© Ulrich Schwarz

乌尔里希·施瓦兹

架构师提供的文本描述。阿姆斯特丹-Bijlmermeer住宅开发项目建于20世纪70年代，是在西格弗里德·纳苏斯(SiegfriedNassuth)的指导下，建立在CIAM原则基础上的。由于一系列社会和结构问题，自上世纪90年代中期以来，该项目一直在进行全面改革。在这种情况下，市区重建首先意味着从根本上拆除大规模、蜂窝式住房，并以有区别的、小规模的街区开发和梯级住房取代它们。同时，现有的购物中心正在通过增加一系列新的公共设施进行升级，因此具有超区域性的重要性。在市区北部，正在建造一个新的市场广场，周围是区市政厅、游泳池、Bijlmer公园剧院和已经存在的警察局。此外，已建成的公共公园正在更新，并通过广场与区域中心更好地连接。

Text description provided by the architects. The Amsterdam-Bijlmermeer housing development, which was erected in the nineteen-seventies based on CIAM principles under the direction of Siegfried Nassuth, has been being overhauled since the mid-nineteen-nineties due to a wide range of social and structural problems. In this case, urban renewal means, above all, radically demolishing large-scale, honeycombed housing blocks and replacing them with differentiated, small-scale block development and terraced housing. At the same time, the existing shopping center is being upgraded through the addition of a wide range of new, public facilities and thus assumes supraregional importance. In the northern part of the downtown area, a new market square is being constructed, surrounded by the district town hall, a swimming pool, the Bijlmer Park Theater, and the already existing police station. In addition, the established public park is being regenerated and made better connected with the district center via the square.

 © Ulrich Schwarz

乌尔里希·施瓦兹

2007年，在一项谈判程序的框架内，Atelier Kempe Thill获得了为海洛因成瘾者规划一家住宅旅馆的委员会，该酒店位于广场和公园之间的敏感过渡地带。这里的任务极为微妙，因为这些设施在人口中非常不受欢迎，通常在工业或铁路荒地的城市边缘集装箱结构中悲惨存在，几乎从来没有在中央、公共机构和公园附近作为一座新建筑物实现。对于建筑师来说，这提出了一个有趣的问题：“吸毒者旅馆”的类型应该如何在城市环境中体现出来？一方面，试图在公园、剧院和游泳池之间的矛盾空间领域中，实现建筑作为一个解放的、自觉地“公开设计”的机构。另一方面，由于其敏感的用户组，该建筑物被设计成一个相当匿名的、保留的结构，与邻近的警察局组成一个建筑物整体。

In 2007, within the framework of a negotiation procedure, Atelier Kempe Thill received the commission to plan a residential hotel for heroin addicts located at a sensitive transition between the square and the park. The task here was extremely delicate since such facilities are very unpopular with the population and normally have a miserable existence in container structures on the urban periphery in industrial or railway wastelands, almost never realized as a new building in the direct vicinity of central, public institutions and parks. For the architects, this posed an interesting question: How should the typology of the “Drug Addicts’ Hotel” be manifested within the urban context? On the one hand, an attempt was made to realize the building as an emancipated and consciously “publicly” designed institution in the ambivalent spatial realm between park, theater, and swimming pool. On the other hand, as a result of its sensitive user group, the building is designed as a rather anonymous, reserved structure that forms a building ensemble with the adjacent police station.

 © Ulrich Schwarz

乌尔里希·施瓦兹

集体起居室

Collective Living Room

这个住宅酒店的定义是有区别的空间使用。一方面，“长期逗留”和“短期逗留”的客户在大楼内得到住宿，另一方面，美沙酮在这里得到管理，培训和就业方案也在大楼内进行。以每人四十五平方米为单位，提供的居住空间非常宽敞，远远超过社会住房标准，从社会的角度来看，这是非常值得注意的。

This residential hotel is defined by a differentiated use of space. On the one hand, “long stay” and “short stay” clients are given accommodations in the building, on the other, methadone is administered here and training and employment programs also take place within the building. With forty-five square meters per person, the living space provided is very generous and far exceeds social housing standards, which is surely remarkable from a social point of view.

 © Ulrich Schwarz

乌尔里希·施瓦兹

最初可用的面积为25米的正方形土地，对于空间规划的组织来说是相当不利的，因为许多(通常是小的)房间都需要直接的日光。因此，该建筑物是按照财产边界组织起来的，因此在布局上形成了一个规划环。非常紧凑的通道的形式是“超压楼梯”的位置在内部，这意味着第二个紧急逃生路线是不必要的。在环内，一个“真空”，没有与之对应的程序，并被解释为一个中庭。在一楼，有一个大的，中央公共房间，开放超过三层，并实现在结构内，一个立方体大小为9米，每边。该空间的影响通过降低中庭区域的地板水平而进一步增强，因此，在光学上也强调了该空间的公共用途。这个空间几乎是从情节特征的逻辑中“偶然”出现的，根本就不是任务的一部分。它构成了新建筑的中心，作为一个慷慨的“公共客厅”，可以用于促进居民社会化的各种活动。

The square plot of land that was available initially, measuring twenty-five meters square, turned out to be rather unfavorable for the organization of the spatial program since the many (usually small) rooms all require direct daylight. The building is therefore organized along the property boundaries, which results in a programmatic ring in terms of layout. Very compact access in the form of an “excess pressure stairway” is positioned in the interior, meaning that a second emergency escape route is unnecessary. Within the ring, a “vacuum” for which there is no programmatic counterpart is created and interpreted as an atrium. On the ground floor, there is a large, central common room that opens up over three stories and is realized within the structure as a cube measuring nine meters on each side. The impact of the space is further enhanced by the lowering of the floor level in the atrium area, whereby its communal use is also emphasized optically. This space emerged almost “incidentally” from the logic of the plot characteristics and was not originally part of the task at all. It forms the center of the new building and, as a generous “communal living room,” can be used for various activities that contribute to the socialization of the residents.

在中庭上方是一个屋顶露台，这是一个亲密和内向的庭院设计。在这里，居民可以从公共空间中撤离和放松。

Above the atrium is a roof terrace, which is designed as an intimate and introverted courtyard. In it, the residents can withdraw and relax away from the public space.

 © Ulrich Schwarz

乌尔里希·施瓦兹

使用的轻量和中立性

Light and Neutrality of Use

 Floor Plan

这座建筑是由一个建筑协会拥有的，已经被一个基金会租用了十年。但目前尚不清楚的是，2022年后，这座大楼是否仍将被用作“瘾君子旅馆”，还是应该用于其他项目。为了使业主能够在结构内进行简单的改造，Atelier Kempe Thill第一次面临着创建一个功能上真正中立的结构的挑战。建筑物作为框架结构进行，无承重内墙和所有技术设施也独立于承重结构整合到建筑物中。由于采取了这些措施，这种结构可以较快地适应新的用途，而且不需要花费很大的费用。

The building is owned by a building society and has been rented by a foundation for a period of ten years. Yet unclear is whether the building will still be used as a “Drug Addicts’ Hotel” after 2022, or whether it should be used for other programs down the road. In order to make it possible for the owner to make simple adaptations within the structure, Atelier Kempe Thill was, for the first time, faced with the challenge of creating a structure that is truly neutral in function. The building is executed as a frame construction, with non-load-bearing interior walls and all the technical installations also integrated into the building independently of the load-bearing structure. As a result of these measures, the structure can be adapted to new uses relatively quickly and without great expense.

 © Ulrich Schwarz

乌尔里希·施瓦兹

由于它的紧凑性和它的用途，重要的是有相当数量的自然日光在建筑物内提供。因此，外墙被慷慨地涂上了玻璃，使重要的光线穿透了内部。中央中庭由天窗照明，并通过立面接收额外的光线。分隔空间的墙壁通常是用玻璃进行的，这会在建筑物内产生广泛的视觉连接，这对于促进概述和社会互动是必要的。

Due to its compactness and its use, it is important that a considerable amount of natural daylight is available within the building. The façade was therefore generously glazed and allows significant light to penetrate the interior. The central atrium is illuminated by a skylight and receives additional light via the façade. Space-dividing walls are often executed in glass, which gives rise to expansive visual connections within the building that are necessary for facilitating an overview and for social interaction.

 © Ulrich Schwarz

乌尔里希·施瓦兹

在表示和匿名之间

Between Representation and Anonymity

乍一看，建筑物的外部是由水平的，相当中性的窗户带与太阳能控制玻璃。由于根据安全规定，可以打开的窗户显然是不需要的，因此安装了非常慷慨的固定玻璃，长度为2.6米、4米和6米-取决于房间的大小。玻璃夹紧在非常薄，挤压，黑色阳极化铝型材，这是专门为这个项目开发与凯尔斯公司密切合作。为了在财政上做到这一点，不同类型的简介的数目减少到三个。

At first glance, the exterior of the building is defined by horizontal, rather neutral bands of windows with solar-control glazing. Since windows that can be opened are expressly not desired according to safety regulations, very generous fixed glazing with lengths of 2.6‚ four, and six meters—depending on the size of the room—are installed. The glass is clamped in very slim, extruded, and black-anodized aluminum profiles, which were developed specifically for this project in close cooperation with the Keers firm. In order to make this possible financially, the number of the different types of profiles was reduced to three.

 © Ulrich Schwarz

乌尔里希·施瓦兹

因此，窗户被“拉”在结构和屋顶的边缘“像皮肤”，使建筑的外观更加抽象和优雅。同时，结构骨架框架在玻璃中闪闪发光，使外墙变得异常深邃。窗户之间有三个水平栏杆。这些栏杆是用非常小，反射玻璃马赛克瓷砖，强调光滑和密封质量的外观，并带来了精致和触觉质量。因此，玻璃瓷砖的绿色要求颜色参照上光和邻近警察局的颜色。由于成本原因，这些瓷砖不是在意大利购买的，而是在中国专门为这一项目生产的。作为一个整体，外观展示了一个保留，但有代表性的皮肤，从窗户的比例，他们惊人的巨大规模，以及非常缩小和抽象的细节，获得它的效果。

The windows are thus “pulled” over the structure and the edge of the roof “like a skin,” making the appearance of the building more abstract and elegant. At the same time, the structural skeleton framework shines through the glazing and lends the façade unusual depth. Three horizontal balustrades run between the windows. These balustrades are executed with very small, reflective glass mosaic tiles, which emphasize the slickness and hermetic quality of the façade and bring in a refined and tactile quality. The green of the glass tiles thus strives for a color reference to the glazing and to the colors of the neighboring police station. For cost reasons, the tiles were not purchased in Italy but instead specially produced for this project in China. As a whole, the façade exhibits a reserved but representative skin that obtains its effect from the proportions of the windows, their astoundingly monumental scale, and the very reduced and abstracted detailing.

 Floor Plan

在大楼内部，任务是在预算框架紧张的情况下实现稳健和中立的材料选择。一个决定是有意识地使用浅灰，易于清洁的表面与大量的玻璃，以便为日常生活提供一个平静的框架。所有的墙壁都是抹灰的，楼梯上的混凝土表面只有一层透明的涂层，地板上涂有聚氨酯，天花板上用声喷雾抹灰。所有的技术装置，如通风口、抽油器、安全技术、防火阻尼器等，都尽可能仔细地集成到墙壁和天花板中，以便为这里的表面创造一个整体特征。由此形成的气氛是非常平静和中立的，强调建筑的宽敞性，并为用户提供机会，使每个房间适应他们自己的特殊需要。有了这一承诺，就有可能实现一个有意识的面向公众的特别住房建设项目，无论是在内部还是外部，都有一种特别精致的氛围。在有限的预算框架内创建的是一种非常慷慨和宽松的生活氛围，这无疑对居民的解放产生了积极的影响，也是国际环境中的一个例子。

In the interior of the building, the task consisted of achieving a robust and neutral choice of materials despite the tight budget framework. A decision was consciously made to use light gray, easy-to-clean surfaces in combination with a lot of glass in order to offer a calm framework for everyday life. All the walls are plastered, with the concrete surfaces in the stairway given only a transparent coating, the floors coated with polyurethane, and the ceiling executed with acoustic spray plaster. All technical installations, such as ventilation outlets, extractors, safety technology, fire dampers, and so forth, are integrated as carefully as possible into the walls and ceilings so that a monolithic character is created for the surfaces here as well. The atmosphere that thus develops is very calm and neutral, emphasizing the spaciousness of the building and offering users the opportunity to adapt the individual rooms to their own particular needs. With this undertaking, it was possible to realize a special housing construction project with a consciously public-oriented and especially refined aura, both inside and outside. Created within the limited budget framework is a very generous and relaxed living atmosphere that surely has a positive effect on the emancipation of the residents and also serves as an example in an international context.

 © Ulrich Schwarz

乌尔里希·施瓦兹

Architects Atelier Kempe Thill

Location Amsterdam, The Netherlands

Category Hotels

Architect in Charge André Kempe, Oliver Thill, David van Eck

Design Team Rafael Alencar Saraiva, Marcel Geerdink, Pauline Marcombe, Teun van der Meulen, Anja Mueller, Andrius Raguotis, Ruud Smeelen, Philip Stalbohm, Giorgio Terraneo, Roel van der Zeeuw

Area 730.0 sqm

Project Year 2012

Photographs Ulrich Schwarz