架构师提供的文本描述。可以说，城市是由不同的语境层组成的，这些层次不时地彼此靠近或相互连接，有时甚至交织在一起，并将其特定的存在状态根植在一起。在这个城市特有的雅洛瓦(Yalova)的例子中，主要层之间的对立非常突出。

Text description provided by the architects. It is possible to say that cities are made out of different contextual layers, which time by time come near each other or on top of each other, even intertwine at times and ground their specific existing states. In the Yalova example peculiar to this city, oppositions between the main layers stand out.

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雅洛娃的一面是它自然的一面。地方植物，这些植物的种植、展示和商业评价地区，甚至是近地最发达的树丛，都是决定城市现状的事实。一个丰富多彩、快乐和充满活力的世界脱颖而出。从这个意义上讲，它体现了一种乐观主义，一种感觉，在这个夏天的地方，生活更加快乐和无忧无虑。

One face of Yalova is its natural side. The endemic plants, areas where these plants are grown, exhibited and evaluated commercially, and even the most developed arboretums of the near geography are facts that determine the current existing state of the city. A colorful, joyful and vibrant world stands out. In this sense, it embodies an optimism, a feeling that the life is more joyous and trouble-free in this summer place.

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雅洛瓦也是一个工业城市。毫无疑问，雅洛瓦现有状态的这张面孔并不是没有麻烦的。很难说它会是快乐的和充满活力的。相反，生活中更艰难的部分，劳动和汗水出来了。与另一方相比，这个世界更具挑战性。

Yalova is also an industrial city. Doubtless to say this face of Yalova’s existing state is not as trouble-free. It is hard to say it would be joyous and vibrant. Instead, the harder parts of life, labor and sweat come out. Compared to the other side, this world is more challenging.

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可以毫不怀疑哪一张面孔更真实，这两种完全对立的存在状态在这座城市中交织在一起，相互取食，甚至从反对派造成的紧张中创造出城市独特的灵魂，这是没有错的。建筑作为文化中心，城市与城市人之间的关系是设计的主要载体。从这个意义上讲，它的目的是使中心与城市的相反层次进行调解。

It would not be wrong to say, without even questioning which face is more veritable, these two existing states that are totally opposites of each other have intertwined in this city, have fed off each other and even have created the city’s unique soul from the tension caused by the opposition. The relationship between the building which is a cultural center, the city and the people of the city is the primary vessel of the design. In this sense, it is aimed that the center mediates with the opposite layers of the city.

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这座建筑位于工地的西侧，倾斜在边缘，以便为前面的城市花园腾出空间。外部的感知并没有让渡给那些想要使其不朽的最近文化中心的闪亮和主导的世界。此外，它远离这个丰富多彩、无忧无虑、专横的世界。通过这样做，“Designed”并不试图强制订购，而是试图教会‘用户’。相反，设计大多是“开放式”的。

The building resigns to the west side of the site and leans to the edge in order to make space for the city garden that will be placed in front. The perception from the exterior does not give away to the shiny and dominant world of the recent cultural centers that want to monumentalize. Moreover, it holds off from this colorful, carefree yet imperious world. By doing this the ‘designed’ does not try to force an order, it does try to teach the ‘user’. Instead, the design is mostly ‘open-ended’.

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乍一看，这座建筑没有提到任何形状。建筑物不同于任何形状的物体所创造的客观性，当你接近建筑物时，城市的工业特征就会发生变化。而不是闪亮和炫耀的材料，孔板是由耐火建筑钢，是为外观护套设计，是用来加强这种感觉与他们生锈的表面。公民可以很容易地识别这种纹理，因为他们已经在生产领域看到它，即使它没有在建筑物上使用。现在，这座建筑已经超过了它的新的和陌生的州，人们开始与市民们交织在一起。该表面也适合回收，作为一个天然的调色板，包含它将经历的变化，如颜色和色调的变化引起的氧化。这一运动将使城市与建筑之间的关系更加互动。

At first glance, the building does not reference to any shape. This objectivity that the building’s unlike to any shape mass creates, changes to the industrial character of the city as you get close to the building. Instead of the shiny and ostentations materials, the foraminous plates made out of resistant construction steel that was designed for facade sheating, was used to strengthen this feeling with their rusty surface. Citizens would recognize this texture easily as they have seen it in the production areas even though it had not been used on a building. The building now, has overgrown its new and stranger state ans has started to intertwine with the citizens. The surface which is also suitable for recycling, acts as a natural palette, containing the changes it will go through like the color and tone changes caused by oxidation. This movement will make the relationship between the city and the building more interactive.

事实上，正面是穿孔的，提供了表面溶解在夜间，就像一个薄纱窗帘和内部将很容易被察觉。用户从入口进入大楼。没有门也没有障碍。金属薄纱现在变成了保护器。它留下了雨、太阳和风的负面影响，但由于它的半透明性质，它并没有转化为室内空间。这个地区的空气是自由通风的。

The fact that the facade is perforated provide the surface to dissolve at the night time like a tulle curtain and the inner would to be perceived easily. The user enters the building from its mouth. There is not a door or a barrier. The metal tulle now transforms into a protector. It leaves the negative impacts of rain, sun and wind but it does not transform into an interior space because of it semi-transparent nature. The air ventilates freely in this area.

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建筑物中的群众是根据其不同的功能和必要的尺寸而形成的。可容纳600人的多用途客房、150人的工作间、婚礼和展览室、图书馆、办公室和自助餐厅等区域从不同的海拔高度相互关联。这些与建筑物正面和彼此分离的物体以其独特的几何形状存在于建筑物内部。他们的表面强调雅洛瓦的彩色和过度生长的自然纹理。它的目的是，各种植物产生的快乐图像将出现在表面之下，作为建筑的第二层外部感知，就像它在数字出版物上的近距离感知。

The masses in the building are shaped specifically to their different functions and necessary dimensions. Areas like 600 people capacity multi-purpose room, 150 people capacity workshop room, nuptial and exhibition rooms, library, office and cafeteria are related to each other from different elevations. These masses that are disconnected from the building facade and from each other, exist inside the building with their unique geometries. Their surfaces emphasize Yalova’s colorful and overgrown natural texture. It is aimed that the joyful image that various plants generate will appear beneath the surface of the facade as a second layer of exterior perception of the building just like it is on digital publications in close perception.

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通过创造一条隐蔽的内街，把这些群众连接起来的坡道，试图丰富游客的生活。在大众之间的空隙中，大多是娱乐活动功能和服务空间。想一想RDKM文化中心之间的预测关系，它的项目是由投资者组织的有限竞争获得的，它的位置和其所在地的所有者，公民，把建筑带到一个非常具体的位置为设计师。

The ramp that connects these masses to each other by creating a sheltered inner street, try to enrich the lives of the visitors. In the voids that are in between the masses are mostly recreational activity functions and service spaces. To think about the predicted relationship between RDKM Cultural Center, which’s project was acquired by a limited competition organized by the investor,its place and the owner of its place; the citizens, takes the building to a very specific position for the designer.

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