阿林索斯的地区法院是一座典型的1899年的砖瓦建筑，由建筑师阿德里安-克里斯平-佩特森设计。它位于离镇中心几个街区的地方，两旁是大别墅和二十世纪初的学校。在20世纪50年代后半期，增加了一个砖砌的侧翼。半个多世纪后，是时候进行下一次扩建了，由Tengbom设计。当我们因锌的这次扩建被授予2016年PLÅT奖时，阿林索斯区法院的历史上又多了一个新的史诗般的日子。每年的PLÅT研讨会是专门讨论金属板和建筑的重要活动。
The District Court in Alingsås is a typical brick building from 1899, designed by architect Adrian Crispin Pettersson. It is placed a few of blocks from the town centre in a district lined with large villas and a school from the early twentieth century. In the second half of the 1950s a wing in brick was added. Just over half a century later it was time for the next extension, designed by Tengbom. A new epic date was added to Alingsås District Court’s history when we were awarded the PLÅT prize for 2016 for this extension in zinc. The yearly PLÅT seminar is a major event devoted to metal sheeting and architecture.
在这个过程中，我们开始参与其中，当时已经有一个由建筑师Börje Falemo设计的砖块扩建方案摆在桌上。然而，地区法院有兴趣看到其他的外墙解决方案，我们有机会在拟议的平面图基础上提出设计方案。受周围建筑的陡峭屋顶的启发，我们提出了一个带有马鞍形屋顶和弧形窗台的建筑。该计划在小块土地上有效地设计了薄墙，所以把屋顶的锌板拿下来，在外面用作薄的雨衣是一个自然的选择。
We became involved in the process a little way into the process when there already was a proposal on the table for a brick extension by architect Börje Falemo. The District Court was interested, however, in seeing alternative facade solutions and we were given the opportunity to present a design based on the proposed floor plan. Inspired by the surrounding buildings with their steep roofs, we presented a building with a saddle roof and curved bay windows. The plan was efficiently designed with thin walls on a small plot so is was a natural choice to bring down the zinc sheeting from the roof and use it as a thin raincoat on the outside.
“这是一个让我们同时拥有平坦和陡峭屋顶的形状，我们需要一种能够处理这种情况的材料，这使我们选择了锌作为屋顶材料。老建筑是一个坚实的厚壁结构，但扩建部分的幕墙较薄。在这种情况下，锌板作为外部覆层效果很好。建筑师弗里茨-奥劳森说：”我们可以用一种材料将建筑包裹起来，而且什么是新的，什么是旧的，都很明显。
“It was a shape that gave us both flat and steep roofs and we needed a material that could handle this, which led us to zinc as the roofing material. The old building is a solid thick-walled construction but the extension has thinner curtain walls. In this case, zinc sheeting worked well as exterior cladding. We could wrap up the building in a single material and it was obvious what was new and what was old,” says architect Fritz Olausson.
结果，一个锌制的巨石，不容忽视。薄板突出了建筑的形状，同时显示了它自己的年轮，它的年龄是有尊严的–很像一个灰色的、明智的法官。
The result, a monolith in zinc, cannot be ignored. The sheeting accentuates the building’s shape and shows its own annual ring at the same time as it ages with dignity—much like a grey and wise judge.
“锌是一种很好的古老的经典材料，在上个世纪被广泛地用作屋顶。我们简单地把它带到外墙上，它与花岗岩的基础墙非常吻合，这是两座建筑的共同点，”建筑师Magnus Almung说。
即使形状可以被认为是有表现力的，建筑的体积也是有节制的，以避免与老建筑相拥。
“Zinc is a fine old classic material which was used extensively as roofing during the last century. We simply brought in down onto the facade and it fits beautifully with the granite foundation wall which is a common denominator for both buildings,” says architect Magnus Almung.
Even if the shape can be thought expressive, the building is restrained in volume so as not to crowd the old building.
“这个设计代表了我们的时代，也许主要是考虑到体积的表现力。如今，单体建筑是典型的，墙壁和屋顶的材料都是一样的。你甚至可以看到没有屋檐的建筑。同样，马鞍形屋顶在过去几年又开始流行起来，这在以前是很少见的。不同的是，这个建筑使用的工艺技术也许与二十世纪初相同。所有的板材都是以非常谨慎和精确的方式贴上去的，”Olausson继续说道。
“The design represents our time, perhaps primarily thinking of the expressive volume. Monolithic buildings are typical these days with the same material for walls and roof. You can even see buildings without eaves. In the same way saddle roofs have come back into fashion in the past few years, something we didn’t see much of previously. The difference is perhaps that this building is constructed using craft techniques that are the same as at the beginning of the twentieth century. All the sheets are put up with great care and precision,” continues Olausson.
一个活生生的外墙
屋顶用立缝板覆盖，而外墙则用不同宽度的板材覆盖，从底部到屋脊按设定的 “随机模式 “放置。变化提供了一个活生生的外墙，通过使用四种不同的宽度，我们可以绕过预先确定的窗户位置，这是由内部功能所决定的。入口处的门也是用锌包覆的，并落入了这个图案中。
A living facade
The roof is clad with standing seam sheeting while the facades are covered with sheets of different widths placed in a set “random pattern” from base to ridge. Variation provides a living facade and by working with four different widths we could work round the predetermined window locations which were dictated by the internal functions. The entrance doors are also clad in zinc and fall into the pattern.
Almung说：”随着时间的推移，外墙会像邻近的砖建筑一样漂亮地老化，当流痕和锈迹在板材上留下痕迹时，”。
灰色的锌板是经过精心挑选的，特别是由于它的坚固和鼓舞人心的美感。Alingsås地区法院强调了一个有尊严的环境的重要性。法院经常做出敏感和严肃的决定，因此，周围的环境必须既尊重来访者，又能激发他们的信心。
“Over time the facade will age as beautifully as the adjacent brick buildings when runnels and patination make their mark on the sheeting,” says Almung.
The grey zinc sheeting was chosen with care, not least for its robust and confidence-inspiring aesthetic. The Alingsås District Court stressed the importance ofa dignifiedenvironment. The Court often makes sensitive and serious decisions—the surroundings must therefore both respect as well as inspire confidence in visitors.
“一个好的客户是成功结果的关键。瑞典国家法院管理局和地区法院的要求对建筑的外观具有决定性意义，”奥劳森说。
“A good client is key to a successful result. The requirements of the Swedish National Courts Administration and the District Court were decisive for the building’s appearance,” says Olausson.
隐喻和问题的解决
抬高屋顶不仅仅是一个高兴的隐喻，而且是一个需要解决的真正的挑战。高高的天花板原本不在计划之内，但却使得两个新的审判室的天花板高度与原建筑中的大审判室相仿。审判室的天花板高度是一个我们不愿意妥协的爱好。我们曾讨论过降低天花板以改善房间的声学效果和录音的可能性。但是，这是一个需要熟练的声学专家与音响和灯光工程师共同解决的问题。否则就会出现建筑外观和内部之间的争斗–这是我们非常想避免的情况。
Metaphors and problem solving
Raising the roof is not just a metaphor for being pleased, but was a real challenge that needed to be solved. High ceilings were not originally in the plans, but made it possible to locate two new courtrooms with a ceiling height resembling that of the large courtroom in the original building. Ceiling height in the courtrooms was a hobbyhorse on which we were not willing to compromise. There was some discussion of lowering the ceilings to improve the acoustics and recording possibilities in the rooms. But instead it was a nut for the skilled acousticians to crack together with the sound and light engineers. Otherwise there would have been a battle between the building’s exterior and interior—a situation we dearly wanted to avoid.
设计中的故事
主审法官喜欢的另一个方面是一个能讲故事的建筑。Tengbom也设计了内部，Carl Olofsson看到了一个将法院的历史融入内部的机会。有一个现有的决定，即法庭的门应该是胡桃木的，并带有橡木的元素。Olofsson的解决方案是采用条纹图案，并参考了该建筑的五个关键年份。在门的底部是一个带有线条的代码，构成了年份。Tengbom与瑞典国家法院管理局签订了框架合同，为瑞典各地的法院设计内饰。阿林索斯地区法院的内饰是由卡琳-冯-盖耶尔设计的。
Designed-in stories
Another aspect which the presiding judge liked was a building that told stories. Tengbom has also designed the interior and Carl Olofsson saw an opportunity to incorporate the courthouse’s history in the interior. There was an existing decision that the courtroom doors should be of walnut with elements of oak. Olofsson’s solution was a striped pattern with references to the five key years for the building. At the bottom of the doors is a code with lines that form the year. Tengbom has a frame contract with theSwedish National Courts Administration and designs interiors for courts throughout Sweden. The interiors in Alingsås District Court are designed by Karin von Geijer.
“我们在设计法庭家具时，从原来的和新的建筑开始。这些房间的特点是木板墙和地板。我们希望得到一种感觉，即桌子是从木质地板上长出来的。考虑到桌子上有大量的技术设备，如照相机和录音设备，我们就像在拼图一样把桌子摆放好。由于改变生活的事件将在这里发生，室内装修需要美丽和庄重。她说：”这些房间必须被公众以及当事人和证人认为是中立的。
“We started in both the original and new buildings when we designed the courtroom furniture. The rooms are characterised by wood-panelled walls and floors. We wanted to get a feeling that the tables were growing out of the wooden floor. It was like a jigsaw getting the tables right bearing in mind the mass of technical equipment such as cameras and recording equipment that they contain. The interiors need to be beautiful and dignified since life-changing events will take place here. The rooms must be perceived as neutral as much by the public as by the parties and witnesses,” she says.
宽大的天花板高度对技术安装提出了更高的要求，这也影响了家具的设计。法庭有一种可爱的空间感，必须通过所需的家具来加强而不是压制。这方面的一个解决方案是带有半透明椅背的办公椅，它使法院长椅后面的墙面清晰可见。家具的木质正面参考了砖和锌的外墙。在法庭的背景下，另一个不寻常的细节是，它们有直接的日光照射。如果听证会是不公开的，那么窗帘就可以拉到窗外。
The generous ceiling height made even higher demands on the technical installation, which influenced the furniture. The courtrooms have a lovely sense of space which must be reinforced, not supressed, by the furniture required. One solution to this, among others, is office chairs with semi-transparent backs which make the back wall behind the Court’s bench visible. The wooden frontals of the furniture have references to the facades in brick and zinc. Another unusual detail in the context of courtrooms is that they have direct daylight. If hearings are in camera then curtains can be drawn across the windows.
现在和以后
PLÅT奖的评审团强调，阿林索斯地区法院是 “一个能引起人们感情的建筑（……），设计师在选择材料方面一直很坚持，显示了对材料的良好理解。熟悉的材料提供了最好的细节，也为伟大的工艺提供了空间。Alingsås的居民应该自信地关注这个坚实建筑上的每一个年轮”。
Now and then
The jury for the PLÅT prize stressed among other things that Alingsås District Court is “a building that arouses feelings (…) The designers have been insistent in their choice of material which shows a very good understanding for materials. A familiarity which has provided the finest details as well as space for great craftsmanship. Alingsås residents should confidently follow each annual ring on this solid building.”
该法院于去年11月开始使用，并将于2016年9月正式启用。目前，旧部分的翻新工作正在进行中，并在旧建筑的大法庭上再建造一个锌的扩展部分。
The courthouse started to be used in November last year and will be officially inaugurated in September 2016. Currently renovation of the older parts is in progress and construction of a further extension in zinc to the older building’s large courtroom.
Architects: Tengbom
Year: 2016
Team:Fritz Olausson, Magnus Almung (Architects); Carl Olofsson (ArchiCad model, project planning); Karin von Geijer (Interior architect)
Programme Architect:Börje Falemo
Production:Serneke
Developer:Hemfosa
Client:Hemfosa, The Swedish National Courts Administration, Serneke
Architect In Charge:Tengbom
Project Leader:Marcus Zetterberg, Forsen Projekt AB
City:Alingsås
Country:Sweden