103_LMMC Municipal Art Centre / Replus Bureau

由专筑网小R编译

来自建筑事务所的描述：第一座市政艺术中心位于Stefanyka街11号，目前已经投入使用，这个空间十分简单，包含有报告大厅以及休息场所，除此之外还有小型多媒体图书馆，其中收藏了一些唱片和珍本。这是一座新哥特式建筑，内部结合了真实的壁画，并且依据规范标准设计了轮椅坡道，另外还有彩绘和椅子，现代品质的家具和灯光让艺术中心备受争议，因为在一座市政文化建筑中，人们没有预想到是这样的风格构成，因为在这样的空间中，设计上的构思在一开始就会给人们留下深刻的印象。

Text description provided by the architects. The ver first Municipal Art Centre has opened in Lviv at 11 Stefanyka street. The space is simple and functional with a lecture hall, a place to sit and work or relax. There is also a small multimedia library with a turntable, vinyl records and some rare books. A neo-Gothic building, bare walls with authentic murals inside, the first wheelchair ramp that was made following all the legal standards and requirements, paintings and chairs found in a dumpster (in the best traditions of Berlin interiors), modern quality furniture and light are among things that made the art centre controversial and non-trivial. Nobody expected such combinations in a municipal cultural institution where the design decisions impress visitors right from the doorstep.









这座建筑自身是乌克兰利沃夫的第一座新哥特式建筑，在一开始这里用作办公和印刷工厂，在1991年之后，这座建筑一直闲置，工人们拆除了一面内墙，构成了大型开放空间，然后建筑师希望能够保留和翻新这里的现有构件。

The building itself is the first neo-Gothic construction in Lviv from the late 19th century. From the very beginning, it was occupied by offices and a printing house. After 1991, for more than 20 years it remained abandoned and cluttered. We removed an internal wall and created a big open space.  Then, we decided to keep and renovate everything authentic we would find there.





这座建筑已经年久失修，在灰泥遮挡之下仍然可以看到原有的天花板绘画，虽然并没有太多的时间和预算进行深入地研究，但是建筑师仍然找到了这些绘画，利沃夫的画家兼修复师Iryna Hirna加入了项目团队，她教会了工人们通过沙子来打磨墙体，并应用特殊的保护剂进行维护，让绘画得以保留，除此之外，建筑师们在走廊里也发现了其他的绘画，在清理和保护墙体和天花板之后，通向展馆的车道和入口也像游客们传达了一些非传统的内容，因此，这里的绘画也得以修复。

Since the premises were not used for a long time, we thought that original ceiling paintings could be still present under layers of plaster. We did not have much time or budget for profound research, nevertheless, we succeeded to find the paintings! Iryna Hirna, a painter and restorer from Lviv, joined us and taught workmen to sand walls and cover them with special agents to preserve the paintings. In the end, we found other paintings in the hallway after cleaning and sanding walls and ceilings there. Consequently, the driveway and the entrance to the gallery are also “ragged” preparing visitors to see something non-conventional. Soon, the paintings in the entrance group will be partly restored.



展厅大概占据了30%的空间，白色的立方体至关重要，因此建筑师们把干燥墙体悬挂在金属钉子框架上，这样墙体就有足够的通风空气，让参观者看到白色纯净的效果，而天花板则保留了真实的形态。空间里没有楼板，只保留了古旧的奥地利瓷砖的痕迹，在19世纪末期非常流行利用大理石碎片来制作找平层，这种材料简单耐用，适合当时的社会状况，因此建筑师决定把它们保留下来。

The gallery occupies 30% of the space. The white cube aesthetic is critical there, so we hanged drywall on a metal stud frame, so that the walls could breathe, giving a white and smooth space to visitors while keeping the authentic ceiling opened and untouched. There was no flooring, but screeds with traces and stamps of old Austrian tiles. In the late 19th century, concrete screed with marble chips (today’s terrazzo) was very popular. It is a very durable material and appropriate to that period, so we decided to put it back.





内院的窗户已被损坏，不适合进行修复工作，因此建筑师决定用复制品进行替换，除此之外，建筑师还找到了黄铜把手，并且把它们和复制品组合在一起，这样看起来就协调多了。室内空间结合了多种优质的家具，建筑师还将覆盖有德国塑料的胶合面展览立方体和多媒体图书馆中的桌子结合在一起，这些桌子由厚实的胶合板制作而成，结合了石膏片，使用者看不到桌腿。

The windows in the inner yard were damaged and unsuitable for restoration, so we decided to replace them with new replicas. Later, we found authentic old brass handles and mounted them on those replicas so that they would not stand out too much from the context. Quality furniture was designed and made for the interior. We successfully combined a plywood exhibition cube covered with German plastic with tables in the multimedia library - planes made of thick plywood where neither the supports nor the legs are visible – and with the torn pieces of plaster.



艺术中心的负责人Lyana Mytsko有一天走过利沃夫音乐学院的垃圾箱，发现这里有20盏灯和13块绘画面板，这是上课时的道具，它们可能在50多年前为一个芭蕾舞班级所用，Lyana把它们带到施工现场，建筑师们决定把它们应用在艺术中心的厨房中。空间中有个单独的咖啡厅区域，厨房的颜色和绘画面板和十分协调，因此这些面板成为了空间里的亮点。

One day, Lyana Mytsko, the head of the art centre, was passing by the dumpsters of the Lviv Conservatory and found there 20 lamps and thirteen painted boards for choreography lessons, which were probably created for a ballet class 50  years ago. Liana brought it to the construction site and together we decided to use these items in the kitchen of the art centre. A separate area in the space is a kitchen-café. By the way, the colour of the kitchen was chosen to match the painted boards. That is how the latter became the space’s special feature.





在厨房的角落里，建筑师发现了玻璃瓷砖，这也许来自乌克兰著名建筑师Ivan Levynsky的工厂，这种类型的瓷砖曾经应用于走廊，而不是建筑的内部，这其实是一种独特的做法。在放置了这些瓷砖之后，建筑师为视障人群制作了标记，通过对比色来标记出不同的功能用房，在接待处还为盲人和视障人群设置了3D地图，除此之外，建筑师还设计了公共厕所。

In one of the kitchen’s corners, we found glazed tiles. We suspect that they are from Ivan Levynsky’s factory (a famous Ukrainian architect). Previously, this type of tile was used only in the hallways, not inside the apartments, which is unique in this case. Following the placement of these tiles, we put experimental marks for the visually impaired: potentially traumatic angles and transitions between rooms with different functions were marked with contrasting colours. There will be also a 3D map for the blind and visually impaired at the reception. In addition, we made an inclusive restroom.



建筑里安装了高品质的专业照明设备，这花费了很长的时间，建筑师还向城市官方人士说明了家用灯具和专业灯具的区别，并且也说明了选择昂贵灯具的原因，因为建筑师希望能够强调一定的可达性和包容性，在进入艺术中心之前，建筑师设计了符合规范要求的残疾人坡道，这是为了呼应法规的要求以及使用者的真正需求，建筑师为此专门请教了一位社会活动学家Yaroslav Hrybalskyi。这个坡道也服务于推婴儿车的母亲、老年人、骑自行车的儿童，它有四个层次的扶手，混凝土肌理的不同色调突出表达了安全且正确的倾斜角度。

High-quality professional lighting was installed, which took us longer than usual, as we had to explain to all city officials what the difference was between household and professional lamps and why we could not go for the cheapest option. We really wanted to accentuate the accessibility and inclusion of the premise. A wheelchair ramp that meets all standards was built to enter the art centre. Since it was important to us to take into account all legal requirements and opinions of potential users, we asked Yaroslav Hrybalskyi, a social activist who uses himself a wheelchair, for help. The ramp is also made for mothers with strollers, for elderly people, and for children on bicycles and scooters. There are four-level handrails, the correct and safe angle of inclination highlighted by different shades of concrete with the correct texture.





项目的建筑师Hrystya Badzyan说道：“对于像我这样在城市里生活和工作的建筑师而言，这座由公共投入资金的市政艺术中心非常不同，其中没有无趣的决策，非常感谢创意与艺术人士，这个空间为自由与勇敢的人们带来便利与服务，非常高兴的是，官方人员都认同这个项目的意义，它代表了城市，为艺术、文化，乃至利沃夫都有着极大的贡献，我们最终成功了，许多有意义的内容都得以保留。”

“It is important for an architect and designer like me living and working in the city that this municipal art centre, financed from public funds, was made in an unusual way, without boring decisions. Thanks to the people involved in creativity and art, this space will be convenient for free and courageous people. I am glad that the officials believed in this project as being significant, that it would represent the city and serve for the development of art, culture, and Lviv. We made it. Many positive things are written and said about us, even by our competitors,” says Hrystya Badzyan, the architect of the project.









建筑设计：replus design bureau
类型：社区中心/市政建筑/适应性再利用
面积：280 m2
时间：2020年
摄影：Andrey Bezuglov
制造商：FunderMax, Encore lightning, Terazzo concrete floor
设计团队：Khrystyna Badzyan, Chuzhovskyy Myohaylo, Malets Andrii, Sorokevych Dmytro
主创建筑师：Badzyan Khrystyna
项目管理：lyana Mytsko
城市：Leópolis
国家：乌克兰

COMMUNITY CENTER, MUNICIPAL BUILDING, ADAPTIVE REUSE
LEóPOLIS, UKRAINE
Architects: replus design bureau
Area: 280 m2
Year: 2020
Photographs: Andrey Bezuglov
Manufacturers: FunderMax, Encore lightning, Terazzo concrete floor
Design Team: Khrystyna Badzyan, Chuzhovskyy Myohaylo, Malets Andrii, Sorokevych Dmytro
Lead Design: Badzyan Khrystyna
Project Manager: lyana Mytsko
City: Leópolis
Country: Ukraine