日內(nèi)瓦?？死镳^破殼而出

伊萬·德勒蒙泰/Yvan Delemontey

朱琳 譯/Translated by ZHU Lin

記憶和再生

欄目主持：阿爾伯托·博洛尼亞，米凱利·博尼諾，皮埃爾-阿蘭·克羅賽特

有關(guān)20世紀(jì)建筑遺產(chǎn)和保護的問題經(jīng)常與修復(fù)實踐的問題聯(lián)系起來——這類實踐必須是一種保護的姿態(tài)和文化的行動，也必須是針對文化遺產(chǎn)修復(fù)的一種科學(xué)的介入。在現(xiàn)代建筑的保護實踐中，對建筑作品價值的理解和對建筑在工業(yè)社會的藝術(shù)表達中所扮演角色的詮釋是必不可少的；最終，這些作用機制（諸如建筑在當(dāng)代社會價值體系中的接受、使用和傳播等）具體到情景中，呈現(xiàn)出了爭論中不應(yīng)忽略的案例。

將希克里館改造為文化中心的實踐呈現(xiàn)了一種高度專業(yè)化的介入。它面向未來，旨在為后世還原出這座建筑在建筑與工程方面最初的重要成就，讓人感受到當(dāng)時帶來的激動人心。2011年，該館被作為歷史遺跡納入日內(nèi)瓦州文化遺產(chǎn)目錄，這一重要事件極大地改變了建筑本身的狀態(tài)和意義1）。從功能和以生產(chǎn)為導(dǎo)向的使命來說，?？死镳^是作為一座文化圣殿被選中的，它的建構(gòu)表達理應(yīng)被保留并銘刻到歷史的記憶中。

如果將現(xiàn)代建筑的修復(fù)代入傳統(tǒng)建筑修復(fù)的更廣泛的討論中，雖然它起源于后者，但也保留了一定的距離。在歐洲文化中，建筑修復(fù)是一種復(fù)雜的多學(xué)科的工作，其主要目標(biāo)是確保歷史遺跡得到保護，如此，在各種時間的痕跡當(dāng)中，它才能作為歷史遺存的記錄傳遞到未來。一項建筑修復(fù)工程是復(fù)雜的歷史性、批判性、科學(xué)性評估的結(jié)果，這一評估將建筑的精準(zhǔn)的歷史藝術(shù)信息與建構(gòu)和工程分析結(jié)合起來。

意大利修復(fù)學(xué)科的先鋒人物之一利利亞娜·格拉西寫于1980年代初期有一個重要設(shè)想值得我們銘記。根據(jù)她的觀點，她將修復(fù)實踐定義為一種批判性的干預(yù)，“它的存在是基于對歷史視角的認(rèn)知，以及進一步的對現(xiàn)在與過去的差別的認(rèn)知；所有的時代都處在自身的語境之中，任何一個都不能被特別地假定為一種范式?！盵1]當(dāng)更具體地談到現(xiàn)代建筑的修復(fù)時，喬瓦尼·卡爾博納拉按照年代區(qū)分并對比了對“新”的修復(fù)與對“老而古”的修復(fù)，并借之反思現(xiàn)代，其中也包括了最近的建筑事件[2]。

通過重建這一干預(yù)措施，?？死镳^被視為這樣一座現(xiàn)代建筑——它并不與過去相悖，與此同時，借助新的角色，它得以回到過去，作為連接未來的一座橋梁，并成為新的思考、實驗與意義的載體。

（喬琪雅·賽斯塔洛）

Memory and Regeneration

Column Editors: Alberto Bologna, Michele Bonino, Pierre-Alain Croset

The questions related to the conservation and heritage of the twentieth Century architecture are often connected with the issue of the restoration practice that has to be intended both as conservative gestures and cultural acts, and as scientific interventions aimed to the restitution of the cultural heritage. The practice of the preservation of modern architecture cannot be excluded from the understanding of the architectural work's values and from the interpretation of the role of architecture as one of the industrial society artistic expression;finally, the contextualisation of these mechanisms,such as reception, use and transmission of the architecture within the contemporary society values,represent instances that cannot be omitted from the debate.

The conversion of the Pavillon Sicli into a cultural centre represents a high-specialised intervention that looks to the future and aims to give back to the next generations the pleasure of a primary importance asset from the architectural and engineering point of view. The acknowledgment of the pavilion as a monument and its inclusion, in 2011, among Canton of Geneva cultural heritage inventory marks an important event that drastically changes the status and the meaning of the building itself1）. From a functional and production-oriented vocation, the Pavillon Sicli sees itself to be elected as a temple of culture, an architectonical expression to be preserved and handed over to the memory of the history.

The restoration of the modern architecture fits into the broader discussion of the traditional restoration from which it originates, but also keeps some relevant distances. In the European culture the architectural restoration is a complex and multidisciplinary project whose main purpose is to ensure the preservation of a monument in order to hand it over to the future as a document of the history maintaining, though, all the signs of the time.An architectural restoration project is the result of a complex historical, critical and scientific evaluation that combines an accurate historical and artistic knowledge of the artefact with specific architectonical and engineering analyses.

It is worth remembering an important assumption that one of the Italian pioneers of the Restoration discipline, Liliana Grassi, wrote in the early 1980s. According to her vision, she defines the practice of restoration as a critical intervention that "takes its raison d'être in the awareness of the historical perspective and therefore of the distinction, in continuity, of the present time from the past; distinction for which all epochs are placed in their situation without privileging one assuming it as a model"[1]. Speaking more specifically about restoration of the modern architecture Giovanni Carbonara chronologically distinguishes the restoration of the "New" in contrast to the restoration of the "Old and the Ancient" with a connotation of the modern that includes the most recent architectural events[2].

1 混凝土殼體的搭建框架/Building formwork for the concrete shell

2金屬支架與澆注的殼體/Metalwork and pouring of the shell

Through the intervention of regeneration,the Pavillon Sicli has been recognised as a modern architecture that is not opposed to the past meanwhile, thanks to this new vocation, it can be returned to the past acting as a bridge to the future and becoming bearer of new considerations,experimentations and meanings.

(Giorgia Cestaro)

3 拆除模板后的殼體/The shell after removal of the formwork（1-3圖片來源/Sources: Archives SICLI Matériel incendie SA,Geneva）

4 SICLI工廠入口，1970年代初/Entry to the SICLI Factory,early 1970s

5新 SICLI 工廠前的消防車，1970年代初/Fire-fighting vehicles in front of the new SICLI Factory, early 1970s（4.5 圖片來源/Sources: Bibliothèque de Genève, Centre d'iconographie genevoise, fonds Piraud & Grivel）

日內(nèi)瓦的希克里館毫無疑問是瑞士近期工業(yè)建筑改造中最有趣的項目之一。建筑由滅火器制造商SICLI（全稱為 Secours Immédiat Contre L'Incendie） 建造于1968-1970年，作為其瑞士總部，并由此得名。這座建筑既壯觀又神秘。它包括兩個體量巨大的長方體，交接在由7個支點支撐的不對稱單體殼體之下。清晰的暢通無阻的內(nèi)部空間形成了兩個巨大的拱頂。稍大的一個頂部有透明的穹頂，是工廠的生產(chǎn)廠房。稍小的一個是兩層的辦公空間。異常輕薄的玻璃表皮圍合了整座建筑，并延伸到自然采光的地下室，周圍是一系列嚴(yán)整的花壇和樹池。

這一出色作品由日內(nèi)瓦建筑師康斯坦丁·希爾貝爾和工程師海因茨·伊斯勒共同完成。伊斯勒目前被看作是20世紀(jì)最重要的瑞士工程師之一，在瑞士和歐洲完成了數(shù)以千計的薄殼混凝土結(jié)構(gòu)2）。在自然（貝殼、堅果、蛋殼、花瓣等）的啟發(fā)下，他的設(shè)計推進過程幾乎完全依靠實體模型來創(chuàng)造“自由的形式”，與通過數(shù)學(xué)公式（錐體、圓柱、橢圓、拋物面、雙曲面等）得來的傳統(tǒng)幾何形式截然相反。其中一種方法被稱作“懸掛翻轉(zhuǎn)成膜法”：首先由幾個點懸掛一片織物，然后涂上類似石膏或聚酯的雕塑材料，從而得到一種在重力作用下的純受拉的懸掛形態(tài)。成型之后，這個形式被翻轉(zhuǎn)過來，成為一個純受壓的殼體。

利用這一步驟并借助一系列模型，伊斯勒得到了希克里館的極其復(fù)雜的殼體[3]。在場地施工中，它的建筑之美在技術(shù)和構(gòu)造上得到了同樣高水平的表現(xiàn)。建筑模板（由末端有膠合板曲梁的可調(diào)節(jié)管狀元件和柔性的鋼橫梁以復(fù)雜的方式組裝而成）一經(jīng)完成，混凝土也已就緒，開始三天兩夜不停歇地澆筑。這項操作非常棘手——殼體的厚度在底部的30cm到頂部的9cm之間連續(xù)變化，需要建筑工人有極好的技術(shù)。3周之后，殼體準(zhǔn)備脫模，伊斯勒親自到場監(jiān)督——這一操作同樣驚險，需要隨時應(yīng)對預(yù)應(yīng)力鋼索的拉力變化。這些鋼索穿過樓板，將結(jié)構(gòu)的7條非固定的“腿”一一連接起來。它們的作用是確保壓力的穩(wěn)定和一致，以保持結(jié)構(gòu)的穩(wěn)定性和風(fēng)雨密性。

在作為工廠使用了40年之后，這座建筑被閑置。2011年，日內(nèi)瓦州政府將其買下，希望改造成一座以建筑、城市規(guī)劃與設(shè)計為主題的新的文化設(shè)施。第二年，遺產(chǎn)保護當(dāng)局將其列入了州（文化遺產(chǎn)）名錄。更名后的“?？死镳^”在其所處的劇變中的工業(yè)區(qū)中占有重要位置，后者的選址非常優(yōu)越，距離市中心很近。該館處于一個完美的修繕狀態(tài)，但是因為它現(xiàn)在需要容納公眾，遺產(chǎn)保護當(dāng)局不得不進行殘障和消防設(shè)施的升級工作?？紤]到這座建筑的特殊意義，這些介入在進行伊始就設(shè)定為完全可逆的，并且對原始建筑的空間和結(jié)構(gòu)產(chǎn)生的影響最小。

這些工作是a-architects建筑事務(wù)所的一個項目中的一部分。瑞士洛桑聯(lián)邦理工學(xué)院的現(xiàn)代建筑技術(shù)和保護實驗室被委派預(yù)先進行該建筑的遺產(chǎn)研究并提供咨詢。這個項目旨在落實簡單的高性價比方案，以替代經(jīng)常對既有建筑產(chǎn)生消極影響的現(xiàn)行做法。

被列入名錄意味著可以申請免除“能源升級”從而避免其帶來的災(zāi)難性前景，但是為了最好地保留建筑的完整性和特質(zhì)，立法上對消防安全的限制在項目初期就已經(jīng)考慮在內(nèi)。例如，建筑配有更多的緊急出口以在火災(zāi)時盡快地疏散人群，而不是圍合原本設(shè)計中開放的空間和通道。另外，建筑師們通過大量的基本措施來修復(fù)原建筑年久失修的部分，包括復(fù)原了大拱頂?shù)木埘ヱ讽敚迯?fù)了荒廢多年的特色景觀，甚至是拆除了窗戶上的太陽膜，因其反射性和朦朧效果與當(dāng)今設(shè)計師們追求的透明與無形格格不入3）。

?？死镳^的新使命——在兩個拱頂之下舉辦臨時的低環(huán)境沖擊的活動（展覽、會議、臨時展示等）——是值得贊許的。這些用途適合建筑的特質(zhì)，并且避免了對建筑外部（立面和屋頂）和室內(nèi)空間產(chǎn)生過大影響。最近，自然采光的開闊地下室空間也被重新激活，成為了日內(nèi)瓦建筑與城市規(guī)劃檔案研究及文件中心。再一次，主持修復(fù)的建筑師們通過追求同樣的低環(huán)境沖擊和最小干預(yù)，精心地保留了成就其獨特之處的工業(yè)特征。伴隨著卡門·佩蘭的雕塑作品《力量之線》在大拱頂?shù)陌惭b完成，希克里館在2017年5月正式開放，現(xiàn)在，它正在經(jīng)歷一次成功的新生。開始時，人們并不確定結(jié)果會是怎樣。但是，認(rèn)可建筑的遺產(chǎn)價值，并選擇適合既有空間的用途、謙遜和準(zhǔn)確的建筑師團隊和高效配合的利益相關(guān)者，還有也許是最根本的，對所面對的對象的特殊性達成共識——共同成就了這一具有普適性的方案。形態(tài)的改變是真實發(fā)生的，卻幾乎察覺不到——或許這正是這個值得贊揚的事業(yè)中最偉大的壯舉。□

6 圓頂下的機械和裝配工車間，1970年代初/Mechanics' and fitters' workshop, under the great dome, early 1970s （圖片來源/Source: Bibliothèque de Genève, Centre d'iconographie genevoise, fonds Piraud & Grivel）

7入門門廊為緊急出口，該改建無需更動原立面/Entry porch serving as an emergency exit, added without modifying the original fa?ade

8新增的用于裝卸的可折疊樓梯/New collapsible stair for loading and unloading

9 北立面新增的二層應(yīng)急樓梯/New emergency staircase at first floor level, north fa?ade

10北立面新增的應(yīng)急門/New emergency door, north fa?ade.

11裝修期間的地下室的檔案和文件中心/Archives and documentation centre in the basement, during fitout（7-11攝影/Photos: Yvan Delemontey, 2019）

12目前的地下室平面（新加建部分為紅色）/Plan of the basement in its present state (additions are shown in red)

13目前的首層平面/Plan of the ground floor in its present state

14目前的二層平面/Plan of the first floor in its present state

15目前的東立面與南立面/East and south fa?ades in their present state

16目前的西立面與北立面/West and north fa?ades in their present state.

17橫剖面與縱剖面/Transverse and longitudinal sections（12-17圖片來源/Sources: a-architectes, Geneva）

The story of the Pavillon Sicli in Geneva is surely one of the most interesting of the recent rehabilitations of industrial buildings in Switzerland.Built by (and named after) the eponymous manufacturer of fire extinguishers (SICLI - Secours Immédiat Contre L'Incendie) between 1968 and 1970 as its Swiss headquarters, the building is both spectacular and enigmatic. It consists of two rectangular volumes of distinctive size joined beneath a single asymmetrical shell poised on seven feet. The clear, unobstructed interior space is defined as two vast domes. The larger is topped by a translucent cupola and was the factory's production plant.The smaller, arranged on two floors, contained the ffiices. The glazed skin that envelopes the whole is a remarkably light affair, extending down to the naturally lit basement, and encircled by a system of very restrained embankments and planters with trees.

It is the work of a talented design duo consisting of Geneva architect Constantin Hilberer and engineer Heinz Isler. Isler is now regarded as one of the principal Swiss engineers of the twentieth century, responsible for thousands of thin-shell concrete structures in Switzerland and across Europe2）. Inspired by nature (seashells, nuts,eggshells, flower petals etc.), the design processes he developed are based almost solely on using physical models to create "free forms", as opposed to conventional geometric forms obtained by means of mathematical equations (cones, cylinders, ellipses,paraboloids, hyperboloids, etc.). One of these methods, known as "suspended inverted membrane",involves a piece of fabric suspended between several points, coated with a sculptural material such as plaster or polyester to obtain a hanging form in pure tension under gravity. Once the form is inverted,creating a shell in pure compression is created.

Using this procedure and by means of a series of maquettes Isler arrived at the particularly sophisticated shell form of the Geneva structure[3].In its execution on site, this piece of architectural brilliance achieves an equally supreme level of technical and constructional performance. Once the formwork is complete (a complicated assemblage of adjustable tubular elements with curved beams in glued laminated timber at the ends and flexible steel transoms) the concrete is ready for pouring,non-stop over three days and two nights. It is a tricky operation requiring immense skill on the part of the builder - the thickness of the shell varies continuously, from 30cm down to 9cm at the top.Three weeks later the shell is ready for striking,an equally perilous business coinciding with the tensioning of the pre-stressed cables, supervised in person on site by Isler. These cables pass through the ground floor slab and connect each of the seven mobile "legs" of the structure. Their role is to ensure the consistent and uniform compression needed to maintain stability and weather tightness in the structure.

Having served as a factory for 40 years, the building was decommissioned and then purchased in 2011 by the Canton of Geneva with an idea to transform it into a new cultural facility devoted to architecture, urban planning and design. The following year, the heritage authorities listed it,adding it to the Canton's inventory. Renamed"Pavillon Sicli", it has pride of place within an industrial area undergoing significant change,strategically located a short distance from the city centre. It is in an excellent state of repair, but since it is now required to accommodate the public the authorities have been compelled to undertake accessibility and fire safety upgrade works. Taking account of the building's exceptional significance,these interventions have from the outset been conceived to be fully reversible with minimum impact on the spaces and fabric of the original.

The works are part of a project developed by the architectural firm a-architects, in consultation with the Laboratory for the Techniques and Preservation of Modern Architecture (TSAM) at the école Polytechnique Fédérale de Lausanne (EPFL), which was tasked with preparing a heritage study of the building. The project aims to put in place simple,cost-effective alternatives to current practices which all too often have negative impacts for existing buildings.

Listing has meant that exemptions can be applied to avoid the disastrous prospect of an"energy upgrade", but legislative constraints for fire safety have been incorporated early in the program to best preserve the integrity and distinctive features of the architecture. For instance, it was decided to create more emergency exists to evacuate the public as quickly as possible in the event of a fire rather than to enclose spaces and paths of travel that were originally designed to be open. Moreover,a raft of basic measures have been taken to reinstate qualities proper to the building but lost over time,including restoring the polyester cupola in the great dome, reinstating landscape features that had been abandoned years before, and even the removal of solar films whose reflectivity and opacifying effects were at odds with the transparency and immateriality that the designers of the day were striving for3）.

The Pavillon Sicli's new vocation - to host occasional, low impact activities under the two domes(exhibitions, conferences, temporary displays, etc) -is to be celebrated. These are uses that fit well with the nature of the building and avoid the need for heavy impacts to the envelope (fa?ades and roof) and interior spaces. Most recently, the spaces inside the vast, naturally lit basement have also been reactivated as an archival research and documentation centre for architecture and urban planning in Geneva. Here again the architects leading the rehabilitation have taken care to conserve the industrial character that has shaped its identity by pursuing the same low impact, minimal approach. Officially opened in May 2017 with the installation of a sculptural work by Carmen Perrin (Lignes de forces) under the great dome, the Pavillon Sicli is enjoying a successful rejuvenation. At inception, there was no certainty of how things would turn out. But by recognising the building's heritage value, opting for a use compatible with existing spaces, humility and correctness on the part of the architects, productive collaboration among the stakeholders, and perhaps ultimately the common awareness of being in the presence of an exceptional object - a recipe for successful adaptation has been achieved. The metamorphosis is real but almost imperceptible. Perhaps that right there is the greatest feat of this commendable undertaking.□

注釋/Notes

1）關(guān)于文化遺產(chǎn)在歐洲的概念，可參考以下文獻/About European concept of Cultural Heritage,see: CHOAY F. L'allégorie du patrimoine. Paris, 1992.BABELON J P, CHASTEL A. La notion de Patrimoine.Paris, 1994.

2）關(guān)于伊斯勒和他的作品，可參考以下文獻/On Isler and his work, see: BILLINGTON D P. Heinz Isler as Structural Artist. Princeton: Princeton University Art Museum, 1980. RAMM E, SCHUNCK E. Heinz Isler Schalen. Stuttgart: Karl Kr?mer, 1986. CHILTON J. The Engineer's Contribution to Contemporary Architecture -Heinz Isler. London: Thomas Telford Publishing, 2000.ABEL J, CHILTON J (ed.), Heinz Isler - 50 years of New Shapes for Shells, Journal of the International Association for Shell and Spatial Structures, Special Issue, 2011, 52(3).

3）這些太陽膜是建成之后不久加到窗戶上的，為了減少室內(nèi)工作人員的眩光，同時也是為了緩解長期以來困擾工廠的夏季室內(nèi)過熱的問題/These films had been applied to windows not long after completion to reduce glare for the staff inside. They also aimed to reduce overheating of spaces in the summer, which was a chronic problem at the factory.