© Jure Živković
(C)jureŽivković
架构师提供的文本描述。巴卡尔文化中心位于亚得里亚海北部海岸，是一座历史悠久的城镇，20世纪70年代，它最初被建成为社区中心。社区中心在社会中发挥了重要作用，被指定在较小的社区传播文化。
Text description provided by the architects. Cultural Centre in Bakar, a historical town on the north Adriatic coast, was originally built as Community Centre during the 1970’s. Community Centre’s had a significant role in the society, designated for diffusion of culture in smaller communities.
社会主义政治文化环境的种种特点，促成了社会主义政治文化环境的扩展。(鼓掌)
Various characteristics of socialist political and cultural environment have contributed to their outspread.
文化作为社会上层建筑的一部分具有明确的意识形态地位，因此它有资源刺激不同形式的文化生产和社会活动。文化活动不仅限于艺术，还包括教育在内的其他活动。在社区中心定期举办终身学习课程。
Culture had a clearly defined ideological position as part of the social Superstructure, so it had resources to stimulate different forms of cultural production and social activity. Cultural activity was not limited to art alone, but it has encompassed other activities including education. Lifelong learning courses have been regularly organized in Community Centers.
© Jure Živković
(C)jureŽivković
在它旁边，传统的社交聚会在中心举行，在社会主义前社会中扮演着国家之家的角色。
Next to it, traditional social gatherings took place in the Centre, taking the role that National Houses had in the pre-socialist society.
所有这些都使社区中心成为被公认为社区中心的市镇中最重要的建筑物。由于这个原因，它们通常是作为超大型和具有纪念意义的建筑物建造的。
All of this has made Community Centers most important buildings in the municipalities, recognized as the center of a community. For that reason they have been usually built as oversized and monumental buildings.
© Jure Živković
(C)jureŽivković
社区中心通常是建立在战后工业化基础上的城市，对比了马克思主义文化理论的两个要素，即代表工业生产的基础和居住在社区中心的上层建筑。巴卡尔的建筑也遵循同样的模式。在20世纪70年代，这个中世纪城镇周围的风景被重工业所占据。社区中心的建筑似乎对邻近的工业工厂和港口基础设施的规模和形式作出了反应。大楼分为几个部分，典型的是当时的社区中心；中央活动厅、市政行政办公室、民间社会的房间、带咖啡馆的公共区域和一个保龄球馆。
Community Centers have been usually constructed in cities built on post-war industrialization, contrasting both elements of the Marxist cultural theory, Base, representing industrial production, and Superstructure, housed in Community Centre. The building in Bakar follows the same pattern. During the 1970’s, landscape surrounding the medieval town was dominated by heavy industry. Architecture of the Community Centre seemed to have responded to neighboring scale and form of industrial plants and port infrastructure. The building was divided in several parts, typical for Community Centers of the period; central hall for events, offices for municipal administration, rooms for civil societies and communal area with café and a bowling alley.
© Jure Živković
(C)jureŽivković
© Jure Živković
(C)jureŽivković
随着20世纪90年代的转型进程，该行业已经消失，但推动该中心开展活动的社会环境也消失了。与其他许多后社会主义地区一样，文化政策的改变已经耗尽了预算，留下的结构过于庞大，无法满足当代的需求。
The industry has disappeared with the transitional processes of the 1990’s, but so has the social environment that has enabled activity in the Centre. Like in many other post-socialist locations, the change in cultural policy has emptied the budget, leaving a structure too big for contemporary needs.
这座建筑逐渐衰败，大部分已经停用，直到2012年重建工程开始。
The building was gradually decaying and largely out of use, until the reconstruction works began in 2012.
修复方法是接受事实，这是一个超大的建筑，具有表现力的几何图形。
Restoration approach is embracing the fact this is an oversized building with an expressive geometry.
© Jure Živković
(C)jureŽivković
建筑物的内部清除了所有的隔断，创造了一个很大的覆盖空间，向周围的地形开放。没有一套固定的活动，不像建造的时期，这座建筑被认为是一个空壳，可以容纳各种程序。这是一个宽敞的有盖的公共空间，定期以市政活动和集会为殖民地，建筑墙将室内分成两部分，一边是音乐厅，另一边是一大片空地，包括车间、咖啡馆和当地非政府组织可利用的地区。
Interior of the building is cleared of all partitions, creating one big covered space, opening to the surrounding terrain. Without a fixed set of activities, unlike from the period when it was built, the building is conceived as an empty shell that can accommodate various programs. It is a generous covered public space, periodically colonized with municipal events and gatherings. Structural wall is dividing the interior in two, concert hall on one side and a large open space on the other, housing workshops, café and area available to local NGO’s.
© Jure Živković
(C)jureŽivković
建筑物的表现力形状，以前被金属面板覆盖，已经被简化为基本的几何图形，强调的是颜色。
Expressive shape of the building, previously covered with metal panels, has been reduced to basic geometrical shapes, emphasized with colors.
最近，邻国里耶卡被选为2020年欧洲文化之都，这创造了一种新的环境和条件，文化代表了一个曾经强大的工业区进行自我改造的中介机构。文化中心为巴卡尔市提供了参加这些进程的机会。
Recent selection of the neighboring city of Rijeka as European Culture Capital for 2020, creates a new environment and condition where culture represents an agency for a once strong industrial region to reinvent itself. Cultural Centre offers to the city of Bakar an opportunity to take part in these processes.
Architects Randić and Associates
Location Bakar, Croatia
Category Cultural Center
Area 1555.0 sqm
Project Year 2016
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