婦女發(fā)展促進(jìn)中心，卡永扎，盧旺達(dá)

建筑設(shè)計：莎倫·戴維斯設(shè)計事務(wù)所

婦女發(fā)展促進(jìn)中心，卡永扎，盧旺達(dá)

建筑設(shè)計：莎倫·戴維斯設(shè)計事務(wù)所

1　外景/Exterior view

婦女發(fā)展促進(jìn)中心是與國際婦女互助組織合作設(shè)計的。地段占地10，000m2，距離盧旺達(dá)首都大約一小時車程。在設(shè)計過程中，我們遵循了以下原則：為社群爭取權(quán)益、創(chuàng)造經(jīng)濟機會、重建社會基礎(chǔ)結(jié)構(gòu)。

我們將一座盧旺達(dá)村落作為建筑布局的參考原則，把一簇人體尺度的小房間圍合布置，以營造安全感，增強社區(qū)凝聚力。建筑中的功能包括教室、客房、一座展示性農(nóng)場（由綠色屋頂遮陽，并由夯土墻支撐），以及一座市場，婦女可在此售賣她們在現(xiàn)場中制作的商品。

建筑所需的大約500，000塊粘土磚都是由當(dāng)?shù)貗D女在此制造的，并且結(jié)合了對當(dāng)?shù)責(zé)u工藝的部分改進(jìn)，例如：采用鋼模具、較干的粘土配比、燃燒替代材料（非木材）。因此，這些婦女學(xué)會了可市場化的、帶來收入的技能，如今她們生產(chǎn)的手工磚是該地區(qū)質(zhì)量最高的。

在很多方面，婦女發(fā)展促進(jìn)中心的設(shè)計概念來源于磚。項目的主要贊助人向我們提議，應(yīng)該讓社區(qū)的女性成員共同制作磚塊，并用它來建造屬于自己的學(xué)校。這個簡單的概念逐步發(fā)展，對這個設(shè)計以及社區(qū)產(chǎn)生了深遠(yuǎn)影響。我們首先調(diào)研了當(dāng)?shù)氐闹拼u工藝。這些磚塊的審美及結(jié)構(gòu)質(zhì)量都欠佳，原因是在制作過程中所使用的一系列落后的技術(shù)。在投資一小部分資金用于培訓(xùn)、工具及資源改良后，我們?yōu)閶D女發(fā)展促進(jìn)中心生產(chǎn)建筑材料而成立的婦女制磚公司很快成為了一家自給自足的制磚企業(yè)。

我們從盧旺達(dá)傳統(tǒng)空間營造技術(shù)中吸取的另一靈感，是用相互咬合的圓弧來創(chuàng)造空間，就像在辦公及工作室空間的平面中那樣。我們將多個彎曲的磚墻組合起來，創(chuàng)造出大小及形狀都不同的空間。磚的尺度很小，使我們得以輕松地建造出半徑很小的圓弧，從而實現(xiàn)編織空間的概念。

教室所采用的輕盈而開放的螺旋平面也源自盧旺達(dá)傳統(tǒng)建筑中介于“室內(nèi)”和“室外”之間的模糊性概念。螺旋線形取消了通常用來展現(xiàn)入口界限的門，讓住戶能在不打斷課堂的情況下悄悄進(jìn)出，同時墻體旋轉(zhuǎn)開啟的形式也讓室外空間融入室內(nèi)。（黃華青 譯）

項目信息/Credits and Data

客戶/Client: 國際婦女互助組織/Women for Women International

建筑用途/Building's Purpose: 社區(qū)中心，教育及公共空間/ Community Center， education & public space

建筑面積/Usable Floor Area: 2200m2

磚材類型/Brick Type:手工磚/Handmade bricks

建造周期/Construction Period : 2011.09 – 2013.07

攝影/Photos: Elizabeth Felicella （fig.1， 3-5， 7）， Bruce Engel（fig.8-10）

2　總平面/Site plan

The Women's Opportunity Center （WOC），designed in collaboration with Women for Women International， occupies a one-hectare site one hour from the Rwandan capital and has been developed with the following objectives in mind: to empower its community， create economic opportunity， and rebuild social infrastructure.

Referencing to a Rwandan village as our organizing principle， we clustered human-scaled pavilions to create security and cultivate the sense of community. Facilities include class rooms， guest lodgings， a demonstration farm–cooled by a green roof and retained earth walls–and a marketplace，where women sell products they have made on site.

The approximately 500，000 clay bricks needed for the construction were made at the center by local women， incorporating some improvements on the local method of brick making. Improvements such as: steel molds， drier clay mixtures and firing with alternative （non-wood） materials. As a result，women have learned marketable， income-generating skills and are now creating some of the highest quality handmade bricks in the region.

In many ways the whole concept of the Women's Opportunity Center emerged from thebrick.The primary client donor came to us with the proposition that women members of the community could come together to create the bricks that would be used to build their own school.This was a simple idea that grew to have a profound impact on the design and community. We started by researching the common local practices being employed in brickmaking.The aesthetic and structural qualities of these bricks were sub-par due to an array of poor techniques being employed throughout the fabrication process. By investing just a little in training， tools， and resources， the women's brickmaking cooperative that was formed to create the building material for the Women's Opportunity Center soon became a self-sufficient brick making cooperative.

Creating spaces through interlocking adjoining circles as illustrated in the administrative and workshop spaces was another technique of Rwandan space making that inspired us. Here，multiple curved brick walls came together to create varied sizes and shapes of spaces.The small module of the brick allowed us to easily create very tight radii and achieve the concept of woven together spaces.

The light and open spiral shape of the classrooms was inspired by the ambiguity created by traditional Rwandan architecture of what is "interior" vs. "exterior".The spiral eliminates the clear threshold created most typically by a doorway，and allows inhabitants to slip in and out of the space without interrupting a class in session， while the woven open feel of the walls brings the outside in.

4　相對獨立的屋頂結(jié)構(gòu)/Free-standing roof construction

5　內(nèi)景/Interior view

6　氣候概念示意圖/Schematic diagram of the climate concept showing cross-ventilation and lighting

評論

王麗方：項目主要的工作在婦女勞作、制磚技術(shù)、市場運營等方面。那無疑是具有價值的。磚建筑在這里基本是產(chǎn)品展銷。當(dāng)然也是項目的形象。

圓柱的形體選得聰明，正可以用到磚砌的優(yōu)勢?；ǜ駢π枰凶屑?xì)細(xì)地砌，不能馬虎。鋼結(jié)構(gòu)屋頂實現(xiàn)起來顯然是最困難的，但也都成功了。這樣的做法很接地氣，卻又顯得超拔。當(dāng)?shù)厝丝矗@是一群非常新穎不同凡響的建筑，廣告效果不一般。學(xué)建筑的人看，這樣土土的、接了地氣的設(shè)計，顯得聰明而且用心，很有別致的情趣。

磚，從早期文明傳來的材料，如今在非洲的土地上，由非洲的婦女使用著，外來的建筑師綜合了這一切，給當(dāng)?shù)厮茉炝艘恍∑赜虻臉?biāo)志。

8-10　手工磚的制作/Making of bricks

朵寧：婦女發(fā)展促進(jìn)中心的平面，讓人一下子想起列維·施特勞斯在《憂郁的熱帶》一書中所描繪的巴西土著部落的典型布局平面：中心是公共活動廣場和祭祀空間，四周圍繞著部落成員的土屋和其他功能空間。本項目的建設(shè)過程，也利用了當(dāng)?shù)貗D女自制的磚塊，并幫助她們發(fā)展出有競爭力的生產(chǎn)技能。在這種充分尊重本地傳統(tǒng)和居民的設(shè)計前提下，脫離的鋼結(jié)構(gòu)屋架和螺旋形的磚砌花墻，用結(jié)構(gòu)和構(gòu)造語匯進(jìn)一步呼應(yīng)了社區(qū)結(jié)構(gòu)，提高了設(shè)計的整體性和完成度。

Comments

WANG Lifang: The main task of the project lie in the expression of labor， brick-making technology and market operation by women， which are valuable. Brick building here is basically an exhibition of production，which is also the image of the project.

The selection of a cylinder shape is smart for it can display the advantage of masonry. The lattice wall needs careful brickwork instead of sloppy one. It is valuable to realize the most difficult part， the steelstructured house roof， which is down to earth and transcendent. In the eyes of local people， these are original and unique buildings with extraordinary effect of advertisement. According to people who study architecture， such rustic and reliable design shows ingenuity with unique taste.

Bricks， the material dating back to early civilizations， are now used by women in Africa. Foreign architects have taken the material into consideration and made it a landmark patch.

DUO Ning: The plan of the Center immediately reminds us of the typical layout of Brazilian indigenous tribes depicted in Tropical Depression by Levi Strauss.The center of it is the public square and religious space，surrounded by the earth houses of tribal members and other functional spaces. The construction of the project also used the bricks made by local women and helped them develop competitive skills for production. In the premise of fully respecting local tradition and residents， the isolated steel-structured roof truss and spiral-shaped brick lattice wall further echoed the organization of the community in terms of structure and construction vocabulary， and improved the entirety and completion of the design.

Women's Opportunity Center， Kayonza， Rwanda， 2013

Architects: Sharon Davis Design

7　夜景/Night view