架构师提供的文本描述。贝尔灯箱和节庆塔的获奖设计是在史诗般的规模上构思的，目的是在这个城市内创造一个电影之城，举办最重要的年度电影节之一。它还旨在反映多伦多特点的异质性和开放性。位于市中心的城市媒体和娱乐区，贝尔灯箱的建筑在国王和约翰街道的拐角处注入了能量。

Text description provided by the architects. The winning competition design for the Bell Lightbox and Festival Tower was conceived on an epic scale to create a city of cinema within the city that hosts one of the most important annual film festivals. It was also designed to reflect the heterogeneity and openness that characterizes Toronto. Located in the heart of the city’s media and entertainment district, the architecture of the Bell Lightbox at the corner of King and John Streets injects energy into the precinct.

 © Maris Mezulis

马里斯·梅祖里斯

贝尔灯箱，一个水平的，5层的讲台建筑，在街景上建立了它的文化形象，而位于约翰街的42层的点塔控制着天际线。这两个要素正式地联系在简单的比例的体积，共同的材料，和质量的详细。两者之间的过渡发生在贝尔灯箱的屋顶与塔底的交界处。该共管公寓塔的形式和表达创造了一个干净的，当代的形象，在它的顶部有一个照明灯箱，丰富多伦多不断发展的天际线。

The Bell Lightbox, a horizontal, 5-story podium building, establishes its cultural image on the streetscape while the 42-story point tower, set back on John Street, commands the skyline. The two elements formally relate in the simple proportions of the volumes, common materials, and quality of detailing. The transition between the two occurs at the point where the roof of the Bell Lightbox meets the base of the Tower. The form and expression of the condominium tower creates a clean, contemporary figure with an illuminated light box at its top to enrich Toronto’s evolving skyline.

 © Tom Arban

(汤姆·阿班)

国王街的海拔是由凸出的体积和表面组成的，包含在一个连续的运动循环中，从街道水平的天篷开始，然后上升到上层，在阶梯屋顶上达到顶点。天篷，它的金属肥皂和LED灯，增强了到达的经验。延伸的水平蒙太尼清晰，炸碎和半透明的玻璃面板动画上表面和在工程中的人的轮廓内移动到街道。

The King Street elevation is a composition of projecting volumes and surfaces contained within a continuous loop of movement that begins with the street level canopy and then rises to the upper levels to culminate at the stepped roof. The canopy, with its metal soffits and LED lights, enhances the arrival experience. Extended sequences of horizontal montages of clear, fritted and translucent glass panels animate the upper surfaces and in project the silhouettes of people moving within to the street.

 © Tom Arban

(汤姆·阿班)

在光箱内，设计充当了人类行动和想象的框架，在这个框架中，建筑的坚固性和薄膜媒介的短暂性融为一体。灵活的方案是基于传统的工业阁楼建筑。在这一框架内，为促进运动和视觉连接，安排了电影院的数量(从80至550个座位)以及聚会、展示和制作的空间。一个三层中央中庭的特色是一个红色框架玻璃窗口进入主控制室。这五家电影院的建筑体积表现为建筑物内的黑色镀锌建筑，而中间的空间则表现为室内街道，游人在这条街道上以自己为导向。电影院内部是黑暗的，朴素的和封闭的，以集中观众和电影之间的注意力。

Inside the Lightbox, the design acts as a framework for human action and imagination in which the solidity of architecture and the ephemerality of the medium of film are fused. The flexible plan is based on the tradition of industrial loft buildings. Within this framework, the volumes of the cinema theaters (ranging from 80 to 550 seats) and spaces for gathering, display and production are arranged to promote movement and visual connectivity. A three-story central atrium features a red framed glass window into the master control booth. The architectural volumes of the five cinemas are expressed as black zinc clad buildings within the building, and the spaces between act as interior streets along which visitors are oriented. The cinema interiors are dark, unadorned and enclosed to focus the attention between viewers and film.

 © Tom Arban

(汤姆·阿班)

主入口直接通向主自动扶梯、坡道和楼梯，这些扶梯与楼梯结合在一起，构成了通往上述电影院的流畅运动序列。在第四层和第五层的行政和生产空间，图书馆和档案馆是围绕着第二个充满光线的中庭组织的。一家由奥利弗·波纳奇尼(OliverBonacini)经营的豪华咖啡馆和餐厅，占据了金和约翰街角的前两层。在大街上，食堂被室外的咖啡馆露台包裹着。在第二层，卢马与黑莓酒廊整合在一起。

The main entrance leads directly to the main escalator, ramps and stairs which together weave a fluid sequence of movement to the cinemas above. On the fourth and fifth levels administrative and production spaces, library and archives are organized around a second, light-filled atrium. A generous café and restaurant, operated by Oliver Bonacini, occupy the first two levels of the corner at King and John. At street level, Canteen is wrapped by an outdoor café terrace. On the second level, Luma is integrated with the Blackberry Lounge.

这一设计达到了巨大规模的阶梯式屋顶的顶峰。受卡普里马拉帕特别墅台阶屋顶的启发，这一主要的室外公共空间融合了建筑和电影，这是1963年“让·吕克·戈达尔”的蔑视之作。

The design culminates in the monumentally-scaled stepped roof. Inspired by the stepped roof of the Villa Malaparte in Capri featured in Jean Luc Godard’s 1963 Contempt, this major new outdoor public space encapsulates the fusion of architecture and film.

 © Tom Arban

(汤姆·阿班)