定制：3种生态建筑学

哈尔沃·魏德·埃勒夫森，米尔扎·穆叶齐诺维奇/Halvor Weider Ellefsen, Mirza Mujezinovic

徐知兰 译/Translated by XU zhilan

定制：3种生态建筑学

哈尔沃·魏德·埃勒夫森，米尔扎·穆叶齐诺维奇/Halvor Weider Ellefsen, Mirza Mujezinovic

徐知兰 译/Translated by XU zhilan

挪威的许多城市在过去的40年间经历了持续不断的转变。进入后工业时期，各种管制和政府控制逐步撤销，这些新自由主义的手段与石油经济共同促生了日益官僚主义的建筑行业环境。然而，人们还是能辨认出那些在设法满足外部复杂条件的同时，仍然表现出建筑学特质的项目。本文探讨了量身定制的建筑设计方式如何在挪威的3种城市生态环境中展开的过程——即临近大尺度水面的峡湾环境、在现有空间肌理中进行中等尺度改造的城市环境、以及在城市郊区进行小尺度住宅设计的山区环境。

挪威城市，建筑生态学，城市化

在最近的40年间，挪威经济经历了某种程度的持续增长过程。石油经济对发展产生了重要的推动作用，从而影响了挪威的城市演进过程。同时，后工业化进程也与新自由主义的管制解除和政府战略交织在一起。这些背景因素在建筑领域共同产生了数量丰富的建设项目，如滨水开发区的建设、对现有城市空间肌理进行的更新、对旧工业综合设施的改造，以及城市周边别墅区建筑密度增加的过程等等。尽管从高度专业化的理论框架来审视，这些项目尺度不一、类型纷杂，它们却仍有一些共同的特点——也就是，它们的建筑师除了需要应对工艺和（建筑）工业体系的挑战之外，还不得不展现出另一方面能力，以满足（司法和法律上）越来越官僚主义的特权要求。尽管如此，我们还是能够分辨出那些在挪威的特定城市环境下，在想方设法适应外部的复杂条件、完成定制设计过程的同时，还能够隐约显现出建筑学特征的项目。本文探讨了在这些设计项目中，为业主度身定制的方式是如何在3种具体的建筑生态学条件下逐一展开的——具体包括大型滨水区域的地产开发项目、在中等规模的现有城市环境的改造项目，以及在城市郊区进行的小尺度住宅设计项目。

峡湾

也许，位于奥斯陆内港的一处建于1980年代早期的阿克尔（Aker）工程集团船舶制造厂可称得上是挪威城市最有代表性的象征——巨大的石油平台毗邻奥斯陆市政厅而建，而后者作为诺贝尔和平奖颁奖典礼举办场所而闻名。自此之后，几乎挪威的每座城市都启动了自己的滨水区域开发项目。这些项目的实施模型多少有些雷同——混合功能的项目地段通常会被高效迅捷地划分为一些可控的小片地块，并辅以高度清晰的空间表达方式。广场和海滨木栈道的城市母题经常出现，让人印象深刻，其周边又通常建有一座为富于创造力的消费者特别设计的宏伟建筑。其中最典型的案例莫过于奥斯陆的小偷岛和阿克尔码头，它们就建在过去的石油平台上。

在类似的歌剧院区开发项目中，大尺度空间的表达方式则发生了微妙的变化。这个项目由挪威A-lab建筑师事务所、Dark建筑师事务所和荷兰MVRDV建筑师事务所共同合作完成，设计用视线遮挡分析的方式确定了28hm2面积的建筑形态。景观轮廓的概念和以城市的某些特定位置作为起点的景观视廊分析被用作探讨和确定建筑体量的依据。整个建筑体量被分割为若干可供开发的垂直条带，彼此之间留有一定的开放空间，可供人们欣赏周边的景观和穿越场地使用——并由此形成了类似于条形码的空间。为了让项目被公众和政府规划部门所理解和接受，自然要素也被纳入设计之中。因此，奥斯陆依峡湾而建、周边环绕葱郁山林的城市空间概念得到了保留。出于同样的原因，这项策略最终在优化项目开发效益方面也表现出了同样优秀的品质，投资者们慕名而至，络绎不绝。这些分区规划会为项目在设计可控的范围内带来各种变化多端的形式。除了一些相对保守的开发条件，区划也提供了一些需要全新手段才能解决的主题开发内容。其中，由挪威MAD建筑师事务所设计的住宅街区就属于此类项目。这一地块的规划条件非常特殊——规定建筑外围尺寸为7.8m宽（最窄处6m）、90m长、15层高。这座建筑的外形比例不禁让人以为地块是随机剩余的空间，并联想起一些在挪威之外其他国家的大规模城市聚集区才会出现的场景。此外，考虑到过去20年间发展的大规模住宅设计的理念，这个项目明显偏离了人们通常可以接受的条件。建筑物的每层楼共有6套住宅单元，分别围绕3组电梯竖井周围分布。尽管这个项目的规划条件在整个区划的框架内、某种程度上以自觉自愿却也有些武断和强迫的方式形成，建筑师们还是成功地设计了各种集约化的住宅单元，并用相对高端的细部设计表达了建筑的品质。

城市

在现有挪威城市肌理中进行积极探索的建筑项目为数不多，“填充式”改造更新的城市保护项目是其中一种。过去已经完成的此类项目包括建设在城市剩余空地上的中等规模住宅项目。它们通常是市政开发项目，建在20世纪早期工业化时代遗留下来的历史建筑中——如手工作坊、铸造厂、发电厂等。这些项目意义重大，因为它们是推动人们“返回城市”的重要因素。在这些项目中，城市生活与文化项目都将成为城市在经历了长期的现代化进程和现代主义思考之后进行自身重建的媒介。

这些填补空间的项目满载着人们的理想，无论是参与其中的建筑师还是开发商都感到雄心勃勃。此类项目中的一个经典案例是帕克街5号（Parkveien 5）——它由KIMA事务所与开发商INFILL共同紧密合作完成（后者的业务范围也主要关注这一类具体的中等尺度城市住宅项目）。在帕克街5号的项目中，建筑师采用了斯堪的纳维亚地区举世闻名的现代主义选材策略，并在此基础上提出了城市聚居的概念，最终通过混凝土、木材和玻璃材质的简洁特质和精心设计的固定节点细部构造实现了这一设想。考虑到KIMA事务所的许多成员曾是斯韦勒·费恩（Sverre Fehn）过去的学生和雇员，出现这一状况并不难想见。相对于这个在奥斯陆背景下显得较为奢侈和不同寻常的项目，人们或许更容易被FuthArk事务所的克里斯蒂安·克罗格（Christian Kroghsgate）的住宅项目所打动。这个由33个单元组成的住宅项目探索了模块化生产的流程，以便最大程度地节约建筑成本。这一方式为建筑提供了在公共区域几乎过度使用植被的条件下探索材料使用的可能性。在挪威的城市环境下，这个项目显得很意思，因为它设法使建筑变为可移动的状态，由此在奥斯陆几乎最为核心的区域建造起了人们消费得起的高品质住宅——由于大多数的住宅项目几乎都为懒惰的建筑师和贪婪的开发商所要挟，这几乎是不可能完成的任务。

The last forty years have been more or less a continuous economic boom in Norway. The oileconomy has initiated a significant developmental potential impacting the way Norwegian cities evolve. Simultaneously, the post-industrial processes conjoined with the neo-liberal deregulation and governance strategies. Such context has given rise to variety of building assignments like waterfront developments, infill interventions within the existing urban tissue, transformations of the former industrial compounds and densifications in the suburban villa carpet. What these projects have in common, despite the variation in scale is the complex reality of building defined by a highly professionalized framework: Besides the necessity to encounter the challenges of craftsmanship and industrial (building) systems, architects also have to show a capacity to fulfill increasingly more bureaucratic (juridical and legal) prerogatives. To build in social-democratic context defined by late-capitalism is demanding. Still, one may identify projects within the Norwegian urban condition that have managed to customize the external complexities while suggesting architectural particularity. This essay discusses how customization has unfolded itself within three specific building ecologies: the large-scale waterfront developments, the medium-scale interventions within the existing city and the small-scale residential projects on the urban periphery.

1 1970年代晚期的奥斯陆港口鸟瞰/Aerial photo of Oslo harbor, late 1970s（图片来源/Courtesy: Oslo Kommune）

The Fjord

Perhaps the most emblematic image of the Norwegian urbanity from the early 1980s is the one of Aker Industries' ship-building facility in the inner Oslo harbor, adjacent to the city core: the large-scale oil-platforms were built just nearby the Oslo City Hall, famous for its Nobel Peace prize ceremonies. Since then, almost every Norwegian city has got its waterfront development. The implementation model for such projects has been more or less the same: these mixed-use projects have been efficiently fragmented into manageable parts within a highly articulate phasing strategy, perpetuated with urban motives of plazas and boardwalks surrounded by a spectacular architecture, and specifically programmed for the creative consumers. The most suitable examples of such developments are the areas of Tjuvholmen and Aker Brygge in Oslo, built at the sites where the oil-platforms once were constructed.

In one of the equivalent projects, the Operakvartalet-development, there is a slight conceptual transition in how the large-scale is articulated. The project, a product of the collaboration between the Norwegian offices A-lab and Dark Arkitekter with the Dutch office MVRDV, uses the constraint of visibility to condition the volumetric disposition of 280.000m2: The notion of landscape silhouette and its appearance from certain positions within the city is used as an instrument in discussing the project's volumetric set-up. The overall building mass is divided in several developable vertical strips with open spaces in between allowing the view towards the surrounding landscape to pass through-therefore the analogy to barcode. Nature is instrumentalized in order to make the project digestible for the public opinion and planning authorities, so that the idea of Oslo as a city at the fjord, yet surrounded by green hills would be maintained. By the same token this strategy has also turned out to be as productive in terms of optimizing the project's developmental potential, something that was strongly desired by the involved investors. The zoning plan would provide an image of endless, yet designed, variation. Besides relatively conventional developmental envelopes, the plan has also given envelopes that would demand a totally new approach in solving their programmatic content. The housing block by the Norwegian office MAD AS is one of such projects that came out of this plan. Its envelope is exceptional: 7.8 meters wide (6meters at the leanest), 90 meters long and fifteen foors tall. Its proportions remind of random left-over sites and situations from larger urban agglomerations found outside Norway. Also, in terms of the logic for the large-scale housing that had been created in the course of the last twenty years, the project strongly deviates from what usually would be acceptable: Each floor houses six residential units distributed around three vertical communication shafts with elevators. Despite the fact that the conditions for this project have been formulated within the framework of the zoning plan as some kind of self-imposed, yet dogmatic, constraint, the architect has managed to produce compact living units, articulated with relatively high-end detailing.

在更新改造式的保护项目方面，也产生了若干能在处理建筑再利用议题的同时，足以成为另一种感性标志的项目。延森与斯科温（Jensen & Skodvin）建筑师事务所设计的挪威设计与建筑中心（2004）、雅蒙德与维斯奈斯（Jarmund/ Vigsnæs）建筑师事务所设计的奥斯陆建筑与设计学院（AHO，2002）和空间组（Space Group）事务所设计的内德雷（Nedregate）文化区（2013）是其中最优秀的3个案例。这些项目沿阿克斯河的奥斯陆旧工业区分布。在那里，那些现存的20世纪早期的红砖建筑被重新划定为容纳教育机构或文化部门的区域，成为城市总体更新战略的组成部分。再利用的方法在这3个具体项目中以不同的方式得到表达。延森与斯科温建筑师事务所的“挪威设计与建筑中心”通过考古学的方法探索了现存的建筑结构——建筑师通过仔细的研究，发现整个建筑经过了漫长的历史沉淀，保留了不同层次的材料。于是，建筑内部新加建的部分也设法与材料的粗犷风格取得了相似的效果，结果形成了建筑材料的不同气质彼此交织的后启示录风格。雅蒙德与维斯奈斯建筑师事务所的奥斯陆建筑与设计学院项目应对设计任务的方式则是著名的“发现事物本身”1)的手法。在形式和材质的表达方式上，建筑师采用了在现有结构内并置碰撞的方式，通过难以捉摸的对比效果彰显了建筑学的特征。最后，空间组事务所的项目可能是这个三角组合中最不动声色的一个。建筑物的砖墙得到当地标志性建筑物委员会的保护，是不可触碰的建筑轮廓。建筑师的改造必须包含在现有结构范围之内，而这正是空间组事务所进行系统性探索的议题。建筑采用了舞台式的空间分隔方式，内部结构被全部拆除后，注入了完全度身定制的建筑空间——这是一处为满足奥斯陆无政府主义的城市空间对文化消费的渴望而设计的风格化舞台。

山区

挪威的城市空间可定义为一个相对狭小而高密度的滨水城市中心，周围环绕着地势起伏的山区，其中散布着无边无际的低层住宅，丰富的副极地植被令人印象深刻。所有这些元素通过建设完备的高速公路和铁道基础路网组织在一起。独栋住宅是这种环境中最典型的建筑类型。二战之后，独栋住宅开始作为独立项目为人们所接受。当时，挪威社会的大部分领域受政府管辖，资源有限——如国家会预设每年的新建建筑数量。在过去的20年内，城市化进程以强大得多的方式突破了这些制约。政府为适应城市密集化的过程逐渐改变区划条例。于是，大的地块可以被划分为更小的地块，作为新的宅基地使用。正是在山区，城市化力量的日益显现使人们对自然和“天然资源”抱有的传统观念面临挑战。这种冲突产生了极具表现力和高度成熟的建筑学成果——即相对于条件极为复杂且备受约束的城市区划条件，它产生了另一种建筑生态，探索如何在地形复杂的场地中建造小尺度的居住空间。

克努特·耶尔特内斯（Knut Hjeltnes）的瑟默（Sømme）别墅就是这样一个项目。这是一个非常紧凑的独栋住宅，建造在一块新近划定的宅基地上。设计构思是要在坡地上叠置两个独立的建筑元素—— 一个两层高的建筑基座和顶部一层高的木盒子。这个木盒子相对于其环境显得非常自闭。它采用竹材作为建筑外围合材料，空间尺度不大，比例精当，对周围颜色丰富的坡屋顶木结构住宅构成的传统环境视而不见。尽管体量颇为紧凑低调，建筑物在尽可能收缩自身延展范围的同时，却以微妙的方式彰显了自身的复杂性。如果说，耶尔特内斯的瑟默别墅探索了建筑物如何通过简单的体量组合获得建筑学特质，那么，雅蒙德与维斯奈斯建筑师事务所的双子住宅则涉及结构“构造”体系的建筑学潜质。这个项目追随了与建筑密度相关的类似主题——过去属于相邻产权的一个果园被重新划分为建筑地段——成为一对双胞胎兄弟住宅的宅基地。这座住宅沿垂直方向分隔为两套完全一致的单元，采用传统木框架作为结构设计原则，而不是连续式的框架体系。这座3层的楼房用4×4的（结构）方形组成，后者成为剖面上有所变化的建筑轮廓。这个项目的结构简洁程度及其由此产生的尺度感，为建筑的实用功能、空间品质和社会交往提供了各种量身定制的可能性——如3楼的起居室是兄弟两人及其配偶公用的。

遭遇各种生态学

这3种生态环境——峡湾、城市和山区，共同组成了3种具有建筑学潜质的独立领域，它们为各自的表现形式所定义，而不是由著名的概念或形式图解的神话来限定。大尺度公共空间和复合功能的观念业已枯竭，相对于通过这种方式探讨城市概念，我们反而选择了由建筑师在真实的城市环境中进行设计所形成的定制方式来探索这个问题。这些建筑生态学与整个针对建筑客户定制进行的探讨并行不悖，它们揭示了自由与边界的领域，为建筑学提供了在预先设定的形式与概念母题的世界之外进行阐释的可能性。毕竟，最终只有建筑至关重要。□

译注：

1）原文为 "as found"，20世纪中期之后流行的艺术运动，跨越建筑、绘画、文学、电影、戏剧、音乐以及观念和行为艺术等不同种类艺术。"As Found" 提倡一种对寻常事物的关注，从平凡事物中寻找价值。重新认识事物、创造它们的人以及生产它们的程序，主张根据事物之间的关联来判断其价值。参见：李翔宁. 建筑学的自主性与当代艺术的介入. 时代建筑，2008（1）：6-13.

The City

One of the few spots of active architectural exploration within the existing urban tissue of the Norwegian cities has been in the "infll" interventions and transformative preservations. The former ones are the medium scale housing projects that have been built on the remaining empty lots while the latter ones are the institutional projects developed within the historic structures from the industrialization period of the early twentieth century, such as workshops, foundries, electric plants, etc. The importance these projects lies in the fact that they have been the promoters of the return-to-the-city approach where the urban living combined with the cultural programs would be the agents in the reconstruction of the city itself after a long period of modernization and modernist thinking.

The ambition level embedded in the infll projects has been on the rise, both as seen from the side of involved architects and developers. A typical example of such endeavor has been the project of Parkveien 5-a close collaboration between the architect KIMA and the developer INFILL (whose business plan focuses on this particular kind of mid-scale urbanliving projects). In Parkveien 5 the architect projects the idea of urban dwelling onto the well-known Nordic modernist materiality given by the simplicity of concrete, wood and glass supported by fixation to detailing, predictably enough as KIMA architects were former students and employees of Sverre Fehn. As an opposite of this relatively luxurious and unusual project for the Oslo context, one may touch upon by FuthArk's Christian Kroghsgate Housing. is project, consisting of thirty-three units, explores the modularity of production processes in order to optimize the construction cost. Such approach opens up a potential for material exploration combined with almost excessive use of vegetation in the common areas. It is an interesting project for the Norwegian urban condition as it manages to mobilize architecture in order to make afordable housing with high quality within the most central area of Oslo-an impossible mission as most of the housing production has become high-jacked both by indolent architects and greedy developers.

The transformative preservation has given several projects that have signaled another type of sensibility when dealing with the issue of re-use. Projects like "DogA Center" (2004) Center by jensen & Skodvin Architects, "The Oslo School of Architecture and Design" (AHO, 2002) by jarmund/Vigsnæs Architects, and "Nedregate" (2013) by Space Group are three most prominent ones. These projects have sprung out of Oslo's former industrial area along the river of Akerselva, where the existing brick-work structures from the early twentieth century have been rezoned to house educational institutions or cultural programs, being a part of the overall urban renewal strategy.The approach towards re-use is articulated diferently in these three specific projects. jensen & Skodvin's "Doga Center" explores the existing structure through an archeological endeavor-different material layers that have been sedimented in the building's long life are carefully uncovered, while the new additions within the building play along with similar material roughness. The result is a project of post-apocalyptic appearance defined by intertwining material atmospheres. jarmund/Vigsnæs' "AHO project" encounters the assignment through the well-known "as found" approach. The architect's intervention in its formal and material articulation is in a direct collision within the existing structure, by the virtue of the elusive contrast the building claims its architectural particularity. Finally, the project by Space Group is perhaps the most unsentimental in this triangle: The building's brick facade has been protected by the local land-mark commission something that has given an untouchable building envelope. The architect's intervention had to be contained within the extent of the existing structure and that is precisely what Space Group systematically explored. As a staged rupture, the interior has been totally eradicated and a new hyper tailored architecture has been injected-a stylized arena for a nihilistic Oslo-urbanite eager to engage the cultural consumption.

The Hills

The Norwegian urban condition could be defined by a relatively small and dense city center adjacent to the waterfront, surrounded by a hilly and endless low-rise residential carpet perpetuated by abundant sub-polar vegetation, all together being weaved by presence of well-developed infrastructural layers of motorways and railroads. The most typical architectural manifestation of this context has been that of single family house. It is in the post-WWII period that the family house became formulated as a project. The resources were limited while the most of the Norwegian society was regulated, for example the annual number of building permits was predefined by the state. In the course of the last twenty years the processes of urbanization would unfold in a much stronger manner. The municipalities have continually changed zoning regulations allowing densification: The large parcels could be divided in smaller parts where new houses would be built. It is in the Hills that the traditional ideas of nature and “the natural”would be contested as the forces of urbanization made themselves more apparent. This encounter has yielded highly articulated and sophisticated architectural results – an ecology of projects which explore the small-scale living in the topographically challenging sites, perpetuated by the constraints of highly complex and restrictive zoning envelopes.

Knut Hjeltnes' "Villa Sømme" is such project: it is a compact single-family house built on a recently parceled site. It is conceived of two distinct elements placed in the sloping landscape: a two-story plinth and a wooden one-floor box on the top. The box is an element autistic to its context: Being small, wellproportioned and packed in bamboo it ignores rather its traditional surroundings consisting of colorful wooden houses with pitched roof. Despite its modest dimensions this house subtly maximizes its complex situation while it reduces its intervention to the least possible extent. If Hjeltnes' "Villa Sømme" explores the architectural potential through the assemblage of simple volumes, the "Twins" House" by jarmund/ Vigsnæs Architects engages the potentiality of structural (constructive) systems. It follows the similar thematic of densification: a fruit garden previously belonging to the adjacent property was separated becoming the site for the project-a home for two twin brothers. The house vertically split and mirrored with two identical units, uses the traditional timber frame as a structural principle, as opposed to the timber balloon system. This three floor edifice is framed in 4×4 (structural) squares, an envelope that alternates in section. The project's structural simplicity and its subsequent dimensioning offers customized variety of situations either in terms of use, spatial qualities, or social encounters as the third floor living room is shared by the twins and their partners.

Encountering Ecologies

The three ecologies, the Fjord, the City and the Hills, constitute three distinctive territories of architectural potential, defined by their performativity rather than the myths given by the well-known conceptual and formal iconographies. Instead of discussing the notion of urbanity through exhausted ideas of the large-scale, public space and multiprogramming, we choose to approach it through the space of intervention tailored by the architects in their encounter by the reality of building in the urban condition. As a parallel to the overall Custom made discussion, the ecologies unveil fields of freedoms and limitations, open for architectural interpretation outside the world of predefned formal and conceptual motifs. At the very end it is only architecture that matters.□

Custom Made: The Architecture of ree Ecologies

Norwegian cities have been continually transformed over the last forty years. The post-industrial processes of neo-liberal deregulation and governance combined with an oil economy, have given rise to an increasingly bureaucratic building reality. But in this context, one may still identify projects that have managed to respond to the external complexities while suggesting architectural particularity. This essay discusses how such customization has unfolded within three specific building ecologies of the Norwegian city: the fjord – large-scale waterfront developments; the city – medium-scale interventions within the existing city; and the hills – small-scale residential projects on the urban periphery.

Norwegian urbanity, building ecology, urbanization

哈尔沃·魏德·埃勒夫森，建筑师，2005年毕业于丹麦皇家艺术学院。米尔扎·穆叶齐诺维奇，建筑师，MALARCHITECTURE事务所主持人，2001年毕业于挪威科技大学，2004年获哥伦比亚大学研究生学位。他们二人目前均为奥斯陆建筑与艺术学院在读博士生及助理教授，奥斯陆“定制”建筑展策展人，同时也是本期《世界建筑》专辑的客座编辑。/Halvor Weider Ellefsen, architect, graduated as an architect from the Royal Danish Academy of Fine Arts in Copenhagen (2005). Mirza Mujezinovic, architect, principal ofMALARCHITECTURE. He graduated at NTNU in Trondheim (2001). As a Fulbright Fellow he was awarded postgraduate degree at the GSAPP at Columbia University in New York (2004). ey are both Ph.D research fellows and assistant professors atThe Oslo School of Architecture and Design (AHO), curators of "Custom made" exhibition in Oslo (2013), and guest editors of this issue of World Architecture.

2014-03-22