外文翻譯建筑學(xué)

#/14芬蘭建筑主要因兩點(diǎn)而聞名實(shí)用而直接的現(xiàn)代主義和一種同自然之間的虛構(gòu)的關(guān)系。從阿爾瓦?阿爾托和他同時(shí)代一一包括埃里克?布呂格曼ErikBryggman和保利?布盧姆斯泰特PauliE.Blomstedt在內(nèi)一一的那些設(shè)計(jì)了80年前的芬蘭現(xiàn)代建筑作品的建筑師開(kāi)始就是如此。阿爾托在1930年代的設(shè)計(jì)特別是完成于1933年的帕伊米奧療養(yǎng)院布呂格曼設(shè)計(jì)的私人住宅和圖爾庫(kù)的公寓區(qū)以及布盧姆斯泰特的教堂設(shè)計(jì)都是芬蘭現(xiàn)代建筑早期階段的標(biāo)志。在這之后現(xiàn)代主義運(yùn)動(dòng)的主流和分支總是成為芬蘭建筑學(xué)習(xí)的對(duì)象。如此忠誠(chéng)于現(xiàn)代主義的原因可以歸結(jié)到芬蘭自1917年獨(dú)立以來(lái)的社會(huì)發(fā)展以及北歐人一貫的建筑和設(shè)計(jì)方向。北部的地理位置和文化在北歐的多種現(xiàn)代主義中建筑是與眾多北部歐洲的文化特性交織在一起的。起決定性的因素是氣候和自然環(huán)境同時(shí)還有從路德教而來(lái)、體現(xiàn)在北歐福利國(guó)家的一種共有的精神。這里值得一提的是在當(dāng)?shù)孛癖娕c自然之間的關(guān)系形成的過(guò)程中有一個(gè)關(guān)鍵因素一一“自由信步”的理念簡(jiǎn)而言之即在一定限度內(nèi)每個(gè)人都有權(quán)利進(jìn)入到自然環(huán)境及其所賦予的一切中去。這一傳統(tǒng)在那些居住環(huán)境與自然緊密相聯(lián)的地方廣為人知在北歐國(guó)家更是根深蒂固。波羅的海地區(qū)的自然環(huán)境十分富足、多樣且尺度較小。內(nèi)陸中不計(jì)其數(shù)的湖面形成了廣闊的水路。芬蘭被稱為“千島之國(guó)”。實(shí)際上可以說(shuō)芬蘭的自然環(huán)境充滿了各種獨(dú)特的場(chǎng)所。我們沒(méi)有一望無(wú)際的海岸沙灘或巨大的高差但是我們擁有河、湖和群島。多樣且無(wú)所不在的水陸交替為芬蘭的自然環(huán)境提供了一種韻律。這種韻律既是視覺(jué)上的也是精神上的。此外四季的變換一一溫暖明亮的夏季和寒冷多雪的冬季一一強(qiáng)化了景觀的多變對(duì)自然空間的應(yīng)用有著顯著影響。關(guān)于芬蘭建筑前文所述都與芬蘭人所認(rèn)知的好建筑密切相關(guān)。在這里成為好建筑的關(guān)鍵因素是同地段或場(chǎng)所的聯(lián)系及其空間體驗(yàn)。當(dāng)代芬蘭建筑中的自然和現(xiàn)代主義NATUREANDMODERNISMINCONTEMPORARYFINNISHARCHITECTURE尤哈那?拉赫蒂/JuhanaLahti孫凌波譯/TranslatedbySUNLingboFinnisharchitectureisrenownedprimarilyfortwothings:pragmaticandno-nonsensemodernismandamythicalrelationshipwithnature.ThishasbeenthecaseeversinceAlvarAaltoandhiscontemporaries,includingErikBryggmanandPauliE.Blomstedt,designedthefirstmasterpiecesofFinnishmodernarchitecturesome80yearsago.Aalto's1930sdesigns,especiallythePaimioSanatoriumcompletedin1933,Bryggman'sprivatehousesandblocksofflatsinthecityofTurku,andBlomstedt'schurchdesigns,mostimportantlytheKannonkoskiChurchcompletedin1938,marktheearlystageofFinnishmodernarchitecture.Modernismhassubsequentlybeenthemovementthatthemainstream,andoftenalsothealternative,Finnisharchitecturehasleanton.ThecommitmenttomodernismisrelatedtoFinland'ssocialdevelopmentsinceitgainedindependencein1917andtheNordicapproachtoarchitectureanddesign.NorthernLocationandCultureIntheNordicvarietyofmodernism,thearchitectureisinterwovenwithmanyNorthernEuropeanculturaltraits.Thedeterminingfactorsatplayareclimateandnaturalsurroundings,butalsoacommunalspirit,drawingonLutheranism,whichhasbeenembodiedbytheNordicwelfarestate.Akeycharacteristicintheformationofthelocalpeople'srelationshipwithnature,whichisworthmentioninghere,istheideaof"freedomtoroam",which,inanutshell,meansthateveryonehastherighttoaccessthenaturalenvironmentandwhatitoffers,withincertainlimits.Thistradition,whichisknowngloballybypeoplewholiveincloseconnectionwithnature,hasstooditsgroundintheNordiccountries.ThenaturalenvironmentintheBalticSearegionisveryrich,variedandsmallinscale.Theinland,again,featuresanendlessnumberoflakesthatformvastwaterways.Finlandisknownasthelandofathousandlakes.Infact,youcansaythatFinnishnatureisfilledwithuniqueplaces.Wedonothaveendlesssandybeachesbyoceansorparticularlygreatdifferencesinheight.Instead,wehaverivers,lakesandarchipelagos.ThisvariedandomnipresentalternationoflandandwaterprovidesarhythmtotheFinnishnaturallandscape.Thisrhythmisbothvisualandspatial.Inaddition,thechangingofthefourseasons,withwarmandlightsummersanddark,snowyandcoldwinterswhenthewaterwaysfreeze,accentuatesthevariabilityofthelandscapeandhasaconsiderableeffectontheuseofnaturalspace.OnFinnishArchitectureIseethatalltheaboveiscloselyassociatedwithwhatpeopleperceiveasgoodarchitectureinFinland.Beingtiedtoasiteorplaceandspatialexperiencearekeyissueshere.Firstly,whatisconsideredgoodarchitectureislinkedwithhavingrespectforasiteanditshistory,whetherinanaturaloranurbansetting.TheleadingFinnisharchitectsfromthe1930stothe1960s,mostimportantlyAlvarAalto,consistentlyinsistedthatthetreesonbuildingsitesweretobeprotectedagainstdamagethroughouttheprojects.Thiswasawaytoallownaturetobeaconcretepartofthebuildings9yardareas.Duringthisera,zonethinkingbecamepartofurbanplanning,andthelinkbetweenresidentialareasandnaturalgreenzonesassumedparticularprominenceinsuburbanplanning.Inurbanplanning,havinganappreciationforhistoricbuildingstockisaphenomenonofrecentdecades.Asaflipsidetothedevelopmentofmodernisation,the1970sstillsawnumerous首先成為好建筑要尊重地段及其歷史無(wú)論它是在自然環(huán)境里還是在城市之中。以阿爾瓦?阿爾托為代表的1930 1960年代的芬蘭建筑師一貫堅(jiān)持在項(xiàng)目進(jìn)程中對(duì)地段上的樹(shù)木加以保護(hù)。這是讓自然成為建筑院落一部分的方式之一。在這個(gè)時(shí)代區(qū)域劃分成為城市規(guī)劃的一部分。在郊區(qū)規(guī)劃中居住區(qū)同自然綠色區(qū)域的聯(lián)系尤為重要。對(duì)歷史建筑遺產(chǎn)的評(píng)估是近年城市規(guī)劃中的一種現(xiàn)象。歷史性木構(gòu)建筑作為現(xiàn)代化發(fā)展中被忽視的一面在1970年代的芬蘭城市中被大量摧毀。破壞的瘋狂在那之后平息下來(lái)但事情還未完全改變。數(shù)年過(guò)去之后現(xiàn)代建筑也已經(jīng)成為我們建筑遺產(chǎn)的一部分。同樣歷史性的城市環(huán)境現(xiàn)在也被認(rèn)為是值得保留的。在芬蘭并不存在像芬蘭南部鄰國(guó)愛(ài)沙尼亞首都塔林所出現(xiàn)的那種歷史建筑豎向擴(kuò)建的案例。類似的一個(gè)啟示性案例就是關(guān)于收錄在本期專輯中的ALA建筑師事務(wù)所的“云城市”設(shè)計(jì)的論戰(zhàn)。第二它把建筑緊鄰的環(huán)境視為建筑的延伸和整體建筑設(shè)計(jì)的一部分。進(jìn)入一棟建筑的路徑和從室內(nèi)看到的室外景觀是建筑及其體驗(yàn)的一個(gè)特別重要的部分。讓自然光線進(jìn)入建筑是現(xiàn)代建筑中的一個(gè)普遍理念在我們這個(gè)冬季只有極短時(shí)間寶貴日照的北緯度地區(qū)尤為受歡迎。上面提到過(guò)的對(duì)一個(gè)地段或場(chǎng)所的特別強(qiáng)調(diào)與建筑的特色緊密相關(guān)。對(duì)于建筑周圍景觀視野的細(xì)致考量則會(huì)將建筑設(shè)計(jì)與地段和周圍自然環(huán)境聯(lián)系在一起。完成于1957年、由?；?西倫HeikkiSiren和凱亞?西倫KaijaSiren設(shè)計(jì)的Otaniemi禮拜堂是一個(gè)著名的案例。接近和離開(kāi)一棟建筑的方式在創(chuàng)造空間體驗(yàn)的過(guò)程中扮演著重要角色。與此相關(guān)的案例是亞梵拓建筑師事務(wù)所設(shè)計(jì)的圣勞倫斯禮拜堂。該禮拜堂處在一個(gè)歷史性的環(huán)境之中設(shè)計(jì)的精華在于接近建筑、進(jìn)入建筑和離開(kāi)它進(jìn)入教堂庭院的一系列運(yùn)動(dòng)。第三它包含低密度居住的理想這與芬蘭人口極為稀少的現(xiàn)實(shí)有關(guān)。在這方面芬蘭在城市規(guī)劃中的建筑文化同一些國(guó)際大都市或人口稠密區(qū)域差別很大。這種理想在今天日漸稠密的城市環(huán)境中如何實(shí)現(xiàn)是具有爭(zhēng)議的但是芬蘭人仍把自然環(huán)境視為他們城市的一部分并對(duì)高層建筑持有懷疑態(tài)度。對(duì)于自然環(huán)境的偏愛(ài)在1950年代建于赫爾辛基區(qū)域的“森林郊區(qū)”項(xiàng)目中有所體現(xiàn)。其中一個(gè)在塔皮奧拉依據(jù)地形曲線布局的低層公寓街區(qū)坐落在樹(shù)林中地塊間也沒(méi)有圍墻分隔。高層建筑目前是赫爾辛基區(qū)域的一個(gè)活躍的討論話題 “云城市”項(xiàng)目就是這樣的案例之一。反對(duì)高層建筑的論據(jù)包括對(duì)歷史性城市空間的保護(hù)和自然光線的重要性這兩方面。人們不希望高層建筑超越、破壞目前的天際線并對(duì)城市的其他部分產(chǎn)生遮擋特別是在太陽(yáng)幾乎很少升到地平線以上的冬天。公共建筑的重要性包括公共醫(yī)療、公共圖書(shū)館、教育體系和國(guó)有教堂在內(nèi)的各種各樣的公共建筑 與福利國(guó)家服務(wù)有著重要關(guān)聯(lián)。大部分芬蘭人都是路德教教徒。在基督教的路德教會(huì)傳統(tǒng)中教堂建筑少有裝飾多用于安靜的禮拜儀式。禮拜堂是為葬禮儀式而設(shè)計(jì)的更小型的建筑。最新的宗教建筑強(qiáng)調(diào)了集體性及傳統(tǒng)的建造方式并把自然作為一種視覺(jué)元素。historicwoodenbuildingspulleddowninpracticallyallFinnishcities.Thedemolitionfrenzyhassincesubsided,althoughthingshavenotchangedcompletely.Overthedecades,modernarchitecture,too,hasbeenacceptedaspartofourbuiltheritage.Similarly,historicurbanenvironmentsarenowconsideredworthpreserving.InFinland,therearenocasesofverticalexpansionofhistoricbuildings,as,forexample,inTallinn,thecapitalofEstonia,Finland'ssouthernneighbour.ArevealingexampleofthesituationisthecontroversyovertheCloudCitydesignbyALAArchitects,whichispresentedinthismagazine.Secondly,itislinkedwithviewingabuilding'simmediatesurroundingsasitsexpansionandanintegralpartoftheoverallarchitecturaldesign.Theentryintoabuildingandtheviewsfrominsideareaparticularlyimportantpartofthearchitectureandthewayitisexperienced.Allowingnaturallightintoabuilding,anideaprevalentinmodernarchitecture,wasenthusiasticallywelcomedatournorthernlatitudes,wheretherearepreciousfewhoursofsunlightinthewintertime.Placingspecialemphasisonasiteorplace,whichImentionedabove,iscloselyrelatedtoarchitecturalcharacter.Thecarefullythought-outviewsthatopenontothebuilding'ssurroundingstieittothesiteandthesurroundingnaturetothearchitecturaldesign.Awell-knownexampleofthisistheOtaniemiChapelbyHeikkiSirenandKaijaSiren,completedin1957.Theapproachtoandexitfromabuildingplayanimportantroleincreatingaspatialexperience.AcaseinpointistheChapelofSt.LawrencedesignedbyAvantoArchitects.Locatedinahistoricalsetting,theessenceofthechapeldesignisthemovementtowardsthebuilding,intoitandbackoutofitintothechurchyard.Thirdly,itincludestheidealoflow-densityliving,whichisrelatedtothefactthatFinlandisaverysparselypopulatedcountry.Inthisrespect,theFinnisharchitecturalcultureinurbanplanningdiffersconsiderablyfromthesituationininternationalmetropolisesorotherdenselypopulatedareas.Howthisidealisrealisedintoday'sincreasinglydenseurbanenvironmentisarguable,butFinnsstillvaluenaturalenvironmentsaspartoftheircitiesandremainscepticalabouthigh-risebuildings.Theappreciationofnaturalenvironmentsshows,forexample,inthe“forestsuburbs”builtinthe1950sintheHelsinkiregion.OneoftheseisTapiola,inwhichfairlylowblocksofflatssitamidsttrees,laidoutaccordingtothecontoursoftheterrainandwithoutfencesseparatingtheplots.High-riseconstructionispresentlyatopicoflivelydiscussionintheHelsinkiregion,andtheCloudCityprojectisoneexampleofthis.Thearguments4亞梵拓建筑師事務(wù)所設(shè)計(jì)的圣勞倫斯禮拜堂是將現(xiàn)代建筑傳統(tǒng)升級(jí)而滿足當(dāng)代需求的一個(gè)范例。雅致而獨(dú)特的材料選擇和采光方案使這個(gè)建筑藝術(shù)作品近乎完美 同時(shí)令其在現(xiàn)代芬蘭禮拜堂建筑的鏈條中占據(jù)了一席之地。在此之前著名的禮拜堂建筑還包括位于土爾庫(kù)、在同一塊墓地園區(qū)中相對(duì)而立的由埃里克?布呂格曼設(shè)計(jì)的復(fù)活禮拜堂1941和佩卡?皮特凱寧 PekkaPitkanen設(shè)計(jì)的神圣十字禮拜堂1967o現(xiàn)代建筑傳統(tǒng)也體現(xiàn)在薩納克森納胡Sanaksenaho建筑師事務(wù)所設(shè)計(jì)的位于希文薩洛的圣亨利基督教會(huì)藝術(shù)禮拜堂 2005和郎安溪海希萊Lassilaagainsthigh-risesincludethepreservationofhistoricurbanspacesandtheimportanceofnaturallight:peopledonotwanttallbuildingstoriseabovethecurrentskylineforfearofchangingthecityscapeandovershadowingtherestofthecity,especiallyinthewinter,whenthesunbarelyrisesabovethehorizon.TheSignicanceofPublicBuildingsVariouspublicbuildingsareimportantlylinkedtothewelfarestateservices,whichencompasspublichealthcare,publiclibraries,theeducationsystemandthestatechurch.MostFinnsaremembersoftheLutheranchurch.IntheLutherantraditionofChristianity,churchbuildingsfeaturelittleornamentationandtheyaremostlyusedforsilentworship.Chapelsaresmallerbuildingsthataredesignedforfuneralceremonies.Themorerecentreligiousbuildingshighlightcommunality,natureasavisualelement,andtraditionalbuildingmethods.TheChapelofSt.LawrencebyAvantoArchitectsisafineexampleofhowtheheritageofmodernarchitecturehasbeenupdatedtomeetcontemporaryneeds.TheelegantanduniquematerialchoicesandlightingsolutionsperfectthisHirvilammi建筑事務(wù)所在于韋斯屈萊設(shè)計(jì)的庫(kù)奧卡拉教堂。這些項(xiàng)目的室內(nèi)方案會(huì)令人聯(lián)想到埃羅?埃里凱寧 EeroEerikainen和奧斯莫?西帕里OsmoSipari設(shè)計(jì)的薩拉教堂1950和維爾約-雷維爾ViljoRevell 設(shè)計(jì)的位于康阿斯阿拉的Vatiala禮拜堂1960 。學(xué)校和托兒所是社區(qū)建筑的另一類案例。目前的芬蘭教育體系是全世界最優(yōu)秀的體系之一這可能是芬蘭作為福利國(guó)家的最大成就。每個(gè)人從托兒所開(kāi)始都有同等的教育機(jī)會(huì)。教育體系也為保持芬蘭的文化凝聚力做出了貢獻(xiàn)。對(duì)于舒適的教學(xué)設(shè)施的設(shè)計(jì)傳統(tǒng)由來(lái)已久。學(xué)校的體育場(chǎng)一直被作為整體設(shè)計(jì)的一部分加以考慮這對(duì)于托兒所來(lái)說(shuō)尤為重要因?yàn)閼敉庥螒蚴莾和粘Ｉ畹囊粋€(gè)重要部分。安全的體育場(chǎng)地由此應(yīng)該成為兒童建筑的一個(gè)組成部分。位于緊鄰赫爾辛基的埃斯坡的兩棟建筑一一維斯塔斯建筑師事務(wù)所設(shè)計(jì)的克蔻加爾維綜合學(xué)校2010和JKMM建筑師事務(wù)所設(shè)計(jì)的薩烏娜拉赫蒂兒童之家20n 是這類建筑中的典范。適度居住的理念一個(gè)民主社會(huì)的悠久傳統(tǒng)體現(xiàn)在住宅的形式和理想上。讓每個(gè)人都擁有高品質(zhì)的住宅已經(jīng)成為北歐architecturalworkofart,whichatthesametimetakesitsplaceinthechainofmodernFinnishchapelbuildings,includingtheResurrectionChapelbyErikBryggman(1941)andtheChapeloftheHolyCrossbyPekkaPitkanen(1967),whichformapaironthesamecemeterysiteinthecityofTurku.TheheritageofmodernarchitectureisalsoshownintheSt.Henry'sEcumenicalArtChapelinHirvensalobySanaksenahoArchitects(2005)andtheKuokkalaChurchinJyvaskylabyLassilaHirvilammiArchitects(2009).Theinteriorsolutionsoftheseprojectsdemonstratethearchitects'familiaritywiththedesignsoftheSallaChurchbyEeroEerikainenandOsmoSipari(1950)andtheVatialaChapelinKangasalabyViljoRevell(1960).Schoolsandnurseriesareanotherexampleofarchitecturedesignedforcommunities.ThecurrentFinnisheducationsystemisamongthebestintheworldandisperhapsthegreatestachievementoftheFinnishwelfarestate.Everyoneisgivenequalopportunitiesineducation,startingfromthenursery.TheeducationsystemalsoplaysaroleinmaintainingculturalcohesioninFinland.Thedesignofcomfortablefacilitiesthatsupportteachinghasastrongtradition.Schoolplaygroundsareconsideredtobepartoftheoveralldesign,whichisespeciallyimportantwithnurseries,asplayinggamesoutsideisasignificantpartofthechildren'sday.Safeplaygroundsshouldthereforebeanintegralpartofbuildingsforchildren.FineexamplesofdesignsinthiscategoryaretheKirkkojarviSchoolbyVerstasArchitects(2010)andtheSaunalahtiChildren'sHousebyJKMMArchitects(2011),bothlocatedinHelsinki'sneighbouringcityofEspoo.TheIdealofModestLivingHavingalong-lastingtraditionofademocraticsocietyshowsinhousingformsandideals.Makinghigh-qualityhousingavailableforeveryonehasbeenatthecoreoftheNordicwelfarestateideology.Acaseinpointisthesmallandlow-rentstudentflats.Often,someofthebestarchitectsarehiredforthedesignofstudenthousing,andprojectsaresubjecttoarchitecturalcompetition.ThiswasthecasewiththeHOASstudenthousingunitinViikkibyPlayaarchitects(2010),whichwasinspiredbythe1950sNordicresidentialarchitecture,andtheHOASstudenthousingunitatIntiankatu20inKumpulabyBrunow&Maunula(2007),whichisdesignedtofunctionasaquietpocketinanoisyurbansetting.Fromanotherangle,thedemocratictraditionandthe,asyet,naturalrelationshipbetweenpeopleandtheirenvironmentislinkedtothetraditionofsummerresidences,withwhichmostFinnsarefamiliar.Thetraditionisalsocloselyrelatedtoournaturallandscape,which,asImentionedabove,isseentocontaincountlessplaces.Anoteworthyexampleofsummerresidencesdesignedtobeavailabletoallarethesummercottagesthatarelocatedonrentedplotsinpublicrecreationareasandthatwereoriginallydesignedfortheunderprivileged.Thisisaninterestingextensiontotherightoffreedomtoroam,andtherearethousandsofsummercottagesliketheseinHelsinkialone.Atthestartofthe21stcentury,thistraditionisenjoyingarevival,asnewgenerationsofcity.O與此相關(guān)的案例是低租金的小型學(xué)生公寓。通常一些最優(yōu)秀的建筑師會(huì)通過(guò)建筑競(jìng)賽獲得委托設(shè)計(jì)學(xué)生住宅。這樣的案例包括受到1950年代北歐居住建筑啟發(fā)的由Playa建筑師事務(wù)所設(shè)計(jì)的位于維基的H0AS學(xué)生公寓2010 以及布魯諾&毛努拉Brunow&Maunula事務(wù)所設(shè)計(jì)的位于Kumpula＞作為喧囂城市中寧?kù)o一隅的H0AS學(xué)生公寓2007o從另一個(gè)角度來(lái)看民主傳統(tǒng)和迄今為止的人與其環(huán)境的自然關(guān)系都同大多數(shù)芬蘭人所熟悉的夏季住宅的傳統(tǒng)有關(guān)。這一傳統(tǒng)也與我們的自然景觀密切相關(guān)一一正如上文提到的我們的自然景觀中包含著無(wú)以計(jì)數(shù)的場(chǎng)所。夏季住宅案例中值得一提的是那些在公共娛樂(lè)區(qū)域的租賃地塊上、對(duì)所有人開(kāi)放的夏季別墅它們最初是為窮困民眾設(shè)計(jì)的。這是“信步自由”理念的一種有趣的延伸僅在赫爾辛基一地就有數(shù)千個(gè)這樣的夏季別墅。在21世紀(jì)之初這一傳統(tǒng)通過(guò)新一代城市居民的發(fā)掘而重獲新生。維斯塔斯建筑師事務(wù)所設(shè)計(jì)的位于Lauttasaari的“城市別墅”實(shí)現(xiàn)了對(duì)傳統(tǒng)概念的一次完美的更新。夏季別墅廣受歡迎人們還為此規(guī)劃了新的服務(wù)區(qū)域。比如夏季別墅區(qū)就被包括在了赫爾辛基東部的新居