大獎(jiǎng)及特別方案獎(jiǎng)：坎塔納電影動(dòng)畫學(xué)院，佛統(tǒng)府，泰國

建筑設(shè)計(jì)：曼谷設(shè)計(jì)工作室

大獎(jiǎng)及特別方案獎(jiǎng)：坎塔納電影動(dòng)畫學(xué)院，佛統(tǒng)府，泰國

建筑設(shè)計(jì)：曼谷設(shè)計(jì)工作室

1.2 外景/Exterior view

電影與建筑學(xué)在一件事情上是共通的——它們都是依賴連續(xù)光影變幻的藝術(shù)形式。位于佛統(tǒng)府省的坎塔納電影動(dòng)畫學(xué)院距離曼谷45km，其建筑美輪美奐地展現(xiàn)了這種協(xié)同共生的效應(yīng)。亮部與暗部并置在突出起伏的墻面上，整個(gè)墻體高達(dá)8m。建筑表面的光影亮度不同，且有規(guī)律地變化，為建筑帶來了動(dòng)感。看起來仿佛是36mm的膠片在影片攝像機(jī)中緩慢地展開，非常緩慢。

“光與影是基本的建筑要素。”泰國建筑師汶頌·普雷姆塔達(dá)說，“它們與景觀同樣重要，與背景環(huán)境同樣重要，與色彩、與氣息、與口味都同樣重要。盡管如此，在坎塔納電影動(dòng)畫學(xué)院的建筑中，光與影的趣味不僅服務(wù)于審美或理解空間的目的，更主要的是為了滿足室內(nèi)空間微氣候與被動(dòng)式制冷的要求。”借助瓦片表面自遮陽的功能，建筑內(nèi)部無需憑借任何技術(shù)輔助手段即可保持較低的室溫。總共使用了60萬塊燒制磚，在這些手工磚的表面仍能見到工人留下的手印和腳印。被陰影遮蔽的部分已經(jīng)長出了苔蘚。在凹凸墻面內(nèi)部每隔60cm處裝有一根增加必要穩(wěn)定性的鋼結(jié)構(gòu)。“我必須承認(rèn)，在找到目前這種解決方案之前，我們的確嘗試了許多不同的構(gòu)造方法。” 普雷姆塔達(dá)說，“有為數(shù)不少的樣品和試驗(yàn)段僅僅砌筑了幾米就坍塌了。這只是建筑學(xué)領(lǐng)域的工作方法而已，經(jīng)常需要反復(fù)調(diào)試。如果沒有激情，你就會(huì)在這種工作秩序中消沉。”

這種激情也早已感染了在此學(xué)習(xí)的60位初出茅廬的電影工作者。“我永遠(yuǎn)想不到自己會(huì)在這樣美麗的地方學(xué)習(xí)。”阿諾布·普吉達(dá)說，“這不是一座常規(guī)的建筑。有人在這里展現(xiàn)了創(chuàng)造力和敏銳的感受。這非常好，因?yàn)殡娪爸谱饕餐瑯尤绱耍耆揽縿?chuàng)造力。我們?cè)谶@里剛好構(gòu)成了一個(gè)循環(huán)。”這座電影學(xué)院包含了若干工作室和教室、食堂、具有當(dāng)代風(fēng)格的圖書館、教師行政區(qū)和一片寬敞的室外場(chǎng)地。在一個(gè)個(gè)窗洞前和沿墻面分布的壁龕中，能看到許多正在復(fù)習(xí)、畫畫、聽音樂、甚至打盹的學(xué)生。那些現(xiàn)在還未完全長成的樹木，也會(huì)有一天，在課間休息時(shí)為學(xué)生提供蔭涼；但這還需要時(shí)間。（徐知蘭 譯）

項(xiàng)目信息/Credits and Data

客戶/Client: 坎塔納電影動(dòng)畫學(xué)院/Kantana Institute

建設(shè)周期/Construction Period: 2009.08 -2011. 06

使用面積/Usable Floor Area: 2000m2

建筑用途/Building's Purpose: 教育/Education

用磚類型/Brick Type: 手工磚/Handmade bricks

攝影/Photos: Wienerberger AG/Pirak Anurakyawachon

Cinema and architecture have one thing in common: both art forms depend on the continuous interplay of light and shadow. The Kantana Film and Animation Institute in Nakhon Pathom province, some 45 kilometres from Bangkok, is a particularly beautiful and striking demonstration of this synergy. Light and dark meet on the project's bulging walls, which jut up to 8 metres high. The building's variously lit, rhythmically alternating surfaces seem to put the building in motion, the same kind of motion as a 36-millimetre film reel moving slowly, very slowly, through a film projector.

"Light and shadow are the elementary building blocks of architecture," says Thai architect Boonserm Premthada. "They are just as important as the landscape, just as important as texture, as colour, as smell or taste. At the Kantana undergraduate school, though, the play of light and shadow is not just for aesthetics and spatial understanding, but primarily for the microclimate and the passive cooling of the interior spaces." With the self-shading of the tile surface, the temperature in the building ensemble can be kept down without the help of technical aids. Some 600000 fired bricks were used and the marks of their makers - their hand and footprints - are still visible on their surface. Moss has already gained a foothold on the shaded parts. An inner steel structure supports the convex-concave wall every 60 centimetres and provides the necessary stability. "I must confess that we tried many different construction methods before hitting on this one solution," says Premthada. "And no small number of samples and trials collapsed after just a few metres. That's just the way it is in architecture. It's a constant forwards and backwards. Without passion, you're doomed in this line of work."

The passion has taken hold of the 60 budding filmmakers studying here. "I would have never thought I'd ever be able to study in a place as beautiful as this," says Annop Fujita. "This is not a regular building. Someone showed creativity and sensitivity here. And that is good, because filmmaking, too, is all about creativity. So we're closing the circle." The film institute features studios and classrooms, a canteen, a library with contemporary furnishings, an administrative area for the teachers and a large outdoor space. In the window openings and wall niches along the way, students can be found revising, drawing, listening to music or even napping. One day, the trees, which have not yet reached their full height, will provide shade during recess times. But that will take a little while yet.

3 細(xì)部/Detail

評(píng)委評(píng)語

王澍（中國）：坎塔納電影動(dòng)畫學(xué)院采用了富于空間感的磚墻形式，你可以辨認(rèn)出它與傳統(tǒng)寺院建筑有形式上的聯(lián)系。建筑物掩映在樹木與周圍綠色植被的景觀中，產(chǎn)生了非常開闊卻又“秘密”的感覺。這是把建筑功能與這種美妙的感受完美結(jié)合的杰出案例。磚塊的疊澀砌筑是傳統(tǒng)磚砌結(jié)構(gòu)中非常典型的建造工藝。在這個(gè)項(xiàng)目中，磚不僅僅是裝飾要素，也是整個(gè)建筑的承重結(jié)構(gòu)。我認(rèn)為這一點(diǎn)非常重要；它既簡(jiǎn)潔，又非常漂亮。這是第一個(gè)讓我立刻感到“非常棒”的項(xiàng)目。（徐知蘭 譯）

Jury Statement

Wang Shu (China):The Kantana Film and Animation Institute uses a spatial brick wall, and you recognize the relation it has to the traditional temples. The building blends in with the trees and the surrounding green landscape, which gives it a very spatial and "secret" feeling. It's a very good example of combining function with beautiful feeling. Layering bricks, one on top of the other, is a very typical skill in the tradition of brick construction. In the case of this project, the brick is not just about decoration, it's also about the whole structure of the construction, which I think is very important; very simple, but very beautiful. It's the first project where I instantly thought, "It's good".

4 平面/Floor plan

5.6 細(xì)部/Detail

7 細(xì)部模型/Detail model

評(píng)論

李興鋼：這個(gè)建筑令人印象最深刻的是上下疊澀的厚重磚墻，制造出豐富的肌理與陰影，令人聯(lián)想到泰國佛塔遺跡的底座裝飾剝落后的磚砌胎體，有著令人噓唏的手工感、時(shí)間感、神秘感和樸素力量。然而，磚墻內(nèi)部采用的鋼筋混凝土結(jié)構(gòu)墻體卻令人頗感困惑，不僅將磚墻置于“裝飾”地位，并且其構(gòu)造方式也顯得頗為復(fù)雜且牽強(qiáng)。如若能基于磚墻自身的結(jié)構(gòu)及砌造特點(diǎn)充分發(fā)揮，并能造成可產(chǎn)生自然拔風(fēng)效應(yīng)的內(nèi)部空腔，則將大大增強(qiáng)這一作品的設(shè)計(jì)整合度，增加信服度和感染力。

張利：無論如何，這是一個(gè)耐人尋味的磚建筑案例。在這一案例中，佛教文化國度的傳統(tǒng)元素與磚的生命力通過兩條路徑得到了激進(jìn)的詮釋：其一，是主要墻體的斷面形狀，這一形狀毫無掩飾地對(duì)傳統(tǒng)形成聯(lián)想；其二，是磚本身的制作過程，完全由本地人手工制造的磚以“不完美”的個(gè)體差異完美地把磚對(duì)人的親和力發(fā)揮到了極致。

Comments

LI Xinggang: The most impressive feature of this building is its thick corbelled brick walls, which create rich texture and shadows. This brickwork has a sense of craftsmanship, timelessness, and simplicity, and reminds me of certain pagodas in Thailand, especially if one was to peel the decorations off, leaving only the brick base. However, the building is quite confusing in that it utilizes a reinforced concrete structure within the thick brick walls. This construction technique makes the building seem farfetched and overly complex, and delegates the brick to mere decoration. If the design was based on an extrapolation of the outer wall, the bricks could create an internal cavity that would allow natural ventilation. An exclusively brick masonry construction would greatly enhance the integrity of the work and increase the building's appeal and credibility.

ZHang Li: This is without doubt an impressive example of brick architecture, in which traditional elements from a Buddhist national and the life of bricks are radically represented along two lines. The first is the section shape of the walls, which fearlessly gives explicit associations with tradition. The second is the hand-making process of the bricks by the local people. Through the "imperfection" of the hand-making, the human element of the brick is perfectly interpreted.

Grand Prize and Category Winner in Special Solution: Kantana Film and Animation Institute, Nakhon Pathom, Thailand, 2011

Architects: Bangkok Project Studio

10.11 細(xì)部/Detail

12 內(nèi)景/Interior view

13 通道/Corridor