扶手是最基本、最重要的建筑構(gòu)件之一。從物質(zhì)層面看，欄桿扶手的幾何構(gòu)成是建筑形式秩序的延續(xù)，其材料選擇與搭接又是整體建構(gòu)設(shè)計(jì)邏輯的體現(xiàn)。另一方面，它又和使用者的主體感受聯(lián)系緊密。它激發(fā)人的觸覺(jué)體驗(yàn)和想象，塑造使用者的身體姿態(tài)，誘惑人在建筑中行進(jìn)，促進(jìn)建筑流線(xiàn)的形成。而屋頂平臺(tái)、建筑入口及外部空間中的扶手，還暗示了建筑內(nèi)外的聯(lián)系，參與建筑對(duì)地形與城市界面的定義。（范路）

1 設(shè)計(jì)簡(jiǎn)潔的扶手/Simple designed rails（攝影：胡越/Photo:HU Yue）

2 扶手詳圖/Detail of rail（繪圖：胡越/Drawing : HU Yue）

范路：請(qǐng)從上述視角出發(fā)，分析讓自己印象深刻的一座建筑的扶手設(shè)計(jì)。另請(qǐng)結(jié)合自己的建筑實(shí)踐或設(shè)計(jì)教學(xué)，介紹一次具有挑戰(zhàn)性的扶手設(shè)計(jì)。

胡越：欄桿扶手是建筑中的一個(gè)重要元素。我一直比較關(guān)注它。想想給我印象最深刻的欄桿不是那些炫酷的設(shè)計(jì)，而是一個(gè)非常簡(jiǎn)潔、高效的設(shè)計(jì)。我沒(méi)有考證過(guò)這個(gè)欄桿的設(shè)計(jì)者是誰(shuí)，我第一次看到這個(gè)欄桿應(yīng)該是在貝聿銘的建筑中。它非常簡(jiǎn)單，既滿(mǎn)足了功能需求又美觀大方，并且和大部分現(xiàn)代建筑非常貼和。記得原來(lái)許多建筑師都詬病業(yè)主的一個(gè)要求“50年不落后”，我相信這個(gè)欄桿做到了，而且不止于此。我以為它的價(jià)值所在是它的適應(yīng)性、氣質(zhì)以及將技術(shù)與美學(xué)很好地整合在一起。欄桿扶手最重要的功能是安全性，因此結(jié)構(gòu)構(gòu)件的出現(xiàn)就是不可避免的，賦予結(jié)構(gòu)構(gòu)件美學(xué)價(jià)值也是設(shè)計(jì)過(guò)程中比較吃功夫的地方。這個(gè)欄桿的成功之處是將玻璃深加工技術(shù)與結(jié)構(gòu)、美學(xué)完美地結(jié)合在一起。它從不試圖在建筑中搶?xiě)?，又那么耐看、不做作（圖1）。

欄桿在建筑中一般不會(huì)單獨(dú)存在，它總是與空間構(gòu)成要素緊密相連。建筑要素要為整體服務(wù)，在欄桿設(shè)計(jì)中這一點(diǎn)也非常重要。如何處理結(jié)構(gòu)構(gòu)件一直是我在實(shí)踐中重點(diǎn)考慮的內(nèi)容。由于國(guó)內(nèi)的規(guī)范普遍過(guò)于嚴(yán)苛，許多國(guó)外通行的做法國(guó)內(nèi)均不能實(shí)施，加之考慮到國(guó)內(nèi)施工水平，我目前采取的設(shè)計(jì)策略是使欄桿消隱。因此實(shí)體欄桿是我最常用的一種形式。它首先回避了對(duì)結(jié)構(gòu)構(gòu)件進(jìn)行裝飾，同時(shí)它保持了所在空間的完整性，從某種意義上來(lái)說(shuō)還強(qiáng)化了空間構(gòu)成要素的體積感。在設(shè)計(jì)實(shí)體欄桿時(shí)它的邊緣也是我關(guān)注的重點(diǎn)。我的主要目的是在一個(gè)消隱的大前提下給予它一個(gè)欄桿的提示。同時(shí)在體積感很強(qiáng)的同時(shí)，試圖通過(guò)一個(gè)線(xiàn)性的構(gòu)圖元素，給實(shí)體欄板些許靈動(dòng)的感覺(jué)。我在這里采用了實(shí)木來(lái)設(shè)計(jì)，木材與實(shí)體欄板的連接不存在技術(shù)上的困難，但材料表面的處理和造價(jià)是主要的矛盾，它直接影響了材料的色彩和表面質(zhì)感。目前的實(shí)踐還沒(méi)有達(dá)到令人滿(mǎn)意的效果（圖2）?！?/p>

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：請(qǐng)從上述視角出發(fā)，分析讓自己印象深刻的一座建筑的扶手設(shè)計(jì)。另請(qǐng)結(jié)合自己的建筑實(shí)踐或設(shè)計(jì)教學(xué)，介紹一次具有挑戰(zhàn)性的扶手設(shè)計(jì)。

五十嵐太郎：東北大學(xué)的五十嵐研究室，曾關(guān)注過(guò)一些建筑構(gòu)件的研究，如窗或屋頂。我剛開(kāi)始關(guān)注護(hù)欄扶手，但我認(rèn)為這個(gè)構(gòu)件是建筑學(xué)中很有趣的一部分。它是我們?nèi)粘Ｉ钪袨閿?shù)不多能直接接觸到的建筑構(gòu)件之一。當(dāng)然地板也是如此。如果你是紀(jì)錄片“庫(kù)哈斯式居家生活”（伊爾·貝嘉和路易絲·萊米娜導(dǎo)演）中，在波爾多一幢大都會(huì)建筑事務(wù)所設(shè)計(jì)的住宅內(nèi)打掃房間的女傭，為了清潔你會(huì)接觸到每一個(gè)建筑構(gòu)件細(xì)部。扶手除了可見(jiàn)，還要可用。它也和空間流線(xiàn)有關(guān)。因此，設(shè)計(jì)鮮活的扶手給我留下了深刻的印象。在日本，村野藤吾、黑川紀(jì)章和伊東豐雄設(shè)計(jì)的樓梯扶手都很有意思（圖1-3）。

在歐洲，捷克立體主義博物館的扶手很美（圖4）。正如這個(gè)案例所呈現(xiàn)的那樣，扶手是建筑設(shè)計(jì)的一部分，是幾何與有機(jī)形態(tài)的融合?！?/p>

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.

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 村野藤吾設(shè)計(jì)的日生劇場(chǎng)扶手/Handrail in the NissayTheatre, designed by Murano Togo

2 黑川紀(jì)章設(shè)計(jì)的和歌山縣立近代美術(shù)館扶手/Handrail in the Museum of Modern Art, Wakayama, designed by Kurokawa Kisho

3 伊東豐雄設(shè)計(jì)的座·高圓寺劇場(chǎng)扶手/Handrail in the ZAKOENJI Public Theatre, designed by Ito Toyo

4.5 捷克立體主義博物館扶手/Handrail in the Czech cubism（1-5 攝影：五十嵐太郎/Photos: Igarashi Taro）

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

2 Revigrés公司的展廳扶手/Rail in the exhibition hall of Revigrés

3 加利西亞當(dāng)代藝術(shù)博物館的欄桿/Rail in the Centro Gallego de Arte Contemporánea （圖片來(lái)源：1-3 肯尼斯·弗蘭姆普敦. 阿爾瓦羅·西扎專(zhuān)輯, 費(fèi)頓出版社，2000./Sources of Liuyichun: Kenneth Frampton, Alvaro Siza: Complete Works,Phaidon Press, 2000. )

4.5 臺(tái)州當(dāng)代美術(shù)館扶手/Rails in theTaizhou Contemporary Art Museum（圖片來(lái)源：4.5 大舍建筑設(shè)計(jì)事務(wù)所/Photos: Atelier Deshaus ）

范路：請(qǐng)從上述視角出發(fā)，分析讓自己印象深刻的一座建筑的扶手設(shè)計(jì)。另請(qǐng)結(jié)合自己的建筑實(shí)踐或設(shè)計(jì)教學(xué)，介紹一次具有挑戰(zhàn)性的扶手設(shè)計(jì)。

柳亦春：一提起扶手，總是會(huì)第一時(shí)間想起阿爾瓦羅·西扎設(shè)計(jì)的扶手。西扎的扶手總是有能讓我感覺(jué)到超越扶手的東西。

首先，它們的確是功能性的。比如里斯本Baixa Chiado地鐵站的樓梯扶手，因?yàn)闃翘萦龅搅斯靶慰臻g的低矮部分，在平面上微微劃出一道弧線(xiàn)的扶手，巧妙地引導(dǎo)人們?cè)谔げ降谋M端避開(kāi)了這個(gè)相對(duì)于人的身體過(guò)低的起拱處，也造就了扶手本身美妙的形式，我想這個(gè)形式所訴說(shuō)的便是呵護(hù)本身（圖1）。

不過(guò)最令我印象深刻的還是加利西亞當(dāng)代藝術(shù)博物館的一段欄桿，因?yàn)榭此撇⒉皇枪δ鼙仨毜倪@一段獨(dú)立于空間中的折角欄桿，卻好像落定在空間的那個(gè)地方，不可或缺。西扎用欄桿強(qiáng)化了這一處空間的景象，它呼應(yīng)著一側(cè)高處的洞口及外傾的高窗、正對(duì)的尖角，以及尖角下向外釋放的空間。這并非一段欄桿，分明是一個(gè)回應(yīng)這復(fù)雜空間體態(tài)的人的身體的存在，或是缺省，或是暗示（圖3）。

在設(shè)計(jì)臺(tái)州當(dāng)代美術(shù)館的欄桿和扶手時(shí)曾經(jīng)遇到過(guò)一些難題。建筑的內(nèi)部設(shè)計(jì)的是清水混凝土墻體，在圖紙中預(yù)計(jì)的墻體都是精確數(shù)字施工的結(jié)果，但是實(shí)際施工卻是極其粗放的，本來(lái)打算作為混凝土墻欄板的矮墻上端非常不平，誤差幾乎有150mm之多，但是整個(gè)空間因?yàn)檫@粗獷的混凝土倒也在氛圍上別具一格，所以想保持這種感覺(jué)，那么欄桿的調(diào)性就變得非常重要了。既要把不平的誤差處理掉，又不能太精致，但也不能太隨便。最后想到的辦法是用一條8mm厚的鋼板做壓頂取平，鋼板下的空隙就用砂漿和膩?zhàn)犹畹簦屡f相接的高低痕跡就任由在視覺(jué)上可見(jiàn)。

樓梯的欄桿如何與混凝土墻生根也是個(gè)難題，施工時(shí)并沒(méi)有做鐵件預(yù)埋，所以就想盡量利用螺栓孔，不能借用螺栓孔的地方還是要借助于膨脹螺栓。用一段垂直方向較長(zhǎng)的鐵板去和墻體相接，伸出鐵板的螺栓頭在焊接后必須切掉，再用彎曲的圓鋼和鋼管扶手交接。扶手從樓梯延展到樓層的水平段，同樣彎曲的圓鋼再和欄板上水平的鋼板連接，這一段水平的圓管扶手也是鼓勵(lì)人們依靠之處（圖4）。

樓梯進(jìn)入樓層的扶手設(shè)計(jì)也有出于流線(xiàn)的考慮變得特別的地方。比如上樓參觀流線(xiàn)在樓層會(huì)有分叉，但是下樓的快速離開(kāi)流線(xiàn)可能需要在樓梯原地快速向下，所以就考慮扶手在樓層結(jié)束的地方做一些特殊的空間暗示處理，這樣空間也會(huì)變得更為生動(dòng)（圖5）。□

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 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：請(qǐng)從上述視角出發(fā)，分析讓自己印象深刻的一座建筑的扶手設(shè)計(jì)。另請(qǐng)結(jié)合自己的建筑實(shí)踐或設(shè)計(jì)教學(xué)，介紹一次具有挑戰(zhàn)性的扶手設(shè)計(jì)。

曹曉昕:給我印象最深的是英國(guó)倫敦郊外的拉班現(xiàn)代舞中心的非線(xiàn)性的木扶手（圖1、2），那時(shí)房子剛剛建成，空間還沒(méi)有被完全使用，空曠、安靜。它猶如一個(gè)精靈在靜默的空間中舞動(dòng)，我甚至仔細(xì)地?fù)崦^(guò)它的每一個(gè)細(xì)節(jié)，非常完美，以至于至今不知道它是如何制作和安裝的。

扶手做為安全防護(hù)的一個(gè)重要構(gòu)件，“挑戰(zhàn)”這件事我是常常規(guī)避的，但在自己工作室設(shè)計(jì)（舊印刷廠改造）中，我有意將扶手欄桿設(shè)計(jì)成空間錯(cuò)疊的游戲，“L”型不銹鋼的凌空狀態(tài)讓扶手?jǐn)[脫常規(guī)欄桿的定義，真正成為了扶手，也成為這個(gè)被改造的交通空間里的主角（圖3、4）?！?/p>

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.

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 拉班現(xiàn)代舞中心扶手/Rail in the Laban Modern Dance Centre（攝影：曹曉昕/Photos: CAO Xiaoxin）

3.4 器空間工作室扶手/Rail in the Qi Studio（攝影：孫海庭/Photos: SUN Haiting）

扶手扎記

葛明：扶手欄桿通常表現(xiàn)為環(huán)境和建筑中的附屬物，但有意味的設(shè)計(jì)常常使它形成獨(dú)特的存在，同時(shí)表達(dá)環(huán)境和建筑內(nèi)在的東西。

比如斯卡帕的扶手設(shè)計(jì)，往往突出節(jié)點(diǎn)，特意構(gòu)筑片段，并與建筑中的其余片段交織在一起構(gòu)成迷離的氛圍；又如西扎的扶手設(shè)計(jì)，常常以墻體的片段形式出現(xiàn)，似乎抹除了節(jié)點(diǎn)，但又會(huì)在特定的地方獨(dú)立出來(lái)，形成新的片段方式，從而提示空間構(gòu)成中各個(gè)部分若即若離的狀態(tài)。

以下案例中的扶手欄桿則主要以一種特殊的類(lèi)型存在。它們小心翼翼地 既參與構(gòu)建又似乎獨(dú)立于建筑主體，同時(shí)又小心翼翼的平衡節(jié)點(diǎn)或元素與整體的關(guān)系。可以說(shuō)，它們常常與建筑一起構(gòu)成一種特定的連接狀態(tài)，從而共同參與環(huán)境中的構(gòu)成。通過(guò)連接，這些扶手欄桿自身的存在常常會(huì)模糊起來(lái)，但卻往往能賦予建筑存在以新的意義。

首先，以1960年代瑞士著名建筑師道夫·施奈布利在瑞士洛加諾地區(qū)設(shè)計(jì)的一處社會(huì)住宅為例（圖 1-3）。

建筑由相互連接、在東西向長(zhǎng)向展開(kāi)的3棟建筑組成。中間部分設(shè)置了連接3棟建筑的連廊，用于3層的躍層住宅入戶(hù)。其中連廊的頂板外延向上翻起作為雨水擋板，將出挑表現(xiàn)得極有分量。連廊下部的扶手欄桿則采用了混凝土實(shí)板的形式，同樣呈現(xiàn)出了體量感以回應(yīng)上方，但是通過(guò)高低欄板交界處的缺口以及踏步底部的三步轉(zhuǎn)折，可以發(fā)現(xiàn)設(shè)計(jì)者似乎在提示這些扶手欄板其實(shí)為無(wú)重量的面。這樣，連廊上下均通過(guò)節(jié)點(diǎn)處理強(qiáng)化了各自的表現(xiàn)力，卻又各自呼應(yīng)，從而形成了更強(qiáng)的整體性，有力地參與到了建筑的整體構(gòu)成之中。這時(shí)，扶手欄桿自身似乎退后了，好像只是為了轉(zhuǎn)折而存在?？梢哉f(shuō)，正是連廊中的各種構(gòu)件能以不同的方式增強(qiáng)轉(zhuǎn)折，從而有力地揭示了場(chǎng)地中沿建筑方向微小的坡度，強(qiáng)化了運(yùn)動(dòng)感，并形成了獨(dú)特的景致。

另一則案例是葡萄牙著名建筑師費(fèi)爾南多·塔沃拉設(shè)計(jì)的塞爾韋拉加建小住宅（1994–1999，圖4-6）。建筑中新建的部分與舊有的粗石砌體構(gòu)成了整體。其中值得注意的是檐廊中的水平長(zhǎng)條石與右端石踏步的搭接形成了特別的連接關(guān)系，從而將長(zhǎng)條石作為結(jié)構(gòu)梁的存在以及扶手欄桿的存在同時(shí)揭示了出來(lái)。作為梁，它與下面的支撐和上面的石柱共同構(gòu)成了具有形制感的檐廊，同建筑的入口相對(duì)應(yīng)；作為扶手，它調(diào)節(jié)了二層柱廊的尺度，同時(shí)限定出了具有包裹感的走廊空間，與一層的開(kāi)放形成了區(qū)別。這種連接關(guān)系帶來(lái)了扶手欄桿的獨(dú)立狀態(tài)，但是同樣在整體的環(huán)境構(gòu)成中作為扶手欄桿自身似乎又一次后退了，從而形成了微妙的張力，含蓄地提示了建筑中的新與舊，內(nèi)與外?！酰ū疚脑谘芯窟^(guò)程中得到王正欣、王君美、方浩宇的許多支持，特此感謝?。?/p>

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 費(fèi)爾南多·塔沃拉塞爾韋拉住宅/Vila Nova de Cerveira（4-6圖片來(lái)源/Távora F. Fernando Távora: Opera Completa.Milano: Electa; 2005.）

范路：請(qǐng)從上述視角出發(fā)，分析讓自己印象深刻的一座建筑的扶手設(shè)計(jì)。另請(qǐng)結(jié)合自己的建筑實(shí)踐或設(shè)計(jì)教學(xué)，介紹一次具有挑戰(zhàn)性的扶手設(shè)計(jì)。

魯安東：扶手更像是一個(gè)場(chǎng)所。而不是一個(gè)建筑的組成構(gòu)件。在任何一座建筑中，扶手是為數(shù)不多的人不得不用身體直接接觸之處，因此觸摸為扶手注入了人的氣息和痕跡。在一座老房子里，扶手被摩擦得锃亮或者發(fā)暗，這些是不同人反復(fù)觸摸的時(shí)間之痕。讓你的手接觸到他人的手、讓當(dāng)下接觸到過(guò)去。從這個(gè)意義來(lái)說(shuō)，扶手是一個(gè)場(chǎng)所。

在建筑學(xué)的語(yǔ)境中，一種常見(jiàn)的幻覺(jué)是將一切視作建筑的組成構(gòu)件，因而似乎存在著某種規(guī)則或邏輯可以從結(jié)構(gòu)貫穿、擴(kuò)散、滲透至日常的接觸與意義，進(jìn)而抵達(dá)某種整體性和一致性。而扶手更像是這一幻覺(jué)的斷裂之處，正如裝飾、躺椅或者鏡子。它們提醒我們，建筑中存在著多個(gè)有著不同價(jià)值的平行系統(tǒng)，諸如扶手、窗、鏡子這樣的親密場(chǎng)所構(gòu)成了一個(gè)情感與敘事的脈絡(luò)，它們無(wú)需與建造的系統(tǒng)保持一致?！?/p>

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.

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 清華圖書(shū)館室內(nèi)，1918（1.2 圖片來(lái)源：墨菲檔案）

3 樓梯及二層大廳入口（攝影：劉亦師）

4 一層（主入口）及二層大廳剖面

范路：請(qǐng)從上述視角出發(fā)，分析讓自己印象深刻的一座建筑的扶手設(shè)計(jì)。另請(qǐng)結(jié)合自己的建筑實(shí)踐或設(shè)計(jì)教學(xué)，介紹一次具有挑戰(zhàn)性的扶手設(shè)計(jì)。

劉亦師：我在清華開(kāi)設(shè)的“中國(guó)近代建筑史”第一課講的內(nèi)容是“我們身邊的近代建筑”，即清華校園內(nèi)的那些建筑。說(shuō)到“欄桿”，我首先想起的是美國(guó)建筑師亨利·墨菲設(shè)計(jì)的圖書(shū)館一期的大廳。

墨菲設(shè)計(jì)的清華圖書(shū)館（建成于1918年）分上下兩層，下層為教職員辦公室，上層為閱覽室，可同時(shí)容納2400余人。其背后為三層書(shū)庫(kù)，每層裝置書(shū)架數(shù)十排。“建筑之壯麗，洵為全國(guó)之巨擘1）。墨菲1918年到清華學(xué)校視察圖書(shū)館工程時(shí)，對(duì)其外部比例及由紅磚形成的肌理感到滿(mǎn)意（圖1）。圖書(shū)館的內(nèi)部裝飾材料采用意大利進(jìn)口的淺灰色大理石，造價(jià)不菲，但取得了意想中的效果，墨菲贊嘆說(shuō)，“總體而言，這是我們所知建筑中最能打動(dòng)人的室內(nèi)裝飾，對(duì)我們的事務(wù)所來(lái)說(shuō)是一個(gè)巨大的成功2）（圖2）。這其中應(yīng)該包含了二層大廳墻面的整面大理石裝飾（其拼合紋樣頗似1920年代密斯的巴塞羅那館的那種效果，圖3）和大理石欄桿（圖4）。

這里的扶手均位于二層，環(huán)繞步上二層大廳的大樓梯兩側(cè)。其形態(tài)與一般在西方建筑中所見(jiàn)的欄桿并無(wú)二致，但在這樣一個(gè)圖書(shū)館大廳中，與高敞的空間和華麗的拱券相配合，同樣用大理石精心打磨而成的欄桿也烘托出莊嚴(yán)持重和富麗堂皇的空間氛圍。而且，欄桿是整個(gè)大廳空間中尺度最細(xì)小、數(shù)量最多，因而最為貼近人的建筑構(gòu)件，對(duì)“軟化”空間尺度感受發(fā)揮了關(guān)鍵作用。

圖書(shū)館一期這一歷史建筑由于建材和施工質(zhì)量一流，而且歷年來(lái)維護(hù)得當(dāng)，使清華園里多了一處純正的西方古典樣式的建筑，其室內(nèi)裝飾尤其可觀。

2018年暑假小學(xué)期我們組織了對(duì)清華老生物學(xué)館的測(cè)繪。老生物學(xué)館是我國(guó)第一代建筑師楊廷寶先生設(shè)計(jì)、1931年建成的教學(xué)樓，是1930年代清華的新“四大工程”之一。

關(guān)于“扶手”“欄桿”，這次測(cè)繪過(guò)程中有兩點(diǎn)值得注意。一是室內(nèi)兩部樓梯的欄桿上，用鑄鐵做成了豎向的水波圖案，每組3條。同時(shí)，在樓梯相對(duì)的墻面上還用與扶手等高的石材做墻裙，取得裝飾上的呼應(yīng)。3條水波紋的圖案后來(lái)被提取出來(lái)，用在建筑外部窗洞的附加防盜網(wǎng)上（圖5）。第二是屋頂女兒墻的裝飾。楊廷寶原先裝飾藝術(shù)風(fēng)格的正立面（北立面）頂部裝飾經(jīng)過(guò)地震、風(fēng)化等原因已脫落損毀，2014年學(xué)?；ㄌ幹匦拊撎幑こ虝r(shí)，參比原設(shè)計(jì)圖（圖6），采用有機(jī)玻璃鋼為材料仿制原設(shè)計(jì)的裝飾圖案（但在正面女像雕塑上有所簡(jiǎn)化），經(jīng)濟(jì)實(shí)用。這些在立面上的垂直線(xiàn)條的裝飾面實(shí)際上也起到女兒墻的作用，圍護(hù)著頂層平臺(tái)空間（圖7）?！?/p>

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 生物學(xué)館一層窗戶(hù)外觀（攝影：劉亦師）

6 生物學(xué)館立面渲染圖，1929年（圖片來(lái)源：張復(fù)合教授提供）

7 頂層平臺(tái)所照新建的玻璃鋼裝飾背面（攝影：劉亦師）

注釋

1）《清華周刊·本校十周年紀(jì)念號(hào)》, 1921: 學(xué)校方面，41.

2）墨菲致理查德·丹納信（1918年6月2日），從北京返回漢口途中。詳劉亦師.墨菲檔案之清華早期建設(shè)史料匯論.建筑史（第34輯）. 北京：清華大學(xué)出版社，2014:164-186.

范路：請(qǐng)從上述視角出發(fā)，分析讓自己印象深刻的一座建筑的扶手設(shè)計(jì)。另請(qǐng)結(jié)合自己的建筑實(shí)踐或設(shè)計(jì)教學(xué)，介紹一次具有挑戰(zhàn)性的扶手設(shè)計(jì)。

張昕楠：除卻地面，扶手是建筑中與人的觸覺(jué)發(fā)生直接關(guān)系的要素。引導(dǎo)、感知、邊界、形式，上述詞匯都可以作為扶手設(shè)計(jì)的關(guān)鍵詞。一方面，“不得不設(shè)置”的扶手可以成為表現(xiàn)甚至強(qiáng)化建筑形式雕塑化語(yǔ)言的方式，這樣的設(shè)計(jì)在貝聿銘的作品中屢見(jiàn)不鮮（圖1）；另一方面，扶手本身也可以成為回應(yīng)身體行為和意識(shí)知覺(jué)的媒介。以開(kāi)門(mén)這個(gè)動(dòng)作為例，“推”與“拉”既是受力狀態(tài)的不同，同時(shí)也暗含了在“推”或“拉”之后，為進(jìn)入者預(yù)設(shè)的心理預(yù)期——“直接”抑或“謹(jǐn)慎”的進(jìn)入一個(gè)空間。在中村拓志設(shè)計(jì)的狹山森林小教堂中，門(mén)的扶手設(shè)計(jì)以看似相同的材料、形式語(yǔ)言，然而在其構(gòu)造方式和形態(tài)上敏感的回應(yīng)了不同的“推”與“拉”動(dòng)作——無(wú)論推或拉，手均接觸到木制的部分；木制部分的角度也巧妙的回應(yīng)了“推”與“拉”的受力方向（圖2）。

令筆者印象最為深刻的一處扶手，是卡洛·斯卡帕為斯坦帕尼亞基金會(huì)入口橋上那精致的充滿(mǎn)了細(xì)節(jié)和材料感知的設(shè)計(jì)（圖3）。木制欄桿的盡端，銅質(zhì)的構(gòu)件預(yù)示著欄桿的結(jié)束，同時(shí)也保證了木質(zhì)最易被損毀的這個(gè)部位（盡端結(jié)束處）的延年性，材料和形式的反差帶來(lái)視覺(jué)和觸覺(jué)上的豐富感應(yīng)（圖4），這種節(jié)點(diǎn)方式也暗示出威尼斯造船技術(shù)中節(jié)點(diǎn)的處理方法和18世紀(jì)貴族家具連接的處理方式；兩種材料的質(zhì)感，無(wú)論在形式上、更在經(jīng)歷者手拂過(guò)的過(guò)程中提示著上升與平走的動(dòng)作轉(zhuǎn)折。這樣的設(shè)計(jì)方式，使得不同材質(zhì)相匯、交迭而沒(méi)有任何特性的損失，而且以不同質(zhì)感的對(duì)比強(qiáng)調(diào)出各自的材料、形式特性?！?/p>

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）

1-4攝影：張昕楠/Photos: ZHANG Xinnan