建筑設(shè)計：托德·桑德斯，湯米·威廉森/桑德斯建筑事務(wù)所與威廉森建筑事務(wù)所

Architects: Todd Saunders, Tommie Wilhelmsen/Saunders Arkitektur & Wilhelmsen Arkitektur

奧爾蘭天空觀景臺，松恩—菲尤拉訥，挪威

Aurland Look Out, Sogn og Fjordane, Norway, 2005

建筑設(shè)計：托德·桑德斯，湯米·威廉森/桑德斯建筑事務(wù)所與威廉森建筑事務(wù)所

Architects: Todd Saunders, Tommie Wilhelmsen/Saunders Arkitektur & Wilhelmsen Arkitektur

1 遠(yuǎn)景/Distant view

基本情況

項目的基地位于松恩—菲尤拉訥郡的小鎮(zhèn)奧爾蘭，這里位居挪威西部海岸一處較大的峽灣處。從挪威的第二大城市卑爾根到奧爾蘭大約需要3小時的車程。有3家建筑事務(wù)所受邀對這一基地進(jìn)行概念設(shè)計，我們是其中之一。在競標(biāo)成功后，我們與卑爾根的Node工程公司一起進(jìn)行了項目的深入設(shè)計工作。項目于2005年秋天完工，于2006年6月正式對外開放。

項目吸引了世界各地的人們前來參觀。在競標(biāo)階段，我們將這一設(shè)計命名為“距離奧爾蘭640m，距離東京20,120km”，以從更宏觀的角度彰顯這一地理位置的特殊性。

場地和自然風(fēng)貌

在著手進(jìn)行設(shè)計后，我們確定了自然第一、建筑第二的設(shè)計原則。這是因為我們很快地意識到，在如此優(yōu)美的環(huán)境中，設(shè)計顯然應(yīng)該盡量減少對原有景觀和地形的影響。這里風(fēng)景幽美，幾乎不需要再做修整；同時，如果在場地中插入太多的元素，很有可能破壞其美好的氛圍。為此，我們選擇了一種基于極簡主義概念的表現(xiàn)形式，以同時達(dá)到保護(hù)和完善原有自然風(fēng)貌的目的。

組織

今天，很多人都會在這里駐足，欣賞峽灣的壯麗風(fēng)景。但這同時會讓場地上停滿汽車和旅游巴士。為此，我們首先設(shè)計了一個小型的停車場，能沿道路兩側(cè)?？?輛巴士、10輛汽車，從而保持基地內(nèi)的整潔，減少對觀景臺的影響。觀景臺本身的形式則是一座懸挑在空中、可以讓人們走上去的橋。橋?qū)?m，長30m，盡端處高9m。

視角與戲劇性

為了讓觀景能更具戲劇性，我們認(rèn)為營造一種離開山體的體驗非常重要。為此，我們希望人們能走到室外，并讓觀景臺以寬闊、開敞的峽灣中的一座橋的形象出現(xiàn)，創(chuàng)造獨特的觀景視角。同時，為了讓人們產(chǎn)生走出山景、來到新的視點的感受，保護(hù)基地原有的景觀和植被不被破壞也至關(guān)重要。

為此，我們設(shè)法保留了基地上原有的所有大松樹，使得建筑和自然間產(chǎn)生互動——通過讓人們在走向室外時穿過樹梢，訪客對自然本身和觀景臺兩者的體驗都顯得更富戲劇性了。□ （司馬蕾 譯）

Some Facts about the Project and Process

The site is above Aurland, a small town in Sogn og Fjordane, one of the largest Thords on the West Coast of Norway. Aurland is three hours drive from Bergen, Norway's second largest city. We were one of three architecture firms invited to deliver a design proposal for this site. Having won the project, we worked on detail drawings together with Node Engineers, Bergen.The project was built in the autumn of 2005 and was officially opened in June 2006.

The place has attracted visitors from all over the world. We called our competition entry "640m over Aurland and 20,120 km from Tokyo", keeping in mind the uniqueness of the place in the bigger picture.

The Place and the nature

"Nature first and architecture second" was the guiding principal when we sat down to design this project. It was immediately obvious to us that in such beautiful surroundings one must make the least possible encroachment on the existing landscape and terrain. The landscape is so fantastic that it is difficult to improve the place, but at the same time very easy to destroy the atmosphere by inserting too many elements into the site. Even though we have chosen an expressive form, the concept is a form of minimalism, in an attempt to conserve and complement the existing nature.

Organization

Today there are many people stopping at this site to enjoy the phenomenal views over the Thords. At times the area gets filled with cars and tour busses. One of the first things we decided to do was to form a small parking area for 2 buses and 10 cars further up the road to help keep the place pure and the lookout undisturbed. The outcome structure is a bridge in the air that one can go out onto. It is 4m wide, 30m long, and 9m high out at the very end.

The Horizon and Dramatization

To make the situation even more dramatic, it was important for us to create the experience of leaving the mountainside. We wanted people to come out in the air. The construction creates a distinct horizon with a bridge in the open space of this large fjord. It is imperative that the landscape and the vegetation are not altered, but are protected so that one can come out from the landscape and experience it from new standpoint.

We have managed to behold all of the large pine trees on the site. This allows us to create an interaction between the structure and the nature. One can walk out into the air through the treetops, a dramatized experience of nature and the greater landscape space.□

2 觀景臺上/View on the platform

3 觀景臺下/Under the platform

評論

郭屹民：形式追隨體驗的設(shè)計！極簡的設(shè)計意圖盡管保全了既有地貌的風(fēng)景，但是以追求全新體驗為企圖而凸顯的橋面，卻儼然成為了對既有地形的挑戰(zhàn)。雖然延伸出挑的橋面保持著與既有地面平直的連續(xù)，但其在端部卷曲向下的操作，因為無法從既有的環(huán)境中獲得足夠的參照，所以只能理解為是設(shè)計師即興發(fā)揮式的表現(xiàn)。本質(zhì)上，物質(zhì)形式在視覺上的連續(xù)顯然并不等同于抽象關(guān)系上的連續(xù)。其結(jié)果就是，體驗造就了人工與自然的對峙！

褚冬竹：對于各地諸多令人印象深刻的臨崖觀景臺來說，使站立其上的觀者擺脫原自然場所的約束，盡力創(chuàng)造向前凸進(jìn)的空間，甚至制造些頗為驚悚的體驗，大致是一個共同追求的目標(biāo)。對木材的精妙使用，已是挪威建筑師最為突出的優(yōu)秀特征之一，無需贅言。除此之外，奧爾蘭觀景臺最大的不同在于臺面盡端，竟以一個令人驚訝的弧形轉(zhuǎn)折完成了頂部水平面到斜撐的轉(zhuǎn)化。這創(chuàng)造性地實現(xiàn)了某種更為刺激的“無邊際”體驗，是建筑師的神來之筆。

項目信息/Credits and Data

客戶/Client: The Norwegian Highways Department

結(jié)構(gòu)設(shè)計/Structural design: Node AS

機(jī)械設(shè)計/Mechanical design: Node AS

電力設(shè)計/Electrical design: Node AS

景觀設(shè)計/Landscape Design: Todd Saunders & Tommie Wilhelmsen

室內(nèi)設(shè)計/Interior Design: Todd Saunders & Tommie Wilhelmsen

承建商/Contractor: Veidekke AS

其他顧問/Other Specialist Consultants: 道路工程師/Road Engineer: Asplan Viak

攝影/Photos: Bent Rene Synnevag (fig.1,2,4), Todd Saunders (fig.3,5)

4 觀景臺上/View on the platform

5 觀景臺下/Under the platform

Comments

GUO Yimin: This is a design in which form follows experience. Though the minimalist design intervention helps to preserve the continuity of the landform, the bridge, which stands out in order to reveal a brand-new experience, deliberately challenges the landscape. While the extended bridge remains on the level continuum of the land, its downward-curling extension can only be understood as the designer's improvisation, as it cannot draw a reference from the environment. Essentially, the visual continuum of the physical form does not equal the continuum of abstract relationships. What follows such an experience is a confrontation between the man-made and the natural.

CHU Dongzhu: The most impressive cliff-viewing platforms enable viewers to break away from the constraints of the natural site. In order to do this, they strive to create a protruding space, or even some thrilling experiences. This is, by and large, is a commonly pursued goal. Needless to say, the delicate use of wood has been one of the most prominent features of Norwegian architects. Besides, the biggest difference of Aurland manifests itself at the end point of the platform, which transits from the horizontal to a diagonal bracing via an amazing arc. This is a stroke of the architect's genius, which creatively accomplishes an even more thrilling "boundless" experience.