定制：傳統(tǒng)與融合

哈爾沃·魏德·埃勒夫森，米爾扎·穆葉齊諾維奇/Halvor Weider Ellefsen, Mirza Mujezinovic尚晉 譯/Translated by SHANG jin

定制：傳統(tǒng)與融合

哈爾沃·魏德·埃勒夫森，米爾扎·穆葉齊諾維奇/Halvor Weider Ellefsen, Mirza Mujezinovic尚晉 譯/Translated by SHANG jin

本文研究了在 “自然”視角下的挪威建筑?？v觀20世紀(jì)，各種各樣的環(huán)境意識(shí)涌現(xiàn)在建成環(huán)境和建筑理論中。今天，挪威建筑制造中對(duì)自然的運(yùn)用、闡釋和理解的理念在挪威建筑師中幾乎已成為一種神話。要從建筑的關(guān)系上探討“自然”的用法和涵義，可以將它解析為自然三相：自然之實(shí)、自然之道和自然之象；而這些語匯可以在最近挪威建筑的具體實(shí)例上進(jìn)一步展開。

自然，語境，挪威建筑

“定制”是一次以挪威建筑制造為主題的展覽（圖1、2）。它沒有延續(xù)業(yè)內(nèi)當(dāng)下關(guān)于可持續(xù)性的討論。展覽的出發(fā)點(diǎn)是討論現(xiàn)代挪威建筑中“自然”（nature）與“天然”（the natural）的作用和聯(lián)系。建筑圖紙和展覽照片的選擇意在展開當(dāng)今挪威建筑制造中圍繞核心主題、工具和母題的一系列討論。“定制建筑”的目標(biāo)不是臆定新的挪威建筑法則，也不是定義一種“挪威建筑”；而是要探索現(xiàn)代挪威建筑文化中的建筑實(shí)踐形式與建筑理論著述之間的辯證關(guān)系。這種二元論可以歸結(jié)為“制造的傳統(tǒng)”（建筑實(shí)踐）和“傳統(tǒng)的制造”（建筑討論和著述）。在展覽中，二者表現(xiàn)為建筑作品的拼貼和被稱為“現(xiàn)成品”的裝置?，F(xiàn)成品以過去70年中理解、探討和論證建筑的方式——包括2126冊(cè)書籍、圖錄、宣傳冊(cè)、雜志和手冊(cè)在內(nèi)的165228頁收藏品——來揭示傳統(tǒng)的制造。“拼貼”則是本文的基礎(chǔ)。它的表述框架是20世紀(jì)中葉至今建筑對(duì)自然的闡釋：它展現(xiàn)的是業(yè)內(nèi)借鑒自然、提出理念和設(shè)想的軌跡。本文中的作品和文字將重點(diǎn)放在展覽主題的若干關(guān)鍵項(xiàng)目和內(nèi)容上，并轉(zhuǎn)化為雜志出版的形式。

挪威建筑文化的背景

克努特·克努森（Knut Knutsen）是挪威建筑環(huán)境意識(shí)和生態(tài)思想的先驅(qū)之一。1961年，他在建筑雜志《建筑藝術(shù)》（Byggekunst）發(fā)表了文章“以人為中”（Mennesket i Sentrum），成為在資源有限的世界中倡導(dǎo)謙和而有節(jié)制的建筑的人本主義生態(tài)宣言。這與1960年代他的挪威同行以及國際建筑文化中英雄主義的烏托邦幻想截然相反。早在13年前，他就在波爾多（Port?r）建成了自己的夏季住宅（圖3）。它的平面和草圖甚至被當(dāng)做挪威因地制宜的景觀設(shè)計(jì)和環(huán)境意識(shí)的宣言。別墅謙和的尺度在挪威南部多山的海濱景觀中顯得不同尋常?？伺慕ㄖ饨欠置鲄s又審慎周正。這使他成為20世紀(jì)挪威建筑的先鋒，歌頌簡約與謙遜，并走向它的極致。

從1950年代到1960年代，針對(duì)語境的各種環(huán)境意識(shí)和敏感性問題在建成環(huán)境和建筑理論中日漸突出。像克努森的繼承者埃利亞森和蘭貝特-尼爾森（Eliassen & Lambert-Nielsen）這樣的實(shí)踐建筑師發(fā)揚(yáng)了他的精神，強(qiáng)調(diào)建筑與周圍景觀之間關(guān)系的重要性。這一時(shí)期最具影響力的新興建筑師是文克·塞爾默（Wenche Selmer）。在她看來，自己的作品是從兩個(gè)關(guān)系出發(fā)的：建筑的環(huán)境和建筑的用戶。她關(guān)注的是現(xiàn)有場地的內(nèi)在可能和約束，一次形成了一種對(duì)場地本身進(jìn)行創(chuàng)造的手法。在建筑理論上，克里斯蒂安·諾貝格-舒爾茨（Christian Norberg-Schulz）作為《建筑藝術(shù)》的編輯，用了10多年來討論地點(diǎn)、紀(jì)念性和傳統(tǒng)的問題。他關(guān)于現(xiàn)象學(xué)的著作為建筑師提供了專業(yè)術(shù)語，以及從語境出發(fā)的建筑實(shí)踐和制造的理論基礎(chǔ)——盡管爭議頗多。這就指向了我們的推論——當(dāng)時(shí)出現(xiàn)在建筑中的環(huán)境意識(shí)，既是一個(gè)學(xué)科工具，也是一個(gè)政治聲明：我們今天所討論的“可持續(xù)性”的內(nèi)容是建筑制造的組成部分，也是在現(xiàn)代性加速全球化的過程中體現(xiàn)地區(qū)特殊性和傳統(tǒng)的手段。

1.2 “定制”展，奧斯陸/Custom Made exhibition Oslo（攝影/Photo: Courtesy of the Custom Made curators）

"Custom made" is an exhibition addressing Norwegian architectural production, departing from the current discussions on sustainability within the discipline (Fig. 1, 2). The exhibition's starting point is to explore the role and relevance of "nature" and "the natural" in modern Norwegian architecture.The selection of architectural drawings and photographs of the exhibition is meant to illustrate sets of discussions meandering around central themes, tools and motifs present in Norwegian architectural production. Custom Made aims not towards postulating a new canon of Norwegian architecture, nor does it aspire to identify a definite "Norwegian architecture" as such. Rather, it explores the dialectic between architectural practice forms and architectural discourse in modern Norwegian architecture culture. This dichotomy can be defined as respectively "the tradition of production", meaning architectural practice, and "the production of tradition", referring to architectural debates and discourses. In the exhibition, the two manifest themselves as a collage of architectural works, and an installation called "the readymade".The readymade exposes the production of tradition by referring to how architecture is understood, discussed and legitimized the last seventy years through a 165,228 page long collection containing 2126 books, catalogues, pamphlets, magazines and manuals. "e collage" is the basis on which this article is written. Its narrative is structured around interpretations of nature in architecture from the mid twentieth century until today: It unfolds trajectories of nature references, ideals and ideas within the discipline.The works, and texts presented here elaborate on some key projects and aspects of the exhibition's theme, translated in to a magazine format.

The Backdrop of Norwegian Architecture Culture

An early advocate for environmental awareness and ecological thinking in Norwegian architecture was Knut Knutsen, that in his essay "Mennesket i Sentrum" ("Man as Midpoint"), published in architectural magazine "Byggekunst" in 1961, provided a humanist, ecological manifesto for a modest and restrained architecture in a world of limited resources, contrary to the imaginings of heroic utopias projected by many of his Norwegian colleagues and by the international architecture culture of the 1960s. irteen years earlier, he had completed his own summerhouse at Port?r, whose plans and sketches became somewhat of a manifesto for landscape adaption and environment-conscious design in Norway (Fig. 3). The house's modest dimensions are contrasted by its unconventionaladaption to the rocky coastal landscape of southern Norway. Knutsen's edgy, although prudent, architecture locates him within the forefront of Norwegian architecture in the twentieth century, being an avant-garde celebrating (and subsequently exhausting) the frugal and the humble.

1960年代末，建筑業(yè)日趨政治化。環(huán)境主義與建筑的關(guān)系也愈發(fā)重要，而自然景觀意識(shí)仍是北歐建筑的特征。在挪威，斯韋勒·費(fèi)恩（Sverre Fehn）已成為面向國際的一代建筑師的代表——他們都以復(fù)雜的個(gè)人闡釋推進(jìn)現(xiàn)代主義的理念。費(fèi)恩作為建筑師的畢生成就源自可數(shù)的幾個(gè)項(xiàng)目，而這使他躋身20世紀(jì)歐洲大師的行列。其中包括威尼斯的北歐館（圖4）：它將紀(jì)念性與因地制宜的場地設(shè)計(jì)結(jié)合起來，使現(xiàn)有的樹木與建筑融為一體。另一個(gè)名氣略小的項(xiàng)目是奧斯陸的斯科達(dá)倫（Skaadalen）聽障學(xué)校。這座磚與混凝土的建筑將斯韋勒·費(fèi)恩建筑中最具代表性的質(zhì)樸與節(jié)制體現(xiàn)得淋漓盡致。盡管斯韋勒·費(fèi)恩是挪威無可爭議的最負(fù)盛名的建筑師，但與他同時(shí)代還有很多值得一提的大師。阿雷·韋斯特利德（Are Vesterlid）就是其中一位。他獨(dú)立完成或與Arkitim事務(wù)所合作的小尺度住宅，對(duì)于木材和施工工藝有一種敏感的實(shí)用性。瑟呂姆（S?rum）農(nóng)場項(xiàng)目（圖5）也是一個(gè)木結(jié)構(gòu)擴(kuò)建與舊農(nóng)房結(jié)合的典范。

而更具商業(yè)性的工作室被認(rèn)為繼承了特殊的“北歐”建筑手法。在挪威，大名鼎鼎的建筑師尼爾斯·托爾普（Nils Torp）通過斯德哥爾摩的北歐航空公司項(xiàng)目（圖6），以及后來的希斯羅英國航空公司總部項(xiàng)目，對(duì)辦公樓建筑進(jìn)行了“再創(chuàng)造”。這兩座建筑都有一套基礎(chǔ)設(shè)施體系作為大型公共空間使用，而這在后來被提煉為“北歐辦公樓模式”。盡管與自然的聯(lián)系較少，這些建筑把大型辦公建筑的尺度分解為可控的體量，讓室內(nèi)外空間相互交融。不過，從1980年代中期開始，隨著技術(shù)和生態(tài)建筑的發(fā)展，出現(xiàn)了新一代建筑師，對(duì)挪威建筑法則進(jìn)行反思和重構(gòu)。他們的作品展現(xiàn)出處理自然和景觀的賦有活力的手法，強(qiáng)調(diào)業(yè)內(nèi)特定的觀點(diǎn)、方法和技術(shù)，并在1990年代形成了新的專業(yè)路線。一個(gè)更早的例子是延森與斯科溫建筑師事務(wù)所（Jensen & Skodvin Arkitekter）的利亞桑登（Liasanden）道路觀景點(diǎn)（圖7）。它表達(dá)概念的手法是用簡單的技術(shù)和廉價(jià)的材料實(shí)現(xiàn)宏大而克制的設(shè)計(jì)。最近， Code建筑師事務(wù)所的通厄內(nèi)塞特（Tungeneset）觀景點(diǎn)項(xiàng)目（圖8）采用了相似的理念，通過微微抬高的線性橋體強(qiáng)化了景觀的效果。業(yè)內(nèi)的變化在這一時(shí)期的建筑中也表現(xiàn)得非常明顯：在阿斯金姆和蘭托事務(wù)所（Askim & Lantto）的項(xiàng)目費(fèi)特松蘭瑟（Fetsund Lenser，圖9）的場地平面中，景觀不但是建筑的組成部分，也是強(qiáng)化和展現(xiàn)建筑自身的工具。在雷于爾夫·拉姆斯塔（Reiulf Ramstad）最近的特羅斯蒂根國家旅游線路項(xiàng)目中，我們看到了相似的情況，項(xiàng)目場地平面表現(xiàn)出，現(xiàn)有的景觀和新增的建筑成為不可分割的整體。

3 波爾多夏屋首層平面，1949年，克努特·克努森/Port?r Summer House, 1949, Knut Knutsen, ground-foor plan

4 威尼斯館，1962年，斯韋勒·費(fèi)恩/venice Pavilion, 1962, Sverre Fehn（攝影/Photo: Teigens Fotoatelier）

Through the 1950s and 1960s, forms of environmental awareness and sensitivity towards context manifested themselves both through the built environment and architectural theory. Practicing architects like the Knutsen protégés Eliassen & Lambert-Nielsen evolved the legacy of Knutsen, stressing the importance of a building's relation to its surrounding landscape. Among the most influential emerging architects of this era is Wenche Selmer, whose work was, according to herself, based on two relationships: The building's surroundings and the building's users. Her focus on a given site's inherent potentials and constraints constitute an approach that could be read as an invention of the site itself. Within architectural theory, Christian Norberg-Schulz addressed the issues of place, monumentality and tradition for over a decade as the editor of "Byggekunst". His works on phenomenology provided architects with both a terminology and, if though disputed, theoretical basis for context-driven architectural practice and production. This leads to our claim that the environmental awareness found in architecture at the time was a disciplinary instrument as much as a political statement: What we today defne within "sustainability" discussions was an integrated aspect of architectural production, as well as a tool to articulate regional specificity and tradition in an increasingly globalized modernity.

5 瑟呂姆農(nóng)場，2003年，阿雷·韋斯特利德/S?rum Atelier, 2003, Are vesterlid（攝影/Photo: Rickard Riesenfeld）6 斯堪的納維亞航空公司總部首層平面，1987年，尼爾斯·托爾普/Scandinavian Airlines Headquarters, 1987, Nils Torp, ground foor plan

Parallel to environmentalism's growing pertinence in the gradually more politicized discipline of the late 1960s, awareness of nature landscapes continued to define Nordic architecture. In Norway, Sverre Fehn had come to represent an international-orientated generation of architects that evolved modernist credos through complex, personal interpretations. Fehn's lifetime achievement as an architect resulted in a handful of projects that placed him among the great European masters of the 20thcentury. Among these is the Nordic pavilion in venice (Fig. 4), that combines monumentality with a subtle adaption to site, underlined by the integration of existing trees into the building. A somewhat less celebrated project is Skaadalen School for the hearing impaired in Oslo. is brick and concrete building exposes the earthy modest and controlled approach representative for Sverre Fehn's architectural oeuvre. Although Sverre Fehn is undisputedly Norway's most cherished architect, there are also other masters of his era worth mentioning. Among these is Are vesterlid, whose small-scale residential buildings, executed alone or in cooperation with office Arkitim, possess a sensitive pragmatism to wood-based materials and construction techniques. The project "Farm at S?rum" (Fig. 5) also exemplifes how an added wood structure merges with the existing timber construction of the old farm building.

Also more commercially orientated ofces have been said to sustain a specifc "Nordic" approach to architecture. In Norway, the influential and highly prolific architect Nils Torp was said to "re-invent" the ofce building with his project for Scandinavian Airlines outside Stockholm (Fig. 6), and later, British Airways headquarters outside Heathrow. Both buildings feature a hierarchy of infrastructures that functions as large common spaces, a diagramthat later has been labeled "the Scandinavian office model". Though less associated with nature, these buildings break down the scale of large ofce complexes in to manageable volumes challenging the relation between indoor and outdoor spaces. From the mid-1980s however, and parallel to the evolution of a technological, ecological architecture, a new generation of architects emerged that revisited and re-conceptualized the Norwegian architectural cannon. Their work represented a rejuvenated approach to nature and landscape, accentuating specific discussions, approaches and techniques within the discipline that would establish new disciplinary agendas throughout the 1990s. An early example is jensen & Skodvin Architects' "Liasanden road rest stop"(Fig. 7) that displayed a conceptual approach to the landscape through a grand and underplayed design using simple techniques and inexpensive materials. Recently, Code Arkitektur's "viewpoint Tungeneset" (Fig. 8) used a similar idea of amplifying the presence of landscape through a slightly elevated linear bridge structure. Changes within the discipline also became apparent in architectural representations of the era: In the situation plan for Askim & Lantto's project "Fetsund Lenser" (Fig. 9)the landscape was an integral part of its architecture, and utilized as

a tool to strengthen and legitimize the building itself. In Reiulf Ramstad's recent "National tourist route Trollstigen" we see a similar condition, where the existing landscape and the architectural intervention become inseparable entities conveyed by the project's situation plan.

8 通厄內(nèi)塞特觀景點(diǎn)，Code建筑事務(wù)所/Tungeneset tourist stop, Code: Arkitektur AS（攝影/Photo: diephotodesigner. de.jpg）9 費(fèi)特蘭松瑟場地平面，阿斯金姆和蘭托事務(wù)所/Fetsund Lenser, Askim & Lantto, site plan

7 利亞桑登旅游線路項(xiàng)目，1998年，延森與斯科溫建筑師事務(wù)所/Liasanden Tourist Road Project, 1998, jensen & Skodvin Arkitekter AS（攝影/Photo: Courtesy of jensen & Skodvin Arkitekter AS）

10 克斯特格萊德夏屋，1965年，文克·塞爾默/Kisteglad Summer House, 1965, Wenche Selmer（攝影/Photo: Frode Larsen）

自然三相

11 富魯隆德別墅，1988年，倫–哈格姆建筑事務(wù)所/villa Furulund, 1988, Lund & Hagem Arkitekter AS（攝影/Photo: Nils vik）

挪威建筑制造中對(duì)自然的運(yùn)用、闡釋和理解在這個(gè)國家的建筑師中有一種神秘的韻味。不過，作為手法，它可以“分解”為三大主題：自然之實(shí)、自然之道和自然之象。第一大主題“自然之實(shí)”將自然視為給建筑制造直接帶來靈感的空間條件，其最突出的表現(xiàn)是建筑師處理地形和氣候的方法。憑借簡單的工具和技術(shù)，自然就成為可以接受、甚至是強(qiáng)化的空間實(shí)體。這表達(dá)出一種因地制宜的意愿，而它源于審慎的態(tài)度和建筑理念上的簡約。倡導(dǎo)這種態(tài)度的不僅有文克·塞爾默的項(xiàng)目（圖10），還有同時(shí)代的倫與哈格姆建筑師事務(wù)所（Lund &Hagem Arkitekter）。他們對(duì)富魯隆德 （Furulund）別墅（圖11）的組織就是從場地中植物的布局出發(fā)的，將松樹作為建筑表達(dá)的概念工具。

12 埃爾夫夏屋，2002年，莉絲貝特·豐克，托馬斯·麥奎蘭/ Erve Summer House, 2002, Lisbeth Funck, omas McQuillan（攝影/Photo: Ivan Brodey）

Three Themes of Nature

13 霍爾姆斯布畫廊，1973年，比亞特·莫爾/Holsmbu Gallery, 1973, Bjart Mohr（攝影/Photo: james Bengtson）

The utilization, interpretation and understanding of nature as concept within Norwegian architectural production claim an almost mythical status among the country's practicing architects. As approach however, it can be "decrypted" in to three main themes: Nature as found, nature instrumentalized and nature imagined. The first theme, "nature as found", deals with nature as a physical constraint directly informing architectural production, represented most evidently by how architects approach topography and climate: By means of simple tools and techniques, nature is seen as a physicality to be accepted and even accentuated. is exposes a will for contextual adaptation rooted in frugality both in terms of prudence, but also as ideological approach to architecture. Exponents of such attitudes are projects by Wenche Selmer (Fig. 10), but also contemporaries like Lund Hagem Arkitekter: Their organization of "villa Furulund" (Fig. 11) is based on the mapping of vegetation found on the plot, integrating its pine trees as a conceptual tool in the articulation of the building.

14 莫滕斯魯?shù)陆烫茫?002年，延森與斯科溫建筑師事務(wù)所/ Mortensrud Church, 2002, jensen & Skodvin Arkitekter AS（攝影/Photo: Courtesy of jensen and Skodvin Arkitekter）

The second theme,"nature instrumentalized", aims to describe projects where nature is utilized to validate, legitimize or stage architecture. Here, nature becomes the silver screen on which architectural illusions are projected. Autonomous buildings become strengthened by the rhetoricand narrative that landscapes can provide. An evident example is Lisbeth Funck and Thomas McQuillan's "Erve Summerhouse" (Fig. 12); simple and small in its tree-clad articulated containershape, but voluminous in its scope through localization and orientation. Another prominent project in this category is Bjart Mohr's "Holmsbu Gallery" (Fig. 13)from 1973, where large windows frame the forest understory as motif within the gallery. jensen & Skodvin Architects continuously explore the relation between the interior and the exterior. In Mortensrud Church (Fig. 14), the integration of bedrock as a literal altar within a religious building accentuates the transition from Wenche Selmer's perceived humbleness to an architectural scenography articulated in Norwegian glacier-polished stone. In jensen & Skodvin's most recent project "Cabin Storfjord" the dialectic between inside and outside mediated by the exposed bedrock is obliterated altogether: The former transcendent nature here becomes immanent with architecture. The resulting building is monumental, yet utilizing every potential provided by its hillside surroundings in its design.

15 “謄寫自然”，2012年，奧斯陸工作室/Transcribed Nature Installation, 2012, Atelier Oslo AS

The third theme "Nature Imagined" projects nature as a conceptual platform from which architectural imaginaries emerge, through concepts, fantasies or narratives. These can be either digital or analogue, but share a common denominator in the exploration and interpretation of nature beyond the physical and spatial frameworks of the discipline. Atelier Oslo's "Transcribed Nature" (Fig. 15) shows a pixelated landscape that is investigated as architectural space through digital tools of projection. Their spatial explorations, inspired by the relation between the human body and nature-landscapes also fnd resonance in their most recent completed work "Cabin Norderhov" presented below. Another example of nature imaginaries within built architecture and architectural representationsis Carl-viggo H?lmebakk's "Summerhouse Nipe" (Fig. 16, 17). Here, the terrain survey preceding the project is embedded in the drawing material. It displays an amplified topography through the registration of five-centimeter highline cote far beyond the buildings physical and juridical boundary. is does not only witness a fxation of the importance of landscape adaption, but also the will to combine landscape narratives with physical projections of architecture.

The Possibility of Tradition

17 奈普夏屋，1997年，卡爾–維戈·霍爾梅巴克/Summer House Nipe, 1997, Carl-viggo H?lmebakk AS（攝影/Photo: Courtesy of the architect）

A frequently reproduced image of Norwegian architecture tends to link aptitude to geo-political borders, reducing its capacity to a culturalist perspective. Instead, we regard the development of a Norwegian architecture culture throughout the twentieth century to be kin to core themes in European architectural mode?rnism at the time. When "nature" emerges as a core focus, it is due to its frequent reappearance as a thematic both in the "production of tradition" and the "tradition of production" described above. In terms of the latter, two topics emerge as imperative: The concept of "custom" and customization in architectural culture, and the significance of techniques and technology in architectural production. The latter links "nature" to the use and exploration of materials: Historical examples include Knut Knutsen's villa Natvig (Fig. 18), that explores wood tectonics on an aesthetic level, while recently, Brendeland & Kristoffersen's implement new techniques (massive wood elements) that become both architecturally absorbed and exposed in "Svartlamoen Housing" (Fig. 19). Tectonics also defines form when nature demands it: Anne Brit and Eilif B?rve's project "Fuglenesdalen" from the 1990s combines a sensible architecture with architectural sensibility. The blurring of climatic intentions and climatic aesthetics is also apparent in jarmund/vigsn?s Architects' Svalbard Research Center (Fig. 20). The building synthesizes both technique and tradition with a playful languageof form, which links tectonics to customs and the customized: The idea of a unique architecture adapted to fulfll specifc demands of a specifc site.

第二大主題“自然之道”旨在描述將自然作為建筑合理化背景的項(xiàng)目。在這里，自然是投射建筑意象的巨大銀幕。獨(dú)立的建筑在景觀的優(yōu)美故事中得到了升華。其中一例就是莉絲貝特·豐克 （Lisbeth Funck）和托馬斯·麥奎蘭（Thomas McQuillan）的埃爾夫（Erve）夏屋（圖12）。在林木的簇?fù)碇?，它的方盒子造型顯得小巧而樸素；而選址和朝向又讓它的視野寬廣而開闊。此類項(xiàng)目的另一個(gè)例子是比亞特·莫爾（Bjart Mohr）1973年的霍爾姆斯布（Holmsbu）畫廊（圖13）。寬大的窗口將森林下層的景色框成畫廊的作品。還有堅(jiān)持探索室內(nèi)外關(guān)系的延森與斯科溫建筑師事務(wù)所的莫滕斯魯?shù)拢∕ortensrud）教堂（圖14），將基巖作為宗教建筑的祭壇，實(shí)現(xiàn)了從文克·塞爾默的謙遜形象到挪威冰川巖式的建筑配景的轉(zhuǎn)變。在延森與斯科溫最近的項(xiàng)目斯圖爾峽灣小屋中，以裸露的基巖聯(lián)系的室內(nèi)外辨證關(guān)系被徹底拋棄。早期的崇高自然在這里成為建筑的內(nèi)在特征。最終，宏大的建筑成果在設(shè)計(jì)上充分利用了周圍的群山。

第三大主題“自然之象”將自然作為通過理念、幻想和敘事呈現(xiàn)建筑意象的概念平臺(tái)。它可以是數(shù)字或模擬式的，但在對(duì)自然超越建筑和空間框架的探索和闡釋上具有相同的特質(zhì)。奧斯陸工作室的“謄寫自然”（圖15）是一個(gè)以數(shù)字手段表達(dá)建筑空間的像素化景觀。他們的空間研究受到了人體與自然景觀之間關(guān)系的啟發(fā)，而這在他們最近的作品諾德霍夫（Norderhov）小屋中也有所體現(xiàn)。另一個(gè)在建筑實(shí)體與建筑表現(xiàn)之中發(fā)揮自然想象的例子是卡爾-維戈·霍爾梅巴克（Carl-Viggo H?lmebakk）的奈普（Nipe）夏屋（圖16、17）。動(dòng)工前的地形勘察結(jié)果已融入設(shè)計(jì)圖紙之中。它通過5cm的高架欄表達(dá)出超越建筑實(shí)體和法定邊界的地形效果。這不僅印證了因地制宜景觀的重要性，也體現(xiàn)出將景觀的故事與建筑實(shí)體相結(jié)合的意愿。

18 納特維格別墅，1946年，克努特·克努森/villa Natvig, 1946, Knut Knutsen（攝影/Photo: Teigens Fotoatelier）19 斯瓦托拉蒙住宅，2005年，布倫德蘭德和克里斯托弗森建筑事務(wù)所/Svartlamoen Housing, 2005, Brendeland & Kristofersen Arkitekter AS（攝影/Photo: Ivan Brodey）

傳統(tǒng)的可能性

20 斯瓦爾巴研究中心，1997年，雅蒙德&維斯奈斯建筑事務(wù)所/Svalbard Administration Building, 1997, jarmund & vigsn?s Arkitekter AS（攝影/Photo: Nils Petter Dale）21 耶爾欣野生馴鹿館，2011年，斯諾赫塔事務(wù)所/Hjerkinn Wild Reindeer Pavilion, 2011, Sn?hetta AS（攝影/Photo: Ketil jacobsen）

人們常見的挪威建筑形象會(huì)把天然地形與地理政治邊界聯(lián)系在一起，從而影響了文化主義的視角。相反，我們認(rèn)為，挪威建筑文化在20世紀(jì)的發(fā)展與當(dāng)時(shí)歐洲建筑的現(xiàn)代主義核心有關(guān)系。當(dāng)“自然”成為焦點(diǎn)時(shí)，這是因?yàn)樗l繁出現(xiàn)在上文的“傳統(tǒng)的制造”和“制造的傳統(tǒng)”主題中。對(duì)于后者而言，有兩個(gè)論點(diǎn)是不可或缺的：“定制”的概念與建筑文化中的定制，以及建筑制造中工藝和技術(shù)的涵義。后者將“自然”與材料的使用和試驗(yàn)聯(lián)系起來。歷史上的實(shí)例有從美學(xué)層面上探索木構(gòu)造的克努特·克努森的納特維格（Natvig）別墅（圖18）。最近，布倫德蘭德和克里斯托弗森（Brendeland & Kristoffersen）的新工藝（大型木構(gòu)件）在斯瓦托拉蒙（Svartlamoen）住宅（圖19）中，既能與建筑融為一體，又能相得益彰。構(gòu)造在自然需要的時(shí)候賦予了形式。安妮·布里（Anne Brit）和艾利夫·博爾弗（Eilif B?rve）在1990年代的項(xiàng)目“Fuglenesdalen”將建筑感融入理性的建筑之中。氣候意向與氣候?qū)徝赖慕Y(jié)合也體現(xiàn)在雅蒙德與維斯奈斯建筑師事務(wù)所（Jarmund & Vigsn?s Arkitekter）的斯瓦爾巴（Svalbard）事務(wù)所研究中心（圖20）上。這座建筑以戲謔的形式語言將技術(shù)與傳統(tǒng)組合起來，在構(gòu)造與風(fēng)俗和訂制之間形成關(guān)聯(lián)：讓一座獨(dú)一無二的建筑實(shí)現(xiàn)特定場地的具體需求。

A related narrative is found in Sn?hetta]s Wild Reindeer Pavilion (Fig. 21), which quotes the nature-relation of a mountain lodge through its central fireplace and reinterpretation of traditional woodwork crafts. In Haga Grov Architects' unpretentious structure for Svandalsfossen (Fig. 22), the only iconography present is the nature-site itself. Both projects are product of the Norwegian road authority's investments in nature experiences through small architectural interventions along popular tourist routes in Norway. The limited scales and budgets of these projects are counterweighted by the architectural freedom provided, often leading to structures that either frame nature through architecture, or eradicate the relation between architectural object and landscape-context altogether.

Nonetheless, such structures constitute a minor part of the country's architectural production. Most projects occur in urban areas within juridical and economical frameworks that seldom allow for nature contemplations. As a storyline however, naturereferences are more present than ever, not the least because of the focus on sustainability within the discipline. However, architectural ontologies of nature continues to seduce and inspire architects outside the pragmatic borders of utilization value: In Carl viggo H?lmebakk's illustration for the "v?ringsfossen Tourist route" (Fig. 23), the context and the content of its architecture becomes indistinguishable. Here, nature simultaneously is an architectural function and an architectural fction, in an image that both refer back in time and to possible futures of architecture. □

22 斯萬達(dá)爾瀑布國家旅游線路，2005年，哈加和格羅弗事務(wù)所/Svandalsfossen National Tourist Road, 2005, Haga & Grov Sivilarkitekter AS/Helge, Schelderup（攝影/Photo: Rickard Riesenfeld）23 沃靈瀑布國家旅游線路，2008年，卡爾–維戈·霍爾梅巴克/ v?ringsfossen National Tourist Road, 2008, Carl-viggo H?lmebakk AS （制圖/Illustration: Anders Holmer）

還有一個(gè)相關(guān)的故事可以從斯諾赫塔事務(wù)所（Sn?hetta）的野生馴鹿館（圖21）中看到。它通過中心壁爐和傳統(tǒng)木工藝的新闡釋，折射出山間小屋與自然的關(guān)系。在哈加與格羅弗建筑師事務(wù)所（Haga & Grov Sivilarkitekter）具有真實(shí)建筑表達(dá)的斯萬達(dá)爾瀑布（Svandalsfossen）步道（圖22）上，惟一的圖式就是自然本身。這兩個(gè)項(xiàng)目都是挪威道路管理局在挪威熱門旅游線上以小型建筑引導(dǎo)自然體驗(yàn)的產(chǎn)物。項(xiàng)目有限的尺度和預(yù)算絲毫沒有妨礙建筑的自由表達(dá)——不是以建筑作為自然框景的手段，就是摒棄了建筑實(shí)體與景觀之間的關(guān)系。

盡管如此，這種建筑仍是挪威建筑制造的一小部分。大多數(shù)項(xiàng)目都在城區(qū)的法律和經(jīng)濟(jì)框架中，很少有思考自然的空間。不過，作為故事的主線，對(duì)自然的借鑒要?jiǎng)龠^以往；而這不只是因?yàn)闃I(yè)內(nèi)對(duì)可持續(xù)性的關(guān)注。然而，自然的建筑語匯依然在引誘和激勵(lì)著建筑師走出實(shí)用價(jià)值的局限。在卡爾-維戈·霍爾梅巴克的沃靈瀑布（Voringsfossen）旅游線項(xiàng)目效果圖（圖23）中，建筑的環(huán)境與本體是不可分割的。在這里，自然既是一種建筑功能，又是一種建筑幻想，是回溯過去和指向未來的建筑意象?！?/p>

Custom Made: Naturalizing Tradition

This essay examines the notion of "nature" in Norwegian architecture. roughout the 20th century, forms of environmental awareness have manifested themselves in the built environment and architectural theory. Today, the utilization, interpretation and understanding of nature as a concept embedded in Norwegian architectural production has an almost mythical status among the country's architectural community. In the context of this Norwegian discourse, "nature" as it relates to architecture can be "decrypted" into three main themes: "nature found", "nature instrumentalized" and "nature imagined." ese terms are discussed in relation to specifc examples in contemporary Norwegian architecture.

nature, context, Norwegian architecture

哈爾沃·魏德·埃勒夫森，建筑師。米爾扎·穆葉齊諾維奇，建筑師，MALARCHITECTURE事務(wù)所主持人。他們二人目前均為奧斯陸建筑與藝術(shù)學(xué)院在讀博士生及助理教授，奧斯陸“定制”建筑展策展人，同時(shí)也是本期《世界建筑》專輯的客座編輯。

2014-03-15