© Sergio Grazia

塞尔吉奥·格拉齐亚

 Ground Floor Plan

并不总是需要一个重要的姿态。在进一步发展一个起源于20世纪60年代的校园中，Dietmar Feichtinger表明，通过克制、精心放置立方体和微妙的外观节奏，可以更好地实现附加值，而不是使用华丽的雕塑符号。

A major gesture is not always needed. In further developing a campus that dates originally from the 1960s Dietmar Feichtinger shows that added value can be better achieved through restraint, carefully positioned cubes, and subtle facade rhythms than by the use of showy sculptural symbols.

挑衅姿态

Gesture as provocation

 © Sergio Grazia

塞尔吉奥·格拉齐亚

有时，建筑师的整个艺术可以取决于他评估他所采用的措施的影响的能力。在没有规定一种架构是不合适的，或在与任务的要求，无论是在规划或相关的层次上的分歧。在许多情况下，克制是最好的答案，也表明了对特定情况的真正理解。

At times the entire art of the architect can lie in his ability to assess the impact of the measures he employs. And in not prescribing a kind of architecture that is out of place or at loggerheads with the demands of the task posed, whether at a programmatic or context-related level. In many cases restraint is the best answer and also indicates true understanding of the particular situation.

 © Sergio Grazia

塞尔吉奥·格拉齐亚

在接近延长普罗旺斯大学人文学院的项目时，DietmarFeichtinger发现自己面临着一个矛盾。一方面，它的延伸，由于其位置的性质，必须标志着一个进入校园的入口，但另一方面，无论是简略还是上下文，都没有提出具体的建筑表现形式。从建筑面积(8000平方米)和内容(演讲厅和办公室)来看，这份简约相对较小，没有任何元素，如礼堂或大型图书馆，需要强有力的建筑表现。此外，沉闷的平庸的语境也反对一种过于醒目的建筑。考虑到这个省城外围的一些小房子和分配花园、平庸的作坊、比萨饼店和一座社会住宅街区的无特色的性质，哪怕是一个小小的建筑姿态，似乎也是不合适的，甚至是挑衅性的。

In approaching the project for the extension of the humanities faculty of Aix-en-Provence University Dietmar Feichtinger found himself confronted with a contradiction. On the one hand the extension, by nature of its position, had to mark an entrance to the campus, but on the other neither the brief nor the context suggested a specific form of architectural expression. The brief, relatively modest in terms of floor area (8000 m²) and banal in terms of content (lecture halls and offices), contained no elements such as an auditorium or large library that would have called for strong architectural expression. In addition the dreary mediocrity of the context spoke against a too striking kind of architecture. Given the featureless nature of the periphery of this provincial town with its groups of little houses and allotment gardens, banal workshops, pizzerias, and here and there a social housing block, even a minor architectural gesture would have seemed unsuitable, indeed even provocative.

空间而不是建筑物

Space rather than a building

因此，费希廷格选择了克制，即使不是说建筑中立性。与建筑相比，他更喜欢一个空间，一个空旷的空间，一个完整的空间，以及一个建筑的空间。通过将简报分解成一些小建筑，他允许进入校园的入口得以发展。通过深思熟虑的方式，他定位建筑和表面的微妙表现，他给了这个地方一个身份。这是费希廷格利用校园特色，重新诠释校园特色所取得的两个重要特点。事实证明，这是法国最重要的大学综合体之一整合这一小部分扩展的一种离散方式。

Consequently, Feichtinger opted for restraint, if not to say architectural neutrality. He prefers a space to a building, an empty volume to a full one, and a place to a piece of architecture. By breaking up the brief into a number of small buildings he allows an entrance to the campus to develop. Through the considered way in which he positions the buildings and the subtle expression of the facades he gives the place an identity. These are two important characteristics of this project which Feichtinger achieved by appropriating the characteristics of the campus and reinterpreting them. This proved to be a discrete way of integrating this small extension in one of France’s most important university complexes.

 © Sergio Grazia

塞尔吉奥·格拉齐亚

普罗旺斯AIX-en-Provence校园的基本特征之一是它的地形(陡峭的坡地)存在于建筑物前面的小空地上。它们都代表着校园沿线的游憩空间。Feichtinger采用了这样的城市模式：他将简报分成三个不同大小和配置的小块，这样就形成了一个虚拟矩形，其中心是一个空旷的区域。从道路上倒退的这个集合的放置避免了与背景的直接对抗。你穿过这个空间进入校园。建筑物的布局创造了两个方向，两条街道，引导学生到校园较高地方的主楼，或者到邻近的图书馆。这个安静的地方，其比例相当于一个大的内部庭院，形成了一个平静的入口，无论是从外部环境和学生必须遵循的陡峭路线，以到达个别建筑物的斜坡上。

One of the essential characteristics of Aix-en-Provence campus that results from its difficult topography (a steeply sloping site) is the existence of small open spaces directly in front of the buildings. They all represent recreation spaces along the routes through the campus. Feichtinger takes up this urban pattern: he divides up the brief into three small blocks of different sizes and configurations in this way creating a virtual rectangle whose centre is an empty area. The placing of this ensemble, which is set back from the road, avoids direct confrontation with the context. You enter the campus by crossing this space. The layout of the buildings creates two directions, two streets that lead the students either to the main buildings on the higher ground of the campus, or to the neighbouring library. This quiet place, with proportions comparable to a large internal courtyard, forms a calm entrance to the campus both with regard to the external context and to the steep routes that the students must follow to reach the individual buildings that step up the slopes.

向天空敞开

Open to the heavens

这三个街区的布局方式也提供了保护这个空间不受米斯特拉尔影响的优势，这是一种经常从北方吹来的冷风，也是该地区的气候问题之一。另一种是强烈的阳光，这是这个地区的一种特权，但是，只有与遮荫的好处相结合，这才是可以忍受的。更令人遗憾的是，为了给建筑物腾出空间而移去的优良梧桐树，却被残酷无情的灌木所取代，这些灌木需要数年的时间才能达到像样的高度。人们也希望街道家具的元素将很快使这一地区更加舒适，并鼓励人们在那里消磨时间。这些要素可以包括一个喷泉-这是该地区的一个典型特征，在这里非常适合：前院下面有一条河流，这阻止了地下建筑的建造，导致附近建了一个开放的停车场。

The way the three blocks are laid out also offers the advantage of protecting this space from the Mistral, a cold wind that often blows from the north and is one of the region’s climatic problems. Another is the strong sunshine, a privilege of this region, which, however, is tolerable only when combined with the benefits of shade. This makes it all the more regrettable that the fine plane trees which were removed in order to make room for the building were replaced by scrappy shrubs which will take years to reach a decent height. It is also to be hoped that elements of street furniture will soon make this area more comfortable and encourage people to spend time there. These elements could include a fountain – a typical feature that is found throughout this region and would be highly suitable here: there is a river flowing underneath the forecourt, which prevented the construction of underground buildings and led to an open car park being made nearby.

 © Sergio Grazia

塞尔吉奥·格拉齐亚

墙面材料的均匀性和建筑方法的统一加强了对更大、更开阔天空的印象。建筑师的概念力求与现有的建筑物建立密切的关系。这些建筑建于20世纪60年代普罗旺斯AIX-en校园的大规模扩建期间，其特点是一个引人注目的建筑标志：强调拱廊的重复，产生压缩的垂直节奏。浅棕色混凝土面板的包覆是为了让这些建筑与普罗旺斯的景观融为一体。

The uniformity of materials and the construction method used in the facades strengthen the impression of something greater, something open to the skies. The architect’s concept strives for a close relationship to the existing buildings. Erected in the 1960s during the major expansion of the Aix-en-Provence campus, these buildings are characterised by a striking architectural signature: an emphatic repetition of arcades that produces a compressed vertical rhythm. The cladding of light ochre-coloured concrete panels was intended to allow these buildings blend with the landscape of Provence.

古典节奏

Classical rhythm

 © Sergio Grazia

塞尔吉奥·格拉齐亚

费希廷格重新解释了这种节奏和垂直，但在一个小的键，可以说，因为他使用NACO玻璃系统的所有正面。这个非常简单和经济的系统由一系列丝网印刷玻璃百叶窗组成，这些玻璃百叶窗可以绕着它们的中轴线旋转，并稍微重叠，以确保气密性。通过调整百叶窗，普罗旺斯神奇的光，其强度使梵高疯狂，可以修改。由NACO元素组成的网格，在整个立面的高度上，提供了瞄准的垂直质量。根据它们的位置，正面被不同的对待。面向庭院的正面完全由NACO乐队组成。这造成了表面的同质性。这里的外皮变成了一种壁纸，加强了地方的空间一致性和户外特征。只有百叶窗的位置变化，这表明他们背后的空间，提供了一个温和的动画质量。在面向老建筑的外墙上，NACO元素的带状与由纤维混凝土薄板制成的桥墩交替。在这里，固体表面和空表面的经典节奏揭示了建筑系统。该结构由钢筋混凝土承重墙组成，其中相同的实心和空区在一个压缩网格内交替。低负载意味着不需要内部列。里面的混凝土暴露在所有的房间里。固定在演讲厅和办公室天花板上的长圆柱形盒子增加了吸收表面积，确保了良好的音响效果。

Feichtinger reinterprets this rhythm and verticality but in a minor key, so to speak, as he used the NACO glazing system for all the facades. This very simple and economical system consists of series of screen-printed glass louvres that can be turned around their centre axis and overlap slightly to ensure air tightness. By adjusting the louvres the marvellous light in Provence, whose intensity drove Van Gogh mad, can be modified. The grid of NACO elements that runs up the entire height of the facade provides the vertical quality aimed at. The facades are treated differently, depending upon their position. The fronts facing onto the courtyard consist entirely of NACO bands. This creates homogeneity in the surfaces. The external skin here becomes a kind of wallpaper, strengthening the spatial coherence of the place and its outdoor character. Only the variations in the positioning of the louvres, which indicate the spaces behind them, provide a gently animated quality. In the outward facing facades that address the old buildings the bands of NACO elements alternate with piers made of thin fibre concrete panels. Here the classic rhythm of solid and empty surfaces reveals the construction system. The structure consists of reinforced concrete load-bearing walls in which identical solid and empty areas alternate within a compressed grid. The low loads meant that no internal columns were needed. Inside the concrete was left exposed in all the rooms. Long cylindrical boxes fixed to the ceilings of the lecture halls and offices increase the absorption surface area and ensure good acoustics.

传统夜间冷却

Traditional night-time cooling

混凝土质量对建筑物的热惯性有很大的贡献，并考虑到该地区的气候条件，白天和夜间的温度存在着明显的差异。只有讲堂有空气冷却系统。在其他房间，传统的方法是确保舒适：大量的外部绝缘在固体区域，三重保护的玻璃区域：双层玻璃，遮阳篷和NACO系统的正面。当百叶窗关闭时，进入空间的光的传输减少了70%。就像普罗旺斯(Provence)的房子一样，白天关闭百叶窗以抵御热量，在光线下打开让冷空气进入室内，这里的热舒适性也取决于空间使用者的行为。“比起技术，我更喜欢自然。”DietmarFeichtinger说。

The concrete mass contributes to the buildings thermal inertia and takes into account the climatic conditions of the region with marked differences between day and night-time temperatures. Only the lecture halls have an air cooling system. In the other rooms traditional methods are used to ensure comfort: large amounts of external insulation in the solid areas, triple protection for the glazed areas: double glazing, awnings and the NACO system on the facade. When the louvres are closed the transmission of light into the space is reduced by 70%. Like in houses in Provence where the window shutters are closed during the day to protect against heat and opened at light to allow cool air to flow inside, here, too, thermal comfort is dependent on the behaviour of the users of the space. “I prefer nature to technology”, says Dietmar Feichtinger.

Architects Dietmar Feichtinger Architects

Location 29 Avenue Robert Schuman, 13100 Aix-en-Provence, France

Category Extension

Project Leader José Luis Fuentes, Peter Mitterer

Planning Team Ralitsa Kafova, Sabine Kopp, Zuzana Janouskova , Katja Pargger, Stephan Schwarz, Arne Speiser

Area 9160.0 sqm

Project Year 2013

Photographs Sergio Grazia