架构师提供的文本描述。概念：

Text description provided by the architects. Concept:

在爱尔兰的城镇中，形成中心的锚或关键元素通常是一个市场，或者是一个教堂，在很多情况下是一条路。在五英里之外的历史小镇里，装饰城堡的巨大部分形成了这片土地，城镇围绕着它旋转。纳文与特里姆有许多相似之处，比如它的粮食和它与博伊纳河的毗邻，但是这个中心元素是不存在的。

In Irish towns, the anchor or pivotal element which forms the centre, is often a market, or a church or in many cases a ruin.In the historic town of Trim, just five miles away, the monumental bulk of Trim Castle forms this mass around which the town rotates.Navan has many similarities with Trim, in it’s grain and its adjacency to the river Boyne,but this centering  element is absent.

该项目的网站占据了历史上的市场中心纳文，但现在感觉像一个空白，只用于停车场，除了星期五，当市场仍然在这里发生。在这片空地的周围，有两座石头教堂，它们的尖顶和深紫色的石板屋顶。但这是该镇最困难的地方之一，那里的道路基础设施占主导地位。这片倾斜的土地让我们把这个项目看作是一个人造的岩石露台，我们在地面上做了一个“慢速”的空间，围绕着这个“快速”贩运的空间。我们创造了一个新的高地，一个新的领域，一个高墙的花园。剧院占据了两者之间的空间，但又相互交织在一起。

The site for this project occupies what was the historic market centre Navan but now feels like a void used only for carparking except on Fridays when a market still takes place here. On the perimeter of the void are two stone churches with their spires and their dark purple slate roofs. But it is one of the most difficult spots in the town where the road infrastructure dominates over built fabric. The sloping ground led us to thinking about this project as a man-made rock outcrop.We have worked the ground to make ‘slow’ space around which the ‘fast’ trafficked space’ exists.We have made a new raised ground, a new territory, an elevated walled garden.The theatre occupies the space between but interlocks with both.

更衣室和舞台都掉进了桥墩。这座高塔向上延伸到有围墙的花园里，剧院的地板沿着场地的轮廓排列，形成了我们所谓的“室内景观”。

The changing rooms and stage drop into the plinth. The fly tower projects up into the walled garden.The floor of the theatre follows the contours of the site forming what we call a ‘an interior landscape’.

 © Ros Kavanagh

(Ros Kavanagh)

我们这么做是因为我们觉得，就像在特里姆镇一样，这里需要一个“大规模”的存在，去窥探和重新创造这个地方，使这个新的文化锚注册成为现实。我们从未在一个爱尔兰小镇进行过如此强烈的干预，但在这里，似乎已经失去了那么多，我们觉得极有需要创造一个新的能源点，新来港的人士会与邻近的公共建筑物一起，建立一个充满活力的舞蹈编排，并为重建这个历史性的市场中心创造条件。

We did this because we felt that, as in the town of Trim, a ‘massive’ presence was needed here, to stake out and re-invent this place, making this new cultural anchor register it’s arrival.We have never made such a strong intervention in an Irish Town.But here, where so much seemed to have been lost, we felt a strong necessity to generate a new point of energy.The new arrival sets up a dynamic choreography, with the neighbouring public buildings and sets the scene for the re-instating of the historic market centre.

出生于剧院和法院….以剧院和画廊的身份重生。

Born as a Theatre and Courthouse…..re-born as a Theatre and Gallery.

作为一座剧院顶上的法院大楼，这份简报在建造过程中发生了变化。

Conceived as a courthouse on top of a theatre, the brief changed during construction.

 © Ros Kavanagh

(Ros Kavanagh)

我们看到了这种混合的潜力，象征和社会.。一个私人内向的法院上方和开放的公共房间为社区和剧院下面。在法院不开庭时，剧院集团将使用屋顶一级的审判室。艺术中心的存在某种程度上会使法庭活动人性化，法庭的剧院将被演员使用。

We saw the potential of this mix, symbolically and socially.. A private introverted courthouse above and the open public rooms for the community and the theatre below. The courtroom at roof level was to be used by the Theatre groups when the courts were not in session. The arts centre presence would somehow humanise the court activities.The theatre of the courtroom would be used by actors.

法院所需的三个不同的入境点将与剧院共用。

Three separate points of entry necessary for the courts were to be shared with the theatre.

被告和演员。法庭观众及剧院观众。当法庭不进行时，顶层被“改造”成一个展览空间。

Defendants and actors. Judge and Director.Court audience and Theatre audience. When the courts did not proceed the top floor was ‘converted’ into an exhibition space.

但最初的简介给了这座建筑一种我们不可能发明的威力。

But the original brief gave the building a potency which we could not have invented.

它还提出了某些困境。原本是一种混合用途的东西现在只有一种用途了，结果是一个安静的沉思艺术空间，从下面的活动楼层移开，但与之相连。悬臂屋面的外部空隙使…变得更加带电。成为下面公共空间的“眼睛”。

It also presented certain dilemmas. What was to be a hybrid use was now to have one use.The result is a quiet contemplative art space, at a remove from but connected to the active floors below. The external void in the cantilevered roof becomes more charged…being the ‘eye’ to the public space below.

 © Hélene Binet

(C)HéLene Bine

剧院设计；320个座位。

Theatre Design; 320 seats.

我们通过制作一个有机的轮廓地板，产生了一种亲密感。这就建立了观众与舞台之间的动态关系，并给出了缩短空间的感觉。我们的一个参照点是汉斯·沙伦的戏剧设计，他把观众分成几个组，从而在观众和舞台之间产生一种动态。一扇通往天空的窗户，一扇通往入口门厅的窗户，让一些自然的光线进入空间，提供与外部世界的连接，并允许游客在进入建筑物时看到剧院的景色。这些可以在表演期间关闭。

We generated a sense of intimacy by making an organic contoured floor. This sets up a dynamic relationship between the audience and the stage and gives the sense of foreshortening the space. A point of reference for us was Hans Sharoun’s theatre designs where he divides the audience into groups so that a dynamic between audience and stage is generated. A window to the sky and a window to the entrance foyer allow some natural light into the space,provide a connection to the outside world, and allow the visitor a view into the theatre on entry to the building. These can be closed off during performances.

部件；

Component Parts;

石灰石桥墩形成了新的南面城市空间的地面，位于工地的最高点，高耸在倾斜的人行道和周围的道路之上。蜿蜒的门厅墙环绕着剧院，设计得像一个“幕布”，具有不同程度的不透明度和透明度，揭示了背后的活动，但并不完全。白天吸引注意力，尤其是在晚上，当它读起来就像一条悬在人行道上的光带，观众可以从绿色集市上看到，就像一种“影子戏”。

The Limestone plinth forms the ground of new south facing civic space located at the high point in the site, elevated over the sloping pavements and surrounding roads.  The serpentine foyer wallwraps around the theatre is designed like a ‘curtain’ with varying levels of opacity and transparency, revealing the activity behind, but not fully, attracting attention by day and especially in the evenings when it will read like a ribbon of light suspended over the pavement, the audiences visible from the Fair Green as a sort of ‘shadow play’.

 © Hélene Binet

(C)HéLene Bine

悬停的灰色-黑色大理石马赛克板，悬挑在城市空间，邀请公众进入剧院领域而不经过任何门。这种材料会随着时间的推移而褪色，并被选择与邻近教堂的大型屋顶景观的颜色相匹配。它有一个白色的化石标记，石灰石纹路也是如此。

.The hovering grey-black marble mosaic slab, which cantilevers over the civic space, invites the public to enter into the realm of theatre without passing any door. This material will fade over time and was chosen to match the colour of the slated large roofscapes of the adjacent churches.It has a white fossil marking as does the limestone plinth.

屋顶上的“切割”让人瞥见上面的画廊，并允许一条光轴向入口门口发出信号。

The ‘cut’ in the  roof gives a glimpse of the gallery above  and allows a shaft of light to signal the entrance doorway

高墙花园的围护墙实际上是一条大跨度的上立梁，尽量减少柱和支座的需要，使下面有自由空间。法院工作所需的三个独立楼梯，即法官、公众和被告。作为天台的三大支柱，即“护楼”楼梯，现用作通往天桥的后台通道，以及将艺术作品运送至楼上的艺术作品。“法官”楼梯井已拨作陈列室之用。

The enclosing wall of the raised walled garden is in fact a large upstand beam achieving large scale spans.This beam minimises the necessity for columns and supports, making free spaces below.The three independent staircases required for the working of the courts,i.e,for the judge,for the public,for the defendents, form the three main supports for the roof.The ‘defendents’ stairs and is now used as backstage access to the flytower and for the delivery of art works to the gallery above.The ‘judges’ stairwell has been appropriated for gallery storage.

 Floor Plan