建筑設(shè)計(jì)：磯崎新與安德魯·馬費(fèi)建筑事務(wù)所

博洛尼亞的城市整體條件和各類基礎(chǔ)設(shè)施的建設(shè)需求，促使我們嘗試以車站來串聯(lián)起一些相互交叉的城市設(shè)施。

鐵路將博洛尼亞市區(qū)分為兩個(gè)迥異的部分：南部是有著紀(jì)念性建筑和宮殿的老城；北部是工業(yè)園區(qū)（也稱“博洛尼那”）以及由丹下健三設(shè)計(jì)的博覽會（1967）。城市布局有著這樣的差異：北面是階段性開發(fā)的矩形結(jié)構(gòu)；而南面則是中心放射形的。新的車站將把過去與現(xiàn)代、中世紀(jì)老城與新的工業(yè)區(qū)結(jié)合起來。

我們必須將多樣的功能包含到一個(gè)項(xiàng)目里：高速地鐵站、新的地鐵線、車站與機(jī)場之間可10分鐘抵達(dá)的穿梭班車、出租汽車站、為旅客準(zhǔn)備的地下停車場。

建筑首層按照需要將被軌道和為中短途列車設(shè)置的站臺全部占滿。唯一的解決方法是提供一個(gè)橋型車站跨越這些功能并將它們統(tǒng)一起來。另一個(gè)棘手的問題是，要解決鄰近Soprintendenza大街的現(xiàn)存老車站與有著古老的加列拉門及羅馬時(shí)代城墻的九月二十日廣場之間的關(guān)系。

在這種古老與現(xiàn)代的關(guān)系之中，我們更希望保持兩種從建筑視角看截然不同的現(xiàn)實(shí)。面向舊城中心，老車站及周圍建筑物得以保留，而在它們后面，從第一條軌道開始，面向現(xiàn)代城市形成新的建筑形式。通過鐵路線，這種縱向的差異成為對城市歷史劃分的詮釋：一座雙面的建筑，老的在一邊，現(xiàn)代的在另一邊。

建筑介入的規(guī)模——背立面的長度可能會超過600m——這是在制造一種明顯具有侵略性的龐然大物，與周圍環(huán)境不成比例。為此，我們采用了分解的手法：將車站的體量變?yōu)椴⒅玫膸讞澖ㄖ?/p>

設(shè)計(jì)以矩形橋型車站的形式將老車站延伸了一倍，覆蓋過所有軌道，直抵博洛尼那區(qū)的后面。白色的矩形建筑獨(dú)立于現(xiàn)存建筑，包含了所有商業(yè)功能：售票、候車室、餐館和新車站的酒吧。從這里，你可以通過自動扶梯和電梯去乘高鐵。一系列的庭院和屋頂上長長的開口為室內(nèi)引入了自然光，照亮流通空間內(nèi)的旅客和下面的鐵軌。

在Marcato Navile區(qū)的新博洛尼亞市政廳前面，我們設(shè)計(jì)了一個(gè)通向車站的附加空間，這個(gè)由錯綜的形體構(gòu)成的綠島上有中央電站和一座運(yùn)動中心。設(shè)計(jì)競賽還規(guī)定建筑需包含會議廳、劇場、體育設(shè)施等公共設(shè)施，這是為了將車站從一個(gè)單獨(dú)的鐵路設(shè)施變?yōu)槌鞘械囊徊糠郑屗辉賰H僅只為出行服務(wù)，也為市民提供其他用途。

一個(gè)商業(yè)用途的玻璃管狀建筑將這個(gè)島和橋型車站連接起來，它面對著運(yùn)動的火車及博洛尼亞的群山。將新車站分解成一系列體塊，令這個(gè)項(xiàng)目比整體解決方案更柔和。整個(gè)序列與博洛尼亞的新城肌理相應(yīng)。

自然光是這個(gè)項(xiàng)目的另一個(gè)重要主題。橋型車站的內(nèi)院設(shè)有明亮的光柱，吸引著旅客。在內(nèi)部的雙層空間里，視覺效果與下層站臺緊密地結(jié)合在一起。各個(gè)院落里多種形式的開口讓它們有了鮮明的不同特色，也令自然光提升為這個(gè)項(xiàng)目的重要元素。

在站臺上等車時(shí)，人們能夠獲得日光，并看到天空。屋頂上長長的開口照亮了內(nèi)部的動線，它們的戲劇性張力也在內(nèi)部空間形成了各種各樣的演繹?！酰ㄈ~揚(yáng) 譯）

業(yè)主/Client: RFI – Rete Ferroviaria Italiana

設(shè)計(jì)時(shí)間/Time Schedule: 2007.06－2008.06

建設(shè)完成時(shí)間/End of Construction: 2015

設(shè)計(jì)團(tuán)隊(duì)/Design Team: Arata Isozaki, Andrea Maffei, Takeshi Miura, Stefano Tozzi, Hidenari Arai, Ryousuke Kamano, Haruna Watanabe, Rawad Choubassi, Atsuko Suzuki, Seisuke Higaki, Simone Utzeri, Giuseppe Micale, Nakanishi Minori, Simona De Nicolais, Filippo Biagi/Arata Isozaki & Andrea Maffei Associati, Stefano Tozzi/M+T & Partners結(jié)構(gòu)/Structure: Maurizio Teora (PD), Angelo Mussi(PM), Gabriele Del Mese, Luca Buzzoni, Francesco Uggetti, Giovanni Tecchio, Matteo Codignola,Salvatore Settecasi / Arup Italia s.r.l., Ove Arup &Partners International Ltd

機(jī)電工程/Mep Plants: Pietro Guarisco, Enrico Zara, Alice Quinterio, Nicola Carofano, Alfonso Mastrodicasa/Arup Italia s.r.l., Ove Arup & Partners International Ltd

消防安全/Fire Security Plants: George Faller, Luis Mulinelli/Arup Italia s.r.l., Ove Arup & Partners International Ltd

車站布局/Station Layout: Leszek Dobrovolsky, Julie-Ann Janko/Arup Italia s.r.l., Ove Arup & Partners International Ltd

安全系統(tǒng)/Security Program: Barbara Marino/Arup Italia s.r.l., Ove Arup & Partners International Ltd

施工設(shè)計(jì)/Construction Planning: Tom Honnywill/Arup Italia s.r.l., Ove Arup & Partners International Ltd

計(jì)算機(jī)制圖/Computer Graphic: Miller Hare

樓層面積/Floor Areas:

新車站/New station: 92 870m2

“Bovi Campeggi”區(qū)/Area“Bovi Campeggi”: 58 102m2“Ex Ie”區(qū)/Area“Ex Ie”: 6 710m2

“ex-OMA”區(qū)/Area“ex-OMA”: 10 318m2

材料/Materials:

混凝土，鋼，玻璃/Concrete, Steel, Glass

Bologna’s overall conditions as a city and the need to provide various infrastructures prompted us to develop the station as an attempt to string together a number of overlapping urban needs.

The rail line had always divided the city of Bologna in two very distinct parts: on the south, the Old Town with monuments and palaces; to the north,the industrial districts (so called“Bolognina”) and the Fair designed by Kenzo Tange (1967). The urban layout followed these differences: regulartory developments and rectangular to the north, and radio-centric focus to the south. The new station was to mend the past and the modern, the medieval Old Town and the new industrial districts.

We had to combine several functions in one project: the high-speed underground station, the new subway line, the“people mover”shuttle connecting the station with the airport in ten minutes, the taxi stops, the underground parking for travellers.

The ground floor was requested to be fully occupied by the tracks and platforms for medium distance trains. The only solution was to provide a bridge-station hovering over all these functions and unify them into a common denominator. Another delicate issue was the relationship with the existing old station bound by Via dell’Soprintendenza,and with Piazza XX Settembre characteized by the ancient gate Porta Galliera and the Roman walls.

In this relationship between ancient and modern, we preferred to keep the two realities separated from the architectural point of view.The old station and the surrounding buildings are preserved towards the old city centre; while on their back, from the first track on, new forms of architecture are developed towards the modern city.This longitudinal distinction is the interpretation of the historical division of the city by the railway line: a double-face building, old on one side and contemporary on the other.

The size of the intervention－on the back it could exceed 600 meters long－was in risk of creating an overtly invasive monolithic building,disproportionate to the context. For this, we have applied a process of de-composition: a volume of station juxtaposed by different buildings .

The old station is extended over the tracks with a rectangular bridge-station of the same length to reach the Bolognina district behind. A white rectangular volume, isolated from the existing buildings, contains all the commercial functions,the ticket counters, waiting rooms, restaurants and bars of the new station. From here you reach the high speed train tracks with escalators and lifts. A series of courtyards and long cuts on the roof bring natural light inside, illuminating the circulation spaces of the travellers and the tracks below.

In front of the new Bologna City Hall, in the Marcato Navile district, we have provided an additional space to the station, a kind of green island made by overlapped volumes containing a central power station and a sport centre. The competition also made provision to include facilities for public use such as congress halls, theatres, sport facilities, in order to transform the station from solely a railway infrastructure to a part of the city used by the citizens for other purposes in addition to travel.

The island and the bridge-station are connected by a commercial glass tube facing towards the moving trains and the hills of Bologna. The decomposition of the new station in this series of volumes led to the easing of the project compared to a monolithic solution. The sequence corresponds to the massing of Bolognina’s new urban fabric.

Natural light was another important theme of this project. The internal courtyards of the bridgestation create bright poles of light, an attraction for the travellers. In the internal double volumes,visual connection engages with the platform level below. Different types of openings are provided in the courts to accentuate their different characters and to stage natural light as the main element of this project.

In the train platforms, it’s possible to get natural light and see the sky while waiting for the train. The long cuts in the roof illuminate the paths of movement inside and their dramatic tension makes the internal space open to different interpretations.□