑物的小径的主要节点。不同的建筑风格交织在一起，形成了脆弱而敏感的环境，已经为人们提供了一个很好的空间框架。所有影响用户舒适度的微小缺陷都得到了丰富的艺术和历史经验的补偿。

Due to similarities in the programme, the monastery complex serves the new organisational scheme almost flawlessly. The main event hall is situated in the erstwhile nave while all the remaining auxiliary spaces are lined around the cloister; there is a smaller hall in the erstwhile refectory, and another one in the erstwhile working spaces. The cloister serves as an entrance hall and the main node of all the paths through the building. The interweaving of different building styles forms fragile and sensitive environments, which offer an excellent spatial framework already on their own. All the minor shortcomings affecting the users' comfort are richly compensated by the artistic and historical experience.

 © Miran Kambič

c Miran Kambič

自然资源保护者的要求与新内容的功能要求之间的妥协，一直以来都是以尊重建筑和文化遗产的态度为主要依据的建筑思想而进行的。因此，修缮寺院的另一个挑战是有关各方彻底翻修所需的时间不同。虽然建筑必须提供第一阶段所设想的方案所需的一切必要空间，才能使建筑群正常运作，但养护和恢复工作是分步骤进行的，所需时间要长得多。由于广泛的油漆表面只是部分地被发现和修复，新的干预措施仅限于没有新的考古发现或保护干预措施的表面：地板。地板包含了翻新后的国会和文化中心所需的新技术功能的全部内容，从安装网络到供暖、通风、照明和音响。墙壁表面保持完整，随时准备修复，这将需要额外的时间，当建筑物已经在使用。

The perennial quest for compromise between the demands of conservationists and functional demands of the new content has been taken forward with architectural ideas informed chiefly by the attitudes of respect towards the built and cultural heritage. Whereby another challenge in the renovation of the monastery has been the difference in the time required for a complete renovation by the various parties involved. While architecture has to provide all the necessary spaces required by the envisaged programme already in the first phase if the complex is to function properly, the conservation and restoration work is performed in steps and takes considerably longer. It is due to the extensive painted surfaces, which have been only partially uncovered and restored, that the new intervention is limited exclusively to the surfaces where no new archaeological finds or conservation interventions are expected: the floor. The floor contains the full gamut of the new technological functions required by the renovated congress and cultural centre, from the installations network to heating, ventilation, lighting, and sound. The wall surfaces remain intact and ready for the demanding restoration, which will require additional time when the building is already in use.

 © Miran Kambič

c Miran Kambič

事实上，它必须将完工的空间和尚未完工的空间连接起来-这似乎还不够，来自不同的历史时期-这种新的“地毯”的表达方式比预期的要多一点。这些空间用黑色混凝土铺装成一个更坚固的整体设计，其中性程度足以与重建后的建筑物部分的恢复美观相媲美，但对比却足以淹没仍在等待完工的建筑物部分的混乱。这个空间概念的简单设计特点是一个关键的扭转在主要活动空间在新增加的楼层被拆除后，随后的考古工作显示，在过去哥特式教堂的中心部分发现了丰富的发现。由罗马墓碑制成的墓穴、墓碑以及台阶和地板的遗骸将被“就地”展示。在这部分上面，新的楼层因此在空间上被提升，同时为游客形成了分层的代表，并充当重建的巴洛克教堂和过去哥特式建筑遗迹之间的空间隔断。

The very fact that it has to connect finished spaces and those yet to be finished - originating, as if this was not enough, from different historical periods -, the expression of this new "carpet" comes with a little more presence than might be expected. The spaces are tied together into a more solid design whole by black concrete paving, which is sufficiently neutral so as not to compete with the revived beauty of the restored parts of the building, and yet contrasting enough to drown the chaos of the parts of the building still awaiting completion. This spatial concept of simple design features a key twist in the main event space - the nave. After the construction of the added floors had been torn down, subsequent archaeological work revealed rich findings in the central section of the erstwhile Gothic church. The sepulchres, reredos, and the remains of the steps and flooring made from Roman gravestones will be presented "in situ". Above this section, the new floor is consequently raised in space, forming tiered stands for the visitors at the same time, and acting as a spatial partition between the reconstructed Baroque church and the remains of the erstwhile Gothic building.

 © Miran Kambič

c Miran Kambič

因此，沿着楼梯通往游客座位的路径是一系列不同的空间体验。在考古发现中散步后，第一次登陆可以看到昔日哥特式建筑的平面图；在第二次登陆时，人们可以仔细观察新发现的中世纪建筑细节；而在最后，朝向顶端，整个巴洛克式建筑的壮丽景色逐渐打开。新的楼层与昔日修道院的历史实质之间的对比，故意表现在大厅的黑白相间，指的是多米尼加秩序中著名的黑白习惯，白人象征着纯真，黑人象征谦逊。

The path along the staircase towards the visitors' seats is thus a sequence of different spatial experiences. Having taken a walk amid the archaeological finds, the first landing offers a view of the floor plan of the erstwhile Gothic building; on the second landing, one can take a close look at the newly discovered details of the Mediaeval architecture; while at the end, towards the top, the view of the entire splendour of the Baroque nave gradually opens. The contrast between the new floor and the historical substance of the erstwhile monastery is deliberately greatest in the black-on-white appearance of the main hall, referencing the famous black and white habit of the Dominican Order where the white is symbolic of innocence and black of modesty.