Centre Pompidou is high-tech architecture's inside-out landmark

由专筑网杨博，小R编译

接下来，高技派建筑系列的第二篇，我们来到巴黎的蓬皮杜中心，这是一座世人瞩目的由理查德·罗杰斯和伦佐·皮亚诺设计的结构外露建筑的里程碑。

蓬皮杜中心在当地被称为Beaubourg，跟它所在区的名称一样，是一座结构和设备管线裸露在建筑外面的文化地标。

这座内部空间可以灵活多变的艺术载体建成于1977年，由英国建筑师罗杰斯和意大利建筑师皮亚诺共同设计。当时他们还在名叫“罗杰斯+皮亚诺”的工作室里共事。

“蓬皮杜中心就像一艘由玻璃、钢铁和彩色管道组成的巨大的宇宙飞船，出人意料地停落在巴黎市中心，并迅速生根融入其中”，皮亚诺对这座建筑如此评价。

Next up in our high-tech architecture series we look at the Centre Pompidou in Paris by Richard Rogers and Renzo Piano, the inside-out landmark that drew global attention to the movement.
Known locally as the Beaubourg, after the area of Paris in which it is located, the Centre Pompidou is a cultural landmark that has its structure and mechanical services visible on the exterior of the building.
The highly-flexible container for art was completed in 1977 by British architect Rogers and Italian architect Piano, who were then collaborating together at their studio named Rogers + Piano.
"The centre is like a huge spaceship made of glass, steel and coloured tubing that landed unexpectedly in the heart of the Paris, and where it would very quickly set deep roots," Piano said of the building.


蓬皮杜中心是典型的结构外露建筑。照片由David Noble拍摄，罗杰斯事务所（RSHP）提供

蓬皮杜中心被皮亚诺形容为“巨大的城市玩具”，它有六层宽敞的无柱空间，是欧洲最大的现代艺术博物馆，并且里面还有巨型的图书馆和音乐音效研究中心。

整栋建筑把设备、走廊、电梯和结构体系放在了建筑外侧，这样让内部空间更加灵活。

Described by Piano as a "big urban toy", Centre Pompidou contains six-storeys of large column-free spaces. It is the largest museum for modern art in Europe and also contains a vast public library and a centre for music and acoustic research.
The building is designed so that the internal spaces can be easily rearranged – made possible by placing the building services, corridors, elevators and structural members on its exterior.


蓬皮杜中心被罗杰斯和皮亚诺设计成一个灵活多变的大容器。照片由罗杰斯事务所（RSHP）提供

1971年，法国总统乔治·蓬皮杜举办了一场设计大型艺术画廊的国际竞赛，罗杰斯和皮亚诺工作室的设计赢得了竞赛。

虽然只设计过14个项目，他们设计的方案还是被包括知名现代主义建筑师奥斯卡·尼迈耶、让·普鲁维、菲利普·约翰逊在内的评委们选中，从681个方案中脱颖而出。

回想起当年的优胜，皮亚诺称自己和罗杰斯为“青少年”、“年轻的小伙子”，说自己的方案仅仅是“关于自由形式的练习，没想过要赢，也没想过妥协”。

罗杰斯和皮亚诺的方案还有一个关键元素，即建筑只占场地的一半，另一半作为广场开放给公众。

Rogers + Piano's design for the Centre Pompidou was the winner of an international competition for a large art gallery held by French president George Pompidou in 1971.
Despite Rogers + Piano having only designed 14 projects, their concept was selected from 681 entries by a jury that included acclaimed modernist architects Oscar Niemeyer, Jean Prouvé and Philip Johnson.
Reflecting on the win at the time, Piano referred to himself and Rogers merely as "teenagers, young boys" whose proposal was just "an exercise in freedom, not guided by any desire to win or compromise".
A key component of Rogers and Piano's proposal was that the building would only occupy half of the site with the other half of the site becoming a public square.


将结构放在外面，室内就能自由变化。照片由Marc Riboud拍摄，罗杰斯事务所（RSHP）提供

建筑外露的巨型结构由超过1.6万吨的预制钢构件组成，是建筑师Ove Arup and Partners事务所的Peter Rice和Edmund "Ted" Happold一起深化设计的成果。

结构中的部分预制件的尺度在工程行业非常罕见，其中特别独特的一种预制件是10吨重的戈贝尔铸钢牛腿。

这些戈贝尔铸钢牛腿位于建筑两侧，是支撑楼板的巨型桁架和承重柱之间的连接件，可以帮助营造大跨度的室内空间。

蓬皮杜中心的外立面上，跟钢结构一起裸露在外面的还有按颜色分类的设备管道。蓝色代表空调，黄色代表电路，绿色代表水管，红色代表管状的自动扶梯和电梯。

衬托这些元素的背景，是由玻璃板和金属板组成、旨在营造建筑表皮透明感的极简幕墙立面。

The building's exposed superstructure, which was developed in collaboration with Peter Rice and Edmund "Ted" Happold of Ove Arup and Partners, is constructed from more than 16,000 tonnes of prefabricated steel parts.
Some of the structure's prefabricated components are of a scale rarely seen in the construction industry. One particularly unique element is its 10-tonne gerberettes.
Positioned on both sides of the building, these gerberettes connect large trusses supporting the floors to the columns, helping to create the large internal spans.
Alongside the exposed structure, Centre Pompidou's facades are covered with colour-coded building services: blue marking its air-conditioning, yellow is for electrics, green denotes water pipes, and red highlights tubular escalators and elevators.
These stand out from a minimal curtain wall backdrop made from steel and a mix of glazed and solid metal panels that were designed to create the feeling of a transparent building envelope.


其中特别独特的一种预制件是10吨重的戈贝尔铸钢牛腿。照片由Bernard Vincent拍摄，罗杰斯事务所（RSHP）提供

“关于现在这个时代，我们所知道的就是，这是关于变化的时代。如果说有什么东西是永恒的，变化是永恒的。”罗杰斯在2013年Dezeen的独家采访中说。

“所以我们说，要有巨大的单层空间，2个足球场那么大，中间不能有竖向的障碍，结构放在外面，设备管线放在外面，人群流线也放在外面。理论上，在这种空间里，想做什么就能做什么。”他补充道。

“我们没有指定哪里是博物馆，哪里是图书馆。并且后来图书馆发生了翻天覆地的变化，项目开始的时候，书还普遍存在；项目结束的时候，因为信息技术的发展，书也快寿终正寝了。”

"The one thing we knew about this age is it's all about change, if there's one constant, it's change," Rogers told Dezeen in an exclusive interview in 2013.
"So we said that we'd make massive floors, which were the size of two football pitches with no vertical interruptions, structure on the outside, mechanical service on the outside, people's movement on the outside and theoretically you can do anything you want on those floors," he added.
"We didn't say where the museum should go, where the library should go, and of course, the library changed radically because when we started there were books and by the time we finished it books were almost finished because of IT."


彩色的设备管线，包括红色的交通流线，都裸露建筑的外立面上。照片由Michel Denance拍摄，罗杰斯事务所（RSHP）提供

在蓬皮杜中心的首层有两层通高的空间，包含了所有开放给公众的大面积区域。

游客通过立面上的巨大的斜向扶梯，从首层向上到达上层的室外走廊和观景平台。这些步行通道和扶梯的设计营造出一个有活力而永恒变化的建筑立面。

At ground level the Centre Pompidou has a double-height space that contains all the large publicly-accessible areas.
Visitors travel from the ground level up a giant diagonal escalator, on the facade facing the square, to external corridors and viewing platforms. These walkways and escalators are designed to create a dynamic ever-changing facade.


courtesy of Rogers Stirk Harbour + Partners (RSHP)

“我们认为，我们不要把建筑放在广场等中心，而是放在一侧，这样可以留给人们相遇的空间。”罗杰斯说。

“方案的设想是，有一处公共空间，你可以乘着悬浮在空中的扶梯，沿着建筑立面向上走，到达空中的街道，这样整个事件就变得很有动感。”他继续说道，“人们来到这里看人群也看艺术品，人们在这里相遇。我们想把这种事件作为戏剧来呈现。”

自建成之日起，蓬皮杜中心已经接待了超过1.5亿游客，如今被誉为巴黎最重要的文化地标。

"We said that we will put the building not in the middle of the piazza, but actually on one side because that will give people a place to meet," said Rogers.
"The idea was that you had a public space, and you'd go up the facade of the building in streets in the air with escalators floating across it, so the whole thing became very dynamic," he continued. "People come to see people as well as to see art; people come to meet people. So we wanted to practice that as theatre."
Since it was complete the Centre Pompidou has had more than 150 million visitors and it is now celebrated as one of Paris' more important cultural landmarks.


皮亚诺曾将这栋建筑形容为“意外降落在巴黎市中心的宇宙飞船”，照片由Francesca Avanzinelli拍摄，由皮亚诺和罗杰斯工作室提供

然而，这栋建筑的激进设计并不是一直如此受人欢迎，最初还有人对它抱有敌意，比如法国报纸《法国世界报》就形容它为“建筑界的怪兽”。罗杰斯甚至回忆道，有一次他说自己是这栋建筑的设计师时，一个路人用雨伞打了他。

“新事物的刺激总是特别难被接受。”罗杰斯虽然这样说，但还是坚定地认为这种刺激是优秀建筑的标志。

“所有的优秀建筑在当时都是现代的。”他解释道，“历史上，哥特风格的出现是一次很好的刺激，文艺复兴对所有中世纪的小建筑来说也是一次刺激。新事物的刺激总是很难被接受。”

However, the radical design of the building has not always been as popular, and was initially met with hostility – described by French newspaper Le Monde as "an architectural King Kong". Rogers has even recalled how one passerby struck him with her umbrella when he revealed himself as the designer.
"The shock of the new is always really rather difficult to get over," Rogers has said, though he is adamant that this shock-factor is a sign of good architecture.
"All good architecture is modern in its time," he explained. "Gothic was a fantastic shock; the Renaissance was another shock to all the little medieval buildings. The shock of the new is always rather difficult to get over."