关于护栏与扶手的访谈

2018-09-26CHENYuxiao

世界建筑 2018年9期

扶手是最基本、最重要的建筑构件之一。从物质层面看，栏杆扶手的几何构成是建筑形式秩序的延续，其材料选择与搭接又是整体建构设计逻辑的体现。另一方面，它又和使用者的主体感受联系紧密。它激发人的触觉体验和想象，塑造使用者的身体姿态，诱惑人在建筑中行进，促进建筑流线的形成。而屋顶平台、建筑入口及外部空间中的扶手，还暗示了建筑内外的联系，参与建筑对地形与城市界面的定义。（范路）

1 设计简洁的扶手/Simple designed rails（摄影：胡越/Photo:HU Yue）

2 扶手详图/Detail of rail（绘图：胡越/Drawing : HU Yue）

范路：请从上述视角出发，分析让自己印象深刻的一座建筑的扶手设计。另请结合自己的建筑实践或设计教学，介绍一次具有挑战性的扶手设计。

胡越：栏杆扶手是建筑中的一个重要元素。我一直比较关注它。想想给我印象最深刻的栏杆不是那些炫酷的设计，而是一个非常简洁、高效的设计。我没有考证过这个栏杆的设计者是谁，我第一次看到这个栏杆应该是在贝聿铭的建筑中。它非常简单，既满足了功能需求又美观大方，并且和大部分现代建筑非常贴和。记得原来许多建筑师都诟病业主的一个要求“50年不落后”，我相信这个栏杆做到了，而且不止于此。我以为它的价值所在是它的适应性、气质以及将技术与美学很好地整合在一起。栏杆扶手最重要的功能是安全性，因此结构构件的出现就是不可避免的，赋予结构构件美学价值也是设计过程中比较吃功夫的地方。这个栏杆的成功之处是将玻璃深加工技术与结构、美学完美地结合在一起。它从不试图在建筑中抢戏，又那么耐看、不做作（图1）。

栏杆在建筑中一般不会单独存在，它总是与空间构成要素紧密相连。建筑要素要为整体服务，在栏杆设计中这一点也非常重要。如何处理结构构件一直是我在实践中重点考虑的内容。由于国内的规范普遍过于严苛，许多国外通行的做法国内均不能实施，加之考虑到国内施工水平，我目前采取的设计策略是使栏杆消隐。因此实体栏杆是我最常用的一种形式。它首先回避了对结构构件进行装饰，同时它保持了所在空间的完整性，从某种意义上来说还强化了空间构成要素的体积感。在设计实体栏杆时它的边缘也是我关注的重点。我的主要目的是在一个消隐的大前提下给予它一个栏杆的提示。同时在体积感很强的同时，试图通过一个线性的构图元素，给实体栏板些许灵动的感觉。我在这里采用了实木来设计，木材与实体栏板的连接不存在技术上的困难，但材料表面的处理和造价是主要的矛盾，它直接影响了材料的色彩和表面质感。目前的实践还没有达到令人满意的效果（图2）。□

FAN Lu: From the perspectives mentioned above,please discuss the handrail design in a building that impressed you deeply. Please introduce a challenge of handrail design in your architectural practice or design studio teaching.

HU Yue: A handrail is an important element in architecture. I have been always paying attention to it. Rails which have impressed me are not those with cool design but those with very simple and efficient design. I haven't conducted textual research on the initial designer of rails, and I should have seen rails in a building designed by I. M. Pei for the first time.It is very simple, which not only meets the functional demand but also is elegant and artistic and harmonizes with most modern buildings. I remember that many architects used to complain about owners' requirement of "not falling behind for 50 years", but I believe that rails can solve this problem and it's more than that. Moreover, I think that its value lies in excellent integration of its adaptability, qualities, technologies and aesthetics. The most important function of handrails is safety. Therefore, invention of this kind of structural elements is inevitable. Providing structural elements with aesthetic value always needs a lot of effort during design. The success of this rail is the perfect combination of deep processing technology of glass, the structure and aesthetics. It doesn’t try to upstage the building, but withstands scrutiny and is natural (Fig.1) .

Generally, a rail doesn't exist singly in buildings but is always connected to spatial constituents closely.Architectural elements need to serve the whole,which is very important during rail design. How to deal with structural elements is always emphasized during my practice. Foreign general practice can not be implemented in China due to overly strict domestic standards, so the current design strategy adopted by me is to make rails hidden, given the domestic construction level. Therefore, physical rail is the form that I have adopted most. Firstly, it avoids decoration for structural elements, and at the same time, it keeps the integrity of the space where it is located, which still strengthens the sense of volume of spatial constituents to some extent. During design of a physical rail, I also focus on its edges. My main purpose is to give people a hint for a rail with a precondition of hiding. Meanwhile, with a strong sense of volume, there is no difficulty for a try at connection, but there is a main contradiction between the treatment of material surface and the construction cost, which affects the color and tactile appealing of its surface. There is no satisfactory effect during current practice yet (Fig.2).□（Translated by CHEN Yuxiao）

The handrail is one of the most fundamental and important architectural components. Objectively speaking, its geometrical composition shares the architectural order in form, and its material organization echoes the principle of overall tectonic design. On the other hand, the handrail has a close relationship with users' subjective feelings. It brings about tactile experience and imagination for users,shaping their body gestures, and promotes the formation of circulation by tempting users to walk through a building. In addition, handrails located in roof terrace, entrance and exterior space of a construction can play an important role in connecting inside and outside and in architectural definition of the topography or urban interface.(FAN Lu)

范路：请从上述视角出发，分析让自己印象深刻的一座建筑的扶手设计。另请结合自己的建筑实践或设计教学，介绍一次具有挑战性的扶手设计。

五十岚太郎：东北大学的五十岚研究室，曾关注过一些建筑构件的研究，如窗或屋顶。我刚开始关注护栏扶手，但我认为这个构件是建筑学中很有趣的一部分。它是我们日常生活中为数不多能直接接触到的建筑构件之一。当然地板也是如此。如果你是纪录片“库哈斯式居家生活”（伊尔·贝嘉和路易丝·莱米娜导演）中，在波尔多一幢大都会建筑事务所设计的住宅内打扫房间的女佣，为了清洁你会接触到每一个建筑构件细部。扶手除了可见，还要可用。它也和空间流线有关。因此，设计鲜活的扶手给我留下了深刻的印象。在日本，村野藤吾、黑川纪章和伊东丰雄设计的楼梯扶手都很有意思（图1-3）。

在欧洲，捷克立体主义博物馆的扶手很美（图4）。正如这个案例所呈现的那样，扶手是建筑设计的一部分，是几何与有机形态的融合。□

Igarashi Taro: Igarashi laboratory in Tohoku University focused some architectural components and researched window or roof. I did not consider handrail specially till now, but I think it is interesting part of architecture. It is one of few architectural components which we touch directly in daily life. Of course floor is. If you are house keeping woman like a document movie of OMA's Bordeaux house, "HOUSELIFE" directed by Ila Bêka& Louise Lemoine, you must touch every detail for cleaning. Handrail is not only to be seen, but also something to touch. It is related to motion in space too. Therefore, handrail like a living thing are impressed me. In Japan, handrail of stairs designed by Murano Togo, Kurokawa Kisho and Ito Toyo are interesting (Fig.1–3).

In Europe, I think handrail of Czech cubism is beautiful (Fig.4). As this case suggested us, handrail can be a part of architecture which is fusion of geometry and organic form.□

1 村野藤吾设计的日生剧场扶手/Handrail in the NissayTheatre, designed by Murano Togo

2 黑川纪章设计的和歌山县立近代美术馆扶手/Handrail in the Museum of Modern Art, Wakayama, designed by Kurokawa Kisho

3 伊东丰雄设计的座·高圆寺剧场扶手/Handrail in the ZAKOENJI Public Theatre, designed by Ito Toyo

4.5 捷克立体主义博物馆扶手/Handrail in the Czech cubism（1-5 摄影：五十岚太郎/Photos: Igarashi Taro）

1 里斯本Baixa Chiado地铁站扶手/Rail in Lisbon's Baixa-Chiado Metro Station

2 Revigrés公司的展厅扶手/Rail in the exhibition hall of Revigrés

3 加利西亚当代艺术博物馆的栏杆/Rail in the Centro Gallego de Arte Contemporánea （图片来源：1-3 肯尼斯·弗兰姆普敦. 阿尔瓦罗·西扎专辑, 费顿出版社，2000./Sources of Liuyichun: Kenneth Frampton, Alvaro Siza: Complete Works,Phaidon Press, 2000. )

4.5 台州当代美术馆扶手/Rails in theTaizhou Contemporary Art Museum（图片来源：4.5 大舍建筑设计事务所/Photos: Atelier Deshaus ）

范路：请从上述视角出发，分析让自己印象深刻的一座建筑的扶手设计。另请结合自己的建筑实践或设计教学，介绍一次具有挑战性的扶手设计。

柳亦春：一提起扶手，总是会第一时间想起阿尔瓦罗·西扎设计的扶手。西扎的扶手总是有能让我感觉到超越扶手的东西。

首先，它们的确是功能性的。比如里斯本Baixa Chiado地铁站的楼梯扶手，因为楼梯遇到了拱形空间的低矮部分，在平面上微微划出一道弧线的扶手，巧妙地引导人们在踏步的尽端避开了这个相对于人的身体过低的起拱处，也造就了扶手本身美妙的形式，我想这个形式所诉说的便是呵护本身（图1）。

不过最令我印象深刻的还是加利西亚当代艺术博物馆的一段栏杆，因为看似并不是功能必须的这一段独立于空间中的折角栏杆，却好像落定在空间的那个地方，不可或缺。西扎用栏杆强化了这一处空间的景象，它呼应着一侧高处的洞口及外倾的高窗、正对的尖角，以及尖角下向外释放的空间。这并非一段栏杆，分明是一个回应这复杂空间体态的人的身体的存在，或是缺省，或是暗示（图3）。

在设计台州当代美术馆的栏杆和扶手时曾经遇到过一些难题。建筑的内部设计的是清水混凝土墙体，在图纸中预计的墙体都是精确数字施工的结果，但是实际施工却是极其粗放的，本来打算作为混凝土墙栏板的矮墙上端非常不平，误差几乎有150mm之多，但是整个空间因为这粗犷的混凝土倒也在氛围上别具一格，所以想保持这种感觉，那么栏杆的调性就变得非常重要了。既要把不平的误差处理掉，又不能太精致，但也不能太随便。最后想到的办法是用一条8mm厚的钢板做压顶取平，钢板下的空隙就用砂浆和腻子填掉，新旧相接的高低痕迹就任由在视觉上可见。

楼梯的栏杆如何与混凝土墙生根也是个难题，施工时并没有做铁件预埋，所以就想尽量利用螺栓孔，不能借用螺栓孔的地方还是要借助于膨胀螺栓。用一段垂直方向较长的铁板去和墙体相接，伸出铁板的螺栓头在焊接后必须切掉，再用弯曲的圆钢和钢管扶手交接。扶手从楼梯延展到楼层的水平段，同样弯曲的圆钢再和栏板上水平的钢板连接，这一段水平的圆管扶手也是鼓励人们依靠之处（图4）。

楼梯进入楼层的扶手设计也有出于流线的考虑变得特别的地方。比如上楼参观流线在楼层会有分叉，但是下楼的快速离开流线可能需要在楼梯原地快速向下，所以就考虑扶手在楼层结束的地方做一些特殊的空间暗示处理，这样空间也会变得更为生动（图5）。□

LIU Yichun: Whenever handrails are mentioned, I immediately think of those designed by Álvaro Siza.There is something about Siza's creations that makes me feel that these are more than mere handrails.

First and foremost, the designs are definitely functional. An example is the stair rail in Lisbon's Baixa-Chiado Metro Station. At the lower portion of the arched wall, the rail morphs into a horizontal arc that gently protrudes outwards (Fig.1). When commuters reach the top of the steps, the rail ingeniously guides them away from knocking into this portion of the arch, which is lower than the average human height.It was this functional intention that created the rail's fascinating form. To me, the form manifests care and concern towards people.

Another stair rail design that is very visually fascinating is found in the exhibition hall of Revigrés, a ceramic tiles company in Agueda, Portugal. It is apparent that the form arose out of the need for safety and protection. There is a step in the middle section of the stairs that forms a 45° gap with the wall, posing a danger if anyone were to step into it (Fig.2). As a rule, the entire rail was drawn out into an arc that perfectly matches the functional intent. Once beyond the gap, the rail makes a sudden horizontal right-angle turn before continuing to the ground. This not only increases the lateral strength of the rail but also guides the flow of people as it extends laterally. This particular curved rail section seems spatially dissociated from and unrelated to the curved rails along the edges of the platforms above. However,the existence of these arcs within the same space seems inevitable. Together, they create a form and atmosphere that is uniquely Siza.

However, what impressed me the most was a section of railing inside the Centro Gallego de Arte Contemporánea (Galicia Contemporary Art Centre). A right-angled railing that stands independently, it does not appear functionally necessary but, rather, seems to have fallen out of space and landed in that particular location,indispensable. Siza used the railing to reinforce the scene here: it echoes the high opening on the wall and the even higher and outward-tilting window. It also directly faces a sharp corner in the walls, as well as the open space that radiates outward from beneath the corner. Instead of a section of railing, it represents the existence of a human body responding to the complex spatial morphology,either by default or by implication (Fig.3).

I encountered some difficulties when designing the railings and handrails inside the Taizhou Contemporary Art Museum. The interior design of the building consists of Béton brut (fair-faced concrete) walls. The intended walls shown on the design drawings were the results of precise digital construction but turned out to be extremely extensive after actual construction. The low walls were supposed to be concrete wall panels,but the top ledges were very uneven, with differences in levels being almost 150 mm. Since the boorish concrete lent a unique atmosphere to the entire space,the tonality of the railings became very important to the maintenance of that feeling. On the one hand, the railings have to deal with the issue of unevenness; on the other, these cannot be too delicate or casual. The final solution was to place an 8-mm thick steel plate on top of the low walls to create a flat surface. The gaps between the steel plate and low wall were filled with mortar and putty, with the uneven marks between the old and new left visible.

Anchoring the stair rail to the concrete wall was another challenge. Since iron pieces were not pre-buried in the wall during construction, bolt holes had to be used as much as possible. In places where these could not be used, expansion bolts were employed instead.Long, vertical iron plates were placed against the walls at intervals. After welding, all bolt heads protruding from the iron plates had to be removed. Next, J-shaped steel rods were used to connect the steel rail to the iron plates (Fig.4). Where the rail extends from the stairs to the top of the low wall, the same J-shaped steel rods act as connectors to the horizontal steel plate above the low wall. This horizontal section of the handrail also serves to encourage visitors to make use of it.

The design of the stair rail at the landing of each floor became unique out of flow considerations. When going to the upper floors, the flow is halted at each landing. However, when going downstairs, the departing flow is rapid, and the speed is maintained at the landing.With this consideration in mind, a special treatment is applied to the stair rail when it reaches the landing(Fig.5). This acts as a spatial cue and makes the space livelier.□

范路：请从上述视角出发，分析让自己印象深刻的一座建筑的扶手设计。另请结合自己的建筑实践或设计教学，介绍一次具有挑战性的扶手设计。

曹晓昕:给我印象最深的是英国伦敦郊外的拉班现代舞中心的非线性的木扶手（图1、2），那时房子刚刚建成，空间还没有被完全使用，空旷、安静。它犹如一个精灵在静默的空间中舞动，我甚至仔细地抚摸过它的每一个细节，非常完美，以至于至今不知道它是如何制作和安装的。

扶手做为安全防护的一个重要构件，“挑战”这件事我是常常规避的，但在自己工作室设计（旧印刷厂改造）中，我有意将扶手栏杆设计成空间错叠的游戏，“L”型不锈钢的凌空状态让扶手摆脱常规栏杆的定义，真正成为了扶手，也成为这个被改造的交通空间里的主角（图3、4）。□

CAO Xiaoxin: What impressed me the most was the non-linear wooden handrails of the Laban Modern Dance Centre outside London, England (Fig.1,2).At that time, the house had just been built and the space was not yet fully used, empty and quiet. It was like a fairy dancing in a silent space. I even carefully touched every detail of it, so perfect that I was still wondering how it was made and installed even today.

For handrail, which is an important component of safety protection, "challenge" is something I often avoid. But in my own studio design (old printing plant transformation), I deliberately designed the handrail into a space overlapping game. The flying state of the"L" type stainless steel allows the handrails to get rid of the conventional definition of railings and really become handrails, and meanwhile, also become the protagonist in the transformed traffic space (Fig.3,4).□

1.2 拉班现代舞中心扶手/Rail in the Laban Modern Dance Centre（摄影：曹晓昕/Photos: CAO Xiaoxin）

3.4 器空间工作室扶手/Rail in the Qi Studio（摄影：孙海庭/Photos: SUN Haiting）

扶手扎记

葛明：扶手栏杆通常表现为环境和建筑中的附属物，但有意味的设计常常使它形成独特的存在，同时表达环境和建筑内在的东西。

比如斯卡帕的扶手设计，往往突出节点，特意构筑片段，并与建筑中的其余片段交织在一起构成迷离的氛围；又如西扎的扶手设计，常常以墙体的片段形式出现，似乎抹除了节点，但又会在特定的地方独立出来，形成新的片段方式，从而提示空间构成中各个部分若即若离的状态。

以下案例中的扶手栏杆则主要以一种特殊的类型存在。它们小心翼翼地既参与构建又似乎独立于建筑主体，同时又小心翼翼的平衡节点或元素与整体的关系。可以说，它们常常与建筑一起构成一种特定的连接状态，从而共同参与环境中的构成。通过连接，这些扶手栏杆自身的存在常常会模糊起来，但却往往能赋予建筑存在以新的意义。

首先，以1960年代瑞士著名建筑师道夫·施奈布利在瑞士洛加诺地区设计的一处社会住宅为例（图 1-3）。

建筑由相互连接、在东西向长向展开的3栋建筑组成。中间部分设置了连接3栋建筑的连廊，用于3层的跃层住宅入户。其中连廊的顶板外延向上翻起作为雨水挡板，将出挑表现得极有分量。连廊下部的扶手栏杆则采用了混凝土实板的形式，同样呈现出了体量感以回应上方，但是通过高低栏板交界处的缺口以及踏步底部的三步转折，可以发现设计者似乎在提示这些扶手栏板其实为无重量的面。这样，连廊上下均通过节点处理强化了各自的表现力，却又各自呼应，从而形成了更强的整体性，有力地参与到了建筑的整体构成之中。这时，扶手栏杆自身似乎退后了，好像只是为了转折而存在。可以说，正是连廊中的各种构件能以不同的方式增强转折，从而有力地揭示了场地中沿建筑方向微小的坡度，强化了运动感，并形成了独特的景致。

另一则案例是葡萄牙著名建筑师费尔南多·塔沃拉设计的塞尔韦拉加建小住宅（1994–1999，图4-6）。建筑中新建的部分与旧有的粗石砌体构成了整体。其中值得注意的是檐廊中的水平长条石与右端石踏步的搭接形成了特别的连接关系，从而将长条石作为结构梁的存在以及扶手栏杆的存在同时揭示了出来。作为梁，它与下面的支撑和上面的石柱共同构成了具有形制感的檐廊，同建筑的入口相对应；作为扶手，它调节了二层柱廊的尺度，同时限定出了具有包裹感的走廊空间，与一层的开放形成了区别。这种连接关系带来了扶手栏杆的独立状态，但是同样在整体的环境构成中作为扶手栏杆自身似乎又一次后退了，从而形成了微妙的张力，含蓄地提示了建筑中的新与旧，内与外。□（本文在研究过程中得到王正欣、王君美、方浩宇的许多支持，特此感谢！）

Thoughts on Handrails

GE Ming: Handrail usually acts as an appendage in the environment and architecture, but meaningful designs often make it a unique existence, while expressing the inherent things of the environment and architecture.

Scarpa's handrail designs, for example, tend to highlight the joints, deliberately construct fragments,and interweave with the rest of the fragments in the building to create a mysterious atmosphere; Siza's handrail designs, on the other hand, often appear as fragments of the wall, seemingly erased of the joints, but standing out again at particular places and forming new ways of fragments, which indicates the connected but separated state between each part of space composition.

In the following examples, the handrails and railings mainly exist as a special type. They carefully participate in the construction but seem to be independent from the main building, while carefully balancing the relationship between joints or elements and the whole. It can be said that they often form a specific articulation state with the building, thus joining together in the composition of the environment.Through the articulation, the existence of these handrails itself is often blurred, but gives new meaning to the existence of the building.

First, take the example of a social house (Case Sociali, 1965 – 1966) designed by famous Swiss architect Dolf Schnebli in the Logano area of Switzerland in the 1960s (Fig.1–3).

The architecture consists of three buildings that are connected and spread to the east and west. In the middle part, a corridor connecting three buildings is set up, as the entrance of the three-storey houses. The extension of the roof of the corridor is flapped upwards as the rainwater baffle, presenting the suspension extremely heavily. The railings at the bottom of the corridor adopt the form of concrete slabs, also showing a sense of weight in response to the top. But through the gaps at the junction of the high and low railings and the three-step turnings at the bottom of the stairs, it seems that the designer was prompting these railings to be weightless surfaces. In this way, the top and bottom of the corridor strengthened their respective expressiveness through the treatment of joints, but also echoed each other, thus forming a stronger integrity,and effectively participating in the overall composition of the building. Now, the railings themselves seemed to back off, as if they were there just for the turning point.It can be said that it was the various components of the corridor enhancing the turning point in different ways, that effectively revealed the small slope of site along the building direction, strengthened the sense of movement, and formed a unique landscape.

The other example is the Vila Nova de Cerveira(1994 – 1999), designed by famous Portuguese architect Fernando Távora (Fig.4–6).

The newly built part of the building and the old rough stone masonry forms the whole. It is noteworthy that the overlap of the horizontal strip stone of the covered corridor and the right-end stone steps forms a special connection, which reveals the existence of the strip stone as a structural beam and the handrail at the same time. As a beam, it constitutes a graphical covered corridor together with the support below and the stone pillars above, corresponding to the entrance of the building; as a handrail, it adjusts the scale of the second floor colonnade, while defining the corridor space with a sense of envelopment, and distinguishing with the openness of the first floor. This connection brings about the independent state of the railings, but again, the railings themselves seem to retreat in the overall environmental composition, thus forming a subtle tension, implicitly suggesting the new and old,inside and outside of the building. □ Many thanks to the support from WANG Zhengxin, WANG Junmei,and FANG Haoyu in the research process of this article.（Translated by CHEN Yuxiao）

4-6 费尔南多·塔沃拉塞尔韦拉住宅/Vila Nova de Cerveira（4-6图片来源/Távora F. Fernando Távora: Opera Completa.Milano: Electa; 2005.）

范路：请从上述视角出发，分析让自己印象深刻的一座建筑的扶手设计。另请结合自己的建筑实践或设计教学，介绍一次具有挑战性的扶手设计。

鲁安东：扶手更像是一个场所。而不是一个建筑的组成构件。在任何一座建筑中，扶手是为数不多的人不得不用身体直接接触之处，因此触摸为扶手注入了人的气息和痕迹。在一座老房子里，扶手被摩擦得锃亮或者发暗，这些是不同人反复触摸的时间之痕。让你的手接触到他人的手、让当下接触到过去。从这个意义来说，扶手是一个场所。

在建筑学的语境中，一种常见的幻觉是将一切视作建筑的组成构件，因而似乎存在着某种规则或逻辑可以从结构贯穿、扩散、渗透至日常的接触与意义，进而抵达某种整体性和一致性。而扶手更像是这一幻觉的断裂之处，正如装饰、躺椅或者镜子。它们提醒我们，建筑中存在着多个有着不同价值的平行系统，诸如扶手、窗、镜子这样的亲密场所构成了一个情感与叙事的脉络，它们无需与建造的系统保持一致。□

Lu Andong: The handrail is more like a place than a component of architecture. In any building, the handrail is one of a few things which people have to touch directly, so touch injects the breaths and traces of human into the handrail. In an old house, where the handrails were shiny or dimmed from rub, were the traces of time from being touched repeatedly by different people. Let your hand touch the hands of others and let the present touch the past. In this sense, the handrail is a place.

In the context of architecture, a common illusion is that everything is regarded as a component of architecture, so there seems to be a certain rule or logic that can penetrate, diffuse, and permeate from the structure into daily contact and meaning, and then reach a kind of integrity and consistency. The handrail is more like the fracture of this illusion,just like decorations, lounge chairs or mirrors. They remind us that there are many parallel systems of different values in architecture, and intimate places like handrails, windows and mirrors form a storyline of emotion and narration that does not need to be consistent with the system of construction.□（Translated by CHEN Yuxiao）

2 清华图书馆室内，1918（1.2 图片来源：墨菲档案）

3 楼梯及二层大厅入口（摄影：刘亦师）

4 一层（主入口）及二层大厅剖面

范路：请从上述视角出发，分析让自己印象深刻的一座建筑的扶手设计。另请结合自己的建筑实践或设计教学，介绍一次具有挑战性的扶手设计。

刘亦师：我在清华开设的“中国近代建筑史”第一课讲的内容是“我们身边的近代建筑”，即清华校园内的那些建筑。说到“栏杆”，我首先想起的是美国建筑师亨利·墨菲设计的图书馆一期的大厅。

墨菲设计的清华图书馆（建成于1918年）分上下两层，下层为教职员办公室，上层为阅览室，可同时容纳2400余人。其背后为三层书库，每层装置书架数十排。“建筑之壮丽，洵为全国之巨擘1）。墨菲1918年到清华学校视察图书馆工程时，对其外部比例及由红砖形成的肌理感到满意（图1）。图书馆的内部装饰材料采用意大利进口的浅灰色大理石，造价不菲，但取得了意想中的效果，墨菲赞叹说，“总体而言，这是我们所知建筑中最能打动人的室内装饰，对我们的事务所来说是一个巨大的成功2）（图2）。这其中应该包含了二层大厅墙面的整面大理石装饰（其拼合纹样颇似1920年代密斯的巴塞罗那馆的那种效果，图3）和大理石栏杆（图4）。

这里的扶手均位于二层，环绕步上二层大厅的大楼梯两侧。其形态与一般在西方建筑中所见的栏杆并无二致，但在这样一个图书馆大厅中，与高敞的空间和华丽的拱券相配合，同样用大理石精心打磨而成的栏杆也烘托出庄严持重和富丽堂皇的空间氛围。而且，栏杆是整个大厅空间中尺度最细小、数量最多，因而最为贴近人的建筑构件，对“软化”空间尺度感受发挥了关键作用。

图书馆一期这一历史建筑由于建材和施工质量一流，而且历年来维护得当，使清华园里多了一处纯正的西方古典样式的建筑，其室内装饰尤其可观。

2018年暑假小学期我们组织了对清华老生物学馆的测绘。老生物学馆是我国第一代建筑师杨廷宝先生设计、1931年建成的教学楼，是1930年代清华的新“四大工程”之一。

关于“扶手”“栏杆”，这次测绘过程中有两点值得注意。一是室内两部楼梯的栏杆上，用铸铁做成了竖向的水波图案，每组3条。同时，在楼梯相对的墙面上还用与扶手等高的石材做墙裙，取得装饰上的呼应。3条水波纹的图案后来被提取出来，用在建筑外部窗洞的附加防盗网上（图5）。第二是屋顶女儿墙的装饰。杨廷宝原先装饰艺术风格的正立面（北立面）顶部装饰经过地震、风化等原因已脱落损毁，2014年学校基建处重修该处工程时，参比原设计图（图6），采用有机玻璃钢为材料仿制原设计的装饰图案（但在正面女像雕塑上有所简化），经济实用。这些在立面上的垂直线条的装饰面实际上也起到女儿墙的作用，围护着顶层平台空间（图7）。□

FAN Lu: From the perspectives mentioned above, please discuss the handrail design in a building that impressed you deeply. Please introduce a challenge of handrail design in your architectural practice or design studio teaching.

LIU Yishi: The first lesson of "Chinese Modern Architectural History" I taught in Tsinghua was"Modern Architectures around Us", which were the buildings on the Tsinghua campus. Speaking of"railings", the first thing that comes to my mind is the hall of the library phase I designed by American architect Henry Murphy.

Murphy's Tsinghua Library (built in 1918) is divided into two floors. The lower one is the faculty offices and the upper one is a reading room, which can accommodate more than 2,400 people at the same time. Behind it is the three-floor stack, with dozens of shelves on each floor. "The magnificence of architecture leads the whole nation."1)When Murphy came to Tsinghua to inspect the library project in 1918, he was satisfied with its external proportion and the texture formed by red bricks(Fig.1). The library's interior decoration was made of light gray marble imported from Italy, which was expensive but had achieved the desired effect. Murphy prased:"Overall, this is the most impressive interior decoration we know of in architecture, and it's a great success for our studio2)(Fig.2). This should include the marble decoration of the entire wall of the hall on the second floor (whose mosaic patterns resemble the effect of the Barcelona Pavilion by Mies in the 1920s,Fig.3) and the marble railings (Fig.4).

The handrails are all located on the second floor,surrounding both sides of the big staircase ascending to the second floor hall. Their shapes are the same as the railings commonly seen in western architecture. But in such a library hall, combining with the tall space and gorgeous arches, the same well-polished marble railings also set off a solemn and magnificent atmosphere of space.Moreover, the railings are the smallest in size and largest in numbers of the building components in the whole space of the hall, so they are the closest to human beings, and play a key role in "softening" the spatial scale feeling.

Due to the good building materials and construction quality, and proper maintenance over the years, the library phase I, as a historical building,has added an architecture of pure western classical style on the Tsinghua campus, and its interior decoration is particularly impressive.

In the summer semester of 2018, we organized the surveying and mapping of Tsinghua Old Biology Building. The Old Biology Building is a teaching building designed by Mr. Yang Tingbao, one of the first generation architects in China, and built in 1931. It is one of the new "four projects" in Tsinghua in the 1930s.

About "handrails" and "railings", there were two points to be noticed in the surveying and mapping process. First, the railings of the two staircases indoor were made into vertical water-ripple patterns with cast iron, three in each group. At the same time, on the wall opposite the stairs, wainscots were made with stone materials of the same height as the handrails to achieve decorative echoes. The three water-ripple patterns were extracted later and used in the burglar-proof net added to the external windows of the building (Fig.5).

The second is the decoration of the roof parapet.The facade (north facade) top decoration of Yang Tingbao's original decorative art style has been destroyed by earthquake, wind and other reasons.In 2014, when the school infrastructure department rebuilt the project, they referred to the original design drawing (Fig.6), and used plexiglass steel as material to imitate the original design of the decorative pattern (but the women statues in the front were simplified), which was economical and practical. These decorative surfaces as vertical lines on the facade actually act as parapets too, maintaining the top platform space (Fig.7).□（Translated by CHEN Yuxiao）

5 生物学馆一层窗户外观（摄影：刘亦师）

6 生物学馆立面渲染图，1929年（图片来源：张复合教授提供）

7 顶层平台所照新建的玻璃钢装饰背面（摄影：刘亦师）

注释

1）《清华周刊·本校十周年纪念号》, 1921: 学校方面，41.

2）墨菲致理查德·丹纳信（1918年6月2日），从北京返回汉口途中。详刘亦师.墨菲档案之清华早期建设史料汇论.建筑史（第34辑）. 北京：清华大学出版社，2014:164-186.

范路：请从上述视角出发，分析让自己印象深刻的一座建筑的扶手设计。另请结合自己的建筑实践或设计教学，介绍一次具有挑战性的扶手设计。

张昕楠：除却地面，扶手是建筑中与人的触觉发生直接关系的要素。引导、感知、边界、形式，上述词汇都可以作为扶手设计的关键词。一方面，“不得不设置”的扶手可以成为表现甚至强化建筑形式雕塑化语言的方式，这样的设计在贝聿铭的作品中屡见不鲜（图1）；另一方面，扶手本身也可以成为回应身体行为和意识知觉的媒介。以开门这个动作为例，“推”与“拉”既是受力状态的不同，同时也暗含了在“推”或“拉”之后，为进入者预设的心理预期——“直接”抑或“谨慎”的进入一个空间。在中村拓志设计的狭山森林小教堂中，门的扶手设计以看似相同的材料、形式语言，然而在其构造方式和形态上敏感的回应了不同的“推”与“拉”动作——无论推或拉，手均接触到木制的部分；木制部分的角度也巧妙的回应了“推”与“拉”的受力方向（图2）。

令笔者印象最为深刻的一处扶手，是卡洛·斯卡帕为斯坦帕尼亚基金会入口桥上那精致的充满了细节和材料感知的设计（图3）。木制栏杆的尽端，铜质的构件预示着栏杆的结束，同时也保证了木质最易被损毁的这个部位（尽端结束处）的延年性，材料和形式的反差带来视觉和触觉上的丰富感应（图4），这种节点方式也暗示出威尼斯造船技术中节点的处理方法和18世纪贵族家具连接的处理方式；两种材料的质感，无论在形式上、更在经历者手拂过的过程中提示着上升与平走的动作转折。这样的设计方式，使得不同材质相汇、交迭而没有任何特性的损失，而且以不同质感的对比强调出各自的材料、形式特性。□

FAN Lu: From the perspectives mentioned above, please discuss the handrail design in a building that impressed you deeply. Please introduce a challenge of handrail design in your architectural practice or design studio teaching.

ZHANG Xinnan: Apart from the floor, the handrail is an element that has direct relationship with people’s sense of touch in architecture. Guidance, perception,boundary, form – these can all be used as key words in handrail design. On the one hand, the handrail that"has to be set" can be a way to express or even enhance the sculptural language of architectural forms, which is a way of design commonly seen in I. M. Pei's works(Fig.1); on the other hand, the handrail itself can also be a media responding to physical behavior and conscious perception. Taking the action of opening the door as an example, "push" and "pull" are not only different in the state of force, but also implying the psychological expectation presupposed for the entrant after "push" or "pull" – entering into a space "directly"or "cautiously". In the Sayama Forest Chapel designed by Hiroshi Nakamura, the handrails of the door are designed with seemingly identical material and formal language. However, in terms of structure and shape,they respond sensitively to the different action of"push" and "pull" –whether pushing or pulling, the hand always touches the wooden part; the angle of the wooden part also ingeniously responds to the direction of force of "push" and "pull" (Fig.2).

One of the most impressive handrails to the author is the exquisite design Carlo Scarpa did for the Fondazione Querini Stampalia Bridge which is filled with details and material perception (Fig.3). At the ends of the wooden railings, the copper components indicate the ends of the railings, meanwhile ensuring the durability of the most vulnerable part of the wood (the end). The contrast in the material and the form brings rich visual and tactile senses (Fig.4). This pattern of joint also implies the treatment of joint used in Venetian shipbuilding technology and the aristocratic furniture connection in 18th century; the texture of the two materials indicates the turning of movement in ascending and walking horizontally,whether in form or more importantly, in the process of the experiencer's hand brushing along. This way of design makes different materials meet and overlap without any loss of characteristics, and emphasizes the material and form characteristics of different textures by contrast.□（Translated by CHEN Yuxiao）