架构师提供的文本描述。根据首都动物园建设委员会的专家指示，在1909年至1912年期间，在动物园的重大重建过程中创建了大岩石。

Text description provided by the architects. The Great Rock was created during the major reconstruction of the Zoo between 1909 and 1912, based on the specialist instructions of the Zoo Construction Committee in the capital.

动物园的任务由当时的动物园主任阿道夫·伦德尔博士负责监督，建筑技术方面的工作则由科内尔·纽斯克洛斯博士负责。人造岩石的主要目的是帮助已经在过紧区域运行的动物园，使其显得更大，并提供更大的空间。因此，与完全平坦的地区，与垂直的高度，一个分裂的，同时更大的表面将创造与最新和最壮观的动物运行。

The zoological tasks were supervised by the director of the zoo at the time, Dr Adolf Lendl, and the construction technology aspects by Dr KornélNeuschloss. The primary purpose of the artificial rock was to help the Zoo, that already operated on a overly tight area, appear larger and provide greater space. Thus instead of the completely flat area, with the vertical elevation, a divided and at the same time larger surface would be created with the latest and most spectacular animal runs of the time.

 © Zsolt Batár

(Zsolt Batár)

人工岩石作为动物园修复的理念

The artificial rock as a zoo rehabilitation concept

人造岩石的原型大概是由木架制成的市场展位，上面覆盖着悬崖效应画布，作为动物和表演人员的场景。第一次出现动物友好型人造岩石的概念，是在苏黎世动物园的发展过程中由更永久性的结构建造而成的。根据记录，这个想法可能来自一个名叫UrsEggenschwiler的雕刻家。尽管苏黎世并没有实现这一计划，但汉堡-史泰林根动物园的主任卡尔·哈根贝克(KarlHagenbeck)却欣然接受了这一计划。

The prototype for the artificial rocks were presumably the market booths fabricated from log frames, and covered by cliff effect canvas that served as the scenes for animals and showmen. The first occurrence of the concept of animal friendly artificial rocks, constructed from more permanent structures, was during the development of the Zurich Zoo. The idea according to the records could have come from a sculptor by the name of Urs Eggenschwiler. Although the plan was not realised in Zurich, the director of the Hamburg-Stellingen Zoo, Karl Hagenbeck, jumped at it.

全景展示后来成为了这个时代伟大的动物园建设的典范，因此布达佩斯的概念也存在于同样的原型上，最终超过了史泰林根(Stellingen)。(匈牙利委员会在多次考察期间也访问了斯泰林根)。今天，从幸存下来的人造岩石中，布达佩斯的大岩以其建筑和雕塑的成就代表了一项杰出的建筑遗产，只有巴黎的文肯尼斯动物园才是它的同类。

The panoramic display later became an example for great zoo constructions of the era, thus the Budapest concept also subsisted on this very same prototype, which in the end surpassed Stellingen. (The Hungarian Committee during its many study tours also visited Stellingen). Today – from the artificial rocks that have survived – the Great Rock of Budapest, with its architectural and sculptural achievement represents an outstanding architectural heritage, with only the Vincennes Zoo of Paris being a match for it in its genre.

 © Zsolt Batár

(Zsolt Batár)

匈牙利委员会进行了相当彻底的筹备工作：对人造岩石的形成进行了若干自然场景的审查，并征求了Magyar KirályiF ldtaniIntézet(匈牙利皇家地质研究所)的意见。大岩白云石峰的形状为石灰石山脉，最终是根据特兰西瓦尼亚的“Egyeskő”峰的详细调查和照片文件建造的；其面积为4，700平方米，体积为38，850立方米，峰高为34米。

The Hungarian Committee carried out a rather thorough preparatory work: several natural scenes were examined for the shaping of the artificial rocks, as well as seeking the opinion of the Magyar KirályiFöldtaniIntézet (Hungarian Royal Institute of Geology). The dolomite peak of the Great Rock in the shape of a limestone range, was in the end constructed based on detailed surveys and photo documentation of the “Egyeskő” peak in Transylvania; itcovered an area of 4,700 m2, with a volume of 38,850 m3 and a height to the peak of 34 m.

这些计划是由GyulaVégh编写的，在三年的施工期间，Gy rgy Pohl公司使用了8 000立方米的混凝土。岩石外壳本身由6至12厘米厚的波特兰水泥线格结构制成，由同样技术精湛的石雕和建筑师组成，他们创造了折中布达佩斯的外墙装饰品；他们的工作由地质学家和雕塑家监督。(有图案的岩石裂缝也掩盖了结构的膨胀间隙)。

The plans were prepared by GyulaVégh, and during the three years of construction, 8,000 m3 of concrete was used by the company of György Pohl. The rock crust itself was made from a 6-12 cm thick Portland cement wire lattice structure by the same extraordinarily skilled rock carving and building architect artisans who created the façade decorations of eclectic Budapest; their work being supervised by geologists and sculptors. (The patterned rock cracks also hide the dilatation gaps of the structure).

百年沉睡的梦

A hundred year old dormant dream

布达佩斯动物园(布达佩斯动物园是欧洲城市动物园中最小的动物园之一)，如果不使用或几乎不使用岩石下面的这样一个区域，这是一个非常有根据的问题，即使在建造岩石的过程中，也出现了这样一个问题：布达佩斯动物园(布达佩斯动物园)共有10公顷的面积，这是一个过度奢侈的问题。阿道夫·伦德尔在他的动物园概念中写到了这一点：

The well-grounded question of whether it is an overly big extravagance in the altogether ten hectares area of the Budapest Zoo (one of the smallest amongst the zoos of the European cities) not to use or almost not to use such an area under the rock arose even during the construction of the rock. Adolf Lendl wrote about this in his concept of the zoo:

“整个大山将由水泥混凝土建成，里面将是空的。我们将打开墙壁的一边，有一个像洞穴一样的门入口，用一个轻巧的结构包围着它，在一个巨大的大厅里，它甚至可以有30米长。我们将在这里从北海竖立一只填充鲸，也许和骨骼一起，还有几个海豚标本，因为它们并不昂贵，而且是非常有特色的动物，很难被看到“。

“The entire large hill will be made of cement concrete and will be empty inside. We will open the wall on one of the sides with a cave like gate entrance enclosing it with a light structure, and in the inside a huge hall, this could even be 30 m long. We will erect a stuffed whale here from the northern seas, perhaps together with the skeleton, and also several specimens of dolphins, as these are not expensive and are very characteristic animals that can rarely be seen".

 © Zsolt Batár

(Zsolt Batár)

然而，由于缺乏资金和第一次世界大战的爆发，动物博物馆的宏伟梦想荡然无存。虽然这两场战争在某种功能上利用场地(例如：溜冰场、射击场、骑行学校)有过一些尝试，但它在很大程度上起到了干草储藏和垃圾室的作用，以及一个训练马术员的练习厅，直到最近才开始运作。随着时间的推移，地壳对水的渗透性增大，水进入，由于内部空间温度的大波动，凝结是连续的，进一步破坏了导线的晶格结构状态。从人造岩石的外壳裂开的大块，因此，为了防止事故的发生，一个安全的钢网被拉到钢筋混凝土框架上。

However, a lack of money and the outbreak of World War I washed away the grand dreams of the Zoological Museum. Although there were a few attempts between the two wars for some sort of functional use of the space (e.g.: skating rink, shooting gallery, riding school), mostly it operated as hay storage and junk room, as well as a practice hall for horse trainers until recent times. Over time, the permeability of the crust to water increased, water found its way in and due to the large fluctuations of temperature in the internal space, condensation was continuous, further damaging the condition of the wire lattice structure. Large pieces split from the crust of the artificial rock, thus to prevent accidents a safety steel mesh was stretched onto the reinforced concrete frame.

 © Zsolt Batár

(Zsolt Batár)

重建工作由Péter Kis的建筑师工作室协调，从测量到岩石的结构重建到内部空间的完全更新。2006年至2008年，大岩石的框架和外部覆盖都得到了更新。然而，就像一百年前一样，由于经济原因，岩石内部空间的充分利用似乎会再次停止。虽然3D影院于2009年在圆顶大厅开业，但伦德尔的伟大梦想-今天版的“动物博物馆”-却因资金短缺而再次消失。幸运的是，多亏了欧盟的援助来源和无数创新的想法，互动生活博物馆，魔法山终于在大石上实现了。

The reconstruction works, from the surveying to the structural reconstruction of the rock to the complete renewal of the inner space, were coordinated by the architect studio of Péter Kis. Between 2006 and 2008, both the framework and the external covering of the Great Rock were renewed. However, just as one hundred years ago, it seemed that the full utilisation of the space inside the rock would come to a halt yet again due to financial reasons. Although a 3D cinema did start up in the domed hall in 2009, the great dream of Lendl, today’s version of the Zoological Museum seemed to be lost once more due to a lack of funds. Fortunately, and thanks to European Union aid sources and countless innovative ideas, the interactive life museum, the Magical Mountain was finally realised in the Great Rock.

 © Zsolt Batár

(Zsolt Batár)

深层次创新

Innovation in the deep

为了使重建设计能够开始，必须对这种巨大的无定形结构进行调查，因为没有确切的计划和大地测量数据。正是安德烈·托科迪博士和他的团队被任命进行这项调查，事实证明，这一任务受到了直接的打击。这些多才多艺的测量师-他们必须是IT专业人士、工业高山学家和洞穴研究人员-必须在这座混凝土山的腹部以零下20度的温度进行调查，而这座山在1995年冬天变成了一个冰坑。Tokody等人开发了一个三维计算机处理程序，当时被认为是一个新奇的程序.他们编写了一个单独的辅助程序，并建立了一个地理信息系统数据库，该数据库分配给每一个光束，基于文本的数据描述它们的状态和度量参数。

In order for the reconstruction design to commence at all, this huge amorphous structure had to be surveyed, as no exact plans and geodesics were available. It was Dr AndrásTokodyand his team appointed to carry out the survey, who proved to be a direct hit for this task. The versatile surveyors – who had to be IT professionals, industrial alpinists and cave researchers all in one – had to carry out their survey in minus twenty degrees in the belly of the concrete mountain, which turned into an ice-pit in the winter of 1995. Tokody et al developed a three-dimensional computer-processing program, which at the time was considered a novelty. They wrote a separate auxiliary program and built a geographic information system database that assigned to every single beam, the text based data describing their condition and metric parameters.

 © Zsolt Batár

(Zsolt Batár)

纠正调查所描绘的结构性问题也不是一件容易的事。从几位在框架重建方面有经验的专家得出，最后，根据EMI、Béla Kovács博士和Tibor安道尔卡的优秀工程师的建议，网状开裂的外部外壳被一层薄薄的喷射砂浆覆盖；支撑梁上覆盖着一种特殊的塑料-混凝土混合材料，这种混合物阻止了甚至逆转了腐蚀过程。一旦消除了人造岩石的结构问题，壳体的泄漏就得到了改善。

Remedying the structural problems that had been mapped by the survey was not an easy canter either. From several experts experienced in framework reconstruction, in the end, on the recommendation of the excellent engineers of ÉMI, Dr Béla Kovács and Tibor Andorka, the net-liked cracked external crust was covered by a thin layer of sprayed mortar; the supporting beams were covered with a special plastic-concrete mix, which stopped or even reversed the corrosion processes. As soon as the structural problems of the artificial rock were eliminated, the leaking of the shell improved.

为了利用内部空间，只有一个(尽管不是不那么严重的)工程问题需要面对。这就是温度波动的可怕程度。线网结构没有任何形式的绝缘，这导致内部空间的可用性有点季节性！

There was only one more (however not any less serious) engineering problem to be faced in order to utilise the internal space. This was the horrific level of fluctuations in temperature. The wire lattice structure had no insulation of any kind, which resulted in the usability of the internal spaces being somewhat seasonal!

 © Zsolt Batár

(Zsolt Batár)

建筑师们在他们的第一个建筑概念中勾勒出了岩石内部“夜花园”的创造。这一概念在现实中-通过保留现有的结构要素-将意味着建造一个隔热玻璃立方体结构，将其与岩石的结构元素分离并保持不变。玻璃结构本身，在透明的大空间中以这种方式隔开，会让游客充分看到原来框架的奇观。然而，它所做的甚至更多：把立方体之外的世界看作是准可摆设的玻璃橱柜，它形成了照明，但对于参观者来说，从玻璃和岩石外壳之间的区域无法进入展览空间。

The architects in their first architectural concept outlined the creation of a “night garden” inside the rock. This concept in reality – by keeping the existing structural elements – would have meant the construction of a heat insulated glass cube structure, separated from the structural elements of the rock and leaving it untouched. The glass structure itself, in the transparent large space separated in this way would have allowed visitors full view of the wonders of the original framework. Yet, it was undertaking even more: looking at the world outside of the cubes as quasi-furnishable glass cabinets, it formed lit, but for visitors inaccessible exhibition spaces from the areas between the glass and the rock crust.

如果意识到这一点，游客们迟早会从这场充满诗意的透明太空游戏中感到困惑，不知道他们是观众，还是有时是观众。在这样的空间里，“展示”和“接受者”的角色有时会被互换，每件事都变得有些相对。最终，这是不可能实现的，其原因是相当普通的：不可能保持如此多的玻璃表面清洁，特别是在大多数游客都对小孩子着迷的情况下。这一概念必须被拒绝。

If realised, visitors would have undoubtedly become confused sooner or later from this poetically transparent space game, not knowing, whether they were the audience, or at times the watched. In such a space, the roles of the “exhibited” and the “recipient” are sometimes interchanged with everything becoming somewhat relative. In the end, it could have not been realised and the reasons for this are rather ordinary: it is impossible to keep this amount of glass surface clean, especially as the majority of the visitors are fascinated little children. The concept had to be rejected.