Collaborators Pauline Marcombe，Blanca Sanchez Babe，Philipp Stalbohm，Rafael Saraiva，Saskia Hermanek，Ruud Smeelen，Daniela Bergmann，Laura Paschke，Tobias Windhus，Helen Webster，David van Eck，Andrius Raguotis，Martin Hättasch，Wojciech Jakub Narloch，Giorgio Terraneo，Roel van der Zeeuw，Alice Scheen，Gaëtan Lejoly，Katrin Ossemann，François Laurent，Roland Coulon Structural Engineer Kempen Krause Ingenieurgesellschaft，采购产品名称：Aachen Service Engineer ZWP Ingenieur AG，K ln light Design Licht Gestal栋，Oswin Nikolaus，München制造商装货.多规格少规格

Collaborators Pauline Marcombe, Blanca Sanchez Babe, Philipp Stalbohm, Rafael Saraiva, Saskia Hermanek, Ruud Smeelen, Daniela Bergmann, Laura Paschke, Tobias Windhus, Helen Webster, David van Eck, Andrius Raguotis, Martin Hättasch, Wojciech Jakub Narloch, Giorgio Terraneo, Roel van der Zeeuw, Alice Scheen, Gaëtan Lejoly , Katrin Ossemann, François Laurent, Roland Coulon Structural Engineer Kempen Krause Ingenieurgesellschaft, Aachen Service Engineer ZWP Ingenieur AG, Köln Light Design Licht Gestaltung, Oswin Nikolaus, München Manufacturers Loading... More Specs Less Specs

 © Ulrich Schwarz

乌尔里希·施瓦兹

架构师提供的文本描述。德语社区议会

Text description provided by the architects. A Parliament for the German-Speaking Community

第一次世界大战结束后，随着1919年“凡尔赛条约”的签订，比利时凯尔米斯市周围的中立地区和比利时尤本-马尔梅迪的德国行政区被合并。结果，大约7万名德国人成为比利时公民。由于颁布了大规模的国家改革(1968-1971年)，比利时的官方成员不仅包括弗拉芒和瓦隆地区以及布鲁塞尔，还包括拥有公认权利和自治权的讲德语的社区。这些权利在过去四十年中得到了有力的发展。自1984年以来，社会既有自己的政府，也有自己的议会，拥有立法权。为了建立一个适当的空间框架，从19世纪末开始，决定将议会及其行政机构设在前疗养院。由于缺乏代表性空间，疗养院将不得不进行大量翻修，2008年秋季，为扩建和改建疗养院举办了一次国际建筑竞赛，由Atelier Kempe Thill赢得。

After the end of World War I, with the Treaty of Versailles of 1919, the neutral area surrounding the municipality of Kelmis, Belgium, and the German administrative district of Eupen-Malmedy, Belgium, are annexed. As a result, some seventy thousand Germans become Belgian citizens. Since large-scale state reforms are enacted (1968–1971), Belgium officially consists not only of the Flemish and Walloon Regions along with Brussels but also of the German-speaking community with its recognized rights and autonomies. These rights have developed strongly in the last forty years. Since 1984, the community has both its own government as well as its own parliament with legislative powers. In order to create an appropriate spatial framework for this, the decision is made to house the parliament and its administration in a former sanatorium from the late nineteen-tens. Since representative spaces are lacking and the sanatorium would have to undergo substantial renovation, in the fall of 2008, an international architecture competition is organized for the expansion and remodeling of the sanatorium, which is won by Atelier Kempe Thill.

 © Ulrich Schwarz

乌尔里希·施瓦兹

庄园前的景观物体

A Landscape Object in front of a Manor House

无论是竞争设计还是要实现的变体，其目的都是将旧建筑统一起来，并将其扩展成一种连贯的组合，在这种组合中，两座建筑各有各的特点，但同时又形成了一个建筑单元。这里特别微妙的问题是已经存在的疗养院在山上的位置，就像一个独立的庄园房子。有一个非常有代表性的外观，是在古典主义-正面的方式，每一种形式的扩张可以很快被认为是一个不敏感的入侵或过于保守。因此，ATelier Kempe Thill的设计起源于这样一种想法，即新建筑的位置相对于旧建筑来说是明显的和冒犯的，因为它适合代议制议会大楼。由于“疗养院”所在的山的性质，可以通过简单的地形重塑将新建筑直接放在前面。从外部看，已经存在的建筑并不是简单地与一座新建筑相结合，而是与它进行连贯的综合。新的建筑构成了“疗养院”的光学支柱，强调其独特的建筑外观和象征意义。屋顶和外墙完全覆盖着刚玉植物。这就造成了整个建筑群入口处前面有一个大的“花枕”的印象，产生了一种诱人的气氛。这一“景观对象”与自然出现的自然性质的公园，似乎是一个过度的极简主义对象的舞台性质。因此，这座新建筑既是景观的一部分，也是它的对比。

Both the competition design and the variant to be realized have the goal of uniting the old building and the expansion into a coherent composition in which the two buildings are each given their own character while nonetheless forming an architectural unit. The particularly delicate issue here is the position of the already existing sanatorium on the hill like a freestanding manor house. With a very representative appearance that is laid out in a classicist-frontal manner, every form of expansion can quickly be perceived as an insensitive intrusion or as too reserved. Atelier Kempe Thill’s design thus originated with the idea that the new building would be positioned visibly and offensively with respect to the old building as befits a representative parliament building. As a result of the nature of the hill on which the “sanatorium” stands, it was possible to position the new building directly in front of it through a simple reshaping of the terrain. Seen from the outside, the already existing building is not simply combined with a new building but instead enters into coherent synthesis with it. The new building forms an optical plinth for the “sanatorium,” which emphasizes its solitary appearance architecturally and symbolically. The roof and the exterior walls are completely covered with sedum plants. This results in the creation of the impression of a large “flower pillow” in front of the entrance to the entire complex, which generates an inviting atmosphere. This “landscape object” counters the naturally appearing nature of the park with the seemingly staged nature of an overgrown minimalist object. The new building is thus both a part of the landscape as well as a contrast to it.

 © Ulrich Schwarz

乌尔里希·施瓦兹

在即将实现的变式中，由于预算限制，新建筑的规模必须缩小。在它的延伸部分，从老建筑的正门正对面有一大片台阶。其结果是，新建筑的景观特征有所下降，取而代之的是一个物体。台阶的飞行在一定程度上占据了疗养院的轴对称，从而将疗养院与景观和新建筑联系在一起。通过将疗养院外墙的灰泥与室外空间中的灰烬的颜色和质地对齐，并通过降低新建筑景观色彩的强度，在不同的条件下产生了很强的构图一致性。

In the variant to be realized, the new building had to be reduced in size due to budget constraints. In its extension, a broad flight of steps is situated directly across from the main entrance to the old building. As a result, the landscape character of the new building is somewhat decreased and what is created instead is an object. The flight of steps takes up the axial symmetry of the sanatorium to a certain extent and thus links it architecturally with the landscape and the new building. By aligning the plaster of the façade of the sanatorium with the color and texture of the ashlars in the outside space, and also by damping the intensity of the new building’s landscaping colors, a strong compositional coherency is created despite the different conditions.

 © Ulrich Schwarz

乌尔里希·施瓦兹

“新老”疗养院

A “New Old” Sanatorium Building

疗养院被严重毁容，主要是20世纪60年代和70年代翻修的结果。因此，拟议的翻修最初的目标是大幅度恢复疗养院的完整性，大楼建成时的原貌是这一目标的基础。室内所有现有的细节，如大厅和楼梯中的水磨石地板，都以匹配的颜色进行修复和补充。连接走廊中的房间的现有门是真实地重建的。就窗户而言，与其最初设计的百叶窗和许多隔板相比，有必要找到与当今技术条件相当的产品。与较早的窗户相比，新的窗户只是垂直地分为两部分，以达到一个优雅的外观，尽管更厚的，现代的双层玻璃以及更厚的窗框。还必须为整个屋顶的详细设计找到适应办法，因为由于必要的隔热作用，背窗的位置略有变化，其比例也发生了变化。石板用于屋顶，以反映原来的屋顶。

The sanatorium was strongly disfigured, mostly as a result of renovations in the nineteen-sixties and seventies. The renovation proposed therefore initially has the goal of substantially restoring the integrity of the sanatorium, and the original appearance of the building at the time it was created served as the basis for this. All existing details in the interior, such as the terrazzo floors in the halls and staircases, are repaired and supplemented in matching colors. The existing doors to the rooms in the connecting corridors are authentically rebuilt. In the case of the windows, it is necessary, in contrast to their original design with shutters and many divisions, to find an equivalent for the technical conditions of today. Compared to the earlier windows, the new ones are only divided in two vertically so as to achieve an elegant appearance despite the thicker, modern double-glazing as well as the thicker window frames. Adaptations also have to be found for the detailing of the roof as a whole, since as a result of the necessary thermal insulation, the position of the dormer windows is slightly shifted and their proportions change. Slate is used for the roofing in order to reflect the original roofing.

 © Ulrich Schwarz

乌尔里希·施瓦兹

除了考虑所使用的材料和具体细节之外，还遇到了一个更大的概念问题：其中一个要求是非常高的能源效率，以实现低能耗标准，根据最现代的要求，这远远超出了建筑物的原始建筑，应该被仔细地纳入整个概念。为此，非常高质量的隔热，尤其是通风系统和基于球团的新型加热系统的集成至关重要。此外，还集成了一种基于蒸发水的绝热过程来冷却建筑物的系统。这导致大约500个钻孔需要在墙壁和天花板，从而严重影响了相当脆弱的天花板建设，可追溯到建筑物的原始结构。因此，有些天花板必须更换。通风系统需要如此多的通道，以致走廊几乎无法容纳它们。此外，严重影响空间比例的悬挂天花板也变得必要。

Beyond considerations of the materials used and the individual details, a larger conceptual problem is encountered: one of the requirements is very high energy efficiency in order to achieve low-energy standards, which, according to the most modern requirements, far exceed the original construction of the building and are supposed to be carefully integrated into the overall concept. To this end, very high-quality thermal insulation and, most especially, the integration of a ventilation system and new heating system based on pellets are of crucial importance. Moreover, a system is integrated for cooling the building by means of an adiabatic process based on the evaporation of water. This results in roughly five hundred drill holes needing to be made in the walls and ceilings, which thus severely impacts the quite fragile ceiling construction dating back to the building’s original structure. For this reason, some of the ceilings have to be replaced. So many channels are required for the ventilation system that the corridor is nearly incapable of accommodating them. Furthermore, suspended ceilings, which severely impinge on the proportions of the space, likewise become necessary.

 Floor Plan

可以想象，这些基本条件总体上是严峻的，特别是因为翻修的费用最终几乎相当于一栋新建筑的费用，从而使人们对重建情况产生怀疑。在这些情况下，Atelier Kempe Thill试图采取平衡行动，不因改建而损坏建筑物，同时保护建筑物的完整性，或在目前的要求范围内找到合适的建筑等价物。

These basic conditions as a whole are conceivably severe, particularly since the costs of the renovation turn out in the end to be nearly equivalent to the costs of a new building and thus shed doubt on the remodeling situation. Under these conditions, Atelier Kempe Thill attempts the balancing act of not disfiguring the building as a result of the remodeling while nevertheless protecting the integrity of the building or finding suitable architectural equivalents within the current requirements.

 © Ulrich Schwarz

乌尔里希·施瓦兹

风景室内

Scenic Interiors

在室内，建筑关注的焦点是旧建筑和新建筑的不同空间条件在多大程度上可以相互适应，或者以它们相互流动的方式进行设计。大厅和新门厅，由于他们在疗养院下面的部分地下位置，可能会很快引起与地窖的联想，需要特别注意。在这种情况下，通过窗户和天窗创造一个明亮的空间氛围是不够的。对新建筑的感知来说，至少同样重要的是新旧建筑的所有接待和门厅区域的空间场景。随着大型的新楼梯，门厅在前面被赋予了介于新旧之间的功能。门厅的定义是严格对称的空间组合，通过墙壁上的大开口将全体大厅和楼梯之间的轴对称连接起来。门厅的墙壁是白色的，而这里和大厅里的地板是用端面木料铺的，通过这些木料形成了空间的连续性。因此，门厅空间为有代表性的接待、展览等提供了合适和灵活的框架。它的对称性也与现有疗养院的轴对称形成了对应关系。因此，外部的构图尽可能地与内部的空间构成相协调。新的地下空间最好是以最终被认为是最亮的方式来布置。

In the interior, architectural attention focuses on the question of the extent at which the different spatial conditions in the old building and the new building can be adapted to each other or designed in a manner that they overflow fluidly into one another. The hall and the new foyer, which due to their partially subterranean position below the sanatorium might quickly arouse associations with a cellar, require special attention. In this case, it is not sufficient to create a bright spatial ambiance by means of windows and skylights. At least just as crucial for the perception of the new building is the spatial scenario of all reception and foyer areas of both the old and the new structures. Along with the large new staircase, the foyer in front of the is given the function of mediating between the old and the new. The foyer is defined by a rigorously symmetrical spatial composition, which links the axial symmetry of the plenary hall and of the staircase with each other by means of large openings in the wall. The walls of the foyer are plastered white, while the floor here and in the hall is laid in end-grain wood, through which a spatial continuity is created. The foyer space thus provides a suitable and flexible framework for representative receptions, exhibitions, and the like. Its symmetry also forms a counterpart to the somewhat axial symmetry of the existing sanatorium. The composition from the outside is therefore coordinated with the interior spatial composition as far as possible. The new subterranean spaces should preferably be staged in such a way that they are ultimately perceived as the brightest.

 © Ulrich Schwarz

乌尔里希·施瓦兹

从门厅到大厅的大墙开口是玻璃化的，形成了一个大画窗，可以从门厅通过大厅并进入公园。这扇窗户与一个巨大的，玻璃状的窗户结合在一起，在这个空间的前端，艺术将被一个天窗照亮。这给空间提供了一个明亮和通风的特征，这一点更多地被一个慷慨的，中央的天窗和多方面的视觉关系所创造的强调。

The large wall openings from the foyer to the hall are glazed and form a large picture window that allows a view from the foyer through the hall and into the park. This window is combined with a large, vitrine-like window at the front end of the space in which art will be shown, illuminated by a skylight. This lends the space a bright and airy character, which is emphasized even more by a generous, central skylight and the multifaceted visual relationships that are created.

由于新建筑的定位，全体大厅首先为室内空间提供了理想的条件。它被赋予一个平静的空间特征和一个出色的景观，慷慨的公园在前面的建筑物，使景观成为一个固定的组成部分的内部。议会选择木材作为大厅的基本材料。这是为了与该地区的传统木材文化形成联系，该地区的橱柜和木工是从阿登森林中产生的。工作室Kempe Thill把这一愿望的木材使用字面上，并提出了一个一贯的木制大厅与一个整体，平静，现代的空间印象。声学的要求在这里是至关重要的：因为大厅是为演讲而设的，所以它需要很强的吸音空间声学。由于贴面声板不适合建筑要求的综合概念，提出了特别开发的墙板的基础上的端面纹理木地板。最终纹理木地板通常用于地板，但也可以用于各种其他用途，因为它是由小块实木拼凑而成。由于它在这里也被用于地板，与墙板一起创造的是墙壁、天花板和地板以及永久安装的桌子的同时均匀和略有变化的外观。由于砌块安装了三毫米宽的接缝，所以在建筑上有可能将所有的技术要求-如吸声、通风一体化、门周围接缝等等-都没有可见的栅格、通风口等等，从而营造出一致的空间氛围。

As a result of the positioning of the new building, the plenary hall is first provided with ideal conditions for an interior space. It is given a calm spatial character with an excellent view of the generous park in front of the building, so that the landscape becomes a fixed component of the interior. The parliament selected wood as a basic material for the hall. This is meant to form a link to the traditional wood culture of the region, with its cabinetry and carpentry, which arose from the forests of the Ardennes. Atelier Kempe Thill takes this desire for the use of wood literally and proposes a consistently wooden hall with a monolithic, calm, and modern spatial impression. The acoustic requirements are crucial here: since the hall is laid out for speech, it requires strongly absorbing room acoustics. Because veneered acoustic panels are not suited to the architectural requirements of an integrated concept, specially developed wall panels on the basis of end-grain wood parquet were proposed. End-grained wood parquet is normally used for flooring but can, however, also be used for various other purposes as a result of its being put together from small blocks of solid wood. And since it is also used for the floor here, what is created along with the wall panels is a simultaneously uniform and slightly varied appearance of walls, ceiling, and floor along with the permanently installed tables. With the blocks having been installed with three-millimeter-wide joints, it is possible to architecturally incorporate all the technical requirements—such as sound absorption, integration of ventilation, joints around doors, et cetera—without visible grates, air vents, and the like, thus fostering a consistent spatial ambience.

 © Ulrich Schwarz

乌尔里希·施瓦兹

Architects Atelier Kempe Thill

Location 4700 Eupen, Belgium

Category Institutional Buildings

Architect in Charge Oliver Thill, Luc Dutilleux, Fabienne Courtejoie

Area 6318.0 m2

Project Year 2013

Photographs Ulrich Schwarz

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