建筑設(shè)計：卡保羅與布盧門塔爾建筑事務(wù)所

希爾普拉茨電影院，伊蘭茨/格里昂，瑞士

建筑設(shè)計：卡保羅與布盧門塔爾建筑事務(wù)所

1 電影俱樂部入口/Entrance of the film club

20 多年前，瑞士格勞賓登州的一座阿爾卑斯山小鎮(zhèn)伊蘭茨的最后一座電影院關(guān)閉了。為了繼續(xù)滿足電影愛好者的需求，一群對電影和文化感興趣的人在1989年建立了伊蘭茨電影俱樂部，在各種臨時性場所進(jìn)行電影放映。到了2004年，電影俱樂部終于租下一塊場地。這里曾經(jīng)是個鐵匠鋪，后改為葡萄酒商店，位于伊蘭茨小鎮(zhèn)中心的一座房子的背部。1980年代，魯?shù)婪颉W爾加蒂曾對這座19世紀(jì)的建筑進(jìn)行修復(fù)工作，使它成為了鎮(zhèn)上最好的房子之一。

這塊場地的高品質(zhì)應(yīng)該予以保留，包括它杰出的房間序列和空間比例，以及室內(nèi)墻面的材質(zhì)和歷史感。它原先友好開放、寬敞空靈的特質(zhì)，應(yīng)通過必要的干預(yù)措施予以提升。

為了控制俱樂部的財務(wù)支出，將電影院未來經(jīng)營的財務(wù)負(fù)擔(dān)最小化，重建項目的概念限定在少數(shù)精準(zhǔn)的結(jié)構(gòu)干預(yù)上。必要措施的財政支出需要得到俱樂部的保障。在電影院上方是居住功能，因此需要采取必要的隔音措施，這是通過在房間中現(xiàn)場施工的粘土墻來達(dá)到的。合適的粘土來自于蘇林，該地區(qū)一片偏遠(yuǎn)的山谷。

這種材料的使用，無論從建筑生態(tài)視角還是對造價的影響來說都具有很高的意義。項目施工是由電影俱樂部的前任主席、泥石匠克里斯蒂安·奧布里的團(tuán)隊完成的，并得到了夯土專家馬丁·勞奇的指導(dǎo)。內(nèi)墻采用了很厚實的夯土施工，以此來加強吸聲隔音效果——也包括低頻區(qū)的聲音。壓實土墻的多孔表面弱化了房間中的聲學(xué)干擾。房間的轉(zhuǎn)角和屏幕的凹入部分都使用了圓角。在這種施工方式中，潮濕的粘土被夯實為5～12cm厚的面板。此后也不會對材料進(jìn)行拋光或美化。整個施工過程就是這種材料本身的表達(dá)。粘土地板以回收玻璃制作的泡沫玻璃碎屑為基底，壓實并上蠟。吊頂則采用了加強樓板，與穿孔墻面及地面材料和諧一體。由于希爾普拉茨電影院中的粘土構(gòu)筑是具有可呼吸性的，并能調(diào)節(jié)房間的濕度，因此室內(nèi)也不再需要昂貴的空調(diào)系統(tǒng)。□（黃華青 譯）

2 總平面/Site plan

More than twenty years ago the last cinema was closed in Ilanz, an Alpine town in the Swiss canton of Graubünden. In order to keep satisfying the cinephile needs, a group of people interested in film and culture founded the FilmclubIlanz in 1989 and organised screenings in various provisional locations. As of 2004 the Filmclub rented the premises of a former forge and later wine store in the rear part of a house in the centre of Ilanz. The 19th-century building was restored by Rudolf Olgiati in the 1980s and is among the town's best buildings.

The qualities should be preserved of a locality, which excels in its sequenced rooms and spatial proportions, as well as in the materiality and history of the surfaces. The raw character with its inviting openness and generous spaciousness was to be enhanced by the necessary interventions.

In order not to put a strain on the financial possibilities of the club, and to minimise the financial burden of the future running of the establishment, the reconstruction concept is confined to a few, precise structural interventions. The financing of the necessary measures had to be secured by the club. Above the movie theatre there are living quarters. For this reason the necessary soundproofing measures were achieved with a roomin-space construction of clay. A suitable clay was found in Surrein in a side valley of the region.

The material makes sense from an ecological point of view and is cost-effective. It was carried out under the supervision of rammed-earth specialist Martin Rauch by the team of the stonemason Christian Aubry, who was the former president of the Filmclub. The walls were executed in a massive rammed-earth construction in order to strengthen the soundproofing - also in the lowfrequency range. The porous surface of the tamped clay softens the acoustics in the room. The corners of the room and the soffits of the opening to the screen are rounded. In this type of construction the earth-moist clay is tamped into a formwork in 5 -12cm high layers. After that the material is neither faced nor beautified. The construction is a direct expression of itself. The clay floor was tamped and waxed on top of foam glass gravel made of recycled glass. The hanging ceiling was made of reinforced building panels and plastered with the sifted wall and floor material. Because the clay construction in the Cinema Sil Plaz is breathable and regulates the moisture in the room, an expensive air-conditioning system was unnecessary.□

項目信息/Credits and Data

建筑設(shè)計/Architects: 卡保羅與布盧門塔爾建筑事務(wù)所/ Capaul & Blumenthal Architects (Ilanz/Glion, Switzerland)客戶/Client: 希爾普拉茨俱樂部/Cinema Sil Plaz Club (Ilanz/Glion, Switzerland)

項目經(jīng)理/Project Manager: Gordian Blumenthal, Ramun Capaul結(jié)構(gòu)工程/Structural Engineer: Giachen Blumenthal (Ilanz/ Glion, Switzerland)

生土工程合作/Earthworks together with: Aubry Sculptur (Ilanz/Glion, Switzerland), Baukunst Graubünden (Ilanz/ Glion, Switzerland), Team Cinema Sil Plaz (Ilanz/Glion, Switzerland)

建筑面積/Floor Area: 250m2

夯土/Rammed Earth: 182m2, 67t

建造周期/Construction Phase: 2009-2010

攝影/Photos: Benedikt Redmann (fig.1, 4, 5), Laura Egger (fig.9)

3 平面/Floor plan

4 放映區(qū)，墻面及地板由夯土制成，吊頂為聲學(xué)涂層/Central view on the screen, all walls and floors are made out of rammed earth. The celling is plastered with an acoustic render.

5 為電影放映機(jī)設(shè)置的圓形開口/Round openings for the film projector

6 縱剖面/Longitudinal section

7 橫剖面/Cross section

評論

蔣培銘：建筑設(shè)計的目的并不只是形式上的愉悅，建筑技術(shù)、材料的選擇同樣重要。合適的技術(shù)、材料，會使得建筑達(dá)到近乎完美的使用效果，同時建筑具有獨樹一幟的個性。本案的設(shè)計，巧妙地采用了夯土技術(shù)，充分發(fā)揮了粘土的特性。既解決了建筑的冬暖夏涼、造價問題，又解決了電影院建筑最為關(guān)鍵的聲學(xué)問題而經(jīng)過設(shè)計、處理的夯土墻（粘土），具有天然的隔聲、吸聲、反射效果。同樣，夯土墻的運用，質(zhì)感、色澤的樸實自然，為電影院帶來了不同凡響的文化藝術(shù)氣質(zhì)。本案的設(shè)計，不失為建筑應(yīng)用夯土技術(shù)的典范，不是形式主義，不虛夸，而是建筑技術(shù)與功能、藝術(shù)的完美表現(xiàn)，我們應(yīng)該給一個贊。

張雯：將老房子的結(jié)構(gòu)改造成電影院本身就是挑戰(zhàn)，何況建筑師還在最重要的觀眾廳選用了土這一材料。但這似乎也不難理解，厚實的夯土墻完美地解決了觀眾廳的隔聲問題，同時還能提供節(jié)能舒適的熱工環(huán)境。雖然夯土墻用于室內(nèi)相較用于室外可以簡化防水、耐候的設(shè)計，但受制于空間高度，往往會增加現(xiàn)場施工的難度，尤其在此類改建項目中。另外，觀眾廳被土完全包圍，從墻體、地面到頂棚，土料必須經(jīng)過不同配比，才能保證強度和各部位的外觀質(zhì)量，不得不暴露的音響設(shè)備和燈光也成為觀眾廳的特色之一。灰黃色的土在其中軟化了黑色的鋼材和設(shè)備形成的冰冷的工業(yè)感，而夯土本身精致細(xì)膩的細(xì)節(jié)又無處不在地提示我們，這是一種與傳統(tǒng)夯土完全不同的、精心設(shè)計并工業(yè)化施工的現(xiàn)代夯土。

8 構(gòu)造細(xì)部/Structural features

Comments

JIANG Peiming:The purpose of architectural design is not solely formal delight. Architectural technology and choice of materials are equally important. Proper technologies and materials can make buildings almost perfectly functional while at the same time uniquely characterized. This specific design is an ingenious application of rammed earth technology where full use has been made of the clay's properties. Not only are problems dealt with for winter heating and summer cooling effects and construction costs, but also the critical issue for all cinemas, i.e. acoustic performance is tackled. The function of cinema prioritizes sound qualities, which can be provided by carefully designed and treated rammed-earth (clay) walls that boast inherent sound insulation, absorption and reflection effects. The same rammed-earth wall is celebrated for its natural and simple texture and colors, which elevate the cinema with an outstanding cultural and artistic atmosphere. The design is an exemplary application of rammed-earth technology to architecture. It is not formalism or exaggeration, but instead a perfect representation of architectural technology, function and art combined. Hail the rammed earth cinema.(Translated by SHANG Jin)

ZHANG Wen:The renovation of an old structure building into a cinema is already a challenge, not to mention that the architect selected earth as the material for the auditorium. But it is not so difficult to understand, as thick-rammed earth walls not only perfectly solve the problem of acoustic insulation, but also provides an energy saving and comfortable thermal environment. Although, interior rammedearth wall design can be simplified as waterproofing and weather resistant relatively, but subjected to the height of the space, construction on site tends to be more difficult, especially in such a renovation project. In addition, the auditorium is completely surrounded by earth from the ground to walls and ceilings, so the earth should be differently proportioned in order to ensure the strength and the appearance quality at each part. The equipments and lighting devices exposed become one of the auditorium features. The gray yellow earth softens the cold feeling of industries as in the black steel and equipments. Meanwhile, the exquisite details always reminds us that this is not traditional rammed earth any more, it is modern rammed earth with carefully design and industrialized construction.

Cinema Sil Plaz, Ilanz/Glion, Switzerland, 2010

Architects: Capaul & Blumenthal Architects

9 內(nèi)景/Interior view