架构师提供的文本描述。这个建筑方案是一个经过改进的新月形建筑，环绕着一个十八世纪D形的花园。它向上倾斜，与现场的地形一致，最高的是一个巨大的门廊，它用全高度的玻璃窗将大厅围起来。当代的形式和包层，建立在一个钢框架和包裹在Tecu黄金(一种铜-铝合金)，与现场的轴向几何和前期建筑。

Text description provided by the architects. The building plan is a modified crescent that wraps around a D-shaped eighteenth-century garden. It slopes upwards in line with the site topography, culminating in a monumental portico which frames the lobby with full-height glazing. Contemporary in both form and cladding, built on a steel frame and wrapped in TECU Gold (a copper-aluminum alloy), the building engages with the site’s axial geometry and the preexisting period architecture.

所有的建筑都位于预定的古纪念碑基准线上方的高地上，因为埋藏的考古文物阻碍了挖掘。因此，建筑物漂浮在不需要深基坑的混凝土筏基础上。其中的一件艺术品，贝里菲尔德清真寺，是设置在地板下的保护玻璃，提供了一个历史的一瞥埋在建筑物下面。内部层与场地的等高线一起工作；12种不同的楼板水平形成微妙的斜坡，吸引人们穿过建筑物。

All construction too place at elevations above the Scheduled Ancient Monument datum line because buried archaeological artefacts precluded excavation. The building therefore floats on a concrete raft foundation which required no deep excavation. One of those artefacts, The Berryfield Mosaic, is set into the floor beneath protective glass, providing a glimpse of the history buried beneath the building. Internal levels work with contours of the site; twelve different floor slab levels create subtle slopes that draw people through the building.

 © Will Pryce

c.威尔·普莱斯

一条室内长廊将游客从宽敞的大堂区送到礼堂、大学和马赛克空间、学习区和主要的画廊空间，最后到达穆萨咖啡厅。弯曲的建筑形式创造了一种旅行的感觉，让游客在参观建筑时遇到艺术品。在这条长廊尽头的咖啡厅提供了由头顶的牧师窗口照亮的社交空间；它包括一个室外露台，可以俯瞰附近的花园。行政空间和画廊排列在内弧的建筑特色，广泛的玻璃，提供自然光和景观相邻的18世纪花园。敏感的园林景观动画开放的花园空间，包括灯光设计的艺术家西蒙·佩里顿。

An interior promenade carries visitors from the vast lobby area through to the auditorium, University and Mosaic spaces, learning areas and main gallery spaces, ending up at the café restaurant, MUSA. The curved form of the building creates the sense of journey that allows visitors to encounter artwork as they walk through the building. The café restaurant at the end of this promenade provides social space lit by overhead clerestory windows; it includes an outdoor terrace which overlooks the adjacent gardens. Administrative space and galleries aligned on the inside arc of the building feature wide glazing that provides natural light and views of the adjacent eighteenth-century garden. Sensitive landscaping animates the open garden spaces, including lighting designed by artist Simon Periton.

根据设计要求，将传统的白色立方体画廊内翻出来，通过将视线保持在户外，保持了广泛的自然照明和清晰的内部定位。通过向花园里的游客展示室内的人的活动，以及向室内提供漫射的光线，地板上的窗户为设计注入了活力；牧师的窗户给了更多的自然光。

In accordance with the design mandate to turn the traditional white cube gallery inside-out, extensive natural lighting and clear internal orientation is maintained by preserving sightlines to the outdoors. Floor-level strips of windows animate the design by revealing to visitors in the garden the movement of people inside, while also providing diffused light to the interior; clerestory windows give further natural light.

 © Will Pryce

c.威尔·普莱斯

大门的开放程度强调了建筑物的无障碍环境，并明确地将其定义为入口点。一个完全玻璃11米的正面向外倾斜15度，尽量减少地面反射，并使入口空间更容易被室外看到。

The scale openness of the main entrance emphasise the building’s accessibility and define it clearly as the point of entry. A fully glazed 11 metre façade slopes outward 15 degrees, minimizing reflections at ground level and making the entrance space more visible to the outdoors.

该遗址位于英国最早的罗马定居点之一的城镇中心附近，位于预定的古纪念碑土地上，有一堵完整的罗马墙划定了南部边界。由于考古遗骸散落在整个遗址，地面上的最大负荷和不挖掘的政策，该建筑不得不对现有的地形施加最小的负荷。

The site, near the town centre of one of Britian’s first Roman settlements, sits on Scheduled Ancient Monument land, with an intact Roman wall defining the southern boundary. Because archaeological remains are scattered throughout the site, maximum loads on the ground and a no-dig policy, the building had to impose a minimum load on the existing topography.

在科切斯特历史悠久的圣博托尔夫地区复兴的第一次努力中，第一个地点确定了一个未充分利用的地区的长期发展计划。拉斐尔·维尼奥利建筑师事务所对最初的圣博托夫季度总计划提出了若干修订，所有这些都随后获得通过。建议的建筑地盘向东迁移，远离市中心，重新分配重建地区。这促进了该建筑物与科尔切斯特历史资产之间更为敏感的关系；特别是保持了南北皇后街/圣博托尔夫街走廊的特征，该走廊将科尔切斯特城堡博物馆(北面)和科尔切斯特镇火车站(南面)与一条温和固化的街道与历史建筑连接起来。

At the first effort in the revitalization of Colchester’s historic St Botolph’s Quarter, firstsite anchors the long-term development plan of an underused district. Rafael Viñoly Architects PC proposed a number of revisions to the original St Botolph’s Quarter master plan, all of which were subsequently adopted. The proposed building site was moved eastward, away from the town centre, redistributing the area of redevelopment. This facilitated a more sensitive relationship between the building and the historic assets of Colchester; specifically by preserving the character of the north-south Queen Street/St Botolph’s Street corridor, which connects the Colchester Castle Museum (to the north) and the Colchester Town train station (to the south) with a gently curing street to historical buildings.

新的地点位于公园内的建筑物，创造新的公共空间作为一个适当的设置文化目的地。(为了容纳这一建筑，已搬迁了一个公共汽车站)。现在，这个地块就在18世纪一级上市的东山大厦的正南，它的第一个位置面对着一个D形花园，这个花园把它的新月形借给了它。二十世纪中叶，一座公共汽车站的修建，把它的2级哥特式佛利和这栋房子隔开了。从博物馆到第一世纪的罗马城墙都强调了这座古建筑的历史重要性。附近的其他著名建筑包括列在十二世纪圣詹姆斯教堂(St James‘s Church)名单上的2级建筑，以及由红砖砌成的格鲁吉亚联排别墅，后者是20世纪50年代以来的画廊。

The new location situates the building in a park, creating new public space as an appropriate setting for a cultural destination. (A bus station was relocated to accommodate this construction.) The site is now directly south of the eighteenth-century Grade-1 Listed East Hill House, which firstsite faces across a D-shaped garden that lends it its crescent shape, and whose Grade 2 Gothic Folly was separated from the house in the mid twentieth century by the construction of a bus station. View from the museum to the first-century Roman wall emphasise the historical importance of this ancient structure. Other prominent nearby structures include Grade-2 Listed twelfth century St James’s Church and the Minories Art Gallery, the latter a red-brick Georgian townhouse that served as firstsite’s original home, and which has been a gallery since the 1950s.

礼堂内部覆盖着钻石图案，类似绒面的声学织物和重叠的欧洲樱桃木贝壳。它将用于电影放映，表演，讲座和演讲。它位于入口空间的后面，引导游客到主要的画廊区域，这是由一种氨气熏蒸橡木地板和棱角/弯曲石膏板墙的各种材料的调色板定义的。体育和艺术画廊基金会，一个气候控制，博物馆质量的悬挂空间，伴随着许多适应性的展示机会。灵活的空间配置促进了参观者和艺术家之间的互动，因为空间可以向画廊开放，包括学习、艺术家居住和展览。规划的空间集中在一个地区，学习空间在一个地区，会议和行政设施在另一个地区，画廊和艺术家空间集中在大楼中心附近，咖啡厅在远东端。

The auditorium is clad internally with diamond-patterned, suede-like acoustic fabric and overlapping European cherry timber shells. It will be used for film screenings, performances, lectures and presentations. Situated behind the Entrance space, it leads visitors on to the main gallery areas which are defined by a varied materials palette of an ammonia-fumed oak floor and angled/curving plasterboard walls. The Foundation for Sport and the Arts Gallery, a climate-controlled, museum-quality hanging space, is accompanied by many adaptable display opportunities. The flexible spatial configuration promotes interaction between visitors and artists, as spaces can be opened up to the galleries to encompass learning, artist residencies, and exhibitions. Programmed spaces are clustered, with the learning spaces in one area, conference and administration facilities in another, the galleries and artist spaces concentrated near the centre of the building, and the café restaurant MUSA at the far eastern end.

 © Will Pryce

c.威尔·普莱斯