We will choose an exquisitely restored old building over a new one every time. With a restoration approach that does not interfere with the history of a building but enhances it, older structures gain a completely new level of interest and fascination.

我们每次都会选择一个精心修复的旧建筑。随着恢复方法不会干扰建筑物的历史，但增强了它，较老的结构获得了全新的兴趣和魅力。

A well-refurbished old structure inspires respect and wonder, and speaks to us in two languages: one that we understand as modern and our own, and another, even more magical, that we don’t quite grasp but love nevertheless.

一种全新的旧结构激发了我们的尊重和惊奇，用两种语言对我们说话：一种是我们理解的现代语言和我们自己的语言，另一种，更神奇的语言，我们不太理解，但却是爱。

Such a structure invites us to explore and opens doors to history, art and architecture in a way that is fresh and surprising.

这种结构邀请我们以一种新鲜和令人惊讶的方式探索和打开通往历史、艺术和建筑的大门。

The refurbishment of the Painted Hall at the Old Royal Naval College in Greenwich, London, is one such project.

伦敦格林威治的老皇家海军学院的绘画大厅的翻新是这样的项目。

The four-year, 10 million –Euro project was completed last year by Hugh Broughton Architects and Martin Ashley Architects.

四年，1000万欧元的项目是去年由HughBroton建筑师和MartinAshley建筑师完成的。

The Old Royal Naval College is the architectural centrepiece of Maritime Greenwich, a UNESCO World Heritage Site. The College was designed by Sir Christopher Wren in 1696 with contributions by Nicholas Hawksmoor, Sir John Vanburgh and Thomas Ripley.

古老的皇家海军学院是教科文组织世界遗产地-海洋格林威治的建筑中心。该学院由克里斯托弗·雷恩爵士于1696年设计，由尼古拉斯·霍克莫尔、约翰·范堡爵士和托马斯·里普利贡献。

In the college, the Painted Hall, with its numerous murals painted by Sir James Thornhill, is sometimes called ‘England’s Sistine Chapel’ and considered to be one of the most important Baroque interiors in European architecture.

在学院里，由詹姆斯·桑希尔爵士(SirJamesThornHill)绘制的众多壁画，有时被称为“英国的西斯廷教堂”，被认为是欧洲建筑中最重要的巴洛克风格室内建筑之一。

Exposure to sunlight and humidity through the hall’s entranceway had damaged the paintings and Broughton and Ashley were engaged to change all this in anticipation of the approximately 1 million annual visitors to the Painted Hall.

透过大厅入口处暴露在阳光和潮湿下的环境破坏了画作，布劳顿和艾希礼正在着手改变这一切，因为预计每年约有100万人参观这座彩绘厅。

Broughton and Ashley moved the main entry to the undercroft below and included a new shop and café on that level. They also installed a heating system and solar shading to stabilize the environment and to protect the newly conserved 40,000 square feet of painted surfaces.

布劳顿和艾希礼把主要的入口移到下面的地底，包括一家新的商店和那层的咖啡店。他们还安装了一个供暖系统和太阳能遮阳系统，以稳定环境，并保护新保存的4万平方英尺的油漆表面。

Broughton has been quoted as saying that they aimed to make their own work as invisible as possible because “…the star of the show is the paintings.” Tuija Seipell.

有人援引布劳顿的话说，他们的目标是使自己的作品尽可能隐形，因为“…”展览的明星是画作。“托伊亚·塞佩尔。