城市真空中的活化剂

An Activator in the City’s Vacuum

位于哥特式圣罗兰教堂(圣罗兰大教堂)和德尔菲塞瓦特运河之间，格罗特克尔凯普林运河是在城市中心的现代主义重建过程中才形成的，而市中心在二战期间几乎被完全摧毁。

Situated between the gothic Sint Laurenskerk (Saint Laurens cathedral) and the Delftsevaart canal, the Grotekerkplein was formed only during the course of the modernist reconstruction of the city center, which was almost entirely destroyed during WW2.

尽管广场位于市中心，但它几乎没有在城市生活中发挥作用，因为没有一条商业街将它与城市的其他公共空间连接起来，而且只有少数几个设施面向广场本身。相反，许多建筑的背面定义了广场的外观和氛围，使它在空间上毫无吸引力和乏味。因此，这个想法出现了，通过建造一个小剧院展馆，在空间和程序上激活广场，以填补城市织物中令人不快的真空。

Despite its central location the square hardly plays a role in the city’s life, as no shopping streets connect it to the rest of the city’s public spaces, and only a few facilities are oriented towards the square itself. Instead, a number of building backs define the square’s appearance and atmosphere, leaving it spatially unappealing and dull. Therefore the idea emerged to activate the square programmatically as well as spatially through the construction of a small theater pavilion, in order to fill the displeasing vacuum within the city fabric.

 © Architektur-Fotografie Ulrich Schwarz

c.Architektur-Fotografie Ulrich Schwarz

在鹿特丹扶轮社的倡议下，在2004年秋季组织了一次应邀参加的建筑比赛，Atelier Kempe Thill为其提交了获奖作品。

On the initiative of the Rotterdam Rotary Club an invited architectural competition was organized in the autumn of 2004, for which Atelier Kempe Thill submitted the winning entry.

轮廓与透明度：城市对象

Contour and Transparency: An Urban Object

 © Architektur-Fotografie Ulrich Schwarz

c.Architektur-Fotografie Ulrich Schwarz

建造好的剧院讲台始终如一地解释着手头的任务，也许有点令人惊讶的是，这是一种以城市化为主的运作方式。目前的局势是一个起点，并通过有针对性和强有力的姿态加以改善。一个40米长的结构强行将方形和运河隔开，以提高它们各自的空间可辨性。领奖台几乎占据了广场的整个西边，从而加强了空间的框架，这创造了一个更亲密的角色，并为圣罗兰克提供了一个对应的平台。

The built theater podium interprets the task at hand consistently and maybe a little surprisingly as a mostly urbanistic operation. The existing situation is taken as a starting point and improved through a targeted and powerful gesture. A 40m long structure forcefully separates square and canal from each other in order to enhance their respective spatial legibility. The podium occupies almost the square’s entire western side, resulting in an enhanced framing of the space, which creates a more intimate character and provides the Sint Laurenskerk with a counterpart.

讲台矗立在建筑线上，构成了“运河区”，因此，德尔菲塞瓦运河被强调为一个重要的城市空间。该结构本身被认为是一个开放和透明的体积，保持了方形和水之间的视觉连接，并避免空间收缩。其结果是一个在城市中表现为激活物的物体：它在定义空间的同时，打开它们之间的视野，并充当一个光学过滤器，以安抚异质的鹿特丹城市景观。在设计中限制色彩的使用，使物体的空间冲击力最大化。

The podium stands in the line of buildings, which define the ‘canal zone’; thus the Delftsevaart canal is emphasized as an important urban space. The structure itself is conceived as an open and transparent volume, maintaining a visual connection between square and water, and avoiding spatial constriction. The result is an object that presents itself as an activator within the city: it defines spaces whilst at the same time opens up views between them, and acts as an optical filter, appeasing the heterogeneous Rotterdam cityscape. The object’s spatial impact is maximized by a restrained use of colour in its design.

纲领自由：作为舞台的讲台

Programmatic Freedom: Podium as a Stage

 elevation 01

elevation 01

剧院讲台被设想成一个大城市舞台。两个服务核心-米的高度-从50厘米高的基地上升。在这两卷书之间，一个屋顶覆盖了30米的自由跨度，由此形成的开放式框架形成了舞台。舞台空间有两个方向，既面向广场，又面向水，使从两边观看表演成为可能。另一种可能的观看安排是让观众自己站在“舞台”上。南方服务中心在打开时可容纳长度为70米的舞台幕布。根据事件的发生，这个窗帘可以用来调整舞台的大小，甚至完全把舞台本身转变成一个封闭的“封闭空间”。

The theatre podium was conceived as a large urban stage. Two service cores - 5m in height - rise from a 50cm high base. Between these two volumes a roof covers 30m in free span, with the resulting open frame forming the stage. The stage space has a double orientation, both towards the square and the water, making it possible for performances to be viewed from both sides. A further possible viewing arrangement could be to place the audience itself on the ‘stage’.The southern service core accommodates a stage curtain measuring 70m in length when unravelled. Depending on the event taking place, this curtain can be used to adjust the stage size, or even completely transform the stage itself into an enclosed ‘curtained space’.

因此，活动的风度和暂时性被可移动纺织品的影响所突显。北部的服务核心主要供艺术家使用，包括浴室设施、更衣室和存储空间。综合厨房也可以用来经营一家小咖啡馆。建造的结构不符合任何明确的程序编纂或类型学分类的尝试。相反，它把自己描绘成一个面对空虚、提出问题和煽动意想不到的使用的对象。任何功能主义的决心或表面上的象征主义都被谨慎地避免了。强烈的图像来自诱人和巨大的屋顶结构，但同时也保持了令人愉快的低调。其结果是为鹿特丹城市人口的灵感聚集创造了一个平静和有尊严的环境。

The airiness and temporary character of the event is thus underscored by the effect of the movable textile. The northern service core is mainly reserved for artists’ use; it comprises bathroom facilities, a dressing room, and storage spaces. The integrated kitchen can also be used to operate a small café. The built structure defies any attempt at a clear programmatic codification or typological classification. Instead it presents itself as an object of confronting emptiness, raising questions, and inciting unexpected types of use. Any functionalist determination or ostensible symbolism has been carefully avoided. A strong iconography emanates from the inviting and monumental roof structure, which at the same time remains pleasantly unobtrusive. The result is a calm and dignified setting for an inspired gathering of the urban population of Rotterdam.

 © Architektur-Fotografie Ulrich Schwarz

c.Architektur-Fotografie Ulrich Schwarz

物化：最大限度的耐用性和精致性

Materialization: Maximum Durability and Refinement

在鹿特丹，城市空间被大量使用。由于耐用物化是一项强制性要求，讲台完全是用混凝土和钢建造的。详细的目的是最终减少，以使对象看起来是不朽的，同时也是精益求精的。该结构由几乎完全由氧化钛骨料变成白色的裸露混凝土组成。预应力混凝土结构形成了自由跨屋顶，允许一个非常薄的板，厚度50厘米的边缘和75厘米的中心。

Urban space is used aggressively in Rotterdam. With a durable materialization being a compulsory requirement, the podium was entirely constructed in concrete and steel. The detailing aims at an ultimate reduction, in order for the object to appear monumental whilst at the same time refined. The structure consists of exposed concrete rendered almost completely white by an aggregate of titanium oxide. A pre-stressed concrete construction forms the free-span roof, allowing for an exceptionally thin slab with thicknesses of 50cm towards the edges and 75cm in the center.

使用非常大的模板(10米x2，5m)有助于将可见接头减少到最低限度。所有的技术设施-螺栓，电气管道，和窗帘轨道-完全集成在施工中。混凝土表面用一种特殊的防涂鸦涂层密封.

The use of extremely large formwork boards (10m x 2,5m) helped reduce visible joints to an absolute minimum. All technical installations - bolts, electrical conduits, and the curtain track - are completely integrated into the construction. The concrete surface is sealed with a special anti-graffiti coating.

 © Architektur-Fotografie Ulrich Schwarz

c.Architektur-Fotografie Ulrich Schwarz

服务核心的体积用一个不含轴承的不锈钢网覆盖，每个面板的宽度为5米，墙角用不锈钢条加固。在钢网后面的LED灯条照亮了晚上的服务量，从而在晚上把讲台变成了一个意想不到的灯光雕塑。两扇不锈钢门-每扇高5米-可以进入服务核心。就像这座建筑的几乎所有其他元素一样，它们是定制的。

The volumes of the service cores are clad with a non-bearing stainless steel mesh, each panel measuring an exceptional 5m in width; the corners are reinforced with stainless steel strips. An LED light bar behind the steel mesh illuminates the service volumes in the evenings, thus transforming the podium into an unexpected light sculpture in the evening hours. Two stainless steel doors - each 5m high - give access to the service cores. Like almost all other elements of the building, they are custom-made.