水晶屋，阿姆斯特丹，荷蘭

建筑設(shè)計：MVRDV建筑設(shè)計事務(wù)所

水晶屋，阿姆斯特丹，荷蘭

建筑設(shè)計：MVRDV建筑設(shè)計事務(wù)所

1 外景/Exterior view

MVRDV的水晶屋項目最初起始于開發(fā)商的設(shè)計邀請。他們期望在阿姆斯特丹唯一的奢侈品牌街雷夫斯拉特（以前是一個住宅街區(qū)）打造一個兼具荷蘭傳統(tǒng)與國際建筑風(fēng)格的旗艦店。MVRDV為了保留原有的建筑風(fēng)格，大量使用玻璃材料作為設(shè)計手段。幾乎全玻璃的立面模仿了最初的設(shè)計風(fēng)格，以至排磚的方式以及窗框的細(xì)部設(shè)計。但同時，為了符合最新的設(shè)計規(guī)范并盡可能增加室內(nèi)面積，立面在垂直方向上延伸。在水晶屋的立面上，玻璃磚一直向上延伸，直到和上部的傳統(tǒng)陶土磚公寓立面融為一體。作為城市傳統(tǒng)審美存在的立面形式，公寓好似漂浮在店面之上。

該設(shè)計期望為全球商業(yè)區(qū)喪失傳統(tǒng)特色的普遍現(xiàn)狀提供一種解決方案。零售業(yè)全球化趨勢也帶來了高端商業(yè)街的趨同化。水晶屋的設(shè)計一方面通過玻璃立面滿足了當(dāng)代商業(yè)店面的需求，另一方面維持了建筑的獨(dú)特個性，使這家旗艦店得以從其他的店鋪中脫穎而出。

“我們對客戶說‘讓我們把將被拆掉的東西保留下來并進(jìn)一步深化吧?！?作為MVRDV的建筑師和聯(lián)合創(chuàng)始人，威尼·馬斯在解釋項目時談到，“水晶屋成就了一個非凡的品牌旗艦店。它既尊重了周圍的建筑結(jié)構(gòu)，又引入了一種詩意化的玻璃建構(gòu)創(chuàng)新方式。它既滿足了國際品牌對透明度的強(qiáng)烈追求，又體現(xiàn)了地方色彩，并且將現(xiàn)代主義與遺產(chǎn)保護(hù)結(jié)合起來。這種做法可以在任何歷史性區(qū)域進(jìn)行推廣。”

在初步概念確立后，MVRDV與多家機(jī)構(gòu)進(jìn)行了合作以提升技術(shù)可行性。位于威尼斯附近雷薩納的玻璃制造商負(fù)責(zé)實心玻璃磚的單獨(dú)鑄造和加工。在代爾夫特理工大學(xué)和ABT工程公司以及承包商韋塞爾·澤斯特的合作研發(fā)下，得出了結(jié)構(gòu)解決辦法和制造工藝技巧。比如使用一種德國生產(chǎn)的高強(qiáng)度UV結(jié)合透明德路工業(yè)粘合劑，代替?zhèn)鹘y(tǒng)灰漿作為磚體粘合劑。

在一個與其說是工地不如說更像實驗室的地方，由6～10人組成的專家團(tuán)隊用了整整一年時間專注于該項目的研發(fā)。由于玻璃材料本身脆弱敏感的特性，施工現(xiàn)場全程都需要配備一組專業(yè)的技術(shù)團(tuán)隊以確保高精度的工藝水平。因為此項工程并無先例，一系列新技術(shù)和工具都需要被引入：從高科技激光到實驗室級別的紫外線燈，再到相對低科技的荷蘭全脂牛奶的使用。牛奶的低透明度使其成為一種理想的液體反射表面，用于第一層磚的砌筑找平。所用的玻璃砌筑墻體雖然表面看起來脆弱，但實際上經(jīng)代爾夫特理工大學(xué)小組的力學(xué)測試證明，在很多方面比混凝土更為堅固。例如，全玻璃打造的額枋部分，承受力高達(dá)42，000N，相當(dāng)于兩輛SUV汽車的重量。

新的建造技術(shù)的研發(fā)為未來的建筑提供了新的可能性，建筑廢料的最少化就是一例。從本質(zhì)上講，所有的玻璃構(gòu)件都可以被完全回收利用。一些在建造過程中產(chǎn)生的廢料，比如有瑕疵的玻璃磚可以（也的確）被重新熔鑄或者徹底改變用途。同理，當(dāng)建筑達(dá)到其使用年限后，整個立面都可以被融化、重鑄并賦予新的生命。唯一例外的是那些被用于確保建筑安全性的部件，例如為防止入店搶劫的混凝土基座。它被隱藏于具有反射性且透明的混合建筑材料里，可以承受一輛汽車迎面而來的沖擊力。若有破損情況發(fā)生，相關(guān)修復(fù)協(xié)議可以確保單個磚塊的更換。

對于一個基本由玻璃立面打造的建筑來說，保證能源供給的可持續(xù)性至關(guān)重要。因此，建筑是圍繞一個土壤熱源泵的，其管道伸向地下170m，維持著建筑室內(nèi)全年的理想氣候條件。所以在設(shè)計時，不僅要處理精致復(fù)雜的細(xì)部，努力營造建筑的能源平衡也同樣重要?！酰R軼昳 譯）

項目信息/Credits and Data

客戶/Client: 荷蘭瓦仁納地產(chǎn)阿姆斯特丹公司/Warenar Real Estate Amsterdam， the Netherlands

主持設(shè)計/Lead Architect: MVRDV

建筑設(shè)計/Architects: Winy Maas， Gijs Rikken， Mick van Gemert， （Renske v/d Stoep）/MVRDV； Wim Gietermans，Arjan Bakker， Tu?rul Avu?lu/Gietermans & Van Dijk

玻璃磚制造商/Manufacturer Glass Bricks: Ivano Massarotto/Poesia （brand of Vetreria Resanese）

Delo粘合劑進(jìn)口商/Importer of Delo Glue: Rob Janssen/ Siko

承建商/Contractor: Robert van der Hoef， Richard van het Ende， Marco en Ronald van de Poppe/Wessels Zeist

施工方/Constructor: Paul Brouwer/Brouwer&Kok； Rob Nijsse/ABT

調(diào)研/Research: Frederic A. Veer， Faidra Oikonomopoulou，Telesilla Bristogianni/Delft University of Technology

市政美學(xué)委員會/Municipality Aesthetics Commission: Charlotte ten Dijke， Ellis van den Hoek， Natasja Hogen，Patrick Koschuch， Alexander Pols， Gus Tielens， Marcel van Winsen， Pepijn Diepenveen/Welstand

功能/Programme: 620m2商業(yè)及220m2住宅/620m2retail and 220m2housing

竣工時間/Completion: 2016.04

攝影/Photos: Daria Scagliola & Stijn Brakkee（fg.1，3，9，10，14），Poesia（fg.11）， MVRDV（fg.12，13）

MVRDV's Crystal Houses began its existence with the request of Warenar to design a flagship store combining both Dutch heritage and international architecture on the PC Hooftstraat，Amsterdam's one and only luxury brand street that was previously primarily residential. MVRDV wanted to make a representation of the original buildings and found a solution through an extensive use of glass. The near full-glass fa?ade mimics the original design， down to the layering of the bricks and the details of the window frames， but is stretched vertically to comply with updated zoning laws and to allow for an increase in interior space. Glass bricks stretch up the fa?ade of Crystal Houses，eventually dissolving into a traditional terracotta brick fa?ade of the apartments （as stipulated in the City's aesthetics rules）， which appears to be foating above the shop foor.

The design aims to provide a solution to the loss of local character in shopping areas around the world. Te increased globalisation of retail has led to the homogenisation of high-end shopping streets. Crystal Houses offer the store a window surface that contemporary stores need， whilst maintaining architectural character and individuality， resulting in a fagship store that hopes to stand out amongst the rest. "We said to the client， 'Let's bring back what will be demolished but develop it further'" explains Winy Maas， architect and co-founder of MVRDV. "Crystal Houses make space for a remarkable flagship store， respect the structure of the surroundings and bring a poetic innovation in glass construction. It enables global brands to combine the overwhelming desire of transparency with a 'couleur locale' and modernity with heritage. It can thus be applied everywhere in our historic centres."

After conceiving the initial idea MVRDV worked closely with a number of partners to develop the technologies to make it possible. Solid glass bricks were individually cast and crafted by Poesia in Resana， near Venice. Research undertaken by the Delft University of Technology， in partnership with engineering firm ABT and contractor Wessels Zeist， led to the development of structural solutions and fabrication techniques， with the use of a highstrength， UV bonded， transparent adhesive from Delo Industrial Adhesives in Germany to cement the bricks together without the need for a more traditional mortar.

Six to ten experts worked every day for a whole year in a place that bore more resemblance to a laboratory than a construction site. Due to the sensitivity of the materials， an extremely high level of accuracy and craftsmanship was required and a technical development team was onsite throughout the process. Since this construction is the first of its kind， new construction methods and tools had to be utilised: from high-tech lasers and laboratory grade UV-lamps， to slightly lower-tech Dutch fullfat milk， which， with its low transparency， proved to be an ideal liquid to function as a reflective surface for the levelling of the frst layer of bricks. Despite its delicate looks， strength tests by the Delft University of Technology team proved that the glass-construction was in many ways stronger than concrete. Te full-glass architrave， for instance，could withstand a force of up to 42，000 N； the equivalent to two full-sized SUVs.

The development of new construction methods unearthed additional possibilities for future building， such as the minimisation of waste materials. In essence， all of the glass components are completely recyclable. Waste materials from the project， such as imperfect bricks， could simply be （and were） melted down and re-moulded or entirely repurposed. This is also true for the entire fa?ade itself， once the building has reached the end of its life span， the whole facade can be melted down and given a new life. The only exceptions to this rule are added features which ensure the security of the building， such as a concrete ram-raid defence plinth，hidden in a blend of reflective and translucent materials and built to withstand the force of a car crashing into the building. Repair-protocols were developed in the event of any damage， allowing for the replacement of individual bricks.

With a fa?ade made primarily out of glass it was important to ensure that energy requirements were supplied through renewable sources. Terefore， the building was designed around a ground source heat pump， with pipes leading up to 170m underground，allowing for an optimal indoor climate throughout the year. It is a crucial element when dealing with delicate， sophisticated detailing while striving for a proper energy balance at the same time.

2 場地立面/Site elevation3 外景/Exterior view4 步驟示意/Step diagram5 首層平面/Floor 0 plan6 夾層平面/Mezzanine plan7.8 剖面/Sections

WA： 色彩在這個項目中的作用是什么？

威尼·馬斯：這個項目的色彩其實是“透明色”。這個為一家高端品牌店打造的全透明立面處于阿姆斯特丹一條高端商業(yè)街上，利用玻璃磚、窗框、額枋等元素作為手段試圖激發(fā)地方特色，并保留了地段傳統(tǒng)性格。

WA：本項目中最具創(chuàng)造性和吸引力的設(shè)計是什么？馬斯：MVRDV試圖通過廣泛運(yùn)用玻璃材料作為展現(xiàn)原有建筑風(fēng)格的手段之一。全玻璃立面成為了展示原有建筑特色的方式，并且在設(shè)計構(gòu)思階段參考了原有歷史建筑的圖紙。為了精確模仿最初的效果，設(shè)計體察到了微小的細(xì)部，比如排磚的方式和窗框的細(xì)節(jié)。但同時，為了符合最新的設(shè)計規(guī)范并盡可能增加室內(nèi)面積，立面在豎向上被拉長了一些，使得新店面的高度增加到了10m。玻璃磚在水晶屋的立面上從底部一直向上延伸，直到頂端與傳統(tǒng)陶磚公寓立面融為一體，讓人感覺公寓仿佛漂浮在店面之上。

WA：在設(shè)計過程中最困難的部分是什么？

馬斯：設(shè)計過程中最困難的部分是技術(shù)上的挑戰(zhàn)，具體就是怎樣使玻璃磚墻可以在結(jié)構(gòu)上承重，同時防止涂鴉并具有透明性。代爾夫特理工大學(xué)的玻璃與透明性實驗室對這方面的創(chuàng)新提供了許多支持。對于玻璃建造的實際可操作性，他們做了相關(guān)實驗，針對結(jié)構(gòu)強(qiáng)度、制作工藝和施工手段等給出了建議。通過一系列抗壓、撞擊和三點(diǎn)彎曲實驗，得出玻璃磚的最小抗壓強(qiáng)度可達(dá)10 N/mm2，相當(dāng)于普通磚墻的10倍。在熱沖擊實驗中，玻璃磚墻的實驗結(jié)果也遠(yuǎn)超出預(yù)期值。這意味著玻璃磚墻不會在溫度劇烈變化的情況下輕易破裂。一系列實驗最終使得我們與威尼斯一家玻璃制造廠商Poesia簽約，保證生產(chǎn)出滿足檢驗和強(qiáng)度要求的固化玻璃。為了將透明性最大化，研究人員最終選擇了一款以鈉鈣硅作為基底的玻璃，其中包含有含鐵量較低的沙子成分。

WA：使用者和社群的反饋如何？

馬斯：不論是使用者還是公眾都給出了積極的評價。此項目將普通玻璃磚的使用提升到了一個新的高度，在尊重街道遺產(chǎn)的基礎(chǔ)上通過這種方式將地方特色融入其中。

WA：此項目是如何提升公共空間品質(zhì)的呢？

馬斯：本設(shè)計致力于應(yīng)對全球眾多商業(yè)街區(qū)喪失地方特色這一突出問題。零售業(yè)全球化趨勢也帶來了高端商業(yè)街的趨同化。水晶屋的設(shè)計需一方面滿足了當(dāng)代店面對玻璃表面的需求，另一方面維持了傳統(tǒng)建筑的獨(dú)特身份，希望可以使得這家旗艦店在商業(yè)街上脫穎而出。□（齊軼昳 譯）

9 玻璃磚墻/Glass bricks wall10 外景/Exterior view

WA: What is the role of the colour in this project？

Winy Maas （WM）: The colour in this project is actually "transparency".

Te entirely transparent fa?ade for a high-end shop on Amsterdam's upmarket shopping street uses glass bricks， windows frames and architraves in a way to evoke the vernacular of the area with the goal to maintain the character of the site.

WA: What is the most creative and attractive solution？

WM: MVRDV wanted to make a representation of the original buildings and found a solution through an extensive use of glass. The full-glass fa?ade became a representation of the original buildings and the design was conceived using the original historical drawings. It mimics the exact design， down to the layering of the bricks and the detailing of the window frames， but is stretched vertically to comply with updated zoning laws and to allow for an increase in interior space； the new store now reaches 10m tall. Glass bricks stretch up the fa?ade of Crystal Houses， eventually dissolving into a traditional terracotta brick fa?ade of the apartments， which appear to be foating above the shop foor；

WA: What was the most difcult part in the process of design？

WM: Te most difcult part in the design process was the technological challenge to achieve a glass brick that would be structurally load bearing， vandalism proof and transparent. The Glass & Transparency Laboratory of the Delft Technical University worked on much of the innovation within the scheme. This included experiments into the realistic possibilities within glass construction， with regards to strength，manufacture and the construction process itself. Pressure testing， impact testing and three-point bending testing revealed a minimum compressive strength as high as 10 N/mm2， around ten times stronger than the original brick fa?ade. The glass bricks were also subjected to glass heat shock tests，which withstood far above the expected values. Tis means that the glass won't crack as the weather fluctuates. This research led to the appointment of Poesia， glass manufacturer in Venice， which could produce a glass brick to fit the requirementsfor measurement control and remaining stresses in the solidified glass. To produce a maximum transparency， the researchers chose a soda-limesilica based glass， made from sand with a low iron content.

11-13 施工過程/Construction process14 外景/Exterior view

WA: What is the feedback from the users and the community？

WM: Te feedback from the users and the public has been positive all around. It takes the common glass fa?ade to another level while respecting the heritage of the street and hence embedding local character.

WA: How did this project improve the quality of the public space？

WM: The design aims to tackle the loss of local character in shopping areas around the world. With the increased globalisation of retail leading to the homogenisation of the high-end shopping street，Crystal Houses offer the shop a window surface that contemporary shops need， whilst maintaining architectural character and individuality， resulting in a fagship store that hopes to stand out amongst the rest.

評論

柳亦春：和大多數(shù)MVRDV的建筑一樣，它們總是“一招制敵”。這確實透露出建筑師對于建筑本質(zhì)問題的提取能力，他們的回答也經(jīng)常簡單粗暴，但卻透露出一種力量且令人印象深刻，即使你可能不喜歡它，你也不得不佩服它。這個CHANEL的水晶屋也許是他們最為細(xì)膩的作品之一，它將諸多的建筑問題濃縮為一堵高技術(shù)的透明玻璃磚墻，甚至讓玻璃粘合劑成為了整個建筑效果以及理念呈現(xiàn)的技術(shù)關(guān)鍵，這無疑是最講究構(gòu)造的建筑了。

張利：這個舉重若輕的設(shè)計用去物質(zhì)化的方法把舊的色彩與新的色彩連成一個漸變的整體，而磚砌的幾何肌理則得到動人的延續(xù)。超級透明的玻璃磚在此顯然是關(guān)鍵，正是它們幾乎完美的透明，使得通過透射、折射與反射所得到的豐富色彩遠(yuǎn)遠(yuǎn)超出了一般的想象。

Comment

LIU Yichun: Like most of the MVRDV buildings， it is once again a "deadly blow". It indeed reveals how the architects manage to extract the architectural essence. Teir answers are often simple and crude， but present impressive power. Even though you do not like it， you will admire it. The Chanel crystal house may be one of their most exquisite works. It concentrates many architectural issues into a transparent glass brick wall with high-technology， and even makes the glass adhesive a key technology for the entire building image and concept presentation. In such a way， the building is undoubtedly one of the most exquisite in the aspect of tectonics.

ZHANG Li: Tis project demonstrates how to achieve a big idea with a small touch. It connects the old brick wall with the new facade into a gradient wholeness through dematerialisation. The geometry of the old brick masonry is pleasantly extended. The super transparent glass bricks are the key agents here. It is their near-perfect transparency that produces the colour varieties beyond all imaginations by optical refection， refraction and transmission.

Crystal Houses， Amsterdam， the Netherlands， 2016

Architects: MVRDV