架构师提供的文本描述。在振兴建筑的背景下，我们能做些什么来保持一座具有(甚至部分)特色的老建筑更生动的形象？这是一个我们可以用两种方式回答的问题。有价值的部分-特别的部分-将被修复，而不值得我们重建、完成、强调的部分-在第一个变体中-绝对是在与旧的有价值的故事相同的风格故事中，或者我们把它打扮成另一个变体-一个全新的概念，与目前的情况形成了重大对比。我们选择了第二种备选案文，首先是因为它带来的挑战在缺乏这种办法的布加勒斯特范围内更有资格，而且也是因为众议院所需要的新功能是建立在高度灵活性和一般透明度的基础上的，而第一种方法是无法提供的。

Text description provided by the architects. What could we do in the context of revitalizing architecture to keep a more vivid picture of an old building with (even partial) special features? It is a question to which we can respond in two ways. The valuable part – the special one – will be restored and the unworthy one we rebuild, complete, emphasize – in a first variant – absolutely in the same stylistic story as the old valuable one, or we dress it – in a second variant – in a completely new concept in major contrast with the existing situation. We chose the second variant, first because the challenge that came with it was more entitled in the context of Bucharest, where such approaches are lacking, but also because the new functions that the house needed were based on a great flexibility and a general transparency, things which the first version could not offer.

为什么在给定的主题中如此需要灵活性？人们可能也会问。这个建筑的程序本身是不寻常的。业主是两家公司的合伙人，由一位公关人员-特奥多·弗洛鲁(也是一位建筑师)发起，他疯狂地构思出这样一个充满风险的主题，在这种主题中，开放的公共区域与存在于相互功能使用关系中的半开放的私人区域结合在一起，在某些时刻，类似的需求和行动将一些新创建的功能设施(会议和多媒体大厅、乒乓球空间、屋顶上可用的露台)聚集在一起。另外，创建一个文化创意中心的意图也是新的，它代表了布加勒斯特文化背景下的另一种选择，在那里-在公共区域-活动和展览可能会发生，同时还会有一杯咖啡、一份好的牛角面包、一顿美餐或慢餐-通常是罗马尼亚式的，在私人领域，也可能有一些公司从事创意领域的工作，比如广告、公关、媒体制作、活动等。

Why was flexibility so necessary in the given theme?, people might also ask. Well the program itself of the building is an unusual one. The owner, a partnership of two companies, under the initiative of a PR man – Teodor Frolu – (also an architect), had the «madness» of conceiving such a full of risks theme, where open public areas combine with semiopen private areas existing in a relationship of mutual functional use, where similar needs and actions on certain moments bring together some functional facilities newly created (conference and multimedia hall, table tennis space, usable terrace on top of the house). Also, it was something new the intention to create a Culture an Creativity Center in the end, an alternative to represent a counterpoint in Bucharest’s cultural context, where – in the public area – events and exhibitions may take place, doubled by a coffee and a good croissant or a meal fussion or a slow food typically Romanian, where – in the private area – there also may be some companies that work in the creative fields, may they be in advertising, PR, media production, events, etc.

 © Andrei Margulescu

安德烈·马尔古列斯库

现存建筑起源于十九世纪末二十世纪初罗马尼亚建筑文化潮流中的意大利建筑师朱利奥·马格尼(Giulio Magni)。朱利奥·马格尼(Giulio Magni)等人是布加勒斯特的首席建筑师，建造了诸如Hala Traian、合奏海关货物交换仓库(V-BM-A)等建筑物品，在那里安赫尔·斯利尼似乎有一个结构入口，公共道路学校等。现有的建筑物-以前的货物交换-是海关-货物交换仓库的一部分，是街上最重要的，也是属于它的房屋中最有礼仪的。当我们的设计方法开始的时候，它的高度退化状态是由于多年来它没有被使用，因此没有得到任何方式的照顾。同时，一场毁灭性的大火烧毁了屋顶，松开了所有的墙壁。在此背景下，人们呼吁我们考虑细节方法和追回宝贵资金的方法，以增加现成的额外影响。

The existing building was drawn at its origins by an Italian architect in trend in the architectural Romanian culture at the end of XIXth century and beginning of XXth century, named Giulio Magni. Giulio Magni, among others, was chief architect of Bucharest, built architectural objects such as Hala Traian, Ensemble Customs-Goods Exchange-Warehouses (V-BM-A) where it appears that Angel Saligny had a structural intake, the Communal Road School, etc.. The existing building – the former goods exchange – is part of the Ensemble Customs-Goods Exchange Warehouses and is the most «in the street» and the most coquette of the houses belonging to it. Its high state of degradation in which it was when our design approach started, resulted from the fact that for many years it was unused and therefore untaken care of in any way. Also, a devastating fire burned the roof meanwhile and loosened all its walls. In this context, a ready-made additional «affection» was called upon us considering the approach of details and the methodology for the recovery of the valuable fund.

 © Andrei Margulescu

安德烈·马尔古列斯库

我在维也纳生活的那几年尤其引人注目。维也纳是一座截然相反的城市。欧洲古典文化的猎户座城市，以及先锋派的城市，采取行动，表现形式。维特根斯坦的哲学，弗洛伊德生理学，松散的细节，Scheele的病，无政府的社会主义，帝国资产阶级的城市，亨德特-瓦赛尔幻影，技术教育范式，时尚咖啡馆，奥托瓦格纳的技术主义，波西米亚旋律，巴黎叛逆，朴素的实用主义，支撑，施密特，乌尔斯托.的.。维也纳，对于那些成功发现它的真理的人来说，变成了：香料。

I was especially marked by the years I lived in Vienna. Vienna is a city of absolute contrasts. Oriflamme city of classical European culture as well as of the avant-garde, action taking, manifest type. City of Wittgenstein’s philosophies, Freudian physiology, of Looses’ details, of Scheele’s sicknesses, of anarchic socialisms, imperial bourgeoisies, of Hundert-Wasser phantasmagorias, of technical-educational paradigms, of fashionable cafés, Otto Wagner’s technicisms, of bohemian melodicity, of Parisian rebellion, of the simplicity of the pragmatic, of strudel, schnitzel, wurstel, of... of... of..., Vienna, for those who succeed in discovering its «truths», becomes: THE SPICE.

 © Andrei Margulescu

安德烈·马尔古列斯库

我们提供给前商品交易所的新房子的故事实际上生活在维也纳香料的小地方，在那里，帝王的忧郁被技术上的处女美的真诚和简单的无政府环境所勾勒。换句话说，房子在跨越门槛时所展示的两个世界之间的关系，在这种情况下，是维也纳的微观宇宙-框架、神秘、庸俗、现代化、技术化、崇拜、漫画、升华、鸡奸、合成、哲学化、禁忌、肥皂剧-d-d、艺术、学术、自由化、OTV-类、华尔兹化、形而上学的，精通.。新建筑已经成为一个敏感的外壳游戏短语。人类超越了模糊的状态，当相遇的地方，邻里，人民，当地的记忆已经知道或刚刚预见到.

The story we offered to the new house from the former Commodities Exchange actually lives in small the Viennese SPICE where imperial melancholly is framed by the anarchic context of the sincerity and simplicity of technically virgin beauty. In other words, the relationship between the two «worlds» which the house show while crossing its threshold, is in this case, the Viennese micro cosmos framed, mystified, vulgarized, modernized, technicized, worshiped, cartooned, sublimated, sodomized, synthesized, philosophized, tabooed, soap opera-d, a mélange, academy like, liberalized, otv-like, waltzed, metaphysic, versed... The new building has become a sensitive «shell game» phrase. The Human transcends ambiguous states when meeting the place, the neighborhood, the people, the local memories already knew or just foreseen...