为布尔诺瑜伽园和艺术馆设计的建筑是寻找一个自然同时又抽象的空间的结果。我们希望创造一个没有怀旧(工业假货)或虚假精神(异国陈词滥调)的欺骗性的空间。在我们的欧洲背景下,瑜伽,就像建筑一样,经常屈从于先入为主的假象,我们试图避免这种情况。原来的建筑是一个历史街区发展中的后工业结构,是一个曾经的整体的断裂碎片。在这个碎片中,过去的某些痕迹清晰可见,其他的则被隐藏起来,还有一些则完全被遗忘。所有这些痕迹都很有趣,可以成为项目的最初出发点。然而,我们决定以不同的方式进行激进的干预–没有恐惧,但对旧的尊重。结果不是有意事先确定的,而是个人决定的结果。

The architecture designed for the Yoga Garden and Art Gallery Brno is the result of a search for a natural and at the same time abstract space. We wished to create a space without the deceitfulness of nostalgia (industrial fake) or false spirituality (exotic cliché). Within our European context yoga, just like architecture, too often succumbs to the false of preconception, which we have attempted to avoid. The original building was a post-industrial structure within a historical block development, a severed fragment of a former whole. A fragment in which certain traces of the past were visible, others hidden and others still entirely forgotten. All of these traces were interesting and could have become the initial point of departure of the project. However, we decided on a different manner of radical intervention – without fear, but with respect for the old. The result was not intentionally determined in advance but was the result of individual decisions.

凡是现有建筑阻碍我们的地方,我们就把它拆掉并加以改造。我们拆除了它的碎片以创造新的花园,我们拆除了柱子以扩大空间,我们撕掉了它的内脏以给我们创造新东西的自由。只要它符合我们的设想,我们就把它纳入项目中。我们只是翻新了旧的天窗,仔细清理了建筑梁和木料,但留下了所有磨损的痕迹。内部的一些灰泥只被部分清理,而且仍然显示出原来的损坏痕迹。这个过程是一个开放的对话,在这个过程中,新的东西敢于成为新的,而旧的东西敢于成为旧的。

Wherever the existing building obstructed us, we decimated and transformed it. We demolished fragments of it in order to create new gardens, we demolished pillars in order to enlarge the space, we ripped out its innards to give ourselves the freedom to create something new. Wherever it was in accordance with our visions, we incorporated it into the project. We merely renovated the old skylights, carefully cleaned the construction beams and timbering, but left all the traces of wear and tear. Some of the plasters in the interior were only partially cleaned, and still, show signs of the original damage. The process was an open dialogue in which the new dares to be new, while the old dares to be old.

我们的目标是创造一个充满光线的广阔空间,同时在内部的各个片段之间充满微妙的联系。从画廊可以看到入口区,然后是花园的绿色植物,在下一个计划中,人们正在练习瑜伽。以类似的方式,我们试图将室内与周围的世界相互连接。去感受我们所处的城市。我们看到了建筑、树木、天空的碎片,而空间同时又为我们提供了轻松忘记它们并集中精力于自己的选择。

Our aim was to create an expansive space full of light, and simultaneously full of subtle connections between the individual fragments of the interior. The entrance area can be seen from the gallery, followed by the greenery of the garden, and in the next plan, people practising yoga. In a similar manner, we have attempted to interconnect the interior with the world around it. To feel the city of which we are apart. We see fragments of buildings, trees, the sky, while the space at the same time provides us with the option of easily forgetting them and concentrating on ourselves.

在许多地方,原来的砖结构的柱子和墙,木梁和框架已经被新的钢筋混凝土和钢结构所加强,给建筑带来了现代的美感,也给由此产生的空间注入了几乎抽象的轻盈感。两个新的中庭已经被纳入到建筑的设计中,由花园建筑师Mirka Svorová设计的绿色植物。第一个中庭使参观者感到惊讶,它在入口走廊的封闭、衔接的空间和充满光线的开放花园之间形成了对比。后中庭是一个独立的微观世界。它成为主厅的背景和场景–一个根据一年中的季节而变化的形象。

In a number of places, the original brick constructions of the pillars and walls, the wooden beams, and frames have been strengthened with new reinforced concrete and steel constructions, bringing a contemporary aesthetic to the building and also infusing the resulting space with an almost abstract lightness. Two new atria have been incorporated into the design of the building, with greenery designed by the garden architect Mirka Svorová. The first atrium surprises visitors with its contrast between the confined, articulated space of the entrance corridor and the open gardens full of light. The rear atrium is an autonomous microcosm. It becomes a background, scenography for the main hall – an image that changes according to the season of the year.

瑜伽园的基本价值之一是:”可持续增长和尽量减少我们社会对环境的影响”。我们试图在项目中应用投资者的方法。花园容纳了雨水,由于其低技术设计,它们不需要浇水–积水层保留了水分,足以维持植被的生长。作为建筑师,我们必须面对当今的挑战,包括气候和文化社会学方面的挑战。我们相信,建筑在潜意识层面的功能最强。

One of the fundamental values of the Yoga Garden is: “sustainable growth and minimising the impacts of our society on the environment.” We have attempted to apply the investor’s approach here within the project. The gardens hold rainwater, and thanks to their low-tech design they do not require watering – the accumulation layer retains water, which is sufficient for sustaining the vegetation. As architects, we have to face the challenges of today, both climatic and cultural-sociological. We are convinced that architecture functions most strongly on a subconscious level.

对既定事物进行微妙的、近乎抽象的破坏,是我们学习在潜意识的不确定状态下生活的方式–这是拥抱当代 “液体 “世界的基本技能。试图引入这种微妙的不确定性的建筑实例可以在主厅中找到,在混凝土柱子被拆除后,一根木质捆绑梁在其难以置信的长度中 “悬浮 “起来,仿佛它希望违背重力,它与LED灯带的交叉进一步强调了这一点。一个抽象的空间具有微妙的不确定性元素。

The subtle, almost abstract undermining of the given is our way of learning to live in a state of subconscious uncertainty – an essential skill for embracing the contemporary “liquid” world. The architectural example of an attempt to introduce such a delicate uncertainty can be found in the main hall, where following the demolition of the concrete pillar a wooden binding beam “levitates” in its incredible length as to if it wished to defy gravity, which is further accentuated by its crossing with the strip of the LED light. An abstract space with subtle elements of uncertainty.

Architects: RO_AR Szymon Rozwalka architects
Area: 613 m²
Year: 2019
Photographs: BoysPlayNice
Manufacturers: Aluprof, Princ parket, TON, ABB, Jafholz, OMNIPLAST, OMS Lighting, UNIPRO
Design Team:Szymon Rozwalka, Anna Glajc, Helena Flodrová, Martin Křivánek, Ada Rypl-Žabčíková, Kristýna Smržová
Garden Designer:Mirka Svorová
City:Brno-střed
Country:Czech Republic