建筑設(shè)計(jì)：坂茂建筑事務(wù)所

紙橋，加爾水道橋，法國(guó)

建筑設(shè)計(jì)：坂茂建筑事務(wù)所

1 外景/Exterior view

2 立面/Elevation

3 遠(yuǎn)景/Distant view

紙橋的設(shè)計(jì)源于法國(guó)南部尼姆地區(qū)古羅馬時(shí)期加爾水道橋的主題夏季活動(dòng)，這座橋被列為聯(lián)合國(guó)教科文組織世界遺產(chǎn)。

這座拱橋的形狀根據(jù)場(chǎng)地環(huán)境和結(jié)構(gòu)邏輯確定。在兩座橋的設(shè)計(jì)材料之間形成了對(duì)比，加爾橋由沉重而堅(jiān)固耐久的石材砌筑，紙橋則采用輕巧柔軟而壽命較短的紙管建成。其使用的紙管直徑為115mm，厚19mm，結(jié)構(gòu)上采用鋼節(jié)點(diǎn)和后張鋼纜聯(lián)結(jié)的形式。同時(shí)，紙橋也通過(guò)采用與加爾橋單拱相同的尺度，在幾何形式上與之取得了協(xié)調(diào)。

法國(guó)《世界報(bào)》在介紹該項(xiàng)目時(shí)稱：加爾橋的“弟弟”誕生了。 （徐知蘭 譯）

The Paper Bridge has its origin in the summer event of Pont du Gard, an ancient Roman aqueduct bridge in Nimes, Southern France, which is also a World Heritage Site of UNESCO.

The shape of the arched bridge was selected according to the environment and structure of the site. Contrast is formed by the difference of the building materials: Pont du Gard is made of solid and durable stones while the Paper Bridge is made of light, soft and short-lived paper tubes. The paper tubes used in this project are 115mm in diameter and 19mm in thickness, with steel joints and post-tensioning structure. At the same time, by adopting the same scale as the single arch in Pong du Gard, the Paper Bridge achieves a harmonious geometrical form.

The French newspaper Le Monde, in its introduction of the project, declares that the "younger brother" of Pont du Gard was born.

4 平面/Floor plan

項(xiàng)目信息/Credits and Data

項(xiàng)目團(tuán)隊(duì)/Project Team: Shigeru Ban, Jean de Gastines, Elsa Neufville, Marc Ferrand, Albert Schrurs, Leonard de Rham, Frederic Schwarz

結(jié)構(gòu)設(shè)計(jì)/Structural Engineers: Terrell international

總承建方/General Contractor: OCTATUBE, Keio University SFC Shigeru Ban Laboratory

建筑施工/Architectural Construction: Ecole Architecture School of Montpellier

主要結(jié)構(gòu)/Main Structure: 紙管/金屬節(jié)點(diǎn)/Paper tubes/ Metallic nodes

場(chǎng)地面積/Site Area: 160 hm2

基底面積/Building Area: 120m2

總建筑面積/Total Floor Area: 45m2

最大高度/Maximum Height: 6.5m

跨度/Span: 22m×6m

建成時(shí)間/Construction Period: 2007.07

攝影/Photos: Didier Boy de la Tour (Fig.1,3,5-7,11), Shigeru Ban Architects (Fig.8-10,12-29)

5 仰視/Bottom view

6 外景/Exterior view

評(píng)論

董功：兩座相鄰數(shù)百米的橋，反射著兩種建筑和土地的關(guān)系。加爾水道橋是重的，是“植根”于土地的——我猜想在羅馬時(shí)代，這些石頭產(chǎn)自當(dāng)?shù)?，工匠也住附近村子?，建造方式為傳統(tǒng)壘造，橋好像是從土地里生長(zhǎng)出來(lái)的。紙橋是“脫離”于土地的。工業(yè)的生產(chǎn)體制削弱了建筑對(duì)于土地的依賴關(guān)系——紙筒和連接鋼件都是工廠預(yù)制， 工人包括來(lái)自不同地方的學(xué)生志愿者，結(jié)構(gòu)方式為桁架體系，橋自然地呈現(xiàn)出某種輕的狀態(tài)，好像是只想對(duì)土地做最微弱的觸碰。而同一曲率的拱弧，將這兩次相隔數(shù)千年的建造，詩(shī)意地聯(lián)系起來(lái)。

劉彤彤：用紙管搭建一座臨時(shí)的、可反復(fù)拆建的橋梁，不僅體現(xiàn)了坂茂建筑的實(shí)驗(yàn)性，而且更是其思想深處的日本民族性格在建筑上的反映。從欣賞櫻花盛開(kāi)時(shí)轉(zhuǎn)瞬即逝的絢爛，到20年移建一次的伊勢(shì)神宮，再到建筑界的新陳代謝派的出現(xiàn)，或許多多少少都受到“無(wú)常觀”的影響。坂茂對(duì)脆弱材料的興趣、對(duì)臨時(shí)性建筑的執(zhí)著，也許根源就在于此。

Comments

DONG Gong: Sitting hundreds of meters away from each other, the two bridges reflect two kinds of relationship between architecture and the earth. Pont du Gard is heavy and "implanted" in the earth. I imagine, in ancient Rome, those stones were local products and the masons lived near the village. They constructed in the traditional way of stacking, so that the bridge seems to grow out of the earth. The paper bridge is "detached" from the earth. The industrial system weakens the architecture's dependence on the earth-paper tubes and steel joints are all prefabricated; workers include student volunteers from different place; Truss structure is adopted; the bridge appears very light, as if it were to make a slightest touch of the earth only. On the other hand, the arches of the same curvature create a poetic connection between these two constructions of thousands of years apart.

LIU Tongtong: To build a temporary, removable bridge from paper tubes reflects not only the experimental characteristics of Ban's architecture，but also his Japanese national spirit on architecture. From the appreciation of the short-lived beauty of Sakura blossom, to the rebuilt of the Ise Shrine once every 20 years, and to the emergence of Metabolism in architecture, all are more or less under the influence of the philosophical impermanence. That might be the roots of Ban's interest in weak materials and obsession with temporary architecture.

Paper Bridge, Pont du Gard, France, 2007

Architects: Shigeru Ban Architects

7-11 細(xì)部/Detail

12-29 建造過(guò)程/Construction process