架构师提供的文本描述。贝尔格莱德城内高速公路环的建设是该市最大的当代项目之一，必将成为首都和更广大地区城市发展的重要推动力。沿着新的“城市大道”搭车或散步，将开辟新的景观和城市空间的新体验。新的“林荫大道”最吸引人的元素是横跨萨瓦河的大桥，这座桥是在2004年赢得国际建筑和建筑竞赛一等奖的解决方案的基础上建造的。通过建造一座新的桥梁，该市行政当局还希望象征性地纪念它成立的时期，因为贝尔格莱德的历史也是它的桥梁的历史。每一个时代都以自己的方式被记录在城市的历史上。每一座新的桥梁都被认为是城市的象征之一，完成了城市图标的画廊。通过国际竞争寻求解决办法，贝尔格莱德试图改变建造大型公路桥梁的做法，这些桥梁往往被设计成纯粹的工程解决办法，而忽视了环境和也使用它们的行人。它们只不过是一条河上延伸的长长的、宽阔的、单调的沥青平台。行人在他们身上感到迷茫和威胁，一边是河水的深度威胁着他们，另一方面是汽车。

Text description provided by the architects. The construction of an inner urban expressway ring around Belgrade is one of the city's biggest contemporary projects, and it is bound to be a significant generator of urban development for the capital city and the wider region. A ride or a walk along the new 'city boulevard' will open up new landscapes and new experiences of urban space. The most attractive element of the new 'boulevard' is the bridge across the Sava River, which was built on the basis of the solution that won first prize in the international architecture and construction competition in 2004. By building a new bridge, the city's administration also wished to symbolically commemorate the period when it came into existence, because the history of Belgrade is also the history of its bridges. Every era has, in its own way, been recorded in the history of the city. Every new bridge has become recognised as one of the symbols of the city, completing the gallery of city icons. By seeking a solution by means of an international competition, Belgrade sought to change the practice of constructing large road bridges which are often designed as exclusively engineering solutions, neglecting both the environment and the pedestrians who also use them. They are nothing more than long, wide, monotonous asphalt platforms stretching across a river. Pedestrians feel lost and threatened on them.On one side, there is the depth of the river threatening them, and on the other, motor vehicles.

从参加竞赛的11个项目(开始的27个项目中)中，选定了马里博庞廷公司的概念设计。获奖解决方案的设计者是首席构造工程师维克多·马克尔(Viktor Markelj)和建筑师彼得·加布里耶尔·加布里耶尔(PeterGabrijelčič)，他们合作了25年多年来一直致力于多项获奖桥梁结构的设计。贝尔格莱德萨瓦新桥的竞争解决方案是城市规划、建筑和建筑设计的综合。按照他们的设计，大桥跨越萨瓦‘在一个飞跃’的手段是两个宽拱门毗邻河岸和AdaCiganlija岛，在中间。在AdaCiganlija岛的海角上，架设了一个207米高的塔架，通过80根钢制后撑索，使两个对称的跨过河。这座新桥长920米，跨度375米。行车道宽四十五米，设有六条行车线、两条轻铁轨、两条行人及单车径。这是世界上最大的桥面，仅靠一座塔架就能悬挂，它具有许多优越的特点，并成功地迎接了许多技术挑战。

From the eleven projects entered for the competition (of the 27 that started), the conceptual design of the Ponting company in Maribor was selected. The designers of the winning solution were the chief constructor engineer, Viktor Markelj, and architect Peter Gabrijelčič, who have worked together for over 25 years on multi-award-winning bridge structures which they designed as architecture for rivers. The competition solution for the new bridge over the Sava in Belgrade is a comprehensive synthesis of urban planning, construction and architectural design. Following their design, the bridge spans the Sava 'in a leap' by means of two wide arches abutting on the river banks and on Ada Ciganlija, the island in the middle. At the very promontory of Ada Ciganlija island, a 207 m high pylon was erected to enable two assymmetrical spans to cross the river by means of 80 steel backstay cables. The new bridge is 920 m long, with a span of 375 metres. The carriageway is 45 metres wide, with six lanes for road vehicles, two light rail railway tracks, and two pedestrian and cycling paths. This is the largest bridge surface in the world suspended by just one pylon.The bridge incorporates numerous superior characteristics and succesfully meets many technical challenges.

关于建造特大结构严重限制设计自由这一事实，必须强调，贝尔格莱德大桥的设计并不局限于严格必要的设计。高高的塔架给人的印象是城市景观中的雕塑-它表明了Ada Ciganlija岛的位置，并吸引了驾车者的注意，从一定的距离到河的附近，所以塔也可以被视为一个重要的地标。跨过大桥的空间组成清晰透明：在坚实、长满草的地形上，大桥的跨度越来越小，越过河流越大。阿达的塔把桥分成两个空间序列，分为“这里和那里”，因此似乎缩短了跨越这座桥的时间。高高架结构在桥梁上创造了空间的印象，同时也决定了其较小单元的高度。在塔的附近，桥梁的每一个元素，以及人和车辆，都获得了他们的空间维度。斜拉索排列在两个平面上，陡峭地上升到塔顶，形成了两种几何形状的动态交织。在大桥的“空间”内，创造了“大教堂”的氛围。

With regard to the fact that constructing extremely large structures severly limits freedom of design, it is important to emphasise that the design of the bridge in Belgrade was not confined to what was strictly necessary. The tall pylon gives the impression of a sculpture in the cityscape – it indicates the location of Ada Ciganlija Island and draws motorists' attention from some distance to the proximity of the River, so the pylon may also be regarded as a significant landmark. The spatial composition of passing across the bridge is clear and transparent: on solid, grassy, overgrown terrain, the bridge spans are smaller, and larger above the river. The pylon at Ada divides the bridge into two spatial sequences, into 'here and there', and thus seemingly shortens the trip across the bridge. The highly elevated construction creates an impression of space on the bridge, and at the same time defines the height of its smaller elements. In the proximity of the pylon, every element of the bridge, as well as the people and vehicles, acquire their spatial dimension. Slanting stay cables arrayed on two planes rise steeply towards the top of the pylon, creating a dynamic intertwining of two kinds of geometry. Within the 'space' of the bridge, the atmosphere of a 'cathedral' has been created.

桥塔的形状来源于桥梁外观的功能和构造理念。这座桥分为三条车道。塔架使行车道结构变形，使其保持外观，成为连接桥梁各部分的元素，构成一个完整的组合。它以一个纤细的尖锥的形式上升，锚定靠背。桥梁的建造和设计，以及塔架的建造，都来自于工程和建筑美学。高塔的重音在塔顶上，完成了一条细长的圆锥体的理想几何线，从而赋予了桥上一种更加突出的象征力量和身份。塔的上层建筑是以轻金属结构的形式实现的，当被照亮时，这是城市夜生活中的一个重要里程碑。说到对空间的感知，架空塔的体验可能有多种方式：作为环境的一个要素，表明河岛的位置，作为新城市建筑的一部分，或作为更严格的、环境意义上的桥梁建筑的一部分。从概念上讲，它可以被列为类似的象征要素，在历史进程中，我们将在空间中纪念重要的地点或事件：现在，我们可以把它看作是一座城市雕塑或一座新的城市“大教堂”，在物理上和象征上将新贝尔格莱德和旧贝尔格莱德连接起来。

The shape of the pylon results from a functional and constructional idea of the appearance of the bridge. The bridge is divided into three carriageways. The pylon transfixes the carriageway construction in such a way as to maintain its appearance and become the element linking the separate parts of the bridge into an integrated composition. It rises in the form of a slim, pointed cone anchoring the backstays. The bridge construction and its design as well as the construction of the pylon stem from both engineering and architectural aesthetics. The accent is on the pylon's peak, which completes the ideal geometrical line of a slim cone, thus conferring on the bridge an accentuated symbolic power and identity. The pylon's superstructure was implemented in the form of a light metal structure which when illuminated is a significant landmark in the city's night life. Speaking of the perception of space, the pylon may be experienced in multiple ways: as an element of the environment, indicating the position of the river island, as a part of the new urban architecture, or as a part of the bridge architecture in a stricter, ambiental sense. In conceptual terms, it may be ranked among similar symbolic elements by which, in the course of history, we would mark significant spots or events in space: now, we can view it as an urban sculpture or a new city 'cathedral', which physically and symbolically connects the new and the old Belgrade.