“美景”——黄屋，林茨，奥地利

建筑设计：彼得·法廷格，韦罗妮卡·奥尔索，米凯尔·里佩尔

“美景”
——黄屋，林茨，奥地利

建筑设计：彼得·法廷格，韦罗妮卡·奥尔索，米凯尔·里佩尔

1 外景/Exterior view2 立面/Elevation

一座在市政高速公路上方建起的临时构筑物为林茨提供了全新的视角。

林茨是2009年“欧洲文化中心”计划的举办城市之一，借此机会，彼得·法廷格、韦罗妮卡·奥尔索和米凯尔·里佩尔进行了这项在城市外围一处公共空间实施的临时建筑实验。

林茨近年来规模最大的交通基础设施改造之一发生在贯穿宾德米希尔和施帕勒霍夫区的市政高速路系统。自2005年来，通过隧道交通的方式，周边地区的居民得以便捷地到达新建成的景观公园，欣赏绿意盎然的自然景象。在这里田园诗般的建成景观当中，一座临时构筑物就这样被建造起来：BELLEVUE含义为“美景”，是一座建在高速路边缘地带的建筑，其中一面的视角朝向高速路上川流不息的往来车辆，另一面则具有遍及整座公园的开阔视野。这座全身都是纯黄色的建筑反映了周围住宅建筑所具有的比例，它的表皮较为封闭，为其内部所承载的功能服务：包括为客座艺术家提供的住宿区域、问讯处、带有露台的简餐厅、自行车租赁处、工作空间、展陈空间、多媒体室、图书馆和公共舞台。这座多层建筑采用木框架结构，覆以粉刷黄色的刨花板，总共为访客提供超过400m2的可用空间。在2009年6月25日-9月13日这段时间内，这座开放的公共建筑共接待超过3万名游客探索其各层空间。

彼得·法廷格、韦罗妮卡·奥尔索和米凯尔·里佩尔在“美景”项目中不仅担任建筑师的角色，还作为管理者和组织者，将设计方案在有序的计划中化为现实，将建筑师的身份职能拓展到服务提供商的角色。每日举行的活动将“美景”描画成了一座艺术互动的际会处，邀请居民、行人和其他对此感兴趣的群体融入其中，观察、交流、表现——这座建筑如同一座舞台，串联着、转变着人们观察那些既存物质及空间的视角。一系列的探索性的问题，将所有的成规都被重新审视和定义，而问题的答案则紧接着以一系列介入和行动的形式展现。这种建筑因此而成为一座同时容纳了奇观与寻常的临时地标。居民、学者、艺术家相聚于此，潜心于各自的工作项目，同时也探索着邻近居民区的文化氛围与当地特色。宾德米希尔和施帕勒霍夫区域的日常生活图景被以多样化的方式加以提炼和再现：通过制作、纪录、烹调、舞蹈、园艺、写作、倾听与观望的行为方式。“美景”已经被塑造、转变成了一种将历史与现实对接、令文化与日常生活对话的集体经历和共同体验。□（陈茜 译）

3 外景/Exterior view4 首层平面/Floor 0 plan

5 立面/Elevation6 剖面/Section

项目信息/Credits and Data

客户/Client: Linz 2009 - European Capital of Culture

建筑面积/Floor Area: 450m2

概念及设计时期/Concept and Design Period: 2008.02-2009.04

施工时期/Construction Period: 2009.05-06

使用时期/Usage Period: 2009.06-09

拆除时期/Deconstruction Period: 2009.10

摄影/Photos: Peter Fattinger（fig.3，10-12）， Stadtplanung Linz Pertlwieser（fg.7）， Raimo Rudi Rumpler（fg.8，9）， Lorenz Seidler（fg.1）

A temporary structure erected over the municipal autobahn was ofering new perspectives of Linz.

In the scope of Linz 2009 European Capital of Culture， Peter Fattinger， Veronika Orso and Michael Rieper installed a transient experiment in public space on the periphery of the city.

One of the most recent large-scale modifcations to the trafc infrastructure in Linz was the enclosure of the municipal autobahn traversing the Bindermichl and Spallerhof districts. Since 2005 tunnels have been confining the flow of traffic， enabling nearby residents to look out upon the greenery of the newly created landscaped park. Amidst this constructed idyllic scene， a temporary structure has been erected: BELLEVUE—Beautiful View， a house at the rim of the autobahn. To the one side a view of the never-resting autobahn emerged， on the other a sweeping view of the park. Responding to the proportions of the surrounding residential buildings， the monochrome yellow structure embodied a protective shell for the functions it harbored: housing quarters for guest artists， an info kiosk， a cafeteria with terrace， bicycle rental， working space， exhibition space， a media room，a library， and a public stage. In total the multi-storey wooden frame construction， covered with yellow painted chip-boards， provided over 400 m2of usable space to its visitors. From June 25th to September 13th 2009 more than 30，000 visitors walked through the diferent foors of the public house.

Peter Fattinger， Veronika Orso and Michael Rieper not only acted as architects， but also as the program curator and organizer of BELLEVUE，resulting in a programmatic condensation of the project and expanding on the traditional position of the architect as service provider. Daily events turned BELLEVUE into a hub of artistic interactions that invited residents， passersby， and other interested parties to see， communicate， and act—a stage that was routing and changing perspectives on the existent. Conventions were detected and endued with explorative questions， with the answers following in the form of interventions and actions. A temporary landmark that facilitated both the spectacular and the commonplace. Residents，scholars， and artists came together to develop projects and to explore the culture and the features of the neighboring districts. Everyday phenomena in the Bindermichl and Spallerhof districts of Linz were thematized and reflected upon—and this in a diversified way: through producing， documenting，cooking， dancing， gardening， writing， listening，and watching. BELLEVUE was transformed into a collective experience that linked history with the present and culture with everyday life.

7 鸟瞰/Aerial view

WA：色彩在这个项目中的作用是什么？

法廷格+奥尔索+里佩尔（FOR）：建筑所使用的色彩——黄色，是在这一项目中无所不在的颜色，也是“黄屋”这一别称的由来。由地板、墙体直至屋顶，望去尽是涂绘出的一片黄色。在奥地利最为繁忙的高速公路区域之一，置身于临时的地标景观当中，“美景之黄屋”的标志性颜色具有极高的可辨别性，即使距离遥远仍然能被轻易识别。建筑如同被放大数倍的告示牌一般伫立于此，宣告着不同寻常的故事将发生于此。

WA：本项目中最具创造性和吸引力的设计是什么？

FOR：作为一个集体，我们在这一项目中不仅担任了建筑师的角色，更担任着建造者、项目监理和总体协调组织者的多重角色。也正因如此，才使得项目的实现过程井然有序，同时也促使建筑师的传统地位向服务提供商的方向拓展。我们邀请客座艺术家和演员入住于此，并在建筑当中潜心艺术创作。在这里，如同人类神经交织关联的场所在临时的空间中分化出来，空间转变的内容渐渐溶解呈现，平凡无奇的故事开始改写。

WA：在设计过程中最困难的部分是什么？

FOR：回顾起来，最艰难的事情应该是取得许可在高速公路的上方建造一座这样的临时建筑。一方面，“美景”与任何分区规划都不相符，因为在这个区域内根本不允许建造。另一方面，许多参与进来的机构担心临时建造及游客会干扰司机情绪而导致交通事故。然而最终，经过整整一年的努力，我们得到了临时建筑的许可，在异常紧张的3个月内完成了这座建筑，期间没有发生任何问题。

WA：使用者和社群的反馈如何？

FOR：“美景”始终被当地居民高度接受并频繁使用。尽管一开始仍有些人持怀疑态度，比如质疑这样的建筑是否能在郊区完成并且发挥作用。自建筑开幕的那天起，少长咸集的盛景在“黄屋”门前上演，来自周边社区的男女老少相聚于此，并且一直对参与建筑每日活动有着很高的积极性。除了周边居民以外，具有好奇心的市中心居民、文化热衷人士以及国际受邀艺术家们也为这里注入了新鲜的活力，令更多交往活动发生。

WA：本项目是如何提升公共空间品质的呢？

FOR：尽管高速公路上方的景观公园已经提供了许多公共使用功能，却始终缺失一个激发化学反应的契机。毋庸置疑，基于这一点，一个像“美景”这样的项目首先完成了自我角色的定义，并试图诱导周边居民离开家门，走入开放空间，从而对居民康乐水平的社会满意度提出挑战。“美景”是一项在公共空间中完成的实验，它连续的开放性和全面的可达性，是为每一个人而设计的。□（陈茜 译）

评论

方晓风：完全使用单一色彩，很容易制造出诡异的神秘感和戏剧感，黄色更加剧了这一效果。这个小房子让我想起了自己的小黄车，在形成地标或视觉焦点方面，体积不是问题，色彩的力量更大。这反证了我们日常生活的世界是支离破碎和斑驳的，纯度就是力量。作为一个支撑艺术活动的临时建筑，这是个不错的策略，四两拨千斤。小房子的选址也值得称道，扼据要冲，躲都躲不过去。当代艺术经常采用这种把臭袜子放到你鼻子前的方式来介入社会，足够积极主动。

王晖：这栋建筑是把颜色和所处的环境关系运用的比较好的例子，建筑在大面积的绿地一端，以极为鲜明的状态出现，让原本单调的绿地有了令人兴奋的视觉感受，同时也为绿地下面的城市交通提供了一个很好的视觉中心，把建筑物本身以戏剧性的装置场景表现于日常之中，至于具体到颜色，其他的可能性也都存在。

Comments

FANG Xiaofeng: Te usage of monochrome can easily create the sense of strange mystery and comedy， especially the colour of yellow. Te house takes me back to my little yellow car. As for the formation of landmark or visual focus， the volume is not the problem in comparison with the power of colour. It also disproves the fragmented and mottled world that we are living in， the purity is the power. As a temporary building to support the artistic activities， it is an excellent strategy，skillfully playing the role. Te location of the house， which can hardly be ignored by the public， is also worthy of praise. In contemporary art， the method of "putting a smelly pair of stockings under one's nose" is usually used to be involved in the society. And， indeed， it seems proactive enough.

WANG Hui: This building is a good example of fitting the colour with its surroundings. Standing at one end of the green landscape， it appears in such a high profle that brings excited views to the original monotonous feld. Also， it serves as an optical center to the urban traffic below. By this way， the building itself is displayed as a dramatic installation in a daily scenario. As for the specifc colour，other possibilities could also exist. （Translated by QI Yiyi）

8-11 外景/Exterior views12 夜景/Night view

WA: What is the role of the colour in this project？

Fattinger， Orso， Rieper （FOR）: Te colour-yellowwas omnipresent in this project and eponymous for its subtitle "the yellow house". From foor to wall to roof literally， everything was painted in yellow. Situated as a temporary landmark above one of the most frequented highway-sections of Austria， the signal colour of "BELLEVUE. Te yellow house" was highly visible， even from far away. Like an oversized signpost it announced that something extraordinary was to happen there.

WA: What is the most creative and attractive solution？

FOR: As a collective we acted not only as architects of the project， but also as constructors， program curators and overall organizers， what resulted in a programmatic condensation of the project and expanded on the traditional position of the architect as service provider. Guest artists and actors were invited to take up residence and work on-site. A neuralgic place was temporary occupied， spatial conventions were dissolved， and the mundane was transformed.

WA: What was the most difcult part in the process of design？

FOR: It turned out most difficult to get the permission to erect a temporary building like this above the highway. On the one hand， BELLEVUE did not match with any zoning plan， as no buildings were allowed in that area at all. On the other hand， many involved parties were afraid， that the temporary installation and its visitors would irritate the road users and therefore would cause accidents. Finally， after one year of struggle， we got the temporary building permit and during the three months running time of the project， no problem occurred at all.

WA: What is the feedback from the users and the community？

FOR: BELLEVUE has been extremely well accepted and intensively used by the residents of the quarter. Although there was some earlier skepticism， if a project like this would work in the outskirts of the city. From the day of the opening on， both， the young and the old from the nearby neighborhoods gathered at the "yellow house" and actively took part in the daily program. Apart from the neighboring residents， curious people from downtown， culture afcionados and international guest artists mingled at BELLEVUE.

WA: How did this project improve the quality of the public space？

FOR: Although the landscaped park on top of the highway offers many public functions， still an occasion for interaction was missing. It is precisely at this point that a project like BELLEVUE positioned itself， attempting to entice neighboring residents out into the open and to challenge the social contentment that is codified as well-being. BELLEVUE was an experiment in public space that was literally open and accessible for everyone on all sides.

BELLEVUE: Te Yellow House， Linz， Austria， 2009

Architects: Peter Fattinger， Veronika Orso， Michael Rieper