架构师提供的文本描述。建筑和声音创造空间与变化灵活的轮廓。它们创造了无形的领土，不受物理边界的限制，增加了它们的影响。当然，有人认为建筑是视觉的，并且表达了建立界限和界限的意愿。

Text description provided by the architects. Architecture and Sound create spaces with changing flexible contours. They create invisible territories which by not being limited by physical boundaries increase their impact. Of course, one argues that architecture is visual and expresses the will to establish limits and boundaries. 

 Conceptual Organization Layout 01

概念组织布局01

虽然这些边界是基本的，但它们不能传达整个建筑的冒险。通过它的本质，内部形成了一个外部。而建筑的外部创造了更多的空间，它产生了城市和所有微妙的相互联系，使城市的丰富性。

While these boundaries are elementary, they cannot convey the complete adventure of architecture. Through its very essence the inside formulates an outside. And the exterior of a building creates further spaces, it gives rise to the city and all the subtle interconnections which make for the richness of the city.

 © Bernhard Leitner

伯恩哈德·莱特纳

伯恩哈德·莱特纳(Bernhard Leitner)是为数不多的几个人之一，他在这里扮演了一个重要的角色，他们追求不断互动和结合的联系，以同时吸引建筑和响亮的声音来填充我们的空间。

Bernhard Leitner is one of the few, and in this assumes an important role, who pursue connections which constantly interact and combine, in order to fill our spaces with simultaneous attraction of the architectural and sonorous. 

 © Bernhard Leitner

伯恩哈德·莱特纳

作为一个声音的建筑师和作曲家，他知道感知包括声音材料，这是一个人必须学会掌握的，以及使我们看到并进入建筑空间的动态线条。

As an architect and composer of sound he knows that perception includes sound material, which one has to learn to master, and the dynamic lines which make us see and enter built space.

 Conceptual Sketch 02

概念草图02

声音不是这个没有定义的，没有重点的信封，它使我们从属于对自然的掌握，无法逃脱。声音是可测量的，它根据建筑规则画线、建墙和渗透。

Sound is not this undefined, unfocused envelope which subordinated us to the mastery of nature and from which there is no escape. Sound is measurable, it draws lines, builds walls and permeates according to architectural rules. 

 Sound Organization 02

声音组织02

在这个空间里，我们发现自己，并产生于我们的身体，使我们的看法，我们的运动，和我们的能力解码我们的不同文化赋予不同的解释。

This space in which we find ourselves, and which emanates from our bodies, unites our perceptions, our movement, and our ability to decode perceptions to which our various cultures assign varying interpretations.

 © Bernhard Leitner

伯恩哈德·莱特纳

空间和声音没有明确的时间跨度。它们代表着一种无止境的暂时局面，并创造了一个连续体。伯恩哈德·莱特纳(BernhardLeitner)给我们展示了一个看和听的空间，我们吸收了这个空间甚至我们的呼吸也是这种非静态结构的一部分。

Space and Sound have no definite spans of time. They stand for a transitory situation without end and create a continuum. Bernhard Leitner shows us a space for seeing and hearing which we take in and change. Even our breathing is part of this non-static architecture. 

 © Bernhard Leitner

伯恩哈德·莱特纳

他的动力和建筑作品揭示了世界的各个方面，并构成了界定的空间(身体的容器：柏林技术大学的声音空间，“圆柱形奏鸣曲”，在维尔莱特公园)新建筑的潜力，它汇集了建筑师的经验、作曲家的艺术和雕塑家的坚定意志。

His kinetic and architectural compositions reveal aspects of the world and constitute as defined spaces (receptacles for the body: Sound Space at the Technical University of Berlin, "Cylindre Sonore" in the Parc de la Villette) the potential for a new architecture which brings together the experience of the architect, the art of the composer and the determining will of the sculptor.

 © Bernhard Leitner

伯恩哈德·莱特纳

勒圆筒声呐嵌入在一个竹园，一个山谷般的，沉陷的景观，在巴黎帕拉维莱特。一个健全的建筑委托和实施作为一件公共艺术，作为干预艺术，为第四节的公园。

Le Cylindre Sonore is embedded in a bamboo garden, a valley-like, sunken landscape in the Parisian Parc de la Villette. A sound architecture commissioned and implemented as piece of public art, as intervention artistique, for the Section IV of the park. 

 © Bernhard Leitner

伯恩哈德·莱特纳

双缸的上端与边缘小巷处于同一水平。一个人从公园走下一条长长的楼梯，进入声音的空间，然后才真正进入花园。离开它的时候，你再一次走过声音的空间，然后上升到位于更高层次的公园。

The upper end of the double cylinder is at the same level as the bordering allees. Coming from the park, one descends a long stairway into the sound space before actually entering the garden. On leaving it, one once again walks through the sound space before one ascends to the park situated on a higher level.

 © Bernhard Leitner

伯恩哈德·莱特纳

从外面可以听到的声音吸引着过路人，邀请他们停下来，专注于静止和静止的形式。一种封闭的建筑，只被开阔的天空所覆盖，作为对空间公园的有意识的划界。一个圆柱形的空间，允许集中倾听这个地方，在超越这个地方的过程中沉思地重新发现自己。

The sound that can be heard from the outside attracts the passersby, inviting them to stop and focus on the static and stationary form. A closed architecture, only covered by the open sky, intended as a conscious delimitation from the spatious park. A cylindric space that allows a concentrated listening of the place, a contemplative rediscovery of oneself in transcendence of the place.

 © Bernhard Leitner

伯恩哈德·莱特纳

双缸内径为10m，高度为5m。在八个穿孔混凝土元件后面，三个扬声器垂直安装，就像一根柱子。两个弯曲墙之间的圆形空间是用于维护扬声器的功能空间。它提供通往地下控制室的通道。然而，环首先是一个共振腔，它通过弯曲表面的重量和张力来巩固声音。

The inner diameter of the double cylinder is 10m, the height 5m. Behind the eight perforated concrete elements three loudspeakers have been mounted vertically like a column. The circular space between the two curved walls is a functional space for the maintenance of the loudspeakers. It provides access to the control room under the ground. The ring is, however, first and foremost a resonsance chamber, which consolidates the sound by means of weight and tension of the curved surfaces.

 Cylindre Detail

圆柱细节

从每一个混凝土元素，水形成狭窄的溪流进入盆地，该盆地覆盖着圆柱形空间的地面，就像一个岛屿。静音分散了城市环境的声音，中和了空间。小溪声调内部空间。它们是声音传感器和细胞、耳朵、皮肤、身体和大脑能够集中倾听的先决条件。

From each concrete element, water forms narrow rivulets into the basin which encloses the ground of the cylinder space like an island. The hushing sound distracts from the sounds of the urban environment, neutralizing the space. The rivulets acoustically tune the inner space. They are a prerequisite for the acoustic sensors and cells, ears, skin, the body and the brain being able to listen in a concentrated way.

 © Bernhard Leitner

伯恩哈德·莱特纳

声音空间被建造，发展，在圆柱形声纳之间的八个穿孔混凝土元素后面的声音柱，即24个扬声器之间。这些都是时间空间。

Sound spaces are constructed, developed, varied in the Cylindre Sonore between the sound columns behind the eight perforated concrete elements, i.e., between 24 loudspeakers. These are temporal spaces. 

 Conceptual Sketch 03

概念草图03

静态漂移，充满房间的声音组织；圆形支撑声线，追踪建筑仪器的形状；沿着围护墙发出刺耳、高音调的声音，与混凝土圆柱体的古静力形成对比。大型，重型或轻型，透明的空间支撑；吉他组织作为静态填充材料；具有延迟混响时间的材料软化混凝土。

Statically drifting, room-filling sound-tissue; circular supporting sound lines tracing the shape of the architectural instrument; prickling, high-pitched sounds along the envelope walls contrast with the archaic static of the concrete cylinder. Massive , heavy or light, transparent spatial bracings; guitar tissue as static filler material; material with a delayed reverberation time softens the concrete.

 © Bernhard Leitner

伯恩哈德·莱特纳