捷克共和國　茲林托馬斯．巴塔紀念碑修復

The building by František Lýdie Gahura, opened one year after the death of Tomáš Baťa, is the most valuable monument of the Zlín constructivism and the highlight of the so-called “Baťa architecture” phenomenon. At the first glance the idea for the monument is simple: an empty prism placed on a visible spot above the town, on the central axis of the ascending park space, made up of several modules of the Zlín 6.15 x 6.15 m frame and clad only with cathedral glass. Inside, only the ill-fated Junkers F 13 aircraft in which Tomáš Baťa died in 1932.

這座由弗蘭蒂謝克．利迪．加胡拉（František Lýdie Gahura）所設計的建築在托馬斯．巴塔去世一年後落成，是茲林建構主義最有價值的紀念碑之一，也是所謂「巴塔建築」現象的亮點。乍看之下，這座紀念碑的構思很簡單：將棱鏡被放置在小鎮最顯眼的位置，位於公園上升空間的中軸線上，由茲林 6.15 x 6.15 米框架的模組組成，只用教堂玻璃包覆。裡面則展示著一架命運多舛的容克斯 F 13 型飛機，也就是 1932 年托馬斯．巴塔喪生的飛機。

Gahura reduced the monument to three basic materials of Zlín architecture – concrete, steel and glass that were supposed to, together with the building’s composition, express the unique attributes of Tomáš Baťa: generosity, clarity, aspiration, optimism, simplicity, honesty and truth. The execution of the standardised frame as a single column hall and a three-aisled space at the same time, variable height of the space and dispersed natural light brought the stripped-down Zlín constructivism closer to sacral buildings of the ancient and medieval times, without using any historical shapes. This was enhanced by the consistent vertical concept of the building. Gahura explained it by the fact that the purpose of the building is ideological and with this verticality, weightlessness, and simplicity of the one-directional sectioning, the monument expresses specific traits of Baťa’s character.

加胡拉將紀念碑簡化為捷克茨林建築的三種基本材料――混凝土、鋼材和玻璃，這些材料與建築的構成一起，表達了托馬什-巴ťa 的獨特特質：慷慨、清晰、渴望、樂觀、簡潔、誠實和真實。標準化的框架既是單柱大廳，同時又是三面圍合的空間，空間高度可變，自然光線分散，這使得茲林建築風格更接近於古代和中世紀的神聖建築，而不使用任何歷史造型。建築始終如一的垂直概念更強化了這一點。加胡拉對此的解釋是，這座建築的目的是意識形態，透過這種垂直性、輕盈感和簡潔的單向剖面，紀念碑表達了巴塔的特定特徵。

The monument was built without any technical or sanitary facilities – it was actually a greenhouse with no possibilities for heating, water supply, or toilets.

In the 50’s it was rebuilt to be a concert hall and gallery and with it the monument lost its architectural qualities. The name of Tomáš Baťa was erased from memory.

The comprehensive renewal of the original state of the monument, in preparation for 18 years, aimed again toward simplicity and reduction of all dispensable equipment that is usual in today’s buildings. All of the operational, technical and service elements and spaces are located separately from the monument. The core meaning of the building consists in the visitor’s experience of the space and light, in slowing down and contemplation. Due to the fact that the structure is an internationally acclaimed monument of modern architecture, the project had high aspirations in terms of quality of the renewal. For many of the building elements a restoration approach was chosen, common with the most valued historic buildings.

紀念碑建成時沒有任何技術或衛生設施--它實際上是一個溫室，沒有供暖、供水或廁所。

在 1950 年代，紀念碑被改建為音樂廳和畫廊，紀念碑也隨之失去了其建築特色。托馬什-巴ťa 的名字也從人們的記憶中消失了。

對紀念碑原狀的全面改造籌備了 18 年之久，其目的再次是為了簡化和減少當今建築中常見的所有可有可無的設備。所有的操作、技術和服務要素和空間都與紀念碑分開。這棟建築的核心意義在於讓遊客體驗空間和光線，放慢腳步，靜靜沉思。由於該建築是一座享譽國際的現代建築紀念碑，因此該項目對翻新品質有很高的要求。許多建築元素都選擇了與最有價值的歷史建築相同的修復方法。

Given the monument’s place in the structure of Zlín, the building is also a light-landmark of the town. The possibility of using the building for reverential and social events or exhibitions will always be limited with regard to the ideological and architectural essence of the monument and the austere conditions of its interior environment. The dominant of the interior is a new model of the Junkers F 13 aircraft.

鑑於紀念碑在茲林市結構中的地位，該建築也是該市的燈光地標。考慮到紀念碑的意識形態和建築本質以及內部環境的嚴酷條件，利用這座建築舉辦紀念活動、社會活動或展覽的可能性始終有限。內部裝飾的主導是容克斯 F 13 型飛機的新模型。

主要建築師：彼得．維塞特卡

建築面積：680平方公尺

座落位置：捷克共和國

主要建材：混凝土．鋼材．玻璃

影像：BoysPlayNice

文字：TRANSAT architekti

整理：王韻如

Principal Architects：Petr Všetečka

Building Area：680㎡

Location：Zlín, Czech Republic　

Principal Materials：Concrete．Steel．Glass