“城市灯塔”——苏黎世湖畔多功能设施
硕士毕业设计我继续跟随 Šik 教授，但这一次和前面的两个练习式的设计完全不同，我希望得到的是一个相对个人化的成果，以此为契机对自己的
建筑观做一次阶段性的总结和展望。
场地位于苏黎世湖边的 Bürkliplatz 广场，是人流最大、最重要的商业街火车站大街 Bahnhofstrasse 延伸到湖边的尽头，同时旁边也是苏黎世湖游
船线路的出发码头。现在场地上正在使用的小亭子提供了游船售票、小卖部和公厕的功能，而我们的题目则是对它重新设计，并在此之上添加餐厅
的部分。首先对于场地的处理，因为苏黎世的传统，我希望在这一点上以一种尊重的态度，操作起来动作能够尽可能的小。那么顺应场地上的交通
流线和视线关系，需要强调的是三条轴线。第一条轴线是从火车站大街看过来，我把亭子放在了轴线的一侧，和旁边对应的一个小型纪念广场形成
某种框景的结构。透过两者中间看过去是登船的码头，我把现状的码头在中间微微折了一下，这样从大街看过来的不再是船的头部，而是微微扭转
过来的船身，船、湖和灯塔的关系在这一个轴线上得以强调，具体的效果可以参考第一张渲染图。第二条轴线则是旁边道路来回的横轴，这里是苏
黎世车流最大的一处，但是人和车关系非常混乱，没有形成鼓励游人停留的气氛，所以一方面将建筑的形体处理成六边形，使得从这条轴线的两侧
看过去，视觉上都保持较窄的体量，另一方面同时在建筑旁的场地上，提供一片亲水的空间，让那些在小卖部买了咖啡或者是上厕所的人，都能在
这个相对安静的角落稍作休息，同时在物理上拉近人和水的距离。第三条则是从湖上的行船看过来的轴线，这里和第一条轴线对应，但是有略有不
同。第一条轴线的背景是湖和天空，而第三条的背景则是城市，这个角度也更直接地表达了“灯塔”的意向，也是游客从湖的自然环境返回城市人
工环境的一个接口。从湖上或者码头看回来，你能看到旁边充满人气的亲水平台，象征性的“灯塔”，以及作为背景的城市建筑（参考夜景渲染图）。
回到设计的起点，这次我选择的参考案例并不是一个具体的房子，而是 Bruno Taut 的“城市皇冠”(城市发光体，Stadtkrone/crown of the city)，
他提出的这个概念是说城市要有都可以被感知的中心点，是弱物理、强观念的一个东西。但是设计的结果毕竟是具体的实体，所以我希望它能和
“灯塔”的意向结合起来，同时我也参考了罗西在第一届威尼斯双年展上设计的漂浮剧场。
Unlike the studio projects, I wanted to develop something more original with my master thesis project, as a personal sum up and statement.
The plot is located at the end of the Bahnhofstrasse street, namely at the Bürkliplatz square by the Zurich lake. The site is on the intersection
point of three main urban axes and is very busy and lively. The current pavilion on the site offers the functions of ticket selling, kiosk and WC.
Our task is to redesign the pavilion and to integrate a restaurant space in it. To improve the current situation of the site, I chose a respectful
attitude responding to the tradition of the city and only to make minimal necessary operation. In response to the first axis, namely the
Bahnhofstrasse, the pavilion is placed beside it, facing the current small platform with a sculpture and forming a „frame“ situation with it. Through
the „frame“ you can have the view of the ferry from the Bahnhofstrasse. I also make a small operation on the ferry, bending it slightly so that the
side view of the ship could be seen, instead of the front view. The relation between ships, the lake and the „lighthouse“ is then emphasised,
which is shown in the first rendering. The second axis is the road passing by the site. The road is one of the busiest in Zurich and the
pedestrians suffer a very chaotic traffic organisation, because the lanes of bikes, cars and pedestrians are kinda mixed together. To encourage
pedestrians to stay and enjoy the site, first the pavilion is given a hexagonal ground plan, so that from both sides of the road axis people could
see a narrower elevation. On the other hand, it makes the situation by the lake less rigid and more friendly, so people who buy things from the
kiosk or use the WC are welcomed to take a rest on the stairs by the lake. The physical distance between people and the lake is therefore made
closer by the stairs, horizontally and also vertically. The third axis is the view from the ship on the lake, which is sharing the extension of the first
axis line but somehow giving a different atmosphere. The difference is that the background of the third axis has changed to the city and the sky,
which in the fist axis is the lake and the sky. This background expresses more directly the image of a „lighthouse“, namely telling the visitors that
this place is a port between the water to the urban environment. Facing towards the city from the ship on lake, you can see the lakeside stairs
on the left of the pavilion, the pavilion as an image of „lighthouse“ in the middle, and the city in the background, which is shown on the night
view rendering.
Back to the original thoughts of the design, the chosen reference is indeed not a concrete building but Bruno Taut’s concept of „Stadtkrone“
(crown of the city). It means the city needs a orientating point that can be perceived by the people, more mentally than physically. The design
however still has to be a concrete thing. Thus I try to put it together with the concrete imaginary of „lighthouse“. In this sense, the theatre of the
world by Aldo Rossi on the first Venice Biennale was also a reference for me.
那么这个“灯塔”在实际层面上怎么操作呢？首先我考虑的是建筑和场地中城市铺地和水之间的关系，将包含了所有附属功能的底部设计为一个基
座，向下延伸立入水中，成为了一个类似常规灯塔基座的东西。材料上则使用了混凝土以得到厚重的感觉，然后再用曲线形成的微微的尖角指涉着
某种石头般的稳定感。但这个“石头”般的底座，我又希望它不过于生硬，能够形成某种略微暧昧和多义的表达，所以沿着湖和城市两侧布置了楼
梯，形成了类似花瓣拨开的感觉，同时引导两侧的人流去体验场地和建筑：你在车水马龙的道路一侧走着，沿着平行于街道方向的楼梯走上一个平
台，视线突然向着湖被打开了，这里你可以稍作休息坐下来喝杯咖啡，或者进入餐厅，或者沿着平台另一侧的楼梯重新回到地面的标高，在水边的
阶梯上坐下来，看看湖，喂喂天鹅。
在基座上部的餐厅部分我参考了诺丁汉美术馆。首先黄铜包裹着纤细的钢柱形成一个框架，通过内凹的弧面玻璃破除掉形体的抽象性，同时在顶部，
弧线和线性的构件交接，意外地形成某种皇冠的形状，和窗帘交叉出的尖角一起，暗示着向上的动作。这个“水晶体”的不均匀六边形平面，一是
因为上文提到的城市视线上收窄的处理，二是破除方块的体型过于规整的人工化的形象，达到某种半自然（水晶）半人工（结构）的暧昧状态。这
个平面上的处理，也弱化了室内视线在方块形体内的强轴向性，成为一种更为离散的状态，人的注意力也能更多的被自然的湖景所吸引。
But how could the „lighthouse“ be concretised? First I make the base part of the „lighthouse“ going into the water like in a real lighthouse
situation, which also contains all the serving functions in it. Concrete is then used as material to provide a solid feeling. The shape is also
curved a bit forming slightly sharp angles emphasising it. To make this base solid and at the same time open to the surrounding, two stairs are
added on both sides, giving it a ambiguous petal-like shape and guiding the pedestrians to walk around the site and the building: you walk on
the busy street side, go up the stairs, and suddenly the view is opened to the lake, then you take a seat and have a cup of coffee on the
terrace, you can either enter the restaurant or walk down the stairs on the other side, get yourself sitting on the stairs by the lakeside, enjoy the
view and feed the water birds.
The upper part of the building, where it is the actually restaurant space, is a brass framework filled with curved glass. The rich detail of
construction reduces the abstraction of it. The intersection of curved and linear elements on the eaves accidentally creates a church-like crown
shape, implying an upward movement. The asymmetric hexagonal „crystal-like" shape of this body, first serves the previously mentioned
narrowing operation, secondly weakens its artificialness, approaching an ambiguity between naturalness (crystal) and artificialness (structure).
It also weakens the symmetry of the interior space, making it more discrete and let the lake view attracting more attention.
如果不走侧面的楼梯上二层平台，也可在底层走中间的楼梯，以某种仪式般的方式进入餐厅。同时在二层环绕这个中央楼梯布置餐饮服务的设施，
将它们处理成家具一样的元素，尽可能的保留餐厅空间的完整和纯粹性。通过这种完整性，我希望这个餐厅、灯塔、发光的水晶体里的空间能够成
为苏黎世的一个“城市客厅”，它像一件艺术品一样放在一个基座上，被置于城市中重要的位置，里面的人既享受着湖景，同时也像真人剧的场景
一般，被他人窥视着。
在这个设计里我还夹带了一些的“私货”，但是并不去抢夺人的注意力，只是悄悄的呼应着某些隐含的线索。首先，如果我们在地图上拉远，你会
发现场地西侧的那条小溪其实是中世纪未曾完工的巴洛克城的护城河，而东北方的入湖口也有一个巴洛克城的护城碉台（Bastion）。那现在再回过
来看设计的基座部分，它的尖角似乎又成了对巴洛克碉台的某种局部影射，只不过尺度变小了，材质也换了，功能也完全不同里。现在再沿着火车
站大街往北来到 Paradeplatz 广场，这里是瑞士银行的总部，金融暗流漩涡的中心，而附近也零零散散的遍布着各种小型的教堂。这些强对比的因
子在老城里极小的空间中直接对话，历史和现在的，经济、战争、宗教、政治、等等等等，揉合在一起形成了现在的苏黎世。我希望在这一个小亭
子的设计里，能够把这些信息或明或暗的拧合在一起，在历史和宗教的空间里进行某种可见又不可见的消费行为，形成城市的某种同构。而这个
“城市客厅”的观看和被观看，也能成为某种审判和讽刺。
If you don’t enter the restaurant from the terrace, the secondary entrance on the ground floor could also be taken. Here the stair case of the lift
for the disabled gives you a more monumental atmosphere. Around the stair case, the service functional facility is arranged like furnitures on
the second floor, which keeping the restaurant space complete und not disturbed. Through this completeness, the restaurant space in the
„lighthouse“ and the luminous „crystal“, could be somehow seen as an „urban living room“. It is carefully placed on a base like a piece of artwork
and located on an important spot of the city. The people inside are enjoying the city and lake view outside, but at the mean while also in some
sense acting a true man show inside and being peeped by others from outside.
In the design, I also hid some secret thoughts. They don’t attract your attention, but do imply some threads if you look at it carefully. First, if we
zoom out on the map, you will notice the little brook on the northwest of the site is actually an unfinished moat of the barock age. On the
northeast there is also a small bastion confirming it. Now we come back to our pavilion, the non-orthogonal and polygonal form could somehow
allude to it, but in a smaller scale with different materials and functions. Secondly, if we walk along the Bahnhofstrasse street to Paradeplatz
square, here it is the financial center of country where the headquarters of Swiss banks are. Just around this square, you can also find a couple
of churches spread at the ends of the alleys along Bahnhofstrasse. The economic, political and religious places have their dialogue in such a
small area, and it does show the very character of the city. I want to express this idea within the pavilion design: visible and invisible consumption
takes place in a historic and religious space(pavilion), which is a isomorphism of the city. The „urban living room“ sees and is seen by the urban
space, which in some sense becomes an ironic space.
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发表于 2014-4-8 17:31:42
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