© Ulrich Schwarz

乌尔里希·施瓦兹

架构师提供的文本描述。根Tabula Rasa

Text description provided by the architects. Radical Tabula Rasa

2006年，根据荷兰最大的建筑公司Vestia的谈判程序，Atelier Kempe Thill被委托设计海牙Moerwijk社区的第10座，共有88套公寓和27栋梯级房屋。

In 2006, Atelier Kempe Thill is commissioned to design Block 10 in the Moerwijk neighborhood of The Hague with eighty-eight apartments and twenty-seven terraced houses as the result of a negotiation procedure by Vestia, the largest building corporation in the Netherlands.

Moerwijk是一个典型的结构调整区，自20世纪60年代起就有住宅建筑，在荷兰的许多大城市也同样存在。在这里，城市和住房公司也同意对整个地区进行全面拆除，而不是对现有建筑物进行翻修。

Moerwijk is a typical restructuring area with residential buildings from the nineteen-sixties, as also exist in many large cities in the Netherlands. Also here, the city and housing corporations agreed on the comprehensive demolition of the entire area rather than renovation of the existing buildings.

 © Ulrich Schwarz

乌尔里希·施瓦兹

委托创建新的城市发展计划所需的是KCAP公司，其项目从根本上是基于现有的街道和街区结构。与大多数类似的规划情况不同的是，由于新的必要基础设施，街道电网是不可能改变的，而且如此大规模的运营必须以150至250套住宅的较小步骤来实现。因此，新的开发项目几乎完全依附于旧的建筑地段，但有很大的不同：建筑物的深度从9米增加到大约13米，新的公寓和梯田住房混合起来，取代了原来的开发项目，完全由公寓组成。因此，公寓站在这一地区的边缘，形成一个“城市边界”，而梯田房屋位于更亲密的内部网格。

Commissioned to create the new urban development plan required was the firm KCAP, whose project is fundamentally based on the existing street and block structure. What is distinguishing here—as in the majority of comparable planning situations—is the fact that it is not possible to change the street grid due to the new necessary infrastructure, as well as the fact that such a large-scale operation would have to be realized in smaller steps of 150 to 250 residences. For this reason, the new development adheres nearly exactly to the old building lots, but with a substantial difference: the depth of the buildings has been increased from nine meters to approximately thirteen, and a new mix of apartments and terraced houses is created in place of the original development, consisting exclusively of apartments. The apartments thus stand on the edge of the area and form an “urban border,” while the terraced houses are located in the more intimate interior of the grid.

KCAP最初设想保留该地区中心地带的两座三层公寓楼，作为原始城市发展计划的见证，即Willem Marinus Dudok。根据房屋公司进行的可行性研究，最后两幢楼宇最终亦获批准拆卸。适当的装修与公寓的结合，以及相应的声学和能源效率将超过最高预算。地面规划和建筑结构也不适合计划中的变化。

KCAP originally envisioned retaining two of the three-story apartment blocks in the heart of the area as a witness to the original urban development plan of Willem Marinus Dudok. Based upon feasibility studies conducted by the housing corporation, these last two structures were, however, also approved for demolition in the end. Suitable renovation with the combining of apartments as well as the corresponding acoustics and energy efficiency would have exceeded the maximum budget. The ground plan and the building structure were also not appropriate for the planned changes.

 © Ulrich Schwarz

乌尔里希·施瓦兹

庭院的令人印象深刻的种植和街道上精心布置的树木(盛开的装饰性物种)也被献给推土机，因此50年后，一切都从零开始在那里，一个人能够想象出新的建筑，就像一个新的生命开始。

The impressive planting of the courtyards and the carefully composed trees on the streets (magnificently blooming ornamental species) were also sacrificed to the bulldozer, so that after fifty years everything was virtually started again from scratch on the basis of a consistent tabula rasa—and indeed with the fascination for the virgin, bare sand area that is so typical for the Netherlands, and in which one is able to dream up new buildings like a new beginning of life.

 © Ulrich Schwarz

乌尔里希·施瓦兹

此外，值得注意的是如此大规模经营的经济逻辑，最终使荷兰目前所有住宅建筑的产量看起来像是奢侈品的增加。只有当再次建立起大约两倍的居住空间时，这样的操作才是可行的。然而，最后，尽管该地区的面积增加了一倍，但仍将建造与以前相同的住宅。此外，与50年前相比，只有大约一半的人将居住在这些新公寓中。

What is moreover remarkable is the economic logic of such a large-scale operation, which ultimately makes the entire current production of residential buildings in the Netherlands seem like an increase in luxury. Such an operation is only then feasible when approximately two times the amount of living space is built up once again. Finally, however, only the same number of residences as before will be built despite a doubling of the area. In addition, approximately only half the number of people will live in these new apartments compared to fifty years ago.

没有集体的集体

A Collective without Collectiveness

第10座的新设计是由kCAP设想的，意为沿Erasmusweg开发公寓，这是通往海牙市中心的主要街道，同时也是公寓后面的梯级住宅开发区域。沿Erasmusweg的建筑作为周围地区的隔音屏障，同时也充当城市边界。

The new design for Block 10 is conceived by KCAP as meaning an apartment development along Erasmusweg, which is the main street leading to downtown The Hague, and also an area of terraced-house development situated behind the apartments. The buildings along Erasmusweg serve as a noise barrier for the surrounding area to the back while also functioning as a city boundary.

 © Ulrich Schwarz

乌尔里希·施瓦兹

根据Atelier Kempe Thill关于公寓所需停车位和储存空间的分析，显然有必要假定这两栋楼之间的空间将完全填满停车位。由于地下水位高，建造地下停车场是不经济的。作为另一种选择(类似于阿姆斯特丹的住宅建筑项目-奥斯多普)，Atelier Kempe Thill提议用绿色屋顶甲板覆盖停车位，它将其设想为相邻公寓的露台，以及一个有机会让孩子们玩耍的公共区域。为使车库自然通风成为可能，在甲板上设计了大量的开口。因此，从无到有地建造如此庞大的住宅建筑群，提供了创造一个慷慨、集体的内部庭院的机会。

According to Atelier Kempe Thill’s analysis regarding both the required parking space and storage space for the apartments, which should also be situated on the ground floor, it becomes clear that it would be necessary to assume that the space between the two buildings would be filled completely with parking space. Building an underground parking garage would be uneconomical due to the high water table. As an alternative (and similar to the residential building project in Amsterdam-Osdorp), Atelier Kempe Thill proposes covering the parking space with a green roof deck, which it envisiones as a terrace for neighboring apartments as well as a communal area with opportunities for children to be able to play. Generous openings in the deck are planned in order to make it possible to ventilate the garage naturally. Building such a large residential complex from scratch thus offers the chance to create a generous, collective inner courtyard.

 © Ulrich Schwarz

乌尔里希·施瓦兹

关于Atelier Kempe Thill与住房公司进行的这一想法的讨论值得注意。在与Vestia举行的会议上，人们很快就清楚地看到，梯田房屋与公寓的结合将导致居民之间的社会差异，这将使共用庭院变得难以想象。Vestia认为，已经获得繁荣的第二代和第三代土耳其和摩洛哥移民将居住在梯田房屋中，来自土耳其和摩洛哥的第一代大家庭很可能会住在补贴公寓里，而退休的荷兰公民更喜欢楼上的公寓。根据这一评估，没有一个目标群体有兴趣与其他群体共用一个庭院。因此，所需的设计在光学上保证了巨大的一致性，同时在空间上清楚地将两个部分的居民分隔开来，因为如果不是这样，他们就会-根据猜想-只会互相干扰。

The discussions regarding this idea that Atelier Kempe Thill conducts with the housing corporation are worth noting. It quickly becomes clear in the meetings with Vestia that the combination of terraced houses with apartments would lead to social differences between the residents, which would make any shared use of the courtyard inconceivable. Vestia is of the opinion that second- and third-generation Turkish and Moroccan immigrants who have achieved prosperity would live in the terraced houses, that large, first generation families from Turkey and Morocco would probably live in the subsidized maisonette apartments, and that retired Dutch citizens would prefer the upper floors. According to this assessment, none of the target groups would be interested in sharing a single courtyard with the others. The design desired is thus one that guaranteed a generous coherence optically while clearly separating the residents of the two sections spatially, since they would otherwise—according to the conjecture—only disturb each other.

 © Ulrich Schwarz

乌尔里希·施瓦兹

出入阳台

Access balcony Remains Access balcony

20世纪60年代和70年代初，荷兰的住宅开发项目，例如阿姆斯特丹著名的Bijlmermeer，主要是以长而匿名的阳台作为进入个人住宅的特征。到目前为止，这种通道是最经济的，因为以预制混凝土板形式的通道只需悬挂在建筑物结构的外部，而实际上并不是孤立建筑结构的一部分。

Residential housing development in the Netherlands in the nineteen-sixties and early seventies, for instance the well-known Bijlmermeer in Amsterdam, is mostly characterized by long, anonymous balconies for accessing the individual residences. This form of access is by far the most economical since the passageway in the form of a prefabricated slab of concrete need only be suspended on the exterior of the building structure without actually being part of the isolated building structure.

 Floor Plan

由于出入阳台的匿名性，以及居民在到达电梯或楼梯之前完全暴露在天气之下，出入阳台是-特别是在它相当长的时候-是对晚期现代主义住宅建筑的主要批评之一。工作室Kempe Thill开始其设计的新公寓楼的这种意识，并提出了各种不同的两层公寓类型与其他形式的通道。然而，住房公司得出的结论是，人们只想要一层楼的公寓。两层楼高的阁楼公寓需要减少到最低限度，因为这一目标群体将与退休的荷兰居民发生冲突，他们必须习惯老年和体弱多病。然而，一层公寓，按定义是轮椅无障碍的，只有在给定的情况下，才能通过阳台进入，这就自动产生了与60年代受到严厉批评的建筑类型几乎完全相同的建筑类型。尽管如此，这种情况还是被接受了。为了从社会和建筑两方面对出入阳台进行升级，Atelier Kempe Thill提出将公寓的实际阳台与通道直接结合起来，在一定程度上进行扩建。对于“55岁以上”一代的公寓，这种结合尤其值得赞赏，因为它促进了更多的社会联系。

Due to the anonymity of an access balcony and the fact that the residents are completely exposed to the weather before reaching the elevator or stairway, the access balcony is—especially when it is quite long—one of the main criticisms expressed with respect to the residential building architecture of late modernism. Atelier Kempe Thill begins its work on the design of the new apartment building with this awareness and proposed various two-story apartment typologies with other forms of access. The housing corporation, however, come to the conclusion that only one-story apartments are desired. Two-story maisonette apartments need be reduced to the absolute minimum since this target group would clash with the retired Dutch residents, who must become accustomed to old age and infirmity. One-story apartments, which are per definition wheelchair-accessible, could, however, only be accessed in the given situation by means of an access balcony, which automatically results in a building typology that is nearly exactly the same as that which was so severely criticized in the sixties. This situation was, nevertheless, accepted. In order to upgrade the access balcony socially and architecturally, Atelier Kempe Thill proposes combining the actual balconies of the apartments directly with the access by enlarging it to some extent. This combination is particularly appreciated in the case of apartments for the “55 plus” generation since it facilitates more social contact.

 © Ulrich Schwarz

乌尔里希·施瓦兹

全神贯注

Panoramawoning or Doorzonwoning

住房公司想要的标准公寓的公寓面积相当于95平方米，有两间卧室。允许公寓和停车场相互协调的建筑轴线之间的尺寸为7.2米。几乎所有房间的内部尺寸，直到水槽等的位置，都是由Woonkeur认证系统精确确定的，该制度一般适用于荷兰的补贴住房建设。在这一基本计划中，只有两种可能的公寓布局出现，类似于自动驾驶：第一，起居室在每个立面上各有一间卧室的门区内穿行。第二个选择是全景，客厅完全占据一边，而另一边则被两间卧室占据。在这里，Vestia决定全景变体，它为大楼提供了一个宽敞的客厅和一个像伊拉斯穆威格一样的公园和它的溪流。这个星座使设计一个玻璃立面为所有的客厅，跨越地板的全部高度，4.5米宽的固定玻璃和2.5米宽的滑动窗。街角的公寓在街角附近的起居室里安装了玻璃。所有的玻璃制品都在顶部地板的天花板上有所延伸，这意味着窗帘可以挂在创造出来的空隙中。窗口连接在底部和侧面被最小化，以实现内部朝向外部的全面视觉开放。尽管预算框架有限，但阳台所在一侧的卧室也可提供宽厚的窗户。

The apartment size for the standard apartments desired by the housing corporation equates to ninety-five square meters with two bedrooms. The dimension between construction axes that allows the apartments and the parking garage to be coordinated with each other consists of 7.2 meters. Almost all interior dimensions of the rooms, up to the positions of sinks and the like, are precisely defined by the Woonkeur certification system, which generally applies to subsidized housing construction in the Netherlands. Within this basic plan, only two possible apartment layouts arise, quasi in autopilot: first, the doorzonwoning with the living room traversing the building with one bedroom on each façade. The second option is the panoramawoning, in which the living room completely takes up one side while the other side is occupied by the two bedrooms. Here, Vestia decides on the panorama variant, which provides the building with a generous living room and a view of the park-like Erasmusweg with its stream. This constellation made it possible to design a glass façade for all of the living rooms that spans the complete height of the floor with 4.5-meter-wide fixed glazing and a 2.5-meter-wide sliding window. The corner apartments have been given glazing in the living room, which extends around the corner. All of the glasswork extends somewhat over the ceilings of the floors at the top, which means that curtains can be hung in the interstice that is created. The window connections are minimized at the bottom as well as on the sides in order to achieve a comprehensive visual opening of the interior toward the outside. The bedrooms facing the side where the access balcony is located can also be provided with generous windows despite the restricted budgetary framework.

 © Ulrich Schwarz

乌尔里希·施瓦兹

“金色公寓”

“Golden Flat”

建筑建筑群的外部外观是由外部外观中所有金属建筑元素微妙的金色“香槟”色调决定的，这也努力与海牙其他居民区的气氛形成联系。铝窗框和挤压盖板以及细肋瓦楞纸金属执行一种微妙的金色。这样做的目的是借建筑群一种离散的贵族气息，并有意识地打破社会住房建设不仅要便宜，而且要看上去便宜的污名。这一影响对上立面尤为重要，由于财政框架有限，只能有几个窗口，因此相当封闭。

The outer appearance of the building complex is defined by the subtle, golden “champagne” hue of all metal construction elements in the external façade, which also strives to form a connection with the atmosphere of other residential areas in The Hague. The aluminum window frames and extruded cover plates as well as the fine-ribbed corrugated sheet metal are executed in a subtle gold color. The goal in doing so is to lend the building complex a discrete touch of nobility and to consciously break the stigma that social housing construction not only has to be cheap but also has to look cheap. This effect is particularly important on the upper façade, which due to the limited financial framework only allows for a few windows and is thus rather closed.

在分别面向Erasmusweg和Wildenborghstraat的两个主要立面上，玻璃占主导地位。这使建筑群具有明显的向外公开的特征，而卧室则是内部私人性格的特征。大窗玻璃与建筑物的整体大小有着和谐的关系，这意味着它的整体规模很容易被观众所理解。

On the two main façades facing Erasmusweg and Wildenborghstraat respectively, the glazing dominates the façade. This gives the complex a distinctly public character toward the outside, while the bedrooms characterize the private character toward the inside. The large window glazing has a harmonious relationship to the overall size of the building, which means that its overall scale can easily be comprehended by viewers.

 Detail Section

细节科

这两个门面的详细情况代表着阿姆斯特丹项目的进一步发展和完善-奥斯多普和兹沃勒。这种情况特别值得注意，因为由于沿Erasmusweg的立面，声音大幅度减少了28分贝，这种情况反映了对所有剖面、连接和玻璃的更高要求。

The detailing of the two façades represents a further development and refining of the projects in Amsterdam-Osdorp and Zwolle. This situation is particularly noteworthy since it was possible to achieve a very large reduction in sound comprising more than twenty-eight decibels as a result of the façade along Erasmusweg, a situation that reflects heightened requirements for all the profiles, connections, and the glass.

 © Ulrich Schwarz

乌尔里希·施瓦兹

这里的玻璃尺寸比以前的工程还要大，窗框之间的覆盖物甚至更窄-目的是使玻璃窗和整个建筑显得更加大方。这里的覆盖物不再是扁平的，而是由挤压铝型材组成，特别是为项目而制作的，以便在每一个细节中创建一个更紧的图像。为了使建筑物更加轻盈，角落窗户的玻璃没有角落的轮廓，只是粘合在一起。

The dimensions of the glazing are even larger here than in the previous projects and the coverings between the window frames even narrower—with the goal of making the panes and thus the building as a whole appear even more generous. The coverings here are no longer flat but instead consist of extruded aluminum profiles fabricated especially for the project in order to create a tauter image in every detail. And to give the building even more lightness, the panes of the corner windows have no corner profile and are only glued.

 © Ulrich Schwarz

乌尔里希·施瓦兹

通过滑动门，可以从街上进入公寓。这些邮箱在玻璃上作为集成的隔音襟翼执行.

The maisonette apartments can be accessed from the street by means of sliding doors. The mailboxes are executed in their glazing as integrated sound-insulated flaps.

有可能解决Vestia对起居室中使用起重/滑动门的容易性的关切，其面板重量超过250公斤，使用1：1比例的模型。在这种模式下，三位潜在居民对防风防雨能力和老年人操作的方便性都进行了测试。

It was possible to address Vestia’s concerns regarding the ease of using the lifting/sliding doors in the living rooms, whose panel weight exceeds 250 kilograms, using a model with a scale of 1:1. With this model, both the impermeability to wind and rain and the ease of operation for older individuals is tested by three potential residents.

总之，就外观而言，可以说，在非常有限的成本框架内，偏离习惯标准的情况只有在尽可能少偏离的情况下，才有可能是一致的、Fordist设计方式的结果。这是基于这样一种信念，即只要专注于几个细节，并对所有技术问题进行批判性的认识，不仅有可能取得令人信服的结果，而且也有可能实现技术创新。对于荷兰的大规模住房项目，不可能确认任何所谓的“大规模定制战略”与许多个人适应和“Fordist一致性”之间的经济等价物。采用连续重复的策略，也更容易解决与之相关的风险增加和设计余地减少的问题，尤其是在这类大型项目的情况下，并以有说服力的论据来对抗客户对风险的更大厌恶。

In summary, it is possible to say with respect to the façade that within the very limited cost framework, the deviations from customary standards were only possible as a result of a consistent, Fordist manner of design with as few deviations as possible. This is based on the belief that, by concentrating on just a few details and realizing them critically with respect to all technical questions, it is possible to achieve not only convincing results but also technical innovation as well. For mass housing projects in the Netherlands, it is by no means possible to confirm any purported economic equivalence between a “mass-customization strategy” with many individual adaptations and “Fordist consistency.” With the strategy of serial repetition, it is also much easier to address the increased risk and the reduced leeway in design that is connected with it, above all in the case of such large projects, and to counter clients’ greater aversion to risk with persuasive arguments.

 © Ulrich Schwarz

乌尔里希·施瓦兹

此外，第10区建筑群还有一个面向未来的能源概念：除了各种标准，如热回收、机械通风和带有防晒涂层的隔热面(这是Atelier kempe Thill的习惯做法)，所有的加热能源都是通过地热系统获得的。

The Block 10 complex moreover has a future-oriented energy concept: in addition to various standards, such as heat recovery, mechanical ventilation, and well-insulated façades with sun-protection coating, which are customary for Atelier Kempe Thill, all of the heating energy is obtained by means of a geothermal system.

Architects Atelier Kempe Thill

Location The Hague, The Netherlands

Category Apartments

Design Team André Kempe, Oliver Thill, Teun van der Meulen, Rafael Alencar Saraiva, Marcel Geerdink, Anja Mueller, Peter Graf, Stefanie Diwischek, Andris Rubenis, David van Eck

Area 9132.0 sqm

Project Year 2014

Photographs Ulrich Schwarz