建筑設(shè)計：彼得·法廷格，韋羅妮卡·奧爾索，米凱爾·里佩爾

“美景”
——黃屋，林茨，奧地利

建筑設(shè)計：彼得·法廷格，韋羅妮卡·奧爾索，米凱爾·里佩爾

1 外景/Exterior view2 立面/Elevation

一座在市政高速公路上方建起的臨時構(gòu)筑物為林茨提供了全新的視角。

林茨是2009年“歐洲文化中心”計劃的舉辦城市之一，借此機會，彼得·法廷格、韋羅妮卡·奧爾索和米凱爾·里佩爾進行了這項在城市外圍一處公共空間實施的臨時建筑實驗。

林茨近年來規(guī)模最大的交通基礎(chǔ)設(shè)施改造之一發(fā)生在貫穿賓德米希爾和施帕勒霍夫區(qū)的市政高速路系統(tǒng)。自2005年來，通過隧道交通的方式，周邊地區(qū)的居民得以便捷地到達新建成的景觀公園，欣賞綠意盎然的自然景象。在這里田園詩般的建成景觀當中，一座臨時構(gòu)筑物就這樣被建造起來：BELLEVUE含義為“美景”，是一座建在高速路邊緣地帶的建筑，其中一面的視角朝向高速路上川流不息的往來車輛，另一面則具有遍及整座公園的開闊視野。這座全身都是純黃色的建筑反映了周圍住宅建筑所具有的比例，它的表皮較為封閉，為其內(nèi)部所承載的功能服務(wù)：包括為客座藝術(shù)家提供的住宿區(qū)域、問訊處、帶有露臺的簡餐廳、自行車租賃處、工作空間、展陳空間、多媒體室、圖書館和公共舞臺。這座多層建筑采用木框架結(jié)構(gòu)，覆以粉刷黃色的刨花板，總共為訪客提供超過400m2的可用空間。在2009年6月25日-9月13日這段時間內(nèi)，這座開放的公共建筑共接待超過3萬名游客探索其各層空間。

彼得·法廷格、韋羅妮卡·奧爾索和米凱爾·里佩爾在“美景”項目中不僅擔任建筑師的角色，還作為管理者和組織者，將設(shè)計方案在有序的計劃中化為現(xiàn)實，將建筑師的身份職能拓展到服務(wù)提供商的角色。每日舉行的活動將“美景”描畫成了一座藝術(shù)互動的際會處，邀請居民、行人和其他對此感興趣的群體融入其中，觀察、交流、表現(xiàn)——這座建筑如同一座舞臺，串聯(lián)著、轉(zhuǎn)變著人們觀察那些既存物質(zhì)及空間的視角。一系列的探索性的問題，將所有的成規(guī)都被重新審視和定義，而問題的答案則緊接著以一系列介入和行動的形式展現(xiàn)。這種建筑因此而成為一座同時容納了奇觀與尋常的臨時地標。居民、學者、藝術(shù)家相聚于此，潛心于各自的工作項目，同時也探索著鄰近居民區(qū)的文化氛圍與當?shù)靥厣?。賓德米希爾和施帕勒霍夫區(qū)域的日常生活圖景被以多樣化的方式加以提煉和再現(xiàn)：通過制作、紀錄、烹調(diào)、舞蹈、園藝、寫作、傾聽與觀望的行為方式?！懊谰啊币呀?jīng)被塑造、轉(zhuǎn)變成了一種將歷史與現(xiàn)實對接、令文化與日常生活對話的集體經(jīng)歷和共同體驗?！酰愜?譯）

3 外景/Exterior view4 首層平面/Floor 0 plan

5 立面/Elevation6 剖面/Section

項目信息/Credits and Data

客戶/Client: Linz 2009 - European Capital of Culture

建筑面積/Floor Area: 450m2

概念及設(shè)計時期/Concept and Design Period: 2008.02-2009.04

施工時期/Construction Period: 2009.05-06

使用時期/Usage Period: 2009.06-09

拆除時期/Deconstruction Period: 2009.10

攝影/Photos: Peter Fattinger（fig.3，10-12）， Stadtplanung Linz Pertlwieser（fg.7）， Raimo Rudi Rumpler（fg.8，9）， Lorenz Seidler（fg.1）

A temporary structure erected over the municipal autobahn was ofering new perspectives of Linz.

In the scope of Linz 2009 European Capital of Culture， Peter Fattinger， Veronika Orso and Michael Rieper installed a transient experiment in public space on the periphery of the city.

One of the most recent large-scale modifcations to the trafc infrastructure in Linz was the enclosure of the municipal autobahn traversing the Bindermichl and Spallerhof districts. Since 2005 tunnels have been confining the flow of traffic， enabling nearby residents to look out upon the greenery of the newly created landscaped park. Amidst this constructed idyllic scene， a temporary structure has been erected: BELLEVUE—Beautiful View， a house at the rim of the autobahn. To the one side a view of the never-resting autobahn emerged， on the other a sweeping view of the park. Responding to the proportions of the surrounding residential buildings， the monochrome yellow structure embodied a protective shell for the functions it harbored: housing quarters for guest artists， an info kiosk， a cafeteria with terrace， bicycle rental， working space， exhibition space， a media room，a library， and a public stage. In total the multi-storey wooden frame construction， covered with yellow painted chip-boards， provided over 400 m2of usable space to its visitors. From June 25th to September 13th 2009 more than 30，000 visitors walked through the diferent foors of the public house.

Peter Fattinger， Veronika Orso and Michael Rieper not only acted as architects， but also as the program curator and organizer of BELLEVUE，resulting in a programmatic condensation of the project and expanding on the traditional position of the architect as service provider. Daily events turned BELLEVUE into a hub of artistic interactions that invited residents， passersby， and other interested parties to see， communicate， and act—a stage that was routing and changing perspectives on the existent. Conventions were detected and endued with explorative questions， with the answers following in the form of interventions and actions. A temporary landmark that facilitated both the spectacular and the commonplace. Residents，scholars， and artists came together to develop projects and to explore the culture and the features of the neighboring districts. Everyday phenomena in the Bindermichl and Spallerhof districts of Linz were thematized and reflected upon—and this in a diversified way: through producing， documenting，cooking， dancing， gardening， writing， listening，and watching. BELLEVUE was transformed into a collective experience that linked history with the present and culture with everyday life.

7 鳥瞰/Aerial view

WA：色彩在這個項目中的作用是什么？

法廷格+奧爾索+里佩爾（FOR）：建筑所使用的色彩——黃色，是在這一項目中無所不在的顏色，也是“黃屋”這一別稱的由來。由地板、墻體直至屋頂，望去盡是涂繪出的一片黃色。在奧地利最為繁忙的高速公路區(qū)域之一，置身于臨時的地標景觀當中，“美景之黃屋”的標志性顏色具有極高的可辨別性，即使距離遙遠仍然能被輕易識別。建筑如同被放大數(shù)倍的告示牌一般佇立于此，宣告著不同尋常的故事將發(fā)生于此。

WA：本項目中最具創(chuàng)造性和吸引力的設(shè)計是什么？

FOR：作為一個集體，我們在這一項目中不僅擔任了建筑師的角色，更擔任著建造者、項目監(jiān)理和總體協(xié)調(diào)組織者的多重角色。也正因如此，才使得項目的實現(xiàn)過程井然有序，同時也促使建筑師的傳統(tǒng)地位向服務(wù)提供商的方向拓展。我們邀請客座藝術(shù)家和演員入住于此，并在建筑當中潛心藝術(shù)創(chuàng)作。在這里，如同人類神經(jīng)交織關(guān)聯(lián)的場所在臨時的空間中分化出來，空間轉(zhuǎn)變的內(nèi)容漸漸溶解呈現(xiàn)，平凡無奇的故事開始改寫。

WA：在設(shè)計過程中最困難的部分是什么？

FOR：回顧起來，最艱難的事情應(yīng)該是取得許可在高速公路的上方建造一座這樣的臨時建筑。一方面，“美景”與任何分區(qū)規(guī)劃都不相符，因為在這個區(qū)域內(nèi)根本不允許建造。另一方面，許多參與進來的機構(gòu)擔心臨時建造及游客會干擾司機情緒而導致交通事故。然而最終，經(jīng)過整整一年的努力，我們得到了臨時建筑的許可，在異常緊張的3個月內(nèi)完成了這座建筑，期間沒有發(fā)生任何問題。

WA：使用者和社群的反饋如何？

FOR：“美景”始終被當?shù)鼐用窀叨冉邮懿㈩l繁使用。盡管一開始仍有些人持懷疑態(tài)度，比如質(zhì)疑這樣的建筑是否能在郊區(qū)完成并且發(fā)揮作用。自建筑開幕的那天起，少長咸集的盛景在“黃屋”門前上演，來自周邊社區(qū)的男女老少相聚于此，并且一直對參與建筑每日活動有著很高的積極性。除了周邊居民以外，具有好奇心的市中心居民、文化熱衷人士以及國際受邀藝術(shù)家們也為這里注入了新鮮的活力，令更多交往活動發(fā)生。

WA：本項目是如何提升公共空間品質(zhì)的呢？

FOR：盡管高速公路上方的景觀公園已經(jīng)提供了許多公共使用功能，卻始終缺失一個激發(fā)化學反應(yīng)的契機。毋庸置疑，基于這一點，一個像“美景”這樣的項目首先完成了自我角色的定義，并試圖誘導周邊居民離開家門，走入開放空間，從而對居民康樂水平的社會滿意度提出挑戰(zhàn)?！懊谰啊笔且豁椩诠部臻g中完成的實驗，它連續(xù)的開放性和全面的可達性，是為每一個人而設(shè)計的?！酰愜?譯）

評論

方曉風：完全使用單一色彩，很容易制造出詭異的神秘感和戲劇感，黃色更加劇了這一效果。這個小房子讓我想起了自己的小黃車，在形成地標或視覺焦點方面，體積不是問題，色彩的力量更大。這反證了我們?nèi)粘Ｉ畹氖澜缡侵щx破碎和斑駁的，純度就是力量。作為一個支撐藝術(shù)活動的臨時建筑，這是個不錯的策略，四兩撥千斤。小房子的選址也值得稱道，扼據(jù)要沖，躲都躲不過去。當代藝術(shù)經(jīng)常采用這種把臭襪子放到你鼻子前的方式來介入社會，足夠積極主動。

王暉：這棟建筑是把顏色和所處的環(huán)境關(guān)系運用的比較好的例子，建筑在大面積的綠地一端，以極為鮮明的狀態(tài)出現(xiàn)，讓原本單調(diào)的綠地有了令人興奮的視覺感受，同時也為綠地下面的城市交通提供了一個很好的視覺中心，把建筑物本身以戲劇性的裝置場景表現(xiàn)于日常之中，至于具體到顏色，其他的可能性也都存在。

Comments

FANG Xiaofeng: Te usage of monochrome can easily create the sense of strange mystery and comedy， especially the colour of yellow. Te house takes me back to my little yellow car. As for the formation of landmark or visual focus， the volume is not the problem in comparison with the power of colour. It also disproves the fragmented and mottled world that we are living in， the purity is the power. As a temporary building to support the artistic activities， it is an excellent strategy，skillfully playing the role. Te location of the house， which can hardly be ignored by the public， is also worthy of praise. In contemporary art， the method of "putting a smelly pair of stockings under one's nose" is usually used to be involved in the society. And， indeed， it seems proactive enough.

WANG Hui: This building is a good example of fitting the colour with its surroundings. Standing at one end of the green landscape， it appears in such a high profle that brings excited views to the original monotonous feld. Also， it serves as an optical center to the urban traffic below. By this way， the building itself is displayed as a dramatic installation in a daily scenario. As for the specifc colour，other possibilities could also exist. （Translated by QI Yiyi）

8-11 外景/Exterior views12 夜景/Night view

WA: What is the role of the colour in this project？

Fattinger， Orso， Rieper （FOR）: Te colour-yellowwas omnipresent in this project and eponymous for its subtitle "the yellow house". From foor to wall to roof literally， everything was painted in yellow. Situated as a temporary landmark above one of the most frequented highway-sections of Austria， the signal colour of "BELLEVUE. Te yellow house" was highly visible， even from far away. Like an oversized signpost it announced that something extraordinary was to happen there.

WA: What is the most creative and attractive solution？

FOR: As a collective we acted not only as architects of the project， but also as constructors， program curators and overall organizers， what resulted in a programmatic condensation of the project and expanded on the traditional position of the architect as service provider. Guest artists and actors were invited to take up residence and work on-site. A neuralgic place was temporary occupied， spatial conventions were dissolved， and the mundane was transformed.

WA: What was the most difcult part in the process of design？

FOR: It turned out most difficult to get the permission to erect a temporary building like this above the highway. On the one hand， BELLEVUE did not match with any zoning plan， as no buildings were allowed in that area at all. On the other hand， many involved parties were afraid， that the temporary installation and its visitors would irritate the road users and therefore would cause accidents. Finally， after one year of struggle， we got the temporary building permit and during the three months running time of the project， no problem occurred at all.

WA: What is the feedback from the users and the community？

FOR: BELLEVUE has been extremely well accepted and intensively used by the residents of the quarter. Although there was some earlier skepticism， if a project like this would work in the outskirts of the city. From the day of the opening on， both， the young and the old from the nearby neighborhoods gathered at the "yellow house" and actively took part in the daily program. Apart from the neighboring residents， curious people from downtown， culture afcionados and international guest artists mingled at BELLEVUE.

WA: How did this project improve the quality of the public space？

FOR: Although the landscaped park on top of the highway offers many public functions， still an occasion for interaction was missing. It is precisely at this point that a project like BELLEVUE positioned itself， attempting to entice neighboring residents out into the open and to challenge the social contentment that is codified as well-being. BELLEVUE was an experiment in public space that was literally open and accessible for everyone on all sides.

BELLEVUE: Te Yellow House， Linz， Austria， 2009

Architects: Peter Fattinger， Veronika Orso， Michael Rieper