里卡多·波菲建筑師事務(wù)所，巴塞羅那，西班牙

建筑設(shè)計(jì)：里卡多·波菲

里卡多·波菲建筑師事務(wù)所，巴塞羅那，西班牙

建筑設(shè)計(jì)：里卡多·波菲

老工廠(chǎng)

正如里卡多·波菲所說(shuō)，這座老工廠(chǎng)是他獻(xiàn)給加泰羅尼亞地區(qū)的工業(yè)美學(xué)贊歌。20世紀(jì)初有大量水泥廠(chǎng)，其空間主要分水泥生產(chǎn)和存儲(chǔ)兩大區(qū)域。他從這些遺址中看到了創(chuàng)造新空間的可能，并因此喜出望外。

改造工程從炸藥和手提鉆的局部破拆開(kāi)始，總共持續(xù)了一年半。這是一項(xiàng)精準(zhǔn)的工作，不但要展示工廠(chǎng)不為人知的建筑形式，還要復(fù)原某些空間——就像雕刻家先要研究材料一樣，他必須從水泥中鑿出新的空間。在去掉了大量原始構(gòu)件之后才得到最終的造型，有些構(gòu)件則加以保留。最終的成果是用原始的材料水泥雕刻而成的。形態(tài)各異的空間特色鮮明——有大教堂，有花園，還有筒倉(cāng)。后來(lái)我們又用一種綜合了建筑史上各種語(yǔ)言的特殊語(yǔ)匯來(lái)標(biāo)示這些新的構(gòu)造，一種與本土建筑相對(duì)的文化語(yǔ)言。我們將想象中的門(mén)窗、樓梯和偽透視放在外墻上和局部室內(nèi)。在加泰羅尼亞工匠的得力幫助之下，水泥工廠(chǎng)被慢慢改造成為一件永未建成的作品。

接下來(lái)是種植綠化。這些體塊需要一個(gè)綠色的基座，讓植物爬上墻壁，再?gòu)奈蓓敶瓜隆Ｗ詈笫枪δ艿闹脫Q。我們要給這座工廠(chǎng)的新構(gòu)造不同的用途，創(chuàng)造新的功能。

里卡多·波菲一貫的想法是用最少的元素裝點(diǎn)室內(nèi)，即只保留最本質(zhì)的東西。他的建筑脫胎于原建筑，將筒倉(cāng)分成多層，用作建筑工作室——設(shè)計(jì)、建模、管理、存檔，還有一個(gè)堂皇的商務(wù)多功能廳，被我們稱(chēng)作“大教堂”。

里卡多·波菲建筑事務(wù)所設(shè)計(jì)了建筑、室內(nèi)和家具。室內(nèi)和室外一樣，是集中精神、沉思冥想的空間。它給人帶來(lái)一種特殊的感受，又能容納人的個(gè)性。在這一點(diǎn)上，空間尤為和諧，極大緩解了人行為的壓力——極少的材料和裝飾是其特色。

家具設(shè)計(jì)不會(huì)追隨時(shí)尚，也沒(méi)有過(guò)多的個(gè)性。作為實(shí)用的原型，任何設(shè)計(jì)作品都必須能超越時(shí)間，并以當(dāng)代工藝制作。只有這樣才能創(chuàng)造出工作和休閑的空間，并滿(mǎn)足有文化、有責(zé)任、有自由的現(xiàn)代人的需求。

雖然生活在都市，里卡多·波菲卻總會(huì)回到工廠(chǎng)。這座讓他魂?duì)繅?mèng)繞的老工廠(chǎng)在過(guò)去的幾十年中一直在不斷翻新。空間的拓展和美化就像是在撰寫(xiě)生平，體塊本身猶如不斷豐富的傳記。里卡多·波菲曾說(shuō)，“這座工廠(chǎng)是一個(gè)充滿(mǎn)魔力的地方，它奇妙的氛圍不是肉眼所能發(fā)現(xiàn)的。我喜歡讓這里的生活井井有條，就像一種儀式，與我動(dòng)蕩漂泊的生活完全不同。” （尚晉 譯）

1 鳥(niǎo)瞰/Bird's eye view

La Fábrica

As Ricardo Bofill says, La Fábrica (the Factory) is his tribute to the industrial aesthetics of his homeland, Catalonia. There were a lot of cement factories in activity at the beginning of the 20th century. The spaces were mainly divided into two areas: cement production and stock. He was fascinated to see possibilities for new spaces in those ruins.

The construction work, which began with partial destruction with dynamite and jack hammers, lasted for a year and a half. It was a work of utmost precision, both in revealing the factory's hidden forms and in recovering certain spaces; like a sculptor whose first task is to explore the material, he had to carve into the cement to create new spaces. A lot of original elements had to be removed to obtain the final form, though certain elements are preserved. The final form is sculpted out of the original material, the cement: a great variety of spaces appeared: the Cathedral, the garden, and the silos. Later we designated these new structures with a peculiar vocabulary synthesizing various languages in architectural history, a cultured language in opposition to vernacular architecture. We applied imaginary windows, doors, stairs, and false perspectives to the exterior walls and some interiors. With the valuable help of Catalan craftsmen, the Cement Factory underwent slow transformation and remained an unfinished work.

The following phase was landscaping. It was necessary to provide a green platform to these structures; plants would climb walls and hang from the roofs. The last phase was functional replacement: we wanted to assign various purposes to the factory's new structures and invent new functions for them.

Ricardo Bofill's consistent intention is to decorate the interiors with scarce and minimal elements, i.e., to preserve only the most essential. His architecture grew out of the original buildings. He divided the silos into different floors to accommodate various activities of the architecture studio: designing, modeling, administrating, archiving and a magnificent, enormous room for business and social events that we call "The Cathedral".

2 廢棄的工廠(chǎng)/the abandoned old factory

Ricardo Bofill Taller de Arquitectura designs buildings, interiors, and furniture. the interiors, as is true of exteriors, are spaces conceived for meditation and concentration. they are meant to arouse a special sensation and at the same time accommodate human individuality. In this respect, the spaces are deliberately harmonious and neutral, which, characterized by a minimalism of material and decoration, greatly relieve the tension of human behavior.

Furniture design does not follow fashion and is free of excessive personalization. Conceived as functional archetypes, any object should be designed in a timeless spirit and be manufactured in accordance with contemporary craftsmanship. Only in this way can spaces be created for work as well as leisure, while fulfilling the need of cultured, responsible and liberal modern people.

Though cosmopolitan by definition, Ricardo Bofill returns always to the factory, that old industrial building that he never ceased to renew over the years. Expanding and embellishing its spaces is like writing a biography, constantly enriched by the evolution of structures. Ricardo Bofill says, "The factory is a magic place whose fantastic atmosphere is scarcely perceivable to the naked eye. I like to make the life here in perfect order, like a ritual, entirely different from my restless, vagrant life."

3 入口/Entrance

4 連橋/Bridge

評(píng)論

戴春：這是一個(gè)盡量存留原貌并凸顯其空間特質(zhì)的工業(yè)建筑更新，依據(jù)被發(fā)掘清理出來(lái)的空間形式來(lái)適應(yīng)與分配工作室多種功能的設(shè)計(jì)邏輯，加之局部嵌入帶有加泰羅尼亞民間哥特式特征的元素與工業(yè)建筑骨架的部分裸露，一系列似乎是為了標(biāo)示空間新功能的多種設(shè)計(jì)語(yǔ)匯并置，都令改造后的建筑有種紀(jì)念工業(yè)時(shí)代的超現(xiàn)實(shí)的意味。這些操作讓這個(gè)新的空間抽取了原有空間那些令人震撼的部分，承擔(dān)起了激發(fā)進(jìn)入者更多想像、更多探索的作用，形成了這個(gè)工作室空間特殊的創(chuàng)作氛圍。傅紹輝：按照建筑師個(gè)人意愿去實(shí)現(xiàn)作品，反映建筑師對(duì)場(chǎng)地、材料、功能的理解，并以一種方式表達(dá)出來(lái)是建筑設(shè)計(jì)中最令人興奮的事情之一。然而，各種現(xiàn)實(shí)（特別是業(yè)主）的要求，又使建筑師的很多思想難以表達(dá)，甚至蹤跡全無(wú)。建筑師自我的工作空間或自宅因而成為建筑師表達(dá)其思想和對(duì)建筑理解認(rèn)知的最佳試驗(yàn)場(chǎng)。相對(duì)于自宅的私密，工作室則更能體現(xiàn)出空間的公共開(kāi)放性。

里卡多·波菲建筑事務(wù)所同樣是利用圓筒空間建筑，新材料的介入和表現(xiàn)及其簡(jiǎn)單。其最大的特征在于圓筒的內(nèi)部成為“可達(dá)”空間。由于其“可達(dá)”的特性，歷史的遺存與當(dāng)今形成可“觸摸”的交流，從而賦予建筑空間特定的“意義”。這種“意義”最終是通過(guò)空間尺度和幾何形態(tài)的特殊性完成并傳遞出來(lái)。

5 夜景/Night view

6 筒倉(cāng)E平面/Floor plan of silo E

7 筒倉(cāng)F平面/Floor plan of silo F

Comments

DAI Chun: this renovation project strives to preserve the industrial building's original appearance and highlights its spatial characteristics. The design logic is to accommodate and distribute various functions of the studio according to the spatial form that is explored and cleared out. Moreover, some vernacular elements of the Catalonian Gothic are introduced, while the industrial building's structural framework is partially exposed. A variety of design vocabularies are juxtaposed to demarcate new spatial functions. All of these strategies endow the renovated space with a surrealist meaning that recalls a bygone industrial era. Overall, the new space extracts the impressive part of the original space and encourages the users to further imagine and explore, which determine the studio's distinctive atmosphere of creativity.

8 “大教堂”剖面/Section of "la Cathedral"

FU Shaohui: One of the most exciting things in architectural design is that the architect is able to realize his work based on his own willingness and expresses his understanding of the site, the material, and the functions in a certain way. However, various realistic requirements (especially from clients) make it hard for this kind of expressions, or even erase them. As a result, the architect's own working space or house becomes the best experimental playground to express their architectural thinking and perception. In contrast to the privacy of residential houses, it is easier to show the publicity and openness of space through the design of studio.

the Atelier of Ricardo Bofill also uses a cylindric space, and the interference and presentation of new material is quite simple. The most distinctive characteristic is that the interior of the cylindric space is turned into an "accessible" space. Due to the "accessibility", it is possible to realize a "tangible" communication between the historical remains and the present environment, so as to endow the architectural space with a specific "significance" that is accomplished and conveyed via the scale of the space and the distinction of its geometric form.

9 起居廳/Living room

10 多媒體室/Multimedia room

11 起居廳/Living room

12 多媒體室一隅/A corner of multimedia room

項(xiàng)目信息/Credits and Data

主創(chuàng)建筑師/Principal Architect: 里卡多·波菲/Ricardo Bofill功能/Program: 里卡多·波菲工作室和自宅/Atelier and house of Ricardo Bofill

建筑面積/Floor area: 3000m2（包括花園面積/+ garden）材料/Material: 水泥/Cement

設(shè)計(jì)時(shí)間/Design Period: 1973-1975

攝影/Photos: 里卡多·波菲建筑事務(wù)所/Ricardo Bofill Taller de Arquitectura

Ricardo Bofill Taller de Arquitectura, Barcelona, Spain, 1975

Architect: Ricardo Bofill

13 里卡多·波菲辦公室/Ricardo Bofill's office

14 主樓梯間/Main staircase