Photo by Julien Lanoo © Vitra

图片来源：Julien Lanoo(Vitra)

VITRA校园的发展

Development of the Vitra Campus

1993年是安藤忠雄(Tadao Ando)的会议馆和扎哈·哈迪德(Zaha Hadid)的消防站竣工的一年，一年后，阿尔瓦罗·西扎(Lvaro Siza)的工厂大厅落成，十多年来，维拉姆·莱茵(Weil Am Ryan)的维特拉校区(Vitra)没有建造新建筑。2006年开始了一个新的扩展阶段，将佣金分配给赫索格。

After 1993 – the year in which Tadao Ando’s Conference Pavilion and the Fire Station by Zaha Hadid were completed, followed by the dedication of Álvaro Siza’s factory hall one year later – no new buildings were constructed on the Vitra Campus in Weil am Rhein for more than a decade. A new expansion phase began in 2006 with commissions assigned to Herzog & de Meuron and the Japanese architectural team SANAA. The Basel-based architects were entrusted with the VitraHaus project on a site outside of the actual production compound in the northern corner of the Campus. The VitraHaus, which opened in early 2010, serves as a presentation venue for the Vitra Home Collection and marks the entrance to the company premises together with Frank Gehry’s Vitra Design Museum. SANAA began to plan a production facility for Vitrashop – a shop fitting company within the Vitra Group – on the south side of the Campus. The completion of these two new buildings also achieved a partial restructuring of the Campus grounds by separating operational logistics from public visitor traffic. The central axis leading to the Hadid Fire Station is now mainly used by visitors, while deliveries and dispatches are primarily routed through the access road that lies on the eastern side of the premises.

 Vitra Campus General Plan

维特拉校园总体规划

萨那的选择

The selection of SANAA

通过选择萨那作为这个项目，维特拉继续了过去25年来所追求的一项战略，即委托国际知名的当代建筑师扩建校园。建筑公司Sanaa(Sejima和Nishiawa and Associates)由东京的Kazuyo Sejima和Ryue Nishiawa于1995年创立，最初在日本的住宅结构和小型博物馆建筑中享有声誉。在21世纪的第一个十年，他们在欧洲和北美完成了一些著名的项目，包括佐尔韦因管理和设计学院、阿尔米尔剧院和文化中心、托莱多艺术博物馆的玻璃展馆、纽约新当代艺术博物馆和洛桑劳力士学习中心。2012年，法国北部里尔附近的卢浮宫卫星博物馆卢浮宫(LouvreLens)开幕。

By choosing SANAA for this project, Vitra continued a strategy pursued for the previous 25 years of commissioning internationally renowned contemporary architects with the expansion of the Campus. The architectural firm SANAA (Sejima and Nishizawa and Associates), which was founded by Kazuyo Sejima and Ryue Nishizawa in Tokyo in 1995, initially established its reputation with residential structures and small museum buildings in Japan. In the first decade of the 21st century, they completed a number of prominent projects in Europe and North America, including the Zollverein School of Management and Design, the Theatre and Cultural Centre in Almere, the Glass Pavilion at the Toledo Museum of Art, the New Museum of Contemporary Art in New York and the Rolex Learning Center at EPFL Lausanne. 2012 saw the opening of the Louvre Lens, a Louvre satellite museum located near Lille in northern France.

维特拉董事会主席罗尔夫·费尔鲍姆(Rolf Fehlbaum)解释了他对萨那建筑方法的兴趣，以及导致选择日本队的原因：尽管充满了轻盈和精确，但他们的建筑并没有被僵化的形式主义、拼搏的独创性或道德简约主义所定义。Fehlbaum认识到“移除一切不重要的东西”的基本特征-换句话说，这是一种还原性，最终使建筑在建筑和结构上的要求具体化。

Rolf Fehlbaum, Chairman of Vitra’s board of directors, explains his interest in the architectural approach of SANAA and the reasons that led to the selection of the Japanese team: though imbued with lightness and precision, their architecture is not defined by rigid formalism, laboured originality or moralizing minimalism. Fehlbaum recognizes a fundamental characteristic in the ‘removal of everything that is not essential’ – in other words, a reductiveness that ultimately gives visible form to the requirements of the building in its architecture and structure.

萨那建筑的特点之一确实是对复杂的空间和功能需求进行分析，并制定严格简化的相应计划，打破传统的等级制度，提供空间使用上的自由。其中一个例子是金泽21世纪当代艺术博物馆(2004年)，其大小、形状和比例各不相同的画廊以及额外的功能室都嵌入在圆形玻璃墙界定的流通空间中，为展示展览提供了各种选择。

One of the qualities of SANAA’s architecture is indeed the analysis of complex spatial and functional needs and the aim of developing strictly reductive, corresponding plans that break with traditional hierarchies and offer freedom in the usage of spaces. One such example is the 21st Century Museum of Contemporary Art in Kanazawa (2004), whose galleries of variable sizes, shapes and proportions, along with additional functional rooms, are embedded in the circulation space defined by the round glazed perimeter walls, providing a variety of options for the presentation of exhibitions.

 © Human Wu

(3)人类吴

没有榜样的生产设施

A production facility without a role model

萨那迄今完成的几乎所有主要项目都是文化机构或大学的建筑。在威勒姆-莱茵-第一个工业设施将由萨那设计-的想法是采用类似的方法建设一个生产大厅。

Almost all of the major projects that SANAA has completed up until now have been buildings for cultural institutions or universities. In Weil am Rhein – with the first industrial facility to be designed by SANAA – the idea was to apply a similar approach to the construction of a production hall.

 Photo by SANAA © Vitra

萨那(Vitra)摄

这一新结构的计划是由维特拉管理层希望在1981年大火中幸存下来，仅造成轻微破坏的南角附近更换一座旧工厂大楼而发起的。现存的建筑不仅显示了它的时代，而且对目前的需求来说也太小了。新设施的建筑面积为20，000平方米，而旧建筑的建筑面积为12，000平方米。

The plan for the new structure was initiated by the desire of Vitra’s management to replace an old factory building near the southern corner of the premises that had survived the great fire in 1981 with only minor damage. The extant building was not only showing its age, but was also too small for current demands. The new facility was to provide 20,000 square metres of floor area – compared to 12,000 square metres in the old structure.

该公司管理层向萨那提交的建筑简介将整个空间划分为四个可彼此独立运作的区域，但也将为需要使用整个空间的运营提供最佳条件。在对简报作了详细分析后，萨那建议修改初步决定，将与校园现有栅格相关的四个正交卷替换为单一的圆形建筑。这一提议起初似乎不寻常，其基础是认识到物流和生产方法不再遵循严格的等级原则，而是需要灵活性。特别是在新设施的未来住户，商店配件公司Vitrashop的情况更是如此。虽然Vitrashop主要在为零售和商业客户创造的内部使用标准组件，但这些元素是根据个别客户的规格和愿望定制的。这与严格的线性货物流动和制造方法相矛盾。因此，大厅的内部被划分为不同的区域：北段为交付的材料和半成品提供高货架储藏室；中心区保留用于装配操作；南段包括装运前成品的储存区。该建筑的圆形脚印允许在完全不同的地点交付和装载货物，从而减少、优化和简化了大厅内的交通流量。建筑物中间的装配区也可以根据当前订单进行各种配置，以满足新的要求。

The architectural brief presented to SANAA by the company management specified a division of the total space into four separate areas that could operate independently from one another, but would also provide optimal conditions for operations that required use of the entire space. After making a detailed analysis of the brief, SANAA suggested that the preliminary decisions be revised, replacing the four orthogonal volumes that were correlated to the existing grid of the Campus with a single circular building. This proposal, which at first seemed unusual, was based on the realization that logistics and production methods no longer adhere to strictly hierarchical principles, but require flexibility. This was especially true in the case of the future occupants of the new facility, the shop fitting company Vitrashop. Although Vitrashop primarily utilizes standard components in the interiors that it creates for retail and commercial customers, the elements are customized to suit the specifications and desires of the individual clients. This contradicts a strictly linear flow of goods and fabrication methods. Consequently, the interior of the hall is divided into different zones: the northern section provides high rack storage for delivered materials and semi-finished goods; the central zone is reserved for assembly operations; and the southern section contains the storage area for finished products prior to shipping. The circular footprint of the building permits the delivery and loading of goods in completely different locations, so that the flow of traffic inside the hall is reduced, optimized and simplified. The assembly zone in the middle of the building can also be variably configured to meet new requirements based on current orders.

对于工厂大楼来说，循环足迹是不寻常的，但韦尔的所有条件都支持这种解决方案，因此萨那能够说服客户接受他们的提议。圆形结构的另一个理想特征是表面面积与室内空间体积成正比关系。

A circular footprint is unusual for a factory building, but all of the conditions in Weil favoured this solution, so that SANAA was able to convince the client to accept their proposal. Another ideal feature of the circular structure is the proportional relationship of the façade’s surface area to the volume of the interior space.

圆形生产大厅的直径超过160米，它实际上并不限制一个精确的圆圈，它覆盖的面积比维特拉校区的任何其他建筑都大。展厅高11.4米，位于东南半部设有一层地下室，设有宽敞的地下停车场及多间辅助室。该建筑物分两个阶段建造，以尽量减少对日常作业的干扰。第一座半圆形建筑建在老工厂旁边，工厂随后被拆除，以便为完成计划的后半部分腾出空间。建筑物的外墙和直径墙将建筑物的两半部分隔开，是由预制的混凝土构件制成的。双壁混凝土构件作为竖直的矩形放置在现场，从而将它们彼此连接起来。由于周长的巨大尺寸，没有必要对各个单元进行弯曲。与中央墙，圆形创造了一个完美的，刚性的结构，其中包含一个正交的钢框架在其内部。屋顶结构由9.5米高的钢柱支撑，以17.5×22.8米为单位布置在网格中。由于混凝土外墙支撑了结构，因此有可能将内部柱的尺寸降到最低。

With a diameter of more than 160 metres, the round production hall – which in fact does not circumscribe an exact circle – covers a greater surface area than any other building on the Vitra Campus. Measuring 11.4 metres in height, the hall contains a basement storey in the southeastern half with a spacious underground parking garage and several auxiliary rooms. The building was erected in two stages in order to minimize interference with daily operations. The first semi-circular structure was erected next to the old factory, which was subsequently demolished to make room for the corresponding second half that completed the plan. The façade and the diameter wall that separates the two halves of the building are made of prefabricated concrete elements. Positioned as upright rectangles, the double- walled concrete elements were filled on site, thereby connecting them with one another. Due to the enormous dimensions of the perimeter, it was unnecessary for the individual elements to be curved. Together with the central wall, the round shape creates a perfect, rigid structure, which contains an orthogonal steel framework in its interior. The roof construction is supported by 9.5 metre-high steel columns positioned in a grid based on units of 17.5 x 22.8 metres. Since the exterior concrete walls brace the structure, it was possible to minimize the dimensions of the interior columns.

 © Human Wu

(3)人类吴

建筑师面临的主要挑战之一是如何找到解决办法，安装复杂的建筑技术-电子、通风、屋顶排水、消防喷头等，这些技术分布在整个室内空间的不同配置中-与大厅支撑结构的细丝部件兼容。这个问题以惊人的精度得到了解决，导致了一个与典型工厂空间明显不同的内部结构。建筑师们并没有把这个室内看作是一个多功能的、灵活的立面外壳内的空旷空间，而是建筑任务的一个核心方面。每一个细节，直到高架货架上的螺丝，都揭示了建筑师们的设计意图，他们没有留下任何机会。良好的照明条件有助于在大厅内愉快的工作气氛，提供了紧密的节奏平行屋顶灯在天花板。它们由外墙上部的单独窗户来增强。室内大气质量的另一个基本要素是从根本上减少色彩的使用。不同的灰色和白色的阴影定义了室内空间，而信号颜色是如此常见于典型的工业内部是完全没有。

One of the major challenges for the architects was to find a solution for the installation of complex building technology – electronics, ventilation, roof drainage, fire sprinklers etc., which are distributed in different configurations throughout the interior space – that was compatible with the filigree components of the hall’s support structure. This problem was solved with astonishing precision, resulting in an interior that is clearly different from typical factory spaces. The architects did not treat this interior as a multifunctional, flexible empty space within the shell of a façade, but as a central aspect of the architectural task. Every detail, right down to the screws in the high rack storage shelving, reveals the design intentions of the architects, who left nothing to chance. Excellent lighting conditions contribute to the pleasant work atmosphere in the hall, provided by the close rhythm of parallel rooflights in the ceiling. They are augmented by individual windows in the upper part of the façade. Another essential element of the interior’s atmospheric quality is the radically reductive use of colour. Various shades of grey and white define the interior space, while the signal colours so common to typical industrial interiors are completely absent.

这种排架系统位于内部的结构网格后面的平行中-以及中央墙和少量分布的窗户-为具有巨大尺寸的建筑物提供了一种定向手段。可根据需要拆卸或重新配置高机架存储系统。在建筑物的两侧都布置了装卸区，在一个空间内的立面，其中也包括办公室。由于大厅的大直径，隔墙的径向排列几乎是不可察觉的。根据未来的需要，装载海湾可以转换为办公室，反之亦然。排放密集或高分贝活动的车间是大厅东侧唯一的封闭房间；开放的上层作为休息区。

The shelving system, which is positioned in parallel rows that follow the structural grid of the interior – along with the central wall and sparingly distributed windows – provides a means of orientation in a building with enormous dimensions. The high rack storage system can be removed or reconfigured as needed. The loading bays are arranged on both sides of the building in a space along the façade that also contains offices. The radial arrangement of the partition walls is almost imperceptible due to the huge diameter of the hall. Depending on future needs, loading bays can be transformed into offices or vice versa. A workshop for emission- intensive or high-decibel activities is the only other enclosed room on the eastern side of the hall; the open upper deck serves as a lounge area.

 © Human Wu

(3)人类吴

幕墙

Curtain façade

立面的设计是一个巨大的挑战，其要素悬挂在混凝土墙外保温的前面，涵盖了整个建筑体积。外墙元素由丙烯酸玻璃制成，表面起伏，宽1.8米，高11米，相当于建筑物的高度。丙烯酸的外层是完全透明的，而内层是不透明的白色。每个面板先用平板浇铸，然后加热到摄氏60度，然后用真空模塑，形成波浪结构。由于找不到能够制造如此大的零件的制造商，因此必须为此专门建造一个烤箱。

The design of the façade, whose elements are suspended in front of the exterior insulation on the concrete walls and encompass the entire building volume, presented a great challenge. The façade elements are made of acrylic glass with an undulating surface, measuring 1.8 metres in width by 11 metres in height – equal to the height of the building. The outer layer of acrylic is completely transparent, while the inner layer is an opaque white colour. The individual panels were first cast in flat sheets, then heated to 60 degrees Celsius and vacuum moulded to create the wave structure. Since no manufacturer could be found who was capable of moulding such large pieces, an oven had to be specially constructed for the purpose.

建筑师的主要关注点之一是避免明显的视觉重复。因此，形成了三种不同的波型，即较窄的褶皱和较宽的褶皱。由于悬挂板-其安装硬件是隐蔽的-可以旋转180度，并安装在任何一端，这导致了一系列的六种不同的类型。其目的是使它们的排列方式避免明显的重复模式，而且也完全符合门窗(窗户、装货舱、门)的开口。

One of the architects’ main concerns was to avoid obvious visual repetition. For this reason, three different elements with varying wave patterns of narrower and wider folds were developed. Since the hanging panels – whose mounting hardware is concealed – can be rotated 180 degrees and mounted on either end, this resulted in a series of six distinct types. The aim was to arrange them in a way that avoided a recognizably repetitive pattern and that also conformed perfectly to the openings in the façade (windows, loading bays, doors).

从远处呈现一个均匀的外观，几乎超现实的光环，因为它明亮的白色表面，外观获得活力和深度越近。因为它只可能看到整个体积的一部分，所以这座建筑看起来比实际的要小得多。它给人一种轻盈和透明的印象，尽管它不允许进入内部。相反，这座建筑仍然是个谜，几乎没有揭示它的功能。工厂大厅的几乎非物质性质得到了强调，因为从外部看，只有外表-暗示着纺织品覆盖层-的皮肤是可见的，而外墙、屋顶和结构框架仍然是隐蔽的。

Presenting a homogenous appearance from a distance, with an almost surreal aura due to its luminous white surface, the façade gains vivacity and depth the closer one approaches. Since it is only possible to see just a part of the entire volume, the building appears to be much smaller than it actually is. It gives an impression of lightness and transparency, even though it allows no views into the interior. On the contrary: the building remains an enigma, revealing almost nothing about its function. The almost immaterial character of the factory hall is emphasized by the fact that, from the outside, only the skin of the façade – suggestive of a textile covering – is visible, while the exterior walls, roof and structural framework remain concealed.

 © Human Wu

(3)人类吴

从外部看，人们不认识-甚至怀疑-平面图的几何形状偏离了一个完美的圆圈；然而，这种不整合可能是无意识的。正如萨那避免在他们的建筑中使用古典对称，他们经常使用轻微扭曲的几何图形。这可能会让人想起瓦比·萨比的美学观念，日本人认为不完美与审美完美并不一定是矛盾的。萨那的“Alessi茶具”(2004)的微妙形状就指向了这个方向。在提到他们的维特拉项目时，Sejima和Ryue Nishiawa也谈到将写意绘画中固有的一些生动活泼的东西转移到计算机计算的现实中，而写意素描总是站在设计过程的开始。或者用他们自己的话说：“我的印象是，完美的圆圈，有点僵化了。”

Viewed from the outside, one does not recognize – or even suspect – that the geometry of the floor plan deviates from a perfect circle; yet perhaps this unconformity is unconsciously perceptible. Just as SANAA avoids the use of classical symmetry in their architecture, they frequently employ slightly distorted geometric figures. This may recall the aesthetic concept of wabi sabi, the Japanese notion that imperfection and aesthetic consummation are not necessarily contradictory. The subtle shape of the ‘Alessi Tea Set’ (2004) by SANAA points in this direction. In reference to their project for Vitra, Kazuyo Sejima and Ryue Nishizawa also spoke about transferring some of the liveliness inherent in freehand drawing, which always stands at the beginning of their design process, to the reality of computer calculations. Or in their own words: ‘My impression is that the circle, the perfect circle, is a bit too rigid.'

Architects SANAA

Location Weil am Rhein, Germany

Category Factory

Architectural Planning Kazuyo Sejima & Ryue Nishizawa

Architectural Execution Mayer Bährle Freie Architekten BDA, Lörrach, Germany; in partnership with nkbak, Frankfurt, Germany

Project Team SANAA team: Takayuki Hasegawa, Marieke Kums (ex-staff); nkbak team: Nicole Kerstin Berganski, Andreas Krawczyk; Mayer Bährle Freie Architekten BDA

Area 20455.0 sqm

Project Year 2012

Photographs Christian Richters, Julien Lanoo, Human Wu, Nicole Berganski, SANAA