哈爾沃·魏德·埃勒夫森，米爾扎·穆葉齊諾維奇/Halvor Weider Ellefsen, Mirza Mujezinovic

徐知蘭 譯/Translated by XU zhilan

定制：3種生態(tài)建筑學(xué)

哈爾沃·魏德·埃勒夫森，米爾扎·穆葉齊諾維奇/Halvor Weider Ellefsen, Mirza Mujezinovic

徐知蘭 譯/Translated by XU zhilan

挪威的許多城市在過去的40年間經(jīng)歷了持續(xù)不斷的轉(zhuǎn)變。進(jìn)入后工業(yè)時(shí)期，各種管制和政府控制逐步撤銷，這些新自由主義的手段與石油經(jīng)濟(jì)共同促生了日益官僚主義的建筑行業(yè)環(huán)境。然而，人們還是能辨認(rèn)出那些在設(shè)法滿足外部復(fù)雜條件的同時(shí)，仍然表現(xiàn)出建筑學(xué)特質(zhì)的項(xiàng)目。本文探討了量身定制的建筑設(shè)計(jì)方式如何在挪威的3種城市生態(tài)環(huán)境中展開的過程——即臨近大尺度水面的峽灣環(huán)境、在現(xiàn)有空間肌理中進(jìn)行中等尺度改造的城市環(huán)境、以及在城市郊區(qū)進(jìn)行小尺度住宅設(shè)計(jì)的山區(qū)環(huán)境。

挪威城市，建筑生態(tài)學(xué)，城市化

在最近的40年間，挪威經(jīng)濟(jì)經(jīng)歷了某種程度的持續(xù)增長過程。石油經(jīng)濟(jì)對發(fā)展產(chǎn)生了重要的推動(dòng)作用，從而影響了挪威的城市演進(jìn)過程。同時(shí)，后工業(yè)化進(jìn)程也與新自由主義的管制解除和政府戰(zhàn)略交織在一起。這些背景因素在建筑領(lǐng)域共同產(chǎn)生了數(shù)量豐富的建設(shè)項(xiàng)目，如濱水開發(fā)區(qū)的建設(shè)、對現(xiàn)有城市空間肌理進(jìn)行的更新、對舊工業(yè)綜合設(shè)施的改造，以及城市周邊別墅區(qū)建筑密度增加的過程等等。盡管從高度專業(yè)化的理論框架來審視，這些項(xiàng)目尺度不一、類型紛雜，它們卻仍有一些共同的特點(diǎn)——也就是，它們的建筑師除了需要應(yīng)對工藝和（建筑）工業(yè)體系的挑戰(zhàn)之外，還不得不展現(xiàn)出另一方面能力，以滿足（司法和法律上）越來越官僚主義的特權(quán)要求。盡管如此，我們還是能夠分辨出那些在挪威的特定城市環(huán)境下，在想方設(shè)法適應(yīng)外部的復(fù)雜條件、完成定制設(shè)計(jì)過程的同時(shí)，還能夠隱約顯現(xiàn)出建筑學(xué)特征的項(xiàng)目。本文探討了在這些設(shè)計(jì)項(xiàng)目中，為業(yè)主度身定制的方式是如何在3種具體的建筑生態(tài)學(xué)條件下逐一展開的——具體包括大型濱水區(qū)域的地產(chǎn)開發(fā)項(xiàng)目、在中等規(guī)模的現(xiàn)有城市環(huán)境的改造項(xiàng)目，以及在城市郊區(qū)進(jìn)行的小尺度住宅設(shè)計(jì)項(xiàng)目。

峽灣

也許，位于奧斯陸內(nèi)港的一處建于1980年代早期的阿克爾（Aker）工程集團(tuán)船舶制造廠可稱得上是挪威城市最有代表性的象征——巨大的石油平臺(tái)毗鄰?qiáng)W斯陸市政廳而建，而后者作為諾貝爾和平獎(jiǎng)?lì)C獎(jiǎng)典禮舉辦場所而聞名。自此之后，幾乎挪威的每座城市都啟動(dòng)了自己的濱水區(qū)域開發(fā)項(xiàng)目。這些項(xiàng)目的實(shí)施模型多少有些雷同——混合功能的項(xiàng)目地段通常會(huì)被高效迅捷地劃分為一些可控的小片地塊，并輔以高度清晰的空間表達(dá)方式。廣場和海濱木棧道的城市母題經(jīng)常出現(xiàn)，讓人印象深刻，其周邊又通常建有一座為富于創(chuàng)造力的消費(fèi)者特別設(shè)計(jì)的宏偉建筑。其中最典型的案例莫過于奧斯陸的小偷島和阿克爾碼頭，它們就建在過去的石油平臺(tái)上。

在類似的歌劇院區(qū)開發(fā)項(xiàng)目中，大尺度空間的表達(dá)方式則發(fā)生了微妙的變化。這個(gè)項(xiàng)目由挪威A-lab建筑師事務(wù)所、Dark建筑師事務(wù)所和荷蘭MVRDV建筑師事務(wù)所共同合作完成，設(shè)計(jì)用視線遮擋分析的方式確定了28hm2面積的建筑形態(tài)。景觀輪廓的概念和以城市的某些特定位置作為起點(diǎn)的景觀視廊分析被用作探討和確定建筑體量的依據(jù)。整個(gè)建筑體量被分割為若干可供開發(fā)的垂直條帶，彼此之間留有一定的開放空間，可供人們欣賞周邊的景觀和穿越場地使用——并由此形成了類似于條形碼的空間。為了讓項(xiàng)目被公眾和政府規(guī)劃部門所理解和接受，自然要素也被納入設(shè)計(jì)之中。因此，奧斯陸依峽灣而建、周邊環(huán)繞蔥郁山林的城市空間概念得到了保留。出于同樣的原因，這項(xiàng)策略最終在優(yōu)化項(xiàng)目開發(fā)效益方面也表現(xiàn)出了同樣優(yōu)秀的品質(zhì)，投資者們慕名而至，絡(luò)繹不絕。這些分區(qū)規(guī)劃會(huì)為項(xiàng)目在設(shè)計(jì)可控的范圍內(nèi)帶來各種變化多端的形式。除了一些相對保守的開發(fā)條件，區(qū)劃也提供了一些需要全新手段才能解決的主題開發(fā)內(nèi)容。其中，由挪威MAD建筑師事務(wù)所設(shè)計(jì)的住宅街區(qū)就屬于此類項(xiàng)目。這一地塊的規(guī)劃條件非常特殊——規(guī)定建筑外圍尺寸為7.8m寬（最窄處6m）、90m長、15層高。這座建筑的外形比例不禁讓人以為地塊是隨機(jī)剩余的空間，并聯(lián)想起一些在挪威之外其他國家的大規(guī)模城市聚集區(qū)才會(huì)出現(xiàn)的場景。此外，考慮到過去20年間發(fā)展的大規(guī)模住宅設(shè)計(jì)的理念，這個(gè)項(xiàng)目明顯偏離了人們通?？梢越邮艿臈l件。建筑物的每層樓共有6套住宅單元，分別圍繞3組電梯豎井周圍分布。盡管這個(gè)項(xiàng)目的規(guī)劃條件在整個(gè)區(qū)劃的框架內(nèi)、某種程度上以自覺自愿卻也有些武斷和強(qiáng)迫的方式形成，建筑師們還是成功地設(shè)計(jì)了各種集約化的住宅單元，并用相對高端的細(xì)部設(shè)計(jì)表達(dá)了建筑的品質(zhì)。

城市

在現(xiàn)有挪威城市肌理中進(jìn)行積極探索的建筑項(xiàng)目為數(shù)不多，“填充式”改造更新的城市保護(hù)項(xiàng)目是其中一種。過去已經(jīng)完成的此類項(xiàng)目包括建設(shè)在城市剩余空地上的中等規(guī)模住宅項(xiàng)目。它們通常是市政開發(fā)項(xiàng)目，建在20世紀(jì)早期工業(yè)化時(shí)代遺留下來的歷史建筑中——如手工作坊、鑄造廠、發(fā)電廠等。這些項(xiàng)目意義重大，因?yàn)樗鼈兪峭苿?dòng)人們“返回城市”的重要因素。在這些項(xiàng)目中，城市生活與文化項(xiàng)目都將成為城市在經(jīng)歷了長期的現(xiàn)代化進(jìn)程和現(xiàn)代主義思考之后進(jìn)行自身重建的媒介。

這些填補(bǔ)空間的項(xiàng)目滿載著人們的理想，無論是參與其中的建筑師還是開發(fā)商都感到雄心勃勃。此類項(xiàng)目中的一個(gè)經(jīng)典案例是帕克街5號(hào)（Parkveien 5）——它由KIMA事務(wù)所與開發(fā)商INFILL共同緊密合作完成（后者的業(yè)務(wù)范圍也主要關(guān)注這一類具體的中等尺度城市住宅項(xiàng)目）。在帕克街5號(hào)的項(xiàng)目中，建筑師采用了斯堪的納維亞地區(qū)舉世聞名的現(xiàn)代主義選材策略，并在此基礎(chǔ)上提出了城市聚居的概念，最終通過混凝土、木材和玻璃材質(zhì)的簡潔特質(zhì)和精心設(shè)計(jì)的固定節(jié)點(diǎn)細(xì)部構(gòu)造實(shí)現(xiàn)了這一設(shè)想?？紤]到KIMA事務(wù)所的許多成員曾是斯韋勒·費(fèi)恩（Sverre Fehn）過去的學(xué)生和雇員，出現(xiàn)這一狀況并不難想見。相對于這個(gè)在奧斯陸背景下顯得較為奢侈和不同尋常的項(xiàng)目，人們或許更容易被FuthArk事務(wù)所的克里斯蒂安·克羅格（Christian Kroghsgate）的住宅項(xiàng)目所打動(dòng)。這個(gè)由33個(gè)單元組成的住宅項(xiàng)目探索了模塊化生產(chǎn)的流程，以便最大程度地節(jié)約建筑成本。這一方式為建筑提供了在公共區(qū)域幾乎過度使用植被的條件下探索材料使用的可能性。在挪威的城市環(huán)境下，這個(gè)項(xiàng)目顯得很意思，因?yàn)樗O(shè)法使建筑變?yōu)榭梢苿?dòng)的狀態(tài)，由此在奧斯陸幾乎最為核心的區(qū)域建造起了人們消費(fèi)得起的高品質(zhì)住宅——由于大多數(shù)的住宅項(xiàng)目幾乎都為懶惰的建筑師和貪婪的開發(fā)商所要挾，這幾乎是不可能完成的任務(wù)。

The last forty years have been more or less a continuous economic boom in Norway. The oileconomy has initiated a significant developmental potential impacting the way Norwegian cities evolve. Simultaneously, the post-industrial processes conjoined with the neo-liberal deregulation and governance strategies. Such context has given rise to variety of building assignments like waterfront developments, infill interventions within the existing urban tissue, transformations of the former industrial compounds and densifications in the suburban villa carpet. What these projects have in common, despite the variation in scale is the complex reality of building defined by a highly professionalized framework: Besides the necessity to encounter the challenges of craftsmanship and industrial (building) systems, architects also have to show a capacity to fulfill increasingly more bureaucratic (juridical and legal) prerogatives. To build in social-democratic context defined by late-capitalism is demanding. Still, one may identify projects within the Norwegian urban condition that have managed to customize the external complexities while suggesting architectural particularity. This essay discusses how customization has unfolded itself within three specific building ecologies: the large-scale waterfront developments, the medium-scale interventions within the existing city and the small-scale residential projects on the urban periphery.

1 1970年代晚期的奧斯陸港口鳥瞰/Aerial photo of Oslo harbor, late 1970s（圖片來源/Courtesy: Oslo Kommune）

The Fjord

Perhaps the most emblematic image of the Norwegian urbanity from the early 1980s is the one of Aker Industries' ship-building facility in the inner Oslo harbor, adjacent to the city core: the large-scale oil-platforms were built just nearby the Oslo City Hall, famous for its Nobel Peace prize ceremonies. Since then, almost every Norwegian city has got its waterfront development. The implementation model for such projects has been more or less the same: these mixed-use projects have been efficiently fragmented into manageable parts within a highly articulate phasing strategy, perpetuated with urban motives of plazas and boardwalks surrounded by a spectacular architecture, and specifically programmed for the creative consumers. The most suitable examples of such developments are the areas of Tjuvholmen and Aker Brygge in Oslo, built at the sites where the oil-platforms once were constructed.

In one of the equivalent projects, the Operakvartalet-development, there is a slight conceptual transition in how the large-scale is articulated. The project, a product of the collaboration between the Norwegian offices A-lab and Dark Arkitekter with the Dutch office MVRDV, uses the constraint of visibility to condition the volumetric disposition of 280.000m2: The notion of landscape silhouette and its appearance from certain positions within the city is used as an instrument in discussing the project's volumetric set-up. The overall building mass is divided in several developable vertical strips with open spaces in between allowing the view towards the surrounding landscape to pass through-therefore the analogy to barcode. Nature is instrumentalized in order to make the project digestible for the public opinion and planning authorities, so that the idea of Oslo as a city at the fjord, yet surrounded by green hills would be maintained. By the same token this strategy has also turned out to be as productive in terms of optimizing the project's developmental potential, something that was strongly desired by the involved investors. The zoning plan would provide an image of endless, yet designed, variation. Besides relatively conventional developmental envelopes, the plan has also given envelopes that would demand a totally new approach in solving their programmatic content. The housing block by the Norwegian office MAD AS is one of such projects that came out of this plan. Its envelope is exceptional: 7.8 meters wide (6meters at the leanest), 90 meters long and fifteen foors tall. Its proportions remind of random left-over sites and situations from larger urban agglomerations found outside Norway. Also, in terms of the logic for the large-scale housing that had been created in the course of the last twenty years, the project strongly deviates from what usually would be acceptable: Each floor houses six residential units distributed around three vertical communication shafts with elevators. Despite the fact that the conditions for this project have been formulated within the framework of the zoning plan as some kind of self-imposed, yet dogmatic, constraint, the architect has managed to produce compact living units, articulated with relatively high-end detailing.

在更新改造式的保護(hù)項(xiàng)目方面，也產(chǎn)生了若干能在處理建筑再利用議題的同時(shí)，足以成為另一種感性標(biāo)志的項(xiàng)目。延森與斯科溫（Jensen & Skodvin）建筑師事務(wù)所設(shè)計(jì)的挪威設(shè)計(jì)與建筑中心（2004）、雅蒙德與維斯奈斯（Jarmund/ Vigsn?s）建筑師事務(wù)所設(shè)計(jì)的奧斯陸建筑與設(shè)計(jì)學(xué)院（AHO，2002）和空間組（Space Group）事務(wù)所設(shè)計(jì)的內(nèi)德雷（Nedregate）文化區(qū)（2013）是其中最優(yōu)秀的3個(gè)案例。這些項(xiàng)目沿阿克斯河的奧斯陸舊工業(yè)區(qū)分布。在那里，那些現(xiàn)存的20世紀(jì)早期的紅磚建筑被重新劃定為容納教育機(jī)構(gòu)或文化部門的區(qū)域，成為城市總體更新戰(zhàn)略的組成部分。再利用的方法在這3個(gè)具體項(xiàng)目中以不同的方式得到表達(dá)。延森與斯科溫建筑師事務(wù)所的“挪威設(shè)計(jì)與建筑中心”通過考古學(xué)的方法探索了現(xiàn)存的建筑結(jié)構(gòu)——建筑師通過仔細(xì)的研究，發(fā)現(xiàn)整個(gè)建筑經(jīng)過了漫長的歷史沉淀，保留了不同層次的材料。于是，建筑內(nèi)部新加建的部分也設(shè)法與材料的粗獷風(fēng)格取得了相似的效果，結(jié)果形成了建筑材料的不同氣質(zhì)彼此交織的后啟示錄風(fēng)格。雅蒙德與維斯奈斯建筑師事務(wù)所的奧斯陸建筑與設(shè)計(jì)學(xué)院項(xiàng)目應(yīng)對設(shè)計(jì)任務(wù)的方式則是著名的“發(fā)現(xiàn)事物本身”1)的手法。在形式和材質(zhì)的表達(dá)方式上，建筑師采用了在現(xiàn)有結(jié)構(gòu)內(nèi)并置碰撞的方式，通過難以捉摸的對比效果彰顯了建筑學(xué)的特征。最后，空間組事務(wù)所的項(xiàng)目可能是這個(gè)三角組合中最不動(dòng)聲色的一個(gè)。建筑物的磚墻得到當(dāng)?shù)貥?biāo)志性建筑物委員會(huì)的保護(hù)，是不可觸碰的建筑輪廓。建筑師的改造必須包含在現(xiàn)有結(jié)構(gòu)范圍之內(nèi)，而這正是空間組事務(wù)所進(jìn)行系統(tǒng)性探索的議題。建筑采用了舞臺(tái)式的空間分隔方式，內(nèi)部結(jié)構(gòu)被全部拆除后，注入了完全度身定制的建筑空間——這是一處為滿足奧斯陸無政府主義的城市空間對文化消費(fèi)的渴望而設(shè)計(jì)的風(fēng)格化舞臺(tái)。

山區(qū)

挪威的城市空間可定義為一個(gè)相對狹小而高密度的濱水城市中心，周圍環(huán)繞著地勢起伏的山區(qū)，其中散布著無邊無際的低層住宅，豐富的副極地植被令人印象深刻。所有這些元素通過建設(shè)完備的高速公路和鐵道基礎(chǔ)路網(wǎng)組織在一起。獨(dú)棟住宅是這種環(huán)境中最典型的建筑類型。二戰(zhàn)之后，獨(dú)棟住宅開始作為獨(dú)立項(xiàng)目為人們所接受。當(dāng)時(shí)，挪威社會(huì)的大部分領(lǐng)域受政府管轄，資源有限——如國家會(huì)預(yù)設(shè)每年的新建建筑數(shù)量。在過去的20年內(nèi)，城市化進(jìn)程以強(qiáng)大得多的方式突破了這些制約。政府為適應(yīng)城市密集化的過程逐漸改變區(qū)劃條例。于是，大的地塊可以被劃分為更小的地塊，作為新的宅基地使用。正是在山區(qū)，城市化力量的日益顯現(xiàn)使人們對自然和“天然資源”抱有的傳統(tǒng)觀念面臨挑戰(zhàn)。這種沖突產(chǎn)生了極具表現(xiàn)力和高度成熟的建筑學(xué)成果——即相對于條件極為復(fù)雜且備受約束的城市區(qū)劃條件，它產(chǎn)生了另一種建筑生態(tài)，探索如何在地形復(fù)雜的場地中建造小尺度的居住空間。

克努特·耶爾特內(nèi)斯（Knut Hjeltnes）的瑟默（S?mme）別墅就是這樣一個(gè)項(xiàng)目。這是一個(gè)非常緊湊的獨(dú)棟住宅，建造在一塊新近劃定的宅基地上。設(shè)計(jì)構(gòu)思是要在坡地上疊置兩個(gè)獨(dú)立的建筑元素—— 一個(gè)兩層高的建筑基座和頂部一層高的木盒子。這個(gè)木盒子相對于其環(huán)境顯得非常自閉。它采用竹材作為建筑外圍合材料，空間尺度不大，比例精當(dāng)，對周圍顏色豐富的坡屋頂木結(jié)構(gòu)住宅構(gòu)成的傳統(tǒng)環(huán)境視而不見。盡管體量頗為緊湊低調(diào)，建筑物在盡可能收縮自身延展范圍的同時(shí)，卻以微妙的方式彰顯了自身的復(fù)雜性。如果說，耶爾特內(nèi)斯的瑟默別墅探索了建筑物如何通過簡單的體量組合獲得建筑學(xué)特質(zhì)，那么，雅蒙德與維斯奈斯建筑師事務(wù)所的雙子住宅則涉及結(jié)構(gòu)“構(gòu)造”體系的建筑學(xué)潛質(zhì)。這個(gè)項(xiàng)目追隨了與建筑密度相關(guān)的類似主題——過去屬于相鄰產(chǎn)權(quán)的一個(gè)果園被重新劃分為建筑地段——成為一對雙胞胎兄弟住宅的宅基地。這座住宅沿垂直方向分隔為兩套完全一致的單元，采用傳統(tǒng)木框架作為結(jié)構(gòu)設(shè)計(jì)原則，而不是連續(xù)式的框架體系。這座3層的樓房用4×4的（結(jié)構(gòu)）方形組成，后者成為剖面上有所變化的建筑輪廓。這個(gè)項(xiàng)目的結(jié)構(gòu)簡潔程度及其由此產(chǎn)生的尺度感，為建筑的實(shí)用功能、空間品質(zhì)和社會(huì)交往提供了各種量身定制的可能性——如3樓的起居室是兄弟兩人及其配偶公用的。

遭遇各種生態(tài)學(xué)

這3種生態(tài)環(huán)境——峽灣、城市和山區(qū)，共同組成了3種具有建筑學(xué)潛質(zhì)的獨(dú)立領(lǐng)域，它們?yōu)楦髯缘谋憩F(xiàn)形式所定義，而不是由著名的概念或形式圖解的神話來限定。大尺度公共空間和復(fù)合功能的觀念業(yè)已枯竭，相對于通過這種方式探討城市概念，我們反而選擇了由建筑師在真實(shí)的城市環(huán)境中進(jìn)行設(shè)計(jì)所形成的定制方式來探索這個(gè)問題。這些建筑生態(tài)學(xué)與整個(gè)針對建筑客戶定制進(jìn)行的探討并行不悖，它們揭示了自由與邊界的領(lǐng)域，為建筑學(xué)提供了在預(yù)先設(shè)定的形式與概念母題的世界之外進(jìn)行闡釋的可能性。畢竟，最終只有建筑至關(guān)重要?！?/p>

譯注：

1）原文為 "as found"，20世紀(jì)中期之后流行的藝術(shù)運(yùn)動(dòng)，跨越建筑、繪畫、文學(xué)、電影、戲劇、音樂以及觀念和行為藝術(shù)等不同種類藝術(shù)。"As Found" 提倡一種對尋常事物的關(guān)注，從平凡事物中尋找價(jià)值。重新認(rèn)識(shí)事物、創(chuàng)造它們的人以及生產(chǎn)它們的程序，主張根據(jù)事物之間的關(guān)聯(lián)來判斷其價(jià)值。參見：李翔寧. 建筑學(xué)的自主性與當(dāng)代藝術(shù)的介入. 時(shí)代建筑，2008（1）：6-13.

The City

One of the few spots of active architectural exploration within the existing urban tissue of the Norwegian cities has been in the "infll" interventions and transformative preservations. The former ones are the medium scale housing projects that have been built on the remaining empty lots while the latter ones are the institutional projects developed within the historic structures from the industrialization period of the early twentieth century, such as workshops, foundries, electric plants, etc. The importance these projects lies in the fact that they have been the promoters of the return-to-the-city approach where the urban living combined with the cultural programs would be the agents in the reconstruction of the city itself after a long period of modernization and modernist thinking.

The ambition level embedded in the infll projects has been on the rise, both as seen from the side of involved architects and developers. A typical example of such endeavor has been the project of Parkveien 5-a close collaboration between the architect KIMA and the developer INFILL (whose business plan focuses on this particular kind of mid-scale urbanliving projects). In Parkveien 5 the architect projects the idea of urban dwelling onto the well-known Nordic modernist materiality given by the simplicity of concrete, wood and glass supported by fixation to detailing, predictably enough as KIMA architects were former students and employees of Sverre Fehn. As an opposite of this relatively luxurious and unusual project for the Oslo context, one may touch upon by FuthArk's Christian Kroghsgate Housing. is project, consisting of thirty-three units, explores the modularity of production processes in order to optimize the construction cost. Such approach opens up a potential for material exploration combined with almost excessive use of vegetation in the common areas. It is an interesting project for the Norwegian urban condition as it manages to mobilize architecture in order to make afordable housing with high quality within the most central area of Oslo-an impossible mission as most of the housing production has become high-jacked both by indolent architects and greedy developers.

The transformative preservation has given several projects that have signaled another type of sensibility when dealing with the issue of re-use. Projects like "DogA Center" (2004) Center by jensen & Skodvin Architects, "The Oslo School of Architecture and Design" (AHO, 2002) by jarmund/Vigsn?s Architects, and "Nedregate" (2013) by Space Group are three most prominent ones. These projects have sprung out of Oslo's former industrial area along the river of Akerselva, where the existing brick-work structures from the early twentieth century have been rezoned to house educational institutions or cultural programs, being a part of the overall urban renewal strategy.The approach towards re-use is articulated diferently in these three specific projects. jensen & Skodvin's "Doga Center" explores the existing structure through an archeological endeavor-different material layers that have been sedimented in the building's long life are carefully uncovered, while the new additions within the building play along with similar material roughness. The result is a project of post-apocalyptic appearance defined by intertwining material atmospheres. jarmund/Vigsn?s' "AHO project" encounters the assignment through the well-known "as found" approach. The architect's intervention in its formal and material articulation is in a direct collision within the existing structure, by the virtue of the elusive contrast the building claims its architectural particularity. Finally, the project by Space Group is perhaps the most unsentimental in this triangle: The building's brick facade has been protected by the local land-mark commission something that has given an untouchable building envelope. The architect's intervention had to be contained within the extent of the existing structure and that is precisely what Space Group systematically explored. As a staged rupture, the interior has been totally eradicated and a new hyper tailored architecture has been injected-a stylized arena for a nihilistic Oslo-urbanite eager to engage the cultural consumption.

The Hills

The Norwegian urban condition could be defined by a relatively small and dense city center adjacent to the waterfront, surrounded by a hilly and endless low-rise residential carpet perpetuated by abundant sub-polar vegetation, all together being weaved by presence of well-developed infrastructural layers of motorways and railroads. The most typical architectural manifestation of this context has been that of single family house. It is in the post-WWII period that the family house became formulated as a project. The resources were limited while the most of the Norwegian society was regulated, for example the annual number of building permits was predefined by the state. In the course of the last twenty years the processes of urbanization would unfold in a much stronger manner. The municipalities have continually changed zoning regulations allowing densification: The large parcels could be divided in smaller parts where new houses would be built. It is in the Hills that the traditional ideas of nature and “the natural”would be contested as the forces of urbanization made themselves more apparent. This encounter has yielded highly articulated and sophisticated architectural results – an ecology of projects which explore the small-scale living in the topographically challenging sites, perpetuated by the constraints of highly complex and restrictive zoning envelopes.

Knut Hjeltnes' "Villa S?mme" is such project: it is a compact single-family house built on a recently parceled site. It is conceived of two distinct elements placed in the sloping landscape: a two-story plinth and a wooden one-floor box on the top. The box is an element autistic to its context: Being small, wellproportioned and packed in bamboo it ignores rather its traditional surroundings consisting of colorful wooden houses with pitched roof. Despite its modest dimensions this house subtly maximizes its complex situation while it reduces its intervention to the least possible extent. If Hjeltnes' "Villa S?mme" explores the architectural potential through the assemblage of simple volumes, the "Twins" House" by jarmund/ Vigsn?s Architects engages the potentiality of structural (constructive) systems. It follows the similar thematic of densification: a fruit garden previously belonging to the adjacent property was separated becoming the site for the project-a home for two twin brothers. The house vertically split and mirrored with two identical units, uses the traditional timber frame as a structural principle, as opposed to the timber balloon system. This three floor edifice is framed in 4×4 (structural) squares, an envelope that alternates in section. The project's structural simplicity and its subsequent dimensioning offers customized variety of situations either in terms of use, spatial qualities, or social encounters as the third floor living room is shared by the twins and their partners.

Encountering Ecologies

The three ecologies, the Fjord, the City and the Hills, constitute three distinctive territories of architectural potential, defined by their performativity rather than the myths given by the well-known conceptual and formal iconographies. Instead of discussing the notion of urbanity through exhausted ideas of the large-scale, public space and multiprogramming, we choose to approach it through the space of intervention tailored by the architects in their encounter by the reality of building in the urban condition. As a parallel to the overall Custom made discussion, the ecologies unveil fields of freedoms and limitations, open for architectural interpretation outside the world of predefned formal and conceptual motifs. At the very end it is only architecture that matters.□

Custom Made: The Architecture of ree Ecologies

Norwegian cities have been continually transformed over the last forty years. The post-industrial processes of neo-liberal deregulation and governance combined with an oil economy, have given rise to an increasingly bureaucratic building reality. But in this context, one may still identify projects that have managed to respond to the external complexities while suggesting architectural particularity. This essay discusses how such customization has unfolded within three specific building ecologies of the Norwegian city: the fjord – large-scale waterfront developments; the city – medium-scale interventions within the existing city; and the hills – small-scale residential projects on the urban periphery.

Norwegian urbanity, building ecology, urbanization

哈爾沃·魏德·埃勒夫森，建筑師，2005年畢業(yè)于丹麥皇家藝術(shù)學(xué)院。米爾扎·穆葉齊諾維奇，建筑師，MALARCHITECTURE事務(wù)所主持人，2001年畢業(yè)于挪威科技大學(xué)，2004年獲哥倫比亞大學(xué)研究生學(xué)位。他們二人目前均為奧斯陸建筑與藝術(shù)學(xué)院在讀博士生及助理教授，奧斯陸“定制”建筑展策展人，同時(shí)也是本期《世界建筑》專輯的客座編輯。/Halvor Weider Ellefsen, architect, graduated as an architect from the Royal Danish Academy of Fine Arts in Copenhagen (2005). Mirza Mujezinovic, architect, principal ofMALARCHITECTURE. He graduated at NTNU in Trondheim (2001). As a Fulbright Fellow he was awarded postgraduate degree at the GSAPP at Columbia University in New York (2004). ey are both Ph.D research fellows and assistant professors atThe Oslo School of Architecture and Design (AHO), curators of "Custom made" exhibition in Oslo (2013), and guest editors of this issue of World Architecture.

2014-03-22