阿爾卑斯山的重生：依山而居

安東尼奧·德羅西，羅伯托·迪尼/Antonio De Rossi, Roberto Dini辛夢瑤 譯/Translated by XIN Mengyao

阿爾卑斯山的重生：依山而居

Regenerating the Alps: Mountains as a Place to Live

安東尼奧·德羅西，羅伯托·迪尼/Antonio De Rossi, Roberto Dini辛夢瑤 譯/Translated by XIN Mengyao

記憶與再生

欄目主持：米凱利·博尼諾，皮埃爾-阿拉因·克羅塞特

本欄目的第二期圍繞阿爾卑斯山的人類環境再生展開。在《世界建筑》“山地建設的可持續性”這一期的框架內，我們邀請了兩位來自意大利都靈理工大學山體建筑學院（IAM）的學者，請他們談談阿爾卑斯山的人類環境。能夠確定的是，他們的文章里提示了一個與記憶的多樣關系：阿爾卑斯山從數個世紀前就開始有人類居住，從傳統意義上看，阿爾卑斯山地建筑顯示了其與歷史文脈、根植于地域的群體生活以及與傳統行為有關的多重價值。這篇論文縱觀當代阿爾卑斯山地建筑，修正了阿爾卑斯山作為一個居住場所的當下需求和理想。

Memory and Regeneration

Column Editors: Michele Bonino, Pierre-Alain Croset

The second issue of this column deals with the regeneration of humanized environments in the Alps. Within the framework of the "Sustainability in the Mountains" issue of World Architecture, we invited two contributors, both scholars of the IAM–Istituto di Architettura Montana (Institute of Mountain Architecture), based at the Politecnico di Torino, Italy. What is clear from their interpretations of moutain architecture is its manifold relationship with memory. Since the Alps have been inhabited for centuries, Alpine architecture traditionally embodies a number of values related to the historical context, to the community life rooted in the territory, and to other traditional behaviors. This paper presents an overview of contemporary Alpine architecture, which is updated to cater to the present needs and ideals the tradition of the Alps as a place to live. (M. B., P. A. C.)

阿爾卑斯山現代建筑在20世紀的發展過程里，關聯到既存事物、到非常獨特的文脈中的自然與建成環境中的新建筑，極力強調了由此引發的文化和概念問題，并表現出對歐洲現代主義建筑的正統規則的否定。

面對替代和模仿問題，建于1930和1950年代的結構奇妙的阿爾卑斯山地建筑——現代阿爾卑斯山地建筑的黃金年代——與文脈、歷史建筑文化的重新闡釋形成對話，這和歷史城市中心的恢復、鄉村景觀的保存與發展等問題并存。

這是一個關于傳統的新看法，如著名意大利建筑師卡洛·莫利諾所描述的：“傳統是連續而有生機的新形式的流動，它建立于形成因果關系的不可重復狀態下……每個基于位置和用途的建筑問題都有一個依據真實建筑獲得的解決途徑，并使建筑自動而完美地嵌入景觀中。”

在項目與文脈的巧妙對話中，保持山體建筑核心要素的思想貫穿了整個20世紀末期。

然而在1990年代初，隨著彼得·卒姆托、吉翁·卡米納達、伯爾斯與德普拉澤斯、赫爾曼·考夫曼、于爾格·康策特在設計上的成功，還有許多其他建筑師，尤其是像瑞士或奧地利這些國家以及意大利上阿迪杰地區的建筑師，他們的成功使得一種阿爾卑斯山地建筑的新面貌開始成形。

這些新作品的相通之處似乎是一個被賦予解釋、迷惑、揭露、發現等品質的中心形象。這甚至比“美的形式”更重要——引用一個彼得·卒姆托提出的意象——項目的目的在于從“包圍我們的事物”所組成的世界中揭開新的、史無前例的意義。

1 孔拉迪奈·克拉弗特，變電所，格勞賓登州，1994/Conradine Clavuot, electrical substation，Canton of Graubünden, 1994.

這是一種去質化與去方向化的操作，試圖尋找事先隱蔽起來的事物與特征中的新價值。這種依靠旁敲側擊來挖掘事物本質的追求在材料掌控的方式上變得尤其明顯，那是一種材料先被看作事件、再被視為建筑材料的方式。

Over the Course of the 20th Century, modern Alpine architecture, with its strong emphasis on the cultural and conceptual problems of inserting new buildings in relation to existing corditions and to natural and built environments with very distinct contexts, has represented a contradiction to the orthodox precepts of architectural Modernism in Europe.

Faced with the issues of substitution or mimesis, the more interesting structures erected in the Alps between the 1930s and the 1950s–the golden age of modern Alpine architecture–posited themes of dialogue with context and the re-elaboration of historical building cultures, parallel to those regarding the restoration of historic city centers and the preservation and development of rural landscapes.

It was a new take on tradition, which the acclaimed Italian architect Carlo Mollino defined as follows: "Tradition is the continuous and living flow of new forms that depend upon the unrepeatable state of becoming of a relationship between cause and effect [...]. Every building problem, depending on its location and purpose, has a solution in terms of authentic architecture and which, as such, automatically fits beautifully into the landscape."

This idea of masterly dialogue between project and context remained the core element of mountain architecture through the end of the 20th century.

However, beginning in the 1990s, with the success of works by Peter Zumthor, Gion A. Caminada, Bearth & Deplazes, Hermann Kaufmann, Jürg Conzett and many others, found primarily in countries like Switzerland, Austria, and in the Alto Adige region of Italy, a new vision of Alpine architecture began to take shape.

2 漢斯·于爾格·魯赫，薩梅丹的住宅，格勞賓登州，2011/Hans J?rg Ruch, residences in Samedan, Canton of Graubünden, 2011.

What these new works seem to share in common is the central role given to such qualities as interpretation, disorientation, unveiling, and discovery. Even more important than "beautiful forms"–to cite an image evoked by Peter Zumthor–the aim of the project is to uncover new and unprecedented meaning from the world of the "things that surround us".

3 貝格邁斯特 & 沃爾夫，St. Andr?的住宅，上阿迪杰地區，2002/ Bergmeister & Wolf, house in St. Andr?, Alto Adige, 2002.

It is an operation of denaturalization and disorientation that endeavors to find new values in objects, characters that previously remained hidden. This striving towards an interpretation of things in terms of other, becomes particularly evident in the wayin which materials are handled, in how they are treated as matter and then again as building materials.

根據一系列對于根植于這些國家的現代建筑的研究，不斷回歸事物本質來發掘新意義的需求被結合到具體性與現實主義的特殊觀念中（圖1）。

類似的項目重新定義了在極度與眾不同的文脈中插入新建筑的解決方法。

這種方法的核心要素是簡單體量的運用，將其從古老鄉村的形式中抽象地提取出來，使用強調文脈、比例、分層、尺度，以及通道和開敞空間規則的當代技術配置對其進行重新闡釋。

典型例子包括漢斯·于爾格·魯赫、米爾塔與庫爾特·拉扎里尼、貝格邁斯特與沃爾夫、EM2，以至瓦萊里奧·奧爾賈蒂設計的大量住宅項目，他們追求清水混凝土建造的大體量和周圍環境之間的對比，這似乎是受到了來自特殊地理區域的建筑文化的激發（圖2-4）。

與之同路的還有布魯諾·斯帕戈拉和茹因奈利事務所設計的項目，其中與文脈的對話被抽象為輕量薄殼，這種結構經常與木材合用，并且以大開口的形式被精妙地插入古老聚居區的組織中（圖5）。

舊與新之間存在一種相互侵染的關系，典型例子有達妮埃萊·馬克斯和布魯諾·澤爾克琴設計的位于貝爾金的干草棚有效再利用項目，他們將一個新的木體量嵌入老房子的屋頂和墻體下方（圖6）。

另一個中心主題是在當代的重要課題中，采用可作為建筑解決方法的簡單而工業化的形式去復興本土建筑傳統的問題。吉翁·卡米納達來自瑞士的格勞賓登州，他在一個方案中重新闡述了井干式木屋或原木屋（圖7）的建造技術，還有赫爾曼·考夫曼，他通過對當地建設用木材的生產進行再創造，探索了木結構的建筑意義。

千變萬化的解決方法中，特別是關于住宅建設的方法，為我們展現了史無前例的闡明歷史形式與新建筑之間關系的方法。阿爾卑斯山正再次變成最重要的生活與工作的地方，人們可以在這里用新的設計方法和對當地發展更加敏感的建筑進行實驗，同時也試圖實現景觀的保護與復興、當地歷史與文化的傳承。□

4 EM2，圣賈科莫的多用途建筑，上阿迪杰地區，2005/EM2, multipurpose building in San Giacomo, Alto Adige, 2005.

5 阿曼多·茹因奈利，索利奧的住宅和工作室，格勞賓登州，2003/Armando Ruinelli, house and studio in Soglio, Canton of Graubünden, 2003.

7 吉翁·卡米納達，弗林住宅，格勞賓登州，2000/Gion Caminada, house in Vrin, Canton of Graubünden, 2000.

6 達妮埃萊·馬克斯和布魯諾·澤爾克琴，貝爾金的干草棚改造，格勞賓登州，1996/Daniele Marques & Bruno Zurkirchen,renovation of a hayloft in Bergün, Canton of Graubünden, 1996.

Needing to constantly return to the essence of things to discover new meanings is combined with a special sense of concreteness and realism, in accordance with a line of research rooted precisely in the modern architecture of these countries. (fig. 1)

Projects like these redefine the approach to the problem of inserting new buildings in profoundly distinctive contexts.

A fundamental element of this is the use of simple volumes, drawn abstractly from the forms of the old villages and re-elaborated using contemporary technological configurations that place considerable emphasis on texture, proportions, layout and scale, and on the provision of walkways and open spaces.

Emblematic examples include the numerous housing projects by Hans J?rg Ruch, Mierta & Kurt Lazzarini, Bergmeister & Wolf, EM2, and even Valerio Olgiati, whose quest for contrast between massive volumes in exposed reinforced concrete and the surrounding landscape seems inspired by the architectural and building culture of that particular geographical area. (fig.2-4)

Along the same lines are the projects by Bruno Spagolla or Ruinelli Associati, in which the dialogue with the context is entrusted to abstract, lightweight shells, often faced in wood with large openings, inserted delicately into the fabric of ancient settlements. (fig. 5)

There is cross-contamination between the old and the new, as in the case of the emblematic project for the adaptive re-use of a hayloft in Bergün, by Daniele Marques & Bruno Zurkirchen, in which a new wooden volume is embedded below the roof and walls of the old building. (fig. 6)

Another central theme is the revival, in a contemporary key, of local building traditions, by means of simple, industrialized forms that become architectural solutions in themselves. This is the case of Gion Caminada, hailing from the Swiss Canton of Graubünden, who reinterprets the technology of the Strickbau or log building (fig. 7), and of Hermann Kaufmann, who explores the architectural significance of wood structures through reinvention of the local production of construction timber.

A kaleidoscope of solutions, in regards to residential construction, is presenting us with unprecedented approaches to the relationship between historical forms and new architecture. The Alps are once again becoming first and foremost a place in which to live and work, and a place in which to experiment with new ways of designing and building that are more sensitive to local development, to the preservation and revitalization of the landscape, and to local historic and cultural heritage.□

山地建筑學院（IAM）

2015-08-19