“我們不是為了標(biāo)榜特殊性而設(shè)計(jì)，這是結(jié)構(gòu)設(shè)計(jì)策略的自然結(jié)果，我們要呈現(xiàn)的是建筑的基本邏輯。”

“建筑師工作的基礎(chǔ)，始終與創(chuàng)造空間體驗(yàn)相關(guān)。我們需要考慮建筑如何在日復(fù)一日的使用中，持續(xù)給人以新鮮感?！?/p>

——Christian Kerez，

于有方講座“圖像幕后的機(jī)制”

由克里斯蒂安·克雷茲（Christian Kerez）設(shè)計(jì)、坐落于巴林的四座停車樓建筑，均已建成投用。它們分散在四個(gè)不同的地塊上，以四種不同的方式，遵循相同的原則設(shè)計(jì)。

建筑的樓板彎曲、傾斜、交錯(cuò)融合，也順勢(shì)構(gòu)成連接各層的坡道。當(dāng)汽車在停車樓中上下穿行時(shí)，車內(nèi)的人能感受到樓板的幾何變化帶來的獨(dú)特空間體驗(yàn)——從凹到凸，時(shí)高時(shí)低，空間有時(shí)導(dǎo)向建筑內(nèi)部，有時(shí)又向外部延伸。汽車的移動(dòng)，也為整個(gè)空間創(chuàng)造出無窮的變化。

在外觀上，這些停車樓無疑是引人注目的，但有方更好奇的是該項(xiàng)目“圖像幕后的機(jī)制”（The Mechanism Behind Image，這也是克雷茲2022年有方講座的主題），因此就該項(xiàng)目采訪了克雷茲，詳見下文。

——

訪談對(duì)話

有方：你的許多作品都以“質(zhì)疑對(duì)建筑的既有看法”為主旨，巴林這個(gè)項(xiàng)目的設(shè)計(jì)出發(fā)點(diǎn)是什么？是否旨在表達(dá)某個(gè)觀點(diǎn)？

Many of your works share the idea of questioning preconceived notions of architecture, and we are curious about whether this project, the Bahrain Car Parks is the case. What is the starting point of this design? What do you intend to express with this project?

Christian Kerez：我并不是特別在意一座建筑在圖片中的樣子，因?yàn)閳D片總是呈現(xiàn)出一種固定的視角，這就好比你靜止地坐在一個(gè)空間里。但空間最迷人的體驗(yàn)在于，你可以一邊四處走動(dòng)，一邊以不同的角度和方式去觀察、感知同一個(gè)空間。正是這種移動(dòng)成為了設(shè)計(jì)的出發(fā)點(diǎn)。

I am not so much interested how a building looks on a picture. A picture always suggests a frozen perspective. It's like you would sit in a space without moving, but the most intriguing experience about space is that you can move around, that you can see and perceive the same space for many different angles. It is specifically this movement that was the starting point of the design.

如何讓汽車在停車場(chǎng)中行駛時(shí)，不會(huì)明顯感知到通道和車位之間的區(qū)分呢？我們?cè)O(shè)想整個(gè)停車區(qū)域都可以變成一個(gè)坡道，而坡道也可以擴(kuò)展成為停車區(qū)域。從這個(gè)意義上說，人們可以認(rèn)為，我們這個(gè)設(shè)計(jì)與現(xiàn)代建筑運(yùn)動(dòng)中迄今為止還未得到充分實(shí)現(xiàn)的一個(gè)理想緊密相關(guān)，那就是在整座建筑中實(shí)現(xiàn)無邊界的連續(xù)移動(dòng)。

How could the car move through a parking without having a clear differentiation between a ramp and a parking field. We imagined the whole parking field would become a ramp and the ramp would expand to become a parking field. In this sense one might say we related strongly to an ideal of the modern movement that has so far never been put into evidence. The continuous movement throughout the building without any frontier.

有方：文中提到“它們?cè)谒膫€(gè)場(chǎng)地上，以四種方式遵循同樣的設(shè)計(jì)原則”，可否詳述該原則？它們之間的差異又是什么？

A sentence in the description draws our attention: they follow the same principles of design in four different ways on four different plots. Would you explain what are the same principles (or rules) behind them, and what are their differences?

Christian Kerez：對(duì)于這四個(gè)停車場(chǎng)來說，坡道和樓板之間沒有割裂感，連續(xù)的移動(dòng)能貫穿整座建筑，這是它們共同的基本理念。但這四座建筑實(shí)現(xiàn)這一理念的方式卻是不同的。

To have no rupture between ramp and slab, to have a continuous movement throughout the building is the same basic idea for all the four parkings. The way how this was achieved is quite different.

其中一個(gè)不同點(diǎn)在于樓板的開口方式。在停車場(chǎng)A和D中，樓板上設(shè)置了具有紀(jì)念性的巨大圓形開口，使得人們可以通過這些開口抵達(dá)另一個(gè)樓層。兩塊樓板相互疊加、合而為一。特別是從下往上通過圓形開口進(jìn)入上方樓層的瞬間，人們的體驗(yàn)會(huì)尤為深刻。而與A、D不同的是，在停車場(chǎng)B中我們通過切割樓板來創(chuàng)造開口。當(dāng)然，為了避免不同樓層之間的斷裂，我們也使樓板相互交疊，并且這種交疊讓空間也具有連續(xù)性。停車場(chǎng)C則是B的簡(jiǎn)化版本，因?yàn)樗挥幸粚訕前濉?/p>

In parking A and D you have enormous monumental circular openings in one slab that allows you pass from one slab to the next. Both slabs are overlaid to become one slab. And specifically in this moment we opened the upper level with a monumental opening. Different to that, we cut the slabs in plot B, but we also overlapped them to not have a rupture between the different slabs and to have a continuity in spatial terms thanks to the overlap. Plot C is a simplification of plot B because it only has one slab.

此外，這四座停車場(chǎng)的上下車道組織方式也各不相同。停車場(chǎng)A、B圍繞著整座建筑形成了一種連續(xù)的移動(dòng)路徑——轉(zhuǎn)完一圈后，你會(huì)到達(dá)頂層；再轉(zhuǎn)一圈，你又會(huì)回到地面層。地塊D的建筑是最小、也最具雕塑感的，它擁有非常復(fù)雜的交通流線系統(tǒng)；而停車場(chǎng)C只有一層，流線相對(duì)簡(jiǎn)單，這是為了盡可能地尊重對(duì)面的清真寺。

Different in all the parkings is also the organization of the driveway up and down. Parking B and parking A describe one continuous movement around the entire building. After one round you reach the top level, also the second round you reach again the ground level. Plot D is the smallest and the most sculptural parking, which has a very complex circulation system, while plot C has just one level to pay as much respect as possible to the opposite mosque.

有方：結(jié)構(gòu)工程師是從什么階段起參與到這個(gè)項(xiàng)目中來的？能否闡述一下此次“設(shè)計(jì)冒險(xiǎn)”的歷程？例如，進(jìn)行了哪些實(shí)驗(yàn)或嘗試？

Since what stage have structural engineers been involved in this project? Would you elaborate on the process of this "design adventure"? For example, any experiment or trial that helped you find the design solutions?

Christian Kerez：在整個(gè)設(shè)計(jì)過程中，我們有許多不同的工程師參與合作。Mario Monotti在概念設(shè)計(jì)的最初階段就參與進(jìn)來了，而且他也是設(shè)計(jì)那個(gè)像彈簧一樣的螺旋樓梯的人。Neven Kostic幫我們?cè)O(shè)計(jì)了欄桿，并且用真正的汽車對(duì)其進(jìn)行了多次測(cè)試。Patric Gartmann幫助我們做出了使用復(fù)合柱的關(guān)鍵性決策，這樣一來，盡管柱子間距超過了10米，但柱子依然可以做得很細(xì)。實(shí)際的結(jié)構(gòu)設(shè)計(jì)由EDGE公司負(fù)責(zé)，這家公司對(duì)這四個(gè)建筑都進(jìn)行了計(jì)算并提供了相關(guān)方案。

We had many different engineers involved throughout the entire design process. Mario Monotti was involved at the very beginning in the concept design, and he was also the one that designed the spiral staircase that works like a spring. Neven Kostic helped us with the with the railing that was tested with real cars on several occasions. Patric Gartmann helped us with the strategical decision to use composite columns, to have very thin columns despite the large distance between them of more than ten meters. The actual structural designer was EDGE, a company that calculated and provided all the four projects.

我們?yōu)榱诉@個(gè)項(xiàng)目專門開發(fā)了許多工具。例如，為了確保人們?cè)诮ㄖ腥魏我惶幎疾粫?huì)感受到表面是水平的，我們對(duì)于整座建筑的各個(gè)方向移動(dòng)式地切取剖面。我們把這種像電影影片一樣的剖面序列稱為“斷層掃描”。

Many tools were specifically developed just for this project. To ensure that one will never have the feeling of a horizontal surface, we used moving sections throughout the entire building from different sides. This movie-like sequence of sections we called "tomography".

此外，考慮到樓板在兩個(gè)不同的方向上都有傾斜，為了確保汽車行駛過程中任何一個(gè)車輪都不會(huì)懸空，我們還得到了紐約Alden Studios的技術(shù)支持，他們?cè)O(shè)計(jì)了模擬汽車，用來對(duì)這四個(gè)停車場(chǎng)進(jìn)行測(cè)試。

To make sure there is no wheel in the air despite the inclination in two different directions of the slabs, we had the support from Alden Studio in New York that designed a digital car that would test all the four parkings.

有方：在巴林做項(xiàng)目的感受如何？項(xiàng)目已經(jīng)建成一段時(shí)間了，投用之后，收到了當(dāng)?shù)厝说哪男┓答仯蛘呤欠裼^察到他們以你未預(yù)見的方式使用空間？

How does it feel to exact a project in Bahrain? Regarding that the car parks have been in use for some time, we would like to know: as the designer, have you received any unexpected feedback from the local people or observed unforeseen ways to use the space?

Christian Kerez：在項(xiàng)目整個(gè)過程中，我們一直都?jí)粝胫@些停車場(chǎng)為住在附近的人們帶來便利，并為巴林的城市空間增添魅力。過了相當(dāng)長(zhǎng)的一段時(shí)間，我們終于等到了這些停車場(chǎng)投入使用并停滿車輛。

We were actually always dreaming that the car park would function just for the pleasure of the people living close by and for the beauty of the urban spaces of Bahrain. For different reasons it took quite a while that the parkings were fully occupied and it was beautiful to observe how people would use the parking in unexpected ways.

看到人們以意想不到的方式使用這些停車場(chǎng)，真的很有意思。音樂家們?cè)谶@里感受貝殼形空間獨(dú)特的聲學(xué)效果。孩子們騎著自行車、玩具車，或者帶四個(gè)輪子的木箱，在停車場(chǎng)里滑行。在施工期間，工人們會(huì)自然地利用停車場(chǎng)坡道來上下搬運(yùn)較重的設(shè)備和材料。我們?cè)诟鱾€(gè)停車場(chǎng)里都看到有慢跑者一圈又一圈地上下來回。當(dāng)然，這里也成為了滑板愛好者的天堂，他們把停車場(chǎng)當(dāng)作半管道滑板場(chǎng)地，并在各種網(wǎng)絡(luò)媒體上發(fā)布照片、視頻。除此之外，也有很多人只是單純地在停車場(chǎng)里享受悠閑時(shí)光——散散步，在陰涼處和其他人聊聊天，或者從不同的高度欣賞這座城市。

You found musicians testing the specific acoustics of the shell-like space. You saw kids on bicycles, toy cars and wooden boxes with four wheels driving down the parking. Also the craftsmen during the construction site used the ramp as a way to bring up heavy equipment and material, or to bring it down again. We saw joggers making several rounds up and down the different parkings. And, of course, it became the paradise for skateboarders that were posting their pictures on different internet medias using the parking as half pipes. But there were also many people just enjoying the parking - to take a stroll, meet other people in the shadow or see the city from different heights.

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項(xiàng)目詳細(xì)介紹

4座停車樓總面積達(dá)4.5萬平方米，位于穆哈拉格老城中心，是巴林文化部“珍珠之路”項(xiàng)目的一部分?！罢渲橹贰奔扔袑?duì)傳統(tǒng)住宅的改造，也包括一些當(dāng)代建筑項(xiàng)目，如Anne Holtrop設(shè)計(jì)的世博會(huì)展館、Valerio Olgiati設(shè)計(jì)的游客中心和OFFICE設(shè)計(jì)的一系列城市廣場(chǎng)。

而在Christian Kerez主導(dǎo)設(shè)計(jì)的本項(xiàng)目中，4座建筑除了作為停車場(chǎng)地，也為公眾創(chuàng)造了可用于祈禱、舉辦活動(dòng)或集市的公共空間。建成后到訪這些建筑的人中，許多并不是僅僅為停車而來，而更是為了體驗(yàn)這里變化無窮的內(nèi)部空間。

—

地塊A

這是項(xiàng)目中最大的地塊，其長(zhǎng)邊為170米，與主干道和環(huán)島相鄰。汽車可以環(huán)繞整個(gè)地塊從底層一口氣行駛到頂層。

如果要從樓頂開下來，汽車則要反方向繞整個(gè)建筑行駛一圈。

由于建筑北側(cè)的一半長(zhǎng)度幾乎是緊挨著Anne Holtrop設(shè)計(jì)的Green Corner建筑，因此建筑內(nèi)部的空間也從一側(cè)到另一側(cè)逐漸變化。

模型照片 ▽

場(chǎng)地示意及設(shè)計(jì)圖紙 ▽

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地塊B

在地塊B的停車樓中，樓板上沒有圓形的穿孔，而只有簡(jiǎn)單的切口，作為車輛在樓層之間通行的途徑。這樣的設(shè)計(jì)創(chuàng)造出與A停車樓不一樣的交通循環(huán)方式。

該建筑的幾何形狀非常規(guī)整，周邊環(huán)繞著相對(duì)均質(zhì)的低矮建筑。

模型照片 ▽

場(chǎng)地示意及設(shè)計(jì)圖紙 ▽

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地塊C

地塊C的停車樓正對(duì)著一座大清真寺和穆哈拉格歷史最悠久的遺產(chǎn)建筑之一，風(fēng)之宮。出于對(duì)這一街區(qū)風(fēng)貌精神的尊重，這是本項(xiàng)目中唯一一個(gè)僅有一層的停車場(chǎng)。

模型照片 ▽

場(chǎng)地示意及設(shè)計(jì)圖紙 ▽

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地塊D

這是四個(gè)停車樓中最小的一個(gè)，但也是最外露的一個(gè)，因此它具有最獨(dú)特的豎向雕塑感。此外，這個(gè)小地塊也是最難組織的，因此也可作為以后設(shè)計(jì)其他停車樓的參考。

模型照片 ▽

場(chǎng)地示意及設(shè)計(jì)圖紙 ▽

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結(jié)構(gòu)

停車樓具有外露的承重結(jié)構(gòu)，僅由樓板和柱子組成。建筑通過將板與板連接起來，以抵抗風(fēng)或地震等帶來的水平荷載，實(shí)現(xiàn)加固。

復(fù)合支柱的尺寸在25厘米到30厘米之間。由于跨度約10米，樓板將承受非常大的沖力。每根預(yù)制柱的底部和頂部都有彎曲的金屬鋼板，將沉重的大樓板與豎向的結(jié)構(gòu)構(gòu)件連成一體。

樓梯和電梯井裸露，后者覆以PVC透明薄板。樓梯就像樓板之間的彈簧，由于建筑層高在2.2米和4.8米之間波動(dòng)，不同樓層之間的樓梯平臺(tái)位置也隨之變化。樓梯必須非常輕巧，以避免在承重結(jié)構(gòu)中產(chǎn)生不均勻荷載。

—

建造

四座建筑中，沒有任何兩塊樓板是完全相同的，這也是無盡的空間多樣性的來源。項(xiàng)目主要利用腳手架等較為傳統(tǒng)的工具進(jìn)行模板建造，另有極小一部分的雕塑模板是定制的。

由于樓板是不斷變化的平面，團(tuán)隊(duì)運(yùn)用了腳本程序，以1∶20的比例繪制了7.5萬個(gè)部件，隨后將它們以1∶1的比例打印出來，再在現(xiàn)場(chǎng)對(duì)模板進(jìn)行最后切割。

當(dāng)然，在本項(xiàng)目中，雖然現(xiàn)代計(jì)算機(jī)技術(shù)提高了項(xiàng)目的可操作性，大量的人力對(duì)于創(chuàng)造如此多變的幾何形狀，也是不可或缺的。二者的結(jié)合運(yùn)用，使得該項(xiàng)目得以實(shí)現(xiàn)。

完整項(xiàng)目信息

Project: Multistorey Car Park

Location: Muharraq, Bahrain

Commissioners: Bahrain Authority of Culture and Antiquities (BACA), Sheikha Mai Bint Mohammed Al-Khalifa, Noura Al-Sayeh Holtrop, Mustafa Salman Al Sulaiman

Architect: Christian Kerez

Project Architect: Caio Barboza

Project Team: Daniel Carlson, Laura Paluch, Lisa Kusaka, Dennis Saiello, Raoul Dubois, Jens Kn?pfel, Matthias Leutert, Apolinário Soares, Jonas L?land, Sofia Blanco Santos, Christiana Pitsillidou, Korbinian Huber, Enrico Pinto, Siwen Wang, Anna Molodij, Yi Wang, Viktoriya Maleva, Oleksandra Nikitenko

Structural Engineering: EDGE Consulting Engineering, Tim Peters

Pre-Stressing Slab: Strong Force M.G.C. W.L.L.

Structural Engineering, Consultant:

Monotti Ingeneri Consulenti SA, Mario Monotti, Staircase, Concept Design?

Dr. Neven Kostic GmbH, Neven Kostic, Handrail

Ferrari Gartmann AG, Emanuela Ferrari, Patrick Gartmann, Composite Column

Engineer of Record: Arsinals Engineering Design

Landscape Design: Catherine Dumont d’Ayot, Plot C and D

Concrete Consultant: Baukolorit AG, Marianne Huber

Traffic Engineering: LK Argus GmbH, Ivan Kosarev

3D Traffic Simulation: Alden Studio

Lighting: Siegrun Appelt with Mathias Burger

本文由Christian Kerez Zürich AG授權(quán)有方發(fā)布。歡迎轉(zhuǎn)發(fā)，禁止以有方編輯版本轉(zhuǎn)載。