建筑設(shè)計(jì)：標(biāo)準(zhǔn)營(yíng)造+Embaixada

Architect: ZAO/standardarchitecture+Embaixada

娘歐碼頭是繼2008年完工的派鎮(zhèn)碼頭之后，標(biāo)準(zhǔn)營(yíng)造與西藏旅游股份公司合作完成的一個(gè)較大的碼頭項(xiàng)目。這次標(biāo)準(zhǔn)營(yíng)造邀請(qǐng)了好友葡萄牙年輕建筑師組合Embaixada參加項(xiàng)目的前期設(shè)計(jì)。碼頭坐落在林芝縣境內(nèi)，尼洋河和雅魯藏布江交匯口的娘歐村附近，雅魯藏布江在此處形成了一個(gè)緩沖的自然港灣，岸邊的沙洲上生長(zhǎng)著樹齡上百年的柳樹林。再往上地勢(shì)由舒緩逐漸轉(zhuǎn)為陡峭，背后是綿延不斷的無名雪山。

項(xiàng)目的概念源于對(duì)西藏人文建筑和自然景觀的解讀：在西藏，建筑與景觀密不可分，建筑即是景觀，景觀即是建筑。娘歐碼頭的設(shè)計(jì)中，我們希望將建筑嵌于景觀之中，它既不是景觀的附屬也不是脫離于景觀之上，因此便有了這條迂回曲折的坡道，這條坡道把碼頭相對(duì)復(fù)雜的各種功能整合在一起。從公路往上，坡道組織了巴士停車場(chǎng)、船員宿舍、后勤辦公、會(huì)議室和員工電影院等功能，直至海拔3000m，坡道成為一個(gè)觀景平臺(tái)，引導(dǎo)游客回望遠(yuǎn)處雅魯藏布江與尼洋河匯合處的壯觀景象。坡道從公路往下延伸，沉降至海拔2971m的河岸，自然形成了駁船的碼頭，坡道下同樣組織了售票廳、候船廳、餐廳、廚房、衛(wèi)生間和發(fā)電站等多種服務(wù)與基礎(chǔ)設(shè)施功能。這條坡道也因此定義了不同空間之間的復(fù)雜關(guān)系，生成了一個(gè)又一個(gè)平臺(tái)和內(nèi)部場(chǎng)所。建筑的每一塊空間堅(jiān)實(shí)地嵌入了周圍的地勢(shì)，協(xié)調(diào)著自然與人體間的微妙關(guān)系。

娘歐碼頭輾轉(zhuǎn)迂回的體量不僅是對(duì)山勢(shì)的詮釋，也喚起了旅程的精神性。如同印度的下沉井在人步步下降的過程中輾轉(zhuǎn)輪回，削弱了人與目的地的迫切聯(lián)系，娘歐碼頭也試圖延緩旅程。在向河岸的間接靠近中， 使人在腦海中積累了靠近水面的幻想，在最后一刻得到釋放與滿足。

坡道輾轉(zhuǎn)處形成一個(gè)個(gè)開闊平臺(tái)。平臺(tái)不僅僅是流線間的過渡，在運(yùn)動(dòng)之后的靜止中的短暫思考，同時(shí)也為瞭望山野建立了一系列獨(dú)特的視框。平臺(tái)的邊界清晰地定義了視野，突兀的山崖和荒亂的草木也為這個(gè)鮮明的視框增添了幾分人文色彩。通過設(shè)置開闊平臺(tái)，使人們?cè)诖笋v足，平臺(tái)引導(dǎo)著人的視線，喚起了山谷與河流自身的神性，使人心生敬畏。我們?cè)谔接懸粋€(gè)關(guān)于現(xiàn)象的問題：一片景觀的本身也許原始冗余而自我重復(fù)，然而人們從某個(gè)特定角度對(duì)它的思考與凝視卻能賦予它精神性。建筑所能做的，只是提供一個(gè)思考的角度，一個(gè)凝視的方向。

建筑在個(gè)別轉(zhuǎn)折處，圍攏成一個(gè)戶外庭院。站在庭院里的人看到天空的切割，感受到對(duì)院外景色的神秘感與未知感。除此之外，這些的戶外空間更是原始環(huán)境和人文環(huán)境之間的相互牽制、相互流通，讓人曝露回歸于山野自然間的同時(shí)給予人文的庇護(hù)。

像標(biāo)準(zhǔn)營(yíng)造的其它西藏項(xiàng)目一樣，娘歐碼頭的地域特征不是通過具象的裝飾或形式來表達(dá)，而是通過本地特有的建筑與土地山川的一體關(guān)系，以及本地材料的創(chuàng)造性再運(yùn)用得到演繹。娘歐碼頭的主體為混凝土框架結(jié)構(gòu)加石頭墻砌體完成，墻體的石頭是從基地附近采集，由當(dāng)?shù)氐氖惩ㄟ^自己的砌造方式構(gòu)成的，觀景平臺(tái)的欄桿以當(dāng)?shù)厥皝淼哪静癯洚?dāng)，經(jīng)過風(fēng)吹日曬，一種西藏特有的質(zhì)樸的精神性和隱秘的當(dāng)代性悄然呈現(xiàn)?！?/p>

Located in Linzhi County, Tibet, where Niyang River and the Yalung Zangbo River merge, the Niang'ou Terminal sits above a gently sloping bay,with old willows bowing over sand deltas. The bay then gradually turns into a steeper hill. Tiers of soft,nameless mountains stand behind.

The project originates from a reading of the primal landscape: in Tibet, architecture cannot be separated from landscape. The two are equivalent. In our design we immerse the building into the landscape, neither as an attachment or a detachment. Hence we arrive at this zigzagging path, which linearly integrates all complex functions. Arising from the highway, the ramp organises parking, staff dormitories, offces, conference rooms and theater, forming a wide platform at 3000m by altitude,guiding one's eyes back at the magnificent union of rivers. From the highway down to an altitude of 2971m,one finds a ticket office, bathrooms, waiting room,canteen and kitchen leading to a dock near the water.The ramp defines the relationship between various spaces, creating a chain of platforms and places. Each and every space firmly lodges into the landscape, subtly mediating the human body with nature.

The twist and turns not only emphasises the mountain ridges, but also calls for the spirituality of the journey. In the same way that the turn-anddescend of an Indian step well complicates one's expectation of his destination, Niang'ou Terminal also stretches the course. When approaching to the river bank, one cannot help but imagining and envisioning until a release at the final moment.

Every twist forms a platform, serving not only as the transition between circulations, but also a pause for contemplation and a frame for outside views. The boundaries of platforms clearly defines a view frame, in which the barren hills and disheveled bushes take on a hint of humanity. We have discussing a problem of phenomenology here:a primal and redundant landscape becomes sacred,when gazed and pondered upon by human eyes. The building provides an angle for pondering, as well as a direction for gazing.

Like other projects in Tibet by ZAO/standardarchitecture, the regional character is not manifested through specific symbolisms, but through a unique relationship with mountains and rivers as well as the creative interpretation of local lumber. The main body of the terminal consists of a concrete frame,filled in by local masonry, stones gathered from near the site and patterned by local builders in their own technique. The railing is built from fire wood collected nearby, narrating, after exposure to weathers, a quiet and humble contemporaneity.□

1 遠(yuǎn)景/Distant view

2 首層平面/Ground floor plan

3 屋頂/Roof

4 立面/Elevation

5 頂層平面/Roof plan

6 外景/Exterior view

7 屋頂/Roof

8 外景/Exterior view

9.10 外景/Exterior views

評(píng)論

青鋒：禁欲者的救贖

雖然有著藏式傳統(tǒng)民居的厚重性，娘歐碼頭看起來卻更為原始。幾乎沒有什么線索能夠提示這個(gè)建筑的建造時(shí)代。它更像是某種原始宗教建筑的遺址，只是被今天的人們借用來作為旅游服務(wù)設(shè)施。這種聯(lián)想顯然受到了建筑形體的啟發(fā)。在石板鋪砌的屋頂上折返前行，會(huì)讓人想起藏人虔誠(chéng)的轉(zhuǎn)山。沒有佛像或者殿宇，行程本身成為信仰的明證。

為了營(yíng)造這種氛圍，建筑做出了不少常規(guī)意義上的犧牲?？梢允褂玫膬?nèi)部空間僅僅占據(jù)整個(gè)項(xiàng)目的一小部分，一些房間的光線與景觀也讓位于建筑整體的緊湊連貫。建筑師自己的克制也是顯而易見的，除了石砌墻體、門窗洞口、以及局部的木材堆疊的欄板之外，設(shè)計(jì)者放棄了其他能夠呈現(xiàn)自己精湛技巧的機(jī)會(huì)。無論是在對(duì)待建筑師還是對(duì)待使用者上，標(biāo)準(zhǔn)營(yíng)造的這個(gè)項(xiàng)目都展現(xiàn)出一種近乎于“禁欲”或者“苦行”的意味。

這種“禁欲”式的克制是標(biāo)準(zhǔn)營(yíng)造近期作品的普遍特點(diǎn)。建筑師的語匯日益收斂，多余的東西都被屏蔽在外，設(shè)計(jì)最終歸結(jié)于一兩個(gè)要素。但也就是這一兩個(gè)要素，所產(chǎn)生的觸動(dòng)卻讓人難以忘懷。不同于極少主義的做作，標(biāo)準(zhǔn)營(yíng)造的這些作品追求的并不是空寂，而是在濾除了干擾的情況下，讓某些要素更為凸顯出來。這種要素，在近期作品中更多呈現(xiàn)為一種特殊的視景。就像標(biāo)準(zhǔn)營(yíng)造所撰寫的作品說明中所提到的，娘歐碼頭并不提供一個(gè)崇拜對(duì)象，它啟示的是超越日常的審視。

這樣的“禁欲”更接近于亞瑟·叔本華所闡述的“美學(xué)意識(shí)”，它需要我們擺脫“日常意識(shí)”對(duì)個(gè)體、對(duì)個(gè)人意志、對(duì)利益得失的過度關(guān)注，在非功利性的審視中超越個(gè)體性的悲劇。我們實(shí)際上可以把藏人的轉(zhuǎn)山視為類似的解脫過程。娘歐碼頭的“宗教性”或者說是“哲學(xué)意味”并不僅僅限定在藏族傳統(tǒng)中，在更廣泛的意義上，它可以啟示每一個(gè)人，無論他是否是佛教徒。

因?yàn)榕c日常生活的距離，阿道夫·路斯認(rèn)為只有缺乏功能的藝術(shù)品才能具有這種“禁欲”的特征。在他看來只有這樣的藝術(shù)品才能稱為建筑，其他的都只是房屋。這種割裂顯然過于絕對(duì)了，生活與啟示并不一定要相互對(duì)立，在娘歐碼頭的石臺(tái)之上，或許可以感受到兩者之間內(nèi)在的聯(lián)系。

Comment

QING Feng: The Redemption of Ascetics

Although bearing the heaviness of Tibetan traditional residence, the Niang'ou Boat Terminal looks even more primitive. There is hardly any clue indicating the construction time of the building. It's more like relics of some primitive religious architecture, only borrowed by people today as a tourist service establishment. This association is obviously inspired by the architectural formation. Walking back and forth on the stone paved roof reminds people of the Tibetan's pious mountain circling. Without any sacred statues or temples, the journey itself becomes a clear proof of faith.

In order to create such an atmosphere, the architecture had to sacrifice a lot in the conventional sense. Not only does the accessible interior space occupy merely a small part of the whole project,but the light and sight of some rooms also give way to the compactness and coherence of the whole building. The architect's own restraint is also evident. Apart from the stone masonry walls,the openings of doors and windows, and the stacked timber fences here and there, the designer abandoned any other opportunities to present his virtuosity. Whether for the architect or the users,this project of ZAO shows a sense that almost reaches the level of "abstinence" or "asceticism".

This "ascetic" restraint is the common characteristics of ZAO's recent works. The architect's vocabulary is increasingly constricted, redundant things are warded off, and design ultimately concentrates into only one or two elements. But precisely these one or two elements could cause an unforgettable stir. Different from the affectation of minimalism, what ZAO pursues is not emptiness, but letting certain elements stand out in the absence of any interference. Frequently,the distinctive elements chosen by ZAO falls into the category of special sights. As it is mentioned in the design description, Niang'ou Boat Terminal does not offer an object of worship, but inspires transcendent reflections.

Such "asceticism" is closer to the "aesthetic consciousness" described by Arthur Schopenhauer. It requires us to get rid of the excessive attention on the individual, the will, and the gain and loss in "ordinary consciousness", thus to overcome the individual tragedy by way of non-utilitarian contemplation.In fact, we can regard Tibetans' mountain circling as a similar process of liberation. The "religious" or"philosophical" meaning of Niang'ou Boat Terminal is not limited to the Tibetan tradition. In a broader sense,it can inspire everyone, whether Buddhist or not.

Because of the distance from everyday life, Adolf Loos believes that only works of art lacking function can possess this kind of "ascetic" characteristic. In his opinion,only such works of art could be called architecture,and others are just buildings. This split is obviously too absolute. Life and revelation do not necessarily oppose each other. On the stone platform of Niang'ou Boat Terminal, one may feel the internal connection between them. (Translated by CHEN Yuxiao)