建筑設(shè)計(jì)：西夫·斯唐厄蘭，賴因哈德·克羅普夫，穆威/挪威HHA建筑事務(wù)所

Base Camp兒童宿營(yíng)地，斯塔萬(wàn)格，挪威

Base Camp, Stavanger, Norway, 2009

建筑設(shè)計(jì)：西夫·斯唐厄蘭，賴因哈德·克羅普夫，穆威/挪威HHA建筑事務(wù)所

1 樹(shù)屋外景/Exterior view, the Tree Camp

2 樹(shù)屋總平面/Site plan, the Tree Camp

該項(xiàng)目業(yè)主——挪威西海岸城市斯塔萬(wàn)格旅游局希望在城市北部的高山湖山地，毗鄰著名的祈禱峰景區(qū)打造一片讓兒童接近自然、感受自然的宿營(yíng)地。挪威人有著與生俱來(lái)的和自然親近的生活習(xí)慣，自維京時(shí)代伊始，挪威的文化便與自然為伴，即便在今天，挪威的很多幼兒園依然保留著在寒冷的室外進(jìn)行午休這一教育傳統(tǒng)?；谶@樣的背景，舒適，與精美無(wú)關(guān)，與溫度無(wú)緣，傳統(tǒng)建筑設(shè)計(jì)追求的表演性更無(wú)從談起。相反，舒適指向了房子和自然環(huán)境的某種關(guān)系設(shè)定，舒適度來(lái)自兒童行為在自然環(huán)境和人造物之間轉(zhuǎn)換的某種獨(dú)特體驗(yàn)。作為兒童宿營(yíng)地，這是挪威式的舒適度訴求，它不是將都市中的兒童房放置于自然之中，它是自然界中微弱的遮蔽物，讓兒童獲得淋漓盡致的自然體驗(yàn)。

我們因此將設(shè)計(jì)的命題設(shè)定為：人造物與自然是否可以融為一體，使之成為自然體驗(yàn)的放大器。建筑物不再是絕對(duì)意義上的人造物，而是展示出順應(yīng)自然、甚至向自然學(xué)習(xí)的姿態(tài)。于是，我們?cè)O(shè)計(jì)了一組建筑，嘗試和場(chǎng)地內(nèi)的自然要素發(fā)生一一對(duì)應(yīng)的建筑行為學(xué)關(guān)系：

1 樹(shù)屋

樹(shù)屋是6個(gè)如蠶繭般的房子，懸掛在樹(shù)林間，其中的4個(gè)由懸橋串聯(lián)在一起，兒童可以在樹(shù)間漫步，也可以在樹(shù)屋里休憩。

2 懸崖上的房子

選址位于懸崖上巖石自然坍塌后留下的凹口，用建筑物將其填充，獨(dú)特的結(jié)構(gòu)限定出若干懸掛的休憩空間，攀巖是抵達(dá)建筑的唯一途徑，建筑物促成了攀巖行為和山體的精確關(guān)系。

3 水邊的房子

選址位于高山湖對(duì)面的無(wú)人區(qū)，木結(jié)構(gòu)是巖石形體的延伸，終止于水邊的木屋，游泳高手和皮劃艇愛(ài)好者才能抵達(dá)這里，享受這里的露臺(tái)和茶室。

在建筑存在之前，“物”已經(jīng)存在。我們贊美物質(zhì)，一定程度上建筑師做的不是去所謂地創(chuàng)造事物，而是去打磨、挖掘、重組織和再現(xiàn)一個(gè)可以承載生活的容器。這是一組弱建筑，更不奢望有永恒感和紀(jì)念性，它是一次行為物質(zhì)化的實(shí)驗(yàn)?！酰峦?/p>

項(xiàng)目信息/Credits and Data

業(yè)主/Client: 斯塔萬(wàn)格旅游局/Stavanger Turistforening設(shè)計(jì)時(shí)間/Design Period: 2008-2009

攝影/Photos: Emile Ashley, Helen & Hard

3 樹(shù)屋內(nèi)景/Interior view, the Tree Camp

4.5 樹(shù)屋外景/Exterior view, the Tree Camp

6 樹(shù)屋立面/Elevation, the Tree Camp

7 樹(shù)屋剖面/Section, the Tree Camp

8 懸崖上的房子外景/Exterior view, the Mountain Camp

9 懸崖上的房子剖面/Section, the Mountain Camp

Stavanger Trekking Association wished to create a camp site for children to approach and experience nature.

This has resulted in three different "base camps", each accommodating 12-15 children on camping-tours in the surroundings of the Prekestolen mountain lodge. The design process started with extensive hiking tours to find suitable spots and a unique spatial concept for each structure. Ideas for each cabin were not predefined but rather emerged from encounters with the various natural surroundings. This process resulted in three base camps which opened in the spring of 2009: The Mountain Camp, The Water Camp and the Tree Camp. The natural setting supplements the structure of each camp; all camps are light constructions that have only slight impact on their surroundings and can be easily disassembled.

The Norwegian people have an inherent affinity to nature, of which cold is a crucial part. Therefore in this tradition, comfort has little to do with exquisite details, warmth, or generic performance of a building. On the contrary, it signifies certain relationship between the buildingand its environment. Comfort is generated through a unique experience of transition from the civilized world to the natural one. As a camping site, it represents the Norwegian pursuit for comfort, and is meant to function as a basic shelter, a tool or a tunnel for children to approach and enjoy nature.

In the Mountain Camp children sleep inside a steel construction attached to a steep rock. The entire camp is hung on steel-wires; pressure-loaded steel tubes create a distance between the rock and the steel-wired facade. These also double up as the construction for the beds, which are arranged over five levels fixed between the steel tubes. Children have to climb up the rock along a zigzag route to reach their camp. The cabins are covered with cotton which has been camouflage painted to match the cracks of the rock behind the facade. This pattern determines the placement of the panorama-window for each cabin.

The Tree Camp consists of six small cocoonlike rooms hung around living trees, which provide shelter for the children. Four of them are connected with a hanging bridge, which leads into the larger room on one end where all the children can meet and prepare food. Each cabin has three beds plus storage for rucksacks underneath.

The Water Camp is located on an uninhabited site opposite the mountain lake. It has hammocks on a covered quay and a textile curtain that can be rolled down to keep out the rain. The camp is built into the rock and its roofs follow the dramatic rock formation. This camp is designed for skilled swimmers and kayakers to enjoy its patio and tearoom.

Base Camp favors interactive nomadic structures and intends to help trigger interests in play and learning.The camps derive their material structures from dialogue with the natural environment and form a playful praxis.

Before architecture, "matter" exists. Matter matters, and in a sense the architects' job is not creating something new, but polishing, reorganizing or representing the physical components as a envelop or container of social behaviors. This is a series of weak buildings; instead of eternity and monumentality, it is meant to be an experiment on the architectural materialization of behaviors. □ (Text by MU Wei)

10 懸崖上的房子外景/Exterior view, the Mountain Camp

11.12 懸崖上的房子內(nèi)景/Interior view, the Mountain Camp

13 水邊的房子外景/Exterior view, the Water Camp

評(píng)論

丁力揚(yáng)：有關(guān)追求建筑空間舒適度和相關(guān)建造資源消耗的平衡問(wèn)題，本質(zhì)上是針對(duì)人、建筑和自然之間三者關(guān)系的討論。挪威斯塔萬(wàn)格兒童宿營(yíng)地的幾個(gè)小建筑設(shè)計(jì)探索的是一種有別于常規(guī)意義下人工環(huán)境試圖壓倒（取代）自然環(huán)境的舒適度。也就是說(shuō)，建筑師在極為克制的前提下，以營(yíng)造最低標(biāo)準(zhǔn)的人工環(huán)境為目標(biāo)——盡管無(wú)法達(dá)到相對(duì)舒適的人工環(huán)境，但這種處理方式卻可以創(chuàng)造條件，讓使用者能夠在滿足最基本停留可能的“室內(nèi)空間”中，最大限度地體驗(yàn)其所處自然環(huán)境給予的真實(shí)感受。在這3個(gè)小尺度建筑中，建筑師都邀請(qǐng)了自然元素參與空間圍合的工作，這些自然元素也隨之成為了建筑的一部分。而3種自然元素參與建造的程度，都以作為組成部分的自然元素在脫離建筑整體之后，建筑還能否成立為判斷標(biāo)準(zhǔn)。顯然，如果沒(méi)有了懸崖上的巖石、筆直的樹(shù)干和水岸邊的巨石，這些建筑都無(wú)法作為獨(dú)立的整體存在，也無(wú)法營(yíng)造最基本的室內(nèi)環(huán)境為孩子們體驗(yàn)自然提供最起碼的條件。姜涌：山居、樹(shù)居、水居，與自然親密接觸中的詩(shī)意棲居，恐怕是所有建筑的理想和建筑師的夢(mèng)想。兒童宿營(yíng)地的建筑命題讓這種嘗試成為了可能，設(shè)計(jì)者用環(huán)境友好、敬畏自然的態(tài)度建造了最小舒適度、最簡(jiǎn)約質(zhì)樸的建筑。這其實(shí)告訴我們一個(gè)真理：如果承認(rèn)大自然是最偉大的造化師，而我們?nèi)祟愔皇谴掖叶[的過(guò)客，那么所有的建筑欲望都應(yīng)當(dāng)是這樣節(jié)制而收斂的。

Comments

DING Liyang: The issue regarding the balance between spatial comfort and corresponding consumption of construction recourses is essentially a discourse on the relationship between man, architecture and nature.This series of projects seek to create a kind of comfort that is different from conventional approaches in which the artificial environment overwhelms or even substitutes the natural environment. Specifically, it is

an approach that strives to create a certain artificial environment with minimum standards and maximum authenticity. In each of the three small buildings, the architect introduced different natural elements as spatial enclosure devices, eventually making these elements integral parts of the buildings. To what extent these natural elements are involved in the respective construction of the three buildings depends on whether or not they would still be held together once those natural elements are removed. Apparently, deprived of upright tree trunks, cliffs and waterside rocks, none of the three buildings would exist as independent, complete structures, nor could they even provide the most basic settings for the children to experience nature.

JIANG Yong: It is perhaps an ideal of all buildings and a dream of all architects to live poetically through intimate contact with nature, in the company of trees, mountains and rivers. The architectural theme of the children's camp has made such attempt possible. With environment-friendly and nature-venerating attitudes, the designer has created a building of maximum simplicity and minimum comfort, which actually reveals a truth: if we deem Mother Nature as the greatest creator, whereas we humans are just bustling passers-by, then all desires for architecture should be restrained like this.

14 水邊的房子總平面/Site plan, the Water Camp

15.16 水邊的房子外景/Exterior view, the Water Camp