Krakow Congress Center 克拉科夫會議中心

Commenting on the 2007 verdict announcing the winning design, the president of the jury in the international architectural competition, Luxemburg architect Bohdan Paczowski, admitted that the choice between the works selected for the final round reflected the traditional division into the partisans of the romantic and classicist tendencies in art, and that it was finally the champions of the romantic current who determined the selection of the best design. I believe that Bohdan Paczowski very truthfully and precisely grasped and emphasised one of the most significant and distinctive features of our project, as what we included in our bid – besides the accurately designed functional and technological planes – was precisely the dream of developing free and open spaces, defined with curved lines and surfaces, with unconventional flows and divisions, fluently forming the interior and the external form of the Congress Centre building.

國際建築競賽評委會主席盧森堡建築師Bohdan Paczowski在評論2007年宣布獲獎設計的判決時承認,為最後一輪選擇的作品之間的選擇反映了傳統的分裂為浪漫主義和古典主義者的支持者藝術的傾向,最終是浪漫潮流的冠軍決定了最佳設計的選擇。我相信Bohdan Paczowski非常真實而精確地掌握並強調了我們項目中最重要和最顯著的特徵之一,因為我們的標價 – 除了精確設計的功能和技術平面 – 正是開發自由開放的夢想空間,由曲線和曲面定義,具有非常規的流動和分隔,流暢地形成會議中心大樓的內部和外部形式。

The design strategy is based on four key considerations. The first and most important was the decision to use the panoramic assets of the site itself by placing a multi-storey foyer on the eastern side of the plot and by creating a space where the viewers would orbit along the curvatures of balustrades, the liquid lines of the lights, and the fantastic stairs, admiring the panorama of the City Centre with the centrally situated Wawel, and Kazimierz bristling with the towers of the Church “Na Skałce” (on the Rock) and the bulk of St Catherine’s Church. Such a foyer forms a peculiar additional auditorium for the audience, but is yet also a stage, a place from where Kraków is admired and which, especially when lit for the night, is perfectly visible from the nearby Vistula embankments and Wawel Hill.


The second significant factor in working on the project was the creative use of the limitations, notably the need to adjust the form of the building to the geometry of the arc of the corner plot, and the recommendations of the conservation services setting a cap on its height – 20 metres (65 feet) over the level of the nearby Grunwaldzkie Roundabout, with the option of exceeding the limit in spots justified by technological needs (e.g. over the stages of the auditorium halls). That had a powerful impact on the definition of the shape of the structure, the characteristic line of the roof included.

該項目的第二個重要因素是創造性地利用了這些限制,特別是需要將建築物的形狀調整為角落弧形的幾何形狀,以及保護服務的建議設置其上限。高度 – 在附近的Grunwaldzkie Roundabout水平面20米(65英尺)處,可選擇超出技術需求所證明的地點限制(例如在禮堂大廳的各個階段)。這對結構形狀的定義產生了強大的影響,包括屋頂的特徵線。

The following, third group of decisions concerned the spatial typology for the three main halls in the building: respecting the functions and numbers of spectators envisaged by the investor in each. These decisions were made in cooperation with Arata Isozaki and his Tokyo office managed by Hiroshi Aoki, with the team of my Japanese friends together with whom we designed the Kraków Manggha Museum twenty years ago. For the main hall, with its concert and congress functions, the shape of an incomplete “vineyard terrace” was selected, as in this layout the auditorium embraces the stage from the sides, in this way reducing the distance between the spectators and the scene and building an intimate atmosphere despite a relatively large number of seats. The second hall with its theatrical, concert, and congress functions, was formed into a traditional front stage with a movable auditorium on the bottom level. The third hall, a hall of the “studio” type with a flat floor and flexible auditorium arrangements, allows division into two acoustically separate spaces.

以下第三組決定涉及建築物中三個主要大廳的空間類型:尊重投資者在每個大廳中設想的功能和數量。這些決定是與Arata Isozaki和他的東京辦事處合作完成的,該辦公室由我的日本朋友團隊和我們二十年前設計的KrakówManggha博物館的團隊一起管理。對於擁有音樂會和會議功能的主廳,選擇了不完整的“葡萄園露台”的形狀,因為在這個佈局中,禮堂從側麵包圍舞台,這樣減少了觀眾與場景之間的距離。儘管座位數量相對較多,但營造了親密的氛圍。第二個大廳設有戲劇,音樂會和會議功能,形成了一個傳統的前台,底層設有可移動的禮堂。第三個大廳是“工作室”類型的大廳,有一個平坦的地板和靈活的禮堂佈置,允許分成兩個隔音空間。

The fourth pillar of the design was the definition of the façade and roof. The aluminium roof, visible in its entirety from the Wawel Terrace, was formed into cascades flowing down towards the Vistula which visually diminishes the scale of the building from the side of the river and City Centre. The walls of the building are a composition of glass, ceramics, and aluminium. To open the building to a view of the city, its eastern side is glazed, while the sides and back of the building are covered with an array of ceramic tiles in colours corresponding to the colour-scheme applied to the interior, with red being a reference to the colour of the main hall, graphite to the colour of the second hall, white as the colour of the foyer, and silvery aluminium which is used for the roof finish. In the architect’s conception, such a multi-element and colourful composition is to reflect the movements and dynamics of the Dębniki district developing on the right bank of the Vistula and which only found itself within the Kraków city limits in 1909. The size of the building is thus a proposed means of defining the scale of development in this part of the city, along Konopnickiej Street, south of the Congress Centre.



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