深度

西扎对于光的使用表现出如下特征：既使用自然光，又使用人工光；光有助于“雕刻”空间，使内部空间的雕塑感十分强烈；人工光的使用既可以结合吊顶上部的泛光来调整空间的体量感，也可以是线状的；室内的光环境大都是均匀明亮的，与白色、浅灰色、黄色的室内界面材料形成“调和”的气氛。

西扎很少将一个完整的巨大体量放置在基地中。不同大小的体量以恰当的比例组合，而体量本身也呈现出优美的比例。

尽管体量可能是不规则的，内部空间却是方正均衡的。西扎在处理体量转折时出现的不规则空间时，体现出高度成熟而优雅的技巧。他往往在内部创造一个辅助空间体量（如楼梯、接待台、贮藏室、卫生间等）来衔接、强化或者消解这种不规则，从而使主要空间的完整性得到加强。

2019年的西扎锐驰馆只存在了4天。正如萧彼纳在文章中所提到的，在2000年汉诺威世界博览会（Expo 2000 HANNOVER）上，西扎和索托·德·莫拉（Souto de Moura）合作的葡萄牙馆使用压缩软木材料建造，却如此成功，从而得以在科英布拉（Coímbra）重建。西扎和合作者希望锐驰馆能以某种方式再生，比如出售、捐赠给学校或者画廊，甚至希望在海上博物馆（与卡洛斯·卡斯塔涅拉合作）中出现⑪。

西扎锐驰馆的设计，几乎是典型的西扎设计思想与手法的“微型百科全书”。对环境的感知与响应、体量的设定与控制、洞口的开出、内部空间的联系、各种物件在各处界面的分布，都体现出西扎令人赞叹的想象力，而为控制与发展出这些所使用的方法和技巧，却很清晰简洁。在999平方米的场地上，715平方米的展馆展现出巨大的力量与美丽的诗意。

笔者与西扎及他的合作伙伴密切合作了4年，期间既有机会漫游他的几个阶段的主要作品，又完整亲历了一个项目从任务书策划到施工图的过程。同时，有幸得到西扎先生个人出版的画集，各种长短言论集册，在2019年出版的关于他和家庭成员间鲜为人知的故事的书籍，以及同年10月出版的Álvaro Siza in/discipline。阅读、交谈、研修，发生在各种时刻，这都有效地增进了笔者对西扎建筑学的理解。对于他长达近70年的建筑实践所呈现出来的作品品质、耐久性和意味，笔者感到不可思议而又充满赞赏和敬意，同时也清楚地明白这背后他所付出的巨大努力。西扎的建筑学中体现的原则在今天仍然适用，并不断在进化。

附1 – 西扎锐驰馆完整项目信息

项目名称：西扎锐驰馆

项目地点：上海虹桥，国家会展中心4.1B01

项目功能：展馆

建筑规模（面积）：715平方米

设计/建成时间：2019年

业主方：CAMERICH锐驰

策展人：Hans-Jürgen Commerell, Kristin Feireiss, Aedes建筑论坛

建筑设计公司：Álvaro Siza 2-Arquitecto SA

主持建筑师：阿尔瓦罗·西扎

项目经理：Cristina Ferreirinha

合作伙伴：Maria Souto de Moura

联络人：Anabela Monteiro

建筑顾问：António Choupina

结构工程：G.O.P. – Gabinete de Organização e Projectos, Lda., Jorge Amorim Nunes de Silva

电器工程：GPIC – Gabinete de Projectos, Consultoria e Instalações, Lda., Alexandre Ferreira Martins Cardoso Costa

葡萄牙家具制造商：Carvalho, Batista & Ca, Sa., Osvaldo Matos SA Reg. C. R. C., Serafim Pereira Simões SUCRS, LDA

附2 – 注释

①来自上海2019 Aedes建筑论坛会议手册，THE SIZA PAVILION For CAMERICH, SHANGHAI。”Our story begins with China’s top furniture brand, CAMERICH, in affiliation with the Aedes Architecture Forum, and the dream of a pavilion designed by the 1992 Pritzker Prize Laureate. An apparently simple commission set on a challenging time frame, since it had to be inaugurated by September 8th, for Shanghai’s International Furniture Fair (CIFF 2019). Anyone familiar with Álvaro Siza or his oeuvre knows that Time is of the essence, both in the live experience of architecture and in the design process itself, yet Siza comes to accept the roughly four-month-long development phase due to the ephemeral nature of the project.” António Choupina, P2.

② “A mere glance at the floorplan and (the most layman of observers) one will find it resembles some kind of animal: an anteater, an elephant, or maybe the cat that inhabits Siza’s office, stretching its paws and tail in the sun-as if architecture leaned toward anti-entropic evolution.” António Choupina, P8, THE SIZA PAVILION For CAMERICH, SHANGHAI.

③ “On May 10th, Siza met with Hans-Jürgen Commerell (AEDES), Amanda Zhang and Shirley Wang (CAMERICH) as well as Zhang Ke (ZAO) to fine tune the details of the pavilion. The unifying ceiling and Souto de Maura’s MGB lighting tracks ended up being replaced with a two-level ceiling system, from which indirect light diffuses through space while solving increased ventilation requirements. Large triangles and trapezoids seem to hover 4m above the floor, diaphragms that reconnect different angles of the opaque outer shell; sequencing a widening promenade from the foyer’s compression to the exhibition core’s expansion.” António Choupina, P8, THE SIZA PAVILION For CAMERICH, SHANGHAI.

④ “Already in 2006, Álvaro Siza told his engineer-Jorge Silva that one day he would make it visible, and he finally has.” António Choupina, P6, THE SIZA PAVILION For CAMERICH, SHANGHAI.

⑤ “Today, many of its concepts are distilled for the Siza Pavilion in Shanghai: a monolith fragmented by geometry, where the oblique convergence of the courtyard intentionally forces perspective, narrowing to achieve intimacy or breaching to dilute boundaries.” António Choupina, P6-8, THE SIZA PAVILION For CAMERICH, SHANGHAI.

⑥ “I was reminded of Loss again when Álvaro Siza asked not to hang anything from the pavilion walls. They should be kept empty because-to paraphrase ‘the abolition of furniture'(1924) -the walls belong to the architect. There he rules at will.” António Choupina, P8, THE SIZA PAVILION For CAMERICH, SHANGHAI.

⑦ “He unsettles us with surprise, with evidence and above all with continual balance and quality.” Carlos Castanheira, P7, Álvaro Siza: the Function of Beauty.

⑧ “In one day I briefed Siza on the site, showing him a small model to explain the boundaries and the context. In a single gesture, a cat appeared. The Mimesis is a cat. A cat that is curled up but is also stretching and yawning.” Carlos Castanheira, P270, Álvaro Siza: the Function of Beauty.

⑨ “Seven doorways punctuate these courtyards, allowing for overall permeability while crafting specific entry points for a VIP lounge, a press auditorium and a staff storage. Caterers have an independent room at the head of this 715 square meters pavilion. I say ‘head’ not due to the logistic proximity of the main entrance, but rather due to its biomorphic character. A mere glance at the floorplan and one will find it resembles some kind of animal: an anteater, an elephant, or maybe the cat that inhabits Siza’s office, stretching its paws and tail in the sun-as if architecture leaned toward anti-entropic evolution.” António Choupina, P8, THE SIZA PAVILION For CAMERICH, SHANGHAI.

⑩ Catalogue of Installation, Exhibition Sensing Spaces: Architecture Reimagined, Royal Academy of Arts, London, Eduardo Souto de Moura and Álvaro Siza, P154-185, January 2014.

“Sensing Space

I landed again at Gatwich.

Kate Gooden expected me with a taxi. On the way to the center of London I looked right and left admiring the relation between landscape and buildings. I left my bag in the hotel and went to the Royal Academy. I could see the big entrance door.

I got out of the taxi and entered the access court. It is surrounded by grey columns, delicate windows and horizontal friezes. The oldest-or almost-elements of architecture.

We had lunch inside, we crossed the rooms, the succession of exhibitions in well proportioned spaces. We visited the wonderful exhibition of Richard Rogers.

We went back to the court and I sat looking around. There were many people, regular and new visitors, alone or in groups. My attention concentrated in the long ranks of columns against the walls, the vertical supports of the roofs that protect us since we exist.

Outside the door I could see the intense movement and activity of the well-ordered city traffic. I imagined the distant birth of a column-a raised stone or tree trunk.

I thought that I could introduce in the court the suggested memory of that primitive act. I tried to see the distribution of three elements. One lying long and narrow volume, one upright, a third one, vertical, supporting a suggested beginning of protection.

I searched the distribution of these intruders, their relations in the space and the technical implications with the underground (tubes and cables or other impediments to the needed foundations). Philip Pierce helped me.

I had made a decision. I sat and had a drink, looking at the enormous door and the movement behind it.

I felt in peace.

A yellow bus suddenly passed behind the door, obstructing the view.

During seconds it transformed the court.

The three columns should be yellow.”

⑪  “One can but hope that CAMERICH will be wise enough to reuse their pavilion as well. Even if that means selling it, like London’s Serpentine Pavilion (2005), or donating it to a school, an art gallery or maybe to the future Haishang Museum, designed by Álvaro Siza and Carlos Castanheira, in that very same district of Shanghai.” António Choupina, P4, THE SIZA PAVILION For CAMERICH, SHANGHAI.

附3 – 参考文献

[1] ROBSON I, VAN BEEK V. SIZA—UNSEEN & UNKNOWN[M]. Berlin: Tchoban Foundation, Museum for Architectural Drawing, 2019.

[2] GRANDE N, MURO C. Álvaro Siza in/discipline[M]. London: Koening Books, 2019: 86-89.

[3] CASTANHEIRA C. Álvaro Siza: The Function of Beauty[M]. New York: Phaidon Press Inc, 2014: 7+270.

[4] SIZA Á. 02Textos[M]. Portugal: Parceria A.M. pereira, 2018: 119.

附4 – 图片来源

除波尔图大学建筑系馆照片（摄影：张超）、阿威罗大学图书馆照片（摄影：张超）、台玻集团淮安“水上办公楼”鸟瞰（图源网络）外，图片及图纸均由作者提供，分别来自锐驰CAMERICH、Álvaro Siza & António Choupina、上海2019Aedes建筑论坛会议手册，THE SIZA PAVILION FOR CAMERICH,  SHANGHAI、www.ideamsg.com、作者自摄、Álvaro Siza in/ discipline、UNSEEN & UNKNOWN、www.mwmw.cn、Álvaro Siza Complete Works 1952-2013、www.archdaily.com、Álvaro Siza: The Function of Beauty、Archi News 38 Álvaro Siza、bbs.zhulong.com、www.sohu.com、MUSEU INTERNACIONAL DE ESCULTURA CONTEMPORÂNEA MUSEU MUNICIPAL ABADE PEDROSA

本文经授权转载自《时代建筑》2020年第1期 精细化再生：城镇老旧小区改造，陈嘉炜 《阿尔瓦罗·西扎锐驰馆探析》，版权归原作者所有。欢迎转发，禁止以有方编辑版本转载。