很难不看到建筑主义者的风格和NL建筑师与Bel(Bernhardt Und Leeser)Soziet t für Architektur BDA联合创作的不同寻常的图形之间的联系，因为他们为汉堡的圣保利社区(St.Pauli)提出了一项获奖提案，其中包括斯皮尔布登帕兹(Spielbudenplatz)上的Esso H user旧址的一项城市住房和其他便利设施规划。而且，虽然这种风格上的联系可能不是建筑师有意得出的-在四页的项目描述中没有提到图形的灵感-但奇怪的是，它适合于这一特定的开发。

It's hard not to see the connection between the styles of the Constructivists and the unusual graphics created by NL Architects in association with BeL (Bernhardt und Leeser) Sozietät für Architektur BDA for their competition-winning proposal for Hamburg’s St. Pauli neighborhood, consisting of an urban plan of housing and other amenities at the former site of Esso Häuser on the Spielbudenplatz. And, while this stylistic connection may not have been intentionally drawn by the architects - the inspiration for the graphics is not mentioned in the four-page project description - it is oddly appropriate for this particular development.

 1924 Soviet magazine advertisement by Vladimir Mayakovsky and Alexander Rodchenko. Image Courtesy of Flickr CC user kitchener.lord, licensed under CC BY-NC-ND 2.0

1924年苏联杂志广告由弗拉基米尔马雅科夫斯基和亚历山大罗琴科。Flickr CC用户厨房的图像礼貌-NC-ND2.0认证

在多年的抵抗之后，Esso H user的房客于2013年12月被驱逐，此时，战斗转移到确保租户返回同一地点的新建筑。于是开始了一场名为PlanBude的高度合作的社区运动，向九家国际建筑公司寻求公众在设计过程中的投入。将该倡议的办公室设在提议的地点旁边，PlanBude收到了利益攸关方的2000多份捐款，包括访谈、想法、分析和意见。根据“若干创新和艺术规划工具”，PlanBude制定了以下道德准则，用于制定新项目：

After years of resistance, tenants of the Esso Häuser were evicted in December 2013, at which point the fight switched to ensure that tenants were returned to a new structure on the same site. So began a highly collaborative neighborhood campaign known as PlanBude, that sought public input in the design process with nine international architectural firms. Situating the offices for the initiative next door to the proposed site, PlanBude received over 2000 contributions from stakeholders, including interviews, ideas, analysis, and opinions. Yielding “a number of innovative and artistic planning instruments,” PlanBude devised the following as a code of ethics for developing the new project:

多样性，而不是统一性，小规模，可负担，而不是昂贵的原创性和宽容，独占和活力的实验和亚文化公共空间，没有消费主义。

Diversity instead of uniformity Small-scaledness Affordable instead of expensive Originality and tolerance Appropriation and vitality Experiment and subculture Public space without consumerism

 The site's former structure, Esso Häuser. Image Courtesy of NL Architects

该网站的前结构，Esso H user。NL建筑师的形象礼貌

圣保利是汉堡红灯区的所在地，以其“极端共存”而闻名，它将社区与社会生态系统和反文化永远联系在一起。在确认中，NL建筑公司的校长Kamiel Klaass说：“汉堡的这个地区仍然是个朋克！反对士绅化、反对不平等、反对种族主义等等。“该地区被称为德尔基兹(大致翻译为“胡德”)，是“一个独特的生物圈，为许多亚文化提供了空间，这是抵抗分裂的罕见据点之一。”为了保持这一特点，民族解放力量建筑师和贝尔将一块更大的土地(Realteilung)分割成小块地(Kleintilig)，毗邻斯皮尔布登帕兹，在一条新的步行街周围组织起来。他们的设计是普兰布德17人组成的评审团的一致选择。

St. Pauli, home to Hamburg’s red-light district, is known for its “coexistence of extremes,” eternally linking the neighborhood to social niches and counterculture. In affirmation, NL Architects principal Kamiel Klaasse said, “This area in Hamburg is still kind of PUNK! Resistance against gentrification, against inequality, racism and so on.” Known as Der Kiez (which roughly translates to "the Hood"), the area is “a unique biotope that offers room for many sub-cultures, one of the rare strongholds in the resistance against Disneyfication.” Aiming to retain this characteristic, NL Architects and BeL divided a larger plot of land (Realteilung) into small parcels (Kleinteilig), adjacent to the Spielbudenplatz, organized around a new pedestrian street. Their design was the unanimous choice of PlanBude's 17-member jury.

 Courtesy of NL Architects

nl建筑师提供

该项目试图维护和重新表达社区的任性精神，其策略从阳台到“信息和通信平台”，一个“商业、社会或生态”规划的公共和私人屋顶空间的混合体，以及在这里创造“充满活力的城市参与者”的结构必需品，用于艺术、体育或自然栖息地。作为对这种外部多样性的补充，在底层通过42个单独的门进入内部的“功能组合”。就像这个城市规模上的奇才橱柜一样，这个地块包括一个酒店、市价住房、补贴住房、博物馆、招待所、办公室、零售店、咖啡馆、夜总会、剧院、溜冰场、篮球场、攀岩墙、花园，甚至还有一艘“海盗船”。

The project attempts to preserve and rearticulate the neighborhood’s wayward spirit, with strategies ranging from balconies as “platforms for information and communication,” a mixture of public and private roof spaces programmed “commercially, socially or ecologically,” and firewalls, structural necessities here creating “dynamic urban actors” used for art, sports or as natural habitats. Complementing this external diversity, a “cocktail of functions” inside is accessed through 42 individual doors at the ground level. Like a cabinet of curiosities, a wunderkammer at the scale of the city, the plot includes a hotel, market-rate housing, subsidized housing, a museum, a hostel, offices, retail, a cafe, nightclubs, a theater, skate park, basketball court, climbing wall, gardens, and even a “Pirate Ship.”

 Courtesy of NL Architects

nl建筑师提供

在这一切的中心是一条新的街道，它将是一个“活动的房间”，在这里，“众多的圣保利亚文化：年轻的创意人员，酒店客人，公寓的居民，住在包格里蓬(多家庭住房)的家庭，老年人都可以混合在一起。”这种扩大的公共空间是一个公共客厅，街道是一个伸展的广场。“

At the center of all of this is a new street which will be “a room for activity,” where “the numerous sub-cultures of St. Pauli: young creatives, hotel guests, residents of the apartments, families living in the Baugruppen (multifamily housing), elderly can all mix and mingle. This enlargement of the public space serves as a public living room, the street a stretched square.”

 Courtesy of NL Architects

nl建筑师提供

回顾该项目的新闻资料，对于一项旨在维持和促进包容性、多样性和“没有消费主义的公共空间”的提议来说，这些图形的社会主义底蕴似乎是尖刻和善意的。在谈到这一点时，Kamiel Klaass申明：

Reviewing the project's press materials the socialist undertones of the graphics seem poignant and well-meaning for a proposal that found motivation in maintaining and promoting inclusiveness, diversity, and "public space without consumerism." Speaking on this, Kamiel Klaasse affirmed:

“我们选择不使用通常的光滑渲染技术.但要尝试一些新的东西：一种粗糙的小册子美学。(虽然是新的.也许老派(也许)是一个更好的词).我们认为看到一些超越超现实的东西是非常令人耳目一新的。它仍然为想象力留出了空间(陪审团特别提到的是专业人士，因此(图形)达到了他们的目的)。

"We chose not to use the usual glossy render techniques... but to try something new: a kind of rough pamphlet aesthetic. (Although new... perhaps old school [would be a] better word)... We thought it was very refreshing to see something beyond hyper reality. It still leaves space for the imagination (something the jury mentioned specifically as a pro, so [the graphics] served their purpos

 Courtesy of NL Architects

nl建筑师提供

这一设计本身让人想起拉斯维加斯大道的异质性，就像文丘里、斯科特·布朗和伊泽诺的“拉斯维加斯开创性学习”中所描绘的，并随后进行了剖析，将其图形的集体主义潜台词与圣保利及其更大的美国亲戚在新城分享的近乎无政府状态的自我表现方式进行了对比。此外，所有的标志，纹理和物品感觉就像詹姆斯·韦恩斯的网站(环境中的雕塑)最佳产品商店的长期失传。在那些传说中的建筑中，遗址把后现代的讽刺带到了它厚颜无耻的极端，它的正面故意地崩塌、剥落和发芽。虽然在意图和目的上完全不同，网站使用大胆的图形和巧妙的颠覆“盒子商店”，似乎具有相同的平衡，在实际的意图，在实际参数，正在进行中，在NL建筑师和贝尔的德尔基兹。

The design itself calls to mind the heterogeneity of the Las Vegas Strip as depicted and subsequently dissected in Venturi, Scott Brown and Izenour’s seminal Learning from Las Vegas, contrasting the collectivist subtext of its graphics with the almost anarchic sense of self-expression shared by St. Pauli and its much larger American relative in Sin City. Additionally, the panoply of signs, textures, and objects feels like a long lost descendant of James Wines’s SITE (Sculpture in the Environment) Best Products stores. In those fabled buildings, SITE took postmodern irony to its cheeky extreme with facades that were intentionally crumbling, peeling, dislodged, and sprouting trees. Although entirely dissimilar in intention and purpose, SITE’s use of bold graphics and clever subversions to the “box store” seems to possess the same balance of maverick intentions in practical parameters that are afoot in NL Architects and BeL’s Der Kiez.

 Courtesy of NL Architects

nl建筑师提供

鉴于该建议仍处于发展阶段，推测这些设计战略将如何将新旧圣保利连接起来可能为时过早。当一个新的发展，净化历史，试图治愈自己，它往往只是一个伤痕累累的版本，曾经是。通常情况下，这一过程发生在场外，关着门，没有“地面上的靴子”的投入，这是一个精心设计的策略，比如PlanBude。有鉴于此，该项目可以成为社区、架构师和开发人员之间协作的案例研究。正如民族解放力量建筑师和贝尔指出的那样：

Given that the proposal is still in the development phase, it may be premature to speculate on how well these design strategies will bridge the old and new St. Pauli. When a new development, cleansed of history, tries to heal itself it often becomes little more than a scarred version of what once was. Usually though this process happens off site, behind closed doors, and without the the “boots on the ground” input garnered from a well-devised strategy like PlanBude. In light of this, the project could become a case study for collaboration between communities, architects and developers. As noted by NL Architects and BeL:

“经过数年有时是恶性的斗争之后，圣保利将出现一个真正针对特定地点的城市群，它似乎既满足了当地居民的需求，也满足了商业投资者的需求。拜里什豪斯保(Bayerische Hausbau)、当地政府和当地公民之间的合作，导致了一项似乎能让所有相关各方都满意的提议。”

"After years of sometimes vicious struggle St. Pauli will see the emergence of a truly site specific urban cluster that seems to meet the needs of local residents as well as the commercial investor. The collaboration between the Bayerische Hausbau, the local government and the local citizens has led to a proposal that seems to satisfy all parties involved."

 Courtesy of NL Architects

nl建筑师提供

Architects NL Architects，BeL Sozietät für Architektur BDA Location Spielbudenpl.，20359 Hamburg，Germany Architect BeL(Bernhardt und Leeser Sozietät für Architektur BDA)Team BeL Anne-Julchen Bernhardt，Jörg Leeser，Paula Finch，Matthias Hoffmann，Conrad Kersting，Christiane Schmidt，Wolfgang Zeh Team NL Pieter Bannenberg，Walter van Dijk，Kamiel Klaasse，Kirsten Hüsig with Barbora Hlvackova，Laura Riano Lopez，Laura Nazzari，2015年Guilia Pastore建筑面积28000.0平方米

Architects NL Architects, BeL Sozietät für Architektur BDA Location Spielbudenpl., 20359 Hamburg, Germany Architect BeL (Bernhardt und Leeser Sozietät für Architektur BDA) Team BeL Anne-Julchen Bernhardt, Jörg Leeser, Paula Finch, Matthias Hoffmann, Conrad Kersting, Christiane Schmidt, Wolfgang Zeh Team NL Pieter Bannenberg, Walter van Dijk, Kamiel Klaasse, Kirsten Hüsig with Barbora Hlvackova, Laura Riano Lopez, Laura Nazzari, Guilia Pastore Area 28000.0 sqm Project Year 2015