休息后建筑师的描述.。

The architect's description after the break...

 Facade studies (sketch by Bernard Tschumi); Courtesy of Bernard Tschumi Architects

立面研究(伯纳德·崔米的素描)；伯纳德·屈米建筑师的礼貌

成立于2013年2月20日，是意大利建筑师伯纳德·屈米(BernardTschumi)的第一个项目。它是由卡萨·迪里斯帕米奥·迪阿斯科利·皮切诺基金会和格罗塔马雷市委托进行的，目的是在人民和领土之间建立更牢固的联系，并将其形象与公共中心形式的最多样的文化表现形式联系起来。该项目计划于2016年完工，它是未来的参照点，是该地区思想的产生者，既具有实体建筑的意义，也具有其创造性潜力所固有的形象。坐落在城市结构的边缘，在海洋和山丘之间，这是景观的特征，这座建筑清晰可见，从亚得里亚海公路可以立即到达。空间设计的特点是具有特殊的灵活性、楼面面积、结构系统和垂直运动(楼梯、电梯)的组织方式，能够满足不断变化的需求。

Unveiled on February 20, 2013, ANIMA is the first project by architect Bernard Tschumi in Italy. Commissioned by the Fondazione Cassa di Risparmio di Ascoli Piceno and by the Municipality of Grottammare, it is meant to generate stronger ties between the people and the territory, as well as to associate its image to the most diverse manifestations of culture in the form of a public center. The project, whose completion is scheduled for 2016, is a future point of reference, a generator of ideas in the area, both in the sense of a physical built structure but also figuratively inherent in its creative potential. Placed at the fringes of the urban fabric, between the sea and hills that characterize the landscape, the building is clearly visible and immediately accessible from the Adriatic highway. The spatial design is characterized by an exceptional flexibility, floor areas, structural systems, and vertical movement (stairs, elevators) organized in such a way that changing demands can be accommodated.

 Main room and the four courtyards (sketch by Bernard Tschumi); Courtesy of Bernard Tschumi Architects

主房与四合院(伯纳德·屈米的素描)-施密特建筑师的礼遇

赋予伯纳德·屈米这个任务的决定是基于他丰富多样的设计文化空间的经验。这个项目的名字是对以下概念的缩写进行全民公投的结果：A代表艺术，N代表自然，I代表思想，M代表音乐，A代表行动。这就是这个项目的“五个灵魂”，伯纳德·屈米用来制造这个人造物：一个不断变化的身份。这座建筑将成为人们利益、互动和协同的催化剂，由那些将建筑理解为一个过程而不是最终产品的客户所推动。卡萨·迪里帕米奥·皮切诺和格罗塔米尔市长路易吉·梅利基金会主席Vincenzo Marini说：“该项目的执行基础是愿意支持和鼓励社区的经济发展，这是一个加强人民与他们所认为的领土的联系的过程，这是提高当地知识的一种手段，最后，作为改善该地区旅游流量质量和数量的一种手段“。

The decision to entrust Bernard Tschumi with this task was based on his extensive and varied experience designing spaces intended for culture. The name of the project, ANIMA, is the result of a public referendum for an acronym of the following concepts: A for Art, N for Nature, I for Ideas, M for Music and A for Action. These are the “five souls” of the project, which Bernard Tschumi used to generate the artifact: an identity in constant flux. The building will be a catalyst for people’s interests, interaction and synergy, promoted by clients who understand architecture as a process rather than a final product. Vincenzo Marini Marini, president of the Fondazione Cassa di Risparmio di Acoli Piceno and Luigi Merli, Mayor of Grottammare, stated that “the basis for the commission of the project is expressed as a willingness to support and encourage the economic development of the community, as a process to strengthen people’s ties to the territory with which they identify, as a means to progress local knowledge and, finally, as a means to improve the qualitative and quantitative tourist flows in the area”.

文化的相遇、款待和聚集。“动物”的目的是通过艺术、美食和环境手段来承载各种形式的地方文化。其目标是通过广泛的活动促进接触、互动和交流：展览、会议和讲习班，这些活动描述了现有领土，并展望了其未来的可能性。因此，这个项目被配置成一个动态的空间，在不断的进化中，它在本质上永远不会缺乏文化意义，它的气质就像在其内部找到归宿的表达一样变化无常。该协会将鼓励社区团体和提高当地生产力，从而成为该地区发展的城市发电机。当地资源的卓越和创新中心诞生了。

The encounter, hospitality and gathering of cultures. The aim of ANIMA is to host the various forms of local culture that find expression through artistic, gastronomic and environmental means. The objective is to promote the encounter, interaction, and exchange through widespread activities: shows, exhibitions, conferences and workshops that describe the existing territory and envision its possibilities for the future. The project is thus configured as a dynamic space, in constant evolution, that will in essence never lack cultural significance, its temperament as mutable as the expressions that will find home in its interior. A point of excellence which will help generate activities, ANIMA will encourage community groups and foster local productivity, thus becoming an urban generator for the development of the area. A center of excellence and creativity of local resources is born.

 Courtesy of Bernard Tschumi Architects

由伯纳德·屈米建筑师提供

一个完美的方形和一个可渗透的信封。建筑的面积与中世纪小中心格罗塔迈尔的面积重合，格罗塔马雷面积略高于7000平方米。该项目不仅在规模上，还提到了城市的历史中心，它也提到了城市的概念。在外表上，阿米拉被呈现为一个单一的实体，有着强大的存在；一个紧凑的身体，一个完美的正方形，在某种程度上暗示着圈养和保护的概念。然而，同时，它也传达了建筑空间在不断变化的状态下的形象。事实上，对立面定义的反思，正是促使伯纳德·屈米(BernardTschumi)为环绕建筑的宏伟垂直表面创造了一种非正式的解决方案。这些墙发现最强烈的表现在南面，那里的建筑物的内部空间是被访问的。从外部看，卷被理解为一个可识别的艺术品，存在于附近的资源，并发现决议作为一个高度渗透和上下文接受的建筑。

A perfect square and a permeable envelope. The surface area on which the building stands coincides with that of the small medieval center of Grottammare, which is little over 7,000 square meters. The project recalls the historic heart of the city not only in its size; it also refers to the concept of urbs. On the outside ANIMA is presented as one single entity with a strong presence; a compact body, a perfect square that in some ways alludes to the notion of enclosure and protection. However, at the same time, it conveys the image of an architectural space in a constant state of becoming. A reflection on the definition of facade is in fact what brought Bernard Tschumi to create an informal solution for the grand vertical surfaces that enclose the building. These walls find the strongest expression on the southern side where the building’s interior spaces are accessed. Seen from the outside, the volume is understood as a recognizable artifact that exists in light of the resources in the vicinity and finds resolution as a highly permeable and contextually receptive building.

 East courtyard with the elevated bridges (sketch by Bernard Tschumi); Courtesy of Bernard Tschumi Architects

有高架桥的东院(伯纳德·屈米的素描)；伯纳德·屈米建筑师的礼貌

法院系统和主厅。进入四边形的身体后，参观者发现自己在一个空间中被部分分解：这意味着它被理解为内部和外部。空间的复杂性取决于一个大的矩形体积的旋转，它占据建筑物的中心，包含有1 500个座位的主房间，这些座位是根据不同的容量要求配置的。音量的旋转创造了四个大庭院，因此主房间面对和可以打开，创造了一系列的流体和动力通道，通过眼睛或访客。一个清晰的坡道系统允许移动，在不同的高度产生不同的视角，每一个都说明了理解空间的新方法。毗邻主大厅，由多条通道、一系列实验室、办公室、咖啡厅和附属空间连接，构成大楼的其余部分。

The systems of courts and the main room. Upon entering the quadrangular body, the visitor finds himself in a space partly broken up: meaning it is understood as both interior and exterior. The complexity of the space is determined by the rotation of a large rectangular volume that occupies the center of the building and contains the main room with 1,500 seats, which are configured according to the varying capacity requirements. The rotation of the volume creates four large courtyards, the main room thus faces and can open up to, creating in the end a series of fluid and dynamic pathways, traversed by either the eye or the visitor. An articulate system of ramps permits movement, creating perspectives at varying heights each of which illustrates the new ways in which the space may be understood. Adjacent to the main hall, connected by a multiplicity of pathways, a series of laboratories, offices, the cafe and ancillary spaces that compose the rest of the building.

 Main room (sketch by Bernard Tschumi); Courtesy of Bernard Tschumi Architects

主厅(贝尔纳·特斯密的素描)；伯纳德·屈米建筑师的礼貌

BernardTschumi在他对这个项目的描述中说：“一个人能在不诉诸正式构图的情况下设计一个立面吗？”一个人能不能设计一个既不是抽象的，也不是形象化的，而是无形的，可以这么说吗？我们提出这些问题的动机既有经济上的，也有文化上的：在经济危机时期，沉迷于由复杂的体积曲线构成的正式几何图形似乎不是一个负责任的选择。“偶像主义”的时代似乎已经结束了，以及最近的任意雕塑形状，往往没有考虑到背景，内容或预算。随着原理图设计的提出，建筑师小组在阿方索·吉安科蒂的协调下，已开始进行动画设计进程的下一个阶段，预计将在大约一年内(2014年初)开始建造。

Bernard Tschumi, in his description of the project, states: “Could one design a facade without resorting to formal composition? Could one design a facade that would be neither abstract nor figurative, but formless, so to speak? Our motivation in raising these questions was both economic and cultural: At a time of economic crisis, to indulge in formal geometries made out of complex volumetric curves did not seem a responsible option. The time of “Iconism” seemed to be over, together with the arbitrary sculptural shapes of the recent past, often done without consideration for context, content, or budget.” With the presentation of the schematic design, the team of architects, coordinated by Alfonso Giancotti, have begun to undertake the next stages of the design process of ANIMA, whose construction is intended to start in approximately a year (early 2014).

 Diagrams; Courtesy of Bernard Tschumi Architects

图表；伯纳德·屈米建筑师的礼貌

建筑师Bernard Tschumi建筑公司的客户是Grottammare市的总协调员Alfonso Giancotti/Studio Associato di Architettura Elia-Giancotti/Studio Associato di Architettura Elia-Giancotti/Studio Associato di Architettura Elia-Giancotti(罗马)结构工程师Michele Tiberi/CAED International Srl(罗姆人)声学、照明和多媒体系统设计师Enrico Moretti/BIOBYTE Srl(Milano)电气工程师Alessandro Federici/Studio Tecnico。机械和液压工程师GiuseppePuglia/StudioTecnico。朱塞佩·普利亚(AscoliPiceno)安全协调员法比奥·詹尼尼/工作室顾问。Fabio Giannini(Comunanza，AP)地质学家Vittorio Marucci/Studio Associato di Geologia e Geotecnica Marucci(Ascoli Piceno)测量师Antonio Morganti/Studio Tecnico Associato Morganti(Spinetoli，AP)通信顾问Marco Brizzi/Image Media Agency(Firenze)

Architects Bernard Tschumi Architects Clients Fondazione Cassa di Risparmio di Ascoli Piceno, Municipality of Grottammare Sole project manager: Marco Marcucci - Municipality of Grottammare General Coordinator Alfonso Giancotti / Studio Associato di Architettura Elia-Giancotti (Roma) Structural Engineer Michele Tiberi / CAED International Srl (Roma) Acoustic, Lighting and Multimedia System Designer Enrico Moretti / BIOBYTE Srl (Milano) Electrical Engineer Alessandro Federici / Studio Tecnico ing. Alessandro Federici (Ascoli Piceno) Mechanical and Hydraulic Engineer Giuseppe Puglia / Studio Tecnico ing. Giuseppe Puglia (Ascoli Piceno) Safety Coordinator Fabio Giannini / Studio di consulenza e progettazione ing. Fabio Giannini (Comunanza, AP) Geologist Vittorio Marucci / Studio Associato di Geologia e Geotecnica Marucci (Ascoli Piceno) Surveyor Antonio Morganti / Studio Tecnico Associato Morganti (Spinetoli, AP) Communication Consultant Marco Brizzi / Image MEDIA AGENCY (Firenze) Site Surface 9,225 mq Building Surface 7,190 mq Covered Surface 6,150 mq Maximum Height 30 m Project Year 2016