维莱特公园是“世界上最大的解构建筑群”
Parc de la Villette is the "largest deconstructed building in the world"

由专筑网逸希，小R编译

解构主义系列经典作品是由Bernard Tschumi在巴黎设计建造的维莱特公园（Parc de la Villette），这是该运动最早且最负有影响力的项目。

法国-瑞士建筑师Tschumi将该公园设计成一个大型的解构主义建筑群。

Tschumi说：“这与自然无关，这是一个纪念城市发展的时刻。我称它为世界上最大的解构主义建筑，虽然它是一座建筑，但被分解成了许多碎片。”

Continuing our deconstructivism series, we take a look at Bernard Tschumi's Parc de la Villette in Paris, one of the movement's earliest and most influential projects.
French-Swiss architect Tschumi designed the park as a deconstructed building.
"It was not about nature, per se, it was an urban moment," Tschumi told Dezeen. "I call it the largest deconstructed building in the world as it's one building, but broken down in many fragments."


▲ 维莱特公园是一个早期的解构主义项目。摄影：François-Xavier Bouchart
Parc de la Villette is an early deconstructivist project. Photo is by François-Xavier Bouchart

Tschumi于1983年赢得了巴黎北部55公顷公园的设计竞赛，击败了包括OMA、扎哈·哈迪德和让·努维尔在内的470多名参赛者。

该项目是法国总统Francois Mitterrand关于毗邻城市东北部郊区的半工业性经济和文化发展愿景的一部分。

该项目要求建造一座“21世纪的城市公园”，可以容纳复杂的文化和娱乐设施。

Tschumi won an international competition in 1983 to design the 55-hectare Parc de la Villette in northern Paris, beating more than 470 entrants including OMA, Zaha Hadid and Jean Nouvel.
The project was part of president Francois Mitterrand's vision for the economic and cultural development of a semi-industrial district bordering the city's northeastern suburbs.
The brief called for an "urban park for the 21st century" that could accommodate a complex programme of cultural and entertainment facilities.


▲ 公园内有35个红色亭子。摄影：J M Monthiers
The park contains thirty five red pavilions. Photo is by J M Monthiers

Tschumi设计提出的“社会和文化公园”包含35个建筑单体，有意地偏离了公园作为传统、有序的休闲空间的古典诠释。

建筑师想要创造一个能够开展活动和进行互动的场所，没有设计参考案例，同时也并非设计一个传统的公园，专注于驯服自然和打造人工景观。

“我想创造一个人们可以占用也可以不占用的空间。或者说，在某种意义上，它不会对人们的活动产生限制。”设计师说。

“主要的设计建造策略是激发人们通过自己的方式来使用公园。”

Tschumi's proposal for a "social and cultural park" containing 35 architectural follies intentionally departed from the classical interpretation of a park as an ordered space for relaxation.
The architect wanted to create a place for activity and interaction, without precedent, rather than designing a traditional park focused on taming nature and producing an artificial landscape.
"I wanted to create a place that people could appropriate, that they could take over and it would not, in a sense, constrain them," he said.
"Much of the strategy was about letting people invent their own way to use the park."


▲ 这些建筑单体被安排在公园内部空间的各个网格上
The follies are arranged on a grid in the park

结合景观特征而分布的建筑单体，似乎已被打破，并重新组装，加强了不完整和无序的感觉，使整个公园具有鲜明的个性。

Tschumi解释说：“身体在空间中的运动非常重要，无论是在类似公园的大尺度空间上亦或是电影长廊中，甚至还包含建筑单体的内部空间有滑块、楼梯、电梯等。”

该设计支持的理论原则得到了法国哲学家Jacques Derrida的启发，导致它后来被视为解构主义运动的先驱作品。

Jacques Derrida以发明一种被称为“解构主义”的符号学分析而闻名，这种分析对西方文化和哲学中的主流话语提出了质疑。

这种分析和打破既定惯例的愿望影响了Tschumi对空间模糊性的追求，以及对于空间形式或意义来说，没有必须坚持的单一解答方式。

Tschumi曾经宣称：“我对空间形式不感兴趣。我觉得空间意义并非那么重要。然而，我赞成空间结构和句法的观点，但没有实际意义。”

The follies distributed across the landscape feature forms that appear to have been broken apart and reassembled, enhancing the sense of imperfection and disorder that gives the park its distinctive personality.
"The movement of bodies in space was really important both at the large scale of the park – the cinematic promenade and all that – and within the follies themselves, which have rams, stairs, elevators," explained Tschumi.
The theoretical principles supporting the design, which were informed by the work of the French philosopher Jacques Derrida, led to it later being viewed as one of the pioneering works of the deconstructivist movement.
Derrida is known for developing a form of semiotic analysis called "deconstruction", which questioned dominant discourses in Western culture and philosophy.
This desire to analyse and disrupt established conventions influenced Tschumi's pursuit of ambiguity and belief that there is no one interpretation of form or meaning that must be adhered to.
"I am not interested in form," Tschumi once proclaimed. "I attack the system of meaning. I am for the idea of structure and syntax, but no meaning."


▲ 该项目在现代艺术博物馆的解构主义建筑展览中展出。照片由Bernard Tschumi Architects提供。
The project was featured in MoMA's Deconstructivist Architecture exhibition. Photo courtesy of Bernard Tschumi Architects

该公园是Philip Johnson和Mark Wigley 于1988年在纽约当代艺术博物馆（MoMA）举办的开创性展览“解构主义建筑”(deconstructiist Architecture)中包含的七个项目之一。

在展览目录中，这个项目被描述为“偏离理想形式的一次精心准备的尝试”，“通过将理想形式的每一次扭曲转化为新的理想，从而获得新的力量，而新的理想随后又被再次扭曲。”

这种对熟悉的建筑形式和建筑实践的重新评估和扭曲的焦点在 Tschumi的作品中反复出现，在维莱特公园项目之前，Tschumi的作品主要采用理论、图纸绘制和书面文本的形式，如《The Manhattan Transcripts》等(1976-1981年)。

The park was one of seven projects included by Philip Johnson and Mark Wigley in their seminal 1988 exhibition, Deconstructivist Architecture, held at New York’s Museum of Modern Art (MoMA).
In the exhibition catalogue the project is described as "an elaborate essay in the deviation of ideal forms," that "gains its force by turning each distortion of an ideal form into a new ideal which is then itself distorted."
This focus on reassessing and distorting familiar forms and architectural practices recurs throughout Tschumi's work, which prior to the Parc de la Villette project had largely taken the form of theoretical drawings and written texts like The Manhattan Transcripts (1976-81).


▲ 该公园是巴黎北部地区的复兴项目
The park forms part of a rejuvenation of an area of northern Paris

该公园建在巴黎屠宰场和肉类批发市场的旧址上，属于巴黎第19区城市更新项目。

Tschumi的计划围绕着现有的和拟建的建筑进行安排，包括巨大的科学与工业博物馆建筑（完成于1986年），以及几间音乐会场馆和巴黎音乐学院等。

The park was built on the former site of the Parisian slaughterhouses and wholesale meat market, as part of the redevelopment of the area in the 19th arrondissement.
Tschumi's plan was arranged around existing and proposed buildings, including the enormous City of Science and Industry museum (completed in 1986), as well as several concert venues and the Conservatoire de Paris.


▲ 它围绕一系列文化建筑规划设计。摄影：J M Monthiers
It was planned around a series of cultural buildings. Photo is by J M Monthiers

该设计基于一系列作为基础的点、线、面，参考了20世纪早期解构主义艺术家的作品，包括Wassily Kandinsky的著作《点线面（point and line to plane）》(1926年)等。

在维莱特公园内，点由各种红色的建筑体块布局而成，它们被安排在一个120 x 120平方米的网格系统中。

尽管公园内的布局井然有序，但它们与场地现有建筑、景观空间和穿越场地的两条运河并不协调的空间关系构成了不同的交叉点和空间体验。

The design is based on a series of points, lines and surfaces, which references the work of constructivist artists in the early 20th century, including Wassily Kandinsky's influential book Point and Line to Plane (1926).
In the Parc de la Villette, the points are provided by the various red follies, which are arranged in a grid system of 120 x 120 square metres.
Despite the ordered distribution of the follies within the park, their differing contextual relationships with existing structures, green spaces and the two canals that traverse the site result in varied intersections and experiences.


▲ 一条架空的人行步道穿过公园。摄影：Peter Mauss
A raised walkway runs through the park. Photo by Peter Mauss

基于经典轴线的布局的道路、景观等线条系统被转换成直线、弯曲或蜿蜒的步道，拓展公园的运动范围，并引导使用者前往其最感兴趣的目的地。

架空的人行步道沿着运河de l'Ourcq排列，从东到西穿过场地。其他的路径在不同的方向上进行交叉和分裂，响应着场地内部和周围区域的点。

公园的表面由一组圆形、正方形和三角形组成，被转化成为绿色空间以及用于娱乐或举办活动的硬质铺装区域。这些表面被扭曲，形成了一个由扭曲和破碎的路径连接而成的断裂地形。

A system of lines based on classical axes is translated into straight, curved or meandering promenades that promote movement through the park and guide users towards points of interest.
An elevated walkway follows the Canal de l'Ourcq, which crosses the site from east to west. Other paths intersect and splinter off in different directions, responding to points within the site and the surrounding area.
The park's surfaces comprise a set of circles, squares and triangles translated into green spaces and paved areas used for recreation or hosting events. These surfaces are warped to create a fractured topography connected by the twisted and broken paths.


▲ 每个展馆作为建筑单体都有独特的形式
The pavilions each have a unique form

公园内部的十个主题花园分隔了广阔的场地，为游客提供了放松、互动、聚集和玩耍的机会，其中包括镜园、风园、竹园、青春园和龙园等。

公园周围的建筑单体是基于一个12米高的立方体而设计建造的，它被分离成不同的组件，然后重新组合成艺术装置。

每个独特的建筑单体结构都是通过混凝土和红漆铝板建造而成。其形式和颜色的重复创造出了一种连续感，它们之间的均匀间隔能够帮助游客在公园内确定自己的方向。

就像公园的其他部分一样，建筑单体的设计独立于任何历史先例而存在，甚至它们的功能也是任意的，有几个自建成以来被用于各种不同的目的。

许多建筑单体的设计纯粹是作为艺术雕塑，而其他的则提供了各式各样的便利设施，包括咖啡馆、售票处、瞭望台和一间包含700个座位的音乐厅等。

Ten themed gardens break up the expansive site and provide opportunities for visitors to relax, interact, gather and play. These include a mirror garden, wind garden, bamboo garden, youth garden, and a dragon garden.
The follies positioned around the park are based on a 12-metre cube that is pulled apart into various components and then recombined to create artistic assemblages.
Each unique structure is built using concrete and red-enamelled aluminium panels. The repetition of forms and colour creates a sense of coherence and their even spacing helps visitors orient themselves in the large park.
Like the rest of the park, the follies are designed to exist independently of any historical precedents and even their functions are arbitrary, with several having been used for different purposes since their completion.
Many of the follies are purely sculptural, while others provide spaces for amenities including cafes, ticket offices, lookouts and a 700-seat concert hall.


▲ 这些艺术化的展亭可以有多种用途。摄影：Sophie Chivet
The pavilions have a variety of uses. Photo is by Sophie Chivet

拉·维莱特公园的非正式、由于不同用户使用而变换的空间以及建筑单体存在着争议，公园也因其巨大的规模和缺乏历史文化元素及与周围环境的协调而受到批评。

然而，该项目实现了重新定义21世纪公园设计的目标。它并非把人们带出城市，而是成为城市文脉的一部分，强调和提升人与公园之间的互动。

最终，该作品是Tschumi的“不连接的建筑”理论的体现，该理论为城市规划提供了一种基于解构和去中心化而进行规划设计的新方式。

Parc de la Villette's informal, user-defined spaces and buildings proved controversial and the park was also criticised for its vast size and lack of engagement with its historical context.
However, the project achieved the objective of redefining how a park could be designed for the 21st century. Rather than taking people out of the city, it became a part of the urban context that emphasises and promotes interaction between people and place.
Ultimately, the work proved influential as a manifestation of Tschumi's theory of an "architecture of dysjunction" that offered a new typology for urban planning based on de-structuring and de-centring programmatic requirements.



插图：Jack Bedford

The illustration is by Jack Bedford.