架构师提供的文本描述。受水在无尽运动中形状的启发，蓝色行星被塑造成一个巨大的漩涡。新丹麦的水族馆位于波塞冬和宙斯世界的边缘地带。墙壁和屋顶形成一个单一的，连续的流动，并以一种强调建筑物波浪轮廓的方式，从而讲述了这一结合的故事。第一个也是最长的漩涡手臂跟随着风景和建筑物的形状，进入陆地。

Text description provided by the architects. Inspired by the shape of water in endless motion, The Blue Planet is shaped as a great whirlpool. The new Denmark’s Aquarium is situated in the borderland between the worlds of Poseidon and Zeus. The walls and roofs form a single, continuous flow and are clad in a way which emphasises the wavy outline of the building, thereby telling a story of this union. The first and longest of the whirlpool’s arms follows the shape of the landscape and the building, moving into the land.

 © Adam Mõrk

(Adam M Rk)

一旦游客到达蓝色星球，大楼将传达一种特殊的体验，等待他们在里面。在这里，漩涡把你拉进了另一个世界-一个海底世界。如果你的头向后倾斜，你就会明白你是这个水族馆的一部分，因为门厅上方的屋顶是玻璃做的，同时它也是游泳池的底部。在高处，透过池水，你可以看到阳光反射在水中的天空，并在地板和墙壁上形成闪烁、闪烁的太阳黑子，欢迎你，同时也是神秘的入口处。

As soon as visitors arrive at The Blue Planet, the building will convey a sense of the special experience that awaits them inside. Here, the whirlpool has pulled you into another world - a world beneath the surface of the sea. If you tilt your head backwards, you understand that you are really a part of this aquarium because the roof above the foyer is made of glass, and at the same time it is the bottom of a pool. High above, through the pool water, you can see the sky with sunlight being reflected in the water and forming flickering, shimmering sunspots on the floor and walls of this light, welcoming and at the same time mysterious entrance area.

 © Adam Mõrk

(Adam M Rk)

圆形房间是水族馆的一个航行中心，游客可以在这里选择要探索的河流、湖泊或海洋。每场展览都有自己面向圆形展厅的面孔，每个展厅都有自己的入口，首先是一个缓冲区-一个利用声音和图像来介绍随后展厅内交流的气氛的平台。

The Round Room is a centre of navigation in the aquarium, and this is where visitors choose which river, lake or ocean to explore. Each exhibition has its own face towards the Round Room, each with its own entrance, starting with a buffer zone – a platform where sound and images are used to introduce the atmosphere communicated in the ensuing exhibition room.

 Master Plan

在海拔几米的地方，蓝色星球反映出强烈的一致性；世界上所有的水，从海啸的巨大力量到无限微小的旋转分子，都是伟大的，世界上所有的水都是不可分割地联系在一起的。俯瞰雷森，该建筑连接陆地和海洋，吸引了伟大的户外和游客在里面。

Raised a few metres above the terrain, The Blue Planet is a reflection of strong coherence; greatness in the smallest of things, all water in the world being inextricably linked, from the enormous forces of tsunamis to the infinitely tiny, spinning molecules. Overlooking the Øresund, the building connects land and sea, drawing both the great outdoors and visitors inside.

 West Elevation

西向立面图

在景观中，巨大的漩涡贯穿整个地形、水池和建筑物周围的海洋。就像水流一样，建筑物并不是静止的-这种运动一直延续到未来，因为它总是允许可能的扩展来增加更多，只需让漩涡的线条长得更远。任何扩建都会对当代展览和建筑物的现有部分造成最少的不便。扩展可以简单地添加到一个单独的ARM中，在扩展过程中只关闭这个特定的部分，直到完成才重新打开它。第二，关键因素是，任何新增加的建筑体积都将是建筑的延伸，水族馆的任何扩建都是在与建筑物本身的自然对话中进行的。

In the landscape, the great WHIRLPOOL continues through the terrain, the pools and the sea surrounding the building. Like watery currents, the building is not static – the movement continues into the future by virtue of always allowing possible extensions to add more, simply by letting the lines of the whirlpool grow further out. Any expansion would cause a minimum of inconvenience to the contemporary exhibitions and the existing parts of the building. The extensions can simply be added to an individual arm, solely closing this particular section down during the extension process and not re-opening it until completion. Secondly, the key element is that any new building volumes added will be extensions of the architecture, with any expansion of the aquarium simply taking place in a natural dialogue with the building itself.

自然和文化可以混合在一起，由主题和思想控制，根据将要讲述的故事或与观众的互动。这座建筑足够灵活，可以容纳所有的一切，而主导的漩涡，其无尽的变化范围，但也重复和节奏，把它放在一起。曲线定义了建筑的绝对独特和雕塑的外观，必须将其视为展览场景背景的一部分。

Nature and culture can be mixed, controlled by topics and ideas, on the basis of the stories to be told or in interaction with the audience. The building is flexible enough to accommodate it all, and the dominant whirl, with its endless scope for variation, but also repetition and rhythm, holds it all together. The curves which define the absolutely unique and sculptural look of the building must be perceived as part of the backdrops to the sceneries of the exhibitions.