建筑設計：伊迪斯工作室

紅蘋果，索菲亞，保加利亞

建筑設計：伊迪斯工作室

1.2 外景/Exterior view

作為歷史的建筑。建筑的最終立面讓人想起某種早期計算機游戲——玩家必須在到處都是直角的狹長通道中操縱一個體塊，讓它避開許多陷阱。事實上，建筑物的三維幾何形態(tài)其實比“吃豆人”或“俄羅斯方塊”式的視覺效果所暗示的內容還復雜得多。但其虛構性的感覺卻令人印象深刻。畢竟，在1970年代，這一地區(qū)一夜間涌現(xiàn)了許多住宅區(qū)。這里綠地面積充足，卻依然欠缺那種有機形成的城市肌理所具有的魅力。整個社區(qū)為居民提供了基礎設施和一定水準的生活品質——卻缺乏能讓場所安定踏實的歷史氣氛。

這正是建筑師試圖通過一次賭博行為來進行彌補的狀況——即在建筑形式中植入記憶。他們在1970年代的建筑物中，放置了一座全新的“舊”建筑，為這片區(qū)域引入過去的蛛絲馬跡，并為路人留下一些能夠進行思考的印象。建筑師設想了原本在索菲亞其他地區(qū)某個潛在的項目機會中，如果當時被委托改造一個舊的廢棄廠房，他們會采用的處理手法。但既然這里并沒有廠房，建筑師們就創(chuàng)造一個，通過吸收大量迥然不同的構思來處理新舊元素之間的關系。紅磚的使用起到了統(tǒng)領作用，這種材料在過去與現(xiàn)在的意象之間建立了聯(lián)系。

這座建筑結合了和諧的秩序與有計劃的隨意性。建筑的平面輪廓沿地段的不規(guī)則形狀布置，由此形成的銳角提供了獨特的空間視角。立面上的開洞則完全相同，這是磚的圖案形成的結果，兩層通高的窗戶又不時地打破這種秩序。在整個區(qū)域中，一種將磚塊的短邊突出于墻面的砌筑方式代替了傳統(tǒng)的一順一丁砌法，由此在立面上產生了立體的對比效果，這種對比同樣延續(xù)到了懸挑的籠式陽臺形式。建筑開口較大的空間內種植了樹木。植被環(huán)繞場地分布，并從地面一直延續(xù)到屋頂。所有典型的工廠都有高聳的煙囪，這座建筑也同樣如此；它們在這里成為光井和種植槽。樓梯間的設計非?？鋸垺薮蟮墓饩B接了所有的住宅樓層。磚砌的表面也同樣是外墻的結構。

在公寓內部，也同樣能體驗到生動的立面。多邊形的樓層平面自動組織為正交的系統(tǒng)，這樣不會對傳統(tǒng)家具的放置構成障礙。最后，雙層通高的起居室讓人聯(lián)想起紐約的閣樓空間；空間的設計讓人感到似乎身處“住宅工廠”的內部。

“索菲亞是地震多發(fā)地區(qū)，但預制體系的解決方案都不抗震，因此我們針對建筑立面進行了結構計算，并由此設計出了新的構件體系。除了施工單位的結構計算之外，整個立面的工程設計，都由建筑師完成。我們除了提供完整的圖紙信息，還必須幾乎每天都去施工現(xiàn)場。”伊迪斯工作室的博揚·貝爾切夫解釋道。（徐知蘭 譯）

Building as history. As drawn its facades recalled early computer games in which a figure had to be maneuvered around a number of traps along a path full of right angles. In reality, the three-dimensional geometry of the building turns out to be much more sophisticated than its Pac-Man or Tetris visuals would imply. The fictional feel, however, is well-founded. This is an area, after all, in which apartment blocks sprang up virtually overnight in the 1970s. Green areas abounded, but the charm of an organically built urban fabric was lacking. The neighbourhood offered infrastructure and quality of life - but there was no sense of history to ground the place.

This was the situation the architects tried to remedy with a big gamble: the insertion of a memory implant in building form. In the midst of the 1970s structures, they placed a brand-new "old" building designed to bring traces of the past to the area and give passers-by something to think about. The architects imagined what they would have done if they had been commissioned to convert an old, disused factory - an opportunity found elsewhere in Sofia. But, as there was no factory here, the architects invented one, incorporating a wealth of disparate ideas to do with the old and the new. The unifying feature of the concept was red brick - a material that links images of the past and the present.

The building brings together harmonious order and planned chaos. Its contours follow the irregular shape of the site, resulting in acute angles that offer unique perspectives. The openings in the facade are all the same - a product of the pattern of bricks - but occasionally the order is broken by windows over two levels. Over a large area, the traditional Flemish bond yields to one in which headers jut out, giving a threedimensional contrasting effect that continues in the cantilevered, cage-like balconies. In large gaps in the building, one finds trees growing. Trees surround the site and continue from the ground all the way to the roof. Every self-respecting factory has chimneystacks, so these are found here too; they serve as light wells and planters. The staircase is an over-the-top idea: a vast light shaft that connects the residential levels. Its brick surfaces take up the structure of the outside walls.

Inside the apartments, the lively facades can be experienced from within. The polygonal floor plans keep assembling themselves into right angles so as not to obstruct a conventional placement of furniture. Finally, the double height living rooms recall New York loft spaces; by design, one feels one is inside a "residential factory".

"Sofia is in an earthquake area, but the readymade system solutions were not earthquake-proof, so structural computations were done for the facade and a new construction system was worked out accordingly. The entire facade engineering except for the construction company's structural computations was done by the architects. Despite the thorough information that we gave, we had to visit the site almost every day", explains Boyan Belchev from aedes studio.

項目信息/Credits and Data

客戶/Client: Sofbuild建設投資公司/Sofbuild

建設周期/Construction Period: 2010 - 2012

使用面積/Usable Floor Area: 11000m2

建筑用途/Building's Purpose: 住宅、辦公與零售綜合體/Multi-functional building with housing, offices and shopping

用磚類型/Brick Type: 面磚，陶土磚/Facing bricks, clay blocks

攝影/Photos: Wienerberger AG/Nedyalko Nedyalkov (Fig.1-3), Boyan Belchev (Fig.4, 8)

4 內景/Interior view

評論

鮑威：磚作為砌體元素向來與結構關系密不可分。此案跳過了對此特性的探索，直接將其做為表皮的表現(xiàn)元素。本來厚重的磚砌體用作裝飾材料，形成了通透的格柵外墻。此做法常見于伊斯蘭傳統(tǒng)建筑中，結合炎熱的氣候形成遮陽并透風的外墻。這里，建筑師將此發(fā)揮至極致，用鋼結構將其吊起，形成磚幕墻，充分消解了其結構的特性。

范路：面街的南立面是紅蘋果項目最重要且最具表現(xiàn)力的立面，而3種尺度的凹凸變化是該立面的構成邏輯。首先，南立面以首層的外界面為基準面（當玻璃窗表面略微退后于磚墻表面時，將它們簡化看成一個面進行討論）。以此為基準，立面左上方和右側的兩個大體量向外凸出，構成了第一種尺度——總體體塊尺度上的變化。第三種尺度的變化發(fā)生在構件層面：最具質感的外凸磚頭處理均出現(xiàn)在第一種尺度的外凸體量表面，以構件層面的變化強化了體塊尺度的凹凸邏輯。第二種尺度的變化則發(fā)生在樓層層面，體現(xiàn)為陽臺的兩種處理方式?？傮w外凸體量上的陽臺均為內凹處理，而陽臺背后的玻璃墻面與基準面平齊，仿佛是基準面的延伸；而基準面上的陽臺均為外凸的金屬框架，其外側表面也與總體外凸體量的外表面大致對齊。這似乎產生了第二個基準面。由此，南立面上豐富的凹凸變化以清晰的邏輯組織為一個整體。

5 剖面/Section

6.7 平面/Floor plan

8 內景/Interior view

Comments

BaO Wei: As a building material brick has never departed from its service to structural sincerity. Yet, this project skips this "ask what a brick wants to do" moment, and uses clay blocks to form a porous outer screen system. Against all intuition it turns a load bearing element into a mere ornamental shed. This is often seen in traditional Islamic architecture, where shading and natural ventilation are often needed for hot and humid weather conditions. The architect of this particular project pushes this idea even further by hanging the bricks on steel trusses, forming a brick curtain wall system.

Fan Lu: The south facade of Red Apple that faces the street is the most important and expressive elevation of the project. And the concave-convex changes in three different scales create the compositional logic of this facade. First of all, the outside surface of ground floor can be regarded as the datum of this elevation (when the glass window surface is set back a little from brick wall surface, those two surfaces can be roughly regarded as one plane). From this datum, there are two projecting volumes in the upper left and right parts of the facade, which form the first change in volumetric scale. The third change takes place at the scale of the component. Projecting headers create a brutalist exterior surface and only appear in relation to the two projecting volumes, thereby intensifying the effect of the projection. The second change takes place at the scale of the floors and is manifested in two different kinds of balcony designs. Concave balconies are set in two projecting volumes, and the glass window surface behind these balconies aligns with the datum. Other balconies are characterized by metal frames. The outer surface of those frames aligns roughly with the surface of the two projecting volumes, which seemingly forms yet another datum. All these concave-convex changes across the south facade are logically integrated into one attractive expression.

Red Apple, Sofia, Bulgaria, 2012

Architects: aedes studio