濱水區(qū)：里斯本里貝拉船廠更新

米凱利·博尼諾，皮埃爾-阿蘭·克羅塞特/Michele Bonino, Pierre-Alain Croset

陳茜 譯/Translated by CHEN Xi

濱水區(qū)：里斯本里貝拉船廠更新

Waterfronts: Regenerating the "Ribeira das Naus" in Lisbon

米凱利·博尼諾，皮埃爾-阿蘭·克羅塞特/Michele Bonino, Pierre-Alain Croset

陳茜 譯/Translated by CHEN Xi

記憶與再生

欄目主持：米凱利·博尼諾，皮埃爾-阿蘭·克羅塞特

新欄目“記憶與再生”旨在通過一些歐洲城市更新的實(shí)施范例，與中國讀者探討在現(xiàn)今城市發(fā)展進(jìn)程中，當(dāng)代建筑以何種方式來提升城市記憶、文化認(rèn)同和場所塑造三者之間的聯(lián)系。

經(jīng)歷了伴隨去工業(yè)化過程而持續(xù)多年的結(jié)構(gòu)性危機(jī)，歐洲城市可能會通過內(nèi)在新生和本質(zhì)蛻變迎來新的發(fā)展?！霸偕边@個詞來自生物學(xué)術(shù)語，用于指代受到損傷后的自我修復(fù)行為，尤指動植物組織。與“重建”相比，我們更傾向于使用“再生”這個詞。“重建”在1980年代被約瑟夫·保羅·克萊修斯用于指代國際建筑展期間對柏林的“批判性重建”。盡管它對歷史城市抱著懷舊式的想像，“重建”畢竟使人感覺以新建部分完全替代拆除部分似乎合情合理。我們更愿將城市看做“組織”，而非一個簡單的審美對象：一個由物理和社會聯(lián)系構(gòu)成的復(fù)雜網(wǎng)絡(luò)，正在等待充滿活力的動態(tài)再生?！坝洃洝蓖瑫r也具有動態(tài)的含義。在當(dāng)代城市設(shè)計中，記憶不單單是信息的存儲容器，更是在城市面臨的種種挑戰(zhàn)面前，喚起歸屬感和認(rèn)同感的必要手段。

專欄中展示的項目有助于激發(fā)中國建筑師和城市規(guī)劃師的批判性反思，這種反思對于超速城市發(fā)展后遺留的社會空白和市民認(rèn)同感缺失尤為重要。這可以敦促城市設(shè)計實(shí)踐更加關(guān)心場所的特殊性，強(qiáng)化而不是消除場所記憶。這個案例中建筑和城市設(shè)計都具有突出的對話性品質(zhì)，為樂觀的未來前景樹立起了堅定的信念。我們從“城市濱水區(qū)”這一在歐洲探討廣泛且卓有成效的主題入手。受《世界建筑》之邀，我們以自己撰寫的文章作為專欄首篇文章，而后我們將邀請更多的國際專家為接下來的期刊供稿?！?/p>

1 意大利熱那亞的老港口更新項目（倫佐·皮亞諾，1992）/ Porto Antico, Genova, Italy (Renzo Piano, 1992)

Memory and Regeneration
Column Editor: Michele Bonino, Pierre-Alain Croset

The new column "Memory and Regeneration" aims to initiate a discussion with a Chinese public about ways in which contemporary architecture can contribute to enhance the relation between memory, cultural identity, and place in today’s processes of city-making. It does so by exploring exemplary operations of urban regeneration in Europe.

After many years marked by a structural crisis related to the process of deindustrialization, European cities grow again according to a process of inner regeneration and qualitative metamorphosis. This word - "regeneration" – belongs to the vocabulary of biological disciplines: it is used to indicate an action of reparation after loss or damage, especially regarding animal or plant tissue. We prefer this word to "reconstruction", which has been used for instance by Joseph Paul Kleihues in the 1980s to address the "critical reconstruction" of Berlin during the International Architecture Exhibition (IBA, 1984-87). "Reconstruction" somehow implies that it might be sufficient to replace what has been demolished and entails a rather nostalgic vision of the historical city. We prefer to consider the city as a "tissue" proper rather than an aesthetic object: a complex network of physical and social relations that is waiting for a dynamic regeneration. "Memory" also has a dynamic connotation. In contemporary urban design, we like to consider memory not only as a storage of information, but as a necessary tool for stimulating a sense of belonging and identity in the challenging urban contexts of today.

The projects presented in this column aim to stimulate architects and urban planners in China to some critical reflection urgently required due to the social vacuity and lack of civic identity often left behind by an excessively rapid urban growth. This might inspire urban design practices to be more attentive to the specificity of places, whose memory should not be erased but enhanced. What should be emphasised in this case is a dialogic quality of the architecture and urban design; a quality which can offer a concrete optimism for the future. We start with a theme widely discussed in Europe as one of the most powerful tools for regeneration: urban waterfronts. By the request of WA, we now launch the column with a paper written by ourselves, while we will invite international experts to contribute to the coming issues. □

2 西班牙巴塞羅那的木材碼頭（曼努埃爾·德·索拉·莫拉萊斯，1992）/Moll de la Fusta, Barcelona, Spain (Manuel de Solà Morales, 1992)

30余年來，眾多歐洲城市中大量的工業(yè)用地被廢棄，這些工業(yè)產(chǎn)品往往和水體直接相關(guān)，留下了大片沿海或沿河的棄置地。因此“重新發(fā)現(xiàn)海洋（河流）”成為歐洲興起一時且深受市長們喜愛的口號之一，也成為建筑師面臨的最具挑戰(zhàn)性的問題之一。人們嘗試了不同的策略：巴塞羅那的木材碼頭（曼努埃爾·德·索拉·莫拉萊斯，1992）將一個挑戰(zhàn)性的問題（新環(huán)路的通道與舊城距離很近）轉(zhuǎn)換為創(chuàng)造面向港口的全新公共空間的機(jī)會；熱那亞的老港口更新項目（倫佐·皮亞諾，1992）為解決高架高速公路將城市與海洋隔離的問題提供了機(jī)會；西班牙的貝尼多姆海濱項目（卡洛斯·法雷塔，2008）通過剖面策略將城市與海岸的連接最大化；在漢堡或阿姆斯特丹，由于城市公共生活與水體的緊密聯(lián)系，許多廢棄船塢都成為整合社區(qū)構(gòu)建的契機(jī)。

里斯本的里貝拉船廠項目，由PROAP事務(wù)所（若昂·費(fèi)雷拉·努涅斯）和GLOBAL事務(wù)所（若昂·戈麥斯·達(dá)席爾瓦）共同設(shè)計。與上文提到的項目相比，該項目在一些方面具有獨(dú)到的創(chuàng)新理念。同樣希望在曾有繁忙交通和港口活動的地點(diǎn)，重構(gòu)城市與水體之間的聯(lián)系，這一項目不再針對過去的工業(yè)記憶來進(jìn)行（參見前文的木材碼頭和老港口項目），而是針對記憶的不同層級：這些記憶層也成為項目的初始概念。“里貝拉船廠所在地是民族與本土文化中的神話空間，這一部分來源于集體想像，一部分來源于官方文化?！本坝^建筑師如是說，似乎暗示著在如此重要的象征性場所，城市再生無疑與記憶密不可分。船只在塔霍河上被建造，其中一些船只的遠(yuǎn)航，代表著葡萄牙在全球化早期的先鋒者身份。新的黑色玄武巖步道一方面調(diào)整了濱水空間，另一方面也凸顯了曾作為造船廠基地的古老海岸線破碎的形態(tài)。城市隨時間演化形成的地質(zhì)層高差，留下了許多下凹的考古挖掘場地，這使得公共空間更加復(fù)雜，同時卻也顯示出不同的時間層次。設(shè)計結(jié)果如何呢？建筑師為我們描述了一種全新的體驗(yàn)：“現(xiàn)在我們可以沿緩坡走到河邊，甚至在周期性漲潮區(qū)的沙灘上漫步，接著從柱間的樓梯走上去，就會發(fā)現(xiàn)‘貿(mào)易廣場’的紀(jì)念廣場與城堡忽然從天幕背景中浮現(xiàn)?！辈贿M(jìn)行任何拆除，而是通過對現(xiàn)狀的研究和巧妙的設(shè)計策略，一個嶄新的城市區(qū)域已經(jīng)再生?！?/p>

3 描繪里斯本碼頭的舊畫（左側(cè)為項目地段）/Historical drawing of Lisbon from the sea (the part on the left is where the project is)

4 始于1911年的濱水區(qū)平面/Plan of the waterfront from 1911

5 平面/Plan (PROAP與GLOBAL事務(wù)所繪制/Drawing by PROAPand GLOBAL)

6 軸測圖示/Axonometric diagram

7 分析圖/Analysis drawing(6、7 PROAP與GLOBAL事務(wù)所繪制/Drawing by PROAP and GLOBAL)

8-10 濱水區(qū)/Waterfront (攝影/Photos: Stefano Serventi/ GLOBAL)

In many European cities over the past three decades, the disposal of industrial sites, whose production has been directly linked to water, has left large abandoned areas along maritime coasts and river banks. This has happened to the extent that "rediscovering the sea" (or the river) has become one of the most beloved slogans among mayors all over Europe. It has also become one of the most challenging exercises for architects. Several strategies have alternated: in Barcelona, the Moll de la Fusta (Manuel de Solà Morales, 1992) converted a problem of viability (the passage of the new ring road close to the old town) into a possibility of creating a new public space overlooking the harbour; in Genoa, the regeneration of the Porto Antico (Renzo Piano, 1992) provided an opportunity to solve the problem of the elevated motorway that divided the city from the sea; in Spain, the seafront of Benidorm (Carlos Ferrater, 2008) was articulated in section to maximize the relationship between the level of the city and the coast; in Hamburg and Amsterdam, the disposal of large dock areas became an opportunity to build entire neighborhoods, basing the quality of public life on the relationship with the water.

The project of the "Ribeira das Naus" in Lisbon, developed by PROAP (Jo?o Ferreira Nunes) and GLOBAL (Jo?o Gomes da Silva), brings some innovations in comparison to these scenarios. Also intended to reinvent the connection between the city and the water – in place of a busy road and port activities – the project no longer relates to the memory of its industrial past (see the reference to the crane both in the Moll de la Fusta and in the Porto Antico) but on a stratification of memories. This stratification becomes literally the founding concept of the project. "Ribeira das Naus is a mythical space in the national and local identity, partly produced by the collective imaginary, partlyby official culture", the landscape architects explain, as if to say that in a place so symbolically important, it was inevitable that urban regeneration would become inextricably tied up with memory. Here, on the Tagus River was the place where the ships were built to explore distant regions as an example of early globalization of which Portugal has been a protagonist. A new pavement of black basalt regularizes the waterfront on one side, while on the other, one detects the broken line of the ancient shoreline which housed the shipyards. The height difference created over the time between the current city and the previous one creates some negative excavations that make the public space more complex by revealing the different temporal layers. What is the result? The architects tell us about a wholly new experience: "We could now descend in the river, or even walk on the beach, cyclically revealed by the tides, until going up the staircase between the columns to suddenly encounter the monumental square of Pra?a do Comercio with its Castle raised up against the sky." Working with the existing without demolitions and through delicate design actions, a completely new piece of the city was born.□

11 濱水區(qū)/Waterfront (攝影/Photos: Stefano Serventi/GLOBAL)

項目信息/Credits and Data

項目名稱/Project Name: 里貝拉船廠-龐巴爾下城濱河公共空間，里斯本，葡萄牙/Ribeira Das Naus, Public Space in the Riverfront of the Pombaline Lower Town, Lisbon, Portugal

景觀建筑師/Landscape Architects: PROAP-Estudos e Projectos de Arquitectura Paisagista, Lda and GLOBALArquitectura Paisagista, Lda ((Jo?o Ferreira Nunes, Jo?o Gomes da Silva)

設(shè)計時間/Design Period: 2009

實(shí)施時間/Execution Period: 2009-2014

都靈理工大學(xué)

2015-05-25