尼邁耶旅館改造項(xiàng)目，的黎波里，黎巴嫩

建筑設(shè)計(jì)：East建筑工作室

1 展覽空間/Exhibition space

尼邁耶設(shè)計(jì)的這座旅館從外面看起來(lái)十分封閉，但令人驚訝的是，其室內(nèi)空間卻光線充沛。開(kāi)放式的平面圍繞中央庭院展開(kāi)。漂浮的屋頂看起來(lái)是裝飾性的，它由4 個(gè)柱子支撐，賦予屋頂下的水平向空間以抽象美。清水混凝土從內(nèi)到外主導(dǎo)著旅館，部分內(nèi)墻卻特意使用了石材，這一點(diǎn)在尼邁耶的作品中并不常見(jiàn)，正因如此，也給室內(nèi)空間帶來(lái)了一絲鄉(xiāng)土感。

我們的任務(wù)是改造這樣一座完全內(nèi)向性的建筑。

我們的介入方式自然地考慮到了建筑的上述特征，特意揭示并增強(qiáng)這座建筑的“DNA”。在概念上，我們保留了圍繞中央庭院的寬敞的開(kāi)放式平面的特質(zhì)，但在功能上，我們把大空間劃分成一系列小空間，以滿足計(jì)劃搭建的木工設(shè)計(jì)平臺(tái)的需求。這些空間由一系列輕鋼與玻璃分隔界定，它們呼應(yīng)了屋頂結(jié)構(gòu)網(wǎng)格的節(jié)奏，各個(gè)空間相互連接，并與中央庭院相通。固定的和可移動(dòng)的門板組合形成活潑的節(jié)奏，光影與透明感回蕩其間，門板可根據(jù)功能需要而開(kāi)放或封閉。

方案采用的材料的色調(diào)與我們初次見(jiàn)到這座建筑時(shí)的狀態(tài)保持一致，保留了它未完成的混凝土的灰色，令人聯(lián)想起博覽會(huì)場(chǎng)地的地面?；炷磷鳛椴牧虾妥鳛轭伾膹?fù)原能力為這座建筑所處的未完工的博覽會(huì)園區(qū)帶來(lái)了一種永恒性和樸素感。我們有意地接納這種永恒性，并將“單色性”作為設(shè)計(jì)的一項(xiàng)基本元素。屋頂、墻壁、地板、木工用具和金屬門框都以灰色為主色，有助于體現(xiàn)建筑原有的輕質(zhì)的室內(nèi)氛圍，模糊室內(nèi)外的界限。

項(xiàng)目的一個(gè)矛盾點(diǎn)在于，建筑的新功能是暫時(shí)性的。在接下來(lái)5 年，這座旅館建筑會(huì)用作一個(gè)木工設(shè)計(jì)平臺(tái)，但它也可能在未來(lái)回到最初的旅館功能。考慮到這個(gè)矛盾的存在，我們的設(shè)計(jì)介入是可逆的。無(wú)論是輕質(zhì)的玻璃分隔，還是照明與機(jī)械設(shè)備，都可以在未來(lái)拆除，為其他新功能留出空間，而尼邁耶原本設(shè)計(jì)意圖的完整性將保持不變?！?（母卓爾 譯）

Overwhelmingly opaque in appearance, the Guest House surprises with its light flooded interior space, an open floor plan punctured by a central courtyard.Its floating roof, seemingly ornamental,sits on four columns and renders the "horizontal"space beneath as abstract.Fair faced concrete dominates the Guest House inside out, however the deliberate use of stone on some internal walls, an uncommon practice in Niemeyer's work, introduces a sense of vernacular to the inside.

We were asked to meddle with a fundamentally introverted building.

Our intervention naturally took into account the above-mentioned features, deliberately revealing and most importantly enhancing the "DNA" that composes the structure.The expansive open plan revolving around the central courtyard was conceptually preserved but programmatically broken down into a series of spaces to accommodate the needs of the desired platform.Defined by a series of lightweight steel and glass partitions registering the rhythmic ceiling structural grid, the spaces connect to each other and to the courtyard.Light, shadow and transparency reverberate through a playful tempo of fixed and operable panels, allowing for openness or segregation when needed.

The proposed material palette and colour tones remained true to the state in which we first encountered the building - in its unfinished concrete grey colour - reminiscent of the Fair grounds.The resilience of concrete as a material, but also as a colour, gives a sense of timelessness and austerity to the incomplete city in which the building resides.We have intentionally embraced this timelessness and introduced "monochromatism" as an integral part of the design intervention: Ceilings, walls, floors,millwork and metal frames, all predominantly grey,help reveal the building's original weightless interiors,blurring thresholds between inside and outside.

Paradoxically, the programmatic use of the new space is ephemeral.Used as a design platform and prototyping facility for the next five years, the Guest House could one day reclaim its original use.It is this paradox that made our intervention reversible through time: the lightweight partitions, lighting fixtures and machinery could be removed, leaving place for another programme to take over; however, the integrity of the original design intent would stay untouched.□

2 總平面/Site plan

3 改造前和改造后外景/Front elevation, before & after

4 正面外景/Front elevation

5 剖面透視/Sectional perspective

6 平面/Floor plan

7 平面：檔案圖片（來(lái)源不詳）/Floor plan, archival print (source unknown)

8 建筑干預(yù)/Architectural intervention

9 改造前和改造后室內(nèi)空間/Interior space, before & after

10 側(cè)面外景/Side elevation

項(xiàng)目信息/Credits and Data

客戶/Client: Expertise France

地點(diǎn)/Location: Rachid Karami Internatinal Fair, Tripoli,Lebanon

主持建筑師/Principal Architects: East Architecture Studio

設(shè)計(jì)團(tuán)隊(duì)/Design Team: Nicolas Fayad, Charles Kettaneh

合作者/Collaborators: Elie Geha, Lucile Abi Chebl, Zeina Azoury

結(jié)構(gòu)設(shè)計(jì)/Structural Design: Ziad Yazbeck

顧問(wèn)/Consultants: Roger Noujeim, Bachir Saadeh

結(jié)構(gòu)及施工顧問(wèn)/Structural and Construction Consultant:Gazzaoui & Taleb Contracting Co.

項(xiàng)目面積/Project Area: 2500m2

設(shè)計(jì)周期/Design Period: 6個(gè)月/6 Months

施工周期/Construction Period: 6個(gè)月/6 Months

竣工時(shí)間/Completion Time: 2018.09

繪圖/Drawings: East Architecture Studio

攝影/Photos: East Architecture Studio

11 展覽空間/Exhibition space

12 中央庭院/Central courtyard

13 側(cè)院/Lateral courtyard

14 工作室空間/Workshop space

評(píng)論

穆斯塔法·容迪：奧斯卡·尼邁耶設(shè)計(jì)的黎巴嫩的黎波里博覽會(huì)是中東的重要現(xiàn)代建筑遺產(chǎn)之一，對(duì)它進(jìn)行設(shè)計(jì)介入是極具挑戰(zhàn)性的任務(wù)。然而，在旅館改造項(xiàng)目中，East建筑工作室巧妙地讓這棟小建筑重獲新生，他們的策略是保留建筑的現(xiàn)代獨(dú)立形式，并突出自然采光的中央庭院。在保留建筑的大部分細(xì)節(jié)的同時(shí)，新置入的金屬軸玻璃門板使中央空間充滿活力，實(shí)現(xiàn)室內(nèi)外空間的連續(xù)過(guò)渡。此外，通過(guò)對(duì)尼邁耶在巴西利亞的類似建筑作品的研究與參考，該項(xiàng)目成功地在當(dāng)下展現(xiàn)了尼邁耶在建筑界的全球影響力。（母卓爾 譯）

青鋒：并沒(méi)有很多人知道奧斯卡·尼邁耶在黎巴嫩還有博覽會(huì)園區(qū)這樣一個(gè)項(xiàng)目。因?yàn)閼?zhàn)爭(zhēng)的影響，這個(gè)1960年代的工程從未真正完工，在的黎波里留下一個(gè)橢圓形的“遺址”。在他去世6年之后，這座旅館終于改造完成。令人感嘆的是，負(fù)責(zé)改造的建筑師所做的一切，似乎僅僅是完成尼邁耶的設(shè)計(jì)而已，早先設(shè)計(jì)中醒目的混凝土梁與方形內(nèi)院，仍然是項(xiàng)目最有吸引力的元素。這是一個(gè)令人欽佩的克制。雖然我們并不知道當(dāng)時(shí)尼邁耶所設(shè)想的是什么樣的完成效果，但是East建筑工作室令人信服地展現(xiàn)了60年前這個(gè)設(shè)計(jì)的杰出品質(zhì)。他們就像考古學(xué)家，默默地挖掘和恢復(fù)了一件珍品。這種美德比設(shè)計(jì)更為崇高。

15 入口步道/ Entrance walkway

Comments

Mustapha Jundi: Intervening on one of the Middle East's architecture modern legacies - the Oscar Niemeyer's Fairground in Tripoli, Lebanon - is an extremely challenging task.However, East Architecture Studio beautifully and carefully revived a small building within the fair complex by preserving its modern discrete form and highlighting its naturally lit central patio.While retaining most of the building's details, the newly added metal pivoting panels animate the central space and allow for a smooth spatial continuity with the outdoor.In addition, by researching and referencing Niemeyer's similar building in Brasilia, the intervention succeeds in truly embodying in the present the architect's global impact on architecture.

QING Feng: Not many people know about Oscar Niemeyer's Tripoli Fairground in Lebanon.The project, firstly started in the 1960s, was never really completed due to the civil war, leaving an oval "heritage site" in Tripoli.Six years after Niemeyer's death, the guest house was finally renovated.Astoundingly, all the architect did in the renovation project was to finish Niemeyer's design.The concrete beams and the square courtyard in the original design are still the most appealing elements of the project, which reflects an admirable restraint.While we could not know what Niemeyer would want the project end up looking, East Architecture Studio convincingly demonstrates the outstanding quality of the project that was designed 60 years ago.Like archeologists, the architect excavated and restored a treasure.This virtue is more noble than the design itself.(Translated by MU Zhuo'er)