架构师提供的文本描述。今年春天，布达佩斯音乐中心(BMC)-布达佩斯音乐中心(BMC)-在布达佩斯打开了它的大门。这座建筑是一位音乐家30年前梦想成真。

Text description provided by the architects. This spring an architecturally and culturally unique institution, Budapest Music Center (BMC) opened its gates in Budapest. The building is a musician's 30-year-old dream come true.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

首席执行官Lászlógőz，首席执行官兼音乐教师，17年前创建了bmc有限公司。自1996年以来，公司一直致力于推广古典、现代和爵士音乐。他们的活动极为多样化：经营匈牙利音乐信息数据库和图书馆，作为一家唱片公司开展工作，组织和管理各种活动。匈牙利音乐信息数据库致力于收集和分类匈牙利古典、爵士乐和当代音乐作品，并将该数据库提供给国家和国际公众。BMC成立两年后，Lászlógőz创立了当代、爵士和古典专辑的唱片公司，赢得了多项国际奖项。不断增长的音乐图书馆今天有数万份，并包含了最新的信息，一个世纪的匈牙利作曲家和他们的作品。

CEO László Gőz, trombonist and music teacher, founded BMC Ltd.17 years ago. Since 1996, the company has been engaged in promoting classical, contemporary and jazz music. Their activities are extremely diverse: operating the Hungarian Music Information Database and Library, working as a record company, organizing and managing events. The Hungarian Music Information Database is committed to the collection and classification of Hungarian classical, jazz, and contemporary music pieces, and to making that database available to the national and international public. Two years after the foundation of BMC, László Gőz founded a record label for contemporary, jazz and classical albums, which has won several international prizes. The ever increasing Music Library today counts tens of thousands of copies and contains up-to -date information on a century’ worth of Hungarian composers and their works.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

BMC是匈牙利音乐的赞助人：它的大部分活动都是非营利的，资金来源于更有利可图的活动管理活动。

BMC is a patron of Hungarian music: most of its activities are non-profit, funded by its more profitable event management activities.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

多年来，越来越有必要把这一系列活动-当时分散在该地区几个较小的办公室-集中在一个地点：一个音乐中心，按照皮埃尔·布勒兹的IRCAM或纽约卡内基音乐厅的方式发展。

Over the years, it became more and more imperative to focus this large range of activities - at the time scattered in several smaller offices in the district - in one venue: a music centre which was to be developed along the lines of Pierre Boulez's IRCAM, or Carnegie Hall in New York.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

音乐中心位于布达佩斯一个新兴的文化区。虽然很大一部分房屋是向公共开放的，但私人资源资助了120年前住宅改造的大部分资金，人们可以从其中的每一部分中感觉到，这座房子是由音乐家为音乐家建造的。

The Music Centre is located in a newly emerging cultural district of Budapest. Although a large part of the premises are open to the public, private resources financed most of the transformation of the 120 years-old former residential building, and one can sense in every part of it that this house was built by a musician for musicians.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

在建筑过程中，许多到现场参观的音乐家绕着这座半成品的建筑走来走去，想象自己在舞台上演奏，交换意见，在图书馆里看乐谱，或者听CD。有时，甚至连眼泪都流了出来-还有一些人在深夜来到这里，成为第一个在半壁江山之间玩耍的人。他们都觉得这座建筑是关于他们的，对他们来说。从一开始，Lászlógőz就认为重要的是，每个入室的人都应该感觉到，这是他作为一名音乐家的梦想在这里实现的，而不是亿万富翁投资者的梦想，也不是政府决定的结果。在这幢楼里，音乐家是最重要的，因为任何人都可以知道谁来听音乐会，谁去图书馆，谁来喝杯茶，没有什么特别的原因。

During the construction, many musicians who visited the site walked around the half-finished building, imagining themselves playing on stage, exchanging ideas, looking up a score in the library, or listening to a CD. On occasion, even tears were shed - and there were some who came late at night to become the first to play between the half-finished walls. They all felt that this building is about them, for them. From the very beginning, László Gőz considered it important that everyone who enters the house should feel that it is his dream as a musician that has been realized here, not that of a billionaire investor; nor was it brought into being as a result of a government decision. In this building, the musician is all-important, as anyone can tell who comes to listen to a concert, visits the library, or drops in for a cup of tea for no particular reason.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

该项目得到匈牙利三位国际知名当代音乐作曲家热尔吉·利盖蒂、热尔吉·库尔塔格和Péter E tv s的支持。库尔塔格家族成立了一个名为“音乐论坛”的基金会，以支持该家庭的活动。Péter E tv s将E tv s研究所从巴黎迁至布达佩斯音乐中心，将该机构与国际音乐界联系起来。

The project is supported by three internationally known contemporary music composers of Hungary, György Ligeti, György Kurtág and Péter Eötvös. The Kurtág family created a foundation called Music Forum to support the activities of the house. Péter Eötvös moved the Eötvös Institute from Paris to the Budapest Music Center, connecting the institution to the international music scene.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

最初的建筑是一栋一层的住宅建筑，一楼是面向街道的商店，建于1890年，风格为新古典风格的XIXth世纪。在第二次世界大战期间，这座建筑被改造成俄罗斯的军事基地，后来以前的商店被改建成公寓。

The original building was a one-story residential building with shops facing the street on the ground floor, built in 1890 in the neoclassical style of the XIXth century. During the Second World War, the building was converted into Russian military quarters, later the former shops were converted into apartments.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

这座建筑没有受到当地遗产的保护，但这些年来它的立面保持原封不动。它的结构体系是传统的，中央庭院由地窖、底层、一楼和阁楼三层组成。到2000年代初，该大楼的状况非常糟糕，只有那些主要的结构要素得到了维护，而这些结构要素是新机构的功能所必需的。

The building was not protected by local heritage, but the elevation was kept intact over the years. Its structural system is traditional with a central courtyard surrounded by three wings comprising cellar, ground floor, first floor and attic levels. By the early 2000s the building was in such bad condition that only those main structural elements were maintained which were necessary for the functionality of the new institution.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

近10年来筹备、设计和实施这座建筑的辛勤工作对室内设计产生了巨大影响：它必须反映出在经济危机中创建这一机构的巨大个人成就。为了做到这一点，设计解决方案必须是简单、直接和功能的同时，同时保持手工制作的细节。这是最终使房子变得可爱，有形，欢迎和舒适的背景，尽管它的规模和功能。

The almost 10 years’ hard work of preparing, designing and implementing the building had a large impact on the interior design: it had to reflect the huge personal achievement of creating this institution in the midst of an economic crisis. In order to do so, the design solutions had to be simple, straightforward and functional at the same time, while maintaining a handcrafted detail. This was the background that finally made the house likeable, tangible, welcoming and comfortable despite its scale and functionality.

由于BMC有广泛的活动范围，建筑物本身有许多功能，并能够服务于多种用途。底层是主要的公共活动场所，如爵士俱乐部-一家餐厅和咖啡厅，以及近300平方米的音乐厅。音乐厅位于前内院，通过一个沿着建筑物两侧的大厅与街道相连。自然光通过两排天窗进入大厅，从而减少了人工照明的使用，并唤起了原庭院的气氛。暴露的原始砌体墙不仅为音乐厅提供了独特的视觉特征，而且由于其不规则的表面和声学质量，在声学上也是如此。然而，这一解决办法使建筑费用保持在最低限度。舞台后面的挡板墙的条纹图案也在爵士乐俱乐部中使用，但以一种更自由的方式使用。因此，在这两个特定阶段拍摄的照片今后将很容易识别。音乐厅的阳台是悬挑在四个入口之上，放在原来的墙壁开口上。在两旁，木橡木地板沿边缘弯曲，使房间感觉就像漂浮在空间里，几乎就像一艘船。

As BMC has a wide range of activities, the building itself has numerous functions and is able to serve multiple purposes. The ground floor houses the main public functions, such as the Jazz Club - a restaurant and coffee house, and the nearly 300m2 Concert Hall. The Concert Hall is located in the former inner courtyard, and it is connected to the street through a large Lobby running along both sides of the building. Natural light enters the Hall through a double row of skylights, thus reducing the use of artificial lighting and evoking the atmosphere of the former courtyard. The exposed original masonry walls provide the Concert Hall with a unique character not only visually, but also acoustically due to their irregular surfaces and acoustic mass. Nevertheless, this solution kept construction costs at the minimum. The striped pattern of the baffle wall behind the stage is also used in the jazz club, but in a more liberal manner. As a result, photos taken on these two particular stages will be easily identified in the future.  The balcony of the concert hall is cantilevering above the four entrances, placed in the original openings of the wall. On the sides, the wooden oak flooring is curved along the edges, making the room feel as if it were floating in space, almost like a ship.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

双层爵士乐俱乐部位于街道边.空间中间的大开口使观众可以从两层观看和欣赏音乐会。底层板由六个钢元素悬挂在上面的梁上。这给了空间一种轻盈而有趣的划分，唤起了庭院前悬挂的走廊，通过更换其他必要的支撑柱，它们确保地下室层的能见度不会受到任何干扰。俱乐部的内部设计是基于使用简单、纯的材料。从声学上讲，它与音乐厅是完全分开的，这样两个空间就可以同时工作，而不互相干扰。

The double-decked jazz club is located on the street side. The large opening in the middle of the space enables the spectators to view and enjoy the concerts from both levels. The ground floor slab is suspended by six steel elements to the beams above. These give a light and playful division to the space, evoke the former hanging corridors of the courtyard, and by replacing the otherwise necessary supporting columns they ensure that nothing interferes with visibility on the basement level. The interior design of the club was based on the use of simple, pure materials. Acoustically it is completely separated from the Concert Hall, so that the two spaces can function simultaneously, without interfering with each other.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

一楼是BMC办公室的新家；它还设有录音室、音乐信息数据库和图书馆以及国际Péter E tv s研究所。图书馆是一个非常简单和实用的空间，有7米高和舒适的夹层。后翼的录音室连接到一楼和一楼的房间，以及地下室和音乐厅的排练室。通过这种方式，音乐可以同时从建筑物的7个不同地点以最高质量录制。

The first floor is the new home of the BMC offices; it also houses the Recording Studios, the Music Information Database and Library, and the International Péter Eötvös Institute. The Library is a very simple and functional space, with its 7m height and its cozy mezzanine. The recording studios in the rear wing are connected to rooms on both ground floor and first floor as well as to the rehearsal room in the basement and the concert hall. This way music can be recorded simultaneously from up to 7 different locations in the building in the highest quality.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

小客房位于阁楼内，供学生参加部分由Péter E tv s研究所举办的讲习班。同一层建筑的空间最扭曲的房间，角落会议室，一个较小的活动场所。由于它的位置在两个立面的交汇点，屋顶和角落元素，它的两侧没有一个是平行的或垂直的，只有地板是水平的。为了强调空间的扭曲性质，所有的表面都覆盖着相同的材料：橡木。

Small guestrooms are located in the attic, which will house the students taking part in the workshops held in the building, partially organized by the Péter Eötvös Institute. The same level houses the spatially most distorted room of the building, the Corner Conference Room, a venue for smaller events. Due to its location at the meeting point of the two facades, the roof, and the corner element, none of its sides are parallel or perpendicular to each other, and only the floor is horizontal. In order to emphasize the distorted nature of the space, all surfaces are covered with the same material: oak.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

覆盖音乐厅的楼板也是一个屋顶平台，可以通过活动厅进入，位于阁楼的上部，并通过一个大的折叠门连接到露台上。

The slab covering the Concert Hall serves also as a roof terrace, which can be accessed through an Event Hall, located in the upper part of the attic and connected to the terrace by a large folding door.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

这座建筑非常复杂，功能齐全。由于开发人员的经验，这些空间之间的连接是非常慎重的，您将几乎找不到任何地方在这座建筑中，这只会起到一个作用。然而，这种多才多艺永远不会妨碍执行同步活动的可能性。

The building is very complex and functionally versatile. Thanks to the developer's experience the connections between the spaces are extremely deliberate, and you’ll find almost no place in the building which would serve only one purpose. This versatility however never hinders the possibility to perform simultaneous activities.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

对于内部表面，我们选择纯的，自然的材料。黑色，白色，灰色和橡木的颜色占主导地位，在许多地方伴随着友好的，温暖的表面可见的砖石墙。大厅和其他主要流通区域是由抛光混凝土地板设计的。

For the inner surfaces we choose pure, natural materials. Colors of black, white, gray and oak dominate, accompanied in many places by the friendly, warm surface of the visible masonry wall. The lobby and other main circulation areas are designed with polished concrete flooring.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

我们的意图是标志着建筑物内部和高地功能的彻底转变。由于其简单和干净的比例，原来的高地被保存和充分翻新。虽然它不是一座挂牌建筑，但它的比例质量与周围环境很吻合。但在主檐之上，随着当代音乐的象征意义，一个全新的世界开始了。这座建筑在拐角处是狭长的，一个支离破碎的元素冲破了厚厚的旧墙。在底部，角元素的面板被打断，打开通往建筑物内部的道路。正门向建筑物内部凹陷，在一楼的檐下形成了一个有盖的外部大厅。安装大的玻璃表面强调从住宅到公共建筑的转变，并使进入建筑物的角落完全透明。

Our intention was to mark the complete transformation of the building’s function on both inside and on the elevations. Due to their simplicity and clean proportions, the original elevations were conserved and fully refurbished. Although it’s not a listed building, its proportional mass fits well with the surroundings. But above the main cornice, following the symbolism of contemporary music, an entirely new world begins. The building is slit on the corner, and a fragmented element breaks through the thick old walls. At the bottom, the paneling of the corner element is interrupted, opening the way towards the interior of the building. The main entrance is recessed towards the building's interior, creating a covered external lobby under the canopy of the first floor. The installation of large glazed surfaces emphasizes the transformation from dwelling to public building, and enables a complete transparency when entering the building on the corner.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

转角单元的金属面板从垂直逐渐变为水平，随着我们从街道水平向屋顶移动，其长度和倾角都发生了变化。因此，地面水平的面板被转换成一个阴影元素在上层，揭示了窗口分布的原始外观时，从后面在夜间照明。朝向屋顶的角落元素逐渐关闭，这反映了建筑物的内部组织，这使得高层与音乐世界的联系更加微妙。

The metallic panels of the corner element gradually become horizontal from vertical, changing in both length and inclination as we move from the street level towards the roof. Thus the paneling of the ground level is transformed to a shading element on the upper levels, revealing the window distribution of the original facade when lit from behind at night. The gradual closure of the corner element towards the roof reflects the internal organization of the building, which allows a more delicate connection with the world of music on the upper levels.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

由于几个原因，拐角处成了焦点。这是建筑物中唯一能从布达一侧看到的部分，也是原住宅建筑最重要的地方。人们可以从以前的街角阳台上看到多瑙河，它属于其中最大、最豪华的公寓。为了保持这一重点，还必须在新建筑的功能层面上强调角落的重要性。因此，建筑物的主要公共入口从原来的地方转移到街角，上层也是重点优先区域。

The corner became a focus point for several reasons. This is the only part of the building which is visible from the Buda side, and it was the most important place of the original residential building as well. One could see the Danube from the former corner-balcony, and it belonged to the apartment that was the largest and most luxurious of them all. In order to keep this focus, the importance of the corner had to be emphasized on the functional level of the new building as well. Therefore the main public entrance of the building was shifted from its original place to the street corner, and the upper levels also house key priority areas.

 © Tamás, Bujonovszky

c Tamás，Bujonovszky

Lászlógőz为该大楼的遥远未来作了准备。他为未来的继承人写了一份书面声明，禁止他们改变布达佩斯音乐中心的内容或功能，禁止出售或改造建筑物。由于它是一个私人和独立的机构，领导的方式可能有所不同，但遗留下来的规则应该始终得到尊重。

László Gőz has made provision for the remote future of the building. He has made a written statement for future heirs, forbidding them to change the content or the function of the Budapest Music Center, to sell or to transform the building. As it is a private and independent institution, the ways of leadership may vary, but the rules bequeathed should always be respected.

 First Floor Plan

一层平面图