黛安·伊馮娜·弗朗西斯·吉拉爾多/ Diane Yvonne Francis Ghirardo

徐知蘭 譯/Translated by XU Zhilan

MARC事務(wù)所：適應(yīng)，更新和轉(zhuǎn)變

MARC Studio: Adapting, Renovating and Transforming

黛安·伊馮娜·弗朗西斯·吉拉爾多/ Diane Yvonne Francis Ghirardo

徐知蘭 譯/Translated by XU Zhilan

在人們?nèi)找鎽n慮資源浪費(fèi)、環(huán)境衰退和污染的時代，建筑師們被鼓勵考慮如何以最小程度干預(yù)和充分利用材料的方式創(chuàng)造性地滿足客戶的需求——無論是新建的項(xiàng)目，還是改造更新的項(xiàng)目，都同樣如此。建筑業(yè)是最大的單一污染源之一，其污染不僅包含對不可替代資源的開發(fā)，也包括建設(shè)過程中產(chǎn)生的懸浮顆粒、廢水和固體污染物。來自重型機(jī)器和卡車的柴油機(jī)顆粒、建筑中使用的標(biāo)準(zhǔn)高毒性材料——涂料、各種溶劑和其他的化學(xué)材料等，都會對空氣、水體和土地造成污染，最終危害人體健康。盡管許多建筑師都對這些問題給予關(guān)注，卻僅僅是象征性的——如果確實(shí)存在這種關(guān)注，其中包括一些國際知名的明星建筑師，如雷姆·庫哈斯、弗蘭克·蓋里和丹尼爾·里伯斯金等。真正令人看到希望的跡象都來自于年輕的建筑師，尤其規(guī)模較小的事務(wù)所中的一些更有創(chuàng)意的員工。

總部設(shè)在都靈的MARC（米凱利·博尼諾和蘇巴斯·穆克吉建筑師事務(wù)所）因其成功的適應(yīng)性改造、建筑更新和根據(jù)新的要求轉(zhuǎn)變舊建筑功能的實(shí)踐享有盛譽(yù)。他們最近的作品證明，事務(wù)所在關(guān)注可持續(xù)發(fā)展問題的同時，仍未摒棄對材料、場地和創(chuàng)造性利用現(xiàn)有空間的敏感度。

1.2 都靈的山頂小住宅/Hillside house in Val Pattonera, Turin（攝影/Photos: Beppe Giardino）

其中，兩個大型的住宅項(xiàng)目證明了MARC創(chuàng)新的改造更新設(shè)計手法。第一個項(xiàng)目是瓜爾蒂耶羅·卡薩諾在1970年代設(shè)計的一座山地住宅1)，項(xiàng)目委托人從小在那里長大，這座住宅滿載著他的記憶。他要求建筑師在根據(jù)其家庭的新需求對住宅進(jìn)行適應(yīng)性改造的同時，關(guān)照他對許多建筑原有要素的感情。MARC毫不猶豫地通過開放、靈活的設(shè)計手段接受了這一挑戰(zhàn)。建筑師從山坡上切出了一個不規(guī)則五邊形，作為對原有地下儲藏空間的擴(kuò)建部分，位置處于住宅的主結(jié)構(gòu)之外，通過臺階和坡道可以到達(dá)室外的休憩空間與座椅。它同時也為原本組織混亂的儲藏間和車庫增添了室內(nèi)空間。墻面和屋面分別采用了新的飾面和瓦楞金屬，建筑的室外風(fēng)貌煥然一新。采用玻璃幕墻的畫廊空間沿車庫后墻分布，其中儲藏了業(yè)主的攝影藏品。在這里和其他一些地方，MARC都以充滿藝術(shù)感的玻璃幕墻形成了新的通透效果，加強(qiáng)了室內(nèi)外的聯(lián)系，并在不損害這座住宅設(shè)計精華的同時，成功地改造了1970年代的設(shè)計——由此作出了一個無需拆除現(xiàn)有結(jié)構(gòu)即完成改造的成功案例。

這種靈活的設(shè)計手法在MARC其他的成功項(xiàng)目中也有突出的表現(xiàn)。事實(shí)上，這種設(shè)計方法是最古老的方法。過去，重要的公共建筑和教會建筑的建設(shè)地點(diǎn)都至少傳承了兩三代人，工匠和建筑師們會根據(jù)周邊環(huán)境的變化轉(zhuǎn)變建筑的功能或?qū)ζ溥M(jìn)行改造。萊昂·巴蒂斯塔·阿爾伯蒂在其《論建筑》（約1450年）中，斬釘截鐵地反對這種讓一座建筑歷經(jīng)時間變化而改變的傳統(tǒng)，盡管它已經(jīng)持續(xù)了千年之久；相反，阿爾伯蒂堅(jiān)持認(rèn)為，一旦確定了設(shè)計，建筑就不允許再有任何變化。盡管歷經(jīng)好幾個世紀(jì)這種方式才逐漸站穩(wěn)腳跟，阿爾伯蒂的主張最終還是占據(jù)了優(yōu)勢，因此，迄今為止它仍是主流的建筑設(shè)計程序。阿爾伯蒂的設(shè)計方法實(shí)際上試圖讓時間停滯——的確，這位偉大的文藝復(fù)興理論家抱怨時間流逝的作用——無論是自然力的作用還是人力的干涉。然而，MARC既擁抱建筑的臨時性，也接受它與生俱來的靈活性。實(shí)際上，MARC通過這些項(xiàng)目回歸更早期的傳統(tǒng)，即建筑對不同功能的適應(yīng)性占據(jù)了設(shè)計主流的時期。

另一個在都靈郊區(qū)馬特伊的項(xiàng)目能最有效地說明事務(wù)所的設(shè)計方法。客戶花費(fèi)多年時間重新改造他們樸素的鄉(xiāng)村小屋，并委托MARC為一座類似谷倉的建筑增加用餐和娛樂的功能，還包括一個位于二層的架空泳池。正如在卡薩諾的住宅項(xiàng)目一樣，建筑師明智審慎地采用了一系列新的材料來處理這座位于馬特伊的綜合建筑。在不斷地合作中，建筑師和業(yè)主慢慢建成了仿佛校園一般的建筑環(huán)境，讓客戶能把他們的工作與家庭生活結(jié)合在一起。MARC還通過在數(shù)年內(nèi)對這位客戶的幾個工作室進(jìn)行改造，分別滿足了這些業(yè)主變化的需求和趣味。舊的磚結(jié)構(gòu)形成了主要住宅與工作室之間的過渡空間。最近，MARC還將客戶購買的相鄰住宅改造為一個民宿設(shè)施。建筑每部分的結(jié)構(gòu)都有所不同，但立面上優(yōu)雅而生動的色彩將整個綜合體統(tǒng)籌為一個優(yōu)美的整體。

與這兩處郊區(qū)住宅的綜合體相反，MARC完成的第三個重大項(xiàng)目是截然不同的城市項(xiàng)目。多米諾作為一個大型網(wǎng)絡(luò)公司，在都靈收購了一處舊電話中心大樓。其外觀是一座難以形容的城市建筑，深受涂鴉藝術(shù)家們的喜愛。然而，多米諾公司的建筑項(xiàng)目完美地體現(xiàn)了一個不證自明的道理，即只要有良好的骨架，就有可能得到引人入勝的改造效果。整幢建筑共有地上4層和地下1層，中央位置有一部電梯。公司邀請多個都靈的建筑事務(wù)所，舉辦了一場設(shè)計競賽，MARC因其優(yōu)秀的修復(fù)與適應(yīng)性改造業(yè)績贏得了其中的部分任務(wù)。在立面上，新的外墻粉刷、窗框和翻新的陽臺干凈利落地向上延伸，但室內(nèi)設(shè)計的要求更為復(fù)雜。改造方案拆除了歷經(jīng)100多年、在多次重修的過程中早已模糊不清的室內(nèi)輕質(zhì)磚墻、格調(diào)優(yōu)雅的天花板、壁龕和鋼筋混凝土橫梁。

MARC決定盡可能保留原有建筑結(jié)構(gòu)的完整，加入了新的自動移門，采用新穎大膽的室內(nèi)標(biāo)識系統(tǒng)，并以鮮艷的配色打破整幢建筑此前沉悶的空間氣氛，使它變得生動活躍。穹頂?shù)拇u砌空間使人們聯(lián)想起該地區(qū)某些最為傳統(tǒng)的建筑，在其他更光潔的建筑表面之外，為空間提供了另一種別具韻味的肌理。樓梯作為建筑結(jié)構(gòu)的主要骨架，其龐貝式的深紅色墻面、黑色的踏步和面板與室內(nèi)愉快的明黃色調(diào)形成了鮮明的對比，由此獲得了極為重要的嶄新視覺形象。

MARC放棄了乏味的白墻——這是典型的令人惱怒不安的現(xiàn)代主義設(shè)計，在墻面、地板、結(jié)構(gòu)構(gòu)件等處取而代之以豐富的色彩，使各處空間都變得明亮清澈。除此之外，在這個激進(jìn)的修復(fù)項(xiàng)目中，MARC還需要設(shè)法為底層增加照明。在拆除了地下室與地下樓層之間的樓板之后，MARC用預(yù)制重型金屬板作為樓板的替代材料，使這里一掃過去昏暗潮濕的氣氛，代之以采光明亮、通風(fēng)順暢的效果，并在不經(jīng)意間在它們與地面層之間建立了視覺聯(lián)系。建筑師們甚至設(shè)法搭建了一個新的室外平臺，還有一間位于電梯井上方的會議室。改造的效果整體上非?；钴S而充滿現(xiàn)代氣息，這正是這所躊躇滿志的網(wǎng)絡(luò)公司追求的形象。

都靈擁有大量優(yōu)雅的19世紀(jì)晚期城市建筑。有一座MARC受托改造成律師事務(wù)所套房的建筑就在其列。在1880年代，它曾是都靈最杰出的市長之一埃內(nèi)斯托·巴爾博·貝爾東內(nèi)·迪桑卜伊的高級住宅。由于這所家庭住宅同時也是當(dāng)時代表城市舉辦半公共性質(zhì)活動和晚宴的地點(diǎn)，因此擁有許多細(xì)部精美、空間寬敞的房間——這些歷史遺留、形式豐富的建筑要素正是MARC一直以來都力求保存的內(nèi)容。這座三段式的建筑頂部有一排陽臺，在兩層的樓面伸出了塔式的側(cè)翼。建筑內(nèi)部寬敞的大空間中央有一部優(yōu)雅的皇宮式扶手樓梯，通達(dá)3個主要樓層，MARC又在其中新增了一部貫通所有7層樓面的樓梯。

3 都靈多米諾網(wǎng)絡(luò)公司/Domino web agency in Turin（攝影/ Photo: Beppe Giardino）

4 都靈的律師事務(wù)所/Tosetto e Weigmann Lawyers' office in Turin（攝影/Photo: Beppe Giardino）

5 馬特伊住宅及工作室/House/Studio in Mathi（攝影/Photo: Beppe Giardino）

MARC制定的整體設(shè)計策略要求在對這些令人嘆為觀止的新古典主義元素予以尊重的同時，也必須滿足律師事務(wù)所對使用功能的具體要求。包括，如在必要的情況下保留傳統(tǒng)的半層樓面，和在其他的房間鋪設(shè)硬木地板等做法。律師對空間的使用要求主導(dǎo)了其他的場所。如，一個大面積的法律圖書館就是律師事務(wù)所的標(biāo)準(zhǔn)配置，但原先的空間條件無法滿足要求。MARC最終在建筑的中央吊掛了一層新的樓板，其結(jié)構(gòu)經(jīng)過特殊加固，以達(dá)到承載書本和書架等荷載的要求，并為未來的擴(kuò)建留出余地。辦公室、會議室和接待處則符合現(xiàn)代企業(yè)的需求，包含必要的儲藏空間和基礎(chǔ)設(shè)施。對業(yè)主而言，這座建筑將歷史與現(xiàn)代融為一體，因此充滿魅力——這也是對MARC工作方式的準(zhǔn)確描述。

對墩柱的滯回曲線進(jìn)行處理，得到4個墩柱的骨架曲線如圖9所示.在位移加載前期，墩頂力直線上升，節(jié)段間出現(xiàn)接縫后，骨架曲線進(jìn)入水平段；隨著墩頂位移的加載，墩頂力變化平穩(wěn)，隨后，骨架曲線的墩頂力稍有下降.加載后期，骨架曲線的墩頂力有一定的增加.

盡管對可持續(xù)發(fā)展問題的敏感度與恰當(dāng)?shù)幕A(chǔ)設(shè)施是MARC所有項(xiàng)目的特點(diǎn)，但他們對待時間的態(tài)度更震撼人心。MARC反對阿爾伯蒂試圖阻止時間流逝的不現(xiàn)實(shí)要求，反而以更長遠(yuǎn)的眼光鼓勵建筑師采用靈活的設(shè)計手法和對空間維度進(jìn)行重塑。他們也拒絕堅(jiān)持建筑師發(fā)號施令的權(quán)力，認(rèn)為建筑師的角色是與業(yè)主和歷史建筑共同合作參與設(shè)計，因此事務(wù)所不做任何“標(biāo)志性”的設(shè)計。如果說他們有固定的標(biāo)志性風(fēng)格，那也來源于事務(wù)所對歷史的敏感度、對業(yè)主的尊重、對色彩和光線的創(chuàng)造性設(shè)計；以及最重要的是，對時間及其造成的改變和仍將繼續(xù)帶來變化的尊重。

In an era of growing concern for wasted resources, environmental degradation and pollution, architects are being encouraged to think creatively about how to meet clients' needs with minimal interventions and thoughtful deployment of materials, whether in new constructions or renovations. The building industry is one of the single greatest sources of pollution, which includes not only the extraction of irreplaceable materials but also particulate emissions, water and soil pollution. Diesel particulate matter (DPM) from heavy machinery and trucks, along with the standard highly toxic materials used in building -paint, solvents and other chemicals - contaminate air, water and soil, and ultimately human health. Although many architects have given but token attention - if any - to these issues, including some of the international archistars such as Rem Koolhaas, Frank Gehry and Daniel Libeskind, promising signs emerge from the younger and more creative staff especially of smaller offices.

The Torino based firm MARC (Michele Bonino and Subhash Mukerjee) enjoys a distinguished reputation for successfully adapting, renovating and transforming older structures to new needs. The most recent works evidence the firm’s attention to issues of sustainability without abandoning a most sensitive attention to materials, site and the creative use of existing spaces.

Two major residential projects testify to MARC's inventive approach to renovation. The first, a hillside house designed by Gualtiero Casalegno in the 1970s1), harbored fond memories for the owner, who grew up there. He asked the architects to attend to his affection for many original elements while accommodating new needs for his family. MARC accepted the challenge in the first place by adopting an open-ended, flexible approach. An irregular pentagon carved from the hillside extended the former underground storage space beyond the house's frame within an enclosure of wooden steps and ramps for seating and leisure outdoor activities. At the same time, it opened up additional interior space from poorly organized storage and the garage. New cladding and a corrugated metal roof discretely updated the exterior. Glazed gallery space along the back wall of the garage accommodated

the client's collection of photographs. Here and elsewhere, MARC's artful use of glazing to achieve new transparency and to strengthen the connection between indoor and outdoor helped to transform a‘70s modern design without damaging the substance of the house-a remarkable example of engaging without overwhelming the existing structure.

A similar flexibility characterizes other successful projects realized by MARC. This approach to architectural design is in fact historically the oldest. Major public and ecclesiastical buildings were usually erected over the space of two or more generations, with masons and architects altering and adapting the design as circumstances changed. In hisDe re aedificatoria(1450 ca.), Leon Battista Alberti summarily rejected this millennial tradition of allowing a building to take shape over time; he instead insisted that the designer thoroughly plan a project in all its details until it achieved perfection before initiating construction, and once the design was set, nothing must change. Although it took several centuries for this approach to gain ground, Alberti's dictum ultimately prevailed, so that this is the approach that governs the design process still today. Where Alberti's methodology in effect sought to halt time - and indeed, the great Renaissance theorist railed against the effects of time whether of natural forces or human interventions -MARC embraces both the temporality of building and the inherent flexibility it offers. With these projects, MARC in effect returned to that earlier tradition in which adaptability to variations governed the architects' approach.

A project in Mathi, a rural area not far from Torino, best illustrates the firm's approach. After the clients spent several years remodeling their modest cottage, they commissioned MARC to renovate an adjacent barn-like structure to provide new dining and entertaining spaces as well as an elevated, second floor swimming pool. As with the Casalegno house, for the Mathi complex the designers employed new materials judiciously. The continuing collaboration has led to the slow development of a campus-like setting that allows the owners to combine work and family life. Over several years, MARC responded to the changed needs and interest of the clients by renovating their separate studios. An old brick structure forged the connection between the main residence and the studios. Most recently, after the clients purchased an adjacent house, MARC is converting it into a bedand-breakfast facility. Each structure is distinct, but the elegant and lively chromatics on the elevations unify the complex into a gracious whole.

By contrast with the two rural residential complexes, the third major project MARC undertook was distinctly urban. Domino, a large web agency, acquired a former call-center property in Turin. On the exterior it was a nondescript urban structure that had been a favored site for graffiti artists. Nonetheless, the Domino building perfectly illustrates the truism that with good bones, a spectacular adaptation is possible. The building consists of four stories above ground and one below, divided by a staircase running through the middle of the structure. The firm held a competition among Torino-based architecture offices, a competition that MARC won in part because of its strong restoration and adaptation record. New stucco facing, window frames and newly freshened balconies spruced up the elevations, but the interiors were more demanding. Interior demolitions brought to light brick walls, elegant ceilings, niches and reinforced concrete beams that a century of reconstructions had completely obscured.

MARC chose to leave as much as possible of the original structure intact, while inserting sliding doors, bold interior signage, and bright chromatics that convert formerly dull spaces into lively ones. Vaulted brick spaces recall some of the area's most traditional building practices, and offer an alternative texture to the otherwise smooth surfaces. As the structure's spine, the stairs gained new visual prominence precisely through the contrast between its deep pompeian red walls and dark treads and risers and the cheerful yellow of the interiors.

Abandoning the tedious white walls typical of exasperated modernist designs, MARC used coloron walls, floors, structural members-to brighten and clarify spaces. Among other problems, MARC also needed to find ways to illuminate the lower level during the course of a radical restoration project. After eliminating the floor between the basement and the underground floor, MARC replaced it with flooring fabricated of a perforated, heavy-duty metal screen, turning the once-gloomy and damp spaces into light and airy ones and, not incidentally, enacting a visual connection them with the ground floor. The architects even managed to craft a new outdoor terrace, or altana, and meeting room above the elevator shaft. The overall effect is lively and contemporary, exactly the image that a forwardlooking web firm seeks.

Torino enjoys a rich urban fabric of elegant, late nineteenth century buildings. The one MARC was charged with turning into a suite for a law firm had been the upscale residence of one of the city's most prominent mayors during the 1880s, Ernesto Balbo Bertone di Sambuy. Because the family home was also a representative setting for semi-public events and dinner parties, it boasted a range of beautifully detailed and spacious rooms-just the sort of historically rich features that MARC has always been inclined to preserve. The tripartite structure, with projecting tower-like wings on two floors, is topped by balconies. Inside, an elegant royal staircase in a grand, airy height space connects the three main floors, to which MARC added a staircase that penetrated and connected all seven floors.

MARC's general strategy entailed respect for the wonderfully neo-classical elements without ignoring the specific needs of a law office. This included retaining the traditional terrazzo floors where appropriate, for example, and inserting hardwood floors in other rooms. The needs of the lawyers prevailed elsewhere. A large law library, for example, is a standard component for lawyers but for which there was no space readily available. To this end, MARC suspended a new floor at the center of the building, specially reinforced to carry the weight of the books and shelves and to allow space for growth. The offices, meeting rooms and reception areas accommodate the needs of a contemporary facility, including all necessary storage and infrastructure facilities. To the firm's clients, the building is an attractive blend of historic and modern, a precise description of MARC's approach.

Sensitivity to issues of sustainability and appropriate infrastructure characterize all of MARC's projects, but it is their approach to time that is so striking. By rejecting Alberti's impossible demand to arrest the temporal flux, MARC instead adopts a longer view that both encourages flexibility and redimensions the role of the architect. Refusing to assert the power of the architect as one who commands, MARC sees its role as that of cooperating and engaging with clients and with historic buildings. For this reason the office does not produce "signature" design. If there is a signature, it emerges in the firm's sensitivity to history, respect for the client, creativity with color and light, and above all, respect for time and the changes it has and will continue to enact.

注釋/Note:

1) 該項(xiàng)目發(fā)表在《世界建筑》201307期。/This project has been published in WA 07/2013

南加州大學(xué)建筑歷史專業(yè)教授/ Professor of History of Architecture at University of Southern California

2014-06-21