架构师提供的文本描述。建筑紧凑的概念是安装一个巨大的家具。这种实地干预对研究中心、艺术借阅图书馆和展览空间产生了一些结构改进。这件巨大的家具穿过门面，因此它也标志着从街道的入口，在那里，它呈现出一个横截面在屏幕上。在这个“正面”后面，它引导游客到底层的借阅台和书房中心，然后通过坡道楼梯到达楼上的艺术图书馆。

Text description provided by the architects. Architectonic compactness The concept was to install a huge piece of furniture. This intervention in situ effects a number of structural improvements to the study centre, the art lending library and the exhibition space. This huge piece of furniture punches through the façade and thus it also marks the entrance from the street, where it presents itself as a cross-section in the screen. Behind this ‘frontage’ it guides visitors to the lending counter and the study centre on the ground floor, and then via the ramp-staircase to the art library on the floor above. 

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这个巨大的家具集所有这些功能和动作于一体。它带领游客经过曲折的桌子，“沟通器”，圆桌，坡道楼梯，楼梯橱柜，堡垒，悬挂橱柜和起伏的地板。设计以超功能的方式吸收所有的功能，并以永久的形式“冻结”它们。

This huge piece of furniture integrates all these functions and movements in a single form. It leads visitors past the zigzag table, the ‘communicator’, the round table, the ramp-staircase, the stair-cupboard, the ‘fort’, the hanging cupboards and the undulating floor. The design assimilates all the functions in a hyper-functional way and ‘freezes’ them in a permanent form.

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遗漏的艺术-展览空间和后面的办公室-与巨型家具延伸的地区相邻。这些已经存在，并且只进行了一些严格的功能更改，例如移动门。视觉艺术中心(CBK)的这一部分是“自由区”，用户应该能够随心所欲地做，因为有许多变化的展览。这里故意省略了建筑师的签名。在这一地带，省略的艺术在字面意义上盛行，例如拆除柱子和栏杆上的木质细节，使建筑物尽可能裸露。展览空间的地板被涂成灰色，是与CBK其他部分的唯一协调纽带。

The art of omission The exhibition spaces with the offices behind them stand adjacent to the area where the mega piece of furniture stretches out. These already existed, and only a few strictly functional changes were made, such as moving the doors. This part of the Centre for the Visual Arts (CBK) is the ‘free zone’, where the user should be able to do as they please because of the many changing exhibitions. The signature of the architect is deliberately omitted here. In this zone, the art of omission prevails in the literal sense, exemplified by the dismantling of wooden details on columns and railings, so that the building is as bare as possible. The floor of the exhibition space, which is painted grey, is the only coordinating link with the other parts of the CBK.

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随着时间的推移，由于这两个区域之间有一个开放的连接，并且它们相互重叠，所以它们之间是相互作用的。他们并不是孤立的。在这两个区域之间产生了一个新的功能，可以使用坡道楼梯作为讲台或长凳。用户感觉到这种模糊性。他们学会处理自由与教条、消费与生产之间的紧张关系，这引发了对呈现方式的讨论。这种分化和开放创造了一种情况，在这种情况下，中央银行一再面对其目标和如何最好地实现这些目标的问题。

Transformation over time Since there is an open connection between the two zones and they overlap, there is interaction between them. They do not remain isolated. A new function comes into being between the two zones, with the possibility of using the ramp-staircase as a podium or as a bench. Users sense this ambiguity. They learn to deal with a field of tension between freedom and dogma, between consumption and production, which prompts discussion about modes of presentation. The differentiation and the openness create a situation in which the CBK is repeatedly confronted with its objectives and the question of how best to achieve them.