建筑設(shè)計：51N4E建筑事務(wù)所

公共再利用獎：布達(dá)藝術(shù)中心，科特賴克，比利時

建筑設(shè)計：51N4E建筑事務(wù)所

1 外景/Exterior view

科特賴克市的布達(dá)地區(qū)被利斯河的兩條支流包圍著。這里充分體現(xiàn)著比利時小鎮(zhèn)豐富而特殊的歷史風(fēng)貌。幾個世紀(jì)以來，布達(dá)地區(qū)為病弱和貧窮的人們提供了庇護(hù)，并且這座小島最終成為了傍水工業(yè)蓬勃發(fā)展的中心。這一地區(qū)的這兩種不同的特質(zhì)今天仍然以獨(dú)特的方式留下了痕跡。雖然過去的救濟(jì)院已經(jīng)讓位給了醫(yī)院和養(yǎng)老院，而過去的工業(yè)空間也被改作成了文化用途，但布達(dá)島上仍然彌漫著不受拘束的氛圍，任何事都充滿實(shí)驗(yàn)性，科特賴克這座城市也從不放過任何引人注目的機(jī)會，在設(shè)計上尤其如此。

這一特征的最新例證就是布達(dá)工廠，一座由1924年建的染料工廠改造而成的建筑。這一建筑過去并沒有留下明確的歷史或空間資料，其獨(dú)特之處在于內(nèi)部不常見的大空間能以極低的成本進(jìn)行改造，以滿足廣泛的文化用途。內(nèi)部的空間系統(tǒng)經(jīng)過了特別設(shè)計，以使這座結(jié)構(gòu)堅(jiān)固的建筑能作為工作室使用，這也符合建筑原本為生產(chǎn)所使用的目的。

既有建筑環(huán)繞著一個五邊形的空間，形成開敞的前庭，中間則設(shè)有一系列不固定的壁龕和燈飾。另一個五角形建筑中則設(shè)有展示空間、工作室和工作間，并通過架設(shè)在現(xiàn)有廠房屋頂上的平臺與周邊環(huán)境相連。

51N4E的建筑師所做的只是改變了混凝土和磚的經(jīng)典角色： “磚以一種能承擔(dān)所有墻體重量的非常堅(jiān)固的方式相連接，形成一種華夫狀的結(jié)構(gòu)，兩面墻能夠相互連接在一起，更增強(qiáng)了墻體的穩(wěn)定性。這是一個解決結(jié)構(gòu)問題的非常簡單的方法?！倍谛碌母魤Φ奶幚砩希ㄖ熯x擇了一種與既有材料非常協(xié)調(diào)的面材：一種像佛蘭德西部地區(qū)的土壤顏色般的黃色磚?！耙?yàn)樵谶^去被改造和重建過許多次，現(xiàn)有建筑中有15種不同的磚，我們考慮了與地板顏色的協(xié)調(diào)性，覺得這種顏色與其搭配非常漂亮。”此外，這種顏色也與周圍的紅磚建筑形成了一種對比關(guān)系。

對于各種現(xiàn)有材料的成功翻修和對新材料的恰當(dāng)選擇形成了緊湊而大氣的空間，而建筑體現(xiàn)的粗糙樸素的特質(zhì)則呼應(yīng)了建筑最初讓人們單純地聚在一起創(chuàng)造東西的建造初衷。這是一座讓人身處其中而非讓人在外欣賞的建筑。（司馬蕾 譯）

項(xiàng)目信息/Credits and Data

客戶/Client: 科特賴克市政府/City of Kortrijk

建設(shè)周期/Construction Period: 2011 - 2012

使用面積/Usable Floor Area: 3900m2

建筑用途/Building's Purpose: 藝術(shù)家工作室，藝術(shù)中心/ Artists' ateliers, art centre

用磚類型/Brick Type: 面磚/Facing bricks

攝影/Photos: Wienerberger AG/Filip Dujardin (Fig.1,2,6,7), Paul Steinbrueck (Fig.3,9), Mathieu Bayart (Fig.8)

2 庭院/Courtyard

The Buda quarter of Kortrijk is enclosed by the two arms of the Leie river. This is the heart of the Belgian town's rich but idiosyncratic history. Over the centuries, Buda offered refuge to the sick and indigent, and eventually the island also became a thriving centre of water-based industries. In a strange way, these two incongruous roles are still very much in evidence today, even though the poorhouses have long given way to hospitals and nursing homes, and the old industrial spaces are now used for cultural purposes. These days the island of Buda is suffused by an atmosphere of unfettered, anything goes experimentation, with Kortrijk missing no opportunity to court the limelight, particularly in matters of design.

The latest example of this striving is the Buda factory, a former dye works dating back to 1924.The building is of no particular historical or spatial note; its one distinction lies in its being convertible at extremely low cost to unusually large spaces with a broad cultural application. The programmatic infill is deliberately ancillary; the priority lay in making the solidly built structure suitable for workshops, a purpose in line with its original manufacturing use.

A pentagon closely inscribed in the row of existing buildings creates a forecourt open to the sky with a stimulating series of indeterminate niches and lighting moods. A second pentagon within opens up exhibition spaces, studios and workshops that communicate with their surroundings via a terrace erected on the existing factory roofs.

51N4E Architects just changed the classical roles of concrete and brick: "The brick is made in such a way that it can takes all the forces and is stable enough. So it's a kind of waffle structure where the two walls are connected to each other and this gives it stability. And it's a very simple way to solve this issue." For the new separations the architects chose a facing brick that went particularly well with the existing material: a yellow brick characteristic of the loam soil of western Flanders. "There were 15 different bricks used in this building because it has been renovated and rebuilt many times, and I think together with the colour of the floors that we found, this color matches very beautifully." Outside, there is a tension with the neighbouring red-brick buildings.

The successful refurbishment of the various existing materials and the fitting choice of new ones has resulted in a dense, atmospheric ensemble whose rough-hewn simplicity recalls a building in which people simply come together to create things. It is a building for looking, not a building to look at.

3 鳥瞰/Aerial view

4 區(qū)位/Location

5 平面/Floor plan

評委評語

維拉·亞諾夫辛斯基（荷蘭）：這是一座舊廠房建筑，而建筑師在其中使用了現(xiàn)代建筑的設(shè)計手法。項(xiàng)目對磚的使用采用了北方國家的常規(guī)做法：體現(xiàn)了磚作為發(fā)展完善、工業(yè)化和模數(shù)化程度很高的理想建材的特質(zhì)。磚砌的結(jié)構(gòu)和其建造的方式都極好地體現(xiàn)了材料的特性，也非常適合這座建筑。其設(shè)計成果并不是一座傳統(tǒng)或是常見的建筑，而是因?yàn)閷⒋u作為如絲綢般的表皮材料使用而形成了獨(dú)特的效果，最為明顯的特征就是建筑表面色彩的細(xì)微差異。建筑在空間設(shè)計和材質(zhì)使用上都形成了新與舊之間的和諧結(jié)合，我認(rèn)為這種同時創(chuàng)造出和諧與張力的設(shè)計非常優(yōu)美，其中也穿插了一些與新的和諧形成對比的手法。其中給我留下最深印象的是建筑體現(xiàn)的設(shè)計者智慧與敏感性的結(jié)合。我認(rèn)為建筑師通過材料的使用與成熟的設(shè)計方式讓建筑達(dá)到了最佳的效果。（司馬蕾 譯）

Jury Statement:

Vera Yanovshtchinsky (the Netherlands):It is an old factory and the architects designed interventions for it using modern architecture. This project used brick the way we often use brick in the northern countries: as a highly-developed, industrial, modular, perfect building product. The masonry, the way of building it, suits this building. The result, however, is not a traditional or common one. The result is unique, because what you get is brick that becomes almost fabric-like. It has some of the qualities of silk, a material in which color nuances are often the most striking feature. The building is a harmonious combination, of both space and material, and between the old and the new. I find it a very beautiful way of creating harmony and tension at the same time. It combines what seemed like opposites into a new harmony. I was very impressed by the building's combination of intelligence and sensitivity. I have the feeling that they have achieved all that was possible to achieve by pushing the materials and the design with such sophistication.

6 通道/Corridor

7-9 內(nèi)景/Interior view

評論

胡越：一座舊染料廠房被改造成為藝術(shù)中心，初看起來顯得有些平淡無奇，但卻是這座建筑最打動我的地方。雖然經(jīng)過改造后，建筑的功能與原來相比發(fā)生了很大的變化，然而設(shè)計師卻始終試圖保留這座建筑原初建成時在空間和材料上所表達(dá)的氣質(zhì)，那種平淡、簡樸的氣質(zhì)，也為新的功能提供了更多的可能性。多種色彩的磚的應(yīng)用正是設(shè)計理念在材料選擇上最真實(shí)的反映。

范路：兩個五邊形的虛體是布達(dá)藝術(shù)中心改造項(xiàng)目的核心。第一個五邊形的核心組織了藝術(shù)中心與周邊建筑。它由純凈的勻質(zhì)磚墻構(gòu)成，開口敞向天空。人在其中是靜觀——仰頭將視線投向天空之藍(lán)。組織內(nèi)部空間的第二個核心，以保留的混凝土構(gòu)件為框架，以磚填充。其中，環(huán)繞的樓梯連接各個樓層并通向屋頂平臺。人在其中是動觀——隨樓梯環(huán)繞而上，不斷轉(zhuǎn)換視角和注視對象?？蚣芎筒糠謮γ嫠?，暗示了螺旋的運(yùn)動流線，也指引了來光的方向。外部的第一個核心預(yù)示了內(nèi)部的第二個核心。而環(huán)繞第二個核心爬到頂端，又回望了第一個核心。雙核整合了藝術(shù)中心的形體和空間，又激活了它們。雙核所用磚的淺黃色，不同于已有15種磚的顏色，但卻帶動了所有的色彩。

Comments

HU Yue: An old dye factory has been transformed into an art center. At first glance this project may seem a bit bland, but the building's blandness is actually what impresses me the most. Although the function of this building has changed greatly from its original use, the designer tries to maintain its original characteristics, namely its spaces and materials. Such plain and simple qualities provide many more possibilities for new building functions. The application of multi-toned bricks is the truest representation of the building's design concept.

FAN Lu: Two pentagonal voids form the nuclei of the Buda Art Centre project. The first pentagonal nucleus organizes the art center and its surrounding buildings and is made of pure brick walls which open to the sky. Organizing interior spaces, the second nucleus takes the preserved concrete support components as a frame and infills new bricks. Surrounding stairs in the inner void connect different levels and lead to the roof terrace. In the second void, the concrete frame and part of the brick walls are painted white, indicating the spiral circulation and direction of lights as well. The first nucleus gives a foretaste of the presence of the second one inside. But when people climb up the top of the second nucleus, they can look back at the first one. The volumes and spaces of the Buda Art centre are integrated and driven by its bi-nuclear plan. A kind of pale-yellow brick is used in both voids. The new color is different from those of existing 15 kinds of bricks, and activates all their colors.

Category Winner in Public Re-Use: Buda Art Centre, Kortrijk, Belgium, 2012

Architects: 51N4E Architects