建筑設(shè)計(jì)：本特姆–克勞威爾建筑事務(wù)所

1 阿姆斯特丹中央車站入口/The entrance of station Amsterdam Central

2 諾德公園站外景/Exterior views of station Noorderpark

早前阿姆斯特丹的建筑都建在木樁之上，而較新的建筑則以水泥為地基。無(wú)論如何，新建的這條南北線地鐵必須考慮到市中心地下的地基“森林”，并避免破壞它。在阿姆斯特丹潮濕的地面下挖掘出的隧道，其深度可達(dá)30m。這條 10km 長(zhǎng)的地鐵線共設(shè)置有 7個(gè)車站，均由本特姆-克勞威爾建筑事務(wù)所設(shè)計(jì)。

讓乘客能夠憑直覺輕松找到目的地是該設(shè)計(jì)的先決條件，例如，伴隨行人一同深入地下的陽(yáng)光、站臺(tái)與街道間的流線盡可能方便快捷，以及在小范圍內(nèi)高效地實(shí)現(xiàn)上行和下行。更重要的是，統(tǒng)一材料的使用，加之建造高聳的拱形天花板，創(chuàng)造出一種極好的空間體驗(yàn)，所有的車站都是同樣的感受。每個(gè)站臺(tái)都設(shè)置有與其地上場(chǎng)景相協(xié)調(diào)的個(gè)性化藝術(shù)作品，從而使得每個(gè)車站各不相同，獨(dú)具特色。以羅金地鐵站自動(dòng)扶梯間的空間為例，作為阿姆斯特丹歷史最悠久的片區(qū)，這里陳列著當(dāng)?shù)爻鐾恋目脊盼奈铩?/p>

從空間角度而言，最為震撼的一站是阿姆斯特丹“中央車站”。而作為乘客的另一個(gè)公共空間，阿姆斯特丹最繁忙的區(qū)域之一 “車站廣場(chǎng)”站，其入口和出口沿各個(gè)方向分布開來(lái)。站臺(tái)之下，鋼筋林立，承載著旅客的南來(lái)北往?！酰▍蔚隆げ紕陧f斯 文，天妮 譯）

3 諾德公園站外景/Exterior views of station Noorderpark

Old Amsterdam is built on wooden piles; newer Amsterdam is built on concrete piles. Either way,the new North-South metro line had to take this"forest" of foundations underneath the city centre into account and avoid damaging it. Tunnels had to be dug in the soggy soil, up to 30 meters deep. The 10-kilometer line has seven stations. These were designed by Benthem Crouwel Architects.

The strict prerequisites for the station designs,so that passengers could instinctively find their way,included: daylight that accompanies you deep into the underground, the shortest possible connection between trains and street level, and moving up and down in a single sweep. By using the same materials,and more importantly, by building high vaulted ceilings that create a superb sense of space, all the stations share the same feeling. Yet each station is different, even unique, thanks to the integrated,individual works of art and the references to the above-ground world of each station. Take the Rokin metro station escalators, for example: as the oldest part of Amsterdam the station features displays of archaeological finds unearthed here.

In terms of space, metro station "Central"is the most spectacular. Under the public square"Stationsplein" – one of the busiest spots in Amsterdam – is another public space for metro passengers with entrances and exits fanning out in all directions. Underneath this is a steel cathedral:the concourse that leads to the platforms taking travellers north and south. □ (Text by Ruud Brouwers, Translated from Dutch by Dianna Beaufort)

4 諾德站內(nèi)景/Interior view of station Noord

評(píng)論

李文麗：阿姆斯特丹新建南北地鐵線的7個(gè)站點(diǎn)，設(shè)計(jì)所采用的簡(jiǎn)潔材料、清晰的光線視覺引導(dǎo)、站臺(tái)與地鐵出入口最短步行路徑，是高效率城市公共交通設(shè)施的基本設(shè)計(jì)要求。因地鐵開挖河道所發(fā)掘的文物而設(shè)置的站內(nèi)展覽區(qū)，及數(shù)字化的荷蘭物質(zhì)文化歷史博物館，都是民主社會(huì)體制下，公共計(jì)劃如何最大程度地回應(yīng)城市歷史人文價(jià)值的絕佳設(shè)計(jì)案例。此外，站點(diǎn)結(jié)合社區(qū)的藝術(shù)創(chuàng)作活動(dòng)，清晰地表達(dá)了運(yùn)河、街道和地鐵所構(gòu)成的交通體系試圖成就城市公共空間與場(chǎng)所的努力。而在三者之間身體能否“自然地”轉(zhuǎn)換，也是除光與識(shí)別系統(tǒng)之外，以上諸多方法所激活的集體空間記憶的結(jié)果。

和馬町：這是一個(gè)極具爭(zhēng)議、非常復(fù)雜且涉及到多學(xué)科的基礎(chǔ)設(shè)施項(xiàng)目，旨在將阿姆斯特丹北郊重新規(guī)劃的工業(yè)區(qū)與其南部新CBD區(qū)及金融區(qū)連接起來(lái)。一系列地鐵站、隧道和多種形式的聯(lián)運(yùn)點(diǎn)，從地下深處橫穿由聯(lián)合國(guó)教科文組織世界遺產(chǎn)中心認(rèn)證的阿姆斯特丹歷史中心區(qū)——建筑建在木樁之上是該區(qū)域獲得保護(hù)的原因。技術(shù)層面的挑戰(zhàn)、多學(xué)科的協(xié)同執(zhí)行使得設(shè)計(jì)團(tuán)隊(duì)花費(fèi)了更多的時(shí)間，且遠(yuǎn)超出了預(yù)算，這些都成為項(xiàng)目在整個(gè)過(guò)程中引起爭(zhēng)論和公眾不滿的原因。

然而，自2018年項(xiàng)目投入使用以來(lái)，所有的爭(zhēng)議都平息了。因?yàn)楣姲l(fā)現(xiàn)，設(shè)計(jì)者所有精心的規(guī)劃與斟酌已經(jīng)全然變成了他們希望在城市中看到的結(jié)果。該項(xiàng)目已經(jīng)成為荷蘭Polder模型法的最佳展示，這一過(guò)程中，各方都參與進(jìn)來(lái)并作出了折衷，才實(shí)現(xiàn)了項(xiàng)目的收益最大化。

因此，或許無(wú)法將這個(gè)項(xiàng)目的成功歸功于某一家設(shè)計(jì)事務(wù)所。當(dāng)然，本特姆–克勞威爾建筑事務(wù)所在塑造愉悅感、通風(fēng)、采光和開放性方面做得很好，De Pijp車站是我最喜歡的車站。就像紐約的高線公園一樣，該項(xiàng)目最大的優(yōu)點(diǎn)在于新建公共基礎(chǔ)設(shè)施與個(gè)人及城市領(lǐng)域的聯(lián)系，各方協(xié)同創(chuàng)造的價(jià)值將遠(yuǎn)大于各部分的簡(jiǎn)單相加。（天妮 譯）

5 歐洲廣場(chǎng)站剖面/Section of station Europaplein

6 諾德站剖面/Section of station Noord

7 阿姆斯特丹中央車站剖面/Section of station Amsterdam Central

8 羅金站剖面/Section of station Rokin

9 阿姆斯特丹中央車站內(nèi)景/Interior view of Amsterdam Central station

10 自動(dòng)扶梯間大型玻璃箱中的考古文物/The archeological artefacts in a large glass case between the escalators

Comments

LI Wenli:The design for the seven new stations of the north-south metro line has achieved the fairly high efficiency as the general principle, by the grey and transparency of the materials, the visual guidance with delicate light definition, and the close pathway between the platform and the entrance. Another contribution of the project is the discovery under the river which has represented the history of the city of Amsterdam by the vivid and numerous founding. Furthermore, the artworks presented in the different stations are related with the community, which makes the stations another kind of urban places, rather than merely a part of the transportation system with the streets and canals. And the transition between them relies on the collective memories.

11 自動(dòng)扶梯間大型玻璃箱中的考古文物/The archeological artefacts in a large glass case between the escalators

Martijn de Geus:A highly controversial and very complicated, multi-disciplinary infrastructure project that serves to link the re-purposed industrial areas of Amsterdam's northern outskirts with its southern new CBD area and banking district. A series of subway stations, tunnels and multi-modal transport points cut through deeply below the historic centre of the UNESCO world heritage city centre, which is principle only floating on wooden stilts. Technically challenging,the multi-disciplinary execution and design team took much more time, and went significantly over budget;causing the already unpopular project to cause uproar and public discontent all throughout the process.

However, since it is opening earlier 2018, all that criticism has subsided, as the public finds that all that meticulous planning and negotiating now has delivered exactly the result that the city was hoping for. The project process has become a showcase of the Dutch Polder model method, in which all parties are joined in an integral process and compromises are made to benefit the goal at large.

Therefore I would also hesitate to credit the success of the project to a singular firm. Sure, Benthem Crouwel Architects did a good job at making pleasant, airy,light and open stations, with the De Pijp station as a personal favorite, but as with New York's high-line, the biggest credit goes to the connections of the new public infrastructure to (private) city realm, and the way that all the parties combined together have created something more than just the sum of their parts.

項(xiàng)目信息/Credits and Data

客戶/Client: 阿姆斯特丹政府/Municipality of Amsterdam

總建筑面積/Gross Floor Area: 每車站約10,000m2/Approximately 10,000m2per station

車站數(shù)/Number of Stations: 7站/7 (Station Noord, Station Noorderpark, Amsterdam Central Station, Station Rokin,Station Vijzelgracht, Station De Pijp, Station Europaplein)

設(shè)計(jì)時(shí)間/Start Design: 1996

施工時(shí)間/Start Construction: 2003

投入使用/Opening Ceremony: 2018.07.21

繪圖/Drawings: Benthem Crouwel Architects

攝影/Photos: Jannes Linders