建筑設(shè)計(jì)：Dehullu建筑師事務(wù)所

公共建筑獎(jiǎng)：AZ格羅寧根公司禮堂，科特賴克，比利時(shí)

建筑設(shè)計(jì)：Dehullu建筑師事務(wù)所

1　外景/Exterior view

科特賴克，位于比利時(shí)荷蘭語區(qū)的西弗蘭德省。這里不僅有幸擁有多處聯(lián)合國教科文組織認(rèn)證的世界遺產(chǎn)，而且對前沿建筑表現(xiàn)出很強(qiáng)的興趣。然而，當(dāng)這座獨(dú)立的新建筑與舊建筑并列時(shí)，剛開始看起來有些令人困惑。兩座建筑通過地下室相連。

這座擴(kuò)建的建筑將作為AZ格羅寧根公司的禮堂。這家公司在2003年合并4座醫(yī)院后，成為比利時(shí)最大的醫(yī)療中心之一，擁有1066張床位。公司歷史可以追溯到1211年，是當(dāng)時(shí)城鎮(zhèn)中創(chuàng)立的多座醫(yī)療院之一。如今它成為了一座教學(xué)醫(yī)院，因此需要禮堂。盡管醫(yī)院巨大的主體建筑采用嚴(yán)謹(jǐn)?shù)闹W(wǎng)以及片狀的混凝土支撐體系，新建的禮堂則選取了完全不同的審美體系?！斑@座建筑主題明確，彰顯出友善、積極的優(yōu)雅，”Dehullu事務(wù)所的設(shè)計(jì)師解釋道，“它會成為醫(yī)院員工的休憩場所。建筑置身于優(yōu)美的綠樹環(huán)境中，是一個(gè)從繁忙的工作中逃離片刻的理想去處。

現(xiàn)存的別墅被改造為會議室，擁有6個(gè)小巧的房間。在緊靠舊別墅的地下層部分，新建筑下沉到坡道底部，內(nèi)部設(shè)置清理設(shè)施、備餐廚房以及儲藏室。兩個(gè)完全采用通透玻璃的入口夾在兩座建筑之間，為禮堂的入口：北側(cè)入口進(jìn)入下層，南側(cè)入口則通往上層。如此，訪客就可輕松抵達(dá)所有230個(gè)座位。兩個(gè)入口共享一個(gè)通高的門廳，并由門廳中的旋轉(zhuǎn)樓梯相連。樓梯的混凝土扶手順應(yīng)著樓梯的曲線，引向二層的酒吧。樓梯曲線圍繞的中心，懸掛著一束不規(guī)則形狀的燈具，形似水滴，與建筑形式相協(xié)調(diào)。燈具由荷蘭設(shè)計(jì)師皮艾克·博格曼設(shè)計(jì)，他巧用英文單詞“燈泡”來解釋燈具的柔軟輪廓。他所謂的“燈泡”其實(shí)是對傳統(tǒng)白熾燈的詼諧隱喻，因?yàn)樵谄湫嗡瓢谉霟舻睦鏍钔庑沃?，?shí)際使用的是現(xiàn)代的發(fā)光二極管技術(shù)。

建筑平面基礎(chǔ)為對稱三角形，轉(zhuǎn)角處倒圓角，就像是花園小徑曲線的延伸，這是屬于當(dāng)代建筑的語匯。建筑的一側(cè)懸挑到坡地之上，仿佛想要擺脫地心引力的作用。與此同時(shí)，建筑與白色的別墅緊緊毗鄰，采用傳統(tǒng)的瓷磚貼面。為了順應(yīng)外立面的曲面形式，承重混凝土墻采用外保溫，并覆以豎向排布的、斑駁反光的面磚，產(chǎn)自比利時(shí)工廠。這樣的呼應(yīng)關(guān)系也與曲面的墻體相契合。磚立面甚至延續(xù)到緊急出口的上方，而且在曲線外墻延伸入室內(nèi)的部分，也依然采用磚立面。（黃華青 譯）

2　首層平面/Floor 0 plan

3　剖面/Section

Kortrijk， in Dutch-speaking West Flanders，Belgium， is not only blessed with various UNESCO World Heritage sites， but also evinces a keen interest in cutting-edge architecture. however， the new build stands alongside the older one as an independent，initially somewhat puzzling artifact. The two buildings are connected via the basement level.

The extension serves as an auditorium for AZ Groeninge， which since the merger of four hospitals in 2003 has become one of the largest health centers in the country， featuring 1066 beds. Its history goes back to 1211， when it was founded as one of many infirmaries in the town. Today it serves as a teaching hospital， which explains the need for an auditorium. While the vast main building of the clinic is characterized by a strict grid with slanted concrete supports， a completely different aesthetic was chosen for the new auditorium. "The building is unambiguous and is characterized by a friendly and optimistic elegance，" explain Dehullu Architecten. "It is a retreat for the staff of the clinic. Wonderfully placed into the green surroundings， it is a place where one can get away from the demands of the job for a while."

The existing villa was converted into a meeting center with six fairly small rooms. Next to the old house on the basement level， the new building，which kneels into the sloping ground and sinks into it， features sanitary installations， a catering kitchen and storage facilities. Two fully glazed entrances between the two buildings provide access to the auditorium: from the north to the lower level， from the south to the upper level， so that visitors can reach the 230 seats comfortably. On both levels，those entering are welcomed by foyers connected by a sweeping staircase. Its concrete balustrade obligingly follows the curve of the stair， which ends at a bar upstairs. In the midst of the curve hangs a bouquet of irregularly shaped lamps that evoke drops， a look in keeping with the architecture. They were designed by Dutch designer Pieke Bergmans， who explains the soft contours of the lamps with a play on the English word "light bulbs". His so-called "light blubs" are a humorous take on traditional incandescent bulbs， but their modified pear shape conceals modern LED technology.

The symmetrical triangle of its basic shape，whose rounded walls seem to continue the curves of the garden paths， belongs to contemporary architecture. On one side， it protrudes over the edge of the slope， as if wishing to leave the pull of gravity behind. At the same time， it stands solidly next to the white-rendered villa， sporting a traditional ceramic facade. To be able to follow smoothly the sweep of the exterior， the load-bearing concrete walls， insulated on the outside， were clad in upright，light-flecked bricks from a Belgian brickworks. This bond made sense with the rounded walls； the brick facade continues even over the emergency escape doors. And as the curves of the perimeter walls lead inside， the brick cladding continues there as well.

評委評語

阿爾佛雷德·蒙科伯克：我們第一眼喜歡上這個(gè)項(xiàng)目，就是因?yàn)樗钠矫婧涂蓯鄣那€。磚塊對于曲線墻體來說是完美的材料，因?yàn)榇u塊如此之小——在豎向排布時(shí)更是如此。它可以順應(yīng)急轉(zhuǎn)的曲線，而看起來依然平順。它創(chuàng)造出迷人的質(zhì)感。禮堂室內(nèi)也設(shè)計(jì)得非常優(yōu)雅，而且還有天光灑入?？傊?，這是一座細(xì)節(jié)十分精美的建筑。他們還做了一項(xiàng)杰出的設(shè)計(jì)，讓建筑看起來仿佛真的從地面上升起。地板似乎漂浮起來，就像是輕放而非錨固在地基上。因此，建筑就像一艘曲面的飛船，不知從何處飛來，停在草地上休憩，微微傾斜。這座建筑絲毫沒有激進(jìn)之處，也可以說是建在1960年代，或是1980年代。其設(shè)計(jì)手法是經(jīng)典的，一種現(xiàn)代主義式的經(jīng)典。這是座非常“有聚合力”的建筑，讓你覺得好像自己就屬于這里。（黃華青 譯）

Jury Statement

Alfred Munkenbeck: The thing we liked the most about this， right away， was the plan and the lovely curves. Brick is a perfect material to use for curves， because the pieces are so small–especially when laid vertically. It can go around very tight curves and it all looks very smooth； it provides a lovely texture. The interior of the auditorium is beautifully done and there is this light that comes from above. It’s just a very nicely detailed building. They have done another extraordinary thing that makes the building actually come up over the ground. The floor kind of rise sup – it seems like it has been dropped rather than sitting on foundations， so it looks like a curvy spaceship that comes and rests on the ground， slightly tilted. It is not a radical building at all； it is a building that could have been done in the sixties， that could have been done in the eighties. It is kind of classic， a modern classic approach. It's a very "reinforcing" building，which makes you feel very much like you are in the right place.

項(xiàng)目信息/Credits and data

客戶/Client: 科特賴克AZ格羅寧根公司/ Algemeen Ziekenhuis Groeninge Kortrijk

建筑用途/Building's Purpose: 會議中心，禮堂/Meeting center， auditorium

建筑面積/Usable floor Area: 1200m2

磚材類型/Brick Type: 飾面磚/Facing bricks

建造周期/Construction Period: 2012.05 –2014.01

攝影/Photos: Dennis de Smet

4　入口/Entrance

5　水滴形燈具與樓梯曲線相和諧/The drop-like lamps harmonise with the curve of the stairs

6　從室內(nèi)看向中庭/View from interior to atrium space

評論

華黎：這個(gè)項(xiàng)目最有趣味之處應(yīng)該在于禮堂這個(gè)體量與地形的關(guān)系，貫通兩層的禮堂一端扎入地下層，另一端在地上的部分則從地面輕微翹起形成一種懸浮感。這樣一個(gè)形體的動(dòng)作解釋了磚在這個(gè)設(shè)計(jì)中運(yùn)用的邏輯：豎向鋪貼的面磚完全作為一種飾面材料，而完全不具有砌筑的特征。當(dāng)代建筑中磚作為結(jié)構(gòu)支撐體而得以表達(dá)的情況越來越少，更多是作為面層的視覺表現(xiàn)，即便是砌筑也往往是掛在主體結(jié)構(gòu)外的非承重體，經(jīng)常從一個(gè)窗洞的跨度及過梁的做法即可辨識磚砌體的非結(jié)構(gòu)性。而在這個(gè)禮堂建筑中，由于建筑體量并非沉穩(wěn)地坐落于大地，而是局部懸挑這樣一個(gè)輕盈姿態(tài)，磚作為砌筑的邏輯在此毫無意義，因?yàn)槠鲋傂枰磉_(dá)一個(gè)重力傳遞至地面的邏輯——即便是假象，因此設(shè)計(jì)索性采用這樣一種一看便知是貼面的豎向鋪貼做法，倒使得材料與形體的邏輯獲得了內(nèi)在的一致性。

Comments

HUA Li: The most interesting part of this project is the relationship between the building and its topography. One end of the interconnected two-story auditorium rests conventionally on the ground， while the other rises slightly from the ground，creating a sense of suspension. This kind of structure illustrates the conscious eye for design in the utilization of bricks. The vertically-oriented bricks have become a decorative feature instead of the structural materials that they conventionally are utilized as. In contemporary architecture， it has become less and less common for bricks to be employed as mere structural elements， rather they can become external visual expressions of design， even if the brickwork is utilized as supporting parts of the main structure. Usually， the span of a window opening and the lintel could present brickwork's non-structural characteristic. However， in the case of this auditorium， part of the building is not resting on the ground. Because of the partial overhang， the brick employed on the building brickwork cannot be regarded as masonry. Masonry structures traditionally delivers its loads to the ground， therefore this building's brickwork presents a false appearance. The vertically oriented bricks have been utilized as a design logic， coordinating both building material and form.袁烽：AZ格羅寧根公司禮堂以一種超越磚的結(jié)構(gòu)性與建構(gòu)性的方式對這一傳統(tǒng)材料進(jìn)行了批判式再現(xiàn)。在常規(guī)認(rèn)知中，磚結(jié)構(gòu)往往會給人一種材料的厚重感，然而建筑師在形體上的懸挑處理為本應(yīng)十分沉重的磚構(gòu)建筑營造了一種輕盈的漂浮狀態(tài)。整個(gè)處理手法通過對傳統(tǒng)的磚石結(jié)構(gòu)意義進(jìn)行反常規(guī)的轉(zhuǎn)譯，創(chuàng)造了一種對重力的“挑戰(zhàn)”與“背叛”。同時(shí)，建筑師在對建筑平面輪廓的設(shè)計(jì)中采用了十分柔和的曲線元素，并通過選用較小尺度的磚石進(jìn)行豎直的方向砌筑來保證空間的光滑性。這種“柔”的狀態(tài)一方面強(qiáng)化了懸挑所帶來的輕盈感，另一方面打破了磚石的冰冷和堅(jiān)硬的質(zhì)感，在磚墻的肌理中建立了一種柔軟的感知體驗(yàn)。禮堂在這種“輕”與“柔”之中消解了封閉體量給周圍環(huán)境所帶來的壓迫感，在建筑與人之間形成了一種溫和的體驗(yàn)關(guān)系。

Philip F. Yuan: Auditorium AZ Grogeninge represents a critical representation of brick as a traditional building material， in order to explore brick's new identity in contemporary design. Throughout history， brick was usually utilized as heavy masonry material. However in this project， the architect transforms brick into a light， floating material by adopting a cantilevered form. Through this nonconventional translation， the bricks used in the project become an expression of departure from the forces of gravity. Simultaneously， the architect introduces a soft curvature in designing the boundary of the building， choosing small-dimensional bricks to be assembled vertically to maintain a kind of softness and smoothness in the materialized reality. As a result， on one hand， the softness reinforces the perception of the lightness of the bricks； on the other hand， it breaks the conventional feeling of brick as a "heavy" material， producing a new experience in the curved brick wall. In general， the softness and the lightness of brick resolves the scale of the building， and establishes a calmer relationship between humans and architecture.

Category Winner in Public Use: Auditorium AZ Grogeninge， Kortrijk， Belgium， 2014

Architects: Dehullu Architecten