建筑設(shè)計(jì)：希爾德與K建筑事務(wù)所

0505大樓改造翻修，慕尼黑工業(yè)大學(xué)，慕尼黑，德國(guó)

建筑設(shè)計(jì)：希爾德與K建筑事務(wù)所

1 外景/Exterior view

弗朗茨·哈特是戰(zhàn)后慕尼黑推行技術(shù)化建造的建筑師之一。作為建造專(zhuān)業(yè)的教授，他將自己對(duì)現(xiàn)代主義冷凈和功能化的闡釋傳授給了學(xué)生。哈特的磚建筑就是這一理念的證明。想要深入了解他的手法，可以去讀他的教材《磚構(gòu)造手冊(cè)》。他在慕尼黑工業(yè)大學(xué)校園里的研究所最近由希爾德與K建筑事務(wù)所進(jìn)行了全面的現(xiàn)代化翻修。結(jié)果，這座以表現(xiàn)主義再現(xiàn)的建筑略帶諷刺意味地向這位傳奇大師致敬。

1963年，哈特與維爾納·艾希貝格在一處街角建造了一座工廠般方正的混凝土建筑。為了滿足建筑的功能，兩樓采用了不同的混凝土框架體系來(lái)連接，之間有一道明顯的分界?？蚣芰⒅g的凹槽給了希爾德與K建筑事務(wù)所靈感，他們把結(jié)構(gòu)上的差異轉(zhuǎn)化為一種裝飾元素。分割新保溫磚立面的舊柱網(wǎng)上的扶壁被塑造成形式各異的豎直波浪，從而賦予了建筑一種懸垂的舞姿。波峰上的厚重磚垛由鋼支架托起——有些超長(zhǎng)的連桿還要特批。這些永久的伸縮帶隱藏在縫隙中。扶壁上閃亮的灰色面磚采用順接。中間的護(hù)墻則通過(guò)對(duì)比突出了磚浪呼嘯的氣勢(shì)與詭秘，直到屋頂邊緣才終止。這是古代哥特還是現(xiàn)代“哥特”？不管怎樣，能讓人想起原始立面的只有與墻面平齊的各式鋁窗了。

研究所的室內(nèi)在清空后進(jìn)行了改造。除了涂有咖喱黃的墻面之外都是素混凝土。天花上噴涂著炫目的金色。雖然現(xiàn)在這座建筑是經(jīng)濟(jì)系館，裸露的混凝土主梁卻顯露出這座工業(yè)大學(xué)的特征。兩層高的大廳中，新的樓梯為線性的功能空間帶來(lái)了華麗的間奏。兩樓間以前的分隔現(xiàn)在已經(jīng)封上，并安裝了多位藝術(shù)家設(shè)計(jì)的窗戶。這種手法不但強(qiáng)化了室內(nèi)高大空間的美觀效果，還可以營(yíng)造一種宗教氣氛。不過(guò)對(duì)于世人而言，經(jīng)濟(jì)不正是一種信仰么？（尚晉 譯）

項(xiàng)目信息/Credits and Data

客戶/Client: 巴伐利亞自治州/慕尼黑州第二建筑管理局/ Freistaat Bayern/Staatliches Hochbauamt München 2

建設(shè)周期/Construction Period: 2008 - 2013

使用面積/Usable Floor Area: 8300m2（主要使用面積/ Main usable area）

建筑用途/Building's Purpose: 教育（辦公室和教室）/ Education (offices and classrooms)

用磚類(lèi)型/Brick Type: 面磚/Facing bricks

攝影/Photos: Wienerberger AG/Michael Heinrich

2 立面細(xì)部/Details on the facade

Franz Hart was one of the Munich architects who championed technically sound construction in the post-war years. As a professor of building construction, he passed his sober, functional interpretation of modernism on to his students. Hart's brick buildings stood as proof positive of his approach; whoever desired a more in-depth analysis could consult his textbook "Brick: a Technical Handbook". His institute building on the campus of the Technical University of Munich has recently been thoroughly renovated and modernised by Hild und K. The resulting, expressionistically reformulated architecture could be viewed as an ironic homage to the legendary master.

In 1963, Hart, together with Werner Eichberg, built an industrial-looking, angled concrete structure on a street corner. In accordance with the building's function, its wings were composed of two different adjoining concrete framework systems, with a marked break between them. This recess between the frame uprights inspired Hild und K to reinterpret the structural differential as a decorative element. The buttresses in the old column grid that divide the new insulated brick facade are shaped into varying vertical wave patterns, lending the building the dynamic look of a suspended dance motion. The considerable massing of the brick bulges formed at the wave crests is braced with steel brackets; in individual cases the unusually long tie-rods required special permits. Tucked into hollowed-out seams, the permanently elastic bands remain invisible. The shiny grey facing bricks of the buttresses are laid in a stretcher bond. The livelier parapets between provide a contrast and serve to enhance the eerily soaring momentum of the waves that appear to dissipate only at the roof's edge. Is this Gothic or "goth"? The only reminders of the original facade are the variously sectioned aluminium window frames set flush into the wall.

The interior of the institute building was gutted, modified and, aside from the wall surfaces painted a mustard-curry-pickle yellow, left to exhibit a raw concrete aesthetic. The gold-coloured spray-paint on the ceilings is a garish touch. Though the economics department now occupies this building, the exposed concrete girders proclaim in no uncertain terms that this is a technical university. A new staircase in a two-storey foyer interrupts the rectilinear functionality with a lascivious sweep. The old break at the juncture of the two building wings is now closed and outfitted with windows designed by various artists. Though this certainly enhances the aesthetics of the high space inside, it suggests an ecclesiastical purpose as well. For the layman, however, is economics not a matter of faith?

4 平面/Floor plan

3 內(nèi)景/Interior view

5 立面/Elevation

評(píng)論

鮑威：舊建筑改造往往可以帶來(lái)出人意料的驚喜。此案門(mén)廳弧線的樓梯、連接處的玫瑰窗，都成為原有建筑平淡謙和背景上舞動(dòng)的亮點(diǎn)。而此案給人帶來(lái)最大的驚喜還是在立面波浪柱體的營(yíng)造上：每個(gè)柱體在不同高度的突起，這樣一個(gè)不大的動(dòng)作一字排列下來(lái)，整體形成了微妙的光影效果。改造策略簡(jiǎn)單干凈，實(shí)現(xiàn)效果典雅豐富。

楊志疆：這是一個(gè)對(duì)建于1960年代的現(xiàn)代主義建筑進(jìn)行整體修繕和改造的項(xiàng)目。建筑師或許繼承了德國(guó)自門(mén)德?tīng)査梢詠?lái)的表現(xiàn)主義傳統(tǒng)，試圖采用曲線和色彩來(lái)激發(fā)原有建筑的活力?；掖u砌筑的豎向不同弧度的墻垛在消解原有立面刻板形象的同時(shí)，整棟大樓也被其連續(xù)的曲線波動(dòng)所軟化，令人想起達(dá)利的那幅“融化的時(shí)間”。某種意義上，這是用現(xiàn)代藝術(shù)的語(yǔ)言，來(lái)表達(dá)對(duì)建筑幾何性的一種“戲謔”。但建筑室內(nèi)弧線形的大樓梯、金色的屋頂以及局部使用的彩色玻璃，只是一種碎片化的點(diǎn)綴，而缺乏整體的設(shè)計(jì)邏輯。

Comments

BAO Wei: Renovation projects can always bring surprises that we would never imagine with from buildings. In this project, the spirit of the old building is uplifted by flamboyant elements such as curvy staircases in the lobby and rose windows at the building connection.The most striking one is the wavy pillars on the building facade. Nothing is simpler than a gentle bulge of each column at a different height, yet a rich orchestration of light and shadow is achieved when they are arrayed in a linear fashion on the facade. A rich and elegant result is achieved with a simple and clean strategy.

YANG Zhijiang: This is an overall repair and renovation project for a modern building built in the 1960s. Architects have inherited expressionist traditions since Mendelssohn, and have used curves and colors to stimulate the vitality of the original building. Grey brick pilasters with various vertical curves not only resolve the original rigid facade, but also soften the whole building with waving curves, reminding people of Dali's classic painting "Melting Time". In a certain sense, the style used in this building is inspired by the language of modern art and a desire to add some "playfulness" to the building's geometry. However, the interior large-scale curving staircase, golden roof, and the topical use of stained glass, are examples of fragmented decoration and show a lack of holistic design logic.

Conversion and Refurbishment of Building 0505, Technical University of Munich, Munich, Germany, 2013

Architects: Hild und K Architekten BDA

6 內(nèi)景/Interior view