城堡游泳浴場(chǎng)，蘭斯克魯納，瑞典

建筑設(shè)計(jì)：溫高建筑事務(wù)所

蘭斯克魯納的城堡游泳浴場(chǎng)的擴(kuò)建設(shè)計(jì)，是源于兩個(gè)或者是3個(gè)非常重要的圖像。其中的兩個(gè)來(lái)自外部，而另一個(gè)則來(lái)自內(nèi)部。最后一個(gè)靈感是最重要的。

我的第一個(gè)回憶是藍(lán)色的，蔚藍(lán)的天空越過(guò)水面。我望到邊際則是藍(lán)綠色的，感覺(jué)失重而虛幻。當(dāng)我被拖出水面的時(shí)候，平靜被打破了。這就是我最初的記憶，我在祖父的游泳池里幾乎溺水。

城堡游泳浴場(chǎng)有3個(gè)水池：一個(gè)是泳道池，一個(gè)是跳水池，另外一個(gè)是兒童池。這是3個(gè)藍(lán)綠色的矩形，緊挨著它們的是座藍(lán)色的矩形新建筑。水充溢在4色的玻璃中。1個(gè)垂直方向的泳池位于3個(gè)水平方向的泳池之間。

在我腦海中產(chǎn)生的第二個(gè)圖像是在我稍微長(zhǎng)大些的時(shí)候，和父母去參觀家鄉(xiāng)的一座博物館。19世紀(jì)中葉，瑞典畫(huà)家馬庫(kù)斯·拉爾森在充滿野性和激情的作品中描繪了大自然的力量，這幅畫(huà)被稱作“斯莫蘭瀑布”。但是，拉爾森原本是遠(yuǎn)離野性風(fēng)格的，而后來(lái)他開(kāi)始從事與這個(gè)主題有關(guān)的創(chuàng)作。在巴黎的工作室，水、光、云、風(fēng)和衰敗都被描繪出來(lái)。這種外表上的野性卻是來(lái)自內(nèi)心的。這種印象后來(lái)被運(yùn)用到建筑當(dāng)中——從墻體后被保護(hù)的世界里可以觀賞到野性的景觀。從這幢建筑的裂縫中，可以瞥見(jiàn)一絲大海。這將成為內(nèi)部與外部之間，或者文化與自然之間對(duì)立的傷痕。

最后一個(gè)圖像來(lái)自大衛(wèi)·霍克尼。他那關(guān)于泳池的色彩鮮艷的繪畫(huà)作品被轉(zhuǎn)化到瓷磚馬賽克上，呈現(xiàn)出剛?cè)岵?jì)的效果。無(wú)論在這幢建筑物內(nèi)部或外部，都感覺(jué)像蜥蜴的皮膚并環(huán)繞水面展開(kāi)。這幢建筑巨大的表面是涼爽的，并且時(shí)常是濕潤(rùn)的。玻璃引入的光線形成了兩個(gè)藍(lán)色的陰影。不同層次的邊界呈環(huán)形，因?yàn)樗鏁?huì)反射出它周?chē)氖挛铩?/p>

流水映射出藍(lán)天和水池。濕潤(rùn)的玻璃表皮在藍(lán)色的陰影中閃爍，暗示著海洋發(fā)出的粼粼波光。長(zhǎng)50m的海水泳池，始于1967年，是瑞典最快的泳道。水成為建筑與景觀的主題。透過(guò)狹縫可以瞥見(jiàn)海洋以及錐形的裁判塔，暗指城市中獨(dú)特的水塔?！酰◤垥岳?譯）

Two, or maybe three, images were impor tant then I designed the extension to the Citadel Swimming Baths in Landskrona. Two of them came f rom outside,one from within. The last came first.

My first memory is blue, blue sky beyond the water’s sur face. Turquoise if I look to the side.Weightlessness and unreality. The silence is broken as I am dragged up through the water’s surface. That is my very f i rst memory. Almost drowning in my grandfather’s pool.

The Citadel Swimming Baths have three pools:one for lane swimming, one for diving and one for children. Three rectangles of rippled turquoise. Next to them a new building as a rectangle of rippled blue.The water runs over glass in four colours. A vertical pool among the three horizontal ones.

The next image came to me as I was slightly older,visiting the museums of my hometown with my parents.In the middle of the 19th century did the Swedish artist Marcus Larsson paint the power of nature in a wild and furious picture called Waterfall in Sm宭and. But Larsson was far from the wilderness then he worked with the motif. The water, light, clouds, wind and decay were all painted in a studio in Paris. It is a view out to the wild viewed safely from the inside. This impression was later to be transformed into architecture － to create a view toward the wild from the protected world behind walls. The sea is glimpsed through slits in the building.It becomes the slash in the opposites inside/outside, or culture/nature.

David Hockney made the final image. His colourful pictures of pools were transformed into a tile mosaic,at once hard and soft. It feels like the skin of a lizard and rol ls out like rings on the water, both inside and outside the building. The building’s vast surfaces are cool and of ten wet. The glass lets in the light and creates two shades of blue. Layered edges on the patterns of the circles, as the water’s surface reflects its surroundings.

Sky and pools are mirrored in the running water.The wet glazing of the facades glitters in shades of blue, suggesting the shimmering light of the sea. The 50-metre saltwater pool, dating f rom 1967, is one of Sweden’s fastest. Water sets the theme of both architecture and landscaping. The sea is glimpsed through slits, and the tapering judges’ tower al ludes to the city’s distinctive water tower.□

9 細(xì)部/Detail

10、11 平面/Floor plan

12 內(nèi)景/Interior view

13 外景/Exterior view