建筑設(shè)計(jì):奈伊與普利松建筑工程公司
Architects: Ney & Poulissen Architects Engineers
都市大橋,奈梅亨,荷蘭
De Oversteek, Nijmegen, the Netherlands, 2013
建筑設(shè)計(jì):奈伊與普利松建筑工程公司
Architects: Ney & Poulissen Architects Engineers
1 實(shí)景/Bridge view
這座大橋的設(shè)計(jì)是一場(chǎng)表演,它戲劇性地回應(yīng)了瓦爾河、泛洪區(qū)和兩處堤岸壯美的自然環(huán)境。都市大橋?yàn)檫@里的景觀帶來(lái)了結(jié)構(gòu)、等級(jí)和方向感。大橋的拱券作為主要特征,橫跨在河流兩岸,并加強(qiáng)了河道的存在感。不像純粹橫跨在水面上的功能性結(jié)構(gòu),橋洞的拱券尊重了河道的寬度,并由此確認(rèn)了河岸的位置。甚至在冬季,高漲的水面淹沒(méi)了泛洪區(qū),這座橋洞的拱券也仍舊是瓦爾河所在位置及其獨(dú)特個(gè)性的有力證明。
大橋的設(shè)計(jì)建立在結(jié)構(gòu)邏輯的基礎(chǔ)上,作為設(shè)計(jì)出發(fā)點(diǎn)的基本原則是以作用力決定幾何形式。我們并沒(méi)有從形式本身出發(fā)考慮大橋的造型,而是根據(jù)作用力設(shè)計(jì)出大橋的外形。力學(xué)屬性由此成為設(shè)計(jì)的手段。一旦確定了基礎(chǔ)的幾何形式,就有可能研究出這種形式如何“構(gòu)成”或?qū)崿F(xiàn)。對(duì)于新建一座大橋的需求為設(shè)計(jì)一座21世紀(jì)的拱券橋梁提供了契機(jī),而拱券橋梁正是西方文明的現(xiàn)代象征。瓦爾河大橋作為對(duì)應(yīng)的設(shè)計(jì)表現(xiàn)形式和“屬于其自身時(shí)代的紀(jì)念建筑”,在形式與工程設(shè)計(jì)方面甚至提出了更高的期待。
“都市大橋”出入口匝道的設(shè)計(jì)來(lái)源于許多與自然相關(guān)的材料和建造方法。它涉及到一系列傳統(tǒng)技藝(現(xiàn)澆混凝土與磚砌技術(shù)),帶來(lái)了手工藝的質(zhì)感。出入口匝道的設(shè)計(jì)、材料、尺度和細(xì)部都與拱券大橋本身不同,以人體尺度為標(biāo)準(zhǔn)經(jīng)過(guò)精心設(shè)計(jì)。新的大橋以整體方式進(jìn)行設(shè)計(jì),利用了一整套與總體規(guī)劃、施工技術(shù)和概念設(shè)計(jì)等相關(guān)的當(dāng)代知識(shí)。這座大橋的建設(shè)是將工程學(xué)與城市規(guī)劃和建筑學(xué)進(jìn)行最優(yōu)化綜合之后、經(jīng)過(guò)充分考慮過(guò)程所形成的結(jié)果。這一設(shè)計(jì)過(guò)程的主要目的就是要使結(jié)構(gòu)的有效性在外觀上可見。大橋沒(méi)有任何多余的“偽造物”,它符合物理原理并邏輯清晰。其結(jié)果就是形式上的自然美感。拱橋的主跨長(zhǎng)達(dá)285m,包含拱橋和出入口匝道的結(jié)構(gòu)總長(zhǎng)達(dá)1.2km。
在入口高架橋上使用磚塊的動(dòng)機(jī)來(lái)源于對(duì)大橋的重要性、建設(shè)成本、維護(hù)運(yùn)營(yíng)及結(jié)構(gòu)設(shè)計(jì)等若干相關(guān)因素的考慮。設(shè)計(jì)出乎意料地提供了一系列能夠保持城市大橋特征的設(shè)計(jì)契機(jī)。即,磚是奈梅亨建筑傳統(tǒng)的一部分,而大橋上使用的混凝土拱券結(jié)構(gòu)則參考了傳統(tǒng)穩(wěn)定性加固的結(jié)構(gòu)(幾個(gè)世紀(jì)以來(lái)在歷史橋梁和結(jié)構(gòu)設(shè)計(jì)中一直沿用的結(jié)構(gòu)和穩(wěn)定性原則)。磚塊的使用和這些建造的方式確保了設(shè)計(jì)和幾何形式具有相當(dāng)?shù)撵`活性。樓梯、隧道、眺望臺(tái)或其他高品質(zhì)空間的設(shè)計(jì)與建造、整體欄桿和橋臺(tái)等部分的設(shè)計(jì),情況則有所不同,它們需要專門的解決方案,都可以利用材料的自然特征、以簡(jiǎn)單的方式進(jìn)行處理。磚及其建造方法能讓結(jié)構(gòu)不同的各個(gè)局部得到綜合的解決方法,并形成統(tǒng)一的整體。這就意味著整體設(shè)計(jì)。
磚在大橋建設(shè)中的使用很有價(jià)值——不僅因?yàn)榧夹g(shù)的原因,也出于對(duì)審美、可持續(xù)發(fā)展和城市設(shè)計(jì)的考慮,這種材料能夠?qū)⒋髽蛉谌氤鞘协h(huán)境——因?yàn)樗鼈儾捎昧讼嗤牟牧希虼四軌蛐纬梢粋€(gè)單一整體。這座都市大橋擁有與奈梅亨其他標(biāo)志性建筑相同的基因。它們?cè)诟拍钌系穆?lián)系至關(guān)重要。大橋共使用了550,000塊以瓦爾河河泥燒制的弗拉明戈紅磚。(徐知蘭 譯)
2 總平面/Site plan
3 實(shí)景/Bridge view
項(xiàng)目信息/Credits and Data
客戶/Client: 荷蘭BAM皇家集團(tuán)/BAM
建筑用途/Building's Purpose: 城市橋梁/City bridge
建筑面積/Usable Floor Area: 47,500m2
磚材類型/Brick Type: 飾面磚、粘土鋪地磚/Facing bricks,clay pavers
建造周期/Construction Period: 2011.03 – 2013.11
攝影/Photos: Ruud Peijnenburg (fig.1), Stijn Bollaert (fig.3-5)
The design of the bridge stages a theatrical response to the majestic nature of the Waal River, the floodplain and the two embankments. The urban bridge brings structure, hierarchy and orientation to the landscape. The arch, which is the main feature, both confirms and spans the river. Unlike a purely functional span across the water, the arch respects the width of the river and thus endorses the location of its banks. Even in winter, when the water levels are higher and the floodplain overruns, the arch remains convincing proof of the location and identity of the Waal. The design of the bridge is based on a structural logic that takes, as its starting point, the principle that the geometry is determined by the forces at work. We do not choose forms for their own sake, but use the forces to develop a shape. The forces thus become a design tool. Once the basic geometry can be fixed, the "composition" or materialization of this form can be investigated. The need for a new bridge provided the opportunity to create a 21st-century arch bridge,a contemporary icon of Western culture. The Waal Bridge as a counterpart and "monument of its time" raises expectations even higher in terms of formal and engineering ambitions.
The ramps of "De Oversteek" are designed from a range of materials and construction methods that relate to nature. It involves traditional techniques (cast in situ concrete and brick masonry) that create a feeling of craftsmanship. The design, materials, dimensions and detailing of the ramps, unlike the arch bridge, are elaborated on a human scale. The new bridge is designed with an integral approach,using a combination of contemporary knowledge on master planning, construction techniques and conceptual design. The bridge is the result of a well thought-out process of optimization combining engineering with urbanism and architecture. A principle aim of the design process is to make the structural efficiency visible. There are no added "counterfeits". The bridge is coherent and logical in relation to physic laws. Natural beauty is a consequence. The main span of the arch bridge is 285m long; the total length of the structure, the arched bridge including the approach ramps, is 1.2km.
4 鋪磚細(xì)部/Detail of the brick craftsmanship
5 主要結(jié)構(gòu)/The dominant structure of the bridge
The motivation to use brick for the approach viaducts of the bridge had several reasons dealing with status, costs, maintenance and structure. The decision unexpectedly created a number of design opportunities that were entirely in keeping with the characteristics of a city bridge. Brick is part of Nijmegen's architectural tradition, and the concrete vault structures used in the bridge refer to traditional stability-enhancing structures(the structural and stability principles applied in historic bridges and structures for centuries). The brick and building methods would ensure considerable flexibility in design and geometry. Exceptional situations calling for specific solutions for staircases, underpasses, the creation and building of balconies or other quality places,design of integrated balustrades, abutments,etc. could be dealt with simply, using the natural characteristics of the material. The brick and her building methods would allow various structural features to be solved integrally and merged into a uniform whole. This means integral design.
The use of brick was valuable not just for technical reasons, but also in terms of aesthetics,sustainability and urban design. The material would make the bridge part of the city: they had the same materiality, and so would form a single unite. The city bridge had the same DNA as other iconic parts of Nijmegen. The conceptual link was important. 550,000 bricks type flamenco made of clay of the River de Waal were used.
6 剖面/Section
評(píng)論
張雷:這個(gè)橋梁本應(yīng)是工程技術(shù)邏輯主導(dǎo)下的設(shè)計(jì)任務(wù),當(dāng)代的技術(shù)條件在這方面并不存在任何障礙。建筑師對(duì)連續(xù)拱結(jié)構(gòu)索拱結(jié)構(gòu)的組合體,自然而合理的解釋和回應(yīng)了航道與河灘,交通與游憇的城市空間構(gòu)成要素的相關(guān)性。
建筑師顯然更加關(guān)心如何使橋梁這讓的基礎(chǔ)設(shè)施構(gòu)筑物成為人性化的場(chǎng)所。墻面通向河灘的通道激活了橋梁與自然的關(guān)系,從而使得連續(xù)拱結(jié)構(gòu)的底面和橋墩作為新的空間場(chǎng)所的界面顯得非常重要。設(shè)計(jì)將約翰·拉斯金于工業(yè)革命初期提議的命題——傳統(tǒng)工藝結(jié)合現(xiàn)代技術(shù),重新引入我們的視野,并且賦予其新的都市公共空間意義。
作為裝飾的弧面磚墻和精心雕琢的混凝土結(jié)構(gòu)表面,喚起當(dāng)代人對(duì)古老磚石砌筑的記憶。
Comments
ZHANG Lei: This bridge was supposed to be a project under the guidance of engineering and technological logic, with no obstacles in contemporary technical conditions. The architects naturally and rationally explained the combination of segmented arch-structure and cable arch-structure which responded to the relevance of the elements in urban space consisting of channels, river shores, transportation and entertainments.
Obviously, architects were more concerned with a humanized infrastructure of the bridge. The tunnel that led the wall to the flood land activated the relationship between the bridge and the nature, so as to emphasize the importance of the continuous arch structure of the bottom surface and the piers to be the interface of new space. The design brought to our attention responds to the subject proposed by John Ruskin in the early stage of the industrial revolution, namely, the combination of traditional technology with modern technology, attaching to it a new significance of urban public space.
The arc-surfaced brick wall ornament and decorative surface of concrete structure aroused the memory of contemporary people of long-standing masonry.
青鋒:這實(shí)際上是一座屬于混凝土與鋼的橋,主要結(jié)構(gòu)材料以及形態(tài)特質(zhì)都來(lái)自于鋼與混凝土的整體性。磚的作用是符號(hào)性的,主要用于呼應(yīng)城市建筑傳統(tǒng)以及橋下流淌的河流 – 燒制磚的泥土就來(lái)自于河道。在這個(gè)意義之上,磚的地位是附加的裝飾。在一個(gè)大跨度橋梁中,這或許是不可避免的,當(dāng)代交通設(shè)施對(duì)強(qiáng)度與可靠性的要求對(duì)于磚來(lái)說(shuō)顯然過(guò)于苛刻?;蛟S我們應(yīng)該重新考慮磚的角色,如果主動(dòng)避免將磚的裝飾效用與結(jié)構(gòu)效用混淆在一起,那么磚是否可以獲得更明晰的應(yīng)用?作為一種樸實(shí)的材料,磚不應(yīng)該成為誤解的來(lái)源,即使是作為裝飾。
QING Feng: In actuality, this bridge is constructed using concrete and steel. Its main structural materials and morphological characteristics stem from the integrity of the above two materials. The brick acts as a symbol to echo traditional urban architecture, and as the brick came from the clay in the river which flows beneath it. The brick can be considered as additional decoration, which is common for a long-span bridge, as modern transportation requires a certain integrity and reliability that is obviously too high for bricks alone. Maybe we should reconsider the role of bricks in the contempoary era. If we begin to avoid mixing the decorative and structural, could the impact of bricks become clearer? As a simple material, bricks should not be a cause confusion, despite merely playing a decorative role.