呂德·布勞韋斯/Ruud Brouwers

戴安娜·貝福德 荷譯英/Translated from Dutch by Dianna Beaufort

徐知蘭 英譯中/Translated from English by XU Zhilan

1980年代，荷蘭新建建筑的規(guī)模發(fā)生了突變。大學(xué)的醫(yī)療中心、教育機(jī)構(gòu)、政府部門、辦公大樓、甚至住宅樓——或住宅綜合體的建設(shè)規(guī)模突飛猛進(jìn)，超過(guò)了歷史上的同類建筑。顯然，在此之前的所有項(xiàng)目都受制于經(jīng)濟(jì)因素。人們產(chǎn)生了對(duì)空間的新渴望。在經(jīng)歷了1970年的典型小規(guī)模城市開(kāi)發(fā)之后，常常有更多復(fù)興住宅區(qū)活力的項(xiàng)目——而不是大規(guī)模的城市更新建設(shè)項(xiàng)目——再次成為時(shí)興的主流。這些項(xiàng)目和傳統(tǒng)的城市空間格格不入，所以通常建在郊區(qū)，也因此拉近了不同城市之間的距離。

誕生于1980年代建設(shè)規(guī)模增長(zhǎng)期間的建筑，可以稱為“中庸的功能主義”——它們既難以用后現(xiàn)代主義巔峰時(shí)期的顯著特征來(lái)描述，也沒(méi)有與之相對(duì)應(yīng)且顯而易見(jiàn)的新現(xiàn)代主義高潮。其中一例是由赫爾曼·赫茲伯格于1979年設(shè)計(jì)、1990年才建成的海牙社會(huì)部大樓（可容納2000名辦公人員）。這位建筑師把它的空間組織方式稱為“結(jié)構(gòu)主義”。目前，該部門已搬遷至一處新址，大樓正在接受檢測(cè)評(píng)估。宏大的建筑結(jié)構(gòu)讓它具有良好的適應(yīng)性，為新的使用目的設(shè)置的不同功能和空間分隔都很容易實(shí)現(xiàn)。在參加這座建筑改造為建筑綜合體的項(xiàng)目過(guò)程中，總建筑師本人也充分說(shuō)明了“結(jié)構(gòu)主義”所具有的極大靈活性。

赫爾曼·赫茲伯格早已在烏得勒支城市中心完成了一項(xiàng)建筑結(jié)構(gòu)改造的項(xiàng)目——他把自己因聲樂(lè)效果、中央舞臺(tái)和自然采光而廣受贊譽(yù)、聲名卓著的弗雷登堡音樂(lè)廳，通過(guò)巧思秒想的結(jié)構(gòu)主義改造為一座規(guī)模遠(yuǎn)超原狀的建筑物。這座現(xiàn)在命名為蒂沃利·弗雷登堡的音樂(lè)中心有一座類似城市廣場(chǎng)的門廳（即原先的主廳）和若干由不同建筑師設(shè)計(jì)的小廳。除古典音樂(lè)外，人們還能在此欣賞到流行音樂(lè)和爵士樂(lè)。

盡管在2008年全球金融危機(jī)發(fā)生之后，建設(shè)項(xiàng)目遭遇了暫時(shí)的停滯，荷蘭突然投入大規(guī)模開(kāi)發(fā)建設(shè)的趨勢(shì)卻仍未停止，且事實(shí)上還在穩(wěn)步增長(zhǎng)。在此期間，為了引進(jìn)國(guó)際高速列車的運(yùn)營(yíng)，已經(jīng)建成幾座新的火車站，一些舊火車站也已徹底翻新。而在城市之間空曠的廣袤土地上則佇立起新的物流配送中心規(guī)模龐大的倉(cāng)庫(kù)大樓，它們反映了近來(lái)網(wǎng)絡(luò)銷售的契機(jī)、自助購(gòu)物與親自動(dòng)手裝配產(chǎn)業(yè)的業(yè)績(jī)?cè)鲩L(zhǎng)。

1 鋼柱，鹿特丹中央火車站，CS團(tuán)隊(duì)設(shè)計(jì)（West 8, 本特姆–克勞威爾建筑事務(wù)所，MVSA邁耶·恩·凡·斯霍滕事務(wù)所/MVSA Meyer en van Schooten Architecten），2013/Steel columns, Rotterdam Central, Rotterdam, 2013, Team CS(West 8, Benthem Crouwel Architects, MVSA Meyer en van Schooten Architecten，圖片來(lái)源/Source: https://www.archdaily.com/447649/rotterdam-centraal-team-cs ）

盡管雷姆·庫(kù)哈斯可能是荷蘭最著名的建筑師，但本特姆–克勞威爾建筑事務(wù)所的簡(jiǎn)·本特姆通過(guò)他設(shè)計(jì)的公共建筑從建筑層面塑造了荷蘭——他在這方面的貢獻(xiàn)比庫(kù)哈斯更勝一籌。

In the 1980s there was an abrupt change in the scale of new buildings in the Netherlands. University medical centres, educational institutions, ministries,offices and even residential buildings – or residential complexes – were suddenly being built bigger,outsising the generation of buildings previously erected. Apparently, everything had been in a squeeze before. There was new hunger for space.After the small-scale urban development that typified the 1970s, usually more neighbourhood rejuvenation than urban regeneration, large-scale buildings became fashionable again. These didn't fit well with the traditional city, so they were often built on the outskirts, and as a consequence, cities grew ever closer together.

The architecture that emerged from the upscaling of the 1980s might be called middle-ofthe-road functionalism: non-descript with a few postmodernist peaks or, as a reaction to these,some distinctly neo-modernist heights. An example of this is the Hague's Ministry of Social Affairs(for 2000 office workers) by architect Herman Hertzberger, completed in 1990, after initial designs began in 1979. It was a configuration of spaces which the architect called a Structuralist building.Now that the ministry has moved to a new location,the building is being put to the test. The immense structure lends itself well to adaptation, in which different configurations and divisions for new uses can be achieved without too much trouble. The master builder himself is able to demonstrate that Structuralism encompasses great flexibility, for he is involved with the conversion into a residential complex.

In the city centre of Utrecht Herman Hertzberger has already achieved a re-structuring: he has woven his acclaimed concert hall Vredenburg – lauded for its acoustics, centrally-positioned stage and daylighting – into a much bigger building through artful Structuralism. Now called TivoliVredenburg, the music venue has an entrance hall (the original main hall) that feels like an urban square and several different halls, designed by different architects,where pop and jazz are now enjoyed in addition to classical music.

The plunge into large-scale development has not ceased, and in fact, has steadily grown, despite the temporary stagnation in building projects following the 2008 global financial crisis. In the meantime,several large new railway stations have been built or thoroughly renovated for international high-speed trains. And in the spaces left over between cities,new distribution centres have given rise to gigantic warehouses, a response to the increased online shopping opportunities and the self-service and DIY industries.

2 阿姆斯特丹G-Star Raw 總部大樓，OMA設(shè)計(jì)，2014/G-Star Raw HQ, Amsterdam, OMA, 2014 （圖片來(lái)源/Source:http://oma.eu/projects/g-star-raw-headquarters）

Rem Koolhaas might be the most famous architect of the Netherlands, but Jan Benthem of Benthem Crouwel Architects shapes the Netherlands architecturally – through his public buildings – more so than Koolhaas does. Benthem's oeuvre to date includes parts of Amsterdam's Schiphol Airport (most notably its train station),the central train stations of Rotterdam and The Hague, all the metro stations of the new North-South Line in Amsterdam, and the datacentre Equinix AM4 at Amsterdam's Science Park, a building that houses "the cloud" – without windows but with a superb skin. The cathedral space of Amsterdam Centraal's metro station and the strong and graceful steel columns of Rotterdam Centraal endorse the comfort and efficiency characterised by Dutch architecture.

Of course, OMA certainly isn't lagging behind Benthem in terms of productivity. The G-Star RAW Head Office in Amsterdam – big transparent boxes set in a frame – gives the Ringweg A9 an international flare, more than other buildings here.The OMA oeuvre continues to expand in Rotterdam itself. After the high-rises of De Rotterdam,came the Municipal Office Timmerhuis. This new complex, which includes a pedestrian throughway,a municipal service point, a city museum and apartments, introduces some breathing space to the concrete jungle of Rotterdam's city centre.In doing so, it also becomes representative of openness and transparency in the work of governing authorities. In another project, OMA's Ellen van Loon opened up the glass-encased office blocks of Jan Hoogstad's Ministry of Housing in The Hague, inviting in urban life and creating passageways through. A mere 20% of the original building was demolished and 99.7% of the materials were re-used for renovation.

本特姆–克勞威爾建筑事務(wù)所迄今為止的全部作品包括阿姆斯特丹史基浦機(jī)場(chǎng)的部分空間（其中火車站最引人注目）、鹿特丹和海牙的中央火車站、阿姆斯特丹新南北線上所有的地鐵站、以及阿姆斯特丹科學(xué)園區(qū)內(nèi)Equinix數(shù)據(jù)公司的AM4數(shù)字中心——他們的“計(jì)算云”就裝在這座沒(méi)有窗戶、只有表皮的建筑里。阿姆斯特丹中央地鐵站的大教堂空間和鹿特丹中央地鐵站內(nèi)部堅(jiān)固而優(yōu)雅的鋼柱則充分體現(xiàn)了荷蘭建筑舒適而高效的特點(diǎn)。

當(dāng)然，OMA建筑事務(wù)所在生產(chǎn)力方面確實(shí)毫不遜于本特姆的建筑事務(wù)所。荷蘭頂尖牛仔服飾品牌G-Star RAW位于阿姆斯特丹的總部大樓采用了在方框體塊中設(shè)置若干體量龐大的透明方盒的形式——相比起同區(qū)域內(nèi)的其他建筑，這座建筑讓A9環(huán)城公路閃耀著更多國(guó)際化的光芒。OMA建筑事務(wù)所在鹿特丹的建成作品還在不斷累積。繼“鹿特丹大廈”之后，他們又建成了鹿特丹地方政府大樓“提默胡斯”。這座新的建筑綜合體中包含一座人行天橋、一處市政服務(wù)設(shè)施、一座城市博物館及一些住宅公寓，為鹿特丹市中心擁擠的水泥森林引入了讓人得以喘息的空間。它也由此成為政府機(jī)構(gòu)大樓開(kāi)放與透明的代表。OMA建筑事務(wù)所的埃倫·范隆在另一個(gè)項(xiàng)目里把揚(yáng)·霍格斯塔德設(shè)計(jì)的由玻璃幕墻圍合形成的海牙住房部辦公樓打開(kāi)了一部分，在其中引入城市生活，并新建了可以穿越大樓的人行道。項(xiàng)目約有20%的舊建筑部分被拆除，其中99.7%的材料都在改造更新的過(guò)程中得到再利用。

在目前正使荷蘭面貌發(fā)生變化的建筑學(xué)轉(zhuǎn)變中，有很大一部分和改造更新與再開(kāi)發(fā)項(xiàng)目相關(guān)。拆毀舊建筑有悖于可持續(xù)發(fā)展的原則。理性決策占據(jù)了所有這些建設(shè)和轉(zhuǎn)變過(guò)程的核心位置，但同樣顯而易見(jiàn)的是，1980年代乏味的功能主義現(xiàn)已讓位于細(xì)致精巧的設(shè)計(jì)。一座建筑只有通過(guò)令人怦然心動(dòng)的形式表達(dá)其功能時(shí)，才可以被認(rèn)為是真正的功能主義。

卡恩建筑事務(wù)所設(shè)計(jì)的新阿姆斯特丹法院就是一個(gè)恰如其分的例子。這座可容納近200名法官的大樓位于澤伊達(dá)斯地區(qū)，正處于建設(shè)過(guò)程中；這片新規(guī)劃建設(shè)的商務(wù)區(qū)正逐漸成為國(guó)際港，而建筑師蜂擁至此發(fā)表他們的建筑宣言。這座法院大樓以其不容質(zhì)疑的建筑形式，表現(xiàn)和承載了憲政民主的運(yùn)作要素。在營(yíng)造出典型的友好公共空間的同時(shí)，它也是一座莊嚴(yán)的憲政機(jī)構(gòu)。這座建筑表達(dá)了法學(xué)的公共屬性，也因此表現(xiàn)出它固有的權(quán)威性。

可以說(shuō)，它充分體現(xiàn)出了表現(xiàn)功能主義的精髓。而卡恩建筑事務(wù)所在蒂爾堡大學(xué)新建的立方體建筑則為350名學(xué)生提供了學(xué)習(xí)空間，其中貫穿建筑結(jié)構(gòu)的各種視線則把大樓的使用者和他們周邊的校園景觀環(huán)境聯(lián)系起來(lái)。在海牙新建的最高法院建筑中，建筑面向城市敞開(kāi)，并同時(shí)保持了履行法律程序所必要的謹(jǐn)慎姿態(tài)。新擴(kuò)建的阿姆斯特丹史基浦機(jī)場(chǎng)樞紐站計(jì)劃將于2020年建成；和許多其他的機(jī)場(chǎng)不同的是，在這里，無(wú)論出發(fā)還是到達(dá)的乘客都享有同樣寬敞的空間。機(jī)場(chǎng)大廳顯得非常親切友好，各類安檢程序都設(shè)置在舒適宜人的公共空間里，不僅綠蔭環(huán)繞、陽(yáng)光明媚，還能欣賞到荷蘭開(kāi)闊的天空。

這類功能主義的設(shè)計(jì)存在某種矛盾之處，因?yàn)樗鼈兪孢m的空間和清晰的表達(dá)形式是通過(guò)對(duì)嚴(yán)格功能設(shè)計(jì)手法的超越才實(shí)現(xiàn)的。在面對(duì)設(shè)計(jì)挑戰(zhàn)的最初時(shí)刻，首先提出的問(wèn)題是怎樣能豐富周邊環(huán)境和建筑使用者的日常體驗(yàn)，并同時(shí)為從甲地點(diǎn)移動(dòng)到乙地點(diǎn)的使用者提供唯一高效可靠的路線。毫不夸張地說(shuō)，這是一種略帶詩(shī)意的功能主義。這種點(diǎn)到為止的詩(shī)意幾乎不能稱之為純粹的功能主義，卻確實(shí)緩沖和安撫了人們對(duì)日常功能的實(shí)際體驗(yàn)。

同時(shí)結(jié)合實(shí)用性與愉悅感體驗(yàn)的手法也是建筑師保羅·德勒伊特的專長(zhǎng)，他不僅通過(guò)設(shè)計(jì)滿足使用者的需求，也滿足了長(zhǎng)遠(yuǎn)的可持續(xù)發(fā)展要求?？梢赃@么說(shuō)，可持續(xù)發(fā)展的建筑實(shí)踐是他的天賦所在。這也是其他建筑師經(jīng)常邀請(qǐng)他參與項(xiàng)目的原因。他自己已經(jīng)完成了許多令人印象深刻的作品，包括位于阿姆斯特丹、烏得勒支、阿納姆、海牙和布雷達(dá)的住宅樓和塔樓，其中一些已經(jīng)建成，另一些則沒(méi)有。位于鹿特丹伊拉斯謨大學(xué)伍德斯坦校區(qū)的波拉克樓是一個(gè)能體現(xiàn)其設(shè)計(jì)哲學(xué)的典型案例。

由于委托任務(wù)也包含室內(nèi)設(shè)計(jì)，德勒伊特因此建成了一座整體統(tǒng)一且高度可持續(xù)運(yùn)營(yíng)的建筑。這是一座同時(shí)為校園內(nèi)部和外部世界分享知識(shí)而設(shè)計(jì)的開(kāi)放結(jié)構(gòu)大樓。演講廳設(shè)置在地下室，樓上是討論教室，個(gè)人自習(xí)室則在更高的樓層——空間自下而上從喧囂忙碌變得沉默靜謐。中庭有兩部螺旋樓梯銜接各處空間。整個(gè)玻璃立面上的垂直遮陽(yáng)板根據(jù)風(fēng)向和陽(yáng)光直射角度進(jìn)行設(shè)計(jì)，以保證室內(nèi)空氣流通。建筑不需要機(jī)械通風(fēng)，也不需要白天的人工照明。

然而，并不是每座新建筑或改造的建筑都令人賞心悅目。就像任何其他專業(yè)一樣，在荷蘭也有一些項(xiàng)目對(duì)技術(shù)掌握的不那么嫻熟，更不是所有的任務(wù)書都激動(dòng)人心或充滿挑戰(zhàn)。但是在荷蘭，人們非常傾向于選擇有能力滿足各式各樣項(xiàng)目需求的建筑師。金融危機(jī)之后，緊隨其來(lái)的是小規(guī)模青年建筑師事務(wù)所的增長(zhǎng)。在設(shè)計(jì)任務(wù)縮水之際，許多公司不得不裁減半數(shù)以上的員工。一些失業(yè)的建筑師——其中許多都是年輕人——抓緊獨(dú)立開(kāi)業(yè)的稻草，成立了他們自己的事務(wù)所。和全球其他地區(qū)一樣，這些青年建筑師正生機(jī)勃勃、充滿活力地為建筑行業(yè)貢獻(xiàn)有生力量，并表現(xiàn)出風(fēng)格多樣、百花齊放的態(tài)勢(shì)。

不得不說(shuō)，這代年輕的先鋒建筑師幾乎不會(huì)投入任何時(shí)間或精力去拆除已建成的建筑項(xiàng)目。他們只是有意忽略這個(gè)問(wèn)題，而直接聚焦于戰(zhàn)略重建的規(guī)則；他們同時(shí)也信心百倍地面對(duì)社會(huì)問(wèn)題，并以此作為靈感的來(lái)源。在這一背景下，一群才華橫溢的青年建筑師完成了位于海牙西南部一處新社區(qū)——伊拉斯謨場(chǎng)試驗(yàn)花園的一系列建筑項(xiàng)目。伊拉斯謨場(chǎng)的項(xiàng)目是基建基金地產(chǎn)開(kāi)發(fā)公司（BPD）的一項(xiàng)宏大的“人居環(huán)境”規(guī)劃項(xiàng)目，旨在把可持續(xù)的生活方式推向新的高度。

當(dāng)代的青年建筑師經(jīng)常組成團(tuán)隊(duì)共同參與項(xiàng)目，和樂(lè)隊(duì)頗有幾分相似。英格里德·范德海登、揚(yáng)·萊賓克、里克·范圖薩特、以及赫特·奎克鮑姆和許多其他伙伴共同成立了公共建筑團(tuán)隊(duì)，主要關(guān)注“建筑學(xué)的公共側(cè)面、市民文化及公共空間”?？缩U姆，作為一位哲學(xué)家和建筑師，曾獲得2017年度的杰出青年獎(jiǎng)（ARC17）。這群建筑師和呂貝爾斯景觀設(shè)計(jì)和城市規(guī)劃事務(wù)所一起為伊拉斯謨場(chǎng)設(shè)計(jì)了完整的城市兼綠地景觀，該項(xiàng)目目前正在建設(shè)中，并被人們譽(yù)為“城市群落生態(tài)棲居地”。

據(jù)公共建筑團(tuán)隊(duì)的建筑師們宣稱，這是“新形式的都市主義，在這里，景觀是都市，都市也是景觀”。安裝了蓄水池屋頂?shù)慕ㄖ驼由参镞^(guò)濾裝置的景觀設(shè)施形成了封閉的水循環(huán)系統(tǒng)。種植立面和屋頂、以及寬敞的露臺(tái)和陽(yáng)臺(tái)將室內(nèi)外融為一體，陽(yáng)光、空氣、供暖和制冷都得到了妥善的設(shè)計(jì)和安置。高度大于樹(shù)冠頂端的公寓還擁有冬季花園。項(xiàng)目運(yùn)用了所有“近零能耗建筑”模板（NZEBs）、“零能源消費(fèi)”（NOM）或能源平衡計(jì)量方式的設(shè)計(jì)原則。

工作在伊拉斯謨場(chǎng)另一個(gè)地段的工作坊建筑師事務(wù)所則由3位青年建筑師構(gòu)成，他們分別是阿爾德·霍斯伯根、米拉德·帕萊什和伊瓦爾·范德茲萬(wàn)。他們把自己的實(shí)踐描述為手工藝的實(shí)驗(yàn)室。他們目前在建的項(xiàng)目是一個(gè)包含有108套公寓、101個(gè)車位和5處集體功能空間的住宅項(xiàng)目。建筑結(jié)構(gòu)以各種方式彼此疊壓，并種有綠植，猶如層層疊退的臺(tái)地山坡。這個(gè)3人小組聘用了一個(gè)擁有來(lái)自不同專業(yè)人才的咨詢團(tuán)隊(duì)，為其商業(yè)運(yùn)營(yíng)保駕護(hù)航。對(duì)環(huán)境和使用者都很慷慨大方，無(wú)論對(duì)歷史還是未來(lái)都一視同仁地予以尊重，以及建筑體塊在所有方向上層疊堆積——都是這個(gè)工作室建筑事務(wù)所建筑實(shí)踐的重要推動(dòng)因素。從伊拉斯謨場(chǎng)的項(xiàng)目開(kāi)始，他們就經(jīng)常和OTO景觀設(shè)計(jì)事務(wù)所、福勒克斯景觀事務(wù)所和馬克羅·布魯克曼都市主義設(shè)計(jì)公司展開(kāi)合作。

A large part of the architectural metamorphosis that is currently changing the Netherlands has to do with renovations and redevelopment. Demolition works against the principles of sustainability.Rational decision making is at the heart of all those buildings and conversions, but it's also clear that the dull functionalism of the 1980s has given way for some refinement. A building is only really considered functionalist when its architectural form expresses its functionality in an engaging way.

The new Amsterdam Courthouse by KAAN Architecten is an apt example of this. Soon to house 200 judges, the building is under construction in Zuidas, the new business district in the making where well-known architects are jockeying in a sea of architectural statements. Therfore this district is becoming an international hub. In eloquent architectural form, the Courthouse showcases and underpins the working elements of a constitutional democracy. It offers a typically inviting public space while also being a distinguished institution. The building expresses the public nature of jurisprudence and the subsequent authority inherent this.

It is fair to say that the masters of expressive functionalism are at work here. Consider their new building at Tilburg University, the Cube, with 350 student study spaces and sightlines through the structure connecting users with the surrounding landscape of the campus. And the new Supreme Court building in The Hague is presenting an open face to the city while also ensuring the discretion necessary for due processes. In the new outstretched terminal of Amsterdam Airport Schiphol,to be completed in 2020, passengers arriving and departing are treated in the equally expansive spaces, unlike many other airports. The halls are welcoming and security protocols are ensconced in pleasant public spaces with much greenery, daylight and views of the big Dutch skies.

There is a contradiction of sorts in this kind of functionalism, because the comfort and achieved articulacy is actually resulted by transcending a strictly functional approach. At the very beginning of a design challenge, the question is posed of how to add to the environment and to daily user experiences, while simultaneously creating a single,efficient and practical solution for moving users from A to B. Without any desire of exaggeration, it's a kind of functionalism that has a touch of poetry.This touch can hardly be called purely functionalist,but it does cushion and caress the practical experience of everyday use.

Combining practicality with pleasant experiences is also a specialty of architect Paul de Ruiter, serving through his designs not only end users, but also meeting the far-reaching demands of sustainability. Sustainable building practices are in his genes, so to speak. That's why other architects often invite him onto their projects. He has built an impressive oeuvre already on his own, including residential buildings and towers, whether completed or under construction, in Amsterdam, Utrecht,Arnhem, The Hague and Breda. The Polak Building on the Woudenstein Campus of Erasmus University in Rotterdam is exemplary for his design philosophy.

De Ruiter was able to design a totally integrated and super-sustainable building because the whole interior was included in the commission. It is an open structure built for the sharing of knowledge,both within the university and with the world beyond. The lecture halls are situated in the base,with group spaces above and individual study spaces above that – from the hustle and bustle below to silence above. Two spiral staircases in the atrium connect the areas. Vertical louvres on the entirely glazed facades, positioned according to the winds and angles of the sun, ensure air circulation.Mechanical ventilation is unnecessary, neither is artificial light during the day.

Not every new or innovative building a joy to behold. Like in any other profession, there are those with lesser skills, in the Netherlands as well. And not all briefs are equally inspiring or challenging.Nonetheless, the Netherlands has a strong selection of capable architects who are able to meet the needs of a diverse range of projects. On the heels of the financial crisis, the number of small, young architectural firms grew. When commissioned work evaporated, a lot of firms had to let more than half of their personnel go. Some jobless architects–many of them were young – took refuge in selfemployment, setting up their own independent practices. They now contribute to the field in invigorating ways, representing stylistic diversity as elsewhere in the world.

It must be said that the vanguard of this younger generation spend very little time and energy on taking down the establishment. They simply look past it and focus on the discipline of strategic acquisition, while also embracing social issues and using them as inspiration – with conviction. In this context a bevy of talented young architects have made their way into the various building projects of Proeftuin Erasmusveld, a new neighbourhood southwest of The Hague. Erasmusveld is an ambitious"environment for living" by Bouwfonds Property Development (BPD) that will raise sustainable living to new heights.

Young architects today often operate in groups,not unlike music bands. Ingrid van der Heijden, Jan Lebbink, Rick van Doeschate and Gert Kwekkeboom have joined forces with a number of colleagues to form Civic Public Architecture, with the strapline The Public Face of Architecture, Civic Culture and Public Spaces. Kwekkeboom, a philosopher as well as an architect, won the Young Talent Award 2017 (ARC17). This group, in collaboration with Lubbers Landscape Architects and Urban Planners,designed an integrated urban/green landscape for Erasmusveld which is now under construction and known as a "Stadsbiotoop" or urban biotope.

According to the architects of Civic, it is "a new form of urbanism in which the landscape acts as a city and the city as a landscape". Buildings with reservoir roofs and a landscape with helophyte filters close the water system. The green facades and roofs connect the interior with the outdoors, as do all the spacious patios and balconies, and the light, air, heat and cold are regulated. The apartments above the treetops have winter gardens. All of the tenets of the"Nearly zero-energy buildings" templates (NZEBs)and the "nul-op-de-metre"(NOM), or energy-neutral metre, were applied.

3 伊拉斯謨?cè)囼?yàn)花園項(xiàng)目，寶豐地產(chǎn)（BPD，施工中）/New co-existence in housing, Proeftuin Erasmusveld,Den Haag, Bouwfonds Property Development (BPD, under construction, 圖片來(lái)源/Source: https://www.hetkanwel.net/2017/03/04/proeftuin-erasmusveld/)

4 伊拉斯謨?cè)囼?yàn)花園項(xiàng)目，城市群落生態(tài)棲居地，公共建筑團(tuán)隊(duì)設(shè)計(jì)（施工中）/New co-existence in housing, Stadsbiotoop Erasmusveld, Den Haag, Civic Architects (under construction)（圖片來(lái)源/Source: https://www.civicarchitects.eu/erasmusveld.html）

5 左：“修身之作”住宅，羅查-蒂伯爾建筑事務(wù)所設(shè)計(jì)，2017；右：達(dá)恩·巴克設(shè)計(jì)的“小甲”住宅，DaF建筑師事務(wù)所設(shè)計(jì)，2017/Left: Slim Fit, Almere, 2017, Rocha Tombal Architecten, Right: Tiny A, Almere, 2017, DaF-architecten（圖片來(lái)源/Source: https://www.dafarchitecten.nl/nl/daf-21/woningen/tiny-A.html）

荷蘭經(jīng)常出現(xiàn)住宅短缺的問(wèn)題，尤其是在西部地區(qū)的城市。人們不斷地遷徙到大城市，而其中的住宅存量規(guī)模卻不能與之匹配。獨(dú)居人口的數(shù)量也在增長(zhǎng)。在一些地區(qū)，他們占到了總?cè)丝跀?shù)量的1/3。而政府也把住宅問(wèn)題放手交給市場(chǎng)解決。除了需求的增長(zhǎng)之外，在一個(gè)各類信息觸手可得的數(shù)字時(shí)代，人們可以根據(jù)個(gè)人品味進(jìn)行設(shè)計(jì)和裝飾，于是人們對(duì)獨(dú)特的建筑設(shè)計(jì)也產(chǎn)生了更多的興趣，其原因是顯而易見(jiàn)的。人們寧可住在大篷車?yán)铮膊辉赶蛸?gòu)買住房而增加的支出妥協(xié)?；蛘?，他們也可以選擇住在微型房屋里。這一決定甚至可能和資金匱乏沒(méi)有任何關(guān)系，而只是受到意識(shí)形態(tài)驅(qū)動(dòng)；當(dāng)然，如果一座微型房屋能夠在能源使用方面（部分或全部）自給自足或能夠?yàn)榻】档男乔蜃龀鲐暙I(xiàn)就更是如此。

距離阿姆斯特丹不遠(yuǎn)處的阿爾梅勒是荷蘭最年輕的城市，建成時(shí)間僅有約40年，而現(xiàn)在擁有的人口數(shù)量已逾20萬(wàn)。從建立伊始，它就是當(dāng)?shù)鼐用褡约航ㄔO(shè)的城市；是他們創(chuàng)造了這座城市。這座城市由5個(gè)不同社區(qū)組成，其中有幾片區(qū)域的居民能自行決定想要什么樣的住宅形式，而不受任何強(qiáng)制條件約束。對(duì)經(jīng)濟(jì)上可承擔(dān)的小型住宅的需求推動(dòng)阿爾梅勒開(kāi)展了一場(chǎng)公開(kāi)的概念設(shè)計(jì)競(jìng)賽?！白杂缮睢惫景l(fā)出邀請(qǐng)，任何人都可以提交他們理想中的微型房屋的設(shè)計(jì)方案并在博覽會(huì)中進(jìn)行展示，只要求總建筑面積不超過(guò)50m2。

他們從245份參賽作品中選出了25個(gè)獲獎(jiǎng)作品，且迄今為止已有13個(gè)設(shè)計(jì)方案建成——這些活在一場(chǎng)永久展出的博覽會(huì)中的微型房屋數(shù)量頗為驚人，卻沒(méi)有任何一座是由“才華橫溢的青年建筑師”設(shè)計(jì)的。這些新生代的建筑師要么沒(méi)有參加競(jìng)賽，要么沒(méi)有足夠的耐心或技術(shù)完成這樣一項(xiàng)如拼圖般精巧的設(shè)計(jì)方案。只有那些專心致志、經(jīng)驗(yàn)老道的建筑師才知道怎樣在嚴(yán)苛的限制條件下進(jìn)行建筑設(shè)計(jì)。無(wú)處不在的建筑規(guī)范設(shè)定了必須滿足的標(biāo)準(zhǔn)——例如樓梯的坡度或天花板的高度。其中有兩座建成的設(shè)計(jì)作品獲得了許多獎(jiǎng)項(xiàng)。由羅查-蒂伯爾建筑事務(wù)所設(shè)計(jì)的“修身之作”是一座修長(zhǎng)的3層高住宅，能獨(dú)自矗立在田野中，或被置入在空間緊湊的市中心。其占地面積不到16.4m2。而由DaF建筑事務(wù)所達(dá)恩·巴克設(shè)計(jì)的“小甲”住宅則把荷蘭的人字形屋頂作為最便宜的住宅標(biāo)準(zhǔn)來(lái)使用。采用泡沫混凝土樓板就意味著不再需要基礎(chǔ)結(jié)構(gòu)。

當(dāng)然，荷蘭的建筑設(shè)計(jì)也存在一些“民族特征”，如傳統(tǒng)的住宅形式或?qū)徤鞯墓δ苤髁x，目前都已被囊括在各類建筑規(guī)范中。然而，如果我們要審視當(dāng)前建筑界的趨勢(shì)，就必須充分理解這是一個(gè)處于國(guó)際形勢(shì)時(shí)有變化背景下的小國(guó)家。因此，必須考慮它和邊境國(guó)家的關(guān)系及其和歐盟的關(guān)系——荷蘭顯然是歐盟的主要?jiǎng)?chuàng)始成員之一。如果一座建筑需要用公共資金來(lái)支付，那么根據(jù)歐盟的規(guī)定，就必須公開(kāi)建筑工程的設(shè)計(jì)委托過(guò)程。有幾家荷蘭公司非常擅長(zhǎng)參加歐洲的設(shè)計(jì)競(jìng)賽。位于比利時(shí)荷蘭語(yǔ)區(qū)佛蘭德斯的一些項(xiàng)目就對(duì)荷蘭建筑師分外有吸引力——兩地?zé)o論在語(yǔ)言、酬金還是地理位置方面都頗為相近。安特衛(wèi)普距離鹿特丹只有不到1小時(shí)的車程。

荷蘭建筑師或建筑業(yè)的國(guó)際化轉(zhuǎn)型在高校也已表現(xiàn)得頗為明顯。例如，代爾夫特理工大學(xué)建筑學(xué)院有2/3的學(xué)生來(lái)自海外。其中近半數(shù)來(lái)自亞洲——主要是中國(guó)——而另一半則來(lái)自其他歐洲國(guó)家。每年有近200名建筑師從代爾夫特理工大學(xué)畢業(yè)并獲得碩士學(xué)位。

荷蘭建筑界的國(guó)際化特征來(lái)源于幾位在全球擁有重要影響力的荷蘭建筑師——MVRDV的維尼·馬斯，UNStudio的本·范貝克爾、Mecanoo事務(wù)所的弗朗辛·霍本，以及OMA建筑事務(wù)所的雷姆·庫(kù)哈斯。卡恩建筑師事務(wù)所的卡斯·卡恩和文森特·潘烏曾也以其跨國(guó)實(shí)踐發(fā)揮了作用，盡管其作品大多局限在歐洲和巴西。而許多著名的公司——尤其是大型企業(yè)——也從全球招募聘用人才。這些“熔爐”的產(chǎn)生，無(wú)獨(dú)有偶，都是因?yàn)樵S多荷蘭公司有一半甚至一半以上的業(yè)務(wù)都來(lái)自于海外地區(qū)。

毫無(wú)疑問(wèn)，最具影響力的荷蘭建筑師正是雷姆·庫(kù)哈斯，他通過(guò)撰寫著作和設(shè)計(jì)那些直言不諱的新現(xiàn)代主義建筑項(xiàng)目獲得了其大師地位。盡管他的觀念主義確實(shí)激發(fā)了“超級(jí)荷蘭”的潮流，他本人卻對(duì)任何“荷蘭排名”都嗤之以鼻。他并不想像蝴蝶一樣被釘成標(biāo)本，納入充滿同類物種的博物館藏品之中。

《新鹿特丹及阿姆斯特丹商報(bào)》的日?qǐng)?bào)編輯貝爾納德·哈爾斯曼曾問(wèn)庫(kù)哈斯：“您已經(jīng)影響了許多荷蘭的青年建筑師，在跨世紀(jì)的時(shí)刻，他們的作品已作為‘超級(jí)荷蘭’全球聞名。您認(rèn)為自己對(duì)荷蘭的建筑產(chǎn)生了怎樣的影響？”

他以斬釘截鐵的方式回答道：“我并沒(méi)有花時(shí)間考慮產(chǎn)生怎樣影響的事情。我的腦子里沒(méi)有建筑師的家族樹(shù)?！?jí)荷蘭’是一個(gè)很好的品牌推廣策略，并且為許多荷蘭建筑師拓展了業(yè)務(wù)并帶來(lái)全球的關(guān)注。我對(duì)此沒(méi)有異議。但我從沒(méi)感覺(jué)到自己和‘超級(jí)荷蘭’有什么特殊的關(guān)系。我認(rèn)為以國(guó)家作為區(qū)別品質(zhì)或形式的分類標(biāo)準(zhǔn)荒謬可笑，尤其是在歐洲自身也正在轉(zhuǎn)型的時(shí)代。在意識(shí)形態(tài)上，我認(rèn)為自己很歐洲?！?/p>

“超級(jí)荷蘭”的旋風(fēng)——吹遍荷蘭平原的第二次現(xiàn)代主義風(fēng)潮——就這樣平息了。無(wú)論是巴特·洛茨瑪定義的概念，還是此后的主導(dǎo)意識(shí)形態(tài)都沒(méi)有失去它們的重要意義；但對(duì)理論能力更強(qiáng)的建筑師而言，它已經(jīng)在更實(shí)用主義的成果中得到了應(yīng)用，變得不那么夸張。然而似乎維尼·馬斯和他的MVRDV事務(wù)所不在此列。他正在臺(tái)中（中國(guó)臺(tái)灣地區(qū)）和世界其他地區(qū)勇敢地推進(jìn)他的概念論思想，尤其是在鹿特丹。他設(shè)計(jì)的拱廊市場(chǎng)被包裹在公寓大樓的內(nèi)部，作為創(chuàng)業(yè)活力的范例深受贊譽(yù)。這個(gè)案例也許很恰當(dāng)?shù)貭I(yíng)造出了“超級(jí)羅法”的形象。“羅法”是荷蘭人對(duì)鹿特丹的一種俗稱。更多的“超級(jí)羅法”能在目前在建的博伊曼斯·范伯寧恩美術(shù)館里找到——這是一個(gè)將會(huì)全部貼上鏡面玻璃的混凝土“碗”。所有目前存在于博物館公園的景象都會(huì)反射在立面上，所以那里仍將表現(xiàn)出一片綠蔭蒼翠的景象。

Working at another location in Erasmusveld are the group Workshop Architecten, consisting of three young architects – Ard Hoksbergen, Milad Pallesh and Ivar van der Zwan – who describe their practice as a laboratory for craftsmanship. Currently under construction is their residential project for 108 apartments with 101 parking places and 5 collective spaces. The structure is variably stepped and loaded with greenery, like a terraced hillside.The trio employ an advisory team including people from various disciplines to guide the business side of their endeavours. Generous to the environment and users, timeless with regard to the past and future, and layered in every aspect – these are the factors that drive Workshop Architecten. For the Erasmusveld project they worked together with OTO Landscape Architecture, Flux Landscape and Marco Broekman Urbanism.

There is a nearly constant housing shortage in the Netherlands, particularly in the cities of the west. People are migrating to the cities, though this isn't matched with sufficient numbers in homebuilding. The number of people living alone is also increasing. In some areas this counts for one third of the population. The government is leaving housing to the market. Add to this increasing desire, in a digital age with the access to all kinds of information, to design and furnish one's life to individual tastes, then it becomes clear why there is such greater interest in unique architectural solutions. People would rather live in a caravan than succumb to the rising expense of buying a house.Or they choose a tiny house. This may not even be due to a lack of money but be driven by ideology,certainly when a tiny house is (partly or wholly)self-sufficient in energy use and can contribute to a healthy planet.

Almere, not far from Amsterdam, is the youngest city in the Netherlands, established nearly 40 years ago and now home to a population of more than 200,000. From the beginning it has been a city built by the people living there; they make the city. At several locations in this city of five distinct neighbourhoods, residents were able to make their own choices on the kind of house they wanted, free of oppressive restrictions. The demand for small affordable homes motivated Almere to open a public competition. Bevrijd Wonen, or Free Living, invited anyone to submit designs for their ideal Tiny House with a maximum gross floor area of 50 square metres, to be presented in an Expo setting.

There were 25 winners chosen from the 245 entries, and so far 13 of those have been executed:Tiny Houses that live in a permanent Expo, none of which – remarkably enough – is by a "talented young architect". The new generation of architects didn't participate or doesn't have the patience or skills to provide a small puzzle-piece of a solution. It is the focused and experienced architects who know how to build to code within tight limitations. Building regulations everywhere stipulate standards to be met,like the slope of the stairs or the height of the ceiling.Two of the executed designs have won prizes. Slim Fit by Rocha Tombal Architecten is a slim 3-storeyed house that can stand in a field or be inserted into a compact city centre. Its footprint is no more than 16.4m2. Tiny A by Daan Bakker of DaF-architecten took the Dutch gabled roof as the cheapest standard for a house. The foam concrete floor plate means no further foundations are needed.

Of course there are some "national characteristics"in Dutch architectural design, like traditional housing forms or sober functionalism, now encoded in building regulations. Yet if we look at the state of current architecture, it must be understood that this is a small country in which international exchange is common. Relationships cross borders, aided by the European Union – the Netherlands notably being one of the founding members. If a building is going to be paid for with public funds, EU rules require the commission for architectural services to be put out to public tender. Several Dutch firms specialise in participating in European design competitions.Projects in Flanders, the Dutch-speaking region of Belgium, are particularly attractive to Dutch architects: for the language, the fees paid and, of course, the proximity. Antwerp is only an hour's drive from Rotterdam.

The international orientation of Dutch architects/architecture is already in evidence at the university. Two-thirds of students at the Faculty of Architecture of Delft University, for example,come from abroad. Half of these are from Asia –predominantly China – and the other half from various European countries. Some 200 architects graduate with a Master's degree from Delft University every year.

The international character of architecture in the Netherlands is also due to the fact that several Dutch architects play a role in the global arena:Winnie Maas with MVRDV, Ben van Berkel with UNStudio, Francine Houben with Mecanoo and Rem Koolhaas with OMA. Kees Kaan and Vincent Panhuysen of KAAN Architecten are also players,though their global practice is, as yet, limited to Europe and Brazil. The famous firms, and also the big ones, employ colleagues from all over the world.These melting pots don't happen, not coincidentally,because plenty of Dutch firms get half or more of their assignments from abroad.

Undoubtedly, the most influential Dutch architect is Rem Koolhaas, who has secured his position through books and buildings that bear witness to outspoken Neo-Modernism. While his conceptualism certainly fired up the Super Dutch trend, he balks at any placement in the "Dutch ranks". He doesn't want to be pinned like a butterfly into a museum collection full of the same species.

Bernard Hulsman, editor of the daily newspaperNRC Handelsblad, asked Koolhaas: "You have influenced a lot of young Dutch architects,their work became world famous as Super Dutch at the turn of the millennium. What's your take on your influence on Dutch architecture?". His reply,in no uncertain terms, was: "I don't spend any time thinking about influences. There's no family tree of architects in my head. Super Dutch was good branding and gave a lot of Dutch architects work and worldwide attention. I don't have a problem with that. But I've never felt particularly connected to Super Dutch. I think nationality as a quality or form of categorisation is absurd especially at a time when Europe is transforming itself into something new. Ideologically, I feel European."

6 代芬特爾市政廳，諾特靈·里代克建筑師事務(wù)所設(shè)計(jì)，2016/Deventer City Hall, Deventer, 2016, Neuteings Riedijk Architecten（圖片來(lái)源/Source: https://www.neutelings-riedijk.com/cityhall-deventer）

7 阿姆斯特丹翁斯運(yùn)河博物館，菲利克斯·克勞斯-迪克·范·瓦格寧根建筑事務(wù)所設(shè)計(jì)，2015/Museum Ons' Lieve Heer op Solder, Amsterdam, Felix Claus Dick van Eageningen Architecten,2015（圖片來(lái)源/Source: http://www.clausvanwageningen.nl/en/museum-ons-lieve-heer-op-solder-amsterdam/1/）

似乎設(shè)計(jì)競(jìng)賽和設(shè)計(jì)采購(gòu)的文化緩和了“超級(jí)荷蘭”的銳氣。把一個(gè)概念推向極致的做法幾乎不可能中標(biāo)，所以設(shè)計(jì)理念會(huì)傾向于更有節(jié)制的做法，或至少是更現(xiàn)實(shí)和更有助于實(shí)現(xiàn)建設(shè)目標(biāo)、且能為環(huán)境所承受的設(shè)計(jì)手法。然而，這種出于獲得工作機(jī)會(huì)目的的商業(yè)化手段仍然和恭敬順從的做法截然不同，實(shí)際上，可以認(rèn)為這是一種最有助于實(shí)現(xiàn)功能的理想方式——它以一種用呈現(xiàn)出的建筑自身講述其功能的方式來(lái)進(jìn)行表現(xiàn)，建筑形式不是空洞的隱喻，而更像是令人心悅誠(chéng)服、娓娓道來(lái)的過(guò)程。

在荷蘭，到處都是歷史建筑。常常整個(gè)歷史中心、城鎮(zhèn)或村落都被列為歷史遺跡，并有專門的保護(hù)條例予以保護(hù)。它產(chǎn)生了包括從修復(fù)建筑師到建筑考古學(xué)家等的一整個(gè)專業(yè)領(lǐng)域。這些專家總是在為各種項(xiàng)目提供咨詢，卻鮮見(jiàn)他們自己拿出什么令人耳目一新或前所未有的解決方案。激動(dòng)人心的構(gòu)思總是來(lái)自于不經(jīng)常接觸建筑遺產(chǎn)的建筑師。如諾特靈-里代克建筑師事務(wù)所就是這樣。他們以建筑的表達(dá)方式久負(fù)盛名，建造了像鹿特丹航運(yùn)學(xué)院這樣的建筑，它有潛望鏡一般的造型，面朝大海矗立；還有一座代芬特爾市政廳，其中容納了所有的必要設(shè)施，并以十分微妙的方式和歷史中心的“舊城區(qū)”融為一體。擴(kuò)印在玻璃窗上的指紋圖案象征著本土社區(qū)在設(shè)計(jì)過(guò)程中的參與和共同認(rèn)可。

克勞斯–范·瓦格寧根建筑事務(wù)所的菲利克斯·克勞斯則在阿姆斯特丹舊城的歷史核心區(qū)某條小巷的街角建造了一座新的運(yùn)河建筑。它的地下室和另一座運(yùn)河建筑相連通，也就是著名的17世紀(jì)秘密教會(huì)、現(xiàn)在的閣樓教堂博物館。這座新建筑實(shí)際上是這座博物館的擴(kuò)建工程，根據(jù)其所處環(huán)境進(jìn)行了特殊的設(shè)計(jì)——它有許多和歷史上的運(yùn)河建筑相關(guān)的裝飾，卻仍表現(xiàn)為當(dāng)代的建筑形式。這個(gè)建筑事務(wù)所也負(fù)責(zé)國(guó)家軍事博物館的設(shè)計(jì)；這座博物館位于蘇斯特貝赫，依偎在一處前空軍基地場(chǎng)地上低矮的沙丘之中。相比起阿姆斯特丹的歷史建筑，它看起來(lái)更像是芝加哥的會(huì)議中心。屋頂結(jié)構(gòu)是跨度為250m×110m的鋼桁架結(jié)構(gòu)，沿著四周懸挑伸展出墻面，其中一側(cè)懸挑深達(dá)45m。室內(nèi)沒(méi)有立柱，開(kāi)闊的空間容納了各種戰(zhàn)斗機(jī)，看起來(lái)好像一組進(jìn)攻陣容。

最近建成的風(fēng)格獨(dú)特的建筑還有更多，數(shù)不勝數(shù)。它們的獨(dú)特之處或在其范圍、創(chuàng)意和精巧程度，或在其可持續(xù)的設(shè)計(jì)、概念化的表現(xiàn)和設(shè)計(jì)深度，或甚至因?yàn)樗鼈兺瑫r(shí)綜合了上述這些特點(diǎn)。阿納姆設(shè)計(jì)的劇院就是這樣的案例，阿納姆市音樂(lè)廳“樂(lè)之韻”是格爾德蘭交響樂(lè)團(tuán)的常駐音樂(lè)廳，由范東恩-科舒奇建筑和規(guī)劃設(shè)計(jì)公司設(shè)計(jì)。舞臺(tái)后面的玻璃幕墻讓觀眾能夠一覽音樂(lè)公園的美景。幕墻能夠自由伸縮打開(kāi)，讓公園也被拉進(jìn)劇院，為圍觀的游客提供觀演空間。

最后，讓我以位于布雷達(dá)的兩個(gè)表現(xiàn)功能主義的案例作為結(jié)尾，因?yàn)檫@兩座建筑毗鄰而建，且都很值得探訪。羅布·霍茨曼斯設(shè)計(jì)的法院大樓預(yù)示著這片跨越鐵軌區(qū)域的嶄新未來(lái)。這座大樓對(duì)使用者非常友好，易于普通人理解，也是對(duì)法制的歌頌。為法院工作人員和當(dāng)?shù)鼐用裨O(shè)計(jì)的公園一直延伸到供法院使用的地面停車庫(kù)位置。而法院的訪客則可以把汽車停放在候車站旁邊的一座構(gòu)筑物里，它由科恩·范·維爾森設(shè)計(jì)，跨越了鐵軌和當(dāng)?shù)氐墓卉囌?。這個(gè)建筑綜合體朝向市中心的一面由底層設(shè)置了公共便民設(shè)施的公寓樓構(gòu)成，這也是鳥(niǎo)瞰公交車站的第二個(gè)側(cè)面——而這個(gè)車站是該地區(qū)游客到達(dá)的集散點(diǎn)。這座多功能的建筑綜合體從里到外形成了許多縱橫交錯(cuò)的視線連接關(guān)系，各層都種有樹(shù)木作為點(diǎn)綴。彩色的釉面磚在磚墻內(nèi)部形成了線條和平面圖案，表現(xiàn)得好像是一座歷史建筑，經(jīng)歷了幾世紀(jì)之長(zhǎng)的翻新和修復(fù)過(guò)程。□

The Super Dutch storm – a second Modernism that blasted over the flatlands of the Netherlands –has settled. Neither the concept, as defined by Bart Lootsma, nor the subsequent guiding ideology has lost their significance, but among the more conceptual architects it's being used for more pragmatic effect.It's less inflated. It appears that Winnie Maas with his firm MVRDV is an exception. He is marching valiantly forth with conceptualism, in Taichung (Taiwan)and other places around the world, but especially in Rotterdam. His Market Hall in an envelope of apartments has been praised as an exemplar of entrepreneurial drive. It might be appropriate in this case to coin this Super Roffa. Roffa is street slang for Rotterdam. More Super Roffa can be found in the Art Depot of the Boijmans Van Beuningen Museum currently under construction: a "bowl" of concrete to be fully clad in mirrored glass. All that remains of the Museum Park will now be mirrored, so that this spot will stay green.

It seems that the culture of competitions and procurement has softened some of the sharpness of Super Dutch. Pushing a concept to its extremities rarely wins the prize, so design ideas tend to be more restrained, or at least more practical, and more supportive of the purpose of the building and the environment that is to host it. However, such a business-like approach, grounded in the acquisition of jobs, is still miles away from deferential compliance and, in fact, can be seen to facilitate the goal of optimal functionality – optimal in the sense as presented in architecture that tells the story of its functionality, and there is no hollow rhetoric, but rather a persuasive narrative in its forms.

The Netherlands is full of historic buildings.More often than not entire city centres, towns and villages have been listed and fall under the protection of specific conservation rules. This has produced a whole field of expertise, from restoration architects to building archaeologists. These experts are always consulted on projects, but rarely do they come up with surprising or unexpected solutions.Exciting ideas tend to come from architects not usually associated with built heritage. Neutelings Riedijk Architects, for example. Well-known for their architecture parlante, they have produced buildings like the Shipping and Transportation College in Rotterdam, built in the shape of a periscope facing the sea, and a City Hall with all the necessary services, subtly integrated as an "urban quarter" in the historic heart of Deventer. Enlarged fingerprints on glass squares represent the local involvement and consensus in the design.

In the historic heart of old Amsterdam Felix Claus of Felix Claus Dick van Wageningen created a new canal house on the corner of an alleyway. It is connected underground to another canal house, the famous 17th-century clandestine church, known as the Museum Ons' Lieve Heer op Zolder. The new structure, in fact a museum extension, is specifically tailored to this environment: it has many of the trappings associated with old canal houses, but still manages to present itself in a contemporary way. The same architecten was responsible for the National Military Museum, nestled into low-lying dunes on a former air base in Soesterberg. This building looks more like a convention centre in Chicago than an old building in Amsterdam. The roof is a 250-by-110-metre structure of steel trusses, projecting over its four walls – with a cantilever on one side reaching 45 metres. The interior is free of columns and the open space houses fighter jets in what looks like an offensive formation.

8 布雷達(dá)法院，保羅·德勒伊特建筑事務(wù)所，塞維爾·皮奇&卡勒斯+布蘭茲設(shè)計(jì)，2018/Courthouse, Breda, Paul de Ruiter Architects, Sevil Peach & Karres + Brands, 2018（圖片來(lái)源/Source: https://www.hootsmans.com/#courthouse-breda/1）

Many more exceptional buildings have been built recently. They are exceptional because of their scope, originality, ingenuity, sustainability,conceptual or design depth, or even because they are a combination of these, such as the case for Arnhem's theatre, Musis Sacrum, home of the Orchestra of Gelderland, which were built by Van Dongen-Koschuch Architects and Planners. The glazed wall behind the stage offers the audience a splendid view onto Musis Park. This retractable wall can be opened so that the park, is drawn into the theatre as well, making space for spectators.

Finally, since they stand next to each other and are worth a visit, let me close with two last examples of expressive functionalism in Breda. The Courthouse by Rob Hootsmans heralds the new future of the area across the tracks. It is a userfriendly building, easily understood by the general public, and an ode to the rule of law. A park for courthouse workers and local residents stretches over an above-ground parking garage for courthouse use. Visitors to the Courthouse can park next to the train station in a structure built by Koen van Velsen that arches over the tracks and regional bus station.Apartments with ground-floor public amenities define the face of the complex towards the city centre and a second face overlooks the bus station –the point of arrival for regional travellers. The multifunctional complex has horizontal and vertical sightlines throughout, and trees furnish various storeys. Glazed tiles of different colours create lines and planes within the brickwork, as though it were a structure that has undergone centuries of renovations and restorations.□