架构师提供的文本描述。在靠近尼伯德的哥本哈根市中心，霍尔谢尔·诺德伯格(Holsher Nordberg)在一个非常狭小的7米范围内设计并建造了一个住宅项目。这种结构在形式上、细节上以及与城市的关系上都是不寻常的。4B项目包括一个薄薄的玻璃结构，一个石膏山墙和一个浅层的Tombac。从地面到四楼，这座建筑面向南北。结构从街道挤到院子，从高耸的毗邻红砖房子的高度出发，在邻近三层的房子上形成一堵白色的灰泥墙。从4楼到7楼，大楼向西开放，并向斯特雷安莱格公园开放。身穿Tombac的乐队从正门流到院子的正面，打破了规模，形成了历史性的城市环境。

Text description provided by the architects. In the centre of Copenhagen, close to Nyboder, Holsher Nordberg has designed and con-structed a residential project on a very narrow site of seven meters. The structure is unusual in its form, in its detailing and in its relation to the city. The project 4B consists of a slim structure of glass, a plaster gable and a light cladding of Tombac. From the ground to the fourth floor the building is facing north and south. The struc-ture is extruded from the street to the courtyard taking a cue in height from the tall adjacent red brick house and forming a white plaster wall against the 3 storey neighbouring house. From the 4th to 7th floor the building opens towards west and the Østre Anlæg park. The band clad with Tombac flows over the facades from the main entrance to the courtyard, breaking the scale to the historic urban context.

 © Peter Nørby

(彼得·诺比)

4B所处地区有大型建筑，如艺术博物馆、Nyboder、当地教堂、斯特波特站和斯特雷安莱格公园、Kastellet公园和Kong ens公园(国王花园)。4B是街道序列的一部分，由许多不同的建筑类型组成。大学和教堂在当地的街道上占据主导地位，他们的规模和特色的砖墙正面。教堂在街道上表现出与大学建筑一样的巨大坚实感-但相对于面对斯托克大学的长水平正面而言，它更垂直地面向天空。这所大学严格的立面强调了街对面立面顺序的变化。街道斯托克大队的特点是一个6层的砖房项目与微妙的细节和角-Z管乐队，强调每一层。相邻的房子(4号)由一座1862年起的六层砖房组成，它呈现出十年来的详细特征，一个瓷砖屋顶和一个朴素而清晰的表达方式。另一个邻居(6号)从1878年起由一座三层楼高的房子组成.

4B is situated in an area characterized by large edifices like The Museum of Art, Nyboder, a local church, Østerport Station and Østre Anlæg, Kastellet and Kongens Have (King's Garden) parks. 4B is part of a street-sequence which consists of a number of different building typologies. The university and the church dominate the street locally with their size and the characteristic brick facades. The church expresses the same massive solidity towards the pavement level in the street as the university building – but becomes more vertically oriented towards the sky than the long horizontal facade of the university's which is facing Stokhusgade. The stringent facade of the university emphasizes the variation in the sequence of facades across the street. The street Stokhusgade is characterized by a 6 storey brick housing project with delicate details and hori-zontal bands which accentuate each floor. The adjacent house (no. 4) consists of a six-storied brick house from 1862, which appears with the detailing characteristic for the decade, a tiled roof and a plain and clear expression. The other neighbour (no. 6) consists of a three-storied house from 1878.

 © Peter Nørby

(彼得·诺比)

像4B这样的密集项目通常是根据其适应环境的能力来评价的，比如街道上的周围建筑。从相邻的建筑中，该项目通过从相邻的建筑中获取高度和尊重建筑线来获得它的遗产-梅西(Macy)。皮毛-在城市中心区密集化的讨论中，你将在新旧架构的关系上遇到强烈的反对。历史建筑被认为是对建筑传统的保护和对建筑细节的高度尊重和关注。新住宅项目的批评者所使用的论点是，建筑过于中性，过于拘谨，而且没有身份或议程，也很流畅。更糟糕的是：这种建筑过于以自我为中心，过于浮华，无视旧建筑的库存，无法适应现有的网站环境。批评人士认为，目前的建筑无法为其周边建筑创造质量。但是我们该如何发展这个城市呢？

A densifying project like 4B is often evaluated by its ability to adapt to the context such as the surrounding buildings in the street. From the adjacent buildings the project gets its legiti-macy by taking cue in height from the adjacent buildings and respecting the building line. Fur-thermore you will meet hard opposition in regards to the relation between new and old architec-ture in the discussion of densifying the city centre. The historic buildings are regarded with great respect and concern for the preservation of the architectural tradition and detailing. The argu-ments used by the critics of new residential projects are that the architecture is too neutral, ge-neric and smooth without identity or agenda. Or even worse: That the architecture is too self-centred and flashy, disregarding the old building stock and unable to adapt to existing site con-ditions. The critics regard present buildings to be unable to generate quality to their surround-ings. But then how do we develop the city?

 © Peter Nørby

(彼得·诺比)

这场讨论似乎陷入了一种辩证的关系：在公共空间中，建筑作为墙参与的中立角色与建筑所处的相反角色之间存在着一种辩证关系-一个事件或一个物体产生的经验和空间可能会与上下文的规则相违背。这是唯一可能的曲目，还是比结构/场地辩证法已经定义的更微妙的城市浓缩方案。一个缺点可能是，致密化应该表达某种与背景和预先发送的时间之间的关系。这将创造一个关系的，连贯的结构，故意进入已存在的一排房屋和年龄已经代表在街道和地区。像4B这样的致密化项目的一个有趣的挑战是，突出的环境要求有一种在建筑和地方之间建立一致性的建筑能力。

The discussion appears to be caught in a dialectic relation between the neutral role where ar-chitecture participates as a wall in public space and the opposite role where architecture be-comes an event or an object that generates experiences and spaces which can break with the rules of the context. Is this the only possible repertoire or can a more subtle programme be made for densifying the city than what is already defined by the structure/site dialectic. One atti-tude could be that densification should express some kind of relation to the context and the pre-sent time. This would create a relational, coherent structure which intentionally enters the exist-ing row of houses and ages already represented in the street and in the district. The interesting challenge with a densification project like 4B is that the prominent surroundings request an ar-chitectural ability to create coherence between the architecture and the place.

 © Peter Nørby

(彼得·诺比)

你可以把4B项目理解为两种相反倾向之间的桥梁-一种是对建筑的特定和普遍的当代需求；空间、材料、透明度和生活方式的特性。另一种是局部锚定和模仿建筑技术和材料的结果，从过去，因此，Consoli-日期的项目与上下文的关系。4B可以被认为有助于讨论建筑创造空间、体验和表达对城市生活的当代态度的能力。该项目希望以自然贡献者的身份进入当地城市。

You could understand the project 4B as a bridge between two opposite tendencies – one is characterized by the specific and generic contemporary demands towards architecture; charac-ter of space, materials, transparency and lifestyle. The other is locally anchored and imitates the result of construction techniques and materials of the context from the past and as such consoli-dates the projects relation to the context. 4B can be considered a contribution to the discussion of the architectures ability to create space, experience and to express a contemporary attitude towards urban living. The project desires to enter the local urban scene as a natural contributor.

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