阿姆斯特丹-贊丹酒店，贊斯塔德，荷蘭

建筑設(shè)計(jì)：維爾弗里德·范溫登/WAM建筑事務(wù)所

阿姆斯特丹-贊丹酒店，贊斯塔德，荷蘭

建筑設(shè)計(jì)：維爾弗里德·范溫登/WAM建筑事務(wù)所

1 外景/Exterior view2 總平面/Site plan

嶄新的城市規(guī)劃，優(yōu)雅的酒店新建筑

作為荷蘭北部贊斯塔德大區(qū)的中心，贊丹的市鎮(zhèn)中心及車站區(qū)目前正經(jīng)歷著大規(guī)模的城市重建。 由蘇特斯-范爾東克建筑事務(wù)所設(shè)計(jì)，命名為“Inverdan”的市區(qū)重建計(jì)劃，包含了歷史街道布局的復(fù)原，運(yùn)河的重新開通，以及中心區(qū)的認(rèn)同感重塑。發(fā)展計(jì)劃沿省道和鐵路線延伸，意味著位于不同方位的城市區(qū)域間也將被構(gòu)建起緊密的相互連接。

這座新酒店是“Inverdan”規(guī)劃中完成的第一座建筑，因此具有重要的意義。酒店占地接近正方形，近40m高，共11層。建筑使用木材和埃特尼特纖維水泥覆面材料建造；各異的開窗布局、突出的懸挑、屋檐和底部優(yōu)雅的白色勾勒線條，令建筑極富表現(xiàn)力。

堆疊起來的傳統(tǒng)贊丹住屋

維爾弗里德·范溫登將這座酒店設(shè)想為一個(gè)臨時(shí)的家，這種設(shè)想也間接體現(xiàn)出這組堆疊屋所帶來的多變性。這座建筑在視覺上以近70座獨(dú)立小屋通過各種疊置方式組合而建構(gòu)起來，通過4種色調(diào)不同的贊河地區(qū)傳統(tǒng)綠色加以呈現(xiàn)。這座酒店令人感到既特別又熟悉，卻也表現(xiàn)得既獨(dú)創(chuàng)又另類。這一設(shè)計(jì)只能在贊丹加以實(shí)現(xiàn)，同時(shí)又超越了當(dāng)?shù)貍鹘y(tǒng)，使其重現(xiàn)活力。更進(jìn)一步來說，它是植根于場(chǎng)地的建筑，被精心編織入所在環(huán)境中。受到克勞德·莫奈1871年在贊丹完成的繪畫作品啟發(fā)而設(shè)計(jì)的“藍(lán)屋”，無疑成為這座建筑的點(diǎn)睛之筆。

融合

這座酒店建造完成后的整體效果令人眼前一亮，足以作為維爾弗里德·范溫登所倡導(dǎo)的“融合建筑”的成功范例。融合代表著一種創(chuàng)造性的連接方式：對(duì)現(xiàn)在與過去的連接，對(duì)傳統(tǒng)與創(chuàng)新的連接，對(duì)陽春白雪與下里巴人的連接。一種全新的建筑敘事方式借此產(chǎn)生——既適用于特殊語境下的當(dāng)?shù)貙?shí)踐，同時(shí)也具有廣泛的普適性?！酰愜?譯）

A New Urban Plan with an Elegant New Hotel

Te town centre and station area of Zaandam，hub of the Zaanstad municipality in the province of North Holland， are currently being radically restructured. Te "Inverdan" urban redevelopment scheme was devised by Soeters Van Eldonk architecten， a plan that reinstates the historical street layout， reopens a canal and restores an atmosphere of congeniality to Zaandam's heart. The development's continuation above the provincial road and railway means that it also interconnects the urban districts on both sides of this infrastructure.

Te new hotel is an important building block，the first structure to be completed within the Inverdan plan. The hotel tower， with a footprint that is well-nigh square， is almost forty metres tall and has eleven floors. Constructed of timber and Eternit fibre cement cladding， the edifice is expressive， with varied fenestration， wide protruding sections， and elegant white eaves and barge-boards.

A Stack of Traditional Zaandam Houses

Wilfried van Winden envisages the hotel as a temporary home， alluding to that transience with the stack of houses. Visually speaking the structure is built up from a varied stacking of almost seventy individual little houses， executed in four shades of the traditional green of the Zaan region. Te hotel is unique， familiar yet original and idiosyncratic. It is a design that could be realized only in Zaandam but at the same time transcends and reinvigorates local tradition. It was， moreover， specifically tailored to this site. "Te Blue House"， inspired by the work Claude Monet painted at Zaandam in 1871， is the ultimate attention-grabber.

Fusion

The overall result is striking. The building is exemplary for the Fusion Architecture that Wilfried van Winden champions. Fusion represents an inventive way of linking present and past， tradition and innovation， high culture and low. Tis generates a novel expressiveness that corresponds to the specifc local practices but is at the same time universal.

項(xiàng)目信息/Credits and Data

建筑設(shè)計(jì)/Design: Molenaar & Van Winden architecten/ WAM architecten

項(xiàng)目主持/Principal: Hotel Zaanstad BV

設(shè)計(jì)時(shí)間/Design Period: 2006-2007

建造時(shí)間/Construction Period: 2008-2010

承建商/Contractor: Heddes Bouw BV

攝影/Photos: Roel Backaert（fg.1）， Peter Barnes（fg.11，12）

3 北立面/North elevation4 東立面/East elevation5 參考圖片/Reference photos6.7 概念/Concept

WA：色彩在這個(gè)項(xiàng)目中的作用是什么？

維爾弗里德·范溫登：這一酒店是我正在探索的“融合建筑”的杰出范例。在該案例中，“融合”呈現(xiàn)為一種打通現(xiàn)在和過去、關(guān)聯(lián)傳統(tǒng)與創(chuàng)新、混合高雅與大眾的獨(dú)創(chuàng)方法。這同時(shí)也引發(fā)了一種新的表現(xiàn)風(fēng)格，不僅對(duì)當(dāng)?shù)匚幕哂歇?dú)特的敏感性，同時(shí)也有通用性。在贊丹的城市環(huán)境中，建筑解答的關(guān)鍵在于對(duì)區(qū)域性特征元素的應(yīng)用，并借此來使當(dāng)?shù)貍鹘y(tǒng)重現(xiàn)生命力。借助來自過去的元素，塑造新的、當(dāng)代的建筑圖景。

這座建筑的外部形體在研究的過程中逐漸清晰起來。我們沒有將自己局限于形式研究，也同時(shí)對(duì)典型贊丹住宅的不同類型及表現(xiàn)方式進(jìn)行了探索。從中我們發(fā)現(xiàn)了高度的豐富性和多樣性。

最終組成建筑的小屋呈現(xiàn)出4種不同色調(diào)的綠色，即贊河地區(qū)的傳統(tǒng)綠色。僅有一座小屋是藍(lán)色的，它并沒有完全復(fù)制克勞德·莫奈1871年繪于贊丹的著名油畫作品當(dāng)中的那座藍(lán)色房屋，而是間接的隱喻表達(dá)。它是色彩的重音，是古怪的突出物，也是意外的異質(zhì)元素。它使得建筑的4個(gè)立面截然不同。視覺上，紀(jì)念性的堆疊構(gòu)成，完全消除了建筑的前后之分。

WA：本項(xiàng)目中最具創(chuàng)造性和吸引力的設(shè)計(jì)是什么？

范溫登：答案相當(dāng)明顯——傳統(tǒng)住屋的堆疊組合。

設(shè)計(jì)過程中我們從單一而強(qiáng)烈的概念入手，它很快成為我們?cè)O(shè)計(jì)的核心概念，即酒店可以被視為一個(gè)臨時(shí)的家。這個(gè)想法很吸引我，因此我們將它作為推動(dòng)設(shè)計(jì)的基礎(chǔ)。你可以想象，在此基礎(chǔ)上，眾多視覺概念相繼出現(xiàn)。

其中之一得到了最終的完整實(shí)現(xiàn)，也就是我們現(xiàn)在看到的樣子：贊丹典型住屋的堆疊，或者說拼貼。這一切都始于一個(gè)簡單的拼貼。我們進(jìn)而做了體量的研究，最終發(fā)現(xiàn)堆疊的方法出人意料地得到了順利進(jìn)行。

WA：在設(shè)計(jì)過程中最困難的部分是什么？

范溫登：我們?cè)谟晁潘到y(tǒng)的設(shè)計(jì)上的確花了一些心思。

WA：使用者和社群的反饋如何？

范溫登：有些人強(qiáng)烈反對(duì)，有些人則無比熱愛！沒有介于中立看法的人。人們應(yīng)當(dāng)自由表達(dá)意見并為之所想。有人說這座建筑庸俗，或者就像迪斯尼風(fēng)格。大體上來講現(xiàn)代主義擁躉通常給予類似評(píng)價(jià)。只要使用傳統(tǒng)元素、鮮艷色彩或者裝飾，這種評(píng)價(jià)很容易出現(xiàn)，尤其是在荷蘭。而庸俗之說大概更應(yīng)該歸為道德審美話題。當(dāng)然不同于迪斯尼樂園的是，這座建筑只能夠在贊丹建造。它之于世界是獨(dú)一無二的，具有辨識(shí)性，也具有新鮮感和自主性。這是一個(gè)只能在贊丹被實(shí)現(xiàn)的設(shè)計(jì)，它同時(shí)實(shí)現(xiàn)了對(duì)當(dāng)?shù)貍鹘y(tǒng)的超越與更新。經(jīng)過最初的驚詫和繼而的疑慮，贊丹的社區(qū)如今欣然接受這一設(shè)計(jì)，并且對(duì)區(qū)域內(nèi)誕生的新地標(biāo)感到由衷自豪。這座建筑帶來的是煥然一新的特色和國際認(rèn)可。

建筑自然而然會(huì)帶來一種直接的情感共鳴。一個(gè)朋友最近評(píng)價(jià)說，當(dāng)他開車到贊丹，這座建筑出現(xiàn)在視野中時(shí)，微笑不由自主在他的臉上蕩漾開來。我想可能再也找不出比這更動(dòng)人的贊美之辭了。

WA：本項(xiàng)目是如何提升公共空間品質(zhì)的？

范溫登：作為荷蘭北部贊斯塔德大區(qū)的中心，贊丹的市鎮(zhèn)中心及車站區(qū)目前正經(jīng)歷著徹底的城市重建。名為“Inverdan”的市區(qū)重建計(jì)劃包含了歷史街道布局的復(fù)原，運(yùn)河的重新開通，以及中心區(qū)的認(rèn)同感重塑。發(fā)展計(jì)劃沿省道和鐵路線延伸，意味著位于不同方位的城市區(qū)域間也將構(gòu)建起緊密的相互連接。

贊丹將重獲其城市親密感。以任何可能的方式回應(yīng)荷蘭北部當(dāng)?shù)亟ㄖ鹘y(tǒng)，是所有即將建造的建筑所共有的目標(biāo)。在這座酒店的案例中，我們參考的是木構(gòu)住宅。通過這種方式，整個(gè)項(xiàng)目都深深植根于當(dāng)?shù)貍鹘y(tǒng)當(dāng)中，也創(chuàng)造出了地域中可辨認(rèn)的作品。它并不是那種毫無特征、可被移植到任何地方而存在的項(xiàng)目。我不喜歡那些遍布全球的、標(biāo)準(zhǔn)的公式化酒店。這一項(xiàng)目是為它的場(chǎng)地度身定制的。

這座酒店在發(fā)展過程中成為了重要的城市節(jié)點(diǎn)，在帶來新氣象的同時(shí)，也成為了半公共的城市空間、市民交往的場(chǎng)所。□（陳茜 譯）

8 三層平面/Floor 2 plan9 十二層平面/Floor 11 plan

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

Te building's exterior took shape in the process of research. We did not limit ourselves to formal studies， but explored the different typologies and manifestations of typical Zaandam houses as well. We uncovered an immense wealth and diversity.

Te houses were executed in four shades of the traditional green of the Zaan region. Just one house is blue， and it is not a facsimile of the blue house in the famous canvas by Claude Monet which he painted there in Zaandam in 1871， but it certainly alludes to it. It is a chromatic accent， the odd one out， the intruder. It makes the four sides of the building different. Visually speaking， the building has no front or rear， because of the composition of the monumental stacking.

WA: What is the most creative and attractive solution？

WvW: That's rather obvious - the stacking of the traditional houses. During the design process we departed from a single strong idea， which immediately became the core of the design， namely that the hotel can be seen as a temporary home. Tat idea attracted me a lot， and we proceeded with the design on that basis. As you can imagine， various visual concepts passed in review.

Eventually just one variant was fully elaborated，namely the variant we have in front of us now: the stacking or collage of typical Zaandam houses. It all started with a collage. Proceeding from this basis we produced volumetric studies. It turned out that the stacking worked incredibly well.

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

WvW: It took some effort to design the rainwater drainage system.

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

WvW: Some love it， some hate it！ Tere is nothing in between. People are free to comment and associate what they want. Some say it is kitsch or Disney. Mostly the modernist thinkers come up with these qualifications. Whenever you use traditional elements or colourful architecture or ornament， these types of qualifcations， especially in Holland， pop up very easily. Kitsch is a rather moral issue. Unlike the Disney world this building could only be built in Zaandam. Te hotel is a oneoff， unique in the world， recognisable yet fresh and headstrong. It is a design that could only have been realised in Zaandam， yet it simultaneously transcends and renews the local tradition. After overcoming a shock at first and some hesitation thereafter， the community of Zaandam now embraced the design and is very proud to have such an icon within its boundaries. It provides a renewed identity and a global recognition.

2) 針對(duì)1×105 m3以上的大型儲(chǔ)罐，泡沫充滿密封圈空間至少需10 min，很可能錯(cuò)過火災(zāi)初期的滅火時(shí)機(jī)。

Architecture naturally makes a direct appeal to the emotions as well. An acquaintance recently commented， "When I drive into Zaandam and see the building standing there a smile inevitably spreads across my face." You could hardly ask for a more wonderful compliment.

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

WvW: The town centre and station area of Zaandam， hub of the Zaanstad municipality in the province of North Holland， are currently being radically restructured. The "Inverdan" urban redevelopment scheme is a plan that reinstates the historical street layout， reopens a canal and restores an atmosphere of congeniality to Zaandam's heart. The development's continuation above the provincial road and railway means that it also interconnects the urban districts on both sides of this infrastructure.

Te city of Zaandam will regain its intimacy. It is the aim for all the buildings to be realized to refer in any way to the local architectural tradition of the northern part of Holland. In the case of the hotel we refer to the wooden houses. In doing so the whole project is rooted in the local tradition and the output will be identifed by the region. It is not one of those anonymous projects that can stand everywhere. I don't like the standard formula hotels that spread themselves around the world. This project is tailor made for the site.

Te hotel became an important centerpoint in the development giving a new identity as well as a semi-public space where people meet.

10 細(xì)部詳圖/Detail drawing

11.12 外景/Exterior views

評(píng)論

方曉風(fēng)：這座旅館也是小鎮(zhèn)的中心，采用這種激進(jìn)方式的內(nèi)在邏輯似乎并非那么激進(jìn)。設(shè)計(jì)的歷史原型是顯而易見的聯(lián)排住宅，設(shè)計(jì)師認(rèn)為旅館是臨時(shí)的家，無論從概念上還是形式上都無可厚非，與相鄰建筑的視覺聯(lián)系也沒有問題。層疊的方式近來頗為流行，以魯莽的姿態(tài)來表現(xiàn)力量，驅(qū)動(dòng)力還是追求新鮮感的?；蛟S，過于精致的歐洲小鎮(zhèn)需要一點(diǎn)兒新鮮的刺激。

王暉：綠旅館實(shí)際上是以綠色為主，夾雜著其他顏色的外立面做法，顯得比較有層次感，綠色和周圍的建筑色彩有了比較明顯的區(qū)分，在使用這樣飽和度高的顏色的同時(shí)，通過對(duì)坡屋頂?shù)摹懊璁嫛?，有效地化整為零，從尺度上將多層高大的體量化解成為與周邊相鄰建筑相當(dāng)?shù)臓顟B(tài)。同時(shí)，也為旅館建筑的功能帶來了很高的辨識(shí)度。

Comments

FANG Xiaofeng: Te hotel is the center of the town. Although the method seems to be radical， the internal logic seems to be diferent. Te historical prototype of design is obviously the town houses. Te architect envisages the hotel as a temporary home. Tere is nothing to be said against the concept and form of the design， not to mention the visual connection with the neighboring buildings. Te pattern of stacking is quite popular in recent years， presenting power by a reckless posture. To pursue for the feeling of freshness is still the driving force. Maybe， the delicate European town needs fresh stimulus.

WANG Hui: Te fa?ade of Inntel Hotel is basically green in colour， with other minor colours in between. This layered greenish tone makes the building distinguished from its adjacent environ. Trough applying these highly saturated colours and fnely depicting the pitched roofs， the large volume of the building is dissolved efectively and it merges well with the surrounding architecture. Meanwhile， in this way， it promotes the public recognition of the hotel building. （Translated by QI Yiyi）

Hotel Amsterdam-Zaandam， Zaanstad， the Netherlands， 2010

Architect: Wilfried van Winden/WAM architecten