盧卡·意亞萊/Luca Reale

朱琳 譯/Translated by ZHU Lin

記憶與再生：為人的街道

欄目主持：阿爾伯托·博洛尼亞，米凱利·博尼諾，皮埃爾-阿蘭·克羅塞特

如果我們把街道看作是一種公共空間，就不能不把它理解為一種享受都市環(huán)境的正當(dāng)權(quán)利[1]。它是一種城市權(quán)利，因?yàn)榻值涝试S所有類別的城市人口在城市中自由流動(dòng)。但是，近年來街道空間被專門用于塑造基于汽車使用的城市流動(dòng)，隨著時(shí)間的推移，城市交通的所有復(fù)雜性和街道所體現(xiàn)的城市意義逐漸被忽略。由于否定了獨(dú)立和自由的流動(dòng)，如今街道與其說是一種權(quán)利，不如說是一種障礙。

在當(dāng)代城市的競(jìng)爭(zhēng)中，將城市規(guī)劃中的策略與意義交織在一起尤為重要：將公民理念作為參考考慮城市居民的所有要求，并將這些問題轉(zhuǎn)化為知識(shí)，從而設(shè)計(jì)出“像城市一樣的建筑”“像家一樣的城市”“像微型城市一樣的學(xué)?！焙汀跋裼螒颦h(huán)境一樣的城市”[2]。在隨后的文章中，水平線事務(wù)所的一些項(xiàng)目與凡·艾克的行動(dòng)進(jìn)行了開放的對(duì)話。凡·艾克曾經(jīng)通過創(chuàng)造性和游戲性的干預(yù)來重整城市的碎片，并在公共和集體的層面上重塑城市環(huán)境。這些項(xiàng)目的共同特點(diǎn)是，從街道這一元素開始，使用簡(jiǎn)單的最小的結(jié)構(gòu)，對(duì)應(yīng)各類城市居民，以一種有趣的方式重新創(chuàng)造公共空間。這些項(xiàng)目也可以通過赫茨伯格的視角來解讀，他認(rèn)為“事物之間的可居住空間代表著從正式層面向非正式層面的注意力轉(zhuǎn)移”，由此定義了一個(gè)能夠“擺脫既定的、特定的、受管制的、官方的限制”的新的空間概念，這個(gè)空間超越了自身的形式，并容納不同的詮釋[3]。

水平線事務(wù)所的建筑師們所創(chuàng)造的公共空間將街道的空間還給了人們，引用魯?shù)婪蛩够恼f法，可以說這些項(xiàng)目催生了“為人的街道”，將人們的注意力轉(zhuǎn)移到街道本身的社會(huì)和文化作用上，讓人回想起城市空間沒有被汽車侵占的時(shí)代——那時(shí)的公共空間是屬于市民的。（喬琪亞·切斯塔羅）

Memory and Regeneration:Streets for People

Column Editiors:Alberto Bologna,Michele Bonino,Pierre-Alain Croset

If we think to the street as a public space project,we cannot avoid to read it as a right to live the urban environment[1].It is an urban right in the measure in which the street allows to all urban population categories to move freely in the city.But the space of the street,lately specialised and shaped itself on the idea of urban mobility based on the use of the car,forgetting,over the time,all the complexity of the urban movements and the urban meanings which the street embodies.Denying the independent and free movements,the street arrived to represent more an obstacle rather than a right.

It is particularly important,among the contest of the contemporary city,to intertwine scales and meanings in urban planning,having as references an idea of citizen which take into considerationall the declinations of being an urban inhabitant and translating all this issues in knowledge able to design a "building like a city",a "city like a house" a "school like a micro-city" and "city as a playful environment" [2].Some of the projects by Orizzontale presented in the following essay,are in open dialogue with Van Eyck actions who used to rewrite city's fragments and to reinvent the public and collective dimensions of the urban context through creative and playful interventions.The projects are characterised by the common features of re-creating public spaces starting from the element of the street by using simple and minimal structures in a playful way which respond to all the categories of the urban inhabitants.The projects can be read also through the lens of Hertzberger who sustained that "the habitable space between things represents a shift in attention from the official level to the informal"defining so a new concept of space capable to "escape the confines of the established,the specified,theregulated,the official",a space which overcomes its shape and it becomes open to interpretations[3].

The public spaces created by the collective of architects Orizzontale give back to the people the space of the street,citing Rudofsky,it can be said that these projects generated Streets for People shifting the attention on the social and cultural role of the street itself,recalling to the time when the urban space was not invaded by cars,when public spaces belonged to the citizens.(Giorgia Cestaro)

參考文獻(xiàn)/References

[1] LEFEBVRE H.Le droit a la ville[M].Edition Anthropos,1968.

[2] VAN EYCK A.The child,the city and the Artist[M].Amsterdam:SUN,1962.

[3] HERTZBERGER H.Space and the Architect.Lessons in Architecture 2[M].Rotterdam:010 Publisher,1999.

1 街區(qū)之家，內(nèi)部社交空間/Casa do Quarteir?o.The interior social space（攝影/Photo:Rui Soares）

2 街區(qū)之家，街道的入口處被改造成一個(gè)公共場(chǎng)所/Casa do Quarteir?o.Entrance of the street transformed into a common place（攝影/Photo:Sara Pinheiro）

在與記憶和再生之間的關(guān)系最密切的歐洲實(shí)例中，街道無疑在使用、城市活力和其空間對(duì)居民的意義方面發(fā)揮了關(guān)鍵作用，尤其是如果我們考慮到一個(gè)充滿希望的前景——作為特權(quán)交通手段的汽車在未來將無法形成壟斷。

在歐洲城市的歷史上，街道歷來是城市生活的中心場(chǎng)所。隨著早先馬車的發(fā)展，特別是20 世紀(jì)以來汽車的發(fā)展，它很快成為城市有機(jī)體中一個(gè)分離和斷裂的元素。那時(shí)，人們開始著手在街區(qū)內(nèi)修建人行道、立交橋和地下通道、步行街（先是巴黎的拱廊街“Passages”，而后風(fēng)靡歐洲），使街區(qū)變得“通透”。道路（Roads）成為大流量的路線，與房屋的距離越來越遠(yuǎn)，它首先被作為一種流量被認(rèn)定和體驗(yàn)，其次才是空間、“道路”（roads），而不再是街道（street）1）。盡管在過去幾十年中有越來越多的項(xiàng)目旨在恢復(fù)街道的多功能特征和多義性，但這種狀況仍然根深蒂固，就像自城市文明起源一直以來的那樣。

在這里介紹的3 個(gè)項(xiàng)目中，街道被看作城市生活的主要場(chǎng)所，在這個(gè)空間內(nèi)，居民重新占有了城市的公共領(lǐng)域。所描述的介入措施將街道作為公共生活的延伸，作為游樂場(chǎng)，作為“戶外客廳”。對(duì)于來自羅馬的水平線建筑師事務(wù)所來說，設(shè)計(jì)行動(dòng)與其說是基于裝置或建筑本身，不如說是基于他們的建筑所重新激活或“預(yù)設(shè)”的隱藏空間與城市背景和居民之間的關(guān)系。這些項(xiàng)目通常在一個(gè)短暫的時(shí)間（“同時(shí)”）內(nèi)進(jìn)行，并預(yù)判該場(chǎng)所可能發(fā)生的變化：一方面，它是基于對(duì)空間和資源的經(jīng)濟(jì)利用，另一方面，它使城市習(xí)慣于一種可能的使用方式，而這種使用不一定是永久性的。從這個(gè)意義上說，水平線建筑師事務(wù)所的項(xiàng)目，以及他們參與的其他許多類似的現(xiàn)實(shí)項(xiàng)目，挑戰(zhàn)了（在空間和時(shí)間上）按功能劃分城市的概念，并構(gòu)成了一種新的、有效的城市規(guī)劃戰(zhàn)略，與大型城市改造項(xiàng)目的策略和傳統(tǒng)的自上而下的政策相輔相成。

1 街區(qū)之家，蓬塔德爾加達(dá)，圣米格爾島，葡萄牙，2016

Walk & Talki是在亞速爾群島舉辦的國(guó)際公共藝術(shù)節(jié)。作為2016 年活動(dòng)的一部分，由居住和工作在附近街區(qū)的充滿活力的社區(qū)的倡議，水平線事務(wù)所受邀去修復(fù)一個(gè)被停車場(chǎng)和汽車占據(jù)的城市區(qū)域，將其轉(zhuǎn)變?yōu)橐粋€(gè)供娛樂和集體活動(dòng)使用的公共空間。與居民一起，他們決定在名為阿科阿街的小巷著手，把街道變成公共廣場(chǎng)，一個(gè)體現(xiàn)公民性的場(chǎng)所。路易·康說過，“街道是社區(qū)的房間”，是城市的第一個(gè)機(jī)構(gòu)。但我們也可以把街道看作是家庭空間的延伸（赫爾曼·赫茨伯格的“街道客廳”），是一個(gè)不確定的區(qū)域，是公共和私人之間互動(dòng)和互惠的門戶。

3 Cityleaks藝術(shù)節(jié)，恢復(fù)地下通道的3個(gè)房間并“入侵”街道空間/Cityleaks Festival.Recovery of the three rooms of the underpass and "invasion" of the space of the street（圖源/Credits:Orizzontale）

水平線事務(wù)所的介入是在公共場(chǎng)所進(jìn)行的，因此，從組裝的早期階段開始，就與場(chǎng)所周圍的住宅肌理建立了直接的聯(lián)系。方案確定后馬上開始了建造：在建造的過程中，項(xiàng)目逐漸完成“對(duì)焦”，經(jīng)常會(huì)有建筑系學(xué)生、協(xié)會(huì)或市民參與研討會(huì)；他們的介入措施幾乎都是在物質(zhì)上可逆的，但試圖在集體記憶中留下痕跡。街區(qū)之家隱喻了亞速爾的“苗圃”（該地區(qū)一種有代表性的溫室），試圖在外部重現(xiàn)傳統(tǒng)房屋的親密空間。這個(gè)由居民們?cè)? 天內(nèi)共同建造的結(jié)構(gòu)主要包括兩個(gè)入口元素2）：一個(gè)是用于會(huì)議和活動(dòng)的亭子，另一個(gè)是一個(gè)更加封閉和“親切”的體量，讓你可以上到露臺(tái)上變換一下視角。該介入措施是作為一個(gè)開放的項(xiàng)目提出的：由模塊化框架組成的簡(jiǎn)單建造系統(tǒng)可以根據(jù)社區(qū)的不同活動(dòng)和需求進(jìn)行多種配置調(diào)整和定制。

2 Cityleaks藝術(shù)節(jié)“同時(shí)和各自——一群人，一個(gè)人”，科隆，德國(guó)，2019

“Simul et Singulis”，拉丁語(yǔ)意為“同時(shí)和各自”，是2019 年夏季CityLeaks 藝術(shù)節(jié)期間完成的一系列臨時(shí)的介入措施和工作坊。在第一階段探索街區(qū)并觀察不同的空間居住方式后，設(shè)計(jì)師們選擇在科隆密集的新赫倫費(fèi)爾德街區(qū)的胡頓大街高架鐵路下方回收3 個(gè)廢棄的大型拱頂房間3）。這些房間被設(shè)計(jì)為擠壓在房屋和鐵路之間的街道空間的擴(kuò)展。3 個(gè)臨時(shí)結(jié)構(gòu)產(chǎn)生了3 個(gè)新的空間：一個(gè)有頂?shù)膹V場(chǎng)，里面有一個(gè)小賣部和一個(gè)自助打印店；一個(gè)用于表演和會(huì)議的劇院階梯，它包括一段移動(dòng)的橋，能夠通過完全占用街道（在活動(dòng)期間作為人行步道使用）來擴(kuò)大使用面積；最后是總部，包括一個(gè)木工車間，一間辦公室和一個(gè)倉(cāng)庫(kù)。廣場(chǎng)和劇院對(duì)所有居民開放，甚至在藝術(shù)節(jié)提出的活動(dòng)計(jì)劃之外也開放給自發(fā)的和有組織的活動(dòng)使用。一旦這些新功能被激活后，接下來的“CityLeaks 學(xué)院”項(xiàng)目將致力于發(fā)現(xiàn)街道的空間——設(shè)計(jì)師與學(xué)生和志愿者一起設(shè)計(jì)并自建了非正式的臨時(shí)建筑，融入拱門、街道和廣場(chǎng)附近的空間。這些建筑完善了這個(gè)項(xiàng)目，將胡頓大街和鐵路立交橋變成了一個(gè)為期數(shù)周的公共空間，這一行動(dòng)在第二年得到了市議會(huì)的再次肯定。

3 市民中心，列西，卡爾塔尼塞塔，西西里，意大利，2020

第三個(gè)設(shè)計(jì)干預(yù)的案例是恢復(fù)一個(gè)自西西里腹地黑手黨所沒收的地產(chǎn)項(xiàng)目，它還應(yīng)對(duì)了意大利內(nèi)陸地區(qū)舊村落的遺棄問題，這些村莊如今正處于被邊緣化和缺乏機(jī)會(huì)的狀態(tài)。這個(gè)主題具有強(qiáng)烈的象征性，代表了記憶與再生ii之間關(guān)系的一種特殊觀點(diǎn)，也代表了社會(huì)和文化救贖的希望。項(xiàng)目本身在技術(shù)上和構(gòu)造上都很簡(jiǎn)單，但它的實(shí)驗(yàn)性不止于此，還體現(xiàn)在空間使用的復(fù)雜性上，尤其是對(duì)室內(nèi)外連續(xù)性的探索上。與其他兩個(gè)案例一樣，循環(huán)利用的理念不僅涉及遺棄的、廢棄的結(jié)構(gòu)，或材料的再利用，它還試圖循環(huán)利用城市環(huán)境本身，重新激活公共空間。2020 年8 月落成的該項(xiàng)目通過占用建筑所俯瞰的3 條街道中的一條，增加了城市空間，并將其改造為一個(gè)公共空間/游樂場(chǎng)。居民已經(jīng)成功地獲得批準(zhǔn)，當(dāng)?shù)厥姓鷾?zhǔn)該街道成為永久步行街。建筑物的重新改造是公開招標(biāo)的結(jié)果，通過專業(yè)人員、學(xué)生、文化協(xié)會(huì)和行政部門之間的合作，在分享和直接學(xué)習(xí)的基礎(chǔ)上，創(chuàng)建了一個(gè)市民和文化中心4）?！?/p>

4 Cityleaks藝術(shù)節(jié)，劇場(chǎng)空間的活動(dòng)/Cityleaks Festival.An event in the theater space（攝影/Photo:Orizzontale）

5 Cityleaks藝術(shù)節(jié)，整體軸測(cè)：新結(jié)構(gòu)重新激活了城市的用途和空間/Cityleaks Festival.Overall axonometry:new structures reactivate uses and spaces of the city（圖片來源/Credits:Orizzontale）

Among the most relevant European instances in the relationship between memory and regeneration,a key role is certainly played by the street,in terms of use,urban vitality,and meaning that its space represents for the inhabitants,especially if we consider the hopeful prospect of a future overcoming of the car monopoly as a privileged means of transport.

In the history of the European city,the street has traditionally been a centralising place of city life.With the development of carriages first,and especially of cars from the twentieth century,it quickly became an element of separation and fracture within the urban organism.At that moment,work began on sidewalks,overpasses and underpasses,pedestrian streets within the blocks(the Passages in Paris and then throughout Europe)that make the block "permeable".Roads,which have become high-traffic routes,are increasingly distant from houses,and are conceived and experienced in terms of flows before being space,roads,and no longer streets1). This condition is still very deep-rooted,even if in the last decades there are more and more projects that aim at recovering the multifunctional character and the polysemic nature of the street,as it has been since the origins of urban civilisation.

6 Cityleaks藝術(shù)節(jié)，帶信息點(diǎn)、信息亭和自助打印店的有頂空間/Cityleaks Festival.The covered space with infopoint,kiosk and do-it-yourself print shop（攝影/Photo:Robert Winter）

In the three projects presented here,the street is considered the main place of urban life,a space of re-appropriation of the public dimension of the city by inhabitants.The interventions described use the street as an extension of common living,as a playground,as an "outdoor living room".For the Rome-based architects' collective Orizzontale,design action is based not so much on installations or architecture in itself as on the relationship between urban contexts,inhabitants and latent spaces that their architecture reactivates or "prefigures".The project often acts in a transitory time ("meanwhile")and anticipates what that place could become:on one hand it is based on the economy of spaces and resources,on the other,it accustoms the city to a possible use that is not necessarily permanent in time.In this sense the projects of Orizzontale–and of many other similar realities with which they are networked–challenge the idea of the city divided by functional areas (in space and time) and constitute not simply a tactic,isolated and episodic,but a new and effective kind of urban planning strategy,complementary to that of large urban transformation projects and to traditional top-down policies.

1 Casa do Quarteir?o,2016 (Ponta Delgada,S?o Miguel,Portugal)

Walk & Talk is an international public art festival that takes place in the Azores archipelago.As part of the 2016 edition,following the initiative of the vibrant community that lives and works in the neighborhood (Quarteir?o),Orizzontale is invited to redeem an urban sector invaded by parking lots and cars,transforming it into a common space for convivial and collective use.Together with the inhabitants,they decide to work in the small Travessa da Rua d'Acoa,to materialise a street in the form of a collective square,a place for citizenship."The street is a room for the community",argued Louis Kahn,the first institution of a city.But we can also think of the street as an extension of the domestic space (Herman Hertzberger's streetliving room),a zone of indeterminacy,a threshold of interaction and reciprocity between public and private.

Orizzontale's interventions are built in public,thus entering in a direct relationship with the residential fabric that surrounds the places of action since the early stages of assembly.The distance between the moment of decision and the moment of construction is very slim:the realisation,during which the project progressively "comes into focus",often foresees workshops involving architecture students,associations or citizens;the interventions are almost always reversible in their materiality but try to leave traces in the collective memory.Casa do Quarteir?o,a metaphor for the Azorean Viveiro(a typical greenhouse),on the outside attempts to recreate the intimacy of the space of a traditional house.The structure,built in five days together with a group of inhabitants,is defined by two entrance elements2):a pavilion for meetings and events,and a more contained and "familiar" body that allows you to go up to a terrace to change the point of view.The intervention is presented as an open project:the simple construction system consisting of modular frames can be adapted and customised in multiple configurations according to the different activities and needs of the community.

7 市民中心，步行街被改造成了游樂場(chǎng)/Civico civico.The pedestrianised street transformed into a playground（攝影/Photo:Emanuele Piccardo）

8 市民中心，新公民和文化中心的入口處/Civico civico.Entrance to the new civic and cultural center（攝影/Photo:Giulio Marzullo）

2 "Simul et Singulis–Be together and be oneself",Cityleaks Festival 2019 (Cologne,Germany)

"Simul et Singulis",literally "simultaneously and singular",is a set of ephemeral interventions and workshops realised during the CityLeaks festival in summer 2019.After a first phase exploring the neighbourhood and observing different ways of inhabiting the space,the designers choose to recover three large abandoned vaulted rooms below the Hüttenstrasse elevated railway in Cologne's dense Neuehrenfeld neighbourhood3).These rooms are conceived as an expansion of the space of the street,squeezed between the houses and the railway.Three temporary structures generate three new spaces:a covered square with a kiosk and a do-it-yourself print shop;theatrical steps for performances and meetings with a mobile bridge,able to duplicate the scene by completely invading the street (pedestrianised for the event);finally the headquarters with a carpentry workshop,an office and a warehouse.The square and the theatre are accessible to all inhabitants,even outside the program of activities proposed by the festival,open to both spontaneous and organised simultaneous use.Once these new functions were activated,a subsequent event–"CityLeaks Academy"–was dedicated to the discovery of the space of the street,where designers with students and volunteers designed and self-built informal temporary architectures invading the space adjacent to the arches,the street and the square.These structures completed the project,transforming Hüttenstrasse and the railway overpass into a communal space for a few weeks,an action which was reconfirmed the following year by the City Council.

9 市民中心，內(nèi)部空間之間的連續(xù)性/Civico civico.The continuity between the interior spaces（攝影/Photo:Giulio Marzullo）

3 Civico civico,2020 (Riesi,Caltanissetta,Sicily,Italy)

The third intervention is a project for the rehabilitation of a property confiscated from the Mafia in the Sicilian hinterland.It also deals with the problem of the abandonment of the historical villages in the inland areas of the country,which today experience a condition of marginalisation and lack of opportunities.The theme has a strong symbolic character and represents a particular point of view in the relationship between memory and regeneration,here interpreted as removal and hope of a social and cultural redemption.The experimentation is realised not only in the project,which is technically and constructively simple,but on the complexity of uses that are made of the space,focusing on the search for a continuity between interior and exterior.As in the other two cases,the idea of recycling does not only concern an abandoned or disused structure,or the reuse of materials,but it tries to recycle the urban context itself,reactivating public space.The project–inaugurated in August 2020–has also invested the urban space with the occupation of one of the three streets overlooked by the building,transformed into a public space/playground.The inhabitants have succeeded in obtaining the permanent pedestrianisation of the street by the local municipality.The reconversion of the building,the result of a public tender,led to the creation of a civic and cultural centre ("Civico civico") thanks to the collaboration between professionals,students,cultural associations,and administration,based on sharing and direct learning4).□

10 市民中心，作為城市的室內(nèi)空間的街道/Civico civico.The street as urban interior（攝影/Photo:Giulio Marzullo）

注釋/Notes

1）在英語(yǔ)中，“road”是一種交通設(shè)施，而“street”是一個(gè)公共空間/The English language distinguishes between the road as a mobility infrastructure and the street as a public place.

2）唯一使用的木材為柳杉，一種生長(zhǎng)在島上的特有針葉樹物種/The only wood used was from Cryptomeria japonica,an endemic coniferous species that grows on the island.

3）該項(xiàng)目涉及30名建造志愿者，兩所建筑學(xué)院（阿蘭努斯藝術(shù)與社科大學(xué)和科隆工業(yè)大學(xué)）的5名教師和17名學(xué)生參加工作坊/T he project involved 30 construction volunteers,two Faculties of Architecture (Alanus University of Arts and Social Sciences and TH K?ln) with 5 teachers and 17 students for the workshops.

4）多年來一直致力于推動(dòng)社會(huì)和教育活動(dòng)的列西基督教服務(wù)機(jī)構(gòu)，邀請(qǐng)了水平線事務(wù)所和建筑師弗洛拉·拉·西塔，后者吸引并協(xié)調(diào)了來自意大利各地的21名年輕人參與項(xiàng)目的建設(shè)/The Riesi Christian Service,which has been committed to promoting social and educational activities for years,called Orizzontale and architect Flora La Sita,who,through a participatory process,coordinated 21 young people from all over Italy in the construction of the project.

譯注/Notes from Translator

i Walk & Talk，意為“邊走邊聊”。ii 再生，regeneration，這里被詮釋為removal，“去除”。