荷兰建筑发展趋势：表现功能主义

吕德·布劳韦斯/Ruud Brouwers

戴安娜·贝福德 荷译英/Translated from Dutch by Dianna Beaufort

徐知兰 英译中/Translated from English by XU Zhilan

1980年代，荷兰新建建筑的规模发生了突变。大学的医疗中心、教育机构、政府部门、办公大楼、甚至住宅楼——或住宅综合体的建设规模突飞猛进，超过了历史上的同类建筑。显然，在此之前的所有项目都受制于经济因素。人们产生了对空间的新渴望。在经历了1970年的典型小规模城市开发之后，常常有更多复兴住宅区活力的项目——而不是大规模的城市更新建设项目——再次成为时兴的主流。这些项目和传统的城市空间格格不入，所以通常建在郊区，也因此拉近了不同城市之间的距离。

诞生于1980年代建设规模增长期间的建筑，可以称为“中庸的功能主义”——它们既难以用后现代主义巅峰时期的显著特征来描述，也没有与之相对应且显而易见的新现代主义高潮。其中一例是由赫尔曼·赫兹伯格于1979年设计、1990年才建成的海牙社会部大楼（可容纳2000名办公人员）。这位建筑师把它的空间组织方式称为“结构主义”。目前，该部门已搬迁至一处新址，大楼正在接受检测评估。宏大的建筑结构让它具有良好的适应性，为新的使用目的设置的不同功能和空间分隔都很容易实现。在参加这座建筑改造为建筑综合体的项目过程中，总建筑师本人也充分说明了“结构主义”所具有的极大灵活性。

赫尔曼·赫兹伯格早已在乌得勒支城市中心完成了一项建筑结构改造的项目——他把自己因声乐效果、中央舞台和自然采光而广受赞誉、声名卓著的弗雷登堡音乐厅，通过巧思秒想的结构主义改造为一座规模远超原状的建筑物。这座现在命名为蒂沃利·弗雷登堡的音乐中心有一座类似城市广场的门厅（即原先的主厅）和若干由不同建筑师设计的小厅。除古典音乐外，人们还能在此欣赏到流行音乐和爵士乐。

尽管在2008年全球金融危机发生之后，建设项目遭遇了暂时的停滞，荷兰突然投入大规模开发建设的趋势却仍未停止，且事实上还在稳步增长。在此期间，为了引进国际高速列车的运营，已经建成几座新的火车站，一些旧火车站也已彻底翻新。而在城市之间空旷的广袤土地上则伫立起新的物流配送中心规模庞大的仓库大楼，它们反映了近来网络销售的契机、自助购物与亲自动手装配产业的业绩增长。

1 钢柱，鹿特丹中央火车站，CS团队设计（West 8, 本特姆–克劳威尔建筑事务所，MVSA迈耶·恩·凡·斯霍滕事务所/MVSA Meyer en van Schooten Architecten），2013/Steel columns, Rotterdam Central, Rotterdam, 2013, Team CS(West 8, Benthem Crouwel Architects, MVSA Meyer en van Schooten Architecten，图片来源/Source: https://www.archdaily.com/447649/rotterdam-centraal-team-cs ）

尽管雷姆·库哈斯可能是荷兰最著名的建筑师，但本特姆–克劳威尔建筑事务所的简·本特姆通过他设计的公共建筑从建筑层面塑造了荷兰——他在这方面的贡献比库哈斯更胜一筹。

In the 1980s there was an abrupt change in the scale of new buildings in the Netherlands. University medical centres, educational institutions, ministries,offices and even residential buildings – or residential complexes – were suddenly being built bigger,outsising the generation of buildings previously erected. Apparently, everything had been in a squeeze before. There was new hunger for space.After the small-scale urban development that typified the 1970s, usually more neighbourhood rejuvenation than urban regeneration, large-scale buildings became fashionable again. These didn't fit well with the traditional city, so they were often built on the outskirts, and as a consequence, cities grew ever closer together.

The architecture that emerged from the upscaling of the 1980s might be called middle-ofthe-road functionalism: non-descript with a few postmodernist peaks or, as a reaction to these,some distinctly neo-modernist heights. An example of this is the Hague's Ministry of Social Affairs(for 2000 office workers) by architect Herman Hertzberger, completed in 1990, after initial designs began in 1979. It was a configuration of spaces which the architect called a Structuralist building.Now that the ministry has moved to a new location,the building is being put to the test. The immense structure lends itself well to adaptation, in which different configurations and divisions for new uses can be achieved without too much trouble. The master builder himself is able to demonstrate that Structuralism encompasses great flexibility, for he is involved with the conversion into a residential complex.

In the city centre of Utrecht Herman Hertzberger has already achieved a re-structuring: he has woven his acclaimed concert hall Vredenburg – lauded for its acoustics, centrally-positioned stage and daylighting – into a much bigger building through artful Structuralism. Now called TivoliVredenburg, the music venue has an entrance hall (the original main hall) that feels like an urban square and several different halls, designed by different architects,where pop and jazz are now enjoyed in addition to classical music.

The plunge into large-scale development has not ceased, and in fact, has steadily grown, despite the temporary stagnation in building projects following the 2008 global financial crisis. In the meantime,several large new railway stations have been built or thoroughly renovated for international high-speed trains. And in the spaces left over between cities,new distribution centres have given rise to gigantic warehouses, a response to the increased online shopping opportunities and the self-service and DIY industries.

2 阿姆斯特丹G-Star Raw 总部大楼，OMA设计，2014/G-Star Raw HQ, Amsterdam, OMA, 2014 （图片来源/Source:http://oma.eu/projects/g-star-raw-headquarters）

Rem Koolhaas might be the most famous architect of the Netherlands, but Jan Benthem of Benthem Crouwel Architects shapes the Netherlands architecturally – through his public buildings – more so than Koolhaas does. Benthem's oeuvre to date includes parts of Amsterdam's Schiphol Airport (most notably its train station),the central train stations of Rotterdam and The Hague, all the metro stations of the new North-South Line in Amsterdam, and the datacentre Equinix AM4 at Amsterdam's Science Park, a building that houses "the cloud" – without windows but with a superb skin. The cathedral space of Amsterdam Centraal's metro station and the strong and graceful steel columns of Rotterdam Centraal endorse the comfort and efficiency characterised by Dutch architecture.

Of course, OMA certainly isn't lagging behind Benthem in terms of productivity. The G-Star RAW Head Office in Amsterdam – big transparent boxes set in a frame – gives the Ringweg A9 an international flare, more than other buildings here.The OMA oeuvre continues to expand in Rotterdam itself. After the high-rises of De Rotterdam,came the Municipal Office Timmerhuis. This new complex, which includes a pedestrian throughway,a municipal service point, a city museum and apartments, introduces some breathing space to the concrete jungle of Rotterdam's city centre.In doing so, it also becomes representative of openness and transparency in the work of governing authorities. In another project, OMA's Ellen van Loon opened up the glass-encased office blocks of Jan Hoogstad's Ministry of Housing in The Hague, inviting in urban life and creating passageways through. A mere 20% of the original building was demolished and 99.7% of the materials were re-used for renovation.

本特姆–克劳威尔建筑事务所迄今为止的全部作品包括阿姆斯特丹史基浦机场的部分空间（其中火车站最引人注目）、鹿特丹和海牙的中央火车站、阿姆斯特丹新南北线上所有的地铁站、以及阿姆斯特丹科学园区内Equinix数据公司的AM4数字中心——他们的“计算云”就装在这座没有窗户、只有表皮的建筑里。阿姆斯特丹中央地铁站的大教堂空间和鹿特丹中央地铁站内部坚固而优雅的钢柱则充分体现了荷兰建筑舒适而高效的特点。

当然，OMA建筑事务所在生产力方面确实毫不逊于本特姆的建筑事务所。荷兰顶尖牛仔服饰品牌G-Star RAW位于阿姆斯特丹的总部大楼采用了在方框体块中设置若干体量庞大的透明方盒的形式——相比起同区域内的其他建筑，这座建筑让A9环城公路闪耀着更多国际化的光芒。OMA建筑事务所在鹿特丹的建成作品还在不断累积。继“鹿特丹大厦”之后，他们又建成了鹿特丹地方政府大楼“提默胡斯”。这座新的建筑综合体中包含一座人行天桥、一处市政服务设施、一座城市博物馆及一些住宅公寓，为鹿特丹市中心拥挤的水泥森林引入了让人得以喘息的空间。它也由此成为政府机构大楼开放与透明的代表。OMA建筑事务所的埃伦·范隆在另一个项目里把扬·霍格斯塔德设计的由玻璃幕墙围合形成的海牙住房部办公楼打开了一部分，在其中引入城市生活，并新建了可以穿越大楼的人行道。项目约有20%的旧建筑部分被拆除，其中99.7%的材料都在改造更新的过程中得到再利用。

在目前正使荷兰面貌发生变化的建筑学转变中，有很大一部分和改造更新与再开发项目相关。拆毁旧建筑有悖于可持续发展的原则。理性决策占据了所有这些建设和转变过程的核心位置，但同样显而易见的是，1980年代乏味的功能主义现已让位于细致精巧的设计。一座建筑只有通过令人怦然心动的形式表达其功能时，才可以被认为是真正的功能主义。

卡恩建筑事务所设计的新阿姆斯特丹法院就是一个恰如其分的例子。这座可容纳近200名法官的大楼位于泽伊达斯地区，正处于建设过程中；这片新规划建设的商务区正逐渐成为国际港，而建筑师蜂拥至此发表他们的建筑宣言。这座法院大楼以其不容质疑的建筑形式，表现和承载了宪政民主的运作要素。在营造出典型的友好公共空间的同时，它也是一座庄严的宪政机构。这座建筑表达了法学的公共属性，也因此表现出它固有的权威性。

可以说，它充分体现出了表现功能主义的精髓。而卡恩建筑事务所在蒂尔堡大学新建的立方体建筑则为350名学生提供了学习空间，其中贯穿建筑结构的各种视线则把大楼的使用者和他们周边的校园景观环境联系起来。在海牙新建的最高法院建筑中，建筑面向城市敞开，并同时保持了履行法律程序所必要的谨慎姿态。新扩建的阿姆斯特丹史基浦机场枢纽站计划将于2020年建成；和许多其他的机场不同的是，在这里，无论出发还是到达的乘客都享有同样宽敞的空间。机场大厅显得非常亲切友好，各类安检程序都设置在舒适宜人的公共空间里，不仅绿荫环绕、阳光明媚，还能欣赏到荷兰开阔的天空。

这类功能主义的设计存在某种矛盾之处，因为它们舒适的空间和清晰的表达形式是通过对严格功能设计手法的超越才实现的。在面对设计挑战的最初时刻，首先提出的问题是怎样能丰富周边环境和建筑使用者的日常体验，并同时为从甲地点移动到乙地点的使用者提供唯一高效可靠的路线。毫不夸张地说，这是一种略带诗意的功能主义。这种点到为止的诗意几乎不能称之为纯粹的功能主义，却确实缓冲和安抚了人们对日常功能的实际体验。

同时结合实用性与愉悦感体验的手法也是建筑师保罗·德勒伊特的专长，他不仅通过设计满足使用者的需求，也满足了长远的可持续发展要求。可以这么说，可持续发展的建筑实践是他的天赋所在。这也是其他建筑师经常邀请他参与项目的原因。他自己已经完成了许多令人印象深刻的作品，包括位于阿姆斯特丹、乌得勒支、阿纳姆、海牙和布雷达的住宅楼和塔楼，其中一些已经建成，另一些则没有。位于鹿特丹伊拉斯谟大学伍德斯坦校区的波拉克楼是一个能体现其设计哲学的典型案例。

由于委托任务也包含室内设计，德勒伊特因此建成了一座整体统一且高度可持续运营的建筑。这是一座同时为校园内部和外部世界分享知识而设计的开放结构大楼。演讲厅设置在地下室，楼上是讨论教室，个人自习室则在更高的楼层——空间自下而上从喧嚣忙碌变得沉默静谧。中庭有两部螺旋楼梯衔接各处空间。整个玻璃立面上的垂直遮阳板根据风向和阳光直射角度进行设计，以保证室内空气流通。建筑不需要机械通风，也不需要白天的人工照明。

然而，并不是每座新建筑或改造的建筑都令人赏心悦目。就像任何其他专业一样，在荷兰也有一些项目对技术掌握的不那么娴熟，更不是所有的任务书都激动人心或充满挑战。但是在荷兰，人们非常倾向于选择有能力满足各式各样项目需求的建筑师。金融危机之后，紧随其来的是小规模青年建筑师事务所的增长。在设计任务缩水之际，许多公司不得不裁减半数以上的员工。一些失业的建筑师——其中许多都是年轻人——抓紧独立开业的稻草，成立了他们自己的事务所。和全球其他地区一样，这些青年建筑师正生机勃勃、充满活力地为建筑行业贡献有生力量，并表现出风格多样、百花齐放的态势。

不得不说，这代年轻的先锋建筑师几乎不会投入任何时间或精力去拆除已建成的建筑项目。他们只是有意忽略这个问题，而直接聚焦于战略重建的规则；他们同时也信心百倍地面对社会问题，并以此作为灵感的来源。在这一背景下，一群才华横溢的青年建筑师完成了位于海牙西南部一处新社区——伊拉斯谟场试验花园的一系列建筑项目。伊拉斯谟场的项目是基建基金地产开发公司（BPD）的一项宏大的“人居环境”规划项目，旨在把可持续的生活方式推向新的高度。

当代的青年建筑师经常组成团队共同参与项目，和乐队颇有几分相似。英格里德·范德海登、扬·莱宾克、里克·范图萨特、以及赫特·奎克鲍姆和许多其他伙伴共同成立了公共建筑团队，主要关注“建筑学的公共侧面、市民文化及公共空间”。奎克鲍姆，作为一位哲学家和建筑师，曾获得2017年度的杰出青年奖（ARC17）。这群建筑师和吕贝尔斯景观设计和城市规划事务所一起为伊拉斯谟场设计了完整的城市兼绿地景观，该项目目前正在建设中，并被人们誉为“城市群落生态栖居地”。

据公共建筑团队的建筑师们宣称，这是“新形式的都市主义，在这里，景观是都市，都市也是景观”。安装了蓄水池屋顶的建筑和沼生植物过滤装置的景观设施形成了封闭的水循环系统。种植立面和屋顶、以及宽敞的露台和阳台将室内外融为一体，阳光、空气、供暖和制冷都得到了妥善的设计和安置。高度大于树冠顶端的公寓还拥有冬季花园。项目运用了所有“近零能耗建筑”模板（NZEBs）、“零能源消费”（NOM）或能源平衡计量方式的设计原则。

工作在伊拉斯谟场另一个地段的工作坊建筑师事务所则由3位青年建筑师构成，他们分别是阿尔德·霍斯伯根、米拉德·帕莱什和伊瓦尔·范德兹万。他们把自己的实践描述为手工艺的实验室。他们目前在建的项目是一个包含有108套公寓、101个车位和5处集体功能空间的住宅项目。建筑结构以各种方式彼此叠压，并种有绿植，犹如层层叠退的台地山坡。这个3人小组聘用了一个拥有来自不同专业人才的咨询团队，为其商业运营保驾护航。对环境和使用者都很慷慨大方，无论对历史还是未来都一视同仁地予以尊重，以及建筑体块在所有方向上层叠堆积——都是这个工作室建筑事务所建筑实践的重要推动因素。从伊拉斯谟场的项目开始，他们就经常和OTO景观设计事务所、福勒克斯景观事务所和马克罗·布鲁克曼都市主义设计公司展开合作。

A large part of the architectural metamorphosis that is currently changing the Netherlands has to do with renovations and redevelopment. Demolition works against the principles of sustainability.Rational decision making is at the heart of all those buildings and conversions, but it's also clear that the dull functionalism of the 1980s has given way for some refinement. A building is only really considered functionalist when its architectural form expresses its functionality in an engaging way.

The new Amsterdam Courthouse by KAAN Architecten is an apt example of this. Soon to house 200 judges, the building is under construction in Zuidas, the new business district in the making where well-known architects are jockeying in a sea of architectural statements. Therfore this district is becoming an international hub. In eloquent architectural form, the Courthouse showcases and underpins the working elements of a constitutional democracy. It offers a typically inviting public space while also being a distinguished institution. The building expresses the public nature of jurisprudence and the subsequent authority inherent this.

It is fair to say that the masters of expressive functionalism are at work here. Consider their new building at Tilburg University, the Cube, with 350 student study spaces and sightlines through the structure connecting users with the surrounding landscape of the campus. And the new Supreme Court building in The Hague is presenting an open face to the city while also ensuring the discretion necessary for due processes. In the new outstretched terminal of Amsterdam Airport Schiphol,to be completed in 2020, passengers arriving and departing are treated in the equally expansive spaces, unlike many other airports. The halls are welcoming and security protocols are ensconced in pleasant public spaces with much greenery, daylight and views of the big Dutch skies.

There is a contradiction of sorts in this kind of functionalism, because the comfort and achieved articulacy is actually resulted by transcending a strictly functional approach. At the very beginning of a design challenge, the question is posed of how to add to the environment and to daily user experiences, while simultaneously creating a single,efficient and practical solution for moving users from A to B. Without any desire of exaggeration, it's a kind of functionalism that has a touch of poetry.This touch can hardly be called purely functionalist,but it does cushion and caress the practical experience of everyday use.

Combining practicality with pleasant experiences is also a specialty of architect Paul de Ruiter, serving through his designs not only end users, but also meeting the far-reaching demands of sustainability. Sustainable building practices are in his genes, so to speak. That's why other architects often invite him onto their projects. He has built an impressive oeuvre already on his own, including residential buildings and towers, whether completed or under construction, in Amsterdam, Utrecht,Arnhem, The Hague and Breda. The Polak Building on the Woudenstein Campus of Erasmus University in Rotterdam is exemplary for his design philosophy.

De Ruiter was able to design a totally integrated and super-sustainable building because the whole interior was included in the commission. It is an open structure built for the sharing of knowledge,both within the university and with the world beyond. The lecture halls are situated in the base,with group spaces above and individual study spaces above that – from the hustle and bustle below to silence above. Two spiral staircases in the atrium connect the areas. Vertical louvres on the entirely glazed facades, positioned according to the winds and angles of the sun, ensure air circulation.Mechanical ventilation is unnecessary, neither is artificial light during the day.

Not every new or innovative building a joy to behold. Like in any other profession, there are those with lesser skills, in the Netherlands as well. And not all briefs are equally inspiring or challenging.Nonetheless, the Netherlands has a strong selection of capable architects who are able to meet the needs of a diverse range of projects. On the heels of the financial crisis, the number of small, young architectural firms grew. When commissioned work evaporated, a lot of firms had to let more than half of their personnel go. Some jobless architects–many of them were young – took refuge in selfemployment, setting up their own independent practices. They now contribute to the field in invigorating ways, representing stylistic diversity as elsewhere in the world.

It must be said that the vanguard of this younger generation spend very little time and energy on taking down the establishment. They simply look past it and focus on the discipline of strategic acquisition, while also embracing social issues and using them as inspiration – with conviction. In this context a bevy of talented young architects have made their way into the various building projects of Proeftuin Erasmusveld, a new neighbourhood southwest of The Hague. Erasmusveld is an ambitious"environment for living" by Bouwfonds Property Development (BPD) that will raise sustainable living to new heights.

Young architects today often operate in groups,not unlike music bands. Ingrid van der Heijden, Jan Lebbink, Rick van Doeschate and Gert Kwekkeboom have joined forces with a number of colleagues to form Civic Public Architecture, with the strapline The Public Face of Architecture, Civic Culture and Public Spaces. Kwekkeboom, a philosopher as well as an architect, won the Young Talent Award 2017 (ARC17). This group, in collaboration with Lubbers Landscape Architects and Urban Planners,designed an integrated urban/green landscape for Erasmusveld which is now under construction and known as a "Stadsbiotoop" or urban biotope.

According to the architects of Civic, it is "a new form of urbanism in which the landscape acts as a city and the city as a landscape". Buildings with reservoir roofs and a landscape with helophyte filters close the water system. The green facades and roofs connect the interior with the outdoors, as do all the spacious patios and balconies, and the light, air, heat and cold are regulated. The apartments above the treetops have winter gardens. All of the tenets of the"Nearly zero-energy buildings" templates (NZEBs)and the "nul-op-de-metre"(NOM), or energy-neutral metre, were applied.

3 伊拉斯谟试验花园项目，宝丰地产（BPD，施工中）/New co-existence in housing, Proeftuin Erasmusveld,Den Haag, Bouwfonds Property Development (BPD, under construction, 图片来源/Source: https://www.hetkanwel.net/2017/03/04/proeftuin-erasmusveld/)

4 伊拉斯谟试验花园项目，城市群落生态栖居地，公共建筑团队设计（施工中）/New co-existence in housing, Stadsbiotoop Erasmusveld, Den Haag, Civic Architects (under construction)（图片来源/Source: https://www.civicarchitects.eu/erasmusveld.html）

5 左：“修身之作”住宅，罗查-蒂伯尔建筑事务所设计，2017；右：达恩·巴克设计的“小甲”住宅，DaF建筑师事务所设计，2017/Left: Slim Fit, Almere, 2017, Rocha Tombal Architecten, Right: Tiny A, Almere, 2017, DaF-architecten（图片来源/Source: https://www.dafarchitecten.nl/nl/daf-21/woningen/tiny-A.html）

荷兰经常出现住宅短缺的问题，尤其是在西部地区的城市。人们不断地迁徙到大城市，而其中的住宅存量规模却不能与之匹配。独居人口的数量也在增长。在一些地区，他们占到了总人口数量的1/3。而政府也把住宅问题放手交给市场解决。除了需求的增长之外，在一个各类信息触手可得的数字时代，人们可以根据个人品味进行设计和装饰，于是人们对独特的建筑设计也产生了更多的兴趣，其原因是显而易见的。人们宁可住在大篷车里，也不愿向购买住房而增加的支出妥协。或者，他们也可以选择住在微型房屋里。这一决定甚至可能和资金匮乏没有任何关系，而只是受到意识形态驱动；当然，如果一座微型房屋能够在能源使用方面（部分或全部）自给自足或能够为健康的星球做出贡献就更是如此。

距离阿姆斯特丹不远处的阿尔梅勒是荷兰最年轻的城市，建成时间仅有约40年，而现在拥有的人口数量已逾20万。从建立伊始，它就是当地居民自己建设的城市；是他们创造了这座城市。这座城市由5个不同社区组成，其中有几片区域的居民能自行决定想要什么样的住宅形式，而不受任何强制条件约束。对经济上可承担的小型住宅的需求推动阿尔梅勒开展了一场公开的概念设计竞赛。“自由生活”公司发出邀请，任何人都可以提交他们理想中的微型房屋的设计方案并在博览会中进行展示，只要求总建筑面积不超过50m2。

他们从245份参赛作品中选出了25个获奖作品，且迄今为止已有13个设计方案建成——这些活在一场永久展出的博览会中的微型房屋数量颇为惊人，却没有任何一座是由“才华横溢的青年建筑师”设计的。这些新生代的建筑师要么没有参加竞赛，要么没有足够的耐心或技术完成这样一项如拼图般精巧的设计方案。只有那些专心致志、经验老道的建筑师才知道怎样在严苛的限制条件下进行建筑设计。无处不在的建筑规范设定了必须满足的标准——例如楼梯的坡度或天花板的高度。其中有两座建成的设计作品获得了许多奖项。由罗查-蒂伯尔建筑事务所设计的“修身之作”是一座修长的3层高住宅，能独自矗立在田野中，或被置入在空间紧凑的市中心。其占地面积不到16.4m2。而由DaF建筑事务所达恩·巴克设计的“小甲”住宅则把荷兰的人字形屋顶作为最便宜的住宅标准来使用。采用泡沫混凝土楼板就意味着不再需要基础结构。

当然，荷兰的建筑设计也存在一些“民族特征”，如传统的住宅形式或审慎的功能主义，目前都已被囊括在各类建筑规范中。然而，如果我们要审视当前建筑界的趋势，就必须充分理解这是一个处于国际形势时有变化背景下的小国家。因此，必须考虑它和边境国家的关系及其和欧盟的关系——荷兰显然是欧盟的主要创始成员之一。如果一座建筑需要用公共资金来支付，那么根据欧盟的规定，就必须公开建筑工程的设计委托过程。有几家荷兰公司非常擅长参加欧洲的设计竞赛。位于比利时荷兰语区佛兰德斯的一些项目就对荷兰建筑师分外有吸引力——两地无论在语言、酬金还是地理位置方面都颇为相近。安特卫普距离鹿特丹只有不到1小时的车程。

荷兰建筑师或建筑业的国际化转型在高校也已表现得颇为明显。例如，代尔夫特理工大学建筑学院有2/3的学生来自海外。其中近半数来自亚洲——主要是中国——而另一半则来自其他欧洲国家。每年有近200名建筑师从代尔夫特理工大学毕业并获得硕士学位。

荷兰建筑界的国际化特征来源于几位在全球拥有重要影响力的荷兰建筑师——MVRDV的维尼·马斯，UNStudio的本·范贝克尔、Mecanoo事务所的弗朗辛·霍本，以及OMA建筑事务所的雷姆·库哈斯。卡恩建筑师事务所的卡斯·卡恩和文森特·潘乌曾也以其跨国实践发挥了作用，尽管其作品大多局限在欧洲和巴西。而许多著名的公司——尤其是大型企业——也从全球招募聘用人才。这些“熔炉”的产生，无独有偶，都是因为许多荷兰公司有一半甚至一半以上的业务都来自于海外地区。

毫无疑问，最具影响力的荷兰建筑师正是雷姆·库哈斯，他通过撰写著作和设计那些直言不讳的新现代主义建筑项目获得了其大师地位。尽管他的观念主义确实激发了“超级荷兰”的潮流，他本人却对任何“荷兰排名”都嗤之以鼻。他并不想像蝴蝶一样被钉成标本，纳入充满同类物种的博物馆藏品之中。

《新鹿特丹及阿姆斯特丹商报》的日报编辑贝尔纳德·哈尔斯曼曾问库哈斯：“您已经影响了许多荷兰的青年建筑师，在跨世纪的时刻，他们的作品已作为‘超级荷兰’全球闻名。您认为自己对荷兰的建筑产生了怎样的影响？”

他以斩钉截铁的方式回答道：“我并没有花时间考虑产生怎样影响的事情。我的脑子里没有建筑师的家族树。‘超级荷兰’是一个很好的品牌推广策略，并且为许多荷兰建筑师拓展了业务并带来全球的关注。我对此没有异议。但我从没感觉到自己和‘超级荷兰’有什么特殊的关系。我认为以国家作为区别品质或形式的分类标准荒谬可笑，尤其是在欧洲自身也正在转型的时代。在意识形态上，我认为自己很欧洲。”

“超级荷兰”的旋风——吹遍荷兰平原的第二次现代主义风潮——就这样平息了。无论是巴特·洛茨玛定义的概念，还是此后的主导意识形态都没有失去它们的重要意义；但对理论能力更强的建筑师而言，它已经在更实用主义的成果中得到了应用，变得不那么夸张。然而似乎维尼·马斯和他的MVRDV事务所不在此列。他正在台中（中国台湾地区）和世界其他地区勇敢地推进他的概念论思想，尤其是在鹿特丹。他设计的拱廊市场被包裹在公寓大楼的内部，作为创业活力的范例深受赞誉。这个案例也许很恰当地营造出了“超级罗法”的形象。“罗法”是荷兰人对鹿特丹的一种俗称。更多的“超级罗法”能在目前在建的博伊曼斯·范伯宁恩美术馆里找到——这是一个将会全部贴上镜面玻璃的混凝土“碗”。所有目前存在于博物馆公园的景象都会反射在立面上，所以那里仍将表现出一片绿荫苍翠的景象。

Working at another location in Erasmusveld are the group Workshop Architecten, consisting of three young architects – Ard Hoksbergen, Milad Pallesh and Ivar van der Zwan – who describe their practice as a laboratory for craftsmanship. Currently under construction is their residential project for 108 apartments with 101 parking places and 5 collective spaces. The structure is variably stepped and loaded with greenery, like a terraced hillside.The trio employ an advisory team including people from various disciplines to guide the business side of their endeavours. Generous to the environment and users, timeless with regard to the past and future, and layered in every aspect – these are the factors that drive Workshop Architecten. For the Erasmusveld project they worked together with OTO Landscape Architecture, Flux Landscape and Marco Broekman Urbanism.

There is a nearly constant housing shortage in the Netherlands, particularly in the cities of the west. People are migrating to the cities, though this isn't matched with sufficient numbers in homebuilding. The number of people living alone is also increasing. In some areas this counts for one third of the population. The government is leaving housing to the market. Add to this increasing desire, in a digital age with the access to all kinds of information, to design and furnish one's life to individual tastes, then it becomes clear why there is such greater interest in unique architectural solutions. People would rather live in a caravan than succumb to the rising expense of buying a house.Or they choose a tiny house. This may not even be due to a lack of money but be driven by ideology,certainly when a tiny house is (partly or wholly)self-sufficient in energy use and can contribute to a healthy planet.

Almere, not far from Amsterdam, is the youngest city in the Netherlands, established nearly 40 years ago and now home to a population of more than 200,000. From the beginning it has been a city built by the people living there; they make the city. At several locations in this city of five distinct neighbourhoods, residents were able to make their own choices on the kind of house they wanted, free of oppressive restrictions. The demand for small affordable homes motivated Almere to open a public competition. Bevrijd Wonen, or Free Living, invited anyone to submit designs for their ideal Tiny House with a maximum gross floor area of 50 square metres, to be presented in an Expo setting.

There were 25 winners chosen from the 245 entries, and so far 13 of those have been executed:Tiny Houses that live in a permanent Expo, none of which – remarkably enough – is by a "talented young architect". The new generation of architects didn't participate or doesn't have the patience or skills to provide a small puzzle-piece of a solution. It is the focused and experienced architects who know how to build to code within tight limitations. Building regulations everywhere stipulate standards to be met,like the slope of the stairs or the height of the ceiling.Two of the executed designs have won prizes. Slim Fit by Rocha Tombal Architecten is a slim 3-storeyed house that can stand in a field or be inserted into a compact city centre. Its footprint is no more than 16.4m2. Tiny A by Daan Bakker of DaF-architecten took the Dutch gabled roof as the cheapest standard for a house. The foam concrete floor plate means no further foundations are needed.

Of course there are some "national characteristics"in Dutch architectural design, like traditional housing forms or sober functionalism, now encoded in building regulations. Yet if we look at the state of current architecture, it must be understood that this is a small country in which international exchange is common. Relationships cross borders, aided by the European Union – the Netherlands notably being one of the founding members. If a building is going to be paid for with public funds, EU rules require the commission for architectural services to be put out to public tender. Several Dutch firms specialise in participating in European design competitions.Projects in Flanders, the Dutch-speaking region of Belgium, are particularly attractive to Dutch architects: for the language, the fees paid and, of course, the proximity. Antwerp is only an hour's drive from Rotterdam.

The international orientation of Dutch architects/architecture is already in evidence at the university. Two-thirds of students at the Faculty of Architecture of Delft University, for example,come from abroad. Half of these are from Asia –predominantly China – and the other half from various European countries. Some 200 architects graduate with a Master's degree from Delft University every year.

The international character of architecture in the Netherlands is also due to the fact that several Dutch architects play a role in the global arena:Winnie Maas with MVRDV, Ben van Berkel with UNStudio, Francine Houben with Mecanoo and Rem Koolhaas with OMA. Kees Kaan and Vincent Panhuysen of KAAN Architecten are also players,though their global practice is, as yet, limited to Europe and Brazil. The famous firms, and also the big ones, employ colleagues from all over the world.These melting pots don't happen, not coincidentally,because plenty of Dutch firms get half or more of their assignments from abroad.

Undoubtedly, the most influential Dutch architect is Rem Koolhaas, who has secured his position through books and buildings that bear witness to outspoken Neo-Modernism. While his conceptualism certainly fired up the Super Dutch trend, he balks at any placement in the "Dutch ranks". He doesn't want to be pinned like a butterfly into a museum collection full of the same species.

Bernard Hulsman, editor of the daily newspaperNRC Handelsblad, asked Koolhaas: "You have influenced a lot of young Dutch architects,their work became world famous as Super Dutch at the turn of the millennium. What's your take on your influence on Dutch architecture?". His reply,in no uncertain terms, was: "I don't spend any time thinking about influences. There's no family tree of architects in my head. Super Dutch was good branding and gave a lot of Dutch architects work and worldwide attention. I don't have a problem with that. But I've never felt particularly connected to Super Dutch. I think nationality as a quality or form of categorisation is absurd especially at a time when Europe is transforming itself into something new. Ideologically, I feel European."

6 代芬特尔市政厅，诺特灵·里代克建筑师事务所设计，2016/Deventer City Hall, Deventer, 2016, Neuteings Riedijk Architecten（图片来源/Source: https://www.neutelings-riedijk.com/cityhall-deventer）

7 阿姆斯特丹翁斯运河博物馆，菲利克斯·克劳斯-迪克·范·瓦格宁根建筑事务所设计，2015/Museum Ons' Lieve Heer op Solder, Amsterdam, Felix Claus Dick van Eageningen Architecten,2015（图片来源/Source: http://www.clausvanwageningen.nl/en/museum-ons-lieve-heer-op-solder-amsterdam/1/）

似乎设计竞赛和设计采购的文化缓和了“超级荷兰”的锐气。把一个概念推向极致的做法几乎不可能中标，所以设计理念会倾向于更有节制的做法，或至少是更现实和更有助于实现建设目标、且能为环境所承受的设计手法。然而，这种出于获得工作机会目的的商业化手段仍然和恭敬顺从的做法截然不同，实际上，可以认为这是一种最有助于实现功能的理想方式——它以一种用呈现出的建筑自身讲述其功能的方式来进行表现，建筑形式不是空洞的隐喻，而更像是令人心悦诚服、娓娓道来的过程。

在荷兰，到处都是历史建筑。常常整个历史中心、城镇或村落都被列为历史遗迹，并有专门的保护条例予以保护。它产生了包括从修复建筑师到建筑考古学家等的一整个专业领域。这些专家总是在为各种项目提供咨询，却鲜见他们自己拿出什么令人耳目一新或前所未有的解决方案。激动人心的构思总是来自于不经常接触建筑遗产的建筑师。如诺特灵-里代克建筑师事务所就是这样。他们以建筑的表达方式久负盛名，建造了像鹿特丹航运学院这样的建筑，它有潜望镜一般的造型，面朝大海矗立；还有一座代芬特尔市政厅，其中容纳了所有的必要设施，并以十分微妙的方式和历史中心的“旧城区”融为一体。扩印在玻璃窗上的指纹图案象征着本土社区在设计过程中的参与和共同认可。

克劳斯–范·瓦格宁根建筑事务所的菲利克斯·克劳斯则在阿姆斯特丹旧城的历史核心区某条小巷的街角建造了一座新的运河建筑。它的地下室和另一座运河建筑相连通，也就是著名的17世纪秘密教会、现在的阁楼教堂博物馆。这座新建筑实际上是这座博物馆的扩建工程，根据其所处环境进行了特殊的设计——它有许多和历史上的运河建筑相关的装饰，却仍表现为当代的建筑形式。这个建筑事务所也负责国家军事博物馆的设计；这座博物馆位于苏斯特贝赫，依偎在一处前空军基地场地上低矮的沙丘之中。相比起阿姆斯特丹的历史建筑，它看起来更像是芝加哥的会议中心。屋顶结构是跨度为250m×110m的钢桁架结构，沿着四周悬挑伸展出墙面，其中一侧悬挑深达45m。室内没有立柱，开阔的空间容纳了各种战斗机，看起来好像一组进攻阵容。

最近建成的风格独特的建筑还有更多，数不胜数。它们的独特之处或在其范围、创意和精巧程度，或在其可持续的设计、概念化的表现和设计深度，或甚至因为它们同时综合了上述这些特点。阿纳姆设计的剧院就是这样的案例，阿纳姆市音乐厅“乐之韵”是格尔德兰交响乐团的常驻音乐厅，由范东恩-科舒奇建筑和规划设计公司设计。舞台后面的玻璃幕墙让观众能够一览音乐公园的美景。幕墙能够自由伸缩打开，让公园也被拉进剧院，为围观的游客提供观演空间。

最后，让我以位于布雷达的两个表现功能主义的案例作为结尾，因为这两座建筑毗邻而建，且都很值得探访。罗布·霍茨曼斯设计的法院大楼预示着这片跨越铁轨区域的崭新未来。这座大楼对使用者非常友好，易于普通人理解，也是对法制的歌颂。为法院工作人员和当地居民设计的公园一直延伸到供法院使用的地面停车库位置。而法院的访客则可以把汽车停放在候车站旁边的一座构筑物里，它由科恩·范·维尔森设计，跨越了铁轨和当地的公交车站。这个建筑综合体朝向市中心的一面由底层设置了公共便民设施的公寓楼构成，这也是鸟瞰公交车站的第二个侧面——而这个车站是该地区游客到达的集散点。这座多功能的建筑综合体从里到外形成了许多纵横交错的视线连接关系，各层都种有树木作为点缀。彩色的釉面砖在砖墙内部形成了线条和平面图案，表现得好像是一座历史建筑，经历了几世纪之长的翻新和修复过程。□

The Super Dutch storm – a second Modernism that blasted over the flatlands of the Netherlands –has settled. Neither the concept, as defined by Bart Lootsma, nor the subsequent guiding ideology has lost their significance, but among the more conceptual architects it's being used for more pragmatic effect.It's less inflated. It appears that Winnie Maas with his firm MVRDV is an exception. He is marching valiantly forth with conceptualism, in Taichung (Taiwan)and other places around the world, but especially in Rotterdam. His Market Hall in an envelope of apartments has been praised as an exemplar of entrepreneurial drive. It might be appropriate in this case to coin this Super Roffa. Roffa is street slang for Rotterdam. More Super Roffa can be found in the Art Depot of the Boijmans Van Beuningen Museum currently under construction: a "bowl" of concrete to be fully clad in mirrored glass. All that remains of the Museum Park will now be mirrored, so that this spot will stay green.

It seems that the culture of competitions and procurement has softened some of the sharpness of Super Dutch. Pushing a concept to its extremities rarely wins the prize, so design ideas tend to be more restrained, or at least more practical, and more supportive of the purpose of the building and the environment that is to host it. However, such a business-like approach, grounded in the acquisition of jobs, is still miles away from deferential compliance and, in fact, can be seen to facilitate the goal of optimal functionality – optimal in the sense as presented in architecture that tells the story of its functionality, and there is no hollow rhetoric, but rather a persuasive narrative in its forms.

The Netherlands is full of historic buildings.More often than not entire city centres, towns and villages have been listed and fall under the protection of specific conservation rules. This has produced a whole field of expertise, from restoration architects to building archaeologists. These experts are always consulted on projects, but rarely do they come up with surprising or unexpected solutions.Exciting ideas tend to come from architects not usually associated with built heritage. Neutelings Riedijk Architects, for example. Well-known for their architecture parlante, they have produced buildings like the Shipping and Transportation College in Rotterdam, built in the shape of a periscope facing the sea, and a City Hall with all the necessary services, subtly integrated as an "urban quarter" in the historic heart of Deventer. Enlarged fingerprints on glass squares represent the local involvement and consensus in the design.

In the historic heart of old Amsterdam Felix Claus of Felix Claus Dick van Wageningen created a new canal house on the corner of an alleyway. It is connected underground to another canal house, the famous 17th-century clandestine church, known as the Museum Ons' Lieve Heer op Zolder. The new structure, in fact a museum extension, is specifically tailored to this environment: it has many of the trappings associated with old canal houses, but still manages to present itself in a contemporary way. The same architecten was responsible for the National Military Museum, nestled into low-lying dunes on a former air base in Soesterberg. This building looks more like a convention centre in Chicago than an old building in Amsterdam. The roof is a 250-by-110-metre structure of steel trusses, projecting over its four walls – with a cantilever on one side reaching 45 metres. The interior is free of columns and the open space houses fighter jets in what looks like an offensive formation.

8 布雷达法院，保罗·德勒伊特建筑事务所，塞维尔·皮奇&卡勒斯+布兰兹设计，2018/Courthouse, Breda, Paul de Ruiter Architects, Sevil Peach & Karres + Brands, 2018（图片来源/Source: https://www.hootsmans.com/#courthouse-breda/1）

Many more exceptional buildings have been built recently. They are exceptional because of their scope, originality, ingenuity, sustainability,conceptual or design depth, or even because they are a combination of these, such as the case for Arnhem's theatre, Musis Sacrum, home of the Orchestra of Gelderland, which were built by Van Dongen-Koschuch Architects and Planners. The glazed wall behind the stage offers the audience a splendid view onto Musis Park. This retractable wall can be opened so that the park, is drawn into the theatre as well, making space for spectators.

Finally, since they stand next to each other and are worth a visit, let me close with two last examples of expressive functionalism in Breda. The Courthouse by Rob Hootsmans heralds the new future of the area across the tracks. It is a userfriendly building, easily understood by the general public, and an ode to the rule of law. A park for courthouse workers and local residents stretches over an above-ground parking garage for courthouse use. Visitors to the Courthouse can park next to the train station in a structure built by Koen van Velsen that arches over the tracks and regional bus station.Apartments with ground-floor public amenities define the face of the complex towards the city centre and a second face overlooks the bus station –the point of arrival for regional travellers. The multifunctional complex has horizontal and vertical sightlines throughout, and trees furnish various storeys. Glazed tiles of different colours create lines and planes within the brickwork, as though it were a structure that has undergone centuries of renovations and restorations.□