德语社区的议会
第一次世界大战结束后，随着1919年《凡尔赛条约》的签订，比利时凯尔米斯市周围的中立地区和比利时欧本-马尔梅迪市的德国行政区被吞并。结果，约七万名德国人成为比利时公民。自大规模的国家改革颁布以来（1968-1971年），比利时不仅正式由弗拉芒区和瓦隆区以及布鲁塞尔组成，而且还包括德语社区，其权利和自治权得到承认。这些权利在过去四十年里得到了有力的发展。自1984年以来，该社区拥有自己的政府和自己的议会，并拥有立法权。为了创造一个适当的空间框架，决定将议会及其行政机构设在十九世纪末的一个前疗养院里。由于缺乏代表性的空间，而且疗养院必须进行大规模的翻新，因此在2008年秋天，为扩建和改造疗养院组织了一次国际建筑竞赛，由Atelier Kempe Thill赢得。

A Parliament for the German-Speaking Community
After the end of World War I, with the Treaty of Versailles of 1919, the neutral area surrounding the municipality of Kelmis, Belgium, and the German administrative district of Eupen-Malmedy, Belgium, are annexed. As a result, some seventy thousand Germans become Belgian citizens. Since large-scale state reforms are enacted (1968–1971), Belgium officially consists not only of the Flemish and Walloon Regions along with Brussels but also of the German-speaking community with its recognized rights and autonomies. These rights have developed strongly in the last forty years. Since 1984, the community has both its own government as well as its own parliament with legislative powers. In order to create an appropriate spatial framework for this, the decision is made to house the parliament and its administration in a former sanatorium from the late nineteen-tens. Since representative spaces are lacking and the sanatorium would have to undergo substantial renovation, in the fall of 2008, an international architecture competition is organized for the expansion and remodeling of the sanatorium, which is won by Atelier Kempe Thill.

庄园前的景观物
竞争设计和将要实现的变体的目标都是将老建筑和扩建工程结合起来，形成一个连贯的构图，在这个构图中，两座建筑被赋予了各自的特点，但又形成了一个建筑单元。这里特别微妙的问题是已经存在的疗养院在山上的位置，像一个独立的庄园。由于它的外观非常具有代表性，以古典主义的正面方式布置，每一种形式的扩展都会很快被认为是不敏感的入侵或过于保留。因此，Atelier Kempe Thill的设计起源于这样的想法：新建筑将相对于旧建筑有明显的攻击性定位，这与代表性的议会建筑是相称的。由于 “疗养院 “所处的山丘的性质，通过对地形的简单重塑，可以将新建筑直接置于其前面。从外面看，已经存在的建筑不是简单地与新建筑结合在一起，而是与它进入了一致的综合。新建筑为 “疗养院 “形成了一个光学基座，从建筑和象征意义上强调了其孤独的外观。屋顶和外墙完全由沉香植物覆盖。这导致在整个建筑群的入口处创造了一个大型 “花枕 “的印象，从而产生了一种诱人的气氛。这个 “景观对象 “以一个过度生长的极简主义对象的看似舞台化的性质来反驳公园自然出现的性质。因此，新建筑既是景观的一部分，也是景观的对比。

A Landscape Object in front of a Manor House
Both the competition design and the variant to be realized have the goal of uniting the old building and the expansion into a coherent composition in which the two buildings are each given their own character while nonetheless forming an architectural unit. The particularly delicate issue here is the position of the already existing sanatorium on the hill like a freestanding manor house. With a very representative appearance that is laid out in a classicist-frontal manner, every form of expansion can quickly be perceived as an insensitive intrusion or as too reserved. Atelier Kempe Thill’s design thus originated with the idea that the new building would be positioned visibly and offensively with respect to the old building as befits a representative parliament building. As a result of the nature of the hill on which the “sanatorium” stands, it was possible to position the new building directly in front of it through a simple reshaping of the terrain. Seen from the outside, the already existing building is not simply combined with a new building but instead enters into coherent synthesis with it. The new building forms an optical plinth for the “sanatorium,” which emphasizes its solitary appearance architecturally and symbolically. The roof and the exterior walls are completely covered with sedum plants. This results in the creation of the impression of a large “flower pillow” in front of the entrance to the entire complex, which generates an inviting atmosphere. This “landscape object” counters the naturally appearing nature of the park with the seemingly staged nature of an overgrown minimalist object. The new building is thus both a part of the landscape as well as a contrast to it.

在要实现的变体中，由于预算限制，新建筑的规模不得不缩小。在其扩展部分，一条宽阔的台阶位于老建筑主入口的正对面。因此，新建筑的景观特征在一定程度上被削弱了，取而代之的是一个物体。台阶在一定程度上占用了疗养院的轴向对称性，从而在建筑上将其与景观和新建筑联系起来。通过使疗养院外墙的石膏与外部空间的白蜡树的颜色和纹理保持一致，以及通过减弱新建筑景观颜色的强度，尽管条件不同，但还是创造了一种强烈的构成一致性。

In the variant to be realized, the new building had to be reduced in size due to budget constraints. In its extension, a broad flight of steps is situated directly across from the main entrance to the old building. As a result, the landscape character of the new building is somewhat decreased and what is created instead is an object. The flight of steps takes up the axial symmetry of the sanatorium to a certain extent and thus links it architecturally with the landscape and the new building. By aligning the plaster of the façade of the sanatorium with the color and texture of the ashlars in the outside space, and also by damping the intensity of the new building’s landscaping colors, a strong compositional coherency is created despite the different conditions.

一个 “新旧 “疗养院建筑
疗养院被严重毁坏，主要是由于19世纪60年代和70年代的翻新工程。因此，提议的翻新工程最初的目标是大幅恢复疗养院的完整性，而建筑创建时的原始外观则成为这一目标的基础。室内所有现有的细节，如大厅和楼梯的水磨石地板，都被修复并补充了相应的颜色。连接走廊的房间的现有门被真实地重建了。在窗户方面，与原来带有百叶窗和许多隔断的设计相比，有必要为今天的技术条件找到一个对应的设计。与早期的窗户相比，新的窗户只在垂直方向上分为两部分，以便在更厚的现代双层玻璃和更厚的窗框的情况下实现优雅的外观。屋顶的细节设计也必须进行调整，因为由于必要的保温措施，雨棚窗户的位置略有变化，其比例也有所改变。屋顶使用了石板，以反映原有的屋顶。

A “New Old” Sanatorium Building
The sanatorium was strongly disfigured, mostly as a result of renovations in the nineteen-sixties and seventies. The renovation proposed therefore initially has the goal of substantially restoring the integrity of the sanatorium, and the original appearance of the building at the time it was created served as the basis for this. All existing details in the interior, such as the terrazzo floors in the halls and staircases, are repaired and supplemented in matching colors. The existing doors to the rooms in the connecting corridors are authentically rebuilt. In the case of the windows, it is necessary, in contrast to their original design with shutters and many divisions, to find an equivalent for the technical conditions of today. Compared to the earlier windows, the new ones are only divided in two vertically so as to achieve an elegant appearance despite the thicker, modern double-glazing as well as the thicker window frames. Adaptations also have to be found for the detailing of the roof as a whole, since as a result of the necessary thermal insulation, the position of the dormer windows is slightly shifted and their proportions change. Slate is used for the roofing in order to reflect the original roofing.

除了对所使用的材料和个别细节的考虑，还遇到了一个更大的概念问题：其中一个要求是非常高的能源效率，以达到低能耗的标准，根据最现代的要求，这远远超过了建筑的原始结构，应该被仔细地纳入整体概念。为此，非常高质量的保温材料，尤其是通风系统和基于颗粒的新加热系统的整合，是至关重要的。此外，还集成了一个系统，通过基于水蒸发的绝热过程来冷却建筑。这导致在墙壁和天花板上需要打大约500个钻孔，从而严重影响了可追溯到建筑原始结构的相当脆弱的天花板结构。由于这个原因，一些天花板必须被替换。通风系统需要如此多的通道，以至于走廊几乎无法容纳它们。此外，吊顶严重影响了空间的比例，也同样成为必要。

Beyond considerations of the materials used and the individual details, a larger conceptual problem is encountered: one of the requirements is very high energy efficiency in order to achieve low-energy standards, which, according to the most modern requirements, far exceed the original construction of the building and are supposed to be carefully integrated into the overall concept. To this end, very high-quality thermal insulation and, most especially, the integration of a ventilation system and new heating system based on pellets are of crucial importance. Moreover, a system is integrated for cooling the building by means of an adiabatic process based on the evaporation of water. This results in roughly five hundred drill holes needing to be made in the walls and ceilings, which thus severely impacts the quite fragile ceiling construction dating back to the building’s original structure. For this reason, some of the ceilings have to be replaced. So many channels are required for the ventilation system that the corridor is nearly incapable of accommodating them. Furthermore, suspended ceilings, which severely impinge on the proportions of the space, likewise become necessary.

这些基本条件作为一个整体是可想而知的严重，特别是由于改造的成本最终变成几乎相当于一个新建筑的成本，从而使人们对改造情况产生怀疑。在这种情况下，Atelier Kempe Thill试图在不因改造而毁坏建筑的同时，保护建筑的完整性，或在目前的要求下找到合适的建筑等同物，从而达到平衡。

These basic conditions as a whole are conceivably severe, particularly since the costs of the renovation turn out in the end to be nearly equivalent to the costs of a new building and thus shed doubt on the remodeling situation. Under these conditions, Atelier Kempe Thill attempts the balancing act of not disfiguring the building as a result of the remodeling while nevertheless protecting the integrity of the building or finding suitable architectural equivalents within the current requirements.

风景优美的室内
在室内，建筑学的注意力集中在老建筑和新建筑中不同的空间条件在多大程度上可以相互适应，或者设计成可以流畅地溢出到对方。大厅和新门厅，由于其在疗养院下面的部分地下位置，可能很快会引起人们对地窖的联想，因此需要特别注意。在这种情况下，仅仅通过窗户和天窗来创造一个明亮的空间氛围是不够的。至少对新建筑的感知同样重要的是新旧结构的所有接待和门厅区域的空间布局。伴随着新的大楼梯，前面的门厅被赋予了介于新旧之间的功能。门厅由一个严格对称的空间构成来定义，它通过墙上的大型开口将全体大厅和楼梯的轴向对称性联系起来。门厅的墙壁是白色的，而这里的地板和大厅的地板都是用端木铺设的，通过它创造了空间的连续性。因此，门厅空间为代表性的接待、展览等提供了一个合适而灵活的框架。它的对称性也与现有疗养院的轴向对称性形成了对应。因此，来自外部的构图尽可能地与内部的空间构图相协调。新的地下空间最好是以这样的方式进行布置，即最终被认为是最明亮的。

Scenic Interiors
In the interior, architectural attention focuses on the question of the extent at which the different spatial conditions in the old building and the new building can be adapted to each other or designed in a manner that they overflow fluidly into one another. The hall and the new foyer, which due to their partially subterranean position below the sanatorium might quickly arouse associations with a cellar, require special attention. In this case, it is not sufficient to create a bright spatial ambiance by means of windows and skylights. At least just as crucial for the perception of the new building is the spatial scenario of all reception and foyer areas of both the old and the new structures. Along with the large new staircase, the foyer in front of the is given the function of mediating between the old and the new. The foyer is defined by a rigorously symmetrical spatial composition, which links the axial symmetry of the plenary hall and of the staircase with each other by means of large openings in the wall. The walls of the foyer are plastered white, while the floor here and in the hall is laid in end-grain wood, through which a spatial continuity is created. The foyer space thus provides a suitable and flexible framework for representative receptions, exhibitions, and the like. Its symmetry also forms a counterpart to the somewhat axial symmetry of the existing sanatorium. The composition from the outside is therefore coordinated with the interior spatial composition as far as possible. The new subterranean spaces should preferably be staged in such a way that they are ultimately perceived as the brightest.

从门厅到大厅的大墙开口是玻璃的，形成了一个大的图片窗，可以从门厅看到大厅和公园的景色。这个窗口与空间前端的一个大型玻璃橱窗相结合，在天窗的照耀下，艺术作品将在这里展出。这使空间具有明亮和通风的特点，而宽敞的中央天窗和所创造的多层面的视觉关系更加强调了这一点。

The large wall openings from the foyer to the hall are glazed and form a large picture window that allows a view from the foyer through the hall and into the park. This window is combined with a large, vitrine-like window at the front end of the space in which art will be shown, illuminated by a skylight. This lends the space a bright and airy character, which is emphasized even more by a generous, central skylight and the multifaceted visual relationships that are created.

由于新建筑的定位，全体会议大厅首先被提供了理想的内部空间条件。它被赋予了平静的空间特征，可以看到建筑前面宽阔的公园，因此景观成为室内的一个固定组成部分。议会选择木材作为大厅的基本材料。这是为了与该地区的传统木材文化形成联系，其橱柜和木工都产生于阿登的森林中。Atelier Kempe Thill从字面上理解了这种使用木材的愿望，并提出了一个始终如一的木制大厅，具有整体性、平静和现代的空间印象。声学要求在这里是至关重要的：由于大厅是为演讲而布置的，它需要强烈的吸音室声学效果。由于贴面隔音板不适合综合概念的建筑要求，因此建议在端纹木镶板的基础上特别开发墙板。端纹木镶板通常用于地板，但也可用于其他各种用途，因为它是由小块实木拼成的。由于它在这里也被用于地板，因此与墙板一起创造的是墙壁、天花板和地板以及永久安装的桌子同时出现的统一和轻微变化的外观。由于这些木块安装时有三毫米宽的接缝，因此有可能在建筑上纳入所有的技术要求，如吸音、通风一体化、门周围的接缝等，而没有可见的栅栏、通风口等，从而促进了空间氛围的一致性。

As a result of the positioning of the new building, the plenary hall is first provided with ideal conditions for an interior space. It is given a calm spatial character with an excellent view of the generous park in front of the building, so that the landscape becomes a fixed component of the interior. The parliament selected wood as a basic material for the hall. This is meant to form a link to the traditional wood culture of the region, with its cabinetry and carpentry, which arose from the forests of the Ardennes. Atelier Kempe Thill takes this desire for the use of wood literally and proposes a consistently wooden hall with a monolithic, calm, and modern spatial impression. The acoustic requirements are crucial here: since the hall is laid out for speech, it requires strongly absorbing room acoustics. Because veneered acoustic panels are not suited to the architectural requirements of an integrated concept, specially developed wall panels on the basis of end-grain wood parquet were proposed. End-grained wood parquet is normally used for flooring but can, however, also be used for various other purposes as a result of its being put together from small blocks of solid wood. And since it is also used for the floor here, what is created along with the wall panels is a simultaneously uniform and slightly varied appearance of walls, ceiling, and floor along with the permanently installed tables. With the blocks having been installed with three-millimeter-wide joints, it is possible to architecturally incorporate all the technical requirements—such as sound absorption, integration of ventilation, joints around doors, et cetera—without visible grates, air vents, and the like, thus fostering a consistent spatial ambience.

Architects: Atelier Kempe Thill
Area: 6318 m²
Year: 2013
Photographs: Ulrich Schwarz
Manufacturers: Cupa Pizarras, Gutmann, Bauwerk Parkett, Wiesner-Hager, Zumtobel
Service Engineer: ZWP Ingenieur-AG
Structural Engineer: Kempen Krause Ingenieure GmbH, Aachen
Collaborators:Pauline Marcombe, Blanca Sanchez Babe, Philipp Stalbohm, Rafael Saraiva, Saskia Hermanek, Ruud Smeelen, Daniela Bergmann, Laura Paschke, Tobias Windhus, Helen Webster, David van Eck, Andrius Raguotis, Martin Hättasch, Wojciech Jakub Narloch, Giorgio Terraneo, Roel van der Zeeuw, Alice Scheen, Gaëtan Lejoly, Katrin Ossemann, François Laurent, Roland Coulon
Light Design:Licht Gestaltung, Oswin Nikolaus
Architect In Charge:Oliver Thill, Luc Dutilleux, Fabienne Courtejoie
City:Eupen
Country:Belgium