通過對承重結構的批判性再解讀實現(xiàn)適應性再利用：赫斯維克工作室在英國倫敦國王十字街區(qū)的實踐

阿爾伯托·博洛尼亞/Alberto Bologna

朱琳 譯/Translated by ZHU Lin

作者單位：都靈理工大學/Politecnico di Torino

譯者單位：愛丁堡大學/University of Edinburgh

記憶與再生

欄目主持：阿爾伯托·博洛尼亞，米凱利·博尼諾，皮埃爾-阿蘭·克羅塞特

Memory and Regeneration

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

在當代，很少有建筑作品可以在被認可為專業(yè)設計實踐佳作的同時，引發(fā)對重大理論問題的串聯(lián)思考。正因如此，位于倫敦國王十字街區(qū)的鐵路建筑遺產(chǎn)的再開發(fā)是一個值得注意的案例研究。我們期待從中提煉出批判性方法論的重點，并且使用建筑設計領域的特定分析工具進行驗證。

這一干預所提出的關鍵問題不在于形式主義，也不在于所使用的特定的建造技術，或是促成了建筑群所在整個區(qū)域的重新定義的決策過程，而是在對這一類建筑和城市再開發(fā)項目的分析中，相對于設計實踐，建筑評論扮演了怎樣的角色？但最重要的是，對評論家來說，有哪些可用的操作工具來促進對有效的建筑設計策略的宣傳，以影響未來全球范圍內適應性再利用領域內的專業(yè)實踐？

為了回答這些問題，我們必須思考，如何傳播有關現(xiàn)有建筑再利用的出色設計實踐，使其關聯(lián)到聚焦于建筑物建構面向的批判性方法論，以便這些建構面向能夠從概念上被分解、拆卸，從而帶來對最終建造的物質本質和程序面向的明確解讀。這些現(xiàn)有建筑是出于務實的功能性目的而建造的，如今由于它們獨特的構成和形式、久遠的年代、所處的地段，抑或由于它們自然而然地成為了記憶保管者而具有了實際的紀念性地位。

該項目是位于倫敦的赫斯維克工作室的作品，該工作室所主持的重要項目分布在包括英格蘭、美國、南非、中國在內的世界各地。通過該項目，赫斯維克工作室明確了其對舊工業(yè)建筑再利用的強烈的興趣和敏感度。位于開普敦的由廢棄筒倉改造而成的非洲塞茨當代藝術博物館建成之后，這一設計主題最近給事務所帶來了全球知名度。赫斯維克工作室的再開發(fā)所在的區(qū)域類似于一個人工“島”，它有著累贅的工業(yè)遺產(chǎn)，并試圖通過建筑、基礎設施和公共空間的改造而創(chuàng)造出新的城市特色。過去，制造業(yè)隔離了該區(qū)域，使之在形態(tài)上與其周圍的街區(qū)截然不同。赫斯維克工作室的項目位于由倫敦的基礎設施網(wǎng)絡形成的一條城市溝壑的南部。通往圣潘克拉斯車站的鐵軌位于基地的西側和北側，約克路在它的東側，路面之上是來自國王車站的鐵軌，南側的攝政運河將這一區(qū)域從周邊以住宅建筑為主的城市肌理中分隔出來。再開發(fā)和轉化項目已經(jīng)在這一區(qū)域逐漸展開。2011 年以來，南部俯瞰谷倉廣場的舊倉庫已經(jīng)成為了中央圣馬丁藝術與設計學院的新校區(qū)，舊煤氣筒被改造為公共空間。北部對著路易斯·丘比特公園的區(qū)域目前是阿卡汗大學穆斯林文明研究中心。在這樣的背景下，2014 年赫斯維克工作室受到國王十字中央有限公司的委托，來重新考慮俯瞰攝政運河的場地。建于 1850-1860 年間的3 座倉庫采用了當時流行的維多利亞風格，是這塊場地的最大特征。

通過對3 座建筑和它們所圍合的開闊庭院的改造，這個總部在倫敦的事務所成功地從建筑和功能上重新定義了整個區(qū)域。原來的倉庫綜合體儲存著從英格蘭各地運來的煤炭，再通過船舶和馬車分發(fā)到倫敦的不同區(qū)域。在經(jīng)歷了緩慢而不可逆的衰退之后，它原有的功能已經(jīng)喪失。過去的幾十年間，這些建筑最早是由小型工業(yè)機構占用，后來被當作倉庫，最終被經(jīng)營為夜店，并在1990 年代之后被逐漸遺棄。建筑師說，他們“想要保留工業(yè)建筑獨特的肌理和歷史，同時創(chuàng)造一個統(tǒng)一的嶄新的公共空間和零售綜合體”，目標是“將荒廢的建筑和長條的線狀場地轉變?yōu)闊狒[的零售區(qū)域，讓人們可以自在地聚會和閑逛”。

在評論家為了積極助力對優(yōu)秀建筑設計實踐的宣傳而必須要參考的理論教條的定義中，我們不應忽略對他所面臨的“任務”的定義。考慮到國王十字所進行的再開發(fā)的特殊性，這樣的“使命”理應被理解為一種能力——能夠認識到建成遺產(chǎn)的復雜性，從而得以拓展和分析建筑與城市開發(fā)項目所體現(xiàn)出的問題和潛力。這種理解理論的方式與專業(yè)實踐關系極為密切，不出意外地赫斯維克工作室在圍繞場地適應性再利用的項目中運用的不同操作體現(xiàn)了這一方式。如果說塞茨非洲當代藝術博物館的空間品質是通過在筒倉內壁上做減法的復雜操作而達到的，在倫敦的新綜合體中，建筑師們則利用了原有屋頂承重結構的模塊化和序列性來增加一部分適合于新的商業(yè)功能的空間。兩個案例所使用的方法都根植于對原有建筑的物質特性的深刻理解，其特性將會決定未來所有的建筑設計的選擇。同樣地，評論家們所使用的分析方法，必須始于每個建筑作品中構造上的、類型化的、形式上的獨特性，如此，這些文章才能被看作是對這些足以影響未來專業(yè)實踐的操作工具的有益宣傳。

1 南側鳥瞰/Aerial view from south（攝影/Photo: Luke Hayes）

2 從南側望庭院/View of the courtyard from south（攝影/Photo: Hufton + Crow）

In the field of contemporaneity, there are few architectural episodes that make it possible to question and link together major theoretical issues while being considered examples of good professional and design practices. The redevelopment of the heritage rail buildings located in the King's Cross district of London is, therefore, a case study worthy of note if we also analyse it with the aim of refining the focus of critical methodologies and testing them using specific analytical tools in the field of architectural design.

This intervention raises crucial questions that go beyond the formalisms, specific construction techniques used or decision-making processes that have led to the new redefinition of the entire area within which the buildings are included: what is the role of architectural criticism in relation to design practice in the analysis of an architectural and urban redevelopment project of this kind? But above all: what are the operational tools available to critics to contribute to the dissemination of valid architectural design strategies capable of influencing future professional practice in the field of adaptive reuse all over the world?

To answer these questions, we have to consider how the transmission of good design practices related to the reuse of existing buildings - built for pragmatic utilitarian purposes and now elevated to the status of actual monuments due to their compositional and formal peculiarities, their age, their location within the city or due to the fact that they have become the involuntary custodians of memories - must relate to critical methodologies that focuses on the tectonic aspects of buildings, so that they can be ideally dismantled and broken down, with the consequent definition of both the material essence and the procedural aspects that led to their construction.

The project is the work of the Heatherwick Studio in London, which has been responsible for significant projects all over the world, from England to the United States, from South Africa to China. For this project, the Heatherwick Studio unequivocally confirms a strong interest and sensitivity towards the reuse of former industrial buildings, a design theme that has given it a recent worldwide reputation following the completion of the Zeitz Museum of Contemporary Art Africa, housed in an abandoned silo in Cape Town. The area of London where the Heatherwick Studio's redevelopment is located is a sort of artificial "island" with a cumbersome industrial past, intent on pursuing the progressive creation of a new urban identity through the transformation of buildings, infrastructures and open spaces. The area's original manufacturing vocation separates it and makes it morphologically very different from the other parts of the city around it: the Heatherwick Studio project is located south of an urban ravine generated by London's infrastructure network. The railway tracks serving St. Pancras station to the west and north, York Way to the east - over it, the tracks from King's Cross station - and Regent's Canal to the south separate this area from the rest of the urban fabric, most of which are residential buildings. Redevelopment and conversion programmes have been launched progressively within the area. Since 2011, the southern part has been home to Central Saint Martin's College of Arts and Design, in the former warehouses overlooking Granary Square, and the old gasometers have been converted into public space. The northern part, facing Lewis Cubitt Park, currently houses the Aga Khan University Institute for the Study of Muslim Civilisations. Within this context, in 2014 the Heatherwick Studio was commissioned by King's Cross Central Limited Partnership to radically rethink a site overlooking Regent's Canal, characterised by three warehouses built between 1850 and 1860 in the Victorian styles that were fashionable at the time.

3 區(qū)位平面/Site location plan

4 首層平面/Ground floor plan

5 庭院，西側立面/Courtyard, west fa?ade（繪制/Drawing: Heatherwick Studio）

6 新型鋼結構示意/Structural diagram of the new steel structure （攝影/Photo: Heatherwick Studio）

7 工地，新型鋼結構的組裝/Building site, assembly of the new steel structure（攝影/Photo: Heatherwick Studio）

8 新屋頂和底層現(xiàn)有磚石結構之間的連接/Connection between the new roof and the underlying existing masonry （攝影/Photo: Hufton + Crow）

9 庭院內立面細部/Inner fa?ade detail （攝影/Photo: Heatherwick Studio）

在以上方面，原國王十字倉庫的再開發(fā)證實了它的轉變潛力，體現(xiàn)在對以序列重復的結構元素為特點的建筑的適應性再利用。面對庭院的兩座現(xiàn)有建筑的屋頂坡度從二維的平面轉變?yōu)槿S的立體：這個精彩的形式操作賦予了新綜合體獨特的特征，增加了可銷售的表面面積，視覺上連接了兩座現(xiàn)存的倉庫，并且覆蓋了開闊的大內院的一部分。然而，它不應該僅僅被視為一個出色的設計實踐、一個可以被運用到其他類似情況中的設計案例，而是一種設計工具，它促成了從現(xiàn)有的兩個翼部生長出來的兩個新體量的寄生性嵌入，勢必會吸引建筑評論家們的目光。赫斯維克工作室和奧雅納公司的合作催生了一個嶄新而復雜的自支撐結構系統(tǒng)的概念，其不僅可以融入已有的墻壁和金屬結構，還可以復制它們的間距、形態(tài)和幾何關系——換句話說，它們最核心的本質。支撐現(xiàn)有建筑頂層的52 個新鋼柱，隱藏在古老的磚材和鋼材之后，由混凝土墻和核心筒支撐著；每一個彎曲的新帶狀屋頂由20 品鋼型材組成，一端由螺栓固定在4 個鋼桁架上，另一端固定在柱子上。原有的磚石建筑成為一個藏寶箱，收藏著舊的和新的結構部件：它們融合為一個理想的同質的有機體，使得屋面的復雜扭曲和凸出成為一個幾乎自發(fā)的形式操作、同一個架構在幾個世紀中自然演化的結果。8 萬片屋頂瓦片強調了這一合乎邏輯的演化，它們與維多利亞風格的原始建筑所使用的瓦片來自于同一家威爾士采石場的石板。

10 從北側望庭院/ View of the courtyard from north（攝影/Photo: Luke Hayes）

11 建筑頂層室內/View of the inner space at the top level of the buildings（攝影/Photo: Hufton + Crow）

這并不是簡單的形式主義，而是真正的建筑演化的姿態(tài)。只有通過巧妙地對建筑和屋頂?shù)慕Y構系統(tǒng)的批判性再詮釋，并借助于建筑師展現(xiàn)的技巧得以落實，這一演化才能成為可能。建筑師們有條理地分解現(xiàn)有建筑以理解它們作為物質實體的本質，并將建造時使用的構造過程轉化為真正的設計工具，最終運用到單體建筑以及城市整塊區(qū)域的重建之中。□

With the refurbishing of the three buildings and the large open courtyard bordered by them, the London-based Studio is contributing to the architectural and functional redefinition of the entire area. This former warehouse complex has undergone a slow but inexorable deterioration since the premises lost their original functions, which aimed to store coal brought in from all over England for distribution throughout the London area by barge and cart. Occupied, over the decades, initially by small industrial establishments, then warehouses and, finally, nightclubs, the buildings have been progressively abandoned since the 1990s. The designers say that they "wanted to celebrate the unique texture and history of the industrial buildings while also creating a unified new public space and retail destination", the goal being "to transform the dilapidated buildings and long, linear site into a lively retail precinct where people could gather and circulate with ease".

Within the definition of the theoretical dogmas to which the critic must refer in order to contribute constructively to the dissemination of good architectural design practices, we cannot ignore the definition of his "task", a "mission" which, when linked to the specificities of the redevelopment carried out at King's Cross, has to be understood as the ability to recognise the complexity of the built heritage in order to expand and analyse, as a consequence, the problems and potentials expressed by the architectural and urban redevelopment project. Radically bound to professional practice, this way of understanding theory is not surprisingly reflected in the different approaches adopted by the Heatherwick Studio in projects that embrace the field of adaptive reuse. If spatial quality at the Zeitz Museum of Contemporary Art Africa is obtained thanks to a sophisticated action of material subtraction from the interior walls of the silo, at the new London complex, the designers take advantage of the modularity and seriality of the load-bearing structures of the original roofs to accomplish an action of volumetric addition suited to the new commercial programme. In both cases, it is an approach rooted in a deep material knowledge of the building, the characteristics of which will determine all future architectural design choices. Likewise, critics must implement an analytical methodology that begins with the constructive, typological and formal peculiarities of the individual piece of architecture so that his work can be considered useful to the dissemination of those operational tools capable of influencing future professional practice.

In these terms, the redevelopment of the former King's Cross warehouses exemplifies the transformative potential, seen in terms of adaptive reuse, of buildings characterised by the serial repetition of structural elements. The pitches of the roofs of the two existing buildings facing the courtyard are transformed from two-dimensional slabs into three-dimensional objects: this brilliant formal solution conceived to uniquely characterise the new complex, increase the saleable surface area, visually connect the two existing warehouses and partially cover the large open courtyard, should not, however, be interpreted as a good design practice in itself, to be used as an example for the design of other similar situations. Instead, it is the design tool that implements the parasitic insertion of the two new volumes that emerge from the two existing sleeves that must attract the attention of the architectural critic. The collaboration between the Heatherwick Studio and Arup leads to the conception of a new and complex self-supporting structural system capable not only of integrating with the existing walls and metal structures but also of replicating their bay, morphology and geometry: in other words, their essence. 52 new steel columns cross the top of the existing buildings, concealed behind aged brick and iron, and shored up by concrete walls and cores; each of the curving new roof ribbons is formed of 20 steel sections bolted onto four trusses and tied back to the columns. The original masonry work became a treasure chest that preserves both old and new structural parts: their incorporation into an ideal homogeneous organism makes the sinuous distortion and extrusion of the roof pitches an almost spontaneous formal gesture, the result of a natural evolution of the same architecture over the centuries. A logical evolution emphasised by the 80,000 roof tiles made of slate extracted from the same Welsh quarry as those used for the original Victorian buildings.

This is not a mere formalism but a real architectural evolutionary gesture that became possible only with an intelligent, critical reinterpretation of the structural system of buildings and roofing, put in place thanks to the skill displayed by the designers in analytically breaking down the existing architectures to understand their material essence, turning the tectonic processes used at the time of construction into real design tools for the regeneration not only of individual buildings but of an entire part of the city.□