張洋/ZHANG Yang

尚晉 英譯中/Translated from English by SHANG Jin

薩里卡·羅絲 校/Proofread by Sairica Rose

作者單位：卡恩建筑事務(wù)所，代爾夫特理工大學(xué)建筑學(xué)院/KAAN Architecten, Delft University of Technology's Faculty of Architecture,

若回顧歷史，我們就會(huì)發(fā)現(xiàn)一個(gè)有趣的現(xiàn)象。即使在這個(gè)日益融合與國際化的時(shí)代，在荷蘭這個(gè)僅有42,000km2土地的國家，建筑設(shè)計(jì)卻經(jīng)歷著獨(dú)特的發(fā)展和轉(zhuǎn)變，尤其是在近50年中。它基本沒有受到后現(xiàn)代主義和解構(gòu)主義的影響。盡管雷姆·庫哈斯被稱作是一位“解構(gòu)主義者”，據(jù)馬克·威格利稱[1]1），庫哈斯本人并不這么認(rèn)為。數(shù)字參數(shù)化設(shè)計(jì)的產(chǎn)生沒有對(duì)荷蘭主流建筑業(yè)帶來過多的沖擊，只是對(duì)新的建造方式進(jìn)行了探索。在這個(gè)國家，似乎一切圍繞形式的討論都無法根深蒂固。

彼得·科林斯在《現(xiàn)代建筑設(shè)計(jì)思想的演變》序言中說，“……機(jī)械進(jìn)化的過程不會(huì)產(chǎn)生更多的形式。正是哪些形式最適合被選中的概念創(chuàng)造了一個(gè)特定時(shí)代的建筑……”[2]在荷蘭的環(huán)境中，概念可以被解釋為宣言，敘事，或者通常在假設(shè)下產(chǎn)生的場(chǎng)景。依我而見，這種概念構(gòu)成了荷蘭建筑設(shè)計(jì)的支柱。

縱觀歷史上各個(gè)具有里程碑意義的建筑，著名的伯格孤兒院是不能忽略的。它由阿爾多·凡·艾克設(shè)計(jì)，1950年代建成。其強(qiáng)烈的重復(fù)形式承載著“建筑應(yīng)當(dāng)在人的尺度上體現(xiàn)城市關(guān)系”的概念。這座建筑內(nèi)在的靈活性確保了在建筑功能或不同功能間的關(guān)系變化時(shí)，空間可以輕松改造。顯而易見，在OMA建筑事務(wù)所近期的實(shí)踐中，立體堆疊的鹿特丹地方政府大樓“提默胡斯”和住宅綜合體保留著城市公用、工作和居住的功能，并使之融合在一起。這個(gè)立體結(jié)構(gòu)使建筑表面更易于登臨，從而形成了更多的屋頂花園，未來還可以在水平和垂直方向上靈活地創(chuàng)造新的單元類型。形式必然是服務(wù)概念的主體，這種概念，則是在政治經(jīng)濟(jì)和社會(huì)背景下逐漸形成的。

另一個(gè)超越當(dāng)代潮流的荷蘭建筑實(shí)例是米海爾·德克勒克設(shè)計(jì)的船形住宅樓（1919年）。這個(gè)富有雕塑感的建筑綜合體飄搖地矗立在鐵道旁，其磚作似乎傳達(dá)出工人階級(jí)在這座建筑上保留著尊嚴(yán)的信息。近100年后，本特姆-克勞威爾建筑事務(wù)所在河畔建造了令人矚目的AM4數(shù)據(jù)中心，其金屬立面閃閃發(fā)光。正如建筑師所說：“為了讓數(shù)據(jù)中心在城市中贏得社會(huì)的認(rèn)可，我們就必須保證它們的審美與環(huán)境是協(xié)調(diào)的。”[3]這些例子中的建筑審美都有一個(gè)目標(biāo)：通過形式喚起一種與當(dāng)代社會(huì)關(guān)注點(diǎn)相關(guān)的信息。

1 阿姆斯特丹伯格孤兒院，阿爾多·凡·艾克設(shè)計(jì)，1960/Orphanage, Amsterdam, 1960, Aldo van Eyck（圖片來源/Source: http://www.gat.st/news/nachtrag-zum-gespraechmit-eugen-gross ）

3 阿姆斯特丹船形住宅樓，米海爾·德克勒克設(shè)計(jì)，1919/Het Schip, Amsterdam, 1921, Michel de Klerk（圖片來源/Source:https://www.hetschip.nl/）

2 鹿特丹提默胡斯市政廳和住宅綜合體，OMA事務(wù)所設(shè)計(jì)，2015/Timmerhuis, Rotterdam , 2015, OMA（圖片來源/Source: https://www.archined.nl/2015/12/timmerhuis-rotterdam-van-oma-drie-meningen，攝影/Photo: 塞巴斯蒂安·范達(dá)默/Sebastian van Damme）

4 阿姆斯特丹AM4數(shù)據(jù)中心，本特姆–克勞威爾建筑事務(wù)所設(shè)計(jì)，2017/Datacentre AM4, Amsterdam, 2017,Benthem Crouwel Architects（圖片來源/Source:https://www.archdaily.com/889107/datacentre-am4-benthemcrouwel-architects/5a85702cf197ccbd8c0001c4-datacentream4-benthem-crouwel-architects-photo，攝影/Photo: 簡(jiǎn)尼斯·林德斯/Jannes Linders）

1 荷蘭的實(shí)踐：異同之處

10年前，在我在中國讀書及短暫工作期間，我認(rèn)為雷姆·庫哈斯和他的OMA事務(wù)所是荷蘭的標(biāo)志性建筑師，第二梯隊(duì)是MVRDV 和UNStudio，其作品都以功能性的表現(xiàn)和（主要是）大膽且無拘無束的形象為人所知。CCTV大樓建成后，“超級(jí)荷蘭”在中國盛極一時(shí)。

后來，我在貝爾拉格學(xué)院學(xué)習(xí)，并在荷蘭工作多年，我注意到雖然庫哈斯是荷蘭的思想大師，但他并非唯一的建筑明星。阿爾多·凡·艾克與赫爾曼·赫茨伯格所建立的荷蘭“傳統(tǒng)”建筑做法仍是最具影響力的實(shí)踐方式。與在中國的實(shí)踐相比，過去幾年中在荷蘭建成的巨型建筑項(xiàng)目并沒有那么多。

鹿特丹長(zhǎng)期以來一直被稱為建筑的試驗(yàn)場(chǎng)，即使在市場(chǎng)低迷時(shí)也出現(xiàn)了大市場(chǎng)和鹿特丹大廈這樣的作品。享譽(yù)全球的建筑事務(wù)所匯聚于此，吸引著世界各地的青年建筑師。顯然，這些在鹿特丹各家事務(wù)所工作的青年建筑師也形成了不同的社會(huì)群體，分享著他們的知識(shí)和理念，使得高度封閉的創(chuàng)意產(chǎn)業(yè)更容易被揭開面紗。

由于OMA近年來致力于在荷蘭開展理性的實(shí)踐，因此一個(gè)強(qiáng)烈激進(jìn)的對(duì)比可以在卡恩建筑事務(wù)所和MVRDV之間展開。前者在荷蘭有著悠久的歷史和杰出的成就，為建筑帶來了有尊嚴(yán)的形象和強(qiáng)烈的城市沖擊力；后者活躍在世界各地、成果豐碩，創(chuàng)造了妙趣橫生的項(xiàng)目，并引發(fā)了社會(huì)的關(guān)注討論。盡管在項(xiàng)目和途徑方法上各有千秋，人們?nèi)匀荒芸吹絻杉沂聞?wù)所之間的一些相似之處。在新技術(shù)的支持下，兩家事務(wù)所都能統(tǒng)一、節(jié)制地運(yùn)用設(shè)計(jì)方法，并努力以最清晰的方式表達(dá)其理念。

卡恩建筑事務(wù)所設(shè)計(jì)的荷蘭最高法院一直在建筑界備受贊譽(yù)。超高的玻璃立面使底層與街道無縫連接，懸挑結(jié)構(gòu)保證底層無需柱子。天花與室外樹木底葉同高，改變了海牙最重要街道的形象。另一方面，即使建筑師會(huì)對(duì)MVRDV大市場(chǎng)正立面窗框的細(xì)部表示不滿，卻沒有人可以否認(rèn)這個(gè)超級(jí)簡(jiǎn)單的實(shí)體立面完全不引人注目，在其襯托下，預(yù)應(yīng)力懸網(wǎng)支撐的巨大玻璃立面和五彩斑斕的室內(nèi)壁畫使得建筑連接了城市空間，給所有參觀者留下了深刻的印象。

我在卡恩建筑事務(wù)所工作了4年，可以肯定的是，我們投入在每個(gè)細(xì)節(jié)上的精力都是無與倫比的：一切都必須對(duì)齊；所有的表面都要平直，并且我們盡己所能避免承建商出任何錯(cuò)誤。這不是自吹自擂，而是確保人們?cè)诮ㄖ拿恳粋€(gè)角落都能享受到空間的氛圍。實(shí)踐中的一個(gè)關(guān)鍵詞是“簡(jiǎn)潔”，這比它看起來要復(fù)雜得多。但簡(jiǎn)潔往往是建筑優(yōu)雅的源泉。

If we look back at history, we find an interesting phenomenon. Even in this era of increasing assimilation and internationalisation, architectural design in the Netherlands, a country with an area of only 42,000km2, has experienced unique development and transformation, especially in the last 50 years. It has not been largely influenced by post-modernism, nor by deconstructivism. Rem Koolhaas has been described as a deconstructivist,although he denies the claim, as stated by Mark Wigley[1]1). The digital, parametric design generation has not had an excessive impact on the mainstream architecture industry in the Netherlands, except through the exploration of new construction methods. In this country, it would seem that discussions which revolve around form have not taken deep root.

As Peter Collins claimedin the introduction of Changing Ideals in Modern Architecture, "But forms do not beget more forms by a mechanical evolutionary process. It is precisely the idea of what forms may most appropriately be selected which creates the architecture of a particular age."[2]Ideas, which in the Dutch environment,could be elaborated as statements, narratives, or scenarios, and which often follow hypotheses, are precisely what I see forming a backbone in Dutch architecture.

Looking into various milestone buildings in history, we could not bypass the famous Burgerweeshuis Orphanage, built in the 1950s by Aldo van Eyck. Its strong form of repetition carries the idea that architecture should represent urban relations on a human scale. The inherent flexibilities in this building ensure an easy renovation, when building program, or the relation between different program is changing. Evidently,in OMA's recent practice, Timmerhuis city hall and residential mixed complex, the stacking in a threedimensional level, still the urban public, work and residential function, blended together in harmony.The three-dimensional structure brings more accessibility to building's surface, thus more roof garden, as well, seemingly, the flexibility to create new unit types horizontally and vertically in the future. The form is inevitably the host that serves ideas, which are formalised within the political,economic and societal contexts.

A further example of Dutch architecture that goes beyond contemporary trends, is the Het Schip Housing Block by Michel de Klerk (1919).The sculptural building complex is precariously positioned along the railway; while the brickwork seems to transmit the message that the working class retains its dignity in this building. Nearly one hundred years later, Benthem Crouwel Architects built the outstanding AM4 datacentre along the river, with its shiny metal facade. As the architect stated: "For data centres to gain social acceptance in cities, we must make sure their aesthetics relate to their surroundings."[3]The architectural aesthetics in these examples, have a purpose: to evoke a message, through form, relative to the concerns of contemporary society.

1 Practices in the Netherlands: similarities and differences

Around ten years ago, during my studies, and throughout my short stint working in China, Rem Koolhaas and his OMA have been emblematic of Dutch architects, in my view. The second echelon is MVRDV and UNStudio, with their programmatic statements, and also (predominantly) bold and uninhibited appearance. With the completion of CCTV, "Super Dutch" was making all the noise it could in China.

Later, as I studied at the Berlage, and worked in the Netherlands for several years, it came to my attention that although Koolhaas is the super thinker in this country, he is not the only architectural hero. The "traditional" Dutch architectural practice established by Aldo van Eyck and Herman Hertzberger is still the most influential method of practice. And compared to the Dutch practice in China, there have not been as many gigantic buildings completed in the Netherlands in the past years.

Rotterdam, which has long been described as a field for architectural experiment, delivered Markthal and De Rotterdam, even in the market downturn. Architectural offices with global fame are allocated there, and attract young architects from all over the world. Evidently, these young architects working in different offices in Rotterdam, are also forming social groups and sharing their knowledge and ideas, which makes it easier to de-mask the highly secured creative industry.

Since OMA has been dedicated to providing rational practices in the Netherlands in recent years, a radical comparison can be made between KAAN Architecten and MVRDV. One has had a long history and great accomplishment in the Netherlands, to provide architectures with a dignified appearance and strong urban impact;another is active and prolific around the world,creating playful projects, and generating social discussion. Despite the differences in their projects and approaches, one could still see some similarities between the two firms. Supported by new technologies and capable of applying design methods in a consistent and confined way, both offices are striving to communicate ideas in the clearest possible manner.

The Supreme Court of the Netherlands building by KAAN has always been appreciated by architects.The extra high glass facade seamlessly connects the ground floor to the street and an overhanging structure ensures the ground floor remains columnfree. The ceiling is at same height as the base leaves of the exterior trees, changing the profile of the most important street in Den Haag. Similarly, even architects could complain about the window frame details on the front facade of Markthal, but nobody could deny that this super simple solid facade does not demand public attention. Together with the gigantic glass facade supported by a pre-stressed suspended net and colourful interior mural, the building connects urban space and leaves a striking impression on all visitors.

I worked at KAAN for four years, in the office,and I can confirm that the amount of effort that goes into every detail is unfathomable: everything must be aligned; all surfaces should be straight, and we did whatever was humanly possible to prevent contractors making a single mistake. This is not to blow our own trumpet, but to ensure that people enjoy the spatial ambience in every single corner of a building. One key word in the practise is "simple",which is way more complex than it appears. But simplicity is often what gives a building elegance.

5 鹿特丹交易大廳的玻璃立面， MVRDV設(shè)計(jì)，2014/Glass facade of Market Hall, Rotterdam , MVRDV（圖片來源/Source：https://www.octatube.nl/en_GB/project-item/projectitem/6-market-hall.html）

6 蒂爾堡教育自學(xué)中心，CUBE設(shè)計(jì)，2018/ Education and Self Study Centre, Tilburg, CUBE, 2018（攝影/ Photo: 西蒙·博思/Simone Bossi）

7 海牙經(jīng)濟(jì)事務(wù)部中庭，Bezuidenhoutseweg 30號(hào)，卡恩建筑事務(wù)所改建前，2012/ Atrium of the Ministry of Economic Affairs, Bezuidenhoutseweg 30, The Hague, before KAAN Architecten renovation, 2012 （攝影/Photo: 塞巴斯蒂安·凡·達(dá)默/Sebastian van Damme）

8 海牙經(jīng)濟(jì)事務(wù)部中庭，Bezuidenhoutseweg 30號(hào)，卡恩建筑事務(wù)所改建后，2017/Bezuidenhoutseweg 30, The Hague, central atrium after renovation, KAAN Architecten 2017（攝影/Photo: 卡琳·柏豪斯/Karin Borghouts）

MVRDV則聚焦在一種截然不同的方式上，進(jìn)行著同樣的努力。從伊彭堡總體規(guī)劃到網(wǎng)球俱樂部會(huì)所（IJ burg），相似的材料和面層像涂料一樣覆蓋著建筑的各個(gè)層次，將一切連成一個(gè)整體。維尼·馬斯超越了建筑，去創(chuàng)作公共藝術(shù)。通常，建筑的手法會(huì)進(jìn)行簡(jiǎn)化，以便將概念清晰連貫地傳達(dá)給大眾。

荷蘭是個(gè)非常務(wù)實(shí)的國家，荷蘭建筑師并不經(jīng)常享有奢侈的預(yù)算，能夠像一些瑞士項(xiàng)目一樣，有預(yù)算實(shí)現(xiàn)復(fù)雜精致、富有詩意的細(xì)部或是像意大利人那樣可以追求最純粹、最美的光影效果。荷蘭人飽受氣候之苦，卻用雙手建造了這個(gè)國家。她的人民協(xié)力建設(shè)，所以合作與交流就是至關(guān)重要的。此外，作為歐洲以民主和批判思想著稱的地方，荷蘭人用來支持概念的論據(jù)和其概念一樣出色。雖然民主不是設(shè)計(jì)和創(chuàng)造力的最佳組合，但它有助于讓在這個(gè)國家實(shí)踐的建筑師重視辯論的作用，并使他們的設(shè)計(jì)清晰明了。

2 來自危機(jī)的理念

盡管“形式服從理念”的原則仍在，但理念永遠(yuǎn)會(huì)隨時(shí)間改變。形成理念的過程總是與文脈、使用者、甚至政治經(jīng)濟(jì)環(huán)境的局限聯(lián)系在一起。與此同時(shí)，由于荷蘭是一個(gè)非常緊湊、靈活、人際聯(lián)系密切的社會(huì)，理念得以很好地傳播，并從所有相關(guān)行業(yè)中得到必要的支持。

2.1 轉(zhuǎn)變的理由

第二次世界大戰(zhàn)后，荷蘭走上了大規(guī)模建設(shè)之路。繼功能主義之后，結(jié)構(gòu)主義開始興起。1980年代，泡沫經(jīng)濟(jì)使建筑的體量急速膨脹，并出現(xiàn)了所謂“超級(jí)荷蘭”的說法。20世紀(jì)末，《政策預(yù)算與政策責(zé)任執(zhí)行》開始編寫。《狂歡過后》一書寫道：“4年的經(jīng)濟(jì)衰退和市場(chǎng)驅(qū)動(dòng)的政治終結(jié)了1990年代的后意識(shí)形態(tài)黨派。它被政府機(jī)構(gòu)和負(fù)責(zé)人規(guī)避風(fēng)險(xiǎn)的行為取而代之。如今建筑形勢(shì)的特征是捉摸不定的陰郁和負(fù)責(zé)任的現(xiàn)實(shí)性?！盵4]如果總結(jié)一下過去10年的杰出項(xiàng)目，就會(huì)看到“超級(jí)荷蘭”熱已然消退，而理性、傳統(tǒng)的荷蘭手法已經(jīng)轉(zhuǎn)變、回歸。

與此同時(shí)，2004年以來，公共建筑領(lǐng)域已經(jīng)發(fā)生了變化，必須始終公開競(jìng)標(biāo)。在《2014歐洲建筑職業(yè)調(diào)查》 中，荷蘭建筑師為政府部門工作的百分比最高。此外，越來越多的競(jìng)標(biāo)要求承建商和建筑師之間展開合作，即所謂的“設(shè)計(jì)與建造”競(jìng)標(biāo)。在另一些情況下，客戶會(huì)請(qǐng)施工公司從初期總圖階段就加入設(shè)計(jì)過程。這樣，承建商、客戶和建筑師就成為設(shè)計(jì)決策過程中平等的三方，并以公開對(duì)話的方式推進(jìn)設(shè)計(jì)。

在這一背景下，建筑師依然受到了相當(dāng)?shù)淖鹬兀号c他們有直接聯(lián)系的客戶往往會(huì)積極聽取專業(yè)意見，所以建筑師的話仍是有力的，而且常常會(huì)被誠懇接受。而且，由于政府預(yù)算的公開、公共資金在多個(gè)部門的削減、政府對(duì)競(jìng)標(biāo)過程的監(jiān)督，以及建筑師、工程師與承建商從第一天開始的合作，公共建筑自然變得越來越理性。

2.2 改造項(xiàng)目

2007年經(jīng)濟(jì)危機(jī)之后，城市再度高速發(fā)展，水平與豎直方向上都在擴(kuò)張。荷蘭有著悠久、活躍的建筑歷史，遺產(chǎn)得到了妥善保護(hù)。鑒于這種對(duì)空間和建筑物理性能的新需求，歷史建筑的升級(jí)越來越必要。在過去的10年中，有越來越多的改造項(xiàng)目落地。當(dāng)赫茨伯格宣稱堆疊結(jié)構(gòu)將給未來的功能調(diào)整帶來便利時(shí)，他或許已經(jīng)意識(shí)到人們有足夠的智慧，無論怎樣都會(huì)將它用在每座建筑上。

在政府辦公樓改造的B30項(xiàng)目中，以簡(jiǎn)潔性輔助空間特征表達(dá)的方式是顯而易見的。丹尼爾·克努特爾設(shè)計(jì)的原總部大樓由勒伊塞·納爾斯教授在1994年進(jìn)行了改造。庭院被改為室內(nèi)中庭，將結(jié)構(gòu)充分顯露出來，而這是1990年代的潮流特征。另一次改造由卡恩建筑事務(wù)所在2017年完成。我們對(duì)空間特征進(jìn)行了梳理，所有額外的元素都被去掉。中庭空間隨后被重新調(diào)整為原來的比例，恢復(fù)成更整潔、愜意的共享空間。

由于地標(biāo)建筑是城市歷史的一部分，改造項(xiàng)目通常被作為一種承載歷史記憶的手段。通過分析問題和調(diào)整功能，一座建筑就可以在功能上得到改進(jìn)。但這必須建立在對(duì)潛在使用者的深入理解，同時(shí)具備考古思維的基礎(chǔ)上。當(dāng)這兩種因素并存時(shí)，歷史就會(huì)融入現(xiàn)在，改變當(dāng)代的空間。

Concentrating on a totally different approach,MVRDV is doing the same. From the master plan in Ypenburg to a clubhouse for the Tennis Club (IJburg), similar material and surface work like paint, to cover all the different layers and to unify everything as a whole. Winy Mass goes beyond architecture to create public art. Often, the architectural method is simplified and the concept is coherently transmitted to the general public.

As professionals in a very practical nation,Dutch architects don't often have the luxury of large budgets, with which to achieve intricate poetic detailing, as is sometimes the case in Switzerland,or with Italians who are permitted to pursue the purest, finest shadows. The Netherlands suffers greatly from its climate and constructs its country with human hands. Its people work together to build, so collaboration and communication are essential. Moreover, as a part of Europe that it is famous for democracy and critical thinking, people in this county wield good arguments as well as good ideas. Though democracy is not the best friend of design and creativity, it has helped the architects practicing in this nation to value the power of argument and to make their design clear.

2 Ideas from crisis

Though the perseverance of "form follows ideas" remain, ideas will always change over time.The process of forming an idea is always linked to the context, users, or even the confines of the political-economic environment. Meanwhile, since the Netherlands is such a compact, flexible and wellconnected society, ideas are well spread and get the necessary support from all relevant industries.

2.1 Reasons for a shift

After the Second World War, the Netherlands embarked on mass construction. Following functionalism, structuralism started to boom.Moving towards the 1980s, the economic bubble swelled building sizes and the so-called "Super Dutch" concept began. At the end of 20th century,the Policy Budgets and Policy AccountabilityOperation got underway. As described in the bookAfter Party: "Four years of economic decline and market-driven politics have brought an end to the post-ideological party of the 1990s. It was replaced by the risk-avoiding behaviour of government bodies and principals. The architecture climate is now characterised by an elusive sombreness and a responsible realism."[4]If we tally up the outstanding projects of the last 10 years, the "Super Dutch"heat has already faded away, while the rational and traditional Dutch approach has transformed itself and made a comeback.

Meanwhile, since 2004, change has occurred regarding public buildings, as open competition is always requested.According to The Architectural Profession in Europe 2014[5]the Netherlands has the highest percentage of architects working for the governmental sector. What's more, greater competition is demanding collaboration between contractors and architects, the so-called "design and build" contest. In some cases, construction companies are invited by the client into the design process from the early masterplan phase. As such,contractor, client and architects, are becoming three equal parties in the decision-making process for a design, which is fuelled by open dialogues.

In this context, architects still wield considerable respect: clients, with whom they have direct contact, often strive to keep their professional ears open, so architect-speak is still powerful and often well-received. However, due to the transparency of governmental budget, cuts in public funding across several sectors, public supervision of the competition process and the collaboration between architects, engineers and contractors from day one, public buildings are naturally becoming more and more rational.

2.2 Renovation projects

Following the crisis in 2007, cities are once again developing at high speed, and are expanding both horizontally and vertically. The Netherlands has a long and active history in architecture, and its heritage is well preserved. With this new desire for spaces and building physics, upgrade of building heritage becomes more and more necessary. In the past 10 years, an increasing number of renovation projects have been landed. When Hertzberger claimed that the stacking structure was to provide the convenience for future adjustment of the programme, he might already have realised that people were smart enough to apply it to every building, anyway.

In the project B30, a governmental office renovation, it is clearly evident how simplicity can support the expression of spatial quality. The former ministry building designed by Daniel E.C. Knuttel was renovated by Professor Ruijssenaars in 1994.The courtyard has been renovated as an interior atrium, with its fully exposed structures – a trendy feature from the 1990s. An additional renovation was completed by KAAN Architecten in 2017.Spatial quality has been reviewed, and all additional elements have been removed. The atrium space was then readjusted to its original proportions and restored to become a much cleaner and welcoming space for sharing.

As landmarks are part of urban history,renovation projects often act as a tool to carry historical memories. By analysing the problem and adjusting the programme, a building can functionally, improve. But this must be accompanied by a deep understanding of its potential users,while simultaneously bearing the archaeological perspective in mind, and when both these elements coexist, history can be carried into the present, to reform contemporary space.

Such a practice is not restricted to isolated cases. The EU Mies Award 2015 was awarded to Town Hall Borsele, by Atelier Kempe Thill – a renovation project for 2,500 citizens. The project budget was strictly limited, so a transformation in space/form was not feasible. However, by unifying and simplifying the building facade, and merging it into the environment, this building made itself into a contemporary urban landmark, at the heart of a distinguishable city centre. The interior also successfully brought the traditional spatial character up to date, giving the building a timeless look.

9 博斯里市政廳外立面，肯佩·蒂爾工作室設(shè)計(jì)，2014年/Facade, Town Hall Borsele, Heinkenszand, Atelier KempeThill, 2014

10 博斯里市政廳內(nèi)景，肯佩·蒂爾工作室設(shè)計(jì)，2014年/Interior, Town Hall Borsele, Heinkenszand, Atelier KempeThill, 2014（10,11 圖片來源/Sources: https://www.archdaily.com/588301/town-hall-borsele-atelier-kempethill，攝影/Photos: 烏里奇·施瓦爾茨/Ulrich Schwarz）

11 阿夫魯戴克大壩，保羅·德勒伊特建筑師事務(wù)所設(shè)計(jì)/The Afsluitdijk, Visual Master Plan, Paul de Ruiter Architects（圖片來源/Source: https://www.paulderuiter.nl/en/projects/masterplan-beeldkwaliteit-slash-de-afsluitdijk）

12 阿姆斯特丹deFlat公寓樓， NL建筑事務(wù)所和XVW建筑事務(wù)所設(shè)計(jì)，2016/deFlat, Amsterdam, NL Architects + XVW architectuur, 2016（圖片來源/Source: https://www.archdaily.com/806243/deflat-nl-architects-plus-xvw-architectuur，攝影/Photo: 馬塞爾·凡·德 伯格/Marcel van der Burg）

13 馬克·克勒建筑事務(wù)所設(shè)計(jì)，超級(jí)復(fù)式公寓樓Y，2017/Superlofts Blok Y, Utrecht, Marc Koehler Architects, 2017（圖片來源/Source: https://www.archdaily.com/898293/superlofts-blok-y-marc-koehler-architects，攝影/Photo: 斯泰恩·伯樂特拉/Stijn Poelstra）

這種實(shí)踐并非孤例。2015年的歐盟密斯獎(jiǎng)，授給了肯佩-蒂爾工作室的博斯里市政廳——一個(gè)為2500位市民提供的改造項(xiàng)目。項(xiàng)目預(yù)算極為有限，所以空間/形式的改造是不可行的。然而，通過統(tǒng)一、簡(jiǎn)化建筑立面并使之與環(huán)境融合，這座建筑成為城市中心一座特色鮮明的當(dāng)代城市地標(biāo)。室內(nèi)也成功地對(duì)傳統(tǒng)空間特征進(jìn)行了更新，賦予建筑一種永恒的形象。

2.3 環(huán)境措施

近年來的另一個(gè)變化是對(duì)環(huán)境問題的關(guān)注意識(shí)逐漸提高。自2009年《哥本哈根協(xié)議》制定以來，荷蘭建筑標(biāo)準(zhǔn)愈加嚴(yán)格，尤其是立面設(shè)計(jì)。為保證這一行業(yè)的創(chuàng)造力，荷蘭頂尖的建筑大學(xué)代爾夫特理工大學(xué)成立了建筑技術(shù)系，致力于開發(fā)新的理念，以確保美觀和可持續(xù)性始終與建筑體系相協(xié)調(diào)。

由于環(huán)保意識(shí)尚未成為當(dāng)下建筑教育的核心，同時(shí)，它需要從一開始就與工程師進(jìn)行合作，在建筑師實(shí)踐的頭幾年，完成BREEAM（荷蘭綠色建筑委員會(huì)使用的可持續(xù)認(rèn)證）或LEED （節(jié)能環(huán)保設(shè)計(jì)先鋒，全球認(rèn)證體系）會(huì)成為一個(gè)現(xiàn)實(shí)的挑戰(zhàn)。

但在當(dāng)時(shí)，我們遇到了保羅·德勒伊特建筑師事務(wù)所這樣的公司。它成立于1994年，一直致力于可持續(xù)發(fā)展理念。伊拉斯謨大學(xué)的波拉克樓為我們提供了一個(gè)將可持續(xù)設(shè)計(jì)融入建筑概念的典范。作為建筑師，這家公司也參與了著名的阿夫魯戴克大壩改造?！斑@個(gè)獨(dú)一無二的水利工程保護(hù)著荷蘭免受海水侵襲。”“在所有的設(shè)計(jì)中，重點(diǎn)都是這座大壩帶來的獨(dú)特景致、歷史和自然的最佳感受。”[6]我非常樂觀地認(rèn)為這個(gè)基礎(chǔ)設(shè)施工程將能兼顧環(huán)境與城市生活。

2.4 私人事務(wù)所的發(fā)展

在削減預(yù)算和公共項(xiàng)目競(jìng)標(biāo)的影響下，從基于福利的規(guī)劃體系向新自由空間組織轉(zhuǎn)變的更多跡象出現(xiàn)在項(xiàng)目發(fā)展的個(gè)人創(chuàng)新上。

依照這種實(shí)踐，新的建筑類型出現(xiàn)了。例如，2017歐盟密斯獎(jiǎng)得主NL建筑事務(wù)所和XVW建筑事務(wù)所的deFlat公寓樓更像是一個(gè)關(guān)于開發(fā)流程的例子。原建筑位于克萊堡，是功能主義的產(chǎn)物。原設(shè)計(jì)以功能為基礎(chǔ)，建成50年后已經(jīng)過時(shí)，但拆除成本總計(jì)將達(dá)7000萬歐元。該項(xiàng)目被投放到市場(chǎng)以尋求解決辦法。最終概念被確定下來，包括為新建筑提供經(jīng)過改造的主體結(jié)構(gòu)，并保留公寓無家具、未完成的狀態(tài)（帶電梯及各種設(shè)施，但沒有廚房、浴室、供暖和房間隔墻）。簽訂合約的內(nèi)容還有立面的細(xì)微改造、增加一處新的景觀，并給未來的居民提供一份設(shè)計(jì)手冊(cè)。其中提出了可從建筑框架中創(chuàng)造出的不同公寓類型。

這個(gè)自建的概念不僅出現(xiàn)在改造實(shí)踐中。馬克·克勒建筑事務(wù)所2017年的超級(jí)復(fù)式公寓樓Y以建筑師限定的結(jié)構(gòu)為基礎(chǔ)，提供了5個(gè)基礎(chǔ)空間框架。30間公寓的布局由住戶和建筑師共同定義。這個(gè)項(xiàng)目看不到建筑師的超級(jí)自我意識(shí)，然而他們?nèi)匀恍枰A得這30戶的絕對(duì)信任。通過這種方式，馬克·克勒建筑事務(wù)所就能用對(duì)空間品質(zhì)的了解和建筑可持續(xù)性的高技術(shù)水平為他們提供支持。建筑師不可避免地要給自己重新定位，將該建筑作為一種建筑靈活性的新范式。

3 走向未來

我們?nèi)绾卧谛率挛镏袑⑴f有事物留存？我們?nèi)绾伪ＷC建筑對(duì)環(huán)境負(fù)責(zé)？市場(chǎng)會(huì)將我們帶往何方？問題已經(jīng)提出，答案還在醞釀。未來在創(chuàng)意之中。理念將會(huì)超越形式，并將在政治經(jīng)濟(jì)環(huán)境中由技術(shù)發(fā)展和精明的市場(chǎng)模式來解決。

展望未來，變革將永遠(yuǎn)是常態(tài)。但只要價(jià)值體系還在，創(chuàng)意市場(chǎng)就會(huì)一直活躍，并被時(shí)代所引領(lǐng)。荷蘭建筑公司協(xié)會(huì)（BNA）表示，這個(gè)內(nèi)在價(jià)值體現(xiàn)在2018年“最佳建筑”的評(píng)選標(biāo)準(zhǔn)上：“BNA希望強(qiáng)調(diào)好的建筑不只是美的。它是客戶、使用者和社會(huì)的‘最佳建筑’之選。無論建筑的造型、大小、預(yù)算和位置如何，所涉及的性能必須是卓越、清晰的：這是建筑行業(yè)在過去一年為客戶和社會(huì)帶來的最好的東西?！盵7]□

2.3 Environmental approach

Another evolution in recent years has been a growing awareness of environmental problems.Since the Copenhagen agreement in 2009, the building standard in the Netherlands has become much stricter, especially regarding facade design.To ensure creativity in this industry, TU Delft, the best architecture university in the Netherlands,incorporates a Building Technology department,dedicated to developing new ideas to ensure that beauty and sustainability always align with the construction system.

Environmental awareness is not at the core of architecture education yet, due to the fact that it requires collaboration with engineers from the beginning. In an architect's first years of practice,fulfilment of BREEAM (a practical sustainable certification by the Dutch Green Building Council)or LEED (Leadership in Energy and Environmental Design, a global certification programme) can prove a real challenge.

But then, we encounter offices like Paul de Ruiter Architects, which was founded in 1994 and has always been working on sustainable ideas. The Polak building at Erasmus University provides us with a prime example of how to embed sustainable design into the architecture concept. As architects,the firm is also involved in the renovation of the famous De Afsluitdijk dam. "This unique icon of hydraulic engineering protects the Netherlands from the sea." "In all designs, the focus is on an optimal experience of the unique view, the history and the nature that this dam has to offer."[6]I am optimistic enough to assume that this infrastructure project will be capable of embracing both the environment and urban life.

2.4 Private development

Together with the budget cuts and competition requests for public projects, further evidence of the transition from a welfare-based planning system to a neoliberal spatial organisation lies in private innovations in project development.

New building types are provided following this practice. As an example, deFlat, by NL Architects +XVW architectuur, the winner of EU Mies Award 2017, works more as an example in progress. The original building block is at Kleiburg, a building borne of functionalism. The original building design that was based on functions, and completed 50 years ago is out of date, but demolition costs will be 70 million euros in toral. The project was put to the market to find a solution. Ultimately, the concept was decided, and encompasses providing the new building with a renovated main structure,while leaving the apartments unfurnished and unfinished (with an elevator, installations, etc.,but without a kitchen, shower, heating or room division). Together with a subtle transformation of the facade, the deal was sealed by adding a new landscape and providing future residents with a design booklet containing suggestions for different apartment types that could be created from the shell apartments.

The self-built idea is not only presented in the renovation practice. In the Superlofts Blok Y by Marc Koehler Architects in 2017, based on a structure defined by the architects, five basic spatial frames are provided, and the layout of 30 apartments is defined by the households and the architects, together. Architects' superego vanishes in this project, but they still need to earn the absolute trust of these 30 families. In this way,Marc Koehler Architects are able to support them with knowledge of spatial quality and a high level of building sustainability. Architects inevitably re-position themselves, demonstrating project performance as a new paradigm of architectural flexibility.

3 Towards the future

How do we preserve the old in the new? How do we ensure that architecture is responsible for the environment? And where will the market lead us?Questions are posed, and answers are emerging. The future lies in creative ideas. Ideas are beyond form,and will be resolved within the political-economic environment, through technological development and smart market models.

Looking to the future, change will always be the norm. But as long as the value system remains, the creative market will remain active and will be led in time. This intrinsic value, as stated by BNA (Association of Dutch Architectural Firms), in the criteria of Best Building of the Year 2018, "The BNA wants to emphasise that good architecture is more than just beautiful. It is the choice for the Best Building for client, user and society. Regardless of the shape, size,budget or location of a building, the performance of those involved must be excellent and evident: this is the best that architecture has produced for the client and society in the past year."[7]□

注釋/Note

1）紐約現(xiàn)代藝術(shù)博物館展覽“解構(gòu)主義建筑”聯(lián)合策展人