建筑設(shè)計(jì)：K2S建筑師事務(wù)所

維納博艮特別獎(jiǎng)：帕西托爾尼酒店與會(huì)議中心，赫爾辛基，芬蘭

建筑設(shè)計(jì)：K2S建筑師事務(wù)所

1 外景/Exterior view

當(dāng)一組不同時(shí)期建成的建筑物需要用另一座建筑來整合的時(shí)候，人們確實(shí)有足夠的理由質(zhì)疑它最終會(huì)變成什么樣子——其結(jié)果將是不可避免的雜亂無章，還是新增部分能夠成為協(xié)調(diào)當(dāng)代與歷史要素的典范，且毫不掩蓋其他部分的光芒？芬蘭雜志《方舟》在報(bào)道這個(gè)項(xiàng)目如何對(duì)過去的赫爾辛基工人之家進(jìn)行改造與擴(kuò)建，并把它變成一座酒店與會(huì)議中心時(shí)，回憶起了伍迪·艾倫筆下的人物萊奧納德·西力——他們發(fā)現(xiàn)這個(gè)建筑綜合體，也同樣具有這種能夠改變外在特征、卻無需犧牲自身性格的能力。

這個(gè)項(xiàng)目如果用更平實(shí)的語言來描述，即原來的建成于1908年、立面采用了堅(jiān)硬花崗巖飾面的卡爾·林達(dá)爾大樓，連同其后期擴(kuò)建的部分，在平面上共同形成了一個(gè)U字形，占據(jù)了市區(qū)中一個(gè)街區(qū)的空間。加上現(xiàn)在弧度柔和的曲線加建部分，整座建筑側(cè)向延伸進(jìn)了內(nèi)部的庭院。從街道上看，人們僅能由一些非常微妙的細(xì)節(jié)辨認(rèn)出這座建筑經(jīng)過了改造。只有建于1950年代的辦公樓部分，非常友好地用玻璃敞開了部分立面，并在其中容納了接待處、入口大廳和酒吧。

真正經(jīng)歷了驚人的改造的正是后部的中庭區(qū)域。鋪地上巨大的“光池”表明了建筑師對(duì)整個(gè)場地的利用。這些玻璃鑲嵌的部分照亮了下方會(huì)議室區(qū)域的休息大廳。擴(kuò)建部分的立面則以一種類似的有機(jī)形式向上延伸。象牙色的磚墻猶如超大尺寸的蕾絲紋樣。圓弧形的活動(dòng)窗、甚至陽臺(tái)，都是都市酒店中非常罕見的設(shè)計(jì)，很有特色。安裝在封閉外墻前面的打孔立面構(gòu)件能起到屏幕的作用，在白天，閃爍的光線透射進(jìn)房間，在夜間則像燈籠一樣發(fā)光。類似涼廊的一個(gè)個(gè)窗洞則毫不猶豫地打破了立面上連續(xù)的蕾絲紋樣。表面透空的白色磚墻及其獨(dú)特的砌筑工藝經(jīng)過了特別的設(shè)計(jì)制作，由結(jié)構(gòu)柱與鋼筋進(jìn)行固定。大部分外圍結(jié)構(gòu)都是磚砌的?！拔覀兏械剑苯ㄖ焸冋f，“這就是新的翼樓應(yīng)該使用的材料，耐久堅(jiān)固。我們從磚墻應(yīng)與周圍建筑相協(xié)調(diào)的角度出發(fā)，挑選了磚的顏色與肌理?！?/p>

酒店的客房分布在整個(gè)建筑綜合體中，氣氛各不相同，彼此之間形成了優(yōu)雅的對(duì)比與轉(zhuǎn)換關(guān)系。這與設(shè)計(jì)意圖相吻合，也就是要在尊重受保護(hù)的歷史建筑的同時(shí)，將它們變?yōu)橐粋€(gè)具有當(dāng)代特征、激動(dòng)人心的整體。（徐知蘭 譯）

項(xiàng)目信息/Credits and Data

客戶/Client: HWA赫爾辛基工會(huì)/約爾瑪·貝爾格霍爾姆/ HWA Helsinki Workers Union/Jorma Bergholm

建設(shè)周期/Construction Period: 2010. 02 -2012.06

使用面積/Usable Floor Area: 13300m2

建筑用途/Building's Purpose: 酒店與會(huì)議中心/Hotel and conference centre

用磚類型/Brick Type: 面磚/Facing bricks

攝影/Photos: Wienerberger AG/Marko Huttunen

2 夜景/Night view

When an ensemble of structures of various eras is joined by yet another building, one might reasonably wonder which way things will go. Will the result be a veritable cacophony of randomness, or might the addition do an exemplary job of rounding out the now-historic without obscuring other contributing elements? Writing about the conversion and expansion of the former Helsinki Workers' House to a hotel and conference centre, the Finnish magazine ARK compares the project to Woody Allen's Leonard Zelig: the ensemble, it finds, has Zelig's ability to change identity without sacrificing character.

The original 1908 Karl Lindahl building with its solid granite facades and its subsequent extensions takes up a city block. The gently curved extension steps into its inner courtyard. From the street, just a few subtle details indicate that something has changed. The 1950s office building gives the first clue. It is opened up invitingly with a glass facade behind which sit the reception, lobby and bar.

But it is in the rear courtyard area that one experiences the astounding transformation. Large "light ponds" let into the pavement indicate that the whole site has been changed. These glass inserts illuminate the foyers of conference rooms below. The facade of the extension lofts up from the courtyard level in a similarly organic language. Consisting of ivory-coloured bricks, it resembles oversized lacework. This curvy wing sports windows and even balconies, an unusual feature in urban hotels. The perforated brick facade hangs in front of the weather wall of the building and acts as a screen, projecting the play of light into rooms during the day and glowing like a lantern at night. Loggia-like openings boldly break the lacelike facade. The white perforated bricks for this distinctive configuration were specially made. They are fixed with bars and steel cleats. Most of the surrounding structures are made of brick. "We felt," say the architects, "that was just the right, long-lived material for the new wing. We chose colour and texture in such a way that the brick harmonises with the neighbouring buildings."

The hotel's guest rooms are located throughout the ensemble of buildings, resulting in a deliberate shift in atmosphere from one to the other. The intention of respecting the historically listed buildings while bringing them together into a contemporary, exciting whole is clear.

評(píng)論

崔愷：北歐的氣候?qū)ㄖ兄鴺O大的影響。厚重的磚墻和溫暖的木窗，既要抵制嚴(yán)寒的長夜，也會(huì)透出溫暖的燈光，好像雪夜里穿著厚皮襖的老人手里捧著紅紅的燭火，讓憂郁的眼中閃閃有光。而這個(gè)酒店卻像個(gè)穿著透孔毛衣的漂亮姑娘，風(fēng)雪中不忘展現(xiàn)亮麗的身姿，還在冰凍的大地上留下輕盈的足跡，表現(xiàn)出青春的魅力，這就是我初看到圖片時(shí)產(chǎn)生的聯(lián)想。細(xì)閱文稿，發(fā)現(xiàn)這個(gè)不大的房子的確是設(shè)計(jì)者獨(dú)具匠心之作。在這個(gè)小院中不僅要解決從工人宿舍到酒店的功能轉(zhuǎn)變，還要處理新舊建筑的協(xié)調(diào)關(guān)系，更要在咫尺方寸中巧妙地開拓地下空間。而更漂亮的花磚幕墻不僅是出于私密性的考慮，也將燦爛的陽光引入室內(nèi)，寒夜里暖暖的燈光更現(xiàn)出一種朦朧的美。尤其值得稱道的是象牙白色的磚砌筑的精巧構(gòu)造，用不銹鋼的洞口收邊形成鏡面映射，大大消弱了磚墻的體量感，遠(yuǎn)遠(yuǎn)望去如同包裹在曲面體上輕薄而松軟的表皮，十分迷人。相信一定會(huì)有助于緩解在漫漫長夜中那難熬的郁悶，這也應(yīng)該是北歐地域的一種新的特色吧。

楊志疆：在原有的歐洲城市常見的歷史街區(qū)的圍合中，該建筑以出人意料的曲線和流動(dòng)的形體完成了帕西托爾尼酒店的最后一塊拼圖。橢圓形的采光口在為地下空間帶來光線的同時(shí)，又如水滴般浸潤著不大的庭院。白色的磚塊在這里創(chuàng)造出如金屬般輕質(zhì)的、晶瑩剔透的透光表皮，這使得整組建筑充滿了戲劇性。輕與重在這一空間中使人產(chǎn)生了幻覺，它們?cè)瓉砜梢曰ハ噢D(zhuǎn)化。磚筑所具有的表現(xiàn)潛能的確是無窮的。

4 內(nèi)景/Interior view

3 細(xì)部/Detail

Comments

CUI Kai: The Nordic climate has a great impact on this building. The thick brick walls and warmly colored wood windows not only resist the cold and long night but also reveal a warmth, like an old man with melancholy eyes wearing a heavy coat and holding a red candle that shines brightly in the snowy night. But the hotel also seems to have some of the charm of youth - the spirit of a pretty girl leaving light footprints on the snowy ground and wearing a holey sweater, wanting to show her beautiful figure even in the cold wind. That was the first image that came to my mind when I saw the photos of this project. After reading the manuscript more carefully, I realized that this small complex is indeed a unique and original work. Within the space of a small courtyard, the team not only had to solve the building's programmatic transition from worker's quarters to a hotel, they also had to deal coordinate the old and new buildings. The designers ingeniously created underground spaces below the constrained courtyard area. Their beautiful meshlike brick walls were added for privacy considerations but also choreograph the natural light entering the hotel rooms. The warm lighting emanating from the building on cold nights has a hazy beauty. Especially noteworthy is the delicate structure of the ivory white brick building with its mirrored stainless steel. The assembly greatly reduces the volume of the brick wall - like a light soft skin wrapped on a curved body. I believe that this building can only help its inhabitants ease the depression of long Scandinavian nights.

Yang Zhijiang: Sitting in a quiet historical district of this European city, the building completes the Paasition Hotel. It is a last piece of unexpected curves and a flowing form. Elliptical apertures in the floor of the courtyard not only bring daylight to underground spaces but also dot the small courtyard like water drops. The white brick screen used creates lightweight and glittering translucent skin that gives the whole building complex a touch of drama. Lightness and heaviness play off of each other and meld seamlessly creating magic in this space. The performance potential of brick is indeed infinite.

Wienerberger Special Prize Winner: Paasitorni Hotel & Conference Centre, Helsinki, Finland, 2012

Architects: K2S Architects Ltd.

5 局部立面/Partial elevation

6 天窗/Skylight

7 天窗/Skylight

8 二層平面/Floor 1 plan

9 首層平面/Floor 0 plan

10 總平面/Site plan

11 陽臺(tái)/Balcony

12 剖面/Section