Foreword
序言
In the nineteenth century the German architect Gottfried Semper formulated in his theoretical writings the myth that the origin of architecture was in the natural and primitive act of covering the body with woven. From this primordial act began a symbolic string in which the hearth, where the fire is lit, became the heart of the house, around which people gathered. A platform guaranteed settlement and isolation of natural terrain, a substructure holding walls and ceilings and a coating of textile materials of different origin formed the spatial enclosure and provided protection from the elements. There is no doubt that architecture has evolved greatly in recent years, reaching high levels of sophistication and technical complexity. In an age where almost everything is possible, we must not lose sight of Semper descriptions which talk about the essence of dwelling, the anthropological origins of the home, in short, what each of us rooted in the subconscious more intimate when we think of our house. Therefore, if to make any kind of architecture is to acquire a high responsibility to society, to make "homes" should be the highest of responsibilities. Not surprisingly, we project the places where people live, is sheltered, and somewhat protected from the surrounding environment in an intuitive act. This area is identified with the privacy and intimacy. Paradoxically, building homes is also working with communal spaces. In the intimate act of inhabiting, the domestic space overlaps the public space and the social act, the relationship with the community, where you share space, duties and obligations. Providing and enhancing this social relations is essential in architecture, especially in housing projects, as an act of civic engagement, and as intrinsic function unavoidable when dealing with collective housing. The perfect balance and coupling of public and private, the domestic and social, is essential for the smooth operation of this type of architecture. However, we have witnessed a new revolution of capitalism and information in the age of globalization. And the question arises in what way it will affect the design of housing, in the domestic and social environment. If we will tend, perhaps, like in the utopian work of Toyo Ito PAO for the Tokyo Nomad Women, to merge the two fields, expanding the boundaries of our home throughout the city, without possessions. We won´t need a library, a kitchen or wardrobe. Nothing more than a few technological devices that shall act as interfaces on the technological metropolis: an information console (communication), a dressing table (embellishment) and a chair (relaxation) are the artifacts into which the house has drifted. A new triad that will replace the Vitruvius "Utilitas, Firmitas and Venustas".
María José Pizarro, Oscar Rueda 19世纪，德国建筑学家戈特弗里德・桑珀在他的理论著作中详细阐 述了建筑学起源的神话，建筑学好比是人类用羊毛蔽体一般自然、原始的 行为。这种原始行为形成了一种象征，使室内篝火燃烧的灶台成为家庭的 核心位置，人们围坐、聚集在其周围。平台的划分则保护了人们各自的领 域，而平台隔断下面的围墙、天花板还有包在其外部的不同的装饰形成了 封闭的空间，为防止外界不利因素提供了保护屏障。 毫无疑问，近年来建筑学发展迅猛，其发展的精巧，技艺的复杂达到 了一定高度。在这样一个一切皆有可能的时代，我们不能忽视桑珀对建筑 学的基本描述：住是精髓，家是人类起源的地方。也就是说，潜意识中家 是根植于我们内心的，谈起家的时候会拉近彼此的距离。 因此，无论何 种建筑，建造者都需要有高度的社会责任心，建造“家园”应该是最高责 任。所以，我们提出人们居住的地方是需要庇护的，某种程度上要保护家 不受外界侵扰。家等同于隐私和亲密。 矛盾的是家的建造也与公共空间密不可分。在居住这种亲密的行为中 存在内部空间与公共空间的重叠，社会行为与共同空间分享着社区间的责 任及义务。在处理集合住宅时，作为一种公民参与的行为，作为一种不可 避免的内在功能，在建筑中，尤其是在住宅项目中提供及提高这种社会关 系是很必要的。公共与个体、家庭与社会的完美平衡对这种建筑的顺利发 展很重要。 然而，全球化的时代让我们见证了资本和信息的新变革。随之而来 的问题也出现了，那就是这种新变革从家庭和社会环境的角度将以何种方 式影响房屋的设计。可能像伊东丰雄的概念作品《东京游牧少女之包》那 样，我们将会倾向于合并两种土地，将家的边界贯穿至整个城市，不分彼 此，那样的话我们就不需要图书馆、厨房或衣橱。需要的只是能将城市打 造成科技中心的设计：用于交流沟通的信息控制台、装饰用的梳妆台、放 松用的椅子等家庭必需品。这种新的三元素将取代维特鲁威的“坚固、实 用、优雅”三元素。
Foreword
序言
In the nineteenth century the German architect Gottfried Semper formulated in his theoretical writings the myth that the origin of architecture was in the natural and primitive act of covering the body with woven. From this primordial act began a symbolic string in which the hearth, where the fire is lit, became the heart of the house, around which people gathered. A platform guaranteed settlement and isolation of natural terrain, a substructure holding walls and ceilings and a coating of textile materials of different origin formed the spatial enclosure and provided protection from the elements. There is no doubt that architecture has evolved greatly in recent years, reaching high levels of sophistication and technical complexity. In an age where almost everything is possible, we must not lose sight of Semper descriptions which talk about the essence of dwelling, the anthropological origins of the home, in short, what each of us rooted in the subconscious more intimate when we think of our house. Therefore, if to make any kind of architecture is to acquire a high responsibility to society, to make "homes" should be the highest of responsibilities. Not surprisingly, we project the places where people live, is sheltered, and somewhat protected from the surrounding environment in an intuitive act. This area is identified with the privacy and intimacy. Paradoxically, building homes is also working with communal spaces. In the intimate act of inhabiting, the domestic space overlaps the public space and the social act, the relationship with the community, where you share space, duties and obligations. Providing and enhancing this social relations is essential in architecture, especially in housing projects, as an act of civic engagement, and as intrinsic function unavoidable when dealing with collective housing. The perfect balance and coupling of public and private, the domestic and social, is essential for the smooth operation of this type of architecture. However, we have witnessed a new revolution of capitalism and information in the age of globalization. And the question arises in what way it will affect the design of housing, in the domestic and social environment. If we will tend, perhaps, like in the utopian work of Toyo Ito PAO for the Tokyo Nomad Women, to merge the two fields, expanding the boundaries of our home throughout the city, without possessions. We won´t need a library, a kitchen or wardrobe. Nothing more than a few technological devices that shall act as interfaces on the technological metropolis: an information console (communication), a dressing table (embellishment) and a chair (relaxation) are the artifacts into which the house has drifted. A new triad that will replace the Vitruvius "Utilitas, Firmitas and Venustas".
María José Pizarro, Oscar Rueda 19世纪，德国建筑学家戈特弗里德・桑珀在他的理论著作中详细阐 述了建筑学起源的神话，建筑学好比是人类用羊毛蔽体一般自然、原始的 行为。这种原始行为形成了一种象征，使室内篝火燃烧的灶台成为家庭的 核心位置，人们围坐、聚集在其周围。平台的划分则保护了人们各自的领 域，而平台隔断下面的围墙、天花板还有包在其外部的不同的装饰形成了 封闭的空间，为防止外界不利因素提供了保护屏障。 毫无疑问，近年来建筑学发展迅猛，其发展的精巧，技艺的复杂达到 了一定高度。在这样一个一切皆有可能的时代，我们不能忽视桑珀对建筑 学的基本描述：住是精髓，家是人类起源的地方。也就是说，潜意识中家 是根植于我们内心的，谈起家的时候会拉近彼此的距离。 因此，无论何 种建筑，建造者都需要有高度的社会责任心，建造“家园”应该是最高责 任。所以，我们提出人们居住的地方是需要庇护的，某种程度上要保护家 不受外界侵扰。家等同于隐私和亲密。 矛盾的是家的建造也与公共空间密不可分。在居住这种亲密的行为中 存在内部空间与公共空间的重叠，社会行为与共同空间分享着社区间的责 任及义务。在处理集合住宅时，作为一种公民参与的行为，作为一种不可 避免的内在功能，在建筑中，尤其是在住宅项目中提供及提高这种社会关 系是很必要的。公共与个体、家庭与社会的完美平衡对这种建筑的顺利发 展很重要。 然而，全球化的时代让我们见证了资本和信息的新变革。随之而来 的问题也出现了，那就是这种新变革从家庭和社会环境的角度将以何种方 式影响房屋的设计。可能像伊东丰雄的概念作品《东京游牧少女之包》那 样，我们将会倾向于合并两种土地，将家的边界贯穿至整个城市，不分彼 此，那样的话我们就不需要图书馆、厨房或衣橱。需要的只是能将城市打 造成科技中心的设计：用于交流沟通的信息控制台、装饰用的梳妆台、放 松用的椅子等家庭必需品。这种新的三元素将取代维特鲁威的“坚固、实 用、优雅”三元素。
Contents
目录
006
Park Tower Gransky
106
8 House
202
Apartment Building Gormannstreet Berlin
288
Cherokee Mixed-Use Lofts
016
Marco Polo Residential Tower
112
Memoria 64 Vpp Emvs Vallecas, Madrid
206
Zagreb Street Center
294
Musician’s Housing, Hoogvliet
022
Wohngarten Sensengasse
120
Práter Street
212
Central Residential Complex
300
Shift Housing
028
Herold Social Housing
126
Floating Houses
218
Langerak Field 6 + 11
306
Strata SE1
034
MOSAIC in Beijing
134
Django Building
226
Furore-blok A
312
Marienburg ENGELS
042
Shopping Roof Apartments
138
Zuiderzeeweg
234
Quay Houses Groningen
316
Baufeld 10
054
Smarties
142
168 Social Housing in Madrid
240
Boston University
322
Krautgarten
060
Cvetkova Apartments
148
The Monolith , Lyon Confluence
244
The Mountain
330
Masrampinyo
064
68 Social Housing
156
The Intense City
252
My Home is My Patio
336
Business and Residential Building in Nova Cesta
072
Fuglsang Cuts (Competition – 1st Prize )
162
Cappella Apartments, Kensington
256
Sugar Dock, Jacksons Landing
340
Debowa Housing Estate
078
TRIANGOLO
170
Honeycomb Apartments
262
Koidula Apartment Building
346
48 Single-Family Houses
086 Social Housing Tower of 75 Units
176
Tetris Apartments
270
Bikuben Student Residence
350
Corte Verona
092 Jewel
184
650 Apartments, Ljubljana
276
A House of Variable Geometry
356
Residential Building C
100 156 Transitory Dwellings in Parla
196
Lace Apartments
282
Retirement Home
362
Index
Contents
目录
006
Park Tower Gransky
106
8 House
202
Apartment Building Gormannstreet Berlin
288
Cherokee Mixed-Use Lofts
016
Marco Polo Residential Tower
112
Memoria 64 Vpp Emvs Vallecas, Madrid
206
Zagreb Street Center
294
Musician’s Housing, Hoogvliet
022
Wohngarten Sensengasse
120
Práter Street
212
Central Residential Complex
300
Shift Housing
028
Herold Social Housing
126
Floating Houses
218
Langerak Field 6 + 11
306
Strata SE1
034
MOSAIC in Beijing
134
Django Building
226
Furore-blok A
312
Marienburg ENGELS
042
Shopping Roof Apartments
138
Zuiderzeeweg
234
Quay Houses Groningen
316
Baufeld 10
054
Smarties
142
168 Social Housing in Madrid
240
Boston University
322
Krautgarten
060
Cvetkova Apartments
148
The Monolith , Lyon Confluence
244
The Mountain
330
Masrampinyo
064
68 Social Housing
156
The Intense City
252
My Home is My Patio
336
Business and Residential Building in Nova Cesta
072
Fuglsang Cuts (Competition – 1st Prize )
162
Cappella Apartments, Kensington
256
Sugar Dock, Jacksons Landing
340
Debowa Housing Estate
078
TRIANGOLO
170
Honeycomb Apartments
262
Koidula Apartment Building
346
48 Single-Family Houses
086 Social Housing Tower of 75 Units
176
Tetris Apartments
270
Bikuben Student Residence
350
Corte Verona
092 Jewel
184
650 Apartments, Ljubljana
276
A House of Variable Geometry
356
Residential Building C
100 156 Transitory Dwellings in Parla
196
Lace Apartments
282
Retirement Home
362
Index
Architect: María José Pizarro, Óscar Rueda. Firm: Rueda Pizarro Arquitectos Partners: Alberto Galindo, Ramiro Losada, Laura Montero, Jesús Muñoz Engineering: PROYTEC, DPI ingenieros Location: Tonw of Parla, Madrid Area: 18043.07m² Photographer: Miguel de Guzmán
156 Transitory Dwellings in Parla In the middle of 2005 the City Council of Parla, summons a new contest in its exposition: 826 housing were distributed in 6 parcels of public equipment. They also adjudge the right of surface to private companies that pay for the aid. Three years later, in front of other aids never made by unworkability in the management, the housings have dealt. This project was one of the six winners and the designers had to include exactly 156 housings which were those that corresponded to them in the plan. In the aid, the designers left from the situationists postulates of years 1950s. In its texts they taught to understand the city from the individual experience. The space of the city acquires sense with the use that their inhabitants do of it, of the multiplicity of relations that in the city can be given: to experience the city like a territory where “to construct situations”. This way, the designers would like to understand their proposal of houses for young people like a playful reappropiation of the urban space. The designers propose that the ground is freed to the maximum, creating a field of leisure activities that vary with the subject and the environment. In each one, the houses are organized around a central, illuminated and ventilated space, that allows to establish relations between the users in vertical and horizontal sense, and guarantees the ventilation crossed in all the houses. A vertical nucleus of communications serves five houses as a dormitory, and one of two, by plant. In its interior, all the space is opened to an extra outer emptiness, that introduces light, ventilation and energy to the house and are simultaneously a multipurpose space. Faced with the standard program-Bedroom-Hall Kitchen, we propose a configurable space, without program, multipurpose in its use. The only piece fixes are the fog rooms, on which halls and dormitories pivot, introducing certain randomness in the composition of the facade. A closing of you lick of hard anodizing aluminum of 18 cm of width, surrounds the facade, dressing the construction, and obtaining a contemporary image in the frame of a limited budget that did not surpass the 700 Euros square meter on grazing.
100
101
Architect: María José Pizarro, Óscar Rueda. Firm: Rueda Pizarro Arquitectos Partners: Alberto Galindo, Ramiro Losada, Laura Montero, Jesús Muñoz Engineering: PROYTEC, DPI ingenieros Location: Tonw of Parla, Madrid Area: 18043.07m² Photographer: Miguel de Guzmán
156 Transitory Dwellings in Parla In the middle of 2005 the City Council of Parla, summons a new contest in its exposition: 826 housing were distributed in 6 parcels of public equipment. They also adjudge the right of surface to private companies that pay for the aid. Three years later, in front of other aids never made by unworkability in the management, the housings have dealt. This project was one of the six winners and the designers had to include exactly 156 housings which were those that corresponded to them in the plan. In the aid, the designers left from the situationists postulates of years 1950s. In its texts they taught to understand the city from the individual experience. The space of the city acquires sense with the use that their inhabitants do of it, of the multiplicity of relations that in the city can be given: to experience the city like a territory where “to construct situations”. This way, the designers would like to understand their proposal of houses for young people like a playful reappropiation of the urban space. The designers propose that the ground is freed to the maximum, creating a field of leisure activities that vary with the subject and the environment. In each one, the houses are organized around a central, illuminated and ventilated space, that allows to establish relations between the users in vertical and horizontal sense, and guarantees the ventilation crossed in all the houses. A vertical nucleus of communications serves five houses as a dormitory, and one of two, by plant. In its interior, all the space is opened to an extra outer emptiness, that introduces light, ventilation and energy to the house and are simultaneously a multipurpose space. Faced with the standard program-Bedroom-Hall Kitchen, we propose a configurable space, without program, multipurpose in its use. The only piece fixes are the fog rooms, on which halls and dormitories pivot, introducing certain randomness in the composition of the facade. A closing of you lick of hard anodizing aluminum of 18 cm of width, surrounds the facade, dressing the construction, and obtaining a contemporary image in the frame of a limited budget that did not surpass the 700 Euros square meter on grazing.
100
101
VIVIENDAS EXISTENTES ALINEACIÓN CORNISA
ENERGÍA SOLAR ACS
CU
VIVIENDAS EXISTENTES ALINEACIÓN CORNISA
5 4 3
VENTILACIÓN CRUZADA
CÁPSULAS BIOCLIMÁTICAS
2 1
CONEXIÓN PARQUE URBANO COLCHÓN ACÚSTICO
BA EQ
EQUIPAMIENTOS
ALZADO-SECCIÓN DE ENTORNO. ESCALA 1:500
102
103
VIVIENDAS EXISTENTES ALINEACIÓN CORNISA
ENERGÍA SOLAR ACS
CU
VIVIENDAS EXISTENTES ALINEACIÓN CORNISA
5 4 3
VENTILACIÓN CRUZADA
CÁPSULAS BIOCLIMÁTICAS
2 1
CONEXIÓN PARQUE URBANO COLCHÓN ACÚSTICO
BA EQ
EQUIPAMIENTOS
ALZADO-SECCIÓN DE ENTORNO. ESCALA 1:500
102
103
<
PLANTA DE SITUACIÓN
ESC 1:1000 10
20M
N
1
2005年中期帕尔拉城市理事会在其举办的博览会中加入了一 场新的比赛：将826间住宅分布在六个公共设施中。他们也宣布参 与赞助的私人公司可以参加比赛。三年后，在管理方面没有任何 困难的情况下这些住宅竣工了。该项目是六个获奖作品之一，其 中包含156个住宅，这是与设计者最初的计划相匹配的。 在该项目中，设计者受到20世纪50年代情境主义原则的启 发，从个体的角度来理解城市。城市空间通过其住户的使用及城 市中多样性的关系而发挥作用：体验“建筑情境” 般的城市生 活。通过这种方式，设计者能够理解为年轻人设计的住宅方案需 要具有娱乐色彩。 设计者提议留出最大化地面，创建一个异于住宅主题及周围 环境的休闲活动区。在每一座住宅楼中，房间都是围绕着住宅中 心垂直的空间而建造，有利于横向、纵向住户间建立友好关系， 同时保证所有房间的空气流通。每个楼层中5个房间作为一个整 体。其内部所有空间都朝向一片额外的外部空地开放，这片空地 将阳光、流通的空气及能量带进房间，同时这些空间也具有多用 途性。考虑到卧室、大厅及厨房，设计者建议保留没有任何规划 的结构空间以便进行多用途使用。雾室是仅有的进行过规划的地 方，那里大厅及集体房间以轴为中心，导致立面结构有了一定的 随意性。住宅的立面由18厘米宽的硬阳极氧化铝包裹着，犹如给 建筑披了一层外衣，设计者用每平米不到700欧元的有限预算获得 了既定的效果。
104
1
5
10M
105
<
PLANTA DE SITUACIÓN
ESC 1:1000 10
20M
N
1
2005年中期帕尔拉城市理事会在其举办的博览会中加入了一 场新的比赛：将826间住宅分布在六个公共设施中。他们也宣布参 与赞助的私人公司可以参加比赛。三年后，在管理方面没有任何 困难的情况下这些住宅竣工了。该项目是六个获奖作品之一，其 中包含156个住宅，这是与设计者最初的计划相匹配的。 在该项目中，设计者受到20世纪50年代情境主义原则的启 发，从个体的角度来理解城市。城市空间通过其住户的使用及城 市中多样性的关系而发挥作用：体验“建筑情境” 般的城市生 活。通过这种方式，设计者能够理解为年轻人设计的住宅方案需 要具有娱乐色彩。 设计者提议留出最大化地面，创建一个异于住宅主题及周围 环境的休闲活动区。在每一座住宅楼中，房间都是围绕着住宅中 心垂直的空间而建造，有利于横向、纵向住户间建立友好关系， 同时保证所有房间的空气流通。每个楼层中5个房间作为一个整 体。其内部所有空间都朝向一片额外的外部空地开放，这片空地 将阳光、流通的空气及能量带进房间，同时这些空间也具有多用 途性。考虑到卧室、大厅及厨房，设计者建议保留没有任何规划 的结构空间以便进行多用途使用。雾室是仅有的进行过规划的地 方，那里大厅及集体房间以轴为中心，导致立面结构有了一定的 随意性。住宅的立面由18厘米宽的硬阳极氧化铝包裹着，犹如给 建筑披了一层外衣，设计者用每平米不到700欧元的有限预算获得 了既定的效果。
104
1
5
10M
105
Architect: Bjarke Ingels, Thomas Christoffersen Firm: Big-bjarke Ingels Group Project leader: Ole Elkjaer-Larsen, Henrick Poulsen Project manager: Finn Nørkjær, Henrik Lund Collaborators: Hopfner Partners, Moe & Brodsgaard, Klar Location: Copenhagen, DK Area: 61000m²
8 House
8 HOUSE is located in Southern Ørestad on the edge of the Copenhagen Canal and with a view of the open spaces of Kalvebod Fælled. It is a big house in the literal sense of the word. A house offers homes in all its bearings for people in all of life’s stages: the young and the old, nuclear families and singles, families that grow and families that become smaller. The bow-shaped building creates two distinct spaces, separated by the centre of the bow which hosts the communal facilities of 500 m². At the very same spot, the building is penetrated by a 9 meter wide passage that connects the two surrounding city spaces: the park area to the west and the channel area to the east. Instead of dividing the different functions of the building, for both habitation and trades, into separate blocks, the various functions have been spread out horizontally. The apartments are placed at the top while the commercial program unfolds at the base of the building. As a result, the different horizontal layers have achieved a quality of their own: the apartments benefit from the view, sunlight and fresh air, while the office leases merge with life on the street.
106
107
Architect: Bjarke Ingels, Thomas Christoffersen Firm: Big-bjarke Ingels Group Project leader: Ole Elkjaer-Larsen, Henrick Poulsen Project manager: Finn Nørkjær, Henrik Lund Collaborators: Hopfner Partners, Moe & Brodsgaard, Klar Location: Copenhagen, DK Area: 61000m²
8 House
8 HOUSE is located in Southern Ørestad on the edge of the Copenhagen Canal and with a view of the open spaces of Kalvebod Fælled. It is a big house in the literal sense of the word. A house offers homes in all its bearings for people in all of life’s stages: the young and the old, nuclear families and singles, families that grow and families that become smaller. The bow-shaped building creates two distinct spaces, separated by the centre of the bow which hosts the communal facilities of 500 m². At the very same spot, the building is penetrated by a 9 meter wide passage that connects the two surrounding city spaces: the park area to the west and the channel area to the east. Instead of dividing the different functions of the building, for both habitation and trades, into separate blocks, the various functions have been spread out horizontally. The apartments are placed at the top while the commercial program unfolds at the base of the building. As a result, the different horizontal layers have achieved a quality of their own: the apartments benefit from the view, sunlight and fresh air, while the office leases merge with life on the street.
106
107
108
109
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8号住宅位于哥本哈根运河边缘的南奥雷斯塔 德，从这里可以眺望Kalvebod Fælled美丽的景色。从 文字本身来看这是一所大房子。该住宅为不同年龄段 及不同阶段的居民及家庭所设计。其船头状的造型创 造了两个迥异的空间，这两个空间被位于船头中心的 500m²的公共设施隔开。同时，9米宽的过道从中穿过 将西边的公园及东边的运河连接起来。该住宅摈弃了 以往将建筑的不同功能分开布置的做法，将居住区及 商业区水平分散布置。公寓安排在高层，而商业用房 分布在底层，从而使不同的楼层具有其独特的特点： 公寓可以享受到美丽的风景、明媚的阳光以及新鲜的 空气，而商业用房则同充满生活气息的街道完美地融 合。
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8号住宅位于哥本哈根运河边缘的南奥雷斯塔 德，从这里可以眺望Kalvebod Fælled美丽的景色。从 文字本身来看这是一所大房子。该住宅为不同年龄段 及不同阶段的居民及家庭所设计。其船头状的造型创 造了两个迥异的空间，这两个空间被位于船头中心的 500m²的公共设施隔开。同时，9米宽的过道从中穿过 将西边的公园及东边的运河连接起来。该住宅摈弃了 以往将建筑的不同功能分开布置的做法，将居住区及 商业区水平分散布置。公寓安排在高层，而商业用房 分布在底层，从而使不同的楼层具有其独特的特点： 公寓可以享受到美丽的风景、明媚的阳光以及新鲜的 空气，而商业用房则同充满生活气息的街道完美地融 合。
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Architect: Marlies Rohmer Firm: Architectural office Marlies Rohmer Location: De Uithof, Utrecht Area: 18600m² Photographer: Scagliola / Brakkee, René de Wit, AkzoNobel
Smarties
The building of student housing on the Utrecht University site turned De Uithof into a fully-fledged campus, simultanously tackling the chronic housing shortage for young people in this city. The new complex of 380 independent and clustered rooms manifests itself as a solitary mass in the ‘strip of objects’ of the OMA master plan (which also includes the Unnik tower and the Educatorium). A four-storey tall concrete ‘leg’, which projects by eight metres, shelters a range of communal and commercial spaces. The facade consists of a grid of multicoloured aluminium panels in which the windows are omitted. Seen from a distance, the colours blend into a grey, scaly skin. The closer you come, the more it appears as a colourful honeycomb for the bright young students – people's ‘smarties’ – from all over the world. Beneath this lively skin, the interior of the mass fosters encounter and interaction at every scale. Party rooms and niches along the staircases and
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corridors make a microcosm in which young love can flourish and lifelong friendships can develop. De Uithof used to be a monotonous cluster of university buildings on the city margins of Utrecht. The separate buildings bore little relation to one another. Rem Koolhaas (OMA) and Art Zaaier devised a concept which would give De Uithof more coherence and character. Since then the object has been to achieve greater contrast between the built–up zones and open areas. The existing landscape qualities must be accentuated, but this must be balanced by compact building in functional clusters to enhance the level of urban interaction and eliminate the feeling of an urban desert. The central section consists of the Kasbah zone, a dense strip in individual buildings are closely spaced, and the ‘Object’ zone, in which the buildings are of a similar scale but grouped separately around a walkable public strip. A hallmark of the central area is that the buildings also communicate internally through a continuous walkway at first floor level.
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Architect: Marlies Rohmer Firm: Architectural office Marlies Rohmer Location: De Uithof, Utrecht Area: 18600m² Photographer: Scagliola / Brakkee, René de Wit, AkzoNobel
Smarties
The building of student housing on the Utrecht University site turned De Uithof into a fully-fledged campus, simultanously tackling the chronic housing shortage for young people in this city. The new complex of 380 independent and clustered rooms manifests itself as a solitary mass in the ‘strip of objects’ of the OMA master plan (which also includes the Unnik tower and the Educatorium). A four-storey tall concrete ‘leg’, which projects by eight metres, shelters a range of communal and commercial spaces. The facade consists of a grid of multicoloured aluminium panels in which the windows are omitted. Seen from a distance, the colours blend into a grey, scaly skin. The closer you come, the more it appears as a colourful honeycomb for the bright young students – people's ‘smarties’ – from all over the world. Beneath this lively skin, the interior of the mass fosters encounter and interaction at every scale. Party rooms and niches along the staircases and
054
corridors make a microcosm in which young love can flourish and lifelong friendships can develop. De Uithof used to be a monotonous cluster of university buildings on the city margins of Utrecht. The separate buildings bore little relation to one another. Rem Koolhaas (OMA) and Art Zaaier devised a concept which would give De Uithof more coherence and character. Since then the object has been to achieve greater contrast between the built–up zones and open areas. The existing landscape qualities must be accentuated, but this must be balanced by compact building in functional clusters to enhance the level of urban interaction and eliminate the feeling of an urban desert. The central section consists of the Kasbah zone, a dense strip in individual buildings are closely spaced, and the ‘Object’ zone, in which the buildings are of a similar scale but grouped separately around a walkable public strip. A hallmark of the central area is that the buildings also communicate internally through a continuous walkway at first floor level.
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PRESENTATIE Architectenbureau Marlies Rohmer
project specificatie
Smarties Situatie
werknr.
0301
schaal
1:1000
SI
datum
21-04-2009
bestand: 0301-412-SI
FLEXIBILITEIT
0
5
10
PRESENTATIE Architectenbureau Marlies Rohmer
project specificatie
Smarties hoofddraagconstructie verdieping
werknr.
0301
schaal
1 : 500
datum
09-07-2007
PL-flex bestand: 0301-412-PL-flex
建造乌得勒支大学的学生公寓楼将De Uithof变成了一个成熟的大 学校园，同时解决了这个城市里年轻人长期住房短缺的问题。新的大厦 包含有380个单间和套间，它就如同OMA规划（还包括Unnik塔和教育中 心）中“条形对象”里的一个独立的方块。一个四层楼高的混凝土“长 腿”，高度达到8米，遮盖着一定的公共和商业空间。 外表面由多彩铝板网格构成，从而省去了窗户。从远处看，色块形 成灰色鳞状外表。你离得越近，它看起来越像为来自世界各地的年轻学 生——人们的“聪明豆”准备的七彩蜂巢。 在这鲜活的外表下，大厦的内部蕴含着各种邂逅和交流。沿着楼梯 和走廊的联谊室和壁龛构成了一个微观世界，年轻人的爱情在其中滋生 繁荣，长久的友谊在其中建立。 De Uithof曾经是乌得勒支城市边缘地带里单调的大学建筑群。每个 建筑之间都缺乏联系。Rem Koolhaas (OMA) 和Art Zaaier提出了一种理念， 这将为De Uithof带来和谐和特色。从那时以来，目标就定位为在建筑区和 开放区之间产生更大的反差。现有的景观必须被突出，但这必须通过按 功能群整合建筑来平衡，从而提高城区交互作用的水平，减少城市的荒 凉感。 中心部分包括Kasbah区和Object区，Kasbah区呈稠密条状，其中的独 立建筑紧密相邻，Object区中的建筑规模相近，围绕一条步行街分组而 立。中心区域的特色就是所有建筑通过第一层的连续通道将内部连接起 来。
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PRESENTATIE Architectenbureau Marlies Rohmer
project specificatie
Smarties Situatie
werknr.
0301
schaal
1:1000
SI
datum
21-04-2009
bestand: 0301-412-SI
FLEXIBILITEIT
0
5
10
PRESENTATIE Architectenbureau Marlies Rohmer
project specificatie
Smarties hoofddraagconstructie verdieping
werknr.
0301
schaal
1 : 500
datum
09-07-2007
PL-flex bestand: 0301-412-PL-flex
建造乌得勒支大学的学生公寓楼将De Uithof变成了一个成熟的大 学校园，同时解决了这个城市里年轻人长期住房短缺的问题。新的大厦 包含有380个单间和套间，它就如同OMA规划（还包括Unnik塔和教育中 心）中“条形对象”里的一个独立的方块。一个四层楼高的混凝土“长 腿”，高度达到8米，遮盖着一定的公共和商业空间。 外表面由多彩铝板网格构成，从而省去了窗户。从远处看，色块形 成灰色鳞状外表。你离得越近，它看起来越像为来自世界各地的年轻学 生——人们的“聪明豆”准备的七彩蜂巢。 在这鲜活的外表下，大厦的内部蕴含着各种邂逅和交流。沿着楼梯 和走廊的联谊室和壁龛构成了一个微观世界，年轻人的爱情在其中滋生 繁荣，长久的友谊在其中建立。 De Uithof曾经是乌得勒支城市边缘地带里单调的大学建筑群。每个 建筑之间都缺乏联系。Rem Koolhaas (OMA) 和Art Zaaier提出了一种理念， 这将为De Uithof带来和谐和特色。从那时以来，目标就定位为在建筑区和 开放区之间产生更大的反差。现有的景观必须被突出，但这必须通过按 功能群整合建筑来平衡，从而提高城区交互作用的水平，减少城市的荒 凉感。 中心部分包括Kasbah区和Object区，Kasbah区呈稠密条状，其中的独 立建筑紧密相邻，Object区中的建筑规模相近，围绕一条步行街分组而 立。中心区域的特色就是所有建筑通过第一层的连续通道将内部连接起 来。
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Architect: Andrej Kalamar Firm: Studio Kalamar Location: Murska Sobota, Slovenia Area: 6370m² Materials: reinforced concrete, ceramic tiles, gravel Photographer: Miran Kambič, Studio Kalamar
Cvetkova Apartments
Apartment buildings are located in a redeveloped downtown area that has recently been converted from derelict industrial to public and residential use. Despite its central position in the city, the site is removed from main roads and downtown bustle. Next to the new music school on the north of the city block, three apartment buildings rise from a green surface. Their positions reflect the heterogeneous surroundings; variety of directions influences the varying orientations of the volumes. As there are no parallel facades, each apartment can establish an individual character without obstruction. Lower floors comprise four apartments each, top floor is divided into three apartment units, all with flexible floor plans. As a result, long facade surfaces ensure each apartment abundant natural light. The smooth facades with enclosed loggias enfold the volumes into a shimmering ceramic coat, varying in colour tone and reflectivity. Transparent fence around the complex prevents exclusion from surrounding city life while allowing unsupervised children's play. Gently sloped green areas provide various opportunities for that, and a small playground for the youngest children is located in the eastern corner of the site. Parking and storage spaces are arranged below ground, serving as a base for all three volumes. Special attention was accorded to energy use of the complex. Each building has a separate boiler room, and cooling is arranged individually. The compact facade and energy supply scheme both stimulate economical consumption and thus reduced energy use.
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SITEPLAN
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Architect: Andrej Kalamar Firm: Studio Kalamar Location: Murska Sobota, Slovenia Area: 6370m² Materials: reinforced concrete, ceramic tiles, gravel Photographer: Miran Kambič, Studio Kalamar
Cvetkova Apartments
Apartment buildings are located in a redeveloped downtown area that has recently been converted from derelict industrial to public and residential use. Despite its central position in the city, the site is removed from main roads and downtown bustle. Next to the new music school on the north of the city block, three apartment buildings rise from a green surface. Their positions reflect the heterogeneous surroundings; variety of directions influences the varying orientations of the volumes. As there are no parallel facades, each apartment can establish an individual character without obstruction. Lower floors comprise four apartments each, top floor is divided into three apartment units, all with flexible floor plans. As a result, long facade surfaces ensure each apartment abundant natural light. The smooth facades with enclosed loggias enfold the volumes into a shimmering ceramic coat, varying in colour tone and reflectivity. Transparent fence around the complex prevents exclusion from surrounding city life while allowing unsupervised children's play. Gently sloped green areas provide various opportunities for that, and a small playground for the youngest children is located in the eastern corner of the site. Parking and storage spaces are arranged below ground, serving as a base for all three volumes. Special attention was accorded to energy use of the complex. Each building has a separate boiler room, and cooling is arranged individually. The compact facade and energy supply scheme both stimulate economical consumption and thus reduced energy use.
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SITEPLAN
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这些公寓楼位于重新开发的商业区中，该商业区刚刚由一片荒废的工业区重新开发而成，供公用和住宅使 用。尽管位于市中心，但这里远离主干道和城市中心区的喧嚣。在城市街区的北面是一所新建的音乐学校，紧挨 着它的就是在一片绿地上拔地而起的三栋公寓楼。这三栋楼的位置反映了周围环境的非均匀分布；三栋楼方向多 样也是为了配合周围环境。因为楼面不平行，所以每间公寓都能够毫无阻碍地建立自己的个性特征。低楼层每层 有四间公寓，顶层有三间公寓。每间公寓的户型都各不相同。这样长长的楼正面使每户都享有充足的阳光。光滑 的楼面伴有封闭式凉廊，将整个建筑包裹在了陶瓷的外衣下，闪闪发亮，折射出各种色彩的旋律。 该项目建筑群的开放式围墙设计既允许孩子自由玩耍，无需大人监督，又不与周围的城市生活脱节。缓缓的 斜坡上的绿地和位于项目东角的一个小操场，都为孩子们提供了玩耍的空间。 停车场和仓库都设计安排在地下，作为三栋楼的地基。该项目的能源利用是被关注的焦点。每栋楼都有独立 的锅炉房，制冷装置也是每户独立。小巧的楼外表面和能源供给方案都带动经济型消费，从而减少能耗。
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这些公寓楼位于重新开发的商业区中，该商业区刚刚由一片荒废的工业区重新开发而成，供公用和住宅使 用。尽管位于市中心，但这里远离主干道和城市中心区的喧嚣。在城市街区的北面是一所新建的音乐学校，紧挨 着它的就是在一片绿地上拔地而起的三栋公寓楼。这三栋楼的位置反映了周围环境的非均匀分布；三栋楼方向多 样也是为了配合周围环境。因为楼面不平行，所以每间公寓都能够毫无阻碍地建立自己的个性特征。低楼层每层 有四间公寓，顶层有三间公寓。每间公寓的户型都各不相同。这样长长的楼正面使每户都享有充足的阳光。光滑 的楼面伴有封闭式凉廊，将整个建筑包裹在了陶瓷的外衣下，闪闪发亮，折射出各种色彩的旋律。 该项目建筑群的开放式围墙设计既允许孩子自由玩耍，无需大人监督，又不与周围的城市生活脱节。缓缓的 斜坡上的绿地和位于项目东角的一个小操场，都为孩子们提供了玩耍的空间。 停车场和仓库都设计安排在地下，作为三栋楼的地基。该项目的能源利用是被关注的焦点。每栋楼都有独立 的锅炉房，制冷装置也是每户独立。小巧的楼外表面和能源供给方案都带动经济型消费，从而减少能耗。
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