文/肯特·馬丁努森：HLA 丹麥建筑中心總監(jiān)by Kent Martinussen:Director of The Danish Architecture Center

亨寧·拉森的傳奇人生是在設(shè)計(jì)中度過。

數(shù)以百計(jì)的速寫本和數(shù)以千計(jì)的圖紙見證了他作為一位建筑師在日常中持續(xù)性的創(chuàng)作。這些圖紙記錄著他的經(jīng)歷，也記錄了他所看到的一切，他的想法、腦洞、靈感和感受。就在那一刻，一切都被保存了下來。

要在日常生活的茫茫大海中進(jìn)行創(chuàng)作，需要具有優(yōu)雅的藝術(shù)氣質(zhì)。亨寧·拉森具備了這點(diǎn)。從某種意義上說，他代表著20世紀(jì)真正的藝術(shù)型建筑師的理想，一個(gè)讓自己的原始想法在畫紙上源源流動(dòng)的人。

但亨寧·拉森在很多方面也不同于60年前他創(chuàng)立工作室之初時(shí)引領(lǐng)行業(yè)、略帶內(nèi)斂的經(jīng)典藝術(shù)家建筑師風(fēng)格。

他本人作為一個(gè)工作室的領(lǐng)導(dǎo)，作為一個(gè)教育家，作為一個(gè)建筑師，亨寧·拉森以他自己安靜的方式走在了他的時(shí)代的前面。他是一個(gè)受時(shí)代塑造的偉人，但在他的抱負(fù)和理想方面，他更屬于21世紀(jì)。

他與幾位合伙人創(chuàng)建的工作室培養(yǎng)了一種建筑語言和充滿活力的公司文化，預(yù)示了當(dāng)今成功企業(yè)的許多特征。

建筑使他著迷。但他更癡迷于探索當(dāng)下，思考當(dāng)代建筑發(fā)展應(yīng)如何塑造，且激發(fā)他不斷努力的未來，這是亨寧·拉爾森先生作為傳奇前景的一個(gè)標(biāo)志。

亨寧·拉森堅(jiān)持認(rèn)為遠(yuǎn)見卓識(shí)是必要的。他曾在美國和英國學(xué)習(xí)，并為當(dāng)時(shí)最優(yōu)秀的建筑師如約翰·伍重和阿恩·雅各布森工作，他們都致力于丹麥境外的發(fā)展。他曾批評過丹麥建筑領(lǐng)域有時(shí)過于保守的本質(zhì)，并通過創(chuàng)建丹麥第一個(gè)私人建筑畫廊和斯堪的納維亞的第一個(gè)建筑和設(shè)計(jì)雜志引發(fā)了新的討論，這兩個(gè)項(xiàng)目都被命名為SKALA。至此，丹麥的建筑設(shè)計(jì)在與國際對話中得到了激發(fā)和促進(jìn)。

亨寧·拉森在當(dāng)時(shí)預(yù)見著建筑的未來，也看到了周圍人的最佳能力。他經(jīng)常在別人之前發(fā)現(xiàn)機(jī)會(huì)，并有勇氣將自己的直覺轉(zhuǎn)化為行動(dòng)力。

在1959年，亨寧·拉森創(chuàng)立了自己的工作室亨寧·拉森建筑師事務(wù)所。

亨寧·拉森建筑師事務(wù)所(現(xiàn)在簡稱為HLA)成立于歐洲歷史上最具變革意義的時(shí)期之一，也是現(xiàn)代丹麥社會(huì)福利發(fā)展的關(guān)鍵時(shí)刻。社會(huì)福利的基本思想出現(xiàn)在第二次世界大戰(zhàn)之前，并在20世紀(jì)50年代及以后成為社會(huì)結(jié)構(gòu)的具體基礎(chǔ)。它是一種激進(jìn)和滲透的力量;一種主張創(chuàng)造一種新的普遍的社會(huì)模式的心態(tài)，在這種模式中，社會(huì)福利的所有利益都被視為每個(gè)公民的固有權(quán)利。

這一運(yùn)動(dòng)的核心是集體主義、民主哲學(xué)，它特別強(qiáng)調(diào)建筑方法、城市主義和居住設(shè)計(jì)在創(chuàng)建更強(qiáng)大的社會(huì)中的重要性。

每個(gè)公民都有權(quán)享受社會(huì)的福利，這一理念有助于將建筑置于丹麥社會(huì)福利的核心位置。HLA將建筑視為福利社會(huì)的物質(zhì)基礎(chǔ)設(shè)施，他們的工作成為社會(huì)、文化和丹麥身份發(fā)展的基準(zhǔn)。

亨寧·拉森開發(fā)了一種以人為核心的有條不紊的設(shè)計(jì)方法。該工作室對空間、形式、功能和細(xì)節(jié)的考慮源于建筑如何在其最佳狀態(tài)下賦予日常生活功能和美學(xué)質(zhì)量的意識(shí)。從最小的細(xì)節(jié)到最宏偉的姿態(tài)，讓建筑成為個(gè)人和集體感知生活質(zhì)量的關(guān)鍵。

多年來，亨寧·拉森創(chuàng)建了一系列開創(chuàng)性的項(xiàng)目，包括居住、機(jī)構(gòu)建筑、文化場所和商業(yè)中心，從而成為現(xiàn)代社會(huì)福利增長的關(guān)鍵貢獻(xiàn)者，如此強(qiáng)烈地識(shí)別出丹麥精神。然而，與大多數(shù)其他建筑公司不同的是，該工作室在早期就將自己定位為一個(gè)國際化的公司。因此，亨寧·拉森無疑是丹麥作為設(shè)計(jì)和建筑的領(lǐng)導(dǎo)者而享有國際聲譽(yù)的最重要貢獻(xiàn)者之一。

亨寧·拉森知道，不妥協(xié)的藝術(shù)家-建筑師模式并不是未來建筑需要的答案。他在自己身邊看到了許多在藝術(shù)和商業(yè)方面都有天賦的建筑師，以及一系列其他專業(yè)學(xué)科的建筑師，他們將幫助他找到建筑如何對現(xiàn)代全球發(fā)展做出貢獻(xiàn)的持久解決方案。多元文化的社區(qū)、民主的組織、跨學(xué)科的創(chuàng)造力和知識(shí)的共享，以及開放的、以網(wǎng)絡(luò)為基礎(chǔ)的公司文化是HLA對當(dāng)代建筑持續(xù)貢獻(xiàn)的定義元素。

諾爾圣丹尼斯 NORR Saint Denis

斯圖加特游客和媒體中心 Stuttgart Visitor And Media Center

Henning Larsen was constantly sketching-all the time,all his life.

Hundreds of sketchbooks and thousands of drawings bear witness to an architect who was dedicated to daily,continuous creation.These drawings captured his experiences,archiving all that he saw,his thoughts,whims,ideas and feelings.Everything was preserved as it struck him in that moment.

To create in the midst of the enveloping,chaotic sea of everyday life required a monumental artistic presence.Henning Larsen had this.In that sense,he embodied the 20th-century ideal of the authentic artist-architect,one who allowed his original ideas to flow through strokes of ink on paper.

But Henning Larsen also differed in many ways from the classic,slightly introverted artistarchitect that dominated the industry at the time he founded his studio 60 years ago.

As a studio leader,as an educator and as a person,Henning Larsen was,in his own quiet way,ahead of his time.He was an architect shaped by his time,but in his ambitions and ideals,he belonged more truly to the 21stcentury.

The studio he created with his colleagues fostered an approach to architecture and a vibrant company culture that foreshadowed many of the characteristics defining successful businesses in the present day.

Architectural history fascinated him.But he was even more transfixed with exploring the present,reflecting on how contemporary movements in architecture might shape and inspire the future he constantly worked toward,a hallmark of his legendary outlook.

Henning Larsen insisted on the necessity of vision and foresight.He studied in the United States and England,and worked for some of the period’s best architects such as J?rn Utzon and Arne Jacobsen,who were both invested in movements beyond Denmark’s borders.He was critical of the Danish architectural scene’s sometimes-insular nature,and sparked new conversations by founding Denmark’s first private architecture gallery and Scandinavia’s first magazine for architecture and design,naming both ventures SKALA.Danish design was something to be roused and fostered in international conversations about architecture.

Henning Larsen saw the future in the present,and saw the best capabilities in those around him.He often identified opportunities before others did,and had the courage to turn his intuition to action.

One of these great strides came in 1959,when Henning Larsen founded his own studio,Henning Larsen Architects.

Henning Larsen Architects-now known simply as Henning Larsen-was founded during one of the most transformative periods in Europe’s history,and at a crucial moment in the development of the modern Danish welfare society.The welfare society’s foundational thoughts preceded the Second World War,and in the 1950s and onwards,emerged as the concrete groundwork for social structure.It is a radical and permeating force; a mentality that advocates for the creation of a new universal model for society,in which all benefits of the welfare society are treated as an inherent right for every citizen.

At the core of this movement is a collectivist,democratic philosophy,one that gives particular regard to the importance of architecture,urbanism and residential design in creating a stronger society.

The idea that every citizen was entitled to the benefits of the welfare society contributes to the placement of architecture at the heart of the Danish welfare society.Henning Larsen views architecture as the physical infrastructure of the welfare society,their work becoming benchmarks in the development of society,culture and the Danish identity.

Henning Larsen has developed a methodic approach to design that places human beings at the very core.The studio’s consideration of space,form,functionality and detail stem from an awareness of how architecture,at its best,gives functional and aesthetic quality to everyday life.From the smallest details to the grandest gestures,architecture becomes crucial to the individual and collective perception of quality of life.

Over the years,Henning Larsen has created a catalog of pioneering projects including housing,institutional buildings,cultural venues and business centers,thus becoming a key contributor to the growth of the modern welfare society that so strongly identifies the Danish ethos.However,unlike most other architecture firms,the studio identified itself early on as an international firm in both orientation and practice.As such,Henning Larsen is undoubtedly one of the most important contributors to Denmark’s international reputation as a leader in design and architecture.

Henning Larsen knew that the model of the uncompromising artist-architect was not the answer architecture needed in the years to come.He saw and surrounded himself with architects gifted both artistically and commercially,as well as a range of other professional disciplines who would help him develop enduring solutions to how architecture would contribute to modern global development.Multicultural communality,democratic organization,cross-disciplinary creativity and knowledge sharing,and an open,network-based company culture stand as defining elements of Henning Larsen’s continued contributions to contemporary architecture.

These core commitments make Henning Larsen one of the world’s most well-run and progressive presences in global architecture.Henning Larsen is dedicated to delivering excellence in architecture,with a focus on creating sustainable quality of life for people across the globe.

阿卜杜拉國王金融區(qū) King Abdullah Finacial District

貝爾法斯特水邊 Belfast Waterside