多面性
—— 建筑轉(zhuǎn)型的工具

安娜·瑪利克·韋伯/Anna Marijke Weber

錢芳 譯/Translated by QIAN Fang

本文從建筑的多面性潛能角度探討了后礦業(yè)改造項目的設計策略。礦業(yè)建筑體以各種不同的方式與更廣闊的文化背景產(chǎn)生著關(guān)聯(lián)。在一個以礦業(yè)為主的社區(qū)內(nèi)，采礦是日常活動的重要組成部分，比如在語言或方言中會有“礦井話”，比如特別的空間活動，為了某種用途如鏈條清洗而特別設計的建筑類型，由此會形成一種特別的區(qū)域性集體記憶。礦業(yè)活動在不同地區(qū)的歷史發(fā)展中扮演著重要角色，可以決定政治活動是否能夠獲得支持，從而產(chǎn)生結(jié)構(gòu)性影響。

礦業(yè)活動的物質(zhì)表達可以體現(xiàn)在各種尺度上：景觀、城市、社區(qū)、標志性建筑物，空間上的獨特特征的形成基本上都是受到礦業(yè)發(fā)展背景下各種決策的影響。雖然彼此相關(guān)，地上和地下部分的建筑邏輯是不同的：一個是要符合原材料的地質(zhì)形式，一個是建筑體在城市中的形式。為了符合工業(yè)化過程中的社會發(fā)展目標，礦業(yè)建筑體通過其空間形式積極傳遞著工作、繁榮及發(fā)展的理想。從地區(qū)層面而言，該類建筑體是按照特定環(huán)境1）下的建筑設計原則[1]設計而成的特殊人居環(huán)境的一部分。

在關(guān)閉之后，這些建筑體通常會獲得文化遺產(chǎn)的認證，從而得到制度化的保障。不過，出于經(jīng)濟、政治或環(huán)境角度的考慮，對它們的現(xiàn)存狀態(tài)的評估是不同的：必須進行大幅度改造。對于從礦業(yè)轉(zhuǎn)化為后礦業(yè)功能的建筑改造項目，建筑設計的任務是采用一種“繼往開來”的方式：利用現(xiàn)有條件，同時為了體現(xiàn)變化而增添新的角度。

因此，很多此類改造項目都采用了具有礦業(yè)特點的空間主題，如宏大性、地上與地下空間或是大尺度的人工物品，它們激發(fā)了人們對空間的想象力和體驗，同時也讓當代使用者和參觀者與過往產(chǎn)生了聯(lián)結(jié)。另外，由于這些主題并非僅與礦業(yè)開發(fā)相關(guān)，它們同時又可以成為一個新項目的空間特點。黑暗既是采礦空間的特點，同時也是夜間活動的特點。通過其多面性的展現(xiàn)，一個建筑空間可以與很多不同的文化領域產(chǎn)生關(guān)聯(lián)。一個新項目的空間仍能喚起人們對過去的空間感受。這些多面性元素和空間特點可以把一個空間置入不同的文化領域背景中，使人們從不同文化角度感受這一空間——或者甚至同時感受到不同的文化氛圍。它們增加了空間解讀的可能性。安德烈亞斯·萊希納認為“設計-實踐如何體現(xiàn)為媒體-實踐、抽象實踐、遞延嘗試、插圖、投射、取景、包含或排斥， 決定了連接線的創(chuàng)建”[2]240。在他看來，“類型化設計”是創(chuàng)建這種連接的最常見的方式，可以采用簡單的手法，如繪圖和圖表，但我認為多面性是實現(xiàn)類似設計的另一個工具——少一點結(jié)構(gòu)上的設計，更多地發(fā)揮想象力。多面性設計的目標是建立不同方向的連接線。這一方法本身并非目的，但它可以提高空間的社會接受度，使不同的使用者群體找到對空間的認同感[3]。本期收集的項目案例就成功利用了建筑的這一潛能，從而提高了將文化持續(xù)形成過程中的不同歷史層次組合在一起的可能性。

這種再解讀過程某種程度上是實驗性的。改造項目中的藝術(shù)類項目尤其展現(xiàn)了可以進行再解讀的潛在領域的廣闊性。有的項目從材料和結(jié)構(gòu)上來看更接近工業(yè)和礦業(yè)的主題（鋼鐵、迷宮、狹小的空間，如亨克市的烏托邦城市[4]，或是當代和歷史上的真實圖片），而另一些項目則選擇了更出人意料的主題，如由德拉茨創(chuàng)作的大面積的地下水和步入式雕塑作品及廢紙雕塑作品，發(fā)掘了各個立面可以承載的設計潛力。這些手法是否能應用到所有的項目中對具體的環(huán)境進行再解讀仍是一個疑問，這也是為什么說它是實驗性的。實驗性的另一個方面是技術(shù)上的應用，如將特殊的幾何結(jié)構(gòu)（長豎井）和地理位置（深地下）用于實際用途，作為加熱、降溫，或食物種植的電池等。

除了以上兩種方式，還有第三種，不是從結(jié)構(gòu)或技術(shù)上，而是從氛圍和空間感上對礦業(yè)空間進行再利用。這種方式的改造對建筑的多面性的利用尤其常見。而建筑多面性的潛能和局限性可以從3 個方面進行解讀，即宏大性與超大，地上與地下，以及工業(yè)物品。

1 宏大性與超大

礦業(yè)建筑結(jié)構(gòu)可以是各種尺度。原建筑體的景觀設計一直都是2）而且也將繼續(xù)是改造過程的一部分——通常會在一個比原來更大的尺度上進行。在一個地區(qū)內(nèi)存在幾個礦業(yè)建筑結(jié)構(gòu)的情況并不少見，因此待改造項目也需要一個超大的景觀設計尺度。格哈德·奧爾曾說過“在一片土地景觀的襯托下，任何建筑都會顯得渺小。即使是最有力量感的建筑或城市設計也僅能帶來美學欣賞的愉悅，而不會產(chǎn)生宏大的感覺”[5]26。開放式的采礦場尤其提供了利用這些土地景觀的宏大尺度的機會。作為一種有意識的再解讀，我們應當更多地將這些曾經(jīng)的工業(yè)遺址看作一種“景觀”。通過共同想象力的發(fā)展，接受過訓練的建筑師們對空間的未來形式進行想象，可以在這一過程中扮演更重要的角色。

This article explores the transformative potential of design strategies from post-mining conversion projects based on architecture's capacity for polyvalence. Architectural mining ensembles relate to a broader cultural context in various ways. In a mining society they make a major contribution to every-day activities and practices including language or dialect like "Pit talk" or call for specific spatial practice, for example through distinct architectural types asking for a specific kind of use like the chain bath, and thus inform a distinct collective memory on a local and regional level. Various regions define their history significantly through the practice of mining, it can inform political supportive practice and opposition, alike and become structural.

The practices of mining gain material expression on various scales: landscape, cities, neighbourhoods,iconic buildings and the unique character of spaces gain their form fundamentally influenced by decisions in the context of mining. Above and below level constructions follow different logics - the existence of raw material in geological formations and the urban layout of an architectural ensemble- which nevertheless relate to each other. During industrialisation accompanied by its societal ambitions, built mining ensembles took an active part in communicating the ideals of work, prosperity and development through their spatial manifestation.On a local scale the ensembles were designed as part of a specific human habitat according to architectural design principles1)of the specific context[1].

After closing, these ensembles can become rewarded with the status of cultural heritage,leading to an institutionalised valorisation. Still, the existing situation is evaluated in a differentiated way due to economic, politic or environmental reasons - things need to be changed strongly. For these reasons the task for an architectural design as part of a transformation from mining to postmining project calls for an "as found" approach:working with the existing, while clearly adding a new perspective supporting the goal of change.

Many projects for the conversion of former ensembles for mining thus show an approach embracing selected spatial topics related to the field of mining, like vastness, above/below ground or large artificial objects, enhancing imaginations and spatial experience from these topics and enabling contemporary users and visitors to relate to the past. As these selected topics do not relate to field of mining only, they can become characteristics of spaces for a new programme simultaneously. Darkness can be a characteristic of mining spaces and of spaces for evening events at the same time. Through its polyvalence one architectural space can relate to various cultural fields. Spaces for a new programme can still evoke spatial experiences from the past. These polyvalent elements and spatial characteristics can inscribe a space into different cultural fields and make this space be experienced as one or the other - or even both at the same time. They increase possibilities of spatial interpretation. Andreas Lechner constitutes"how design-practice horizons can be described as media-practices, as practices of abstraction, efforts of deferral, illustration, projection, framing and in- or exclusion, that create lines of connection."[2]240While he understands "typological designing" as one of the most common procedures to create such relations with simple representations such as sketches and diagrams, I would argue that polyvalence is another tool of achieving something similar - less structureoriented but speculating strongly on imagination instead. The goal is to create lines of connections in different directions. This is not a means to its own end but has been shown to enable societal acceptance of spaces by enhancing the reception among different groups of users[3].

Several of the design projects in this collection operationalise this capacity of architecture enhancing the possibility to synthesise various historical layers in the continuous process of cultural formation.

This process of re-interpretation is partly experimental. Art projects as part of conversion projects in particular, show the large breadth of potential fields of re-interpretation. While some stay closer to an industrial and mining complex of themes though their materiality and layout (iron,maze, narrow spaces such as in Genk, the Utopian City[4]or documentary photography contemporary and historic) others highlight more unexpected topics(volume of under-ground water as walk-in sculpture or waste-paper sculpture by Dratz and Dratz) and explore the extents to which various facets can be potentially carried. If this can still be read as re-interpretation of the specific context remains an open question within every project. This is the reason for their experimental character. A second line of experiment is formed by technology-based approaches that use the specific geometry (long vertical shafts) and location (far below ground) for these pragmatist qualities and think about reusing them as batteries, for heating and cooling or growing food.

Next to these two lines, a third one consists of projects reusing former mining spaces not for their geometric or technical features, but for their atmospheric and spatial qualities. Among these the design-tool of polyvalence is especially common.Three characteristics particularly illustrate the potentials and limitations of polyvalence. It is vastness, above/below and technical artefacts.

1 Vastness, super-large

Mining structures range across all possible sizes. The landscape-design of the original built ensembles has always been of relevance2)and remains relevant for transformation process - often on an even larger scale. Not seldom several mining structures can be found in one region so that the scale of the objects under transformation calls for a super-large-scale landscape design. Gerhard Auer constitutes that "in front of the background of all earth-landscapes everything built will always remain tiny. Even the most powerful of our Building- and City-elevations produce merely esthetic pleasure, but never large emotion (Ergriffenheit)."[5]26Especially open-ground mines offer the possibility to engage with the massive scale of these earth-landscapes.Understanding these former industrial sites as"landscapes" is a conscious act of re-interpretation that has to be carried out by many. It is possible t hrough the development of common imagination- a process in which architects, who are trained to develop their imagination about what spaces could be like in the future, could play an important role.

這一景觀尺度為項目的設計從各個層面提供了可能。礦場可以成為自由進入的公園，礦渣堆可以成為供人們遠足游覽的小山包或是像申格爾貝格那樣的社區(qū)觀望山頭，挖掘后的深坑成為可供游泳的湖，火車軌道成為自行車道，而通過火車從大陸各個角落運來的各種植物則可以成為生物活動的主題。從建筑尺度來說，傳送帶可以變成人行道，大型機器本身如機鏟可以成為戶外劇院的背景，就像在費羅珀利斯那樣。這些改造的實現(xiàn)需要再開發(fā)項目和對建筑目的及意義再解讀的共同作用，并且通過設計手段將想法具體呈現(xiàn)出來。

2 地上與地下

“人工建造的洞穴與天然洞穴合而為一，后者是封閉式空間的原型，是神的誕生地，居無定所的人類的第一個家。直到今天，所有的地下建筑都與宏大的象征主義有關(guān)系?！盵6]

地上還是地下是一個礦業(yè)結(jié)構(gòu)最突出的特征。而這里的地下是最能夠激發(fā)想象力的主題。改造項目中的設計截面——無論是真實的還是經(jīng)過藝術(shù)夸張的——都體現(xiàn)了設計師對這一主題的興奮，不同的設計以不同的方式對此進行了表現(xiàn)（圖1）。

地上與地下的元素的質(zhì)感和空間排列以及它們的基本空間操作（挖掘或是采集）各不相同。“屋頂?shù)闹幸?guī)中矩可以與地下空間的異想天開并存，這一點幾乎毫無疑問?！盵6]這種地下空間的“異想天開”需要借助特殊的工具來實現(xiàn)[7]119，如果你不了解這些工具，這一空間就會保持“未知”。這兩種空間是無法等同的，地上部分的組成要根據(jù)現(xiàn)有的環(huán)境或作為建筑體來設計，地下部分則由土地中的原材料的形式來決定。地下部分通常是黑暗的狹窄的挖掘出的空間，地上部分則由精心制作的工業(yè)產(chǎn)品組成，并且有覆蓋層來保護它們不受天氣的影響。異想天開的地下與中規(guī)中矩的地上部分毫無疑問會產(chǎn)生強烈的對比，從而激發(fā)了今天改造項目的產(chǎn)生。

很多項目試圖使這些感受更加強烈和復雜，它們希望通過未來參觀者的想象力來延續(xù)地上與地下空間的故事，同時又采用一種有效的組織方式使其適用于未來的使用目的。一個例子是51N4E 設計的亨克市C 礦，已經(jīng)變成了多功能文化中心（圖2）。沒有了中庭等部分，取而代之的是一個開闊的地面，像一個平臺一樣將原有的和新加部分連接在一起。一樓本身的層高并不高，通過樓梯或是天花板上的洞與上一層連接。整個空間仍然偏暗——強烈激發(fā)了人們對于地下空間的聯(lián)想。在各種相對較小的區(qū)域，寬闊平面上的柱子結(jié)構(gòu)隨處可見，如在“Kleine Zaal”廳的休息室，入口及信息區(qū)，啤酒店的入口，數(shù)個小型可租用會議空間前的酒吧和非正式會談區(qū)域等。采礦空間的黑暗感覺成為了這個新文化中心的連接空間的主要主題。由于該建筑體現(xiàn)在可以用作各種用途，這一中心空間既可以是參觀者進入音樂廳的休息室，開會前的聊天場所，也可能是人們前來參觀原有的礦場時，進入連續(xù)的地上和地下空間前接收到的第一個強烈印象。它將人們對于過往的想象帶到了現(xiàn)在（圖3、4）。

對于這一主題的建筑再解讀的方式層出不窮。如通過色彩（由本特姆-克勞威爾建筑事務所在德國波鴻設計的礦業(yè)博物館中運用的黑色和橙色），空間手法（由讓·努維爾在比利時設計的Le Pass 科學公園中的切割和雕刻手法），當然還有循環(huán)（由NU 建筑設計事務所在亨克市設計的C 礦中的地上和地下空間，圖5）。

3 物品：塔與傳送帶

還有一些物品清楚地顯示了多面性的局限性。大大小小的井塔已經(jīng)成為礦場改造項目的最具代表性的元素，并成為了各自環(huán)境中的標志性建筑物，這也是其最初的設計意圖3）。通過極具辨識度的共同特點和形式，它們成為這一地區(qū)敘事的標志。在當代設計中，它們有時會被賦予顏色，或者裝上一段樓梯成為觀景臺。這里一覽無余的視野使其與地下的黑暗空間形成鮮明的對比。攝影師貝恩德和希拉·貝歇爾在他們的工業(yè)建筑攝影集《無名雕塑》中表現(xiàn)了這些物品是如何呈現(xiàn)出它們獨特的特點的?！拔覀冊诒緯信臄z的物體都具有突出的工具特點，它們的形狀是經(jīng)過計算的結(jié)果，它們的開發(fā)過程是肉眼可見的。它們都是無名作品，它們的獨特性恰恰來自于設計的缺乏。”（圖6）[8]時至今日，這些毫無設計可言的物品似乎也無法進行改造設計。很難對這些用于特殊用途的大型物品發(fā)揮想象，另作他用。對此類物品而言，雙關(guān)的空間也很小。類似的例子僅有幾個，如呂嫩塔上的科拉尼蛋，他們嘗試如何把井塔改造成為類似UFO 降落平臺的東西。

1 亨克市的C礦，包括了地面與建筑的設計截面/Section through building and ground below, C-Mine Genk（圖片來源/Source: ?51N4E (from archives)）

2 C礦的平面方案顯示了改造前后的情況/Floor plans showing situation before and after, C-Mine Genk（圖片來源/Source:?51N4E）

3.4 亨克市C礦既存建筑與擴建部分外景/Exterior view of existing building and extension, C-Mine Genk

This landscape scale informs design-processes on all levels of a project. Mining structures can become freely accessible parks, slag heaps become small mountains for hiking or guardian neighbourhood hills like Schüngelberg, excavated holes become lakes for swimming, train tracks become paths for bicycle-riding, their specific imported (by trains from all over the continent)biodiversity of plants become a biological event. On an architectural scale conveyor belts can become walkways, large machines themselves, such as power shovels can become the walls of an open-air theatre,such as in Ferropolis. These transformations become possible through a joint effort of re-developing programme and re-interpretation of purpose and meaning and are enforced by design operations materialising this intention.

2 Above and below

"The built cavern converges with the organic cave, archetype of a closed space, birthplace of the gods, first home for the abandoned humans. Until today all subterranean building is afflicted with mighty symbolism."[6]

A mine's relation to the ground or underground is one of its most prominent features. This underground is one of the topics most open to imaginative speculation. Sections - documentary as well as artistically exaggerated - found in the design context of transformation projects show the excitement of the designers with the issue and designs reveal it in diverse ways (Fig. 1).

The qualities and spatial principles of elements above and below ground as well as their basic spatial operation (excavating vs. assembling) vary. "Almost without comment the rationality of the roof can be set across the irrationality of the cellar."[6]This"irrationality" of the cellar requires specific tools to find your way around in[7]119, if you do not know the tools, this space remains an "unknown" open to speculation. The two cannot be navigated equally. The above is organised in relation to an existing context or as ensemble, the below follows the existence of raw materials in the earth. The underground is carved out as a dark and narrow space, the above often consists of elaborate technical objects covered by skins, protecting them from weather. As the irrational "other" to the rational above-ground it quite certainly generates strong images that inform transformation projects for the above today.

Several projects try to make these experiences denser and more complex, relying on the future visitor's imagination to continue the story of the above and below space while effectively organising it in a way suitable for its future purposes. One is the project C-mine in Genk by 51N4E, that has been transformed into a mix-used cultural centre (Fig. 2).Instead of one central hall amidst others there is now one vast ground floor connecting existing and new parts like a platform. The floor itself has a rather low ceiling height with punctual connections to the floor above - through stairs or holes in the ceiling. Still it is rather dark - strongly evoking imaginations about underground spaces. The pillars structure the large surface in various smaller areas, such as the foyer of the "Kleine Zaal", the entrance and information area,the entrance to the Brasserie, a bar and informal meeting areas in front of several small rentable meeting spaces. The darkness of mining spaces becomes the main topic for the connecting space of the new cultural centre. As the whole ensemble houses a variety of programmes today, this central space can be - for the visitor - the foyer of a concert hall, a place to chat before a meeting or the first strong experience in a succession of various spaces above and below ground on a tour through the former mine. It inscribes itself into imaginations of experiences of the past carried on into the present (Fig. 3, 4).

There are endless variations of architecturally re-interpreting this complex of topics. Some are colour (black and orange in the Bergbau-Museum in Bochum by Benthem Crouwel), spatial operations(such as slitting and incision at Le Pass by Jean Nouvel in Belgium) and of course circulation (above and below ground in C-Mine Expeditie by NU Architectuuratelier in Genk, Fig. 5).

3 Objects: towers and conveyor-belts

Another set of objects clearly shows the limitations of polyvalence. Shaft towers as light or massive constructions have become the most emblematic elements of transformed mining areas,serving as landmark objects in their respective contexts- and were designed as such before3). Visible from far they contribute as symbols to a common narrative about the area through their highly recognisable common features and outlines. In contemporary projects they at times become coloured a bit and might serve as Bellevue, when a staircase is added. Offering a panoramic view they serve as spatial counterpoint to the dark and massive underground spaces below.The photographers Bernd and Hilla Becher elaborate in their typology of technical buildings "Anonymous Sculptures", how these objects gain their specific features. "In this book we show objects predominantly instrumental in character, whose shapes are the results of calculation and whose processes of development are optically evident. They are generally objects where anonymity is accepted to be the style. Their peculiarities originate not in spite of, but because of the lack of design." (Fig. 6)[8]These objects, that gain their form because of the lack of design, appear to remain unapproachable for transformative design until today. It appears challenging to imagine these large objects that were designed towards one specific purpose alone as anything else. There is little space for a double-meaning. Few examples exist, like the Colani Egg on the Lünen Tower, as an investigation into how to turn a shaft tower into something like an UFO landing platform.

還有一類具有功能性的建筑元素是軌道和傳送帶。它們通常呈水平或?qū)蔷€，可以設置在地下、地面或地上，將煤礦的各部分連接在一起，把材料或火車從一個地方運往另一個地方。在建筑設計中，它們可以變成空中的人行道，行人可以通過其生產(chǎn)程序重新設計貨物（比如煤）的運送路徑。在埃森，OMA 與海因里?！げ疇栔鞒衷O計的魯爾礦業(yè)博物館，通過設置一個長長的通往四層博物館入口處的扶梯，使對角線傳送帶得到了重新解讀。這段扶梯被設計為帶有遮擋的隧道形式，喚起了人們對地下空間的感受，而實際上扶梯是遠遠高于地面的。

4 結(jié)論

對于希望同時實現(xiàn)保護和發(fā)展兩個目標的后礦業(yè)時期項目而言，建筑元素、特點、以及環(huán)境的多面性是一個有利的工具。通過這一工具，此類項目的某些元素可以與過去發(fā)生關(guān)聯(lián)，而又不會顯得過于懷舊，同時新的元素也可以加入進來，為未來創(chuàng)造空間。設計本身也具備了層次豐富的內(nèi)涵，可以被放入各種語境之中。礦場及其空間特點可以成為設計師豐富的靈感來源，他們可以從地上、地面、地下的不同元素中獲得各種各樣的設計主題。

在改造過程中，使用者從工人和礦場的管理者變成了更為多樣的群體，如曾經(jīng)的工人、公園內(nèi)玩耍的兒童、前來參觀展覽開幕式的情侶、來公園遛狗的人，也可能是新公司的CEO。為了滿足這些新的使用者并成為具有自己特點的建筑物，它們的建筑形式必須進行改變。另外，本期專輯中基律納的項目（見76 頁）說明改造并不一定要在礦場關(guān)閉之后才進行：隨著時間的流逝和使用經(jīng)驗的增加，很可能需要對礦場空間進行改進，從而改變了建筑體的空間結(jié)構(gòu)。在基律納，設計者從曾經(jīng)的村莊中選取了某些建筑元素加入到了新場所之中，達到了保護的同時發(fā)展的目的，與此同時，設計改變了新場所的結(jié)構(gòu)，使其更宜居。它為曾經(jīng)的礦場的空間特點和未來發(fā)展的再解讀提供了一個新的角度。

在本期，我們希望通過一系列案例來說明原礦場建筑的改造可以選擇的設計策略，其中建筑多面性就是十分常見的一個。□

5 NU建筑設計事務所在亨克市C礦中設計的地下連廊/Underground connecting corridor, C-Mine Genk Expeditie by NU Architectuuratelier（圖片來源/Source: Stijn Bollaert）

6 一個大家族的成員，“井架，1965-1996”/Members of a large family, "F?rdertürme, 1965-1996"（圖片來源/Source:?Estate Bernd & Hilla Becher; represented by Max Becher）

Another functional set of elements are tracks and conveyor belts. Leading horizontally and diagonally, below, on or above earth, they connect different parts of a colliery, having transported material or lorries from one place to another. Within an architectural design scheme they can become walkways in the air, where pedestrians can reenact the path of, for example coal, through its production process. In the Ruhr Museum in Essen, OMA and Heinrich B?ll reinterpret the diagonal conveyor-belts through a long escalator leading to the entrance level of the museum on the 4th floor. The escalator runs through a shaded tunnel evoking the feeling of being below the ground while actually travelling high above.

4 Conclusion

Within the context of post-mining projects and their double-goal to preserve and develop at the same time, the polyvalence of architectural elements, features and situations becomes a useful tool. It makes it possible for certain elements to refer to topics of the past, without falling prey to nostalgy, as others can be easily added and changed to make space for the future. The design is thus enriched with several layers of meaning locating it within several fields of context. Mining sites and their spatial features appear to be a rich source of inspiration to designers who work with the full set of topics found in the context of working with, from and below the earth and it is various components.

In this process of transformation, the addressee shifts from workers and managers of mines to a more diverse group of people including former workers, children playing in parks, couples visiting an exhibition opening, dog-holders in parks and possibly new business CEOs. To reach these new addressees and be recognised as an object with its own rights,architectural form needs to develop. In addition,the project in Kiruna in this issue shows, that transformation does not start only when a mine is closed: throughout time, with the growing experience of all parties involved, improvement and thus change of mining-related spaces can be required. In Kiruna this double-goal is reached be taking certain building elements from the former village and re-locating them to the new site, while clearly changing the layout of the new site to improve living (page 76).This is a perspective contributing to a differentiated reading of the spatial qualities and the future of former mining-sites.

With this issue we hope to compile a variety of examples showing a wide range of design strategies contributing to the transformation of former mining sites amongst which architectural polyvalence is a very common one.□

注釋/Notes

1）“在1850年之前，建構(gòu)與功能性顯著塑造了建筑群的形象，到該世紀下半葉，基本的、普遍有效的設計原則得到了測試；它們可以用一些術(shù)語進行描述，如加法、幻想、連續(xù)、符號、對稱、類型、統(tǒng)一、識別?！?"While constructive-functional aspects significantly shaped the image of built ensembles until 1850, basic, universally valid design principles were tested in the second half of that century; they can be described with the terms addition, illusion, series, symbol,symmetry, typification, unification, recognition."[9]34

2) “關(guān)于個別的設計元素，所有提到的建筑物之間的開放空間，必須列出景觀設計。與功能相關(guān)，我們必須在這里顧及到所有的交通方式，如步行、機動車或軌道交通系統(tǒng)，還有其各自的盈余空間。設計理念的代表性在這些盈余空間中變得尤為明顯。改善了入口區(qū)和行政大樓附近的園藝設計和綠化區(qū)，并盡可能地將其發(fā)展成庭院。從宮廷封建建筑群中產(chǎn)生的‘入口廣場’被引入工業(yè)建筑。”/"Regarding the individual design elements,the open spaces between all mentioned buildings, the landscape design has to be listed. Related to function we have to include here all means of transportation,like pedestrian, motor-vehicle or rail-track systems and their respective surplus spaces. Representative of design ambitions became especially visible on these surplus spaces. Horticulturally designed and green areas near entrance zones and administration buildings were improved and, where ever possible, developed as courtyard. The 'cour d'honneur' from courtly-feudal complexes was introduced to industrial architecture."[9]36

3）“作為歷史模擬的方尖碑，他們長期宣稱著工作、發(fā)展和繁榮。”/"As historically modelled obelisks, they proclaimed work, development and prosperity over a long distance."[9]33