錫爾霍爾茲利運(yùn)動(dòng)館擴(kuò)建，蘇黎世，瑞士

建筑設(shè)計(jì)：博爾茨豪瑟建筑事務(wù)所

錫爾霍爾茲利運(yùn)動(dòng)館擴(kuò)建，蘇黎世，瑞士

建筑設(shè)計(jì)：博爾茨豪瑟建筑事務(wù)所

1 終點(diǎn)線旁的塔樓/Tower next to the finishing line

這組具有重要?dú)v史意義的體育設(shè)施是由建筑師赫爾曼·赫托設(shè)計(jì)建造的，2001年根據(jù)建筑師羅杰·博爾茨豪瑟的設(shè)計(jì)增加了2個(gè)設(shè)備棚和一座塔樓。這些新建筑是用夯土技術(shù)建成的，屋頂和地面為清水混凝土?；炷撂旎ǖ暮奢d直接由夯土實(shí)墻承載?；炷僚c分層夯土的變換運(yùn)用突出了這些建筑的體塊感。在各天花層表面上，夯土墻實(shí)際上是以地面和天花為界限的?？瓷先ゾ拖裉旎ò寮茉诤煌辽?，并將其壓到地里。這樣，75t的混凝土構(gòu)造就由65t的夯土支撐起來。作為防風(fēng)化的措施，水平加固構(gòu)件以不規(guī)則的間隔壓入各道灰漿帶。這一過程在表面上留下了強(qiáng)烈的裝飾特征。光線、色彩和陰影將鮮明的肌理疊加在這種古老而均質(zhì)的材料上。它的印記猶如地質(zhì)構(gòu)造的斷面，又像阿道夫·路斯對(duì)從材料內(nèi)部發(fā)掘裝飾的追求，以及密斯·凡·德·羅對(duì)大理石磚的運(yùn)用。□（尚晉 譯）

2 設(shè)備棚/Equipment sheds

The historically important sport facilities, done by architect Hermann Herter, were supplemented by two equipment sheds and a tower in 2001, planned by architect Roger Boltshauser. The new buildings were constructed in rammed earth; the roof and flooring are in fair-faced concrete. The load of the concrete ceilings is carried directly by the solid rammed earth walls. The changing use of concrete and layered rammed earth underlines the body-like impression of the buildings. On the face side of the ceiling layers the rammed earth walls are literally framed by the floor and ceiling levels. The ceilings seem to mount and press the rammed earth into the floor. In this way 75 tons of concrete constructions are carried by 65 tons of rammed earth. As an erosion protection the horizontal reinforcements are pressed into mortar bands in regular intervals. The process is characterized by a strong ornamental impression of the surface. Light, color and shadow impressions overlay the preliminary, homogeneous material with a strong texture. Its effect can be compared to the cutting face of geological formations, as remembered by the request from Loos, in which the ornament is to be searched inside the material and in Mies von der Rohes use of marble tiles.□

3 透過設(shè)備棚看向另一個(gè)設(shè)備棚/View through one of the equipment sheds to the next one.

評(píng)論

蔣培銘：初看圖片，以為這個(gè)建筑是運(yùn)動(dòng)場(chǎng)所必需的某種特殊功能，起點(diǎn)、終點(diǎn)？或洗浴、更衣用房？細(xì)看文字，才知是我們平時(shí)設(shè)計(jì)經(jīng)常忽略的設(shè)備用房。我不得不佩服建筑師的敬業(yè)精神，雖是微不足道的設(shè)備用房，但經(jīng)過建筑師的設(shè)計(jì)，儼然成為運(yùn)動(dòng)場(chǎng)不可多得的藝術(shù)風(fēng)景，給人一種清風(fēng)拂面的涼爽愜意之感。巧妙的夯土墻肌理設(shè)計(jì)，彰顯著自然流淌的藝術(shù)之美，仿佛嗅到泥土的芳香。建筑師努力追求著夯土墻的色彩、質(zhì)感、光澤的美妙變化，漂浮著美妙的自然氣息。讓我們感受到這種最原始、最樸實(shí)的營造所帶來的最真實(shí)、最高尚的美。建筑是有生命的。建筑的生命如何光輝、持久，有意義。本案的設(shè)計(jì)，似乎告訴我們建筑具有無窮無盡的生命力。讓我們對(duì)建筑多一些關(guān)懷，多一些思考，才是建筑的真正含義。沈康懿：規(guī)則的立方體，矩陣式的玻璃磚，簡(jiǎn)易的鋼管欄桿。從透明度方面講，近乎于扁平、只有通過大角度透視才可以體現(xiàn)的體量，使這3棟建筑可以被定義為一個(gè)典型的現(xiàn)代包豪斯組合?？吹竭@樣的建筑會(huì)讓人在腦海中復(fù)讀“少即是多”這樣為功能正名、為裝飾抹黑的現(xiàn)代主義格言，哪怕當(dāng)前從未在一戰(zhàn)后清心寡欲的生活中體驗(yàn)過的人也會(huì)不由地想象并沉浸在那一個(gè)剛正純粹的年代。然而，當(dāng)夯土這樣既原始又潮流的材料被充滿節(jié)奏感和控制性地使用在這樣如清水一般淡雅的建筑上時(shí)，我讀出了一座獨(dú)立的夯土展覽廳，斑駁的灰墻是幕臺(tái)，混凝土結(jié)構(gòu)是幕布，玻璃磚的光線是幕燈。夯土和清水混凝土在色彩上涇渭分明，材料上卻曖昧地連續(xù)著，在極度的禁欲中雋永著材料的魂魄，“少即是多”也在這樣一種靜謐的狂歡里重新展現(xiàn)出它的魅力。

項(xiàng)目信息/Credits and Data

建筑設(shè)計(jì)/Architects: 博爾茨豪瑟建筑事務(wù)所/Boltshauser Architekten (Zurich, Switzerland)

客戶/Client: 蘇黎世市/City of Zurich (Switzerland)

項(xiàng)目經(jīng)理/Project Manager: Roger Boltshauser (Zurich, Switzerland)

結(jié)構(gòu)工程/Structural Engineer: BKM Ingenieure (St. Gallen, Switzerland)

基地面積/Floor Area: 217m2

夯土/Rammed Earth: 250m2, 247t

建造周期/Construction Phase: 2001-2003

攝影/Photos: Michael Freisager

4 設(shè)備棚的剖面和平面/Section and floor plan of the equipment shed

5 塔樓的剖面和樓梯間/Section and staircase of the finishing line tower

6 構(gòu)造細(xì)部/Structural features

7.8 夯土塔樓內(nèi)景/Interior views in the rammed earth tower

Comments

JIANG Peiming:The first glance of the picture suggests a special function the complex requires - a start or a finish? Or a bath or a locker room? But a closer examination reveals that it is a service room, usually overlooked in our designs. The architect's devotion is admirable. A supposedly trivial service room has been transformed by the architect's design into artistic scenery, which is rarely seen in sport complexes. A refreshing pleasure makes it so welcome. We can even smell the freshness of clay from the ingenious design of rammed-earth, while its texture represents natural and flowing artistic beauty. Thanks to the architect's pursuit of amazing play among the colors, textures, and glosses on the rammed-earth wall. A pleasurable natural atmosphere is everywhere, and we are intoxicated by the true and sublime beauty as feeling this most primitive and simple construction. Buildings have their lives. How radiant and lasting are such significant lives. This design is a manifesto of the eternal lives of the buildings. Cares and concerns we owe the buildings, the very soul of architecture. (Translated by SHANG Jin)

SHEN Kangyi:Regular cube, glass bricks matrix, simple steel rail, the nearly flat volume, which can only be saved in perspectives viewing from afar, in respect to transparency, these three buildings can be defined as a typical modern Bauhaus group. It is so hard to prevent rereading the words praising functionality in the place of ornament as expressed in "less is more". For people who never experienced the pure lifestyle of the post-World War I period, they cannot stop imagining a nostalgic atmosphere. However, I recognized another identity of the objects, which is an independent material exhibition hall when earth the fashion material is exerted in such classical buildings, where the grey concrete is the stage, the structure of concrete is the screen and the matrix of glass brick is the spot lights. In terms of colored earth and concrete are totally separated while in materiality they are ambiguously connected that, in extreme abstinence, it is yelling about the soul of material, and in silent carnival, it is regenerating the charm of modernism.

Extension of the Sihlh?lzli Sports Complex, Zürich, Switzerland, 2003

Architects: Boltshauser Architekten

9 塔樓的天窗/The rooflights of tower