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“我們不是為了標榜特殊性而設計，這是結構設計策略的自然結果，我們要呈現的是建筑的基本邏輯。”

“建筑師工作的基礎，始終與創造空間體驗相關。我們需要考慮建筑如何在日復一日的使用中，持續給人以新鮮感。”

——Christian Kerez，

于有方講座“圖像幕后的機制”

由克里斯蒂安·克雷茲（Christian Kerez）設計、坐落于巴林的四座停車樓建筑，均已建成投用。它們分散在四個不同的地塊上，以四種不同的方式，遵循相同的原則設計。

建筑的樓板彎曲、傾斜、交錯融合，也順勢構成連接各層的坡道。當汽車在停車樓中上下穿行時，車內的人能感受到樓板的幾何變化帶來的獨特空間體驗——從凹到凸，時高時低，空間有時導向建筑內部，有時又向外部延伸。汽車的移動，也為整個空間創造出無窮的變化。

在外觀上，這些停車樓無疑是引人注目的，但有方更好奇的是該項目“圖像幕后的機制”（The Mechanism Behind Image，這也是克雷茲2022年有方講座的主題），因此就該項目采訪了克雷茲，詳見下文。

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訪談對話

有方：你的許多作品都以“質疑對建筑的既有看法”為主旨，巴林這個項目的設計出發點是什么？是否旨在表達某個觀點？

Many of your works share the idea of questioning preconceived notions of architecture, and we are curious about whether this project, the Bahrain Car Parks is the case. What is the starting point of this design? What do you intend to express with this project?

Christian Kerez：我并不是特別在意一座建筑在圖片中的樣子，因為圖片總是呈現出一種固定的視角，這就好比你靜止地坐在一個空間里。但空間最迷人的體驗在于，你可以一邊四處走動，一邊以不同的角度和方式去觀察、感知同一個空間。正是這種移動成為了設計的出發點。

I am not so much interested how a building looks on a picture. A picture always suggests a frozen perspective. It's like you would sit in a space without moving, but the most intriguing experience about space is that you can move around, that you can see and perceive the same space for many different angles. It is specifically this movement that was the starting point of the design.

如何讓汽車在停車場中行駛時，不會明顯感知到通道和車位之間的區分呢？我們設想整個停車區域都可以變成一個坡道，而坡道也可以擴展成為停車區域。從這個意義上說，人們可以認為，我們這個設計與現代建筑運動中迄今為止還未得到充分實現的一個理想緊密相關，那就是在整座建筑中實現無邊界的連續移動。

How could the car move through a parking without having a clear differentiation between a ramp and a parking field. We imagined the whole parking field would become a ramp and the ramp would expand to become a parking field. In this sense one might say we related strongly to an ideal of the modern movement that has so far never been put into evidence. The continuous movement throughout the building without any frontier.

有方：文中提到“它們在四個場地上，以四種方式遵循同樣的設計原則”，可否詳述該原則？它們之間的差異又是什么？

A sentence in the description draws our attention: they follow the same principles of design in four different ways on four different plots. Would you explain what are the same principles (or rules) behind them, and what are their differences?

Christian Kerez：對于這四個停車場來說，坡道和樓板之間沒有割裂感，連續的移動能貫穿整座建筑，這是它們共同的基本理念。但這四座建筑實現這一理念的方式卻是不同的。

To have no rupture between ramp and slab, to have a continuous movement throughout the building is the same basic idea for all the four parkings. The way how this was achieved is quite different.

其中一個不同點在于樓板的開口方式。在停車場A和D中，樓板上設置了具有紀念性的巨大圓形開口，使得人們可以通過這些開口抵達另一個樓層。兩塊樓板相互疊加、合而為一。特別是從下往上通過圓形開口進入上方樓層的瞬間，人們的體驗會尤為深刻。而與A、D不同的是，在停車場B中我們通過切割樓板來創造開口。當然，為了避免不同樓層之間的斷裂，我們也使樓板相互交疊，并且這種交疊讓空間也具有連續性。停車場C則是B的簡化版本，因為它只有一層樓板。

In parking A and D you have enormous monumental circular openings in one slab that allows you pass from one slab to the next. Both slabs are overlaid to become one slab. And specifically in this moment we opened the upper level with a monumental opening. Different to that, we cut the slabs in plot B, but we also overlapped them to not have a rupture between the different slabs and to have a continuity in spatial terms thanks to the overlap. Plot C is a simplification of plot B because it only has one slab.

此外，這四座停車場的上下車道組織方式也各不相同。停車場A、B圍繞著整座建筑形成了一種連續的移動路徑——轉完一圈后，你會到達頂層；再轉一圈，你又會回到地面層。地塊D的建筑是最小、也最具雕塑感的，它擁有非常復雜的交通流線系統；而停車場C只有一層，流線相對簡單，這是為了盡可能地尊重對面的清真寺。

Different in all the parkings is also the organization of the driveway up and down. Parking B and parking A describe one continuous movement around the entire building. After one round you reach the top level, also the second round you reach again the ground level. Plot D is the smallest and the most sculptural parking, which has a very complex circulation system, while plot C has just one level to pay as much respect as possible to the opposite mosque.

有方：結構工程師是從什么階段起參與到這個項目中來的？能否闡述一下此次“設計冒險”的歷程？例如，進行了哪些實驗或嘗試？

Since what stage have structural engineers been involved in this project? Would you elaborate on the process of this "design adventure"? For example, any experiment or trial that helped you find the design solutions?

Christian Kerez：在整個設計過程中，我們有許多不同的工程師參與合作。Mario Monotti在概念設計的最初階段就參與進來了，而且他也是設計那個像彈簧一樣的螺旋樓梯的人。Neven Kostic幫我們設計了欄桿，并且用真正的汽車對其進行了多次測試。Patric Gartmann幫助我們做出了使用復合柱的關鍵性決策，這樣一來，盡管柱子間距超過了10米，但柱子依然可以做得很細。實際的結構設計由EDGE公司負責，這家公司對這四個建筑都進行了計算并提供了相關方案。

We had many different engineers involved throughout the entire design process. Mario Monotti was involved at the very beginning in the concept design, and he was also the one that designed the spiral staircase that works like a spring. Neven Kostic helped us with the with the railing that was tested with real cars on several occasions. Patric Gartmann helped us with the strategical decision to use composite columns, to have very thin columns despite the large distance between them of more than ten meters. The actual structural designer was EDGE, a company that calculated and provided all the four projects.

我們為了這個項目專門開發了許多工具。例如，為了確保人們在建筑中任何一處都不會感受到表面是水平的，我們對于整座建筑的各個方向移動式地切取剖面。我們把這種像電影影片一樣的剖面序列稱為“斷層掃描”。

Many tools were specifically developed just for this project. To ensure that one will never have the feeling of a horizontal surface, we used moving sections throughout the entire building from different sides. This movie-like sequence of sections we called "tomography".

此外，考慮到樓板在兩個不同的方向上都有傾斜，為了確保汽車行駛過程中任何一個車輪都不會懸空，我們還得到了紐約Alden Studios的技術支持，他們設計了模擬汽車，用來對這四個停車場進行測試。

To make sure there is no wheel in the air despite the inclination in two different directions of the slabs, we had the support from Alden Studio in New York that designed a digital car that would test all the four parkings.

有方：在巴林做項目的感受如何？項目已經建成一段時間了，投用之后，收到了當地人的哪些反饋，或者是否觀察到他們以你未預見的方式使用空間？

How does it feel to exact a project in Bahrain? Regarding that the car parks have been in use for some time, we would like to know: as the designer, have you received any unexpected feedback from the local people or observed unforeseen ways to use the space?

Christian Kerez：在項目整個過程中，我們一直都夢想著這些停車場為住在附近的人們帶來便利，并為巴林的城市空間增添魅力。過了相當長的一段時間，我們終于等到了這些停車場投入使用并停滿車輛。

We were actually always dreaming that the car park would function just for the pleasure of the people living close by and for the beauty of the urban spaces of Bahrain. For different reasons it took quite a while that the parkings were fully occupied and it was beautiful to observe how people would use the parking in unexpected ways.

看到人們以意想不到的方式使用這些停車場，真的很有意思。音樂家們在這里感受貝殼形空間獨特的聲學效果。孩子們騎著自行車、玩具車，或者帶四個輪子的木箱，在停車場里滑行。在施工期間，工人們會自然地利用停車場坡道來上下搬運較重的設備和材料。我們在各個停車場里都看到有慢跑者一圈又一圈地上下來回。當然，這里也成為了滑板愛好者的天堂，他們把停車場當作半管道滑板場地，并在各種網絡媒體上發布照片、視頻。除此之外，也有很多人只是單純地在停車場里享受悠閑時光——散散步，在陰涼處和其他人聊聊天，或者從不同的高度欣賞這座城市。

You found musicians testing the specific acoustics of the shell-like space. You saw kids on bicycles, toy cars and wooden boxes with four wheels driving down the parking. Also the craftsmen during the construction site used the ramp as a way to bring up heavy equipment and material, or to bring it down again. We saw joggers making several rounds up and down the different parkings. And, of course, it became the paradise for skateboarders that were posting their pictures on different internet medias using the parking as half pipes. But there were also many people just enjoying the parking - to take a stroll, meet other people in the shadow or see the city from different heights.

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項目詳細介紹

4座停車樓總面積達4.5萬平方米，位于穆哈拉格老城中心，是巴林文化部“珍珠之路”項目的一部分。“珍珠之路”既有對傳統住宅的改造，也包括一些當代建筑項目，如Anne Holtrop設計的世博會展館、Valerio Olgiati設計的游客中心和OFFICE設計的一系列城市廣場。

而在Christian Kerez主導設計的本項目中，4座建筑除了作為停車場地，也為公眾創造了可用于祈禱、舉辦活動或集市的公共空間。建成后到訪這些建筑的人中，許多并不是僅僅為停車而來，而更是為了體驗這里變化無窮的內部空間。

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地塊A

這是項目中最大的地塊，其長邊為170米，與主干道和環島相鄰。汽車可以環繞整個地塊從底層一口氣行駛到頂層。

如果要從樓頂開下來，汽車則要反方向繞整個建筑行駛一圈。

由于建筑北側的一半長度幾乎是緊挨著Anne Holtrop設計的Green Corner建筑，因此建筑內部的空間也從一側到另一側逐漸變化。

模型照片 ▽

場地示意及設計圖紙 ▽

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地塊B

在地塊B的停車樓中，樓板上沒有圓形的穿孔，而只有簡單的切口，作為車輛在樓層之間通行的途徑。這樣的設計創造出與A停車樓不一樣的交通循環方式。

該建筑的幾何形狀非常規整，周邊環繞著相對均質的低矮建筑。

模型照片 ▽

場地示意及設計圖紙 ▽

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地塊C

地塊C的停車樓正對著一座大清真寺和穆哈拉格歷史最悠久的遺產建筑之一，風之宮。出于對這一街區風貌精神的尊重，這是本項目中唯一一個僅有一層的停車場。

模型照片 ▽

場地示意及設計圖紙 ▽

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地塊D

這是四個停車樓中最小的一個，但也是最外露的一個，因此它具有最獨特的豎向雕塑感。此外，這個小地塊也是最難組織的，因此也可作為以后設計其他停車樓的參考。

模型照片 ▽

場地示意及設計圖紙 ▽

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結構

停車樓具有外露的承重結構，僅由樓板和柱子組成。建筑通過將板與板連接起來，以抵抗風或地震等帶來的水平荷載，實現加固。

復合支柱的尺寸在25厘米到30厘米之間。由于跨度約10米，樓板將承受非常大的沖力。每根預制柱的底部和頂部都有彎曲的金屬鋼板，將沉重的大樓板與豎向的結構構件連成一體。

樓梯和電梯井裸露，后者覆以PVC透明薄板。樓梯就像樓板之間的彈簧，由于建筑層高在2.2米和4.8米之間波動，不同樓層之間的樓梯平臺位置也隨之變化。樓梯必須非常輕巧，以避免在承重結構中產生不均勻荷載。

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建造

四座建筑中，沒有任何兩塊樓板是完全相同的，這也是無盡的空間多樣性的來源。項目主要利用腳手架等較為傳統的工具進行模板建造，另有極小一部分的雕塑模板是定制的。

由于樓板是不斷變化的平面，團隊運用了腳本程序，以1∶20的比例繪制了7.5萬個部件，隨后將它們以1∶1的比例打印出來，再在現場對模板進行最后切割。

當然，在本項目中，雖然現代計算機技術提高了項目的可操作性，大量的人力對于創造如此多變的幾何形狀，也是不可或缺的。二者的結合運用，使得該項目得以實現。

完整項目信息

Project: Multistorey Car Park

Location: Muharraq, Bahrain

Commissioners: Bahrain Authority of Culture and Antiquities (BACA), Sheikha Mai Bint Mohammed Al-Khalifa, Noura Al-Sayeh Holtrop, Mustafa Salman Al Sulaiman

Architect: Christian Kerez

Project Architect: Caio Barboza

Project Team: Daniel Carlson, Laura Paluch, Lisa Kusaka, Dennis Saiello, Raoul Dubois, Jens Kn?pfel, Matthias Leutert, Apolinário Soares, Jonas L?land, Sofia Blanco Santos, Christiana Pitsillidou, Korbinian Huber, Enrico Pinto, Siwen Wang, Anna Molodij, Yi Wang, Viktoriya Maleva, Oleksandra Nikitenko

Structural Engineering: EDGE Consulting Engineering, Tim Peters

Pre-Stressing Slab: Strong Force M.G.C. W.L.L.

Structural Engineering, Consultant:

Monotti Ingeneri Consulenti SA, Mario Monotti, Staircase, Concept Design?

Dr. Neven Kostic GmbH, Neven Kostic, Handrail

Ferrari Gartmann AG, Emanuela Ferrari, Patrick Gartmann, Composite Column

Engineer of Record: Arsinals Engineering Design

Landscape Design: Catherine Dumont d’Ayot, Plot C and D

Concrete Consultant: Baukolorit AG, Marianne Huber

Traffic Engineering: LK Argus GmbH, Ivan Kosarev

3D Traffic Simulation: Alden Studio

Lighting: Siegrun Appelt with Mathias Burger

本文由Christian Kerez Zürich AG授權有方發布。歡迎轉發，禁止以有方編輯版本轉載。