当代芬兰建筑中的自然和现代主义

作者简介：博士，芬兰建筑博物馆研究主管/PhD, Head of Research at the Museum of Finnish Architecture 收稿日期：2011-12-20

芬兰建筑主要因两点而闻名：实用而直接的

现代主义和一种同自然之间的虚构的关系。从阿尔

瓦·阿尔托和他同时代——包括埃里克·布吕格曼

（Erik Bryggman）和保利·布卢姆斯泰特（Pauli E.

Blomstedt）在内——的那些设计了80年前的芬兰现

代建筑作品的建筑师开始，就是如此。阿尔托在1930

年代的设计，特别是完成于1933年的帕伊米奥疗养院，

布吕格曼设计的私人住宅和图尔库的公寓区，以及布

卢姆斯泰特的教堂设计，都是芬兰现代建筑早期阶段

的标志。

在这之后，现代主义运动的主流和分支总是成为

芬兰建筑学习的对象。如此忠诚于现代主义的原因，

可以归结到芬兰自1917年独立以来的社会发展，以及

北欧人一贯的建筑和设计方向。

北部的地理位置和文化

在北欧的多种现代主义中，建筑是与众多北部欧

洲的文化特性交织在一起的。起决定性的因素是气候

和自然环境，同时还有从路德教而来、体现在北欧福

利国家的一种共有的精神。这里值得一提的是，在当

地民众与自然之间的关系形成的过程中，有一个关键

因素——“自由信步”的理念，简而言之，即在一定

限度内，每个人都有权利进入到自然环境及其所赋予

的一切中去。这一传统在那些居住环境与自然紧密相

联的地方广为人知，在北欧国家更是根深蒂固。

波罗的海地区的自然环境十分富足、多样，且尺

度较小。内陆中不计其数的湖面形成了广阔的水路。

芬兰被称为“千岛之国”。实际上可以说，芬兰的自然

环境充满了各种独特的场所。我们没有一望无际的海

岸沙滩或巨大的高差，但是，我们拥有河、湖和群岛。

多样且无所不在的水陆交替，为芬兰的自然环境提供

了一种韵律。这种韵律既是视觉上的，也是精神上的。

此外，四季的变换——温暖明亮的夏季和寒冷多雪的

冬季——强化了景观的多变，对自然空间的应用有着

显著影响。

关于芬兰建筑

前文所述都与芬兰人所认知的好建筑密切相关。

在这里，成为好建筑的关键因素是同地段或场所的联

系，及其空间体验。

当代芬兰建筑中的自然和现代主义

NATURE AND MODERNISM IN CONTEMPORARY FINNISH ARCHITECTURE

尤哈那·拉赫蒂/Juhana Lahti

孙凌波 译/Translated by SUN Lingbo

Finnish architecture is renowned primarily for two things: pragmatic and no-nonsense modernism and a mythical relationship with nature. This has been the case ever since Alvar Aalto and his contemporaries, including Erik Bryggman and Pauli E. Blomstedt, designed the first masterpieces of Finnish modern architecture some 80 years ago. Aalto's 1930s designs, especially the Paimio Sanatorium completed in 1933, Bryggman's private houses and blocks of flats in the city of Turku, and Blomstedt's church designs, most importantly the Kannonkoski Church completed in 1938, mark the early stage of Finnish modern architecture.

Modernism has subsequently been the movement that the mainstream, and often also the alternative, Finnish architecture has leant on. The commitment to modernism is related to Finland's social development since it gained independence in

1917 and the Nordic approach to architecture and

design.

Northern Location and Culture

In the Nordic variety of modernism, the

architecture is interwoven with many Northern

European cultural traits. The determining factors at

play are climate and natural surroundings, but also a

communal spirit, drawing on Lutheranism, which has

been embodied by the Nordic welfare state. A key

characteristic in the formation of the local people's

relationship with nature, which is worth mentioning

here, is the idea of "freedom to roam", which, in

a nutshell, means that everyone has the right to

access the natural environment and what it offers,

within certain limits. This tradition, which is known

globally by people who live in close connection with

nature, has stood its ground in the Nordic countries.

The natural environment in the Baltic Sea

region is very rich, varied and small in scale. The

inland, again, features an endless number of lakes

that form vast waterways. Finland is known as

the land of a thousand lakes. In fact, you can say

that Finnish nature is filled with unique places. We

do not have endless sandy beaches by oceans or

particularly great differences in height. Instead, we

have rivers, lakes and archipelagos. This varied and

omnipresent alternation of land and water provides

a rhythm to the Finnish natural landscape. This

rhythm is both visual and spatial. In addition, the

changing of the four seasons, with warm and light

summers and dark, snowy and cold winters when

the waterways freeze, accentuates the variability of

the landscape and has a considerable effect on the

use of natural space.

On Finnish Architecture

I see that all the above is closely associated

with what people perceive as good architecture in

Finland. Being tied to a site or place and spatial

experience are key issues here.

Firstly, what is considered good architecture

is linked with having respect for a site and its

history, whether in a natural or an urban setting.

The leading Finnish architects from the 1930s to the

1960s, most importantly Alvar Aalto, consistently

insisted that the trees on building sites were to be

protected against damage throughout the projects.

This was a way to allow nature to be a concrete

part of the buildings’ yard areas. During this era,

zone thinking became part of urban planning, and

the link between residential areas and natural green

zones assumed particular prominence in suburban

planning. In urban planning, having an appreciation

for historic building stock is a phenomenon of

recent decades. As a flip side to the development

of modernisation, the 1970s still saw numerous

1

2

1 阿尔瓦·阿尔托，帕伊米奥疗养院/Alvar Aalto, Paimio

Sanatorium

2 埃里克·布吕格曼，卡伊诺住宅/Erik Bryggman，Villa Kaino