城市真空中的活跃分子
Grotekerkplein位于哥特式的Sint Laurenskerk(圣劳伦斯大教堂)和Delftsevaart运河之间,只是在对市中心进行现代主义重建的过程中形成的,市中心在二战期间几乎被完全摧毁。
尽管广场处于中心位置,但它在城市生活中几乎没有发挥任何作用,因为没有商业街将它与城市的其他公共空间连接起来,只有少数设施是面向广场本身的。相反,一些建筑的背面决定了广场的外观和氛围,使其在空间上缺乏吸引力和沉闷。因此,出现了一个想法,即通过建造一个小型剧院亭子,从程序上和空间上激活广场,以填补城市结构中令人不快的真空。

An Activator in the City’s Vacuum
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.
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.

在鹿特丹扶轮社的倡议下,2004年秋季组织了一次建筑竞赛,Kempe Thill工作室提交了获胜作品。
轮廓和透明度。一个城市物体

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.
Contour and Transparency: An Urban Object

建成后的剧院裙楼对手头的任务进行了一贯的解释,也许有点令人惊讶的是,它主要是一种城市化的操作。现有的情况被作为一个起点,并通过一个有针对性的和强大的姿态来改善。一个40米长的结构有力地将广场和运河分开,以提高它们各自的空间可读性。裙楼几乎占据了广场的整个西侧,导致了空间框架的加强,这创造了一个更亲密的特性,并为Sint Laurenskerk提供了一个对应的空间。
裙楼矗立在界定 “运河区 “的建筑群中;因此Delftsevaart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量,保持了广场和水之间的视觉联系,并避免了空间上的限制。其结果是一个在城市中呈现出活性的物体:它定义了空间,同时又在它们之间打开了视野,并作为一个光学过滤器,安抚了鹿特丹异质的城市景观。通过在设计中对色彩的克制使用,该物体的空间影响得到了最大化。
程式化的自由。裙楼是一个舞台

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.
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.
Programmatic Freedom: Podium as a Stage

剧院的裙楼被设想为一个大型的城市舞台。两个服务核心–高度为5米–从一个50厘米高的底座上升起。在这两个体量之间,屋顶的自由跨度为30米,由此产生的开放框架形成了舞台。舞台空间有一个双重方向,既朝向广场又朝向水面,使得表演可以从两边观看。另一个可能的观看安排是将观众本身放在 “舞台 “上。南边的服务核心可以容纳一个舞台幕布,展开后长度为70米。根据正在进行的活动,这个幕布可以用来调整舞台的大小,甚至可以将舞台本身完全变成一个封闭的 “幕布空间”。
因此,活动的空气感和临时性被可移动的纺织品的效果所强调。北部的服务核心主要是留给艺术家使用的;它包括浴室设施、更衣室和存储空间。综合厨房也可以用来经营一个小咖啡馆。该建筑结构拒绝了任何明确的程序性编纂或类型学分类的尝试。相反,它把自己表现为一个面对空虚的对象,提出问题,并煽动出乎意料的使用类型。任何功能主义的决定或表面上的象征主义都被谨慎地避免了。一个强大的图标从诱人的和不朽的屋顶结构中散发出来,同时又保持了令人愉快的不显眼的特点。其结果是为鹿特丹城市人口的灵感聚集提供了一个平静而庄重的环境。

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’.
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.

材料化。最大限度的耐用性和精细化
在鹿特丹,城市空间被积极地使用。由于耐用的材料化是一个强制性的要求,该裙楼完全由混凝土和钢结构构成。细节设计的目的是为了最终减少,以使该物体看起来有纪念意义,同时又很精致。该结构由裸露的混凝土组成,通过氧化钛的聚合体几乎完全呈现出白色。一个预应力混凝土结构形成了自由跨度的屋顶,允许一个特别薄的板,边缘的厚度为50厘米,中间为75厘米。
使用非常大的模板(10米×2.5米)有助于将可见的接缝减少到绝对最小。所有的技术装置–螺栓、电线管和窗帘轨道–都完全融入了施工。混凝土表面用特殊的防涂鸦涂层密封。

Materialization: Maximum Durability and Refinement
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.
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.

服务核心区的体量由非承重的不锈钢网覆盖,每块板的宽度特别大,达到5米;角部由不锈钢条加固。钢网后面的LED灯条在晚上照亮了服务区,从而使裙楼在晚上变成了一个意想不到的灯光雕塑。两扇不锈钢门–每扇都有5米高–提供了通往服务核心区的通道。与建筑的几乎所有其他元素一样,它们都是定制的。

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.

Architects: Atelier Kempe Thill
Year: 2009
Photographs: Architektur-Fotografie Ulrich Schwarz
City:Rotterdam
Country:SCHIEDAM