當(dāng)代羅馬城市更新——屠宰場改造案例

露西婭·博爾多內(nèi)，瑪拉·科蘇，薇奧拉·莫爾登蒂/Lucia Bordone,Mara Cossu,Viola Mordenti黃華青 譯/Translated by HUANG Huaqing

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當(dāng)代羅馬城市更新——屠宰場改造案例

Regeneration in Contemporary Rome:the Case of the Mattatoio

露西婭·博爾多內(nèi)，瑪拉·科蘇，薇奧拉·莫爾登蒂/Lucia Bordone,Mara Cossu,Viola Mordenti
黃華青 譯/Translated by HUANG Huaqing

瑪拉·科蘇，地理學(xué)者，意大利國家研究委員會(huì)

薇奧拉·莫爾登蒂，建筑師，羅馬“探索土地·構(gòu)想城市”協(xié)會(huì)

記憶與再生

欄目主持：米凱利·博尼諾，皮埃爾-阿蘭·克羅塞特

Memory and Regeneration

Column Editors :Michele Bonino,Pierre-Alain Croset

本專欄的第4篇文章所探討的是屠宰場改造項(xiàng)目，它是當(dāng)代羅馬后工業(yè)更新進(jìn)程中的重要項(xiàng)目之一。這座古老的屠宰場于1975年廢棄，今天這里容納了羅馬第三大學(xué)、羅馬當(dāng)代藝術(shù)博物館以及“非正統(tǒng)經(jīng)濟(jì)城”——一個(gè)為有機(jī)農(nóng)場、公平貿(mào)易、民族金融和旅游業(yè)而創(chuàng)造的空間。我們接下來刊登的文章源自一項(xiàng)研究項(xiàng)目：在歷史城市景觀中建構(gòu)有爭議的記憶空間。這項(xiàng)跨學(xué)科研究涉及北京、墨西哥城和羅馬，由洛桑聯(lián)邦理工學(xué)院牽頭，瑞士國際研究網(wǎng)絡(luò)資助。

The project featured in the fourth issue of the column–the Mattatoio–is one of the major projects of post-industrial regeneration within the contemporary city of Rome.An ancient slaughterhouse abandoned in 1975,today the building houses the School of Architecture of the University Roma Tre,the MACRO(Museum of Contemporary Art),and the City of Alternative Economy–a space dedicated to organic farming,fair trade,ethical finance and tourism.The paper we publish in the next pages originated within the research project "Mapping controversial memories in the historic urban landscape project:a multidisciplinary study of Beijing,Mexico City and Rome",led by the Ecole Polytechnique Fédérale de Lausanne and funded by the Swiss Network for International Studies.

1 屠宰場總平面/Mattatoio:General map（圖片來源/Resource:Atlante di Roma(Atlas of Rome).La forma del centro storico in scala 1:1000 nel fotopiano e nella carta numerica,Marsilio Editori,Venice 1991.Quadri 252,253,264,265）

在羅馬城，城市更新項(xiàng)目，或者更廣泛地說是，歷史建筑的再利用，一直是極大的建筑挑戰(zhàn)。在歷史上的各個(gè)階段都是如此。比如，斗獸場這樣的城市標(biāo)志性建筑，它的功能在歷史上改變多次，從一個(gè)舉辦斗獸表演的場所，變成了住宅或是教堂。從這個(gè)意義上來說，場所功能及意義的重塑一直以來就是這個(gè)城市的核心話題。在過去20年中，城市更新項(xiàng)目都發(fā)生在后工業(yè)場所，而城市中的古代和中世紀(jì)的考古遺存則大多被紀(jì)念碑化了。

在19世紀(jì)初，歐洲建造了很多屠宰場。由于人口增長和快速的城市擴(kuò)張，動(dòng)物屠宰成為了一項(xiàng)城市服務(wù)，從鄉(xiāng)村搬到了城市邊緣。然而在1970年左右，屠宰工作的地點(diǎn)日益轉(zhuǎn)移。這一次，這些建筑開始重獲關(guān)注——它們往往具有很高的建筑價(jià)值，但過去只有工人可以看到。在法國、意大利、西班牙和英國，屠宰場逐漸被翻新并賦予新的功能，成為了文化和學(xué)術(shù)活動(dòng)的場所。可以簡單列舉幾個(gè)案例，例如伯納德·屈米設(shè)計(jì)的巴黎拉維萊特公園、安托萬·斯汀科和雷米·巴庇約設(shè)計(jì)的圖盧茲屠宰場、昂斯加·拉莫特設(shè)計(jì)的蘭道市立圖書館，還有拉斐爾·費(fèi)爾南德斯-拉納達(dá)設(shè)計(jì)的馬德里屠宰場。

羅馬屠宰場由建筑師喬阿基諾·埃爾索科設(shè)計(jì)于19世紀(jì)末，于1888-1891年建于奧斯提安斯地區(qū)。這個(gè)地區(qū)在當(dāng)時(shí)被選為城市工業(yè)發(fā)展的集中地。大約在一個(gè)世紀(jì)后的1975年，這座建筑終被廢棄。然而在1990年代，屠宰場成為了一項(xiàng)大范圍城市更新計(jì)劃的一部分，目標(biāo)是在羅馬最主要的一片后工業(yè)地區(qū)創(chuàng)建一座“藝術(shù)城”。這項(xiàng)計(jì)劃被稱作“奧斯提安斯·馬爾科尼城市項(xiàng)目”，由羅馬市政府牽頭，包括多個(gè)地塊，匯集了很多公共或私立的參與者：如羅馬第三大學(xué)、羅馬當(dāng)代藝術(shù)博物館、藝術(shù)學(xué)院，也包括其他的組織和城市服務(wù)機(jī)構(gòu)。屠宰場作為一座巨大而重要的建筑，在規(guī)劃中占據(jù)了特殊的地位，成為2000年設(shè)計(jì)的“老屠宰場使用計(jì)劃”的一部分。改造的挑戰(zhàn)在于將這座建筑綜合體向城市開放，使它在功能和空間構(gòu)成上都更適于參觀。經(jīng)過幾個(gè)階段（股東會(huì)議、計(jì)劃報(bào)批、功能審核），統(tǒng)一性的計(jì)劃宣告失敗。然而改造已經(jīng)開始，并在一些獨(dú)立項(xiàng)目上繼續(xù)推進(jìn)，盡管整個(gè)過程有些斷斷續(xù)續(xù)。在這種情況下，羅馬第三大學(xué)在2000年成為第一個(gè)搬進(jìn)來的機(jī)構(gòu)。15年后，大多數(shù)相關(guān)機(jī)構(gòu)都已經(jīng)搬進(jìn)新地址。

總而言之，盡管項(xiàng)目的執(zhí)行非常零碎，但建筑改造在總體上還是造就了城市層面最為杰出的文化設(shè)施，面向各種當(dāng)?shù)鼗顒?dòng)和機(jī)構(gòu)敞開（例如泰斯塔奇奧流行音樂學(xué)校和柯迪許文化中心）。然而，這一項(xiàng)更新計(jì)劃缺乏一個(gè)有效的公共管理機(jī)制，以及對于將各個(gè)單棟建筑連接起來的公共空間的嚴(yán)肅思考。確實(shí)，屠宰場在今天看來依然像是城市中的孤島：步行者會(huì)猶豫它是否可以進(jìn)入，這座出色的歷史建筑中依然存在的圍墻、死胡同和籬柵也令人卻步，使它在城市中還未完全發(fā)揮自己的潛力。（特別鳴謝安德里亞·薩爾蒂的攝影作品，薩爾蒂持續(xù)致力于意大利待改造空間的視覺呈現(xiàn)項(xiàng)目。）

2 波亞里奧廣場和屠宰場的外景，羅馬/Roma:Foro Boario and Mattatoio,external view

3 在改造建筑物中間的屠宰場，羅馬/Roma:Mattatoio,in between renovated buildings

4 屠宰場廢棄建筑，羅馬/Roma:Mattatoio,abandoned buildings

5 屠宰場圖紙?jiān)?Mattatoio:Pelanda dei Suini,original drawings

6 屠宰場主入口圖紙?jiān)?Mattatoio:Main entrance from Via Galvani,original drawings （5,6圖片來源/Photo Resource:Franco,G.,Il Mattatoio di Testaccio a Roma.Costruzioni e trasformazioni del complesso dismesso,Roma 1998）

7 屠宰場室內(nèi)/Mattatoio:interior of the slaughterhouse（圖片來源/Photo Resource:L' illustrazione Italiana,anno XIX,nn.67,1892）

In the city of Rome,urban regeneration projects and,more generally,the reuse of historic buildings represent a constant challenge for architecture.It has been the case at all historical stages.One can think,for instance,of the emblematic monuments of the city,like the Coliseum,which has seen its functions redefined several times,turning from a place hosting circus games into a place of residence or worship.In this sense,the remaking of use and meaning has always been a central issue in the city.Over the past twenty years,regeneration processes have been developed in post-industrial sites,while the antique and medieval archaeological remains have often been monumentalized.

At the beginning of the 19th century,many slaughterhouses were built in Europe.Due to demographic growth and rapid urban development,slaughtering became a urban service and moved from the countryside to the periphery of urban areas.Around 1970 however,slaughter operations were progressively delocalized.At this time,these buildings – which were generally of high architectural value,but were only accessible to workers – started to be rediscovered.In France,Italy,Spain or Great Britain,slaughterhouses have been progressively renovated and host new functions,becoming places of cultural and academic production.It is worth mentioning just a few examples,such as la Villettein Paris,by Bernard Tschumi; les Abattoirs in Toulouse,by Antoine Stinco and RémiPapillault; the Stadtbibliothek Landau by AnsgarLamott or the Matadero of Madrid,by Rafael Fernández-Ra?ada.

The Mattatoio of Rome was designed at the end of the 19th century by the architect Gioacchino Ersoch.The complex was built between 1888 and 1891 in the area of Ostiense,erected at the time as the place where to concentrate the industrial development of the city.The building is eventually abandoned almost one century later,in 1975.In the 1990's however,the Mattatoio became part of a large urban regeneration strategy,aiming at creating a "City of the Arts"(Cittàdelle Arti)in whathas become the main post-industrial zone of the city.The strategy,called "Progetto Urbano Ostiense Marconi" and spearheaded by Rome Municipality,covered several sites and gathers many participators,both public and private:the University of Roma Tre; the MACRO; the Academy of Fine Arts,as well as other associations and urban services.As a vast and important structure,the Mattatoio is assigned specific planning tools,embedded in the Use Plan for the Ex-Mattatoio(Piano di Utilizzazioned ell'ExMattatoio)designed in 2000.The challenge was to open the complex of buildings to the city and to make it accessible in terms of functions and of physical configuration.After several stages(conference of the stakeholders,endorsement of the Plan,approval of the programme),the unitary strategy failed.Nevertheless,transformation began and moved forward through single interventions,following a somehow fragmented and discontinuous process.In this context,the University was the first public institution to move into the building in 2000.Fifteen years later,most involved institutions have entered their new locations.

8 廢棄火車工廠的再利用，羅馬/Roma:Officine Oz,re-using abandoned train factory

9 Ex Ospedale al Mare住宅外景，利多/Lido di Venezia:Ex Ospedale al Mare,external view

10 Ex Ospedale al Mare 住宅廢棄空間的內(nèi)部，利多/Lido di Venezia:Ex Ospedale al Mare,inside an abandoned pavillion （2-4,8-10圖片版權(quán)/Fig.2-4,8-10?AndreaSarti）

In conclusion,despite a highly fragmented implementation,the intervention as a whole led to one of the most relevant cultural hubs at the urban level,maintaining an openness to different local experiences and associations(i.e.The Popular Music School of Testaccio and the Kurdish cultural centre).However,an effective public management of the renovation strategy and a serious reflection on the common space connecting the single buildings have been missing.Indeed,the Mattatoio still appears as an island in the middle of the city,where the pedestrians hesitate to enter and are oftentimes discouraged by walls,dead ends and fences that still cross this incredible piece of history and architecture,compromising the ability of the city to fully enhance its potential.(Special thanks to Andrea Sarti for his photography and contribution to this project.Andrea Sarti has been working on a broader project of on-going visual mapping about waiting spaces in Italy.)

收稿日期：2016-02-16

作者簡介：露西婭·博爾多內(nèi)，社會(huì)人類學(xué)者，洛桑聯(lián)邦理工學(xué)院