改造設(shè)計(jì)? gmp

1973年設(shè)計(jì)? 卡爾·恩斯特·斯沃拉，萊納·漢斯利克，君特·德?tīng)柕?，瓦爾德馬·塞弗特，格哈德·沃斯

項(xiàng)目地點(diǎn)? 德國(guó)柏林

建成時(shí)間? 2024年

本文文字由gmp提供。

三十年前，這座建筑曾計(jì)劃拆除，而現(xiàn)在它又得以重生，展現(xiàn)輝煌：“柏林出版社大樓”，自2019年起成為“亞歷山大廣場(chǎng)新聞大樓”，其最初的源于1973年的外立面，經(jīng)整修得到了全面復(fù)原。新聞咖啡館的76米長(zhǎng)的現(xiàn)實(shí)社會(huì)主義風(fēng)格的帶狀壁飾，曾一直隱藏于牛排餐廳廣告招牌后面，現(xiàn)在也一起重見(jiàn)天日。它清楚地表明：這次改造是一個(gè)試點(diǎn)項(xiàng)目，證明東德時(shí)代的“社會(huì)主義之城”的長(zhǎng)期爭(zhēng)議性遺產(chǎn)如何成為現(xiàn)代城市建筑的一個(gè)組成部分。

It was supposed to be demolished thirty years ago but now it shines again in all its old (new) glory. The “Haus des Berliner Verlags” publishing house, known as the “Pressehaus am Alexanderplatz” since 2019, has been furnished with a refurbished version of its original facade design from 1973. Even the 76-meter-long, “real socialism” frieze on the Pressecafé is back, after having been hidden behind a sign for a steakhouse for twenty years. This conversion is clearly a pilot project that demonstrates how the long controversial legacy of the “socialist city” from the GDR era can be suitably redeveloped as a contemporary urban component.

▲ 項(xiàng)目視頻? ?Lukas Schmid

1973年—2017年

1965年，柏林西部的阿克塞爾·施普林格出版（Axel Springer）大樓落成后，民主德國(guó)立即在東柏林市中心加緊推進(jìn)了新出版大樓的建設(shè)。兩座高層建筑幾乎同時(shí)建成—— 一座是為火車(chē)東站的新德國(guó)出版社而建，另一座是為亞歷山大廣場(chǎng)北側(cè)的柏林出版社而建。柏林出版社大樓在亞歷山大廣場(chǎng)周?chē)臇|德城市規(guī)劃中發(fā)揮了特殊作用，因?yàn)樗梦挥谕卣寡由斓纳鐣?huì)主義中心軸線(xiàn)的交叉點(diǎn)，即菩提樹(shù)下大街（Unter den Linden）和斯大林大街（Stalinallee）的匯合處。因此，這座17層高的狹長(zhǎng)板式建筑延長(zhǎng)了從卡爾·李卜克內(nèi)西大街（Karl-Liebknecht-Stra?e）的大型住宅區(qū)延伸出來(lái)的南北線(xiàn)，同時(shí)也如同一面墻構(gòu)成板式塔樓和點(diǎn)式塔樓陣列的終端，這些塔樓像山巒一樣界定了亞歷山大廣場(chǎng)的北側(cè)邊緣。

In 1965, immediately after the Axel Springer high-rise opened its doors in the former West Berlin, the GDR expedited the construction of publishing house buildings in the center of East Berlin. Two high-rises appeared almost simultaneously, one for the Neues Deutschland at the Ostbahnhof and the other for Berliner Verlag at the northern end of Alexanderplatz. Known as the “Haus des Berliner Verlags,” the high-rise took on a special significance in the GDR’s urban planning in the area around Alexanderplatz because it stood at the exact intersection of the socialist center’s extended axes, where Unter den Linden and Stalinallee met. The narrow, 17-story slab extended the north–south line created by the massive housing complexes on Karl-Liebknecht-Strasse. At the same time, it formed an end point, like a sort of buffer wall, for the series of slabshaped and tower buildings that defined the northern edge of Alexanderplatz like a mountain range.

在這一建筑群中，柏林出版社大樓有三個(gè)特別之處：一是非常與眾不同的立面結(jié)構(gòu)，縱向和橫向的鋁板猶如經(jīng)緯分明的紡織面料；二是引人注目的螺旋形室外樓梯，其頂端是“Berliner Verlag”（柏林出版社）的發(fā)光字體，遙望可見(jiàn)；三是南側(cè)建筑前方的新聞咖啡廳，立面四周是藝術(shù)家威利·諾伊貝爾（Willi Neubert）創(chuàng)作的帶狀壁飾“Die Presse als Organisator”（媒體是組織者）。亞歷山大廣場(chǎng)周?chē)钠渌邔咏ㄖ?，如“旅游大樓”和“教師大樓”，也有此?lèi)帶狀壁飾；各個(gè)場(chǎng)景相互配合，意在象征社會(huì)主義制度下的美好生活。

In this ensemble, three special features distinguished the Haus des Berliner Verlags: firstly, a highly differentiated facade arrangement with vertical and horizontal aluminum panels resembling a woven fabric; secondly, a striking exterior stairwell tower that was topped by the widely visible, illuminated “Berliner Verlag” sign; and thirdly, the Pressecafé pavilion, with its colorful, circumferential frieze, “Die Presse als Organisator” by the artist Willi Neubert, projecting southward. Other highrises around Alexanderplatz also had friezes, including the “Haus des Reisens” and “Haus des Lehrers,” which depicted coordinated scenes that were intended to symbolize the good life under socialism.

1990年德國(guó)統(tǒng)一后，整個(gè)社會(huì)主義的城市核心部分受到了激烈的批評(píng)。漢斯·科爾霍夫（Hans Kollhoff）的總體規(guī)劃希望拆除所有東德的塔樓，代之以新的建筑。由于缺少投資者，這一計(jì)劃未能實(shí)現(xiàn)。柏林出版社大樓只進(jìn)行了少量現(xiàn)代化改造，但外墻被完全拆除，取而代之的是簡(jiǎn)樸的玻璃幕墻。好在，社會(huì)主義風(fēng)格的帶狀壁飾保存了下來(lái)，但卻隱藏在一個(gè)大型牛排餐館廣告后面。

Following Reunification in 1990, the entire socialist city center came under massive criticism. The master plan by Hans Kollhoff specified that all GDR high-rises would be demolished and replaced with new construction. Due to alack of investors, this never happened. Instead, the Haus des Berliner Verlags was sparingly modernized, but the facade was completely removed and replaced by a plain glass facade. The socialist frieze was retained, although it was concealed behind a large sign for a steakhouse.

直到 2015年該建筑才被列入文保名錄。大樓在出售給鐵獅門(mén)地產(chǎn)公司后，2017年開(kāi)始按照文保建筑標(biāo)準(zhǔn)進(jìn)行全面翻修。

It wasn’t until 2015 that the building was listed as a historic monument. After it was sold to the real estate company Tishman Speyer, a comprehensive refurbishment in accordance with preservation principles could be started in 2017.

2017年—2024年

我們與鐵獅門(mén)一起制定了一項(xiàng)戰(zhàn)略，分三個(gè)階段對(duì)大樓進(jìn)行翻新。首先整修了92米長(zhǎng)的板式高層。一個(gè)新的雨蓬標(biāo)志著主入口。建筑機(jī)電設(shè)備完全更新，底層面積擴(kuò)大。平面布局經(jīng)過(guò)重新調(diào)整，創(chuàng)造了靈活使用的工作環(huán)境。最重要的是，這座鋼結(jié)構(gòu)建筑恢復(fù)了其原有的外立面。業(yè)主經(jīng)說(shuō)服確信，由白色鋁板構(gòu)成的巧妙層疊結(jié)構(gòu)不僅賦予了大樓恰當(dāng)?shù)皿w的建筑風(fēng)格，而且還起到了遮陽(yáng)作用。得益于精心的規(guī)劃，大樓的翻新工程僅用兩年時(shí)間就完成了。

Together with Tishman Speyer, we developed a strategy for refurbishing the building in three phases. In the first phase, the 92-meter-long high-rise slab was refurbished. A new canopy now marked the main entrance. Building services were completely renewed and the first floor was enlarged. The floor plans were restructured to permit flexibly usable work scenarios. Most importantly, however, the steel skeleton construction regained its original facade. The client agreed that the astutely tiered structure consisting of white aluminum panels would not only lend the building an appro-priate architectural aesthetic, but would also have a climatically beneficial function as a brise soleil. Thanks to precise planning, it was possible to complete the refurbishment of the high-rise in just two years while operations continued.

在二期工程中，建筑背側(cè)小亞歷山大街（Kleine Alexanderstrasse）一側(cè)的低層建筑被拆除。這座簡(jiǎn)單的功能性建筑曾經(jīng)是出版社的印刷車(chē)間。而現(xiàn)在這里建成一棟新的七層建筑，其斜面屋頂首次形成了從陡直的板式塔樓到西面相鄰谷倉(cāng)區(qū)的自然過(guò)渡。豎向鋁板效法大樓，二者形成一個(gè)清晰可辨的整體。此外，盡管新建筑的外立面是玻璃的，但在側(cè)視時(shí)鋁板將新建筑變成了實(shí)體體量，與對(duì)面的老建筑形成呼應(yīng)關(guān)系。

In the second construction phase, the flat-roofed structure to the rear on Kleine Alexanderstrasse, a purely utilitarian building that once accommodated the publisher’s own print shop, was demolished and replaced by a new sevenstory building which, thanks to its steeply ascending roof, forms the first-ever urban link between the abruptly towering high-rise slab and the adjacent Scheunenviertel district to the west. Vertical aluminum panels replicating those of the high-rise join the two buildings together in a clearly distinguishable ensemble. From the oblique view and despite the glass facade, they also transform the new building into a closed volume that enters into a dialogue with the old buildings opposite.

這組建筑還有一個(gè)三期工程，這也是最后一個(gè)，即咖啡廳。作為現(xiàn)代化改造的一部分，諾伊貝特長(zhǎng)76米、高3.50米的釉面帶狀壁飾得到了清理和精心修復(fù)。新聞大樓再次與同樣經(jīng)過(guò)修復(fù)的教師大樓和旅游大樓的帶狀壁飾交相輝映。

The ensemble also includes the third and final construction phase, the Pressecafé. As part of the modernization, Neubert’s 76-meter-long, 3.5-meter-high enamel frieze was uncovered and carefully restored, reestablishing communication between the Pressehaus and the other restored friezes on the Haus des Lehrers and the Haus des Reisens.

新聞大樓是東歐現(xiàn)代主義風(fēng)格建筑改造的一個(gè)范例。三十年前本應(yīng)拆除的建筑，如今不僅受到了好評(píng)并被列入文保名錄，甚至最初的設(shè)計(jì)也得以重生。與此同時(shí)擺脫意識(shí)形態(tài)的束縛，合理對(duì)待此類(lèi)建筑的弱點(diǎn)，通過(guò)城市規(guī)劃干預(yù)打破傳統(tǒng)城市格局的卡爾·李卜克內(nèi)西大街就是一例。這種干預(yù)在谷倉(cāng)區(qū)（Scheunenviertel）的老建筑中仍能清晰地看到。通過(guò)背側(cè)的新建筑，我們的設(shè)計(jì)為新聞大樓增添了一種承上啟下的、或許是相互調(diào)和的元素。如果東歐現(xiàn)代主義這一用詞在柏林不是被用濫的話(huà)，我們幾乎可以說(shuō)是對(duì)東歐現(xiàn)代主義的批判性重塑。

The Pressehaus exemplifies a change in how the Ostmoderne style is now handled. Today, buildings that were supposed to be torn down thirty years ago are not only appreciated and listed as historic buildings, but are even restored to their original design. At the same time, the buildings’ flaws are viewed without ideological blinders. In this particular case, the flaw was the urban intervention whereby Karl-Liebknecht-Strasse cut a swath through the historic city center. This intervention is still clearly visible in the old buildings in the Scheunenviertel district. With the new building to the rear, our design adds a connecting and perhaps a conciliatory element to the Pressehaus. If the concept weren’t already so exhaustively used in Berlin, we could almost speak of a critical reconstruction of the GDR Moderne style.

項(xiàng)目信息

亞歷山大廣場(chǎng)新聞大樓

德國(guó)柏林

2024年

業(yè)主：鐵獅門(mén)地產(chǎn)德國(guó)有限公司

1973年設(shè)計(jì)：卡爾·恩斯特·斯沃拉，萊納·漢斯利克，君特·德?tīng)柕?，瓦爾德馬·塞弗特，格哈德·沃斯

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