約旦皇家自然保護(hù)學(xué)院，阿杰隆山脈，約旦

建筑設(shè)計(jì)：阿馬爾·卡馬什

1980 年代后期到1990 年代，出于與環(huán)境相關(guān)的諸多原因，約旦政府決定停止許多采石場的運(yùn)營。由于未再進(jìn)行土地開墾，那些廢棄的采石場仿佛在自然景觀中留下了未治療的傷口和被忘卻的割痕。新的護(hù)林員學(xué)院大樓的基地過去就是一個(gè)采石場。在這個(gè)項(xiàng)目中，我們事務(wù)所決定充分利用采石場人工開鑿出的裸露峭壁，以紀(jì)念原來的采石場，而不是試圖抹去它的痕跡。土地上這個(gè)變形的切口因此成為了場地中真正令人興奮的挑戰(zhàn)。

“作為畫家，我喜歡畫受傷的大自然，而非純粹的大自然。對我而言，純粹的大自然太過完美了?！苯ㄖ熣f。

建筑設(shè)計(jì)基于采石場峭壁的切割線，它是30年前由一位推土機(jī)司機(jī)繪制在這片土地上的，而他永遠(yuǎn)不會知道這條線會成為一座建筑立面的基準(zhǔn)。建筑非常精確地沿著這條切割線展開，仿佛是在采石場的基巖之上新建的一塊線性的巖石。新建建筑的立面高度占到了總高的1/3，建筑下的基巖則占了2/3。

建筑最引人注目的是巨大的南立面，它由巨型刀片狀巖石垂直堆砌而成，石頭夾縫切削形成細(xì)小的窗口。陽光穿過夾縫，照亮垂直交通區(qū)域和隱蔽的浴室花園。水泥墻的邊緣也切削成鋒利的尖角，使得“刀刃”開裂而形成材料特有的裂紋。

學(xué)院大樓有雙重功能：大樓一側(cè)是一個(gè)環(huán)境學(xué)院，提供自然導(dǎo)向的教育項(xiàng)目；另一側(cè)是一個(gè)高端餐廳和一家手工藝品商店，為學(xué)院的學(xué)術(shù)項(xiàng)目提供資金來源。

要進(jìn)入建筑，必須經(jīng)過一座30m 長的橫跨采石溝的橋梁。這座橋是約旦乃至整個(gè)中東地區(qū)最長的磚石拱券結(jié)構(gòu)，拱弧直徑與伊斯坦布爾的圣索菲亞大教堂的穹頂相當(dāng)。一越過橋，迎面看到的就是建筑物的入口，它剛好位于建筑兩個(gè)功能區(qū)的交界點(diǎn)，右側(cè)是餐廳，左側(cè)是學(xué)院。在那里，采石場的基巖就是建筑主要的基礎(chǔ)所在。

屋頂上的一道裂縫界定了走廊的區(qū)域，裂縫引入自然光線，將游客引導(dǎo)至學(xué)院的各個(gè)部分。建筑對材料的處理非常簡單，主要使用的材料是阿杰盧尼石灰石，來自這個(gè)采石場和其他巖石構(gòu)造相同的采石場。演講廳中則用到了素混凝土砌塊以及墻內(nèi)填充的稻草來隔音隔熱。石墻上的一個(gè)巨大切口保持裸露，沒有抹灰，作為進(jìn)入大廳的開口。

在建筑面向森林的不受采石活動影響的另一面，學(xué)院仿佛在與森林進(jìn)行一個(gè)友好的握手。建筑懸浮在森林上，幾乎就要觸碰到森林。建筑的占地面積極小，基礎(chǔ)柱以45o角挑出到森林上方，懸挑平臺有刀刃般鋒利的邊緣，如同輕薄的紙頁漂浮在樹冠之上?！酰缸繝?譯）

1 草圖/Sketch

2 外景/Exterior view

3 首層平面/Ground floor plan

4 外景/Exterior view

In the late 1980s-1990s, the Jordanian Government decided to stop many functioning quarries for a variety of environmental reasons.The abandoned quarries remained as untreated wounds and abandoned cuts in the landscape, with no serious land reclamation efforts.The proposed site of the new the Rangers Academy Building held the shadows of a once functioning quarry.In this project, our office decided to celebrate the quarry instead of erasing it, by using this manmade artificial exposed cliff to the advantage of the project.This deformed cut turned into the real thrilling challenge of the site.

"As a painter I like painting wounded nature rather than pure nature; pure nature is too much for me, too perfect." - Ammar Khammash

The building design is based on the quarry cliffcut-line that a bulldozer driver once drew in the land some thirty years ago, never knowing that this line will be the base of a building elevation.The building follows the quarry line very accurately, creating a linear addition of constructed stone to the bedrock.The total fill elevation adds up to one third added layer of construction on top of two thirds bedrock.

The massive southern elevation, which is the most dramatic of all, consists of very small windows with giant vertical blade-like stone cracks shearing into zero-width.Those cracks bring light into the vertical circulation areas and the hidden bathroom gardens.The shearing cement in the walls thin down to zero in width, causing the knife edges to crack and act upon their material character.

The Academy Building has a double folded functionality: from one side it is an environmental academy that presents nature-oriented educational programmes, on the other, it is a high-end restaurant and a craft shop that finance the academic programme of the academy.

To enter the building, you must cross a 30-metre bridge which spans the quarry gap.The bridge is the longest masonry arch in Jordan and probably the region, and is equivalent in diameter to the Hagia Sophia's dome in Istanbul.Upon crossing the bridge,the entrance of the building welcomes you at the exact middle contact point between the restaurant's dining room to your right, and the academy to your left.There, the quarry rock acts as the main foundation.

The corridors are defined by a crack in the ceiling that lets natural sunlight in and guides the visitor to the rest of the academy.The building uses a very simple treatment of materials; it is made from Ajlouni lime stone from the site's quarry and other quarries that share the same strudel of rock.In the lecture hall,plain concrete block is used for acoustic buffering and insulation in addition to straw in the wall sections.Cuts in the walls were kept exposed without plastering,which serve as openings into the hall.

On the opposite side of the building unaffected by quarrying activities and facing the forest, the academy touches the forest with a beautiful handshake.The building hovers over the forest and barely touches it.It has minimal footprint as the foundation columns cantilever at 45 degrees above the forest floor, and the cantilevered terraces with blade-like edges float almost like paper above the trees canopies.□

5 剖面A-A/Section A-A

6 剖面B-B/Section B-B

7 剖面C-C/Section C-C

8 西立面/West elevation

9 東立面/East elevation

項(xiàng)目信息/Credits and Data

客戶/Client: The Royal Society for the Conservation of Nature (RSCN)

施工經(jīng)理/Construction Manager: Hasan Osama

主持建筑師/Principal Architect: Ammar Khammash

首席景觀師/Chief Landscape Designer: Ammar Khammash

設(shè)計(jì)團(tuán)隊(duì)/Design Team: Osama Odeh, Dima Assaf

結(jié)構(gòu)設(shè)計(jì)/Structural Design: Ammar Khammash

工程顧問/Engineering Consultants: Mohammed Halawani and Mohammad Odeh from Al-Arabi Group Consulting

地?zé)嵯到y(tǒng)/Geo-thermal System: GEO Contracting Company

電氣/Electric: Energy Management Services (EMS)

施工顧問/Construction Consultant: Sami Al-Hafi Establishment for Contracting

材料/Materials: 阿杰隆石灰?guī)r，混凝土砌塊，水磨石，鐵材，保溫草席，水泥，鋁和玻璃門窗，木材/Anjara limestone, concrete blocks, terrazzo tiles, ironwork,insulation straw, cement, aluminium and glass windows/doors , wood and timber

項(xiàng)目面積/Project Area: 156,780m2

建筑面積/Floor Area: 3500m2

造價(jià)/Cost: 3,912,239.39 USD

設(shè)計(jì)時(shí)間/Design Time: 2008-2010

施工周期/Construction Time: 2011-2013

竣工時(shí)間/Completion Time: 2014

繪圖/Drawings: Ammar Khammash

攝影/Photos: Ammar Khammash

10 地下層平面/Basement floor plan

11-14 外景/Exterior views

15 天窗/View of skylight

16 天窗剖面/Section of skylight

評論

卡羅爾·穆克海伯：該項(xiàng)目與黎凡特地區(qū)緊密相關(guān)。不幸的是，未經(jīng)規(guī)劃和管理不善的采石場太過平凡。然而，該項(xiàng)目并沒有試圖掩蓋石材開采的現(xiàn)實(shí)，而是充分利用了這片壯觀的人造地景。該建筑物位于被開挖切削過的空地和有植被覆蓋的相對未受干擾的山嶺之間的邊緣。建筑紅線界定了建造之前和之后的條件。在采石場一側(cè)，自然石灰石地面與精心打磨的石材模塊之間形成了不規(guī)則的過渡，并導(dǎo)致地面與建筑物之間呈現(xiàn)出紀(jì)念性、斷面化和垂直向的連續(xù)性。相反，在植被覆蓋的那一側(cè)，建筑體量精巧地盤旋于其上，為更加生態(tài)敏感化的未來提供了一個(gè)可能的視角。（徐紫儀 譯）

莊子玉：本項(xiàng)目的最大特征性便是作為原采石場的基地特質(zhì)。如果把地質(zhì)結(jié)構(gòu)的形成過程與建筑的建造過程相對應(yīng)，我們不難發(fā)現(xiàn)其中一系列的對應(yīng)關(guān)系。而采石場的斷面特質(zhì)，則更像將其內(nèi)在結(jié)構(gòu)生成邏輯——在這里集中表現(xiàn)為地質(zhì)巖層的堆疊機(jī)理作為一種“立面”形式暴露出來的狀態(tài)。建筑師自述，相對于受傷的自然，純粹的自然并不具有足夠的吸引力，我理解是因?yàn)樗痪邆渥銐蛞l(fā)場地文脈特質(zhì)與建構(gòu)文化操作層面的前提。而采石場這樣一種具有場地“技術(shù)”特質(zhì)的文脈前提，則使得建筑師的選擇變得順理成章。

在利布斯·伍茲《戰(zhàn)爭與建筑》的書中我們也會看到類似關(guān)于“傷痕”的描述，但原則和訴求則更為清晰，對于傷痕的解構(gòu)重組與重塑以及對于場地新的精神性的呼喚使得“傷疤”成為新的肌體的激發(fā)。然而在皇家保護(hù)學(xué)院這個(gè)項(xiàng)目中，我們能看到建筑師對于自然“傷痕”的描述是過于感性的，或者近乎含糊的。我們能夠看到一系列與原有場地文脈并行的線索，甚至是模仿——石材的應(yīng)用、層疊的體驗(yàn)、縫隙的光影。但這遠(yuǎn)不夠建筑作為一種具有“傷疤”特質(zhì)的具有自治本體屬性命題的延展，換而言之，新的場地和空間特質(zhì)并沒有在這個(gè)具有極強(qiáng)建構(gòu)邏輯和文脈的場地上被足夠的激發(fā)出來。而這反而使得建筑的西立面，也是唯一和建筑“基座”部分不相連的體塊，成為整個(gè)建筑最放松的部分，以及最大的視覺亮點(diǎn)。

17 外景/Exterior view

18 橋立面/Bridge elevation

19.20 詳圖/Details

Comments

Carol Moukheiber: The project is highly relevant for the Levant region.Unplanned and mismanaged quarries are unfortunately all too common.However, rather than attempting to cover up the realities of stone excavation, the project harnesses this artificially sublime landscape.The building sits on the edge between the excavated, scraped, void and a vegetated, relatively undisturbed mountain side.The building's line delimits a before and after condition.On the quarry side, the transition between the raw limestone ground and the manicured stone modules is irregular and results in a monumental, sectional or elevational continuity between ground and building.Conversely on the vegetated side, the building delicately hovers over, offering perhaps a view to a more ecologically sensitive future.

ZHUANG Ziyu: The most prominent feature of this project is the characteristics of the site as a former quarry.If we look at the formation of the geological structure and the construction of the building, we could easily identify a series of correspondences.The cross-section of the quarry reflects the logic of the formation of the internal structure, where the geological strata are exposed as a kind of fa?ade.The architect argues that pure nature is less attractive to him than wounded nature.In my understanding, it is because pure nature is less likely to reveal the contextual characteristics and archi-tectonic cultures.Thus, the quarry with its technical qualities and contextual characteristics can easily justify the architect's choices.

In Lebbeus Woods' War and Architecture, there is a similar description of the "wound",yet the principles and appeals are clearer - with the deconstruction and reconstruction of the"wound" and the call for a new spirituality of the site, the "wound" will allow new skin to grow.In this project, however, the architect's description of the nature's "wound" is too emotional and vague.We can see a series of clues parallel to the original context, and even some imitations - the use of stones, the experience of multiple layers, the light and shadows of the gaps.But these are far from enough to make the building itself an extension of a proposition of autonomous ontology with attributes of the "wound".In other words, despite the strong archi-tectonic logic and context of the site, few new spatial characteristics are created.Instead,the west elevation, where the building volume is not connected with the base, has become the most relaxed part of the building and the biggest visual highlight.(Translated by MU Zhuo'er)