架构师提供的文本描述。就像嘉年华本身的艺术，阿什·萨库拉在卢顿市中心的新的英国狂欢节艺术中心是“奇怪的，混乱的和宏伟的”。

Text description provided by the architects. Like the art of carnival itself, Ash Sakula’s new UK Carnival Arts Centre in downtown Luton is ‘strange, shambolic and magnificent’.

 © Ash Sakula Architects

(三)灰樱花建筑师

它由两座新建筑组成，横跨一个大庭院，四周是连续的，部分是砖瓦，部分是屏风，都是4.5米高。两个大门，一个金色的，一个不锈钢网，打破了院子两端的围墙，一个庭院被改造成一条街道，作为嘉年华路线的一部分。

It consists of two new buildings astride a large courtyard with a continuous enclosing perimeter, part brickwork, part screen, both 4.5m high. Two large gates, one gold, one stainless steel mesh, break the enclosure at either end of the courtyard, a courtyard which is transformed into a street as part of the carnival route.

 © Ash Sakula Architects

(三)灰樱花建筑师

更大的马斯营地建筑有表演空间、最先进的车间、教学空间和咖啡厅。规模较小的大楼设有行政办公室、国家狂欢节档案馆、孵化器单位和托儿所。庭院是一个兼有空间的地方：一个绿色的对话肺，一个用于车间和表演的溢出空间，以及一条嘉年华的新街道。

The larger mas camp building houses performance spaces, a state of the art workshop, teaching spaces and café. The smaller building hosts administrative offices, the national carnival archive, incubator units and a crèche. The courtyard is a both-and space: a green conversational lung, a spillover space for workshop and performance and a new street for carnival.

 © Ash Sakula Architects

(三)灰樱花建筑师

简报要求建造一座反映“狂欢节精神”的建筑。对我们来说，这意味着捕捉一些狂欢节的动能和物质。我们对材料的选择是由这种野心所主导的，因为建筑会产生一种制作和实验的感觉，以及触觉的质感。

The brief asked for a building that reflects ‘the spirit of carnival’. To us that meant capturing some of the kinetic energy and materiality of carnival. Our choice of materials was led by this ambition, for the building to engender a sense of making and experimentation and a tactile, textural quality.

 © Ash Sakula Architects

(三)灰樱花建筑师

然而，虽然外表渴望关注，但它不想成为一篇诡计多端的文章。和建筑师一样，狂欢节艺术家对材料有着浓厚的兴趣。他们在可能的边缘工作，设计出房屋大小的动力学结构，足够轻到可以整天扛在某人的背上。他们不是门外汉：他们知道什么时候交界处是模糊的。为了赢得他们的尊重，建筑必须做得很好，必须坚韧有力，并在其玩乐的背后有一些严肃的逻辑。

And yet, while the façade craved attention it didn’t want to be an essay in tricksy bling. Like architects, carnival artists have a deep interest in materials. They work at the edge of possibility, designing kinetic structures the size of houses light enough to be carried all day on someone’s back. They are not a lay audience: they know when a junction is fudged. To win their respect the construction had to be well done, to be tough and robust and have some serious logic behind its playfulness.

 drawing 04

drawing 04

我们选择了两个砖，一个光滑的蓝色工程砖和一个白色，一个薄的5毫米胶合接头。粘合的砖块在主建筑周围形成一个连续的包裹，只被全高度的展示窗口打破。根据桑巴的声音节奏，白砖中的ikat图案被缝在每个开口两侧的蓝色砖块上，形成了一种将眼睛伸向建筑物周围的节奏。

We chose two bricks, a smooth blue engineering brick and a white, with a thin 5mm glued joint. The glued brickwork forms a continuous wrap round the main building, broken only by full height display windows. Ikat patterns in white brick, based on samba acoustic rhythms, are stitched into the blue brick on either side of each opening, creating a rhythm that stretches the eye right around the building.

 © Ash Sakula Architects

(三)灰樱花建筑师

建筑面向庭院的部分是松散的元素组成，使用多种材料：金银金属包层，木材，玻璃，砖块和不锈钢。他们共同创造了一个不同建筑形式的村庄，而不是一个单一的建筑。

The parts of the building that face the courtyard are a loose composition of separate elements using a multitude of materials: gold and silver metal cladding, timber, glass, brick and stainless steel. Together they create a village of different architectural forms, rather than a single piece of architecture.

 © Ash Sakula Architects

(三)灰樱花建筑师

最重要的是，旋转的天空标志拼写‘嘉年华艺术’。就像狂欢节舞者一样，他们有时旋转得太快了，你不太清楚你看到的是什么。

Above it all spinning sky signs spell out ‘carnival arts’. And like carnival dancers they sometimes spin so fast you are not quite sure what it is you are seeing.