尤哈那·拉赫蒂/Juhana Lahti

孫凌波 譯/Translated by SUN Lingbo

1 阿爾瓦·阿爾托，帕伊米奧療養(yǎng)院/Alvar Aalto, Paimio Sanatorium

2 埃里克·布呂格曼，卡伊諾住宅/Erik Bryggman，Villa Kaino

芬蘭建筑主要因兩點(diǎn)而聞名：實(shí)用而直接的現(xiàn)代主義和一種同自然之間的虛構(gòu)的關(guān)系。從阿爾瓦·阿爾托和他同時(shí)代——包括埃里克·布呂格曼（Erik Bryggman）和保利·布盧姆斯泰特（Pauli E.Blomstedt）在內(nèi)——的那些設(shè)計(jì)了80年前的芬蘭現(xiàn)代建筑作品的建筑師開始，就是如此。阿爾托在1930年代的設(shè)計(jì)，特別是完成于1933年的帕伊米奧療養(yǎng)院，布呂格曼設(shè)計(jì)的私人住宅和圖爾庫(kù)的公寓區(qū)，以及布盧姆斯泰特的教堂設(shè)計(jì)，都是芬蘭現(xiàn)代建筑早期階段的標(biāo)志。

在這之后，現(xiàn)代主義運(yùn)動(dòng)的主流和分支總是成為芬蘭建筑學(xué)習(xí)的對(duì)象。如此忠誠(chéng)于現(xiàn)代主義的原因，可以歸結(jié)到芬蘭自1917年獨(dú)立以來(lái)的社會(huì)發(fā)展，以及北歐人一貫的建筑和設(shè)計(jì)方向。

北部的地理位置和文化

在北歐的多種現(xiàn)代主義中，建筑是與眾多北部歐洲的文化特性交織在一起的。起決定性的因素是氣候和自然環(huán)境，同時(shí)還有從路德教而來(lái)、體現(xiàn)在北歐福利國(guó)家的一種共有的精神。這里值得一提的是，在當(dāng)?shù)孛癖娕c自然之間的關(guān)系形成的過(guò)程中，有一個(gè)關(guān)鍵因素——“自由信步”的理念，簡(jiǎn)而言之，即在一定限度內(nèi)，每個(gè)人都有權(quán)利進(jìn)入到自然環(huán)境及其所賦予的一切中去。這一傳統(tǒng)在那些居住環(huán)境與自然緊密相聯(lián)的地方廣為人知，在北歐國(guó)家更是根深蒂固。

波羅的海地區(qū)的自然環(huán)境十分富足、多樣，且尺度較小。內(nèi)陸中不計(jì)其數(shù)的湖面形成了廣闊的水路。芬蘭被稱為“千島之國(guó)”。實(shí)際上可以說(shuō)，芬蘭的自然環(huán)境充滿了各種獨(dú)特的場(chǎng)所。我們沒有一望無(wú)際的海岸沙灘或巨大的高差，但是，我們擁有河、湖和群島。多樣且無(wú)所不在的水陸交替，為芬蘭的自然環(huán)境提供了一種韻律。這種韻律既是視覺上的，也是精神上的。此外，四季的變換——溫暖明亮的夏季和寒冷多雪的冬季——強(qiáng)化了景觀的多變，對(duì)自然空間的應(yīng)用有著顯著影響。

關(guān)于芬蘭建筑

前文所述都與芬蘭人所認(rèn)知的好建筑密切相關(guān)。在這里，成為好建筑的關(guān)鍵因素是同地段或場(chǎng)所的聯(lián)系，及其空間體驗(yàn)。

首先，成為好建筑要尊重地段及其歷史，無(wú)論它是在自然環(huán)境里還是在城市之中。以阿爾瓦·阿爾托為代表的1930－1960年代的芬蘭建筑師，一貫堅(jiān)持在項(xiàng)目進(jìn)程中對(duì)地段上的樹木加以保護(hù)。這是讓自然成為建筑院落一部分的方式之一。在這個(gè)時(shí)代，區(qū)域劃分成為城市規(guī)劃的一部分。在郊區(qū)規(guī)劃中，居住區(qū)同自然綠色區(qū)域的聯(lián)系尤為重要。對(duì)歷史建筑遺產(chǎn)的評(píng)估是近年城市規(guī)劃中的一種現(xiàn)象。歷史性木構(gòu)建筑作為現(xiàn)代化發(fā)展中被忽視的一面，在1970年代的芬蘭城市中被大量摧毀。破壞的瘋狂在那之后平息下來(lái)，但事情還未完全改變。數(shù)年過(guò)去之后，現(xiàn)代建筑也已經(jīng)成為我們建筑遺產(chǎn)的一部分。同樣，歷史性的城市環(huán)境現(xiàn)在也被認(rèn)為是值得保留的。在芬蘭，并不存在像芬蘭南部鄰國(guó)愛沙尼亞首都塔林所出現(xiàn)的那種歷史建筑豎向擴(kuò)建的案例。類似的一個(gè)啟示性案例就是關(guān)于收錄在本期專輯中的ALA建筑師事務(wù)所的“云城市”設(shè)計(jì)的論戰(zhàn)。

第二，它把建筑緊鄰的環(huán)境視為建筑的延伸和整體建筑設(shè)計(jì)的一部分。進(jìn)入一棟建筑的路徑和從室內(nèi)看到的室外景觀，是建筑及其體驗(yàn)的一個(gè)特別重要的部分。讓自然光線進(jìn)入建筑是現(xiàn)代建筑中的一個(gè)普遍理念，在我們這個(gè)冬季只有極短時(shí)間寶貴日照的北緯度地區(qū)尤為受歡迎。上面提到過(guò)的對(duì)一個(gè)地段或場(chǎng)所的特別強(qiáng)調(diào)，與建筑的特色緊密相關(guān)。對(duì)于建筑周圍景觀視野的細(xì)致考量，則會(huì)將建筑設(shè)計(jì)與地段和周圍自然環(huán)境聯(lián)系在一起。完成于1957年、由海基·西倫（Heikki Siren）和凱亞·西倫（Kaija Siren）設(shè)計(jì)的Otaniemi禮拜堂是一個(gè)著名的案例。接近和離開一棟建筑的方式在創(chuàng)造空間體驗(yàn)的過(guò)程中扮演著重要角色。與此相關(guān)的案例是亞梵拓建筑師事務(wù)所設(shè)計(jì)的圣勞倫斯禮拜堂。該禮拜堂處在一個(gè)歷史性的環(huán)境之中，設(shè)計(jì)的精華在于接近建筑、進(jìn)入建筑和離開它進(jìn)入教堂庭院的一系列運(yùn)動(dòng)。

第三，它包含低密度居住的理想，這與芬蘭人口極為稀少的現(xiàn)實(shí)有關(guān)。在這方面，芬蘭在城市規(guī)劃中的建筑文化，同一些國(guó)際大都市或人口稠密區(qū)域差別很大。這種理想在今天日漸稠密的城市環(huán)境中如何實(shí)現(xiàn)是具有爭(zhēng)議的，但是，芬蘭人仍把自然環(huán)境視為他們城市的一部分，并對(duì)高層建筑持有懷疑態(tài)度。對(duì)于自然環(huán)境的偏愛在1950年代建于赫爾辛基區(qū)域的“森林郊區(qū)”項(xiàng)目中有所體現(xiàn)。其中一個(gè)在塔皮奧拉，依據(jù)地形曲線布局的低層公寓街區(qū)坐落在樹林中，地塊間也沒有圍墻分隔。高層建筑目前是赫爾辛基區(qū)域的一個(gè)活躍的討論話題，“云城市”項(xiàng)目就是這樣的案例之一。反對(duì)高層建筑的論據(jù)，包括對(duì)歷史性城市空間的保護(hù)和自然光線的重要性這兩方面。人們不希望高層建筑超越、破壞目前的天際線，并對(duì)城市的其他部分產(chǎn)生遮擋，特別是在太陽(yáng)幾乎很少升到地平線以上的冬天。

公共建筑的重要性

包括公共醫(yī)療、公共圖書館、教育體系和國(guó)有教堂在內(nèi)的各種各樣的公共建筑，與福利國(guó)家服務(wù)有著重要關(guān)聯(lián)。

大部分芬蘭人都是路德教教徒。在基督教的路德教會(huì)傳統(tǒng)中，教堂建筑少有裝飾，多用于安靜的禮拜儀式。禮拜堂是為葬禮儀式而設(shè)計(jì)的更小型的建筑。最新的宗教建筑強(qiáng)調(diào)了集體性及傳統(tǒng)的建造方式并把自然作為一種視覺元素。

亞梵拓建筑師事務(wù)所設(shè)計(jì)的圣勞倫斯禮拜堂是將現(xiàn)代建筑傳統(tǒng)升級(jí)而滿足當(dāng)代需求的一個(gè)范例。雅致而獨(dú)特的材料選擇和采光方案，使這個(gè)建筑藝術(shù)作品近乎完美，同時(shí)，令其在現(xiàn)代芬蘭禮拜堂建筑的鏈條中占據(jù)了一席之地。在此之前著名的禮拜堂建筑還包括位于土爾庫(kù)、在同一塊墓地園區(qū)中相對(duì)而立的由埃里克·布呂格曼設(shè)計(jì)的復(fù)活禮拜堂（1941）和佩卡·皮特凱寧（Pekka Pitk?nen）設(shè)計(jì)的神圣十字禮拜堂（1967）。

現(xiàn)代建筑傳統(tǒng)也體現(xiàn)在薩納克森納胡（Sanaksenaho）建筑師事務(wù)所設(shè)計(jì)的位于希文薩洛的圣亨利基督教會(huì)藝術(shù)禮拜堂（2005）和郎安溪－海希萊（Lassila Hirvilammi）建筑師事務(wù)所在于韋斯屈萊設(shè)計(jì)的庫(kù)奧卡拉教堂。這些項(xiàng)目的室內(nèi)方案會(huì)令人聯(lián)想到埃羅·埃里凱寧（Eero Eerik?inen）和奧斯莫·西帕里（Osmo Sipari）設(shè)計(jì)的薩拉教堂（1950）和維爾約·雷維爾（Viljo Revell）設(shè)計(jì)的位于康阿斯阿拉的Vatiala禮拜堂（1960）。

學(xué)校和托兒所是社區(qū)建筑的另一類案例。目前的芬蘭教育體系是全世界最優(yōu)秀的體系之一，這可能是芬蘭作為福利國(guó)家的最大成就。每個(gè)人從托兒所開始都有同等的教育機(jī)會(huì)。教育體系也為保持芬蘭的文化凝聚力做出了貢獻(xiàn)。對(duì)于舒適的教學(xué)設(shè)施的設(shè)計(jì)傳統(tǒng)由來(lái)已久。學(xué)校的體育場(chǎng)一直被作為整體設(shè)計(jì)的一部分加以考慮，這對(duì)于托兒所來(lái)說(shuō)尤為重要，因?yàn)閼敉庥螒蚴莾和粘Ｉ畹囊粋€(gè)重要部分。安全的體育場(chǎng)地由此應(yīng)該成為兒童建筑的一個(gè)組成部分。位于緊鄰赫爾辛基的埃斯坡的兩棟建筑——維斯塔斯建筑師事務(wù)所設(shè)計(jì)的克蔻加爾維綜合學(xué)校（2010）和JKMM建筑師事務(wù)所設(shè)計(jì)的薩烏娜拉赫蒂兒童之家（2011），是這類建筑中的典范。

適度居住的理念

一個(gè)民主社會(huì)的悠久傳統(tǒng)體現(xiàn)在住宅的形式和理想上。讓每個(gè)人都擁有高品質(zhì)的住宅，已經(jīng)成為北歐福利國(guó)家意識(shí)形態(tài)的核心。與此相關(guān)的案例是低租金的小型學(xué)生公寓。通常，一些最優(yōu)秀的建筑師會(huì)通過(guò)建筑競(jìng)賽獲得委托設(shè)計(jì)學(xué)生住宅。這樣的案例包括受到1950年代北歐居住建筑啟發(fā)的由Playa建筑師事務(wù)所設(shè)計(jì)的位于維基的HOAS學(xué)生公寓（2010），以及布魯諾&毛努拉（Brunow & Maunula）事務(wù)所設(shè)計(jì)的位于Kumpula、作為喧囂城市中寧?kù)o一隅的HOAS學(xué)生公寓（2007）。

從另一個(gè)角度來(lái)看，民主傳統(tǒng)和迄今為止的人與其環(huán)境的自然關(guān)系，都同大多數(shù)芬蘭人所熟悉的夏季住宅的傳統(tǒng)有關(guān)。這一傳統(tǒng)也與我們的自然景觀密切相關(guān)——正如上文提到的，我們的自然景觀中包含著無(wú)以計(jì)數(shù)的場(chǎng)所。夏季住宅案例中值得一提的是那些在公共娛樂(lè)區(qū)域的租賃地塊上、對(duì)所有人開放的夏季別墅，它們最初是為窮困民眾設(shè)計(jì)的。這是“信步自由”理念的一種有趣的延伸，僅在赫爾辛基一地，就有數(shù)千個(gè)這樣的夏季別墅。在21世紀(jì)之初，這一傳統(tǒng)通過(guò)新一代城市居民的發(fā)掘而重獲新生。維斯塔斯建筑師事務(wù)所設(shè)計(jì)的位于Lauttasaari的“城市別墅”，實(shí)現(xiàn)了對(duì)傳統(tǒng)概念的一次完美的更新。夏季別墅廣受歡迎，人們還為此規(guī)劃了新的服務(wù)區(qū)域。比如，夏季別墅區(qū)就被包括在了赫爾辛基東部的新居住區(qū)——Kruunuvuorenranta的規(guī)劃之中。

本期專輯中所展現(xiàn)的很多項(xiàng)目都體現(xiàn)了上文提到的特點(diǎn)。它們大多通過(guò)建筑設(shè)計(jì)競(jìng)賽而實(shí)現(xiàn)。在芬蘭，建筑設(shè)計(jì)競(jìng)賽的傳統(tǒng)可以追溯到19世紀(jì)晚期。競(jìng)賽是找到最佳可能方案的一種有效的方式，這也是我們民主文化的一種體現(xiàn)——每個(gè)人都有機(jī)會(huì)展現(xiàn)他們的才能。在本文中，我對(duì)專輯中的某些項(xiàng)目進(jìn)行了較為詳盡的說(shuō)明。在關(guān)系到住宅形式和公共空間設(shè)計(jì)的項(xiàng)目中，傳統(tǒng)與激動(dòng)人心的當(dāng)代方案相結(jié)合而形成了芬蘭建筑的特色。而所有的項(xiàng)目都或多或少地帶著驕傲與尊敬，展現(xiàn)了對(duì)于北歐現(xiàn)代建筑傳統(tǒng)的認(rèn)知。□

Finnish architecture is renowned primarily for two things: pragmatic and no-nonsense modernism and a mythical relationship with nature. This has been the case ever since Alvar Aalto and his contemporaries, including Erik Bryggman and Pauli E. Blomstedt, designed the first masterpieces of Finnish modern architecture some 80 years ago. Aalto's 1930s designs, especially the Paimio Sanatorium completed in 1933, Bryggman's private houses and blocks of flats in the city of Turku, and Blomstedt's church designs, most importantly the Kannonkoski Church completed in 1938, mark the early stage of Finnish modern architecture.

Modernism has subsequently been the movement that the mainstream, and often also the alternative, Finnish architecture has leant on. The commitment to modernism is related to Finland's social development since it gained independence in 1917 and the Nordic approach to architecture and design.

Northern Location and Culture

In the Nordic variety of modernism, the architecture is interwoven with many Northern European cultural traits. The determining factors at play are climate and natural surroundings, but also a communal spirit, drawing on Lutheranism, which has been embodied by the Nordic welfare state. A key characteristic in the formation of the local people's relationship with nature, which is worth mentioning here, is the idea of "freedom to roam", which, in a nutshell, means that everyone has the right to access the natural environment and what it offers,within certain limits. This tradition, which is known globally by people who live in close connection with nature, has stood its ground in the Nordic countries.

The natural environment in the Baltic Sea region is very rich, varied and small in scale. The inland, again, features an endless number of lakes that form vast waterways. Finland is known as the land of a thousand lakes. In fact, you can say that Finnish nature is filled with unique places. We do not have endless sandy beaches by oceans or particularly great differences in height. Instead, we have rivers, lakes and archipelagos. This varied and omnipresent alternation of land and water provides a rhythm to the Finnish natural landscape. This rhythm is both visual and spatial. In addition, the changing of the four seasons, with warm and light summers and dark, snowy and cold winters when the waterways freeze, accentuates the variability of the landscape and has a considerable effect on the use of natural space.

On Finnish Architecture

I see that all the above is closely associated with what people perceive as good architecture in Finland. Being tied to a site or place and spatial experience are key issues here.

Firstly, what is considered good architecture is linked with having respect for a site and its history, whether in a natural or an urban setting.The leading Finnish architects from the 1930s to the 1960s, most importantly Alvar Aalto, consistently insisted that the trees on building sites were to be protected against damage throughout the projects.This was a way to allow nature to be a concrete part of the buildings’ yard areas. During this era,zone thinking became part of urban planning, and the link between residential areas and natural green zones assumed particular prominence in suburban planning. In urban planning, having an appreciation for historic building stock is a phenomenon of recent decades. As a flip side to the development of modernisation, the 1970s still saw numerous

3 保利·布盧姆斯泰特，Kannonkoski 教堂/Pauli E. Blomstedt，Kannonkoski Church

4 ?；蛣P亞·西倫，Otaniemi禮拜堂/Kaija and Heikki Sirén，Otaniemi Chapel

historic wooden buildings pulled down in practically all Finnish cities. The demolition frenzy has since subsided, although things have not changed completely. Over the decades, modern architecture,too, has been accepted as part of our built heritage.Similarly, historic urban environments are now considered worth preserving. In Finland, there are no cases of vertical expansion of historic buildings,as, for example, in Tallinn, the capital of Estonia,Finland's southern neighbour. A revealing example of the situation is the controversy over the Cloud City design by ALA Architects, which is presented in this magazine.

Secondly, it is linked with viewing a building's immediate surroundings as its expansion and an integral part of the overall architectural design. The entry into a building and the views from inside are a particularly important part of the architecture and the way it is experienced. Allowing natural light into a building, an idea prevalent in modern architecture, was enthusiastically welcomed at our northern latitudes, where there are precious few hours of sunlight in the wintertime. Placing special emphasis on a site or place, which I mentioned above, is closely related to architectural character.The carefully thought-out views that open onto the building's surroundings tie it to the site and the surrounding nature to the architectural design. A well-known example of this is the Otaniemi Chapel by Heikki Siren and Kaija Siren, completed in 1957.The approach to and exit from a building play an important role in creating a spatial experience. A case in point is the Chapel of St. Lawrence designed by Avanto Architects. Located in a historical setting,the essence of the chapel design is the movement towards the building, into it and back out of it into the churchyard.

Thirdly, it includes the ideal of low-density living, which is related to the fact that Finland is a very sparsely populated country. In this respect, the Finnish architectural culture in urban planning differs considerably from the situation in international metropolises or other densely populated areas. How this ideal is realised in today's increasingly dense urban environment is arguable,but Finns still value natural environments as part of their cities and remain sceptical about high-rise buildings. The appreciation of natural environments shows, for example, in the“forest suburbs” built in the 1950s in the Helsinki region. One of these is Tapiola, in which fairly low blocks of flats sit amidst trees, laid out according to the contours of the terrain and without fences separating the plots.High-rise construction is presently a topic of lively discussion in the Helsinki region, and the Cloud City project is one example of this. The arguments

5 里克·布呂格曼，復(fù)活禮拜堂/Erik Bryggman，Resurrection Chapel

6 佩卡·皮特凱寧，神圣十字禮拜堂/Pekka Pitk?nen，Chapel of Holy Cross

against high-rises include the preservation of historic urban spaces and the importance of natural light: people do not want tall buildings to rise above the current skyline for fear of changing the cityscape and overshadowing the rest of the city,especially in the winter, when the sun barely rises above the horizon.

The Signifi cance of Public Buildings

Various public buildings are importantly linked to the welfare state services, which encompass public health care, public libraries, the education system and the state church.

Most Finns are members of the Lutheran church. In the Lutheran tradition of Christianity,church buildings feature little ornamentation and they are mostly used for silent worship. Chapels are smaller buildings that are designed for funeral ceremonies. The more recent religious buildings highlight communality, nature as a visual element,and traditional building methods.

The Chapel of St. Lawrence by Avanto Architects is a fine example of how the heritage of modern architecture has been updated to meet contemporary needs. The elegant and unique material choices and lighting solutions perfect this architectural work of art, which at the same time takes its place in the chain of modern Finnish chapel buildings, including the Resurrection Chapel by Erik Bryggman (1941) and the Chapel of the Holy Cross by Pekka Pitk?nen (1967), which form a pair on the same cemetery site in the city of Turku.

The heritage of modern architecture is also shown in the St. Henry's Ecumenical Art Chapel in Hirvensalo by Sanaksenaho Architects (2005) and the Kuokkala Church in Jyv?skyl? by Lassila Hirvilammi Architects (2009). The interior solutions of these projects demonstrate the architects' familiarity with the designs of the Salla Church by Eero Eerik?inen and Osmo Sipari (1950) and the Vatiala Chapel in Kangasala by Viljo Revell (1960).

Schools and nurseries are another example of architecture designed for communities. The current Finnish education system is among the best in the world and is perhaps the greatest achievement of the Finnish welfare state. Everyone is given equal opportunities in education, starting from the nursery. The education system also plays a role in maintaining cultural cohesion in Finland. The design of comfortable facilities that support teaching has a strong tradition. School playgrounds are considered to be part of the overall design, which is especially important with nurseries, as playing games outside is a significant part of the children's day. Safe playgrounds should therefore be an integral part of buildings for children. Fine examples of designs in this category are the Kirkkoj?rvi School by Verstas Architects (2010) and the Saunalahti Children's House by JKMM Architects (2011), both located in Helsinki's neighbouring city of Espoo.

The Ideal of Modest Living

Having a long-lasting tradition of a democratic society shows in housing forms and ideals. Making high-quality housing available for everyone has been at the core of the Nordic welfare state ideology.A case in point is the small and low-rent student flats. Often, some of the best architects are hired for the design of student housing, and projects are subject to architectural competition. This was the case with the HOAS student housing unit in Viikki by Playa architects (2010), which was inspired by the 1950s Nordic residential architecture, and the HOAS student housing unit at Intiankatu 20 in Kumpula by Brunow & Maunula (2007), which is designed to function as a quiet pocket in a noisy urban setting.

From another angle, the democratic tradition and the, as yet, natural relationship between people and their environment is linked to the tradition of summer residences, with which most Finns are familiar. The tradition is also closely related to our natural landscape, which, as I mentioned above,is seen to contain countless places. A noteworthy example of summer residences designed to be available to all are the summer cottages that are located on rented plots in public recreation areas and that were originally designed for the underprivileged. This is an interesting extension to the right of freedom to roam, and there are thousands of summer cottages like these in Helsinki alone. At the start of the 21st century, this tradition is enjoying a revival, as new generations of city

7 埃羅·埃里凱寧和奧斯莫·西帕里，薩拉教堂/Eero Eerik?inen and Osmo Sipari，Salla Church

8 維爾約·雷維爾，Vatiala禮拜堂/Viljo Revell. Vatiala Chapel

9 阿爾奈·艾爾維，維爾約·雷維爾等，塔皮奧拉東部郊區(qū)/Aarne Ervi Viljo Revell et al，Tapiola Eastern Suburb（1-9 由芬蘭建筑博物館提供/Photos from MFA）

residents have discovered it. The City Cottage in Lauttasaari by Verstas Architects (2010) is a superb update of the traditional concept. The summer cottages are sought after and new areas to accommodate them are being planned. As an example, summer cottage areas are included in the plan of Kruunuvuorenranta, a forthcoming new residential area in eastern Helsinki.

Many of the projects presented in this magazine reflect the characteristics mentioned above. A large number of them have been realised as a result of architectural competitions. The practice of architectural competitions has a long tradition that goes back to the late 19th century.Competitions are an effective way of finding the best possible solution but they also serve as a manifestation of our democratic culture, as everyone gets an opportunity to showcase their skills. In this article, I have highlighted specific projects to illustrate in more detail the issues discussed. The projects relate to the forms of housing and the design of communal spaces,in which traditions and exciting contemporary solutions meet in a way that is characteristic of Finnish architecture. Moreover, they all, to a greater or lesser extent, exhibit an awareness of the tradition of Nordic modern architecture, and they do so with pride and respect. □