米凱利·博尼諾，皮埃爾-阿蘭·克羅塞特

記憶與再生

欄目主持：阿爾伯托·博洛尼亞，米凱利·博尼諾，喬治亞·塞斯塔羅，皮埃爾-阿蘭·克羅塞特

Memory and Regeneration

Column Editors:Alberto Bologna,Michele Bonino,Giorgia Cestaro,Pierre-Alain Croset

米凱利·博尼諾

B.1974，都靈理工大學(xué)博士都靈理工大學(xué)副教授、中國(guó)與其他亞洲國(guó)家關(guān)系主管

Michele Bonino

B.1974,PHD.,Politecnico di Torino Associate Professor,Rector's Delegate for Relations with China and Asian Countries,Politecnico di Torino

皮埃爾-阿蘭·克羅塞特

B.1957，洛桑理工學(xué)院碩士米蘭理工大學(xué)教授

Pierre-Alain Croset

B.1957,MArch.,EPFL Lausanne Professor,Politecnico di Milano

史蒂文·皮科洛 意譯英，葉揚(yáng) 英譯中

Translated from Italian by Steve Piccolo,from English by YE Yang

1 城市環(huán)境中的圖書(shū)館草圖Sketch of the library in the urban context

穿過(guò)小街和廣場(chǎng)，遠(yuǎn)離歷史中心的商業(yè)區(qū)，向東北走，我們發(fā)現(xiàn)自己置身于一個(gè)越來(lái)越密集的城市空間迷宮之中。山坡愈加陡峭，眾多建筑物中，我們突然瞥見(jiàn)一堵由細(xì)長(zhǎng)的垂直圓柱體構(gòu)成的外墻。而后，一座新建筑及建筑物下的通道，帶著我們走上一段臺(tái)階，通往大階梯式的廣場(chǎng)。在此，我們看到一座新建成的建筑，它的立面頗具力量感又幾乎是懸浮的：格拉斯，離法國(guó)里維埃拉幾公里、被稱(chēng)為“世界香水之都”的城市，在它的市中心，由伊夫里·塞雷斯、艾曼紐爾·博杜安和洛朗·博杜安設(shè)計(jì)的媒體圖書(shū)館通過(guò)一系列互補(bǔ)的設(shè)計(jì)策略使中世紀(jì)城市的結(jié)構(gòu)得以再生。

憑借其強(qiáng)烈的形式特征，該建筑提出了兩種與周?chē)ㄖ㈥P(guān)系的方式。一方面，它尋求一種靠近的關(guān)系，與沿著查爾斯·內(nèi)格雷街的幾座歷史建筑共生互動(dòng)，其中兩座建筑在工程的第一階段倒塌，迫使它們翻新重建并參與到整個(gè)項(xiàng)目中。媒體圖書(shū)館借用了這一系列住宅的立面、樓層和屋頂結(jié)構(gòu)，并在其復(fù)雜的建筑組織中收為己用。另一方面，媒體圖書(shū)館建立了與城市的對(duì)話(huà)，打開(kāi)了各個(gè)樓層的視野，可直達(dá)的高處露臺(tái)和聳立在歷史中心街區(qū)屋頂上的塔樓，讓我們可以看到遠(yuǎn)處的大教堂甚至更遠(yuǎn)的地方以及周?chē)木坝^。

除了在3700m2的建筑中組織文化功能外，該項(xiàng)目還包括2700m2的周邊公共空間的再生，在城市的空間組織中發(fā)揮了重要作用。為制革工業(yè)提供水源的福克斯河，圍繞著它的源頭形成了Rouachier 老區(qū)。在建于 1953 年的大容量水槽中，至今仍然可以感受到水的存在。水槽與下坡接壤的石墻改變了原始地形，在歷史中心的陡峭地帶創(chuàng)造了一系列的臺(tái)地地形。新建筑在水槽的體積上延伸，很好地利用了莫雷爾廣場(chǎng)臺(tái)地式的城市空隙，將其建筑的各層連接起來(lái)，并將它們重新連接到周?chē)M窄的街道和公共空間的迷宮中。

2 城市環(huán)境中的圖書(shū)館The library in the urban context

項(xiàng)目建筑師：伊夫里·塞雷斯，艾曼紐爾·博杜安，洛朗·博杜安

Project Architects:Ivry Serres,Emmanuelle Beaudouin and Laurent Beaudouin

攝影：洛朗·博杜安

Photos:Laurent Beaudouin

Walking through small streets and squares,getting away from the more commercial area of the historical centre and heading northeast,we find ourselves in an increasingly dense maze of urban spaces.The slope of the hill becomes steeper,and amidst the buildings we can suddenly glimpse a fa?ade made of slender vertical cylinders.Then a new tower,and a passage below the buildings,invite us to climb a flight of steps leading to a large stepped plaza.Here,we discover the main fa?ade of a recent building,powerful but almost suspended:in the centre of Grasse,a city located a few kilometers from the French Riviera and known as the worldwide perfume capital,the Media Library designed by Ivry Serres,Emmanuelle Beaudouin and Laurent Beaudouin regenerates the medieval urban fabric through a series of complementary strategies.

With its strong formal identity,the building proposes two ways of relating the surrounding construction.On the one hand,it seeks a relationship of proximity,in symbiotic interaction with several historical buildings along Rue Charles Nègre,two of which collapsed during the first phase of the worksite,forcing their renovation and involving them in the overall project.The Media Library borrows fa?ades,levels and roofing structures from this series of residences,and absorbs them in its complex architectural organisation.At the same time,the media library establishes a dialogue at a distance with the city,opening up views and glimpses at various levels,all the way to the upper terrace and the tower that stands out over the rooftops of the historical centre,permitting views in the distance towards the cathedral and beyond,to the surrounding landscape.

3 圖書(shū)館的入口層平面，新的體量和修復(fù)的老房子之間有明顯的區(qū)別Plan of the entrance level of the library,with a clear distinction between the new volumes and the restored old houses

4 圖書(shū)館上層平面，高于修復(fù)的房屋屋頂，連接3層的坡道呈弧形體量Plan of the upper floor of the library,emerging over the roof of the restored houses,with the curved volume of the ramps connecting the three levels

然而，另一方面，設(shè)計(jì)師面臨的問(wèn)題是，大多數(shù)游客不會(huì)從入口廣場(chǎng)上山，而是走下面的Droite 街/內(nèi)格雷街，從大教堂區(qū)域到達(dá)。因此，建筑樓體的朝向非常重要，在廣場(chǎng)上甚至看不到它，但在市中心能立即引人注目。該建筑在形式上鼓勵(lì)重新將Lauve 老街作為城市的中軸線(xiàn)，這是一條上山的長(zhǎng)臺(tái)階，多年來(lái)一直消失在城市空隙中。沿著媒體圖書(shū)館的另一面，設(shè)計(jì)創(chuàng)造出了第二條通道，階梯連接著內(nèi)格雷街和Vercueil 廣場(chǎng)，展覽空間位于這個(gè)中間層，并通過(guò)架在水槽承重墻的有頂廊道，重新連接到Lauve 老街的臺(tái)階上。所有這些城市小徑都具有不同的視野，在建筑和城市文脈之間建立關(guān)聯(lián)。在建筑的內(nèi)部，跨越7 層的路徑能讓人體驗(yàn)到城市的空間特質(zhì)，特別是在連接圖書(shū)館地上3 層的坡道中：從二層上升到三層，第一段坡道是封閉在墻壁之間，光線(xiàn)從上而下，就像中世紀(jì)的小巷，而在最后的彎曲部分，走到坡道盡頭，是面向廣場(chǎng)的開(kāi)闊視野，讓人豁然開(kāi)朗，充滿(mǎn)驚喜。

建筑師們對(duì)格拉斯和新媒體圖書(shū)館之間的復(fù)雜關(guān)系進(jìn)行了恰當(dāng)?shù)拿枋??！斑@是一個(gè)在非常狹窄街道、拱形通廊和開(kāi)放廣場(chǎng)之間展現(xiàn)出張力的城市，是可以沿著上升下降的小路望著山脈全景并穿行其間的城市。我們?cè)诮ㄖ斜Ａ袅诉@個(gè)城市的風(fēng)格，因而具有了狹窄和舒展對(duì)比的空間、使用了曲線(xiàn)和反曲線(xiàn)、出現(xiàn)了拱形天花板和兩個(gè)承擔(dān)縱向結(jié)構(gòu)跨度的大廳。”在以往的建筑中，如普瓦捷的弗朗索瓦·密特朗媒體圖書(shū)館（1992-1996）或貝爾福的盧西恩·費(fèi)弗爾大學(xué)圖書(shū)館（1996-1999），艾曼紐爾和洛朗·博杜安展示了他們的能力，通過(guò)運(yùn)用開(kāi)放的現(xiàn)代建筑語(yǔ)匯重建歷史城市的環(huán)境，同時(shí)能喚起地方記憶：一種并非模仿的建筑理念，改變了對(duì)傳統(tǒng)城市肌理的設(shè)想。

5 圖書(shū)館地上兩層的中間空隙，面向莫雷爾廣場(chǎng)The central void of the two upper floors of the library facing Place Morel

6 縱剖面，圖書(shū)館地上兩層懸挑在現(xiàn)存的水槽上，面向莫雷爾廣場(chǎng)（左 側(cè)），在中間位置的空隙視覺(jué)上連接了圖書(shū)館地上3層Longitudinal section,The two upper levels of the library are cantilevered over the existing water tank facing Place Morel (to the left).At the center a void connects visually the three levels of the library

7 結(jié)構(gòu)拱頂將人工光線(xiàn)擴(kuò)散到閱覽室， 中央拱頂有雙重寬度和高度，形成縱軸The structural vaults diffuse the artificial light into the reading rooms,the central vault has a double width and height forming the longitudinal axis

8 橫剖面，圖書(shū)館的地上3層有預(yù)制混凝土拱頂?shù)慕Y(jié)構(gòu)，懸挑在禮堂和展廳所在的地下室上方Cross section.The three upper levels of the library have a structure of prefabricated concrete vaults,cantilevered over the basement occupied by the auditorium and the exhibition gallery

Along with the cultural functions organised in the 3700 m2of the building,the project covers the regeneration of 2700 m2of surrounding public spaces,which play an important role in terms of urban organisation.We are in the old Rouachier district,which took form around the source of the Foux river that fed the leather tanning industry.The presence of water is perceptible today in the large volume of the tank of the aqueduct,built in 1953 and bordered downhill by a stone wall,which has modified the original topography,creating a series of terraces in the steeper zone of the historical centre.The new building extends over the volume of the tank,making good use of the terraced urban void of Place Morel,connecting its various levels and reattaching them to the surrounding maze of narrow streets and public spaces.

On the other hand,however,the designers faced the problem posed by the fact that most of the visitors would not arrive uphill,from that access plaza,but from below,on Rue Droite/Rue Nègre,a street that arrives from the zone of the cathedral:hence the importance of the tower,oriented towards that side,not even visible from the plaza but immediately noticeable from the city center.The form of the building encourages renewed use of the old Rue de la Lauve as a central axis in the city,a long flight of steps going up the hill that had been lost for years in the urban void.A second ascent has been created along the other fa?ade of the media library,with a staircase connecting Rue Nègre and Place Vercueil,with the entrance to the exhibition spaces placed on this intermediate level.From that point a covered passage along the support wall of the water tank permits reconnection to the steps of Rue de la Lauve.All these urban paths reveal different views,in the relationship between the building and the urban context.Also inside the building,the paths across its seven levels take on the quality of an urban experience,especially in the ramp that connects the three upper levels of the library:ascending from the second floor to the third,in the first stretch the ramp appears closed between walls and lit from above,like a medieval alley,while in the final curved portion,at the end of the ascent,the view finally opens towards the plaza with a surprising effect.

9 從莫雷爾廣場(chǎng)望向圖書(shū)館View from Place Morel

10 從Vercueil廣場(chǎng)望向圖書(shū)館View from Place Vercueil

11 拱頂結(jié)構(gòu)為圖書(shū)館地上兩層的承重結(jié)構(gòu)，懸挑在水槽的承重墻上The structural vaults support the two upper floors of the library,cantilevered over the wall of the preexisting water tank

在這座位于格拉斯的建筑中，其立面的特殊材料的建造方法和形式構(gòu)成，在維持形態(tài)連續(xù)和體量抽象之間的微妙平衡方面發(fā)揮了根本作用。為了呈現(xiàn)傳統(tǒng)建筑的體量感，3 位建筑師用白色混凝土代替了石頭，最重要的是，他們把立面設(shè)計(jì)成由間隔很近的細(xì)長(zhǎng)柱子組成的精致格柵，造就了具有光與影、重與輕的對(duì)比而表現(xiàn)力非凡的效果。一方面，外立面的勻質(zhì)導(dǎo)致人們對(duì)媒體圖書(shū)館的整體印象是純粹、抽象的棱柱形，其特點(diǎn)是在水平方向體量和基座分開(kāi)并無(wú)太多變化，建筑末端以弧線(xiàn)結(jié)束：與建筑主體分開(kāi)的弧形坡道朝向坡莫雷爾廣場(chǎng)，另一端是作為城市地標(biāo)、朝向內(nèi)格雷街的樓體。另一方面，使用圓柱形元素強(qiáng)調(diào)了外墻材質(zhì)的厚重特性與其真實(shí)立面透明屬性的對(duì)比：實(shí)際上，在建筑內(nèi)部，我們透過(guò)落地玻璃和猶如自然光過(guò)濾器的格柵，構(gòu)建了對(duì)城市的視覺(jué)感知。

除了表面上的抽象，外立面以一種精致的方式揭示了它的構(gòu)造原理，細(xì)長(zhǎng)的鋼檐暗示了內(nèi)部樓層的存在，與A/B/A/B/A 的交替構(gòu)圖節(jié)奏相一致。較小的量度A 為1.48m，與拱形板的高度相對(duì)應(yīng)，較大的量度B 為2.64m，標(biāo)記出結(jié)構(gòu)拱頂內(nèi)側(cè)地板的位置。這些間隔之中，圓柱形的部分簡(jiǎn)單地堆疊和包封在一起，就像古代柱子的斷面那樣，但兩種不同高度的模塊（一種是全高的，另一種是其1/2 高）混用使其水平交接線(xiàn)形成自由且不規(guī)則的組合交替，避免了規(guī)則排列的重復(fù)和單一?？拷^察，我們發(fā)現(xiàn)小柱子上有垂直條紋——幾乎像在暗示古老的多立克柱式序列——且在其直徑上有些許的不完美：所有這些都促使觀察者感到仿佛置于自然材料面前——如涂成白色的木材或竹子——因此看到一面“生動(dòng)的”外墻。從與城市的關(guān)系到其立面的細(xì)節(jié)，查爾斯·內(nèi)格雷媒體博物館展示出，對(duì)于重新發(fā)現(xiàn)和加強(qiáng)我們的城市記憶，當(dāng)代建筑可以做出怎樣清晰、復(fù)雜且具有決定性意義的貢獻(xiàn)?！?/p>

This complex relationship between Grasse and its new Media Library is aptly described by the architects:"It is a city that plays on the tensions between very narrow streets,vaulted passages and open squares,a city one can cross along ascents,descents and panoramic viewing points for the mountains.We conserve this spirit in the building,preferring narrow and dilated spaces,curves and counter-curves,vaulted ceilings and two lobbies that vertically span the structure." Already in previous constructions like the Médiathèque Fran?ois-Mitterrand in Poitiers (1992-1996) or the Bibliothèque Universitaire Lucien Febvre in Belfort (1996-1999),Emmanuelle and Laurent Beaudouin demonstrated their ability to regenerate a historical urban context with the insertion of architecture with an openly contemporary language,yet at the same time capable of evoking the memory of the place:an architecture that is not mimetic,but transfigures the references to traditional urban fabric.

In this building in Grasse,the particular material approach and formal composition of the fa?ades play a fundamental role to achieve this delicate balance between morphological continuity and volumetric abstraction.To suggest the sense of mass of traditional architecture,the three architects have replaced stone with white concrete,and above all they transform the wall into a delicate grille formed by slender columns placed very close together.The result is a fa?ade of extraordinary expressive quality,which plays with the contrast between light and shadow,weight and lightness.On the one hand,the uniformity of the cladding leads to an overall perception of the Media Library as a pure,abstract prismatic form,marked by few variations in the large horizontal cuts that detach the volume from the base,and in the curved ends of the building:towards Place Morel with the ramps that are separated from the main volume,towards Rue Nègre with the corner tower that forms an urban landmark.On the other hand,the fact of using cylindrical parts accentuates the contrast between the apparent heaviness suggested by the material,and the true nature of this fa?ade,which turns out to be very modern in its transparency:from the inside,in fact,we discover full-height glazing and the role of the grille as a filter of natural light that permits visual perception of the city.

13 剖立面詳圖，通過(guò)細(xì)長(zhǎng)的鋼檐與結(jié)構(gòu)拱頂相連的白色混凝土柱實(shí)現(xiàn)Detailed section and elevation of the fa?ade,realised with white concrete columns attached through slim steel cornices to the structural vaults

14 外墻的細(xì)節(jié)Detail of the fa?ade

Apart from its apparent abstraction,the fa?ade reveals its constructive reasoning in a refined way,with slim steel cornices that suggest the presence of the internal floors in keeping with an alternating compositional rhythm of A/B/A/B/A.While the smaller measurement (A) of 1.48 m corresponds to the thickness of the vaulted slabs,the larger one (B) of 2.64 m marks the internal height of the floor at the intrados of the structural vaults.Within these intervals,the cylindrical parts are simply stacked and sealed together as were the segments of antique columns,but the use of modules of two different heights (one whole,the other half its size) makes it possible to obtain a very free and irregular composition with the horizontal joints shifted,thus avoiding the repetitive effect of a regular grid.Moving closer with the gaze,we discover that the small columns are vertically striped– almost as if to suggest an ancient Doric order– and have slight imperfections in their diameter:all this prompts the sensation in the observer of being in the presence of natural materials– like wood or bamboo,painted white– and therefore of seeing a "living" fa?ade.From the relationship with the city to the details of its fa?ade,the Médiathèque Charles Nègre demonstrates how the contribution of contemporary architecture to the rediscovery and enhancement of our urban memory can be articulate and complex,and– in this case– decisive.□