瑪利亞·保拉·雷皮里諾/Maria Paola Repellino

齊軼昳 譯/Translated by QI Yiyi

記憶和再生

欄目主持：阿爾伯托·博洛尼亞，米凱利·博尼諾，皮埃爾-阿蘭·克羅賽特

亞當(dāng)·卡魯索和彼得·圣約翰于1990年創(chuàng)立了一家英國(guó)事務(wù)所，他們?cè)O(shè)計(jì)的建筑是一種復(fù)雜的體系，能夠?qū)⑿碌囊饬x賦予與之互動(dòng)的環(huán)境。這種敏感性既可以用于全新設(shè)計(jì)的建筑物，也可以用于既有建筑的改造。從這個(gè)意義上說(shuō)，里爾酒店管理培訓(xùn)學(xué)校項(xiàng)目是該事務(wù)所設(shè)計(jì)方法的集大成者：它是一個(gè)大型的工業(yè)綜合體改造，有條件通過(guò)一系列由不同外皮處理方式構(gòu)成的開(kāi)放空間與城市環(huán)境相互作用。這種再生改造的形式與卡魯索-圣約翰建筑事務(wù)所在過(guò)去幾年所進(jìn)行的有關(guān)形式及空間的研究息息相關(guān)。事實(shí)上，他們自己也承認(rèn)，他們的設(shè)計(jì)方法從根本上超出了功能的概念，早在2004年時(shí)他們就宣稱：“我們從未試圖讓建筑的外立面清晰地展示或代表其內(nèi)部構(gòu)成”。這揭示出他們“對(duì)于內(nèi)部空間與外觀之間存在很大差異的建筑”[1]的特殊興趣。不論是在外墻使用具有特征的裝飾圖案以體現(xiàn)空間質(zhì)量，或是酒店管理培訓(xùn)學(xué)校項(xiàng)目中獨(dú)特的屋頂表面，它們都代表著一種與賴特使用裝飾相悖的設(shè)計(jì)傳統(tǒng)。事實(shí)上，卡魯索-圣約翰建筑事務(wù)所提倡將裝飾作為一種“慶祝形式”[2]17，貢布里希將其描述為“將一種模式疊加在另一種模式上的特殊情況”[2]163，它不一定是因?yàn)闃?gòu)造影響的結(jié)果：關(guān)于裝飾的概念，在中文《辭?！防飳⑵涠x為“修飾、打扮”[3]。在他們自己對(duì)空間進(jìn)行操縱的主觀過(guò)程中，卡魯索-圣約翰建筑事務(wù)所根據(jù)不同情況逐步發(fā)展出一種獨(dú)特的裝飾語(yǔ)匯，體現(xiàn)在很多方面：從印在諾丁漢當(dāng)代博物館外墻的預(yù)制混凝土構(gòu)件上的花卉圖案，到在不萊梅蘭德銀行大樓的不同編織方式，再到在里爾實(shí)驗(yàn)的一種“煉金術(shù)”（為一所學(xué)校綜合體的墻壁混凝土混合物所做的實(shí)驗(yàn)）。這是一種可能被認(rèn)為陳舊的方法，但無(wú)論如何，卡魯索-圣約翰建筑事務(wù)所所設(shè)計(jì)的形式結(jié)果都進(jìn)一步證實(shí)了它的相關(guān)性，并帶來(lái)了持續(xù)而復(fù)雜的演變。（A.B.）

Memory and Regeneration

Column Editors: Alberto Bologna, Michele Bonino, Pierre-Alain Croset

The buildings of the British studio founded by Adam Caruso and Peter St John in 1990, are sophisticated architectural devices capable of giving a new meaning to the context on which they interact. This sensitivity is expressed both on the occasion of buildings designedex novoand on the transformation of pre-existing architectures. In this sense, Lycée H?telier de Lille represents a mature synthesis of themodus operandiof the studio: a large transformed industrial complex, qualified to interact with the urban context in which it is enclosed through a sequence of open spaces shaped by different surface treatments. This intervention of regeneration is aligned with the formal and spatial research pursued by Caruso St John in the last years. In fact, by their own admission, their design approach traditionally places itself beyond the concept of function: "We have never made buildings where the fa?ades clearly show or represent their interiors", they declared in 2004,revealing already their specif i c interest in "buildings where there is a very big difference between interior quality and external appearance".[1]The spatial quality investigated through the use of decorative patternsthat characterise their fa?ades, or in the case of Lycée H?telier that is recognisable also through the surfaces of the roofs, is the result of a design tradition in contrast to the meaning of Frank Lloyd Wright's use of ornament. Caruso St John are, indeed, advocates of the decoration as a "form of celebration"[2]17described by Ernst H. Gombrich as "a special case of superimposing one pattern on another"[2]163,not necessarily as the result of a tectonic process:a concept that can be related to the meaning of decoration, that Chinese dictionaryCihaidefines as"beautif i cation, dressing up".[3]In their own subjective process of manipulation of the space, Caruso St John progressively develop, according to various circumstances, a singular decorative vocabulary, capable of many facets: from the fl oral patterns imprinted on the prefabricated concrete elements of the fa?ades of the Nottingham Contemporary Museum, to the different weavings of Bremen Landesbank building, up to the alchemies experimented in Lille for the design of the concrete mixtures of the walls of the new buildings in the school complex. An approach that might be considered old, whose formal outcomes proposed by Caruso St John confirm however its relevance and a continuous and sophisticated evolution. (A.B.)

里爾酒店管理培訓(xùn)學(xué)校項(xiàng)目建于前法孚-凱爾·巴布科克（FCB）煉鋼廠的遺址上，展示了當(dāng)代建筑如何幫助重新定義前工業(yè)區(qū)，實(shí)現(xiàn)其功能現(xiàn)代化，以及實(shí)現(xiàn)整體城區(qū)的改造。此項(xiàng)目是一項(xiàng)更加雄心勃勃計(jì)劃的第一步，該計(jì)劃旨在重新塑造一片由法國(guó)l'AUC工作室于2005年規(guī)劃的工業(yè)片區(qū)。里爾直到1970年代都是法國(guó)紡織和機(jī)械工程領(lǐng)域最重要的工業(yè)城市之一，此后該市的工業(yè)生產(chǎn)迅速下降，導(dǎo)致郊區(qū)的產(chǎn)業(yè)也不可避免地開(kāi)始放緩。

法孚-凱爾·巴布科克工廠生產(chǎn)了一些工業(yè)時(shí)代最重要的基礎(chǔ)設(shè)施，如第一臺(tái)蒸汽機(jī)、巴黎的亞歷山大三世橋、奧賽美術(shù)館的鋼架及埃菲爾鐵塔的升降機(jī)。盡管它在全盛時(shí)期雇用了8000名工人，但在2001年卻永久停產(chǎn)。10年來(lái)，盡管圍繞著工廠周圍的工人階級(jí)郊區(qū)正在發(fā)展壯大，但巨大的工業(yè)建筑仍然空無(wú)一人且無(wú)法進(jìn)入。 2011年，在獲得新酒店管理培訓(xùn)學(xué)校競(jìng)賽后，綜合體復(fù)興的其中一部分被委托給了英國(guó)卡魯索-圣約翰建筑事務(wù)所1）。這個(gè)二人組設(shè)計(jì)了一個(gè)方案，以保護(hù)和增強(qiáng)該綜合體的空間特征：其空間的形式感、層疊的桁架、統(tǒng)一的語(yǔ)言和巨大的體量。

新學(xué)校在17hm2的工業(yè)園區(qū)內(nèi)占據(jù)了一小部分，靠近住宅核心和地鐵。工廠分為一系列“大廳”，用鋼架和磚墻建造。每個(gè)“大廳”長(zhǎng)160m，寬20m，但高度不同（最多24m）。這些“大廳”沿東西方向排列，四面開(kāi)放。學(xué)校實(shí)際上只占整個(gè)區(qū)域的一部分，也包括一個(gè)靠近職工宿舍的密集網(wǎng)格的自由梯形地塊。該項(xiàng)目設(shè)想了一項(xiàng)雙重戰(zhàn)略：一些現(xiàn)有結(jié)構(gòu)將完整地進(jìn)行修復(fù)和保存，而其他結(jié)構(gòu)將被拆除，并被新建筑所取代，但新建筑仍然保留了原始建筑的形式和材料特征。這種方法傾向于強(qiáng)調(diào)工業(yè)布局的統(tǒng)一性。

學(xué)校的核心空間位于前工廠大樓區(qū)域。教學(xué)和行政區(qū)域、餐館和商店位于恢復(fù)或重建的結(jié)構(gòu)中。建筑師在自由區(qū)增加了3棟新建筑：?jiǎn)T工宿舍、學(xué)生宿舍和同時(shí)向當(dāng)?shù)鼐用耖_(kāi)放的體育館。新建筑物具有與現(xiàn)有建筑物相同的形態(tài)，就像要“完成”布局一樣。所有建筑物都根據(jù)已有的內(nèi)在關(guān)聯(lián)進(jìn)行連接;這創(chuàng)造了一個(gè)多孔的基礎(chǔ)設(shè)施，包括庭院、小徑和大的開(kāi)放或封閉空間。內(nèi)部與外部的區(qū)別僅在于屋頂，而不是其空間的大小和表面材質(zhì)。由學(xué)生作為活動(dòng)主體的公共活動(dòng)空間（餐館、面包店、甜品店、花店）位于新的有屋頂覆蓋的道路兩側(cè)，這條路穿過(guò)F7“大廳”，預(yù)示著學(xué)校的公共入口。這條路穿過(guò)F7通向F9的室內(nèi)花園——這是學(xué)校的真正核心——接著就是公共區(qū)域（食堂、會(huì)議室）。景

觀設(shè)計(jì)師帕斯卡·克里比耶為大廳選擇的桉樹(shù)營(yíng)造出一種模糊的異國(guó)情調(diào)。這些特征使項(xiàng)目具有城市特色；雖然建筑物保持了工廠原有的形式特征，但它們可以以多種不同的方式使用。

1位于修整后的廠房前的新體育館/The new gymnasium in front of the recovered factory buildings

2與建筑師合作的景觀設(shè)計(jì)師帕斯卡·克里比耶選擇了覆蓋F9“大廳”庭院的植被和鑲嵌石材/The vegetation and tessellating stone paving of the garden in halle F9 was chosen in collaboration with Pascal Cribier（1.2攝影/Photos: Hélène Binet）

3首層平面/Ground floor plan

4保留的剖面“大廳”（紅色部分）和重建的結(jié)構(gòu)（黑色部分）/Section of the preserved halles (in red) and rebuilt structures (in black)

5被庭院分隔開(kāi)的3座新建筑剖面/Section of the 3 new buildings separated by courtyards

6東立面/East elevation

像卡魯索-圣約翰建筑事務(wù)所的許多其他項(xiàng)目一樣，他們用里爾酒店管理培訓(xùn)學(xué)校的設(shè)計(jì)方法讓人更多地聯(lián)想到繪畫(huà)而不是雕塑的可塑性。這個(gè)特點(diǎn)在投標(biāo)文件中已經(jīng)表現(xiàn)的很明顯，設(shè)計(jì)師表示他們想要建立他們自己的繪畫(huà)方式。材料的性質(zhì)決定了色彩的范圍。圖案和紋理創(chuàng)建了表面。新建筑的混凝土墻在現(xiàn)場(chǎng)用斑巖片和磚塊進(jìn)行著色，然后進(jìn)行噴砂處理，以確保它們與該區(qū)域磚塊的粗糙度和顏色一致。新學(xué)校選用的色彩搭配幾乎與舊工廠相同。工業(yè)鋼結(jié)構(gòu)保持其原有顏色：支柱為藍(lán)色，橫梁為紅色，龍門起重機(jī)為黃色。這些絢麗的色彩又通過(guò)波紋屋頂，連續(xù)的外立面和水泥地板而得到增強(qiáng)。

新建筑屋頂?shù)膱D案讓人想起過(guò)去使用的釉面粘土屋頂和裝飾圖案，這些圖案使磚廠的外墻更加生動(dòng)。這種在建造領(lǐng)域關(guān)于裝飾的細(xì)致研究也激發(fā)了新的刺激點(diǎn)和研究領(lǐng)域。彼得·圣約翰總結(jié)了如何添加裝飾并使其融入建筑：“它感覺(jué)就像是我們對(duì)外墻材料持續(xù)興趣點(diǎn)的延伸。內(nèi)部裝飾除了選擇材料和構(gòu)造技術(shù)外，還包含另外一種技術(shù)來(lái)使表面獲得優(yōu)美的紋理。”[1]

卡魯索-圣約翰建筑事務(wù)所的作品以非常獨(dú)特的原因借鑒了建筑遺產(chǎn)和歷史，但主要的原因還是因?yàn)樗麄兿Ｍ鹬仨?xiàng)目建設(shè)的地點(diǎn)。這在維多利亞和阿爾伯特博物館（2002-2007）的外觀設(shè)計(jì)、諾丁漢當(dāng)代博物館的模塊化形體（2004-2009）、英國(guó)泰特的空間（2006-2013）或是最近不來(lái)梅蘭德銀行新總部（2011-2016）的設(shè)計(jì)中都可以看出。然而，每次探索都涉及極其復(fù)雜的知識(shí)和敏感性練習(xí)，才能最終顛覆傳統(tǒng)和平庸。的確，建筑應(yīng)該與周圍環(huán)境和諧統(tǒng)一，幾乎到達(dá)與它融為一體的程度，然而這也使得建筑物變成極其普通的存在。通過(guò)材料和表面極其復(fù)雜的使用，例如通過(guò)強(qiáng)調(diào)每種材料的空間潛力，使得外立面的視覺(jué)和觸覺(jué)元素變得與空間的組合一樣重要。當(dāng)這種靈敏度配合著與內(nèi)外氣氛相一致的極其精確的構(gòu)造思想時(shí)，即使是在最普通的設(shè)計(jì)中也能賦予建筑強(qiáng)大、明確的特征。最終的結(jié)果將是一個(gè)堅(jiān)實(shí)的包含文化和情感的建筑，用來(lái)重申對(duì)各種流行趨勢(shì)、時(shí)尚和所謂“新暴政”標(biāo)志性形式的反抗[4]。□

The Lycée H?telier de Lille built on the site of the former Fives-Cail-Babcock (FCB) steelworks shows how contemporary architecture can help redefine former industrial sites, modernise their functions,and more in general transform whole city districts.The project is the first step in a much more ambitious programme to requalify a place of industry drafted in 2005 by the French studio l'AUC. Lille was one of the most important industrial cities in the textile and mechanical engineering sector in France, at least up until the seventies, after which the city's industrial production declined rapidly and business in the Fives suburb inevitably began to slow down.

The Fives-Cail-Babcock plant had produced some of the most important infrastructures of the industrial era: the first steam engines, Pont Alexandre III in Paris, the steel frame of the Gare d'Orsay, and the lifts in the Tour Eiffel. Although it employed 8,000 workers in its heyday, in 2001 production was permanently suspended. For ten years the huge industrial buildings remained empty and inaccessible in the middle of the working class suburb that had grown up around the factory. In 2011 requalification of part of the complex was entrusted to the British studio Caruso St John after it won the competition for the new Lycée H?telier.1）The English duo developed a project to preserve and enhance several spatial features of the complex: the morphology of its volumes, the repetitive spans, its uniform language and monumental scale.

The new school occupies a small portion of the 17hm2industrial complex, i.e., the area close to the residential nucleus and the subway. The factory is divided into a series of halles, built with a steel frame and brick walls. Each halles is 160 metres long, 20 metres wide, but varies in height(max. 24 metres). The halles are aligned in an eastwest direction and are open on all sides. The school actually occupies only part of the whole area of the halles, also including a free trapezoidal piece of land next to the dense grid of the workers' houses.The project envisaged a dual strategy: some of the existing structures were to be restored and preserved in their entirety while others were to be demolished and replaced by new buildings that nevertheless maintained the formal and material features of the original structures. This approach tends to underscore the unitary nature of the industrial layout.

The school's core programme is contained within the footprint of the former factory buildings.Didactic and administrative areas, restaurants,and shops are located in the recovered or rebuilt structures. The architects have added 3 new buildings in the free area: housing for the staff,student residences, and the gymnasium also open to local residents. The new buildings have the same morphology as the existing ones, as if to "complete"the layout. All the buildings are connected based on pre-existing links; this creates a porous infrastructure with courtyards, paths, and big, open and closed spaces. The interior differs from the exterior only by the roof, rather than the size of its spaces and material surfaces. The public activities managed by the students (restaurant, bakery,patisserie, flower shop) are located along the new covered path through halle F7 coinciding with the public entrance to the school. This gallery leads to the covered garden in halle F9 - the true heart of the school - and follows on from the main communal areas (canteen, conference room). The eucalyptus trees, chosen for the hall by the landscape architect Pascal Cribier, create a vaguely exotic atmosphere.These features give the project an urban dimension;although the architectural objects maintain the original, formal traits of the factory, they can be used in many different ways.

Like many other projects by Caruso St John,the design method they use for the Lycée H?telier de Lille is reminiscent more of painting than the plasticity of sculptures. This was already evident in the competition report in which the designers stated they wanted to "build the way they painted". The nature of the materials establishes the chromatic range. Patterns and textures create the surfaces. The concrete walls of the new buildings are pigmented on site with porphyry flakes and bricks and then sand-blasted to ensure they are coherent with the roughness and colours of the bricks in this area.The colour palette of the new school is almost the same as that of the old factory. The industrial steel structures maintain their original colours: blue for the pillars, red for the beams, and yellow for the gantry crane. These brilliant colours are enhanced in the corrugated roof, outer envelope of the continuous fa?ades, and cement floor. The pattern of the roofs of the new buildings is reminiscent of the glazed clay roofs used in the past and the decorative motifs that enliven the fa?ades of brick factories.New stimuli and research fields were inspired by the patient study of ornamentation in the construction sector. Peter St John summarises how ornaments are not added but incorporated into architecture; it"feels like an extension of an interest we have always had in making fa?ades. The idea of decoration is just another technique in addition to the choice of the materials that you use, and in addition to the techniques of construction that you use to make fa?ades that have a beautiful texture to them".[1]

The work by Caruso St John draws on architectural heritage and the history of architecture for very specific reasons, but primarily because they wish to respect the site where the project is to be built. This is visible in their design of the fa?ade of the Victoria and Albert Museum of Chidhood (2002-2007), the modular envelope of the Nottingham Contemporary Museum (2004-2009), the space of the Tate Britain(2006-2013) or more recently the new headquarters of the Bremen Landesbank (2011-2016). However, each time it involves an extremely sophisticated intellectual and sensitive exercise that ultimately subverts obviousfiliations and banal contextualisations. It is true that the architecture is immersed in the context, almost to the point of merging with it, but it then turns the buildings into anything but ordinary objects. This happens chiefly due to the extremely sophisticated use of materials and surfaces, for example by emphasising on the spatial potential of each material, so much so that the visual and tactile elements of the fa?ades become as important as the arrangement of the volumes. This sensitivity, coupled with an extremely precise construction idea in line with the atmosphere that is to be generated in the interior and exterior,bestows a strong, unmistakable mark even on the most ordinary solution. The final result is a solid, cultured and emotional architecture used to reiterate a resolute rejection of trends, fads and the iconic formalisms of the "tyranny of the new".[4]□

7 體育館南墻細(xì)部/Detail of the south wall of gymnasium（3-7圖片來(lái)源/Sources: Caruso St John Architects）

項(xiàng)目信息/Credits and Data

客戶/Client: City of Lille and Region Hauts de France

建筑設(shè)計(jì)/Architects: Caruso St John Architects

協(xié)助建筑設(shè)計(jì)/Assistant Architects: Coldefy & Associés Architectes et Urbanistes

結(jié)構(gòu)工程/Structural Engineer: Batiserf

服務(wù)顧問(wèn)/Services Consultant: Inex

造價(jià)顧問(wèn)/Cost Consultant: Bureau Michel Forgue

景觀設(shè)計(jì)/Landscape Architect: Pascal Cribier with Aptec

總面積/Total Area: 20,600 m2

可用面積/Usable Floor Area: 23,000 m2

造價(jià)/Cost: 47.2M EUR

竣工時(shí)間/Completion Time: 2016

注釋/Note

1）卡魯索-圣約翰建筑事務(wù)所所獲得的眾多競(jìng)賽中標(biāo)之一，2006年競(jìng)賽獲選的新港街畫(huà)廊項(xiàng)目于2016年獲得了頗具聲望的RIBA斯特林獎(jiǎng)。此外，該事務(wù)所因該項(xiàng)目獲得了第16屆威尼斯雙年展英國(guó)館評(píng)審委員會(huì)的特別提名獎(jiǎng)。/One of the many prizes received by Caruso St John was to be selected in 2006 and then awarded the prestigious RIBA Stirling Prize in 2016 for their design of the Newport Street Gallery.In addition, the studio received a special mention by the jury for its project for the British Pavilion at the 16th biennale of architecture in Venice.