Painting (Zaha Hadid). Image Courtesy of Zaha Hadid Architects
绘画(扎哈·哈迪德)扎哈·哈迪德建筑师的形象礼貌
Model. Image Courtesy of Zaha Hadid Architects
模特。扎哈·哈迪德建筑师的形象礼貌
维特拉校区是一个庞大的综合体，包括工厂，陈列室，和维特拉设计博物馆。自从1981年最初的工厂被大火烧毁以来，维特拉就委托世界各地著名建筑师更换建筑：弗兰克·盖里(Frank Gehry)、安藤(Tadao Ando)、阿尔瓦罗·西扎(Alvaro Siza)的建筑，以及其他几位著名设计师都站在同一个庄园里。闪电在一夜之间引发了一场大火，烧毁了工厂校园的一半以上，维特拉决心防止类似的灾难摧毁它的新校园。
The Vitra Campus is a vast complex comprising factories, showrooms, and the Vitra Design Museum. Since the original factory’s destruction by a fire in 1981, Vitra has commissioned replacement structures by renowned architects from around the world: buildings by Frank Gehry, Tadao Ando, Alvaro Siza, and several other notable designers all stand within the same estate. After a bolt of lightning caused a fire that burned more than half the factory campus in a single night, Vitra was determined to prevent a similar disaster from destroying its new campus.[1,2]
The Vitra Campus is a vast complex comprising factories, showrooms, and the Vitra Design Museum. Since the original factory’s destruction by a fire in 1981, Vitra has commissioned replacement structures by renowned architects from around the world: buildings by Frank Gehry, Tadao Ando, Alvaro Siza, and several other notable designers all stand within the same estate. After a bolt of lightning caused a fire that burned more than half the factory campus in a single night, Vitra was determined to prevent a similar disaster from destroying its new campus.[1,2]
哈迪德最初的任务只是设计消防站本身。然而，该项目最终将扩大到包括边界墙，一个锻炼空间，和一个自行车棚。这些人将沿着穿过Vitra校园的主干道上的一个拐弯处坐下来。这条街道-也就是新的消防站-被设计成一个线性的景观区，可以参考周围农田的布局。
Hadid was initially tasked only to design the fire station itself. The project, however, would eventually expand to include boundary walls, an exercise space, and a bicycle shed. These elements were to sit along a bend in the main road running through the Vitra Campus. The street—and by extension, the new fire station—was designed to act as a linear landscaped zone, one that would reference the layout of the surrounding farmland.[3]
Hadid was initially tasked only to design the fire station itself. The project, however, would eventually expand to include boundary walls, an exercise space, and a bicycle shed. These elements were to sit along a bend in the main road running through the Vitra Campus. The street—and by extension, the new fire station—was designed to act as a linear landscaped zone, one that would reference the layout of the surrounding farmland.[3]
Model. Image Courtesy of Zaha Hadid Architects
模特。扎哈·哈迪德建筑师的形象礼貌
它是这条路，也是工厂周围的工棚，这将为哈迪斯的建议提供依据。根据哈雷德的设想，Vitra消防站将比简单地作为空间中的物体存在。相反，她利用这座建筑来定义和建造它所面对的街道。它还将用来保护校园免受其不和谐的传统、白话的邻居的影响。[4]
It was the road, as well as the factory sheds surrounding the site, that would inform the rationale of Hadid’s proposal. As envisaged by Hadid, the Vitra Fire Station would do more than simply exist as an object in space. Rather, she used the building to define and structure the street on which it faces. It would also serve to shield the campus from its incongruously traditional, vernacular neighbors.[4]
It was the road, as well as the factory sheds surrounding the site, that would inform the rationale of Hadid’s proposal. As envisaged by Hadid, the Vitra Fire Station would do more than simply exist as an object in space. Rather, she used the building to define and structure the street on which it faces. It would also serve to shield the campus from its incongruously traditional, vernacular neighbors.[4]
这些设计意图形成了一个漫长而狭窄的结构，使程序沿着街道的边缘伸展。建筑本身由一系列线性混凝土墙和屋顶元件组成，程序装配到它们之间的间隙空间中。为了满足用于循环和其它活动的内部要求，从外部呈现为纯平面形式的壁被刺穿、倾斜或折叠。[5]
These design intentions resulted in a long, narrow structure that stretched the program along the edge of the street. The building itself is composed of a series of linear concrete walls and roof elements, with the program fitted into the interstitial spaces between them. The walls, which appear as pure planar forms from the outside, are punctured, tilted, or folded in order to meet internal requirements for circulation and other activities.[5]
These design intentions resulted in a long, narrow structure that stretched the program along the edge of the street. The building itself is composed of a series of linear concrete walls and roof elements, with the program fitted into the interstitial spaces between them. The walls, which appear as pure planar forms from the outside, are punctured, tilted, or folded in order to meet internal requirements for circulation and other activities.[5]
© Christian Richters
克里斯蒂安·里氏
形成墙和屋顶的平面由外露的现浇混凝土形成。Hafe规定应严格保持这些元素的视觉纯度；避免了屋顶覆层和边缘，这将从混凝土的其他脆边缘中分心。这种显著的视觉简化是在建筑物的每个方面进行的，从无框玻璃窗到内部的照明处理；渗透消防站的光线的线路是逻辑的和直接的。[6]
The planes which form the walls and roof are formed from exposed, cast in-situ concrete. Hadid specified that the visual purity of these elements was to be strictly maintained; roof cladding and edging, which would have distracted from the otherwise crisp edges of the concrete, was avoided. This conspicuous visual simplification was carried through in every aspect of the building, from the frameless glazing down to the lighting treatment in the interiors; the very lines of light that permeate the fire station are logical and straightforward.[6]
The planes which form the walls and roof are formed from exposed, cast in-situ concrete. Hadid specified that the visual purity of these elements was to be strictly maintained; roof cladding and edging, which would have distracted from the otherwise crisp edges of the concrete, was avoided. This conspicuous visual simplification was carried through in every aspect of the building, from the frameless glazing down to the lighting treatment in the interiors; the very lines of light that permeate the fire station are logical and straightforward.[6]
通过坚持审美的简单性，哈迪德打算强调设计的高度概念性。过多的细节会削弱建筑物棱柱状混凝土体积的抽象，减少概念本身的影响。[7]其结果是一座高度雕塑的建筑，类似于扎哈·哈迪德(ZahaHadid)在受托时就已经众所周知的绘画作品。她的画作虽然被认为足够漂亮，可以在艺术博物馆展出，但被广泛认为过于前卫，无法转化为实体建筑；因此，她的第一批重大项目之一的这一步与其概念根源密切相关，这一点也就不足为奇了。
By insistenting on aesthetic simplicity, Hadid intended to highlight the highly conceptual nature of the design. Excessive detail would detract from the abstraction of the building’s prismatic concrete volumes, reducing the impact of the concept itself.[7] The result is a highly sculptural building, and one which resembles the paintings for which Zaha Hadid was already well-known by the time she was commissioned. Her paintings, while considered beautiful enough to be exhibited in art museums, were widely considered too avant-garde to be translated into physical architecture; it is unsurprising, then, that one of her first major projects to make that step would hew so closely to its conceptual roots.[8]
By insistenting on aesthetic simplicity, Hadid intended to highlight the highly conceptual nature of the design. Excessive detail would detract from the abstraction of the building’s prismatic concrete volumes, reducing the impact of the concept itself.[7] The result is a highly sculptural building, and one which resembles the paintings for which Zaha Hadid was already well-known by the time she was commissioned. Her paintings, while considered beautiful enough to be exhibited in art museums, were widely considered too avant-garde to be translated into physical architecture; it is unsurprising, then, that one of her first major projects to make that step would hew so closely to its conceptual roots.[8]
© Christian Richters
克里斯蒂安·里氏
建筑如在她的画中，承载着一股强大的运动感觉。建筑物的印象随着人们过去的移动而急剧变化—-从倾斜角度视觉无法穿透的墙壁突然向车库的内部提供一个接近垂直角度的视图。铺在人行道上的线条反映了建筑的预期居住者的移动：轨道从车库中的曲线出来，用来容纳消防车，而其他的路线暗示了消防员的编排演习。即使建筑物的墙壁看起来似乎都能相互滑动，在车库的情况下，两个大的面板实际上也是一样的。[9]
The building, as in her paintings, carry a powerful sensation of movement. The impression of the building changes dramatically as one moves past it – the walls, which are visually impenetrable from oblique angles, suddenly afford a view to the inside of the garage as one approaches a perpendicular angle. Lines inscribed in the pavement reflect the movement of the building’s intended occupants: tracks curve out of the garage meant to house fire engines, while other paths hint at the choreographed exercises of the firemen. Even the walls of the building seem poised to slide past each other; in the case of the garage, two large panels actually do.[9]
The building, as in her paintings, carry a powerful sensation of movement. The impression of the building changes dramatically as one moves past it – the walls, which are visually impenetrable from oblique angles, suddenly afford a view to the inside of the garage as one approaches a perpendicular angle. Lines inscribed in the pavement reflect the movement of the building’s intended occupants: tracks curve out of the garage meant to house fire engines, while other paths hint at the choreographed exercises of the firemen. Even the walls of the building seem poised to slide past each other; in the case of the garage, two large panels actually do.[9]
由此产生的印象是“冰冻运动”。[10]这是一种适合消防站的建筑气氛，消防站必须时刻保持警惕；这一设计反映了这种紧张，以及在任何特定时刻爆发行动的可能性。[11]与哈迪德一样努力来代表消防站的性质，讽刺的是，她的设计没有在这个角色上看到真正的作用-相反，它现在被用作一个展览和特殊的活动空间。[12，13]
The resulting impression is that of “frozen movement.”[10] It is a fitting architectural mood for a fire station, which must remain on constant alert; the design reflects that tension, as well as the potential to burst into action at any given moment.[11] With as much effort as Hadid put in to represent the nature of a fire station, it is ironic that her design saw no real service in that role – instead, it is now used an exhibition and special event space.[12,13]
The resulting impression is that of “frozen movement.”[10] It is a fitting architectural mood for a fire station, which must remain on constant alert; the design reflects that tension, as well as the potential to burst into action at any given moment.[11] With as much effort as Hadid put in to represent the nature of a fire station, it is ironic that her design saw no real service in that role – instead, it is now used an exhibition and special event space.[12,13]
© Helene Binet
海琳·比内
虽然维特拉消防站最终将服务于一个不同于最初设计的功能，但它仍然是扎哈·哈迪德职业生涯中的一个重要里程碑。在实现她的建议时，这位出生于伊拉克的英国建筑师证明，她有能力超越她作为“纸建筑师”的名声，创造出既能发挥作用又具有激进作用的建筑空间。[14]尽管哈迪德将在接下来的23年里创造出革命性的建筑，她的维特拉消防站仍然是她最著名的项目之一，甚至在维特拉的杰出建筑项目组合中也是如此。
Although the Vitra Fire Station would ultimately come to serve a different function than it was originally designed, it nonetheless represents a significant milestone in the career of Zaha Hadid. In realizing her proposal, the Iraqi-born British architect proved that she was capable of moving past her reputation as a “paper architect” to create architectural space that was as functional as it was radical.[14] Though Hadid would spend the next twenty three years producing revolutionary architecture, her Vitra Fire Station remains one of her most notable projects – one that stands out even in Vitra’s assemblage of exceptional architectural projects.
Although the Vitra Fire Station would ultimately come to serve a different function than it was originally designed, it nonetheless represents a significant milestone in the career of Zaha Hadid. In realizing her proposal, the Iraqi-born British architect proved that she was capable of moving past her reputation as a “paper architect” to create architectural space that was as functional as it was radical.[14] Though Hadid would spend the next twenty three years producing revolutionary architecture, her Vitra Fire Station remains one of her most notable projects – one that stands out even in Vitra’s assemblage of exceptional architectural projects.
Painting (Zaha Hadid). Image Courtesy of Zaha Hadid Architects
绘画(扎哈·哈迪德)扎哈·哈迪德建筑师的形象礼貌
Model. Image Courtesy of Zaha Hadid Architects
模特。扎哈·哈迪德建筑师的形象礼貌
[1]Koivo，Anniina。“生日消防局快乐”Vitra，2013年6月11日。[2]“Vitra校园”维特拉设计博物馆。2016年4月11日[3]没有人，彼得，编辑。Zaha Hadid Architektur.维也纳：Hatje坎茨·韦拉格，2003年。p 144。[4]Jodidio，Philip。扎哈·哈迪德：1979-2009年全集。Köln：Taschen，2009年。第119页。[5]任何人，第145页。[6]“Vitra消防局”。扎哈·哈迪德建筑师。2016年4月12日[7]任何人，p 146。[8]Zukowsky，John。“扎哈·哈迪德夫人”大英百科全书。2016年4月11日[Access][9]任何人访问，p 145-146。[10]任何人，第146页。[11]“Vitra消防局”[12]Jodidio，第119页。[13]“Vitra校园”[14]Zukowsky。
[1] Koivu, Anniina. “Happy Birthday Fire Station.” Vitra, June 11, 2013. [access] [2] “Vitra Campus.” Vitra Design Museum. Accessed April 11, 2016. [access] [3] Noever, Peter, ed. Zaha Hadid Architektur. Vienna: Hatje Cantz Verlag, 2003. p144. [4] Jodidio, Philip. Zaha Hadid: Hadid: Complete Works 1979-2009. Köln: Taschen, 2009. p119. [5] Noever, p145. [6] “Vitra Fire Station.” Zaha Hadid Architects. Accessed April 12, 2016. [access] [7] Noever, p146. [8] Zukowsky, John. “Dame Zaha Hadid.” Encyclopedia Britannica. Accessed April 11, 2016 [access] [9] Noever, p145-146. [10] Noever, p146. [11] “Vitra Fire Station.” [12] Jodidio, p119. [13] “Vitra Campus.” [14] Zukowsky.
[1] Koivu, Anniina. “Happy Birthday Fire Station.” Vitra, June 11, 2013. [access] [2] “Vitra Campus.” Vitra Design Museum. Accessed April 11, 2016. [access] [3] Noever, Peter, ed. Zaha Hadid Architektur. Vienna: Hatje Cantz Verlag, 2003. p144. [4] Jodidio, Philip. Zaha Hadid: Hadid: Complete Works 1979-2009. Köln: Taschen, 2009. p119. [5] Noever, p145. [6] “Vitra Fire Station.” Zaha Hadid Architects. Accessed April 12, 2016. [access] [7] Noever, p146. [8] Zukowsky, John. “Dame Zaha Hadid.” Encyclopedia Britannica. Accessed April 11, 2016 [access] [9] Noever, p145-146. [10] Noever, p146. [11] “Vitra Fire Station.” [12] Jodidio, p119. [13] “Vitra Campus.” [14] Zukowsky.
建筑师扎哈·哈迪德建筑师地点查尔斯-伊姆斯-斯特拉2，79576，德国建筑师主管扎哈·哈迪德，爱国者·舒马赫项目建筑师帕特里克·舒马赫项目建筑师帕特里克·舒马赫客户维特拉国际公司设计团队西蒙·库姆健，埃德加·冈萨雷斯，卡尔·沃亚·何，沃恩·黄日旺，克雷格·基纳，克里斯蒂娜·维里西莫，玛丽亚·罗西，丹尼尔·奥克利，尼古拉·库辛斯，戴维·戈默索尔Olaf Weishaupt当地建筑师Roland Mayer地区852.0平方米工程年1993年拍摄克里斯蒂安·里希特，海琳·比瓦内级消防局
Architects Zaha Hadid Architects Location Charles-Eames-Straße 2, 79576, Germany Architects in Charge Zaha Hadid, Patrik Schumacher Project Architect Patrik Schumacher Client Vitra International AG Design Team Simon Koumjian, Edgar Gonzalez, Kar Wha Ho, Voon Yee-Wong, Craig Kiner, Cristina Verissimo, Maria Rossi, Daniel R. Oakley, Nicola Cousins, David Gomersall, Olaf Weishaupt Local Architect Roland Mayer Area 852.0 m2 Project Year 1993 Photographs Christian Richters, Helene Binet Category Fire Station
Architects Zaha Hadid Architects Location Charles-Eames-Straße 2, 79576, Germany Architects in Charge Zaha Hadid, Patrik Schumacher Project Architect Patrik Schumacher Client Vitra International AG Design Team Simon Koumjian, Edgar Gonzalez, Kar Wha Ho, Voon Yee-Wong, Craig Kiner, Cristina Verissimo, Maria Rossi, Daniel R. Oakley, Nicola Cousins, David Gomersall, Olaf Weishaupt Local Architect Roland Mayer Area 852.0 m2 Project Year 1993 Photographs Christian Richters, Helene Binet Category Fire Station
