建筑設(shè)計(jì)：藤本壯介建筑設(shè)計(jì)事務(wù)所，尼古拉斯·萊斯內(nèi)，迪米特里·魯塞爾，OXO建筑師事務(wù)所

Architects: Sou Fujimoto Architects, Nicolas Laisné, Dimitri Roussel, OXO Architectes

起源獨(dú)特的項(xiàng)目

2013年，蒙彼利埃市議會(huì)發(fā)起了一項(xiàng)名為“Folie Richter”的競(jìng)賽。競(jìng)賽旨在征集一個(gè)標(biāo)志性的塔樓方案以豐富城市的建筑傳統(tǒng)。任務(wù)書強(qiáng)調(diào)，這個(gè)宏大的項(xiàng)目必須能夠融入其周邊環(huán)境，同時(shí)需要涵蓋一系列商業(yè)及居住空間。導(dǎo)則還清楚地指出：市政廳想要年輕建筑師及有經(jīng)驗(yàn)的團(tuán)隊(duì)……

馬納爾·拉赫迪和尼古拉斯·萊斯內(nèi)是兩位都創(chuàng)辦了獨(dú)立事務(wù)所的建筑師，他們決定拜訪日本建筑師藤本壯介。雖然在建筑的表現(xiàn)方式上迥然不同，但他們?nèi)辉O(shè)計(jì)的出發(fā)點(diǎn)都是從自然當(dāng)中汲取靈感。在本項(xiàng)目中，三者的愿景相輔相成。

為推動(dòng)此項(xiàng)目，馬納爾·拉赫迪、尼古拉斯·萊斯內(nèi)及年輕的合作伙伴迪米特里·魯塞爾于2013年夏天飛往東京。他們?cè)谔俦镜墓ぷ魇依镩]門不出，緊鑼密鼓地討論了整整5天。

瑪麗·迪·法蘭絲是藤本壯介建筑設(shè)計(jì)事務(wù)所合伙人，也是事務(wù)所法國(guó)分部的現(xiàn)任負(fù)責(zé)人。她在整個(gè)過(guò)程中發(fā)揮了核心作用，促進(jìn)了東京與巴黎團(tuán)隊(duì)之間的溝通和交流。大家圍坐在一張擺滿圖紙和鉛筆的桌子旁，在一種開放、輕松的氣氛中繪制草圖。

為了探討標(biāo)志性塔樓的新形式，設(shè)計(jì)團(tuán)隊(duì)立足于人體尺度，在建筑的底層及頂層都設(shè)置了一系列公共空間：首層是一個(gè)借由玻璃墻體限定出的空間，通向街道，屋頂設(shè)有一個(gè)對(duì)公眾開放的酒吧和一個(gè)專為住戶設(shè)計(jì)的公共空間。因此，即使底層的住戶也能像高層的住戶一樣，享有絕美的景觀視野。

一個(gè)促進(jìn)戶外生活的建筑壯舉

該項(xiàng)目最與眾不同的是它的設(shè)計(jì)。這支由3個(gè)建筑事務(wù)所組成的設(shè)計(jì)團(tuán)隊(duì)受到樹木的啟發(fā)，設(shè)計(jì)了一座巨型樹狀住宅。陽(yáng)臺(tái)從建筑主體上瘋狂地向外延伸，營(yíng)造出一系列遮陽(yáng)空間，遮蔽著建筑主體立面。對(duì)建筑周邊環(huán)境及當(dāng)?shù)厣罘绞降年P(guān)注與考量貫穿著設(shè)計(jì)的始終。

許許多多的陽(yáng)臺(tái)和藤架不僅豐富了住戶們的戶外生活，更讓他們彼此建立了一種新型的鄰里關(guān)系。每套公寓都擁有至少7m2的室外空間（最大空間為35m2），私密性和布局各不相同。復(fù)式公寓則設(shè)有兩個(gè)室外陽(yáng)臺(tái)，住戶可以通過(guò)樓梯從一個(gè)陽(yáng)臺(tái)直接去往另一個(gè)。因此，為了讓公寓都能擁有全方位賞心悅目的景觀視野，建筑師們通過(guò)3D實(shí)體模型及一系列實(shí)驗(yàn)性的空間，描繪出了一幅未來(lái)居住模式的藍(lán)圖。

這個(gè)白色巨樹項(xiàng)目還有許多技術(shù)方面的創(chuàng)新點(diǎn)，其中，露臺(tái)懸挑長(zhǎng)度達(dá)7.5m，堪稱世界第一。這些特殊的外部空間可以連接到室內(nèi)，使得居民在室內(nèi)外都可以生活。對(duì)于一個(gè)80%的時(shí)間都沐浴在陽(yáng)光下的城市來(lái)說(shuō)，這是一種享受。

氣候適應(yīng)性成為建筑的組成部分

陽(yáng)臺(tái)最大限度地利用了室外空間，正如向陽(yáng)奮力生長(zhǎng)的樹葉一樣，這些寬敞的陽(yáng)臺(tái)也為回應(yīng)南部地區(qū)生態(tài)要求，提供了環(huán)境解決方案。它們?cè)诹⒚嫘纬闪擞行д诒?，不僅能夠提供必要的遮陽(yáng)，還能將風(fēng)分散到各個(gè)空間，從而更好地組織建筑的自然通風(fēng)。

1 首層平面/Level 1 plan

2 九層平面/Level 9 plan

3 十七層平面/Level 17 plan

4 外景/Exterior view

面向所在城市及其住戶的包容性塔樓

在這個(gè)多功能塔樓的開發(fā)項(xiàng)目中，建筑師采用了一種全新的設(shè)計(jì)理念。為了提高其可達(dá)性，從前期討論開始，建筑師就聚焦于公共空間的設(shè)計(jì)，如沿著萊茲河設(shè)置一個(gè)景觀公園，將塔樓面向公眾開放。

這座17層的塔樓完全參與到了城市生活當(dāng)中，其設(shè)計(jì)旨在讓蒙彼利埃地區(qū)內(nèi)的所有市民都能夠進(jìn)入其內(nèi)部空間。塔樓底層設(shè)有一個(gè)藝術(shù)畫廊，屋頂還有一個(gè)與360°全景花園相連的酒吧。這種設(shè)計(jì)理念增強(qiáng)了人們對(duì)于這座塔樓的歸屬感，它不僅成為蒙彼利埃人的驕傲，更成為一個(gè)家喻戶曉的旅游景點(diǎn)。□（天妮 譯）

項(xiàng)目信息/Credits and Data

客戶/Clients: Opalia, Promeo Patrimoine, Evolis Promotion et Crédit Agricole Immobilier Languedoc-Roussillon, GSA Réalisation (Delegated contractor)

功能/Program: 住宅（113戶），藝術(shù)畫廊，餐廳及全景

酒吧/Residential (113 homes), art gallery, restaurant and panoramic bar

建筑設(shè)計(jì)/Architects: Sou Fujimoto Architects, Nicolas Laisné, Dimitri Roussel, OXO Architectes

Marie-Laure Coste-Grange (項(xiàng)目經(jīng)理/project management)

結(jié)構(gòu)監(jiān)管/Construction Works Management: CAP Conseil, icK

景觀設(shè)計(jì)/Landscape Designer: Now Here Studio

工程/Engineering: André Verdier (結(jié)構(gòu)/Structure),ARGETEC (流體/Fluids), Franck Boutté Consultants (環(huán)境/Environmental), VPEAS (造價(jià)/Cost management), Relief GE (測(cè)量，道路和服務(wù)/Surveying, Roads and services), Les Eclaireurs (照明/Lighting), SOCOTEC (檢測(cè)/Inspection),Efectis (防火/Fire performance)

子承包商/Subcontractors: Fondeville (Carcass), Languedoc Etanchéité, SPCM (鋼結(jié)構(gòu)/Steel structure), CIPRES (立面/Fa?ades), ENGIE (電力/Electricity), Midi-Thermique (暖通/HVAC)

表面積/Surface: 10,225 m2

預(yù)算/Budget: 稅前€20.5M/€20.5M before tax

攝影/Photos: Iwan Baan

A Unique Project Since Its Origin

In 2013, Montpellier city council launched the"Folie Richter" competition. It sought to identify a blueprint for a beacon tower to enrich the city's architectural heritage. The RFP stressed the desire for a bold project that had to fit into its environment and include shops and homes. The brief was clear:the city hall wanted a team made up of a young architect working with an experienced colleague...

Manal Rachdi and Nicolas Laisné, who each run their own practices, decided to call on the Japanese architect Sou Fujimoto. All three of them seek inspiration in nature even if they express it in very different ways. For this project, these three visions would be mutually enriching.

To get the project off the ground, Manal Rachdi, Nicolas Laisné and his young partner Dimitri Roussel flew to Tokyo in summer 2013. For five days, they shut themselves away in Fujimoto's studio for intensive workshop sessions.

Marie de France, a partner architect and current head of Sou Fujimoto's practice in France,was central to the process, facilitating dialogue between the Tokyo and Paris teams. Sitting around a table with paper and pencils, they began to draw in an open and informal atmosphere.

To reinvent the tower, the architects focused on the human dimension, creating public spaces at the bottom and top of the building: the ground floor is a glass-walled space opening out onto the street,while on the roof there is a bar open to the public and a common area for residents, so that even the owners of first-floor apartments can enjoy the view.

An Architectural Feat that Promotes Outdoor Living

But what sets the project apart is its design.The three architectural practices devised a building inspired by a tree, with balconies that branch off the trunk and shades that sprout out of and protect its fa?ades. The attention was paid to its setting, and to local lifestyles, guiding the architects throughout the design phase.

The many balconies and pergolas really do promote outdoor living and enable a new type of relationship between residents. Each apartment boasts an outdoor space of at least 7 m2 (the largest is 35 m2), with multiple levels of privacy and layout options; residents of the duplex apartments can move from one balcony to the other. So that all apartments have pleasing views, the architects sculpted the blueprint with a series of spatial experiments using physical 3D models.

The many technical innovations of L'Arbre Blanc include the terraces, whose cantilevers up to 7.5 metre-long constitute a world record. These exceptional outside spaces are fully-fledged living rooms which are connected to the dwellings in such a way as to allow residents to live inside and outside, a luxury for a city bathed in sunshine 80% of the year!

Climatic Adaptability Built into the Architecture

The proportions of the balconies emphasis this aim to embrace the outdoors, as do the leaves that fold out in search of the sunlight. These generous balconies are also a response to the need for environmental solutions closely tailored to the "ecology of the south".Forming an effective protective veil for the fa?ade, they provide the necessary shade and break up skew winds to help air circulate more harmoniously.

A Private Tower with a Generous Attitude Towards the City and Its People

The architects adopted a new take on tower living for this mixed-use development. To cure inaccessible tower syndrome, from the earliest discussions there was a real focus on public space,including extending a landscaped park along the Lez River and opening the tower up to the public.

The seventeen-storey building is a full participant in city life, aiming first and foremost to be accessible to all the people of Montpellier, with an art gallery on the ground floor and a rooftop bar linked to a panoramic garden. By allowing people to take physical ownership of the tower, it will become an object of pride for the people of Montpellier, and a tourist attraction.

5.6 陽(yáng)臺(tái)軸測(cè)圖/Axonometric of balconies

7 懸挑達(dá)7.5m的陽(yáng)臺(tái)/Balconies cantilever up to 7.5 m

8 陽(yáng)臺(tái)豐富了住戶們的戶外生活/Balconies promote outdoor living of the residents

評(píng)論

龍灝：本項(xiàng)目中陽(yáng)臺(tái)設(shè)計(jì)的成果是一個(gè)思考技術(shù)能力、地域文脈、居住需求、建設(shè)目標(biāo)等幾乎所有建筑設(shè)計(jì)基本要素的好案例。當(dāng)代建筑技術(shù)的發(fā)展幾乎可以實(shí)現(xiàn)任何人類想象得出來(lái)的建造，因此本案陽(yáng)臺(tái)的大懸挑并沒(méi)有太大技術(shù)難度。在地域文脈方面，也許對(duì)室內(nèi)遮陽(yáng)、享受戶外陽(yáng)光和景觀的追求是當(dāng)?shù)亟ㄖ哪撤N傳統(tǒng)，項(xiàng)目的設(shè)計(jì)算得上呼應(yīng)或適應(yīng)了這樣的需求。

然而，就居住建筑設(shè)計(jì)原理的基本要求而言，陽(yáng)臺(tái)一般被列為“半私密半公共空間”，而本設(shè)計(jì)顯然是公共有余而私密不足，不僅陽(yáng)臺(tái)上本身的活動(dòng)基本不具備私密性，深遠(yuǎn)的出挑甚至還在視線上可能對(duì)下層住戶造成困擾——既有室內(nèi)活動(dòng)被“圍觀”之虞，也有室內(nèi)望向室外時(shí)被錯(cuò)落的深遠(yuǎn)陽(yáng)臺(tái)分割的凌亂畫面。就建設(shè)目標(biāo)來(lái)說(shuō)，本設(shè)計(jì)固然建成了滿足項(xiàng)目招標(biāo)要求的“標(biāo)志性塔樓”，但“融入周邊環(huán)境”呢？設(shè)計(jì)從“自然當(dāng)中汲取靈感”而取名“白樹”，建成的觀感更像“樹”還是“刺猬”？也許，建筑之美本無(wú)定論，見仁見智而已。

青鋒：能在簡(jiǎn)單的理念中挖掘出超常的潛能，這印證了建筑師的敏銳。雖然設(shè)計(jì)者傾向于把這個(gè)塔樓比喻成樹，但它更容易讓人聯(lián)想起格羅皮烏斯在德紹包豪斯校舍宿舍部分設(shè)置的出挑陽(yáng)臺(tái)。將這兩個(gè)項(xiàng)目進(jìn)行比較，令人慨嘆，同樣的理念竟然可以從可有可無(wú)的構(gòu)成性元素轉(zhuǎn)變?yōu)槊逼鋵?shí)的空中庭院。同樣奇妙的是，這種做法在技術(shù)上其實(shí)并沒(méi)有什么難度。越是基本的概念，越是能影響更多的實(shí)踐。4位建筑師的合作撼動(dòng)了我們對(duì)陽(yáng)臺(tái)的常規(guī)認(rèn)知，他們所帶來(lái)的可能性可能是比這座建筑更為重要的遺產(chǎn)。

9 所有公寓都享有全方位的景觀視野/All apartments have pleasing views

10 復(fù)式公寓的兩個(gè)陽(yáng)臺(tái)通過(guò)室外樓梯連接/Two balconies of the duplex apartments are connected by outside stair

11 剖面/Section

Comments

LONG Hao: The result of balcony design in this project is a good case for thinking about almost all the basic elements of architectural design, including technique, regional context, residential needs and construction objectives. The development of contemporary architectural technology can realise almost any construction that humans can imagine,hence the large cantilever of the balcony in this case is not a big technical difficulty. In terms of regional context, the pursuit of the indoor sunshading and the enjoyment of sunshine and landscape outside are perhaps a tradition of local architecture, and the design of the project can be regarded as echoing or adapting to such needs.

However, as far as the basic requirements of residential buildings' design principles are concerned, the balcony is generally classified as a "semi-private and semi-public space", while this design is obviously "more public than private". Not only is doing activities on the balcony basically without privacy, the far-reaching overhang can even be visually disturbing to lower level occupants – the indoor activities will be seen by "onlookers", while the long balcony will create messy views when looking out from the inside. In terms of the construction objectives, the design is certainly built to meet the requirements of the project – a "landmark tower", but where is the concept of "integrating into the surrounding environment"? The design is "inspired by nature", yet the name "white tree" looks more like a "tree"or a "hedgehog". Perhaps the beauty of architecture is a matter of opinion. (Translated by Dandan Wang)

QING Feng: The ability to tap into extraordinary potential in simple ideas is a testament to an architect's acumen.Although the designer tends to liken the tower to a tree,it is more reminiscent of Gropius's projecting balconies of the dormitory of the Bauhaus school in Dessau. Comparing the two projects, it is exclamatory that the same concept could be transformed from a dispensable constructional element to a veritable hanging courtyard. Moreover, it is amazing that this is not technically difficult. The more basic the concept is, the more it can influence the practice.The collaboration of the four architects has shaken our conventional perception of balconies, and the possibilities they bring may be a more significant legacy than this building itself. (Translated by Dandan Wang)