發現音樂

發現音樂

Finding the Music

在圣保羅的貧民窟，年輕人感到前景黯淡，居民們幾乎沒有一點公共空間。市政當局抓住機會，在一片空工地上建了一所大型音樂學校。貧民窟里的貝多芬？事實證明，這種組合已經在無數其他地方取得空前成功。

“怪物”是一個經常被誤用的名詞，但用它來形容雜亂無序拓展的圣保羅卻是再合適不過了。在巴西最大的都市圈，大約生活著2000萬人，使圣保羅成為南半球人口最多的城市。在短短50年內，該市的人口已翻了兩番。大部分持續涌入大都市的人都必須找個地方搭建自己的安身之所。其結果是，該市目前大約已有600個棚屋區，即所謂的貧民窟——基礎設施遠遠不夠的違建定居點。蔓延之勢繼續有增無減，很快，距市中心25km的半徑范圍內就沒有一片綠地了。鑒于圣保羅面臨的大量環境問題，這種境況尤其棘手：這個城市是拉美最大的工業都市，而且直到現在，還沒有對生態問題予以足夠重視。兩條主要的河流，鐵特河和皮涅羅斯河已經毫無生機，空氣污染水平高得驚人——這個城市所在的盆地空氣對流極少，土壤封蓋也加劇了雨水徑流，造成洪災頻發。

天堂里的泥石流

帕賴索波利斯是全市600個貧民窟中的一個。這個名字來源于葡萄牙語單詞“paraíso”，意思是“天堂”。這真是一個極具諷刺意味的名字，因為這個位于該市南部的貧民窟根本與天堂毫不沾邊。50年前，這個地區主要發展農業。由于到處都是陡坡和大大小小的水道，建造街道非常困難，所以幾乎連一條街也沒有。又由于附近莫倫比地區的開發，大量建筑工人在帕賴索波利斯落戶。如今，這個貧民窟大約有17,000戶、6萬～8萬個居民。帕賴索波利斯的人口密度與曼哈頓接近，而大部分建筑卻只有2～3層。與此同時，這個居住點已經成了一個龐雜的房屋之海。雖然貧民窟內很多區域的建筑工地被評為高風險區，可是幾乎每平方米可用地面上都在建房。例如，在被居民稱為“石窟”（Grot?o）的區域，新來者竟然把房屋建在陡峭的斜坡上。2008年，這種風險已經顯而易見：暴雨造成泥石流，所有建筑都被裹挾到山下。當局很清楚，如果再不采取對策，剛剛空出來的地方很快就會重新蓋滿房子。換言之，必須為“石窟”制定出新方案。伊麗莎貝塔·弗蘭卡有一個建議：圣保羅人居秘書——SEHAB希望在“石窟”建一所音樂學校。

加拉加斯的奇跡

2 透視/Perspective

在貧民窟建音樂學校——為最不關注古典音樂的人帶去巴赫和貝多芬？外人一開始可能會覺得這個想法荒誕。但是，眾所周知，在拉丁美洲古典音樂在貧民窟有著巨大的潛力。這種發展可以追溯到委內瑞拉音樂家、經濟學家和社會政治家何塞·安東尼奧·阿布雷烏。大約40年前，他就在尋找幫助加拉加斯貧民窟內的社會弱勢兒童和青少年遠離暴力和毒品的方法。他制定的愿景可以概括為：要樂器，不要武器。音樂課可以教育男孩女孩們，并提供心理和社會穩定。委內瑞拉國立青少年管弦樂團自1975年在一個地下停車庫開始，目前已發展成為加拉加斯的奇跡。阿布雷烏的非傳統理念已經成為一個全球性運動的范本，現在包括400個管弦樂團、342個合唱團、230所音樂學校和4000名音樂教師。雖然始于委內瑞拉（當時在該國，委內瑞拉國立青少年管弦樂團現在直接由前總統查韋斯負責），它現在組織的計劃已遍及美洲，從加拿大到阿根廷。來自棚戶區的管弦樂團成為出口熱門：他們出現在世界各地的無數節日中，并與許多歐美專業樂團合作。勞迪奧·阿巴多、祖賓·梅塔和西蒙·拉特爾等指揮家支持該項目。阿布雷烏以前的學生和門生古斯塔沃·杜達梅爾已成為這個運動的象征。如今，這位在自己的祖國完成該計劃的委內瑞拉人，已成為洛杉磯愛樂樂團的首席指揮。

把想法交給專家

目前受教于委內瑞拉國立青少年管弦樂團的兒童和年輕人大約有35萬名。參與人數與日俱增，創始人阿布雷烏希望到2015年會增加到100萬。青少年管弦樂團為音樂學校提供了樂器，并且每周6天為兩歲以上的兒童免費授課，以便讓他們待在安全的音樂學校里，遠離暴力。此外，這些音樂教師還與市政當局合作，為學生提供衣服和食品。鑒于石窟區目前缺乏文化活動，而且，委內瑞拉國立青少年管弦樂團的成功已得到證明，利用石窟區居民點實施社會音樂中心（Centro de Ac?ao Social por la Música, CASM）的計劃似乎順理成章。但是，圣保羅城市管理局的發起人深知，在貧民窟中央建立音樂學校絕非易事。他們向跨學科的設計公司城市智庫 (U-TT) 尋求幫助，該公司扎根于加拉加斯，由聯合創始人和聯合負責人阿爾弗雷多·布林伯格和休伯特·克倫普納領導。城市智庫致力于各種與當代建筑和城市化有關的課題的高級研究和設計，專門從事世界各地非正規居民點社區項目，并使社區受益。

背包徒步而非全包度假旅行

阿爾弗雷多·布林伯格于1961年出生在紐約，休伯特·克倫普納于1965年出生在奧地利的薩爾茨堡。二人都在紐約哥倫比亞大學攻讀建筑學，他們在讀研究生時相識，并開始合作。布林伯格和克倫普納一起在哥倫比亞大學開辦可持續城市生活示

The Paraisópolis favela in S?o Paulo offers few prospects for young people – and little public space for all inhabitants. The city authorities grasped the opportunity to build a large music school on an empty site. Beethoven in the favela? This combination has already proved extremely successful in countless other places.

"Monster" is an often misused term, but appropriate for sprawling S?o Paulo. Some 20 million people live in Brazil's largest metropolitan region, making S?o Paulo the most populous city in the southern hemisphere. Its population has quintupled in just 50 years. Most of the people that continue to stream into the conurbation must erect their own shelter somewhere. As a result, the city now has about 600 slums, so-called favelas – illegally built settlements with totally inadequate infrastructure. Expansion goes on unabated, and very soon there will be no green space left within a radius of 25 kilometers from the city center. Tis is particularly problematic in the light of the massive environmental issues facing S?o Paulo: the city is the largest industrial megalopolis in Latin America, and up to now ecological concerns have not been taken seriously. The two main rivers, Rio Tietê and Rio Pinheiros, are biologically dead; airpollution levels are alarmingly high – the city lies in a basin with far too little air exchange – and soil sealing exacerbates rainwater run-off, resulting in frequent heavy flooding.

Mudslides in paradise

Paraisópolis is one of the city's 600 slums. The name comes from the Portuguese word paraíso, meaning paradise. An ironic name, for this favela in the south of the city is anything but a paradise. Fifty years ago the area was largely agricultural. There are hardly any streets because the topography with its many steep slopes and smaller and larger watercourses makes it difficult to build them. Owing to the development of the Morumbi district nearby, a significant number of construction workers have settled in Paraisópolis. Today, the favela has between 60,000 and 80,000 inhabitants living in 17,000 households. The population density is similar to that of Manhattan, although most buildings in Paraisópolis are only two or three storeys. In the meantime, the settlement has become a gigantic sea of houses. Every available square meter appears to be built on, although building sites in many zones of the favela are rated as high risk zones. For example, in the area that the residents call Grot?o, grotto. Here new arrivals built houses on a steep slope. In 2008 it became obvious just how risky that was: heavy rains caused a mudslide that carried all the buildings down the hill. The authorities knew that if they did not take countermeasures the now empty space would be covered with new buildings in no time at all. In other范實驗室（貧民窟實驗室），并自2010年在聯合擔任瑞士蘇黎世聯邦理工學院的建筑和城市設計主席。是什么讓這兩位對貧民窟倍加關注，并且幾乎為之付出全部職業生涯？“如果你像我一樣，出身于非常結構化的社會，當你第一次在非正規城市居住區工作的時候，你會經歷某種文化沖擊”， 休伯特·克倫普納說。“但是，我覺得這樣的工作簡直太引人入勝了。就像是在一次心血來潮的背包旅行和預定一次全包海灘度假旅行之間進行選擇——很明顯，它提供更多的冒險刺激！”除此之外，非正規城市居住區為創建變革提供了最佳機會：“全世界最需要采取行動的是南部的城市貧民窟改造——也是最有潛力的，因為受這些問題困擾的國家正在經歷政治巨變，走向真正的民主。”

3 平面/Plan

4 景觀和建筑系統/Landscape and building systems

5 景觀/Landscape

向貧民窟學習

這兩位專家認為，城市非正規居住區可持續性建設的意義與中央商務區有很大不同。“城市非正規居住區產生垃圾之少、建筑密度之大已經與我們千辛萬苦努力在發達地區實現的目標相當，” 阿爾弗雷多·布林伯格說。他和休伯特·克倫普納相信，城市非正規居住區可以作為正規居住區的榜樣。阿爾弗雷多·布林伯格說：“如果我們成功地保留貧民窟的好的方面，同時提供其生活質量，我們就會實現一種讓人們都希望生活在這些地區的狀態。”這將是一個模式轉變；到現在為止，其宗旨一直是讓非正規區域適應整個城市。然而克倫普納評論說：“如果以我們習慣性的傲慢，就無法解決南部非正規居住點的問題。那里售出的系統往往恰好是北部和西部許多問題的根源。這種方法會阻礙發展進程中的機會。”這不僅是一個城市的翻修問題，而且也是設計新的可能性，以打開干預和行動的新局面。克倫普納以公共交通為例：“交通運輸不一定非和目前一樣在街道上進行，在空中運行也是可以的；因此，我們為加拉加斯一個非正規區域開發了一個索道。”他所說的“空中纜車”項目是城市智庫最負盛名的成果，“空中纜車”已經在圣奧古斯丁、加拉加斯等區域運營，對那里的社區交通產生了顯著的積極影響。

以高雅文化取代垃圾

城市智庫在拉丁美洲的許多項目是其規劃CASM的最佳資質。城市智庫與當局、外請專家及石窟區本地居民合作，為帕賴索波利斯開發了“音樂工廠”。該項目贏得了2012年全球豪瑞獎銀獎和2011年拉丁美洲豪瑞獎金獎，它的占地面積約為6000m2，分成兩個部分：一個陡峭的山坡和山坡腳下的一片平地。基址上還到處散落著當初被泥石流摧毀的建筑物的材料，土壤為沙質，遍布泥坑；把它轉變成合適的建筑工地將是巨大挑戰。那塊平地上目前有幾間房子和一個運動場，但經常遭受雨水沖刷。由于這些建筑及其居住者處于高風險區，他們必須為項目讓歩，以便穩固地面，防止發生災難。計劃在上部區域為居民建安置房。新房的低樓層用于商業經營，應當有助于使街道更繁榮、更安全。這座包括音樂學校和文化設施在內的25m高4層綜合體CASM將建在山坡底部，可以通過貧民區內的一條新街道到達，并通過一個大斜坡、一個橋梁系統和梯田景觀與周圍的景觀相連。開放式設計和便利的到達是該項目成功的關鍵：帕賴索波利斯的居民必須將CASM當作他們自己的建筑，將其融入社區生活，并承擔其使用和維護責任。

各樓層均有創新

CASM的一樓將以新的開放式體育設施為特征，樂團也可以將其用作室內表演場地。據布林伯格稱，具有多種活動項目是保證社區參與的關鍵：“我們需要體育設施，以便讓年齡較大的孩子有理由帶他們的弟弟妹妹來上音樂課。不論是音樂還是體育，CASM的社區中心功能都是最重要的。”開放式底層上方的兩層用作音樂學校，有大、小教室、練聲室和整個樂隊的排練區。頂層是為重大活動和表演設計的：在這里，管弦樂隊和合唱團可以在200名觀眾面前表演。CASM的整個室內空間規劃是與何塞·安東尼奧·阿布雷烏合作設計的；他知道委內瑞拉國立青少年管弦樂團的運轉需要什么。CASM的設計初衷是，每天可以有1000名兒童、青年和成年人進出。在聲學方面，布林伯格和克倫普納咨詢了世界上最優秀的音響工程師之一，慕尼黑的卡爾·海因茨·穆勒。門面設計也采用了很多專有技術。由建筑師開發的系統以創新混凝土構件為基礎，可用于各種目的，包括適應一年中不同季節的氣候條件。這些適應性所需的構件可以在現場制造，從而為貧民區內的人們提供工作機會。

景觀與建筑融為一體

智能門面只是CASM示范性可持續性概念的一個組成部分。“景觀和建筑融為一體，可以有效應對一年四季的不同情況。”設計者指出。由于溫暖的北風被山擋住，南風從下面徐徐吹進大樓。排氣通過煙囪排出，煙囪的上部受陽光照射，造成壓差，產生必要的吸力。山坡修成梯田狀，以穩固地形，防止暴雨后產生泥石流。由此產生的景觀形成一個天然的舞臺，社區可以用來舉行露天音樂會，還可用于一系列其他用途。巧妙的設計和景觀美化消除了侵蝕；小濕地被動地過濾雨水，可用于灰水應用。小山也有助于為CASM制冷：冷水經管道從小山輸送至每個樓層的地板內冷卻系統，水在此吸收熱量，然后流回山上。到了晚上，水再次冷卻。CASM所需的全部電力均由樓頂800m2使用混合收集器的光伏系統提供。

完美適合——不僅在這里

和世界各地城市內的許多地區一樣，帕賴索波利斯也缺乏安全的公共空間和足夠的社會基礎設施。整個CASM綜合體是作為社區中心設計的，希望為有效的社區參與提供公共空間。雖然該項目是專為石窟區提出的具體需求和挑戰量身定制的，休伯特·克倫普納斷言：“其設計和許多細節稍加調整即可適應其他要求。”石窟區的情況在世界各地被重復了無數次，城市智庫在帕賴索波利斯的干預措施可以作為許多類似項目的原型。而在實現像CASM這樣的項目過程中，還有許多重要因素——包括市政當局的支持、創新專家團隊和社區批準——以及以異常簡單的方法應對艱難挑戰的勇氣。words, a new approach had to be developed for Grot?o. Elisabeta Fran?a had a suggestion: the director of the Secretaria Municipal de Habita.ao de S?o Paulo (S?o Paulo Secretary of Habitat – SEHAB) wanted to build a music school in Grot?o.

The wonder of Caracas

A music school in a favela – Bach and Beethoven for people for whom the lack of classical music is probably their least concern? Outsiders may find the idea bizarre at first. In Latin America, however, it is common wisdom that classical music has enormous potential in slums. This development goes back to José Antonia Abreu, a Venezuelan musician, economist, and social politician. Almost 40 years ago he looked for a way to help socially disadvantaged children and youth in the slums of Caracas to escape violence and drugs. The vision that he developed can be summed up as: instruments instead of guns. Musical instruction would educate boys and girls and provide psychological and social stability. El Sistema started in an underground parking garage in 1975 and has developed into the Wonder of Caracas. His unconventional idea has become the model for a global movement and now includes 400 orchestras, 342 choirs, 230 music schools, and 4,000 music teachers. Although it started in Venezuela, where El Sistema is now directly accountable to President Hugo Chávez, it now has programs throughout the Americas, from Canada to Argentina. Te orchestras from the shanty towns have become an export hit: they appear at countless festivals all over the world and have cooperation agreements with many professional orchestras in Europe and the USA. Conductors such as Claudio Abbado, Zubin Metha, and Simon Rattle support the project. Gustavo Dudamel, Abreu's former student and protégé, has be-come the symbol of the movement. Today, the Venezuelan, who completed the program in his home country, is the principal conductor of the Los Angeles Philharmonic Orchestra.

Taking the idea to the experts

About 350,000 children and young people currently receive instruction under El Sistema. The number grows by the day; founder Abreu hopes it will reach one million participants by 2015. El Sistema provides musical instruments and music tuition free of charge six days a week for children from the age of two in music schools where they find a safe and non-violent environment. Moreover, the music teachers work together with the city authorities to provide clothes and food for the students. The plan to use the site in Grot?o for the Centro de Ac?ao Social por la Música (CASM) seems natural in light of Grot?o's current lack of cultural programming, and El Sistema's proven success. However, the initiators in the S?o Paulo city administration knew that it would be no easy task to build a music school in the middle of a favela. Looking for help, they turned to Urban-Think Tank (U-TT), an interdisciplinary design firm with roots in Caracas, led by co-founders and co-principals Alfredo Brillembourg and Hubert Klumpner. Urban-Think Tank is dedicated to highlevel research and design on a variety of subjects concerned with contemporary architecture and urbanism. Tey specialize in projects that engage and benefit communities in informal settlements around the world.

6 景觀和音樂學院發展成為一體/Landscape and music school developed as one building

Backpacking instead of an all-inclusive vacation

Alfredo Brillembourg was born in New York in 1961, and Hubert Klumpner was born in Salzburg, Austria, in 1965. Both studied architecture at Columbia University in New York City, where they met as graduate students and began their collaboration. Together, Brillem-bourg and Klumpner launched the Sustainable Living Urban Model Laboratory (SLUM Lab) at Columbia University, and since 2010 share the chair of Architecture and Urban Design at the Swiss Federal Institute of Technology (ETH Zurich). What is it about slums that interests the two enough to devote almost their entire professional lives to them? "If, like me, you come from a very structured society, you experience some sort of culture shock when you first work in informal urban settlements," Hubert Klumpner remarks. "But I find this work simply engrossing. It is like the choice between a spontaneous backpacking trip and booking an allinclusive beach vacation – it's clear which offers more adventure!" In addition, informal urban settlements provide the best opportunities for creating change: "The greatest need for action worldwide is in urban reconstruction in slum zones in the South – and also the greatest potential, because the states in question are undergoing a political sea change toward genuine democracy."

Learning from slums

Te two experts believe that sustainable building means something very different in informal urban settlements than in central business districts. "Informal urban settlements already produce as little waste and are as densely built as we are painstakingly trying to achieve in developed districts," Alfredo Brillembourg states. He and Hubert Klumpner are convinced that informal urban settlements can serve as a model for formal ones. Alfredo Brillembourg: "If we succeed in retaining what is good about slums and simultaneously improve the quality of life, we will achieve a situation that will make people want to live in these districts." This would be a paradigm shift; up to now the aim has always been to adapt informal zones to the formal city. Yet Klumpner remarks: "We cannot approach the problems of informal settlements in the South with our customary arrogance. Often the systems sold there are precisely those that are the source of so many problems in the North and West. This approach blocks the opportunity of progress in development." It is not just a question of urban repair,

7 建筑系統：建筑與景觀配合實現的綜合性主動及被動式系統/Building systems: building and landscape work together to create a comprehensive combination of active and passive systems

9 but of designing new possibilities to open up new levels of intervention and action. Klumpner uses the example of public transport: "It is not necessary for it to run at street level as at present, it could run in the air; for this reason we developed a cableway for an informal quarter in Caracas that carries people to the higher areas." Te Metro Cable project to which he refers is one of U-TT's most celebrated efforts, and it has made a marked positive impact on transportation in the community of San Agustin, Caracas, where it operates.

High culture instead of garbage

U-TT's numerous projects in Latin American slums are its best qualification for planning the CASM. Working together with the authorities, external experts, and Grot?o locals, U-TT developed a fábrica da música for Paraisópolis. The project, which won the Global Holcim Awards Silver 2012, and the Latin America Holcim Awards Gold 2011, sits on a site measuring about 6,000m2. It is divided into two sections: a steep slope, and a flat terrain at the foot of the slope. Material from the buildings destroyed in the mudslide is still strewn across the plot, and the soil is sandy and full of mud holes; transforming it into a suitable building site will be a challenge. There are currently a few houses and a sports ground on the flat terrain, but rains often flood them. Because these structures and their inhabitants are in a high risk zone, they will have to make way for the projects so the ground can be stabilized to prevent future disasters. Replacement housing for the residents is planned for the upper zone. Commercial operations in the lower levels of the new houses should help to make the streets livelier and safer. The 25-meter-high, four-storey complex with music school and cultural facilities, the CASM, will be built on the site at the bottom of the slope. It will be accessed via a new street through the favela and linked to the surrounding landscape via a large ramp, a system of bridges, and the terraced landscape. Te open design and easy accessibility are critical to the project's success: the residents of Paraisópolis must regard the CASM as their own building, integrating it into community life, and assuming responsibility for its use and maintenance.

Innovation at all levels

The ground floor of CASM will feature new open sports facilities that can also be used by the orchestra as a covered performance space. According to Brillembourg, having a variety of programming is critical in ensuring community involvement: "We need the sports facilities so that the older kids have a reason to bring their younger siblings to music class. Whether music or sport, the important thing is that the CASM functions as a community center." The two storeys directly above the open lower level are intended for the music school; there are large and small classrooms, practice rooms for soloists, and rehearsal spaces for the full orchestra. The top storey is designed for major events and performances: here the orchestra and choir can perform in front of audiences of up to 200. Te entire interior layout of CASM was planned in collaboration with José Antonio Abreu; he knows what El Sistema needs to function. CASM is designed so that up to 1000 children, youths, and adults per day can go in and out. For the acoustics Brillembourg and Klumpner consulted Karlheinz Müller of Munich, held to be one of the best acoustics engineers in the world. A lot of know-how has also gone into the design of the fa.ade. Te system developed by the architects is based on innovative concrete elements, which can be adapted for various purposes, including to meet the climatic conditions of the different seasons of the year. The elements for these adaptations can be manufactured on site, which will provide jobs for people in the favela.

Landscape and building work as one

Te intelligent facade is only one component of CASM's exemplary sustainability concept. "Landscape and building work as one system that can effectively handle the varying conditions of the cycle of seasons," the authors point out. Whereas the warm northerly winds are blocked by the hill, a southerly breeze flows into the building from below. Te exhaust air is vented through a chimney in which the necessary suction is induced by the difference in pressure resulting from solar radiation on the upper part of the stack. Te hill is terraced to stabilize the topography and prevent mud slides after heavy rains. Te resulting landscape forms a natural arena that the community can use for open-air concerts and a range of other purposes. Ingenious design and landscaping eliminates erosion; small wetlands passively filter rainwater, which can be used for gray-water applications. Te hill also helps to cool the CASM: cool water is carried in pipes from the hill to the in-floor cooling systems on each level, where it absorbs heat, before flowing back to the hill. At night the water cools down again. All the electricity needed by the CASM is supplied by an 800m2photovoltaic system on the roof that uses hybrid collectors.

Perfect fit – and not only here

Paraisópolis, like many districts in cities around the world, lacks safe public space and adequate social infrastructure. Te entire CASM complex is designed as a community center, in hopes of providing public space for productive community engagement. While the project is tailored to the specific needs and challenges presented by Grot?o, Hubert Klumpner asserts, "the design and many details can easily be adapted to fit other requirements." The situation in Grot?o is repeated countless times all over the world, and Urban-Think Tank's intervention in Paraisópolis could serve as a prototype for many similar projects. While there are many crucial factors in the realization of a project like CASM – including supportive city authorities, an innovative team of experts, and community approval – and the courage to answer difficult challenges with an unusually simple idea.