架构师提供的文本描述。这是第一次由韩国政府主办的国际比赛，从获奖开始到建筑竣工，在建筑标准和认可等诸多方面都存在诸多困难。主要问题是设计费用低(包括日本和韩国两队根据工作内容在韩国设立的三个级别的标准设计费用，以及商务旅行和翻译费用)、建筑法规、建筑设计合同(Atelier Tekuto不能成为法定承包商)，不能参与实际的现场管理。

Text description provided by the architects. This was the first international competition sponsored by the Korean government, which held difficulties in many aspects regarding different standard and acknowledgement for architecture starting from receipt of the prize up till the completion of the building. Large issues were the low design fees (which covered design fee for both Japan and Korean teams based on standard level cost which were on three level rates set up in Korea according to content of work, as well as business trips and translation costs), architectural regulations, contract conformation of architectural design (Atelier Tekuto could not become the legal contractor), and not being able to get involved in the actual field management.

 Courtesy of atelier tekuto

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所有问题都基于每个国家的不同制度，而且由于是政府，预算或业务框架的改变是困难的。尽管花费了大量的时间和精力，但最终还是让Atelier Tekuto接受了所有条件。ATelier Tekuto自愿地参与了几次现场管理，但是非常失望的是，这个架构与最初的竞争计划有很大的不同。尽管这是韩国政府的第一次尝试，但只要进行国际竞争，并选择一项计划，泰尔·特库托(Atelier Tekuto)认为，韩国政府应该做好准备，对其独立的国家体系采取具有国际视野的制度。

All issues were based on different systems of each country, and since it was the government, changes in budget or operation framework was difficult. Although considerable time and energy was spent, it resulted in having Atelier Tekuto accept all conditions in the end. Atelier Tekuto voluntarily got involved in field management a few times, but was very disappointed that the architecture became largely different from the original competition plan. Even though it was the first attempt for the Korean government, as long as an international competition is executed and a plan is to be selected, Atelier Tekuto believes the government should have prepared adopting systems with an international view over their independent country system.

 elevations

阿泰尔·特库托最令人失望的一点是，他不得不改变主卷的木质预应力结构，这是对比赛的生态建筑主题的解决方案。这种结构是通过向疏林木材施加张力而形成一个很大的空间，但由于韩国的建筑规则，不得不改为钢结构(考虑进行核查或检查的考虑没有核准费用和时间)。正因为如此，必须重新考虑大厅存在的意义。由于所有设计、结构和设备的实施计划通常由韩国合格的法定承包商执行，因此重新规划是按照实施建筑和设备系统框架的计划进行的。

The most disappointing point for Atelier Tekuto was being compelled to change the wooden pre-stressed structure for the main volume, which was the solution to the ecology architecture theme of the competition. This structure is made by placing tension to the thinned forest lumber to form a large space, but had to be changed to a steel structure due to the Korean architectural regulation (and consideration to execute a verification or inspection was not approved for cost and time). Because of this, the meaning of the main hall’ existence had to be reconsidered. Since the implement plan of all design, structure, and equipment was as a rule done by the Korean eligible legal contractor, re-planning was done in a manner following the plan to implement the framework of the building and the equipment system.

著名的水鸟中途停留地纳东河河口是规划地点，广阔的沼泽地延伸到海洋。该中心计划作为水鸟观测和研究中心，以及沼泽地材料的保护和展览设施。该建筑由一个扁平的黑色卷主展厅组成，位于一楼管理办公室和研究实验室的顶部，漂浮在沼泽地上。主体积的黑色外皮使用燃烧的雪松，这是一种传统的日本技术，可以抵抗盐水的破坏。

The Nakdong River estuary, the famous stopover site for water birds was the planning site, where a vast marshland spreads to the sea. The center was planned as an observatory and research center for water birds as well as a conservation and exhibition facility for marshland materials. The building consists of a flattened black volume main exhibition hall on top of the first floor management office and research laboratories, floating on the marshland. The black outer bark of the main volume uses burnt cedar, a traditional Japanese technique that is resistant to brine damage.

虽然木料不能用作结构物，但同样厚厚的木板被用在平展的体积、2000平方米的主厅地板、墙壁和天花板的所有四个表面上，在这里，自然和人工照明从所有四个表面的虚缝中注入。木材在提取时有较少的环境负担，其柔软和有机的质量与其他材料相比，具有现成的亲自然主义形象，但这里的目标是建立一个由力量和无法形容的感觉组成的空间，超越宁静的木材形象。在南面和北面，广阔的沼泽全景展现在33米宽的全洞口，这个空间是一个充满活力的平台，位于沼泽中间，从北向南延伸至沼泽外的海洋。这座建筑在美丽的自然中独树一帜，作为一个相对陌生的人造物体，它的形象并没有超越自然景观的力量。但在这种情况下，在自然界中不可能有一个强有力的令人印象深刻的建筑空间，目的是要建立一个既能体验人造建筑空间，又能感受到眼前蔓延的壮丽自然景观的场所，并重新发掘原始自然和我们人工世界的价值。

Although wood could not be used for structure, the same thick wooden board was used on all four surfaces of the interior of the flattened volume, the 2000 square meter main hall's floor, walls and ceiling, where natural and artificial lighting pours in from the dotted slits of all four surfaces. Wood has less environmental burden upon extraction and its soft and organic quality has a ready made pro-naturalistic image compared to other material, but here the objective was for a space consisting of strength and indescribable sensation transcending the serene image of wood. On both the south and north sides, a vast swamp panorama spreads in the 33 meter wide full opening, and this space is a dynamic platform placed in the midst of the swamp holding the axis line from north to south stretching out to the sea beyond the swamp. This architecture existing solitary in the beautiful nature stands out as the comparatively alien manmade object, and its figure does not have the strength to excel over natural landscape. But in this situation inserting a strong impressive architectural space is not possible in the world of nature, the aim was for a site where one can experience at the same time the manmade architectural space and the grandeur natural landscape spread in front and rediscover values of both raw nature and our artificial world.

 Courtesy of atelier tekuto

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