Identiteit in architectuur met ornamenteel baksteen het plezier van het stapelen
TU Delft Steowee Bouwkunde 16 augustus 2013
Introductie Joris Molenaar, Molenaar & Co architecten Stapelen als tektoniek Stapelen als ornamentiek Bouwen is voortbouwen Licht en schaduwspel Metselverbanden Voeg effecten Voorbeelden van eigen werk Holland meets China
Basis van het bouwen: constructief stapelen
Pont du Gard, Frankrijk 52 na Chr.
Cultuur van het bouwen: ornamenteel stapelen
Tombe van de Samaniden in Buchara, Oezbekistan ca. 900 na Chr. 4
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Molenaar & Co. architecten:
entree Nassaulaan 2b Delft 1991 • Juist de details en de ornamenten maken voelbaar met hoeveel aandacht en liefde een gebouw is ontworpen. En in onze ontwerpen slaan ze vaak een brug naar locale bouwtradities
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Molenaar & Co. architecten: Met veel liefde praten we over de door onszelf ontworpen diabolosteen, een baksteen met afgeschuinde hoeken die voor een afwisselend licht- en schaduwspel in de gevel zorgt, maar ook over onze bijzondere metselverbanden in de gebolde gevelwand van de Marikenstraat in Nijmegen.
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Mari ĂŤnburg, Nijmegen (2000) MariĂŤnburg,
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Mari ĂŤnburg, Nijmegen (2000) MariĂŤnburg,
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Buurthuis Tanthof Tanthof,, Delft (2007): Diabolosteen verlijmd
M&vW-2004-07.jpg
Buurthuis Tanthof Tanthof,, Delf (2007): Diabolosteen verlijmd
Molenaar & Co. architecten:
Bouwen is voortbouwen. Zoals elk mens een kind is van van zijn ouders én zijn tijd, zoeken wij in ons werk naar vloeiende lijnen die het verleden verbinden met de toekomst.
‘Niets is zo ouderwets als altijd modern te willen zijn’
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Institut d’Art et d’Archèologie, Parijs Paul Bigot (1927)
Voortbouwen: De blijvende fascinatie
Institut d’Art et d’Archèologie, Parijs Paul Bigot (1927)
Voortbouwen: De fascinatie van het blijvende
De kunst van het stapelen
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Het ornamentele stapelen
Het ornamentele stapelen
De manipulatie van de materie: op het werk gefreesde steen
Molenaar & Co. architecten:
Centrumplan, Drunen (2006)
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Molenaar & Co. architecten:
Centrumplan, Drunen (2006)
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Afval als nieuw begin
Afval als nieuw begin
De inspiratie van afval, Christine Jetten & Joris Molenaar –EKWC 2008
Molenaar & Co. architecten, Akropolishof, Poptahof, Delft , 2009
Molenaar & Co. architecten,
Akropolishof, Poptahof, Delft 2009
Identiteit en eenheid, Keramische reliĂŤfs van kunstenaar Christine Jetten i.s.m. Joris Molenaar
Nederland baksteenland (de mythe) meets China (de belofte) 后来与金波的交流中他希望用红色，用一 种特别的红。这次去荷兰考察，拜访建筑 设计师桥瑞斯时，参观了其的作品，刚好 是用一种陶做的外墙陶片。金波看了照片 说他喜欢，这样就把建筑的外墙调子定了
中 国 式 砖 建 筑 CHINESE STYLE BRICK MASONRY Tongi University Shanghai 2013
我国砖砌体建筑的历史可以追溯到夏朝，在公元前 21 世 纪到公元前 16 世纪的时候，工匠们已经可以建造抵御外敌 的夯土城墙，而后出现的惊世防御砌体工程—长城，经历了 秦，明等历朝历代的重修， 留存在世界上有 12700 余里。 更有著名的“金砖”出现在明清时期，这种砖的加工手段严 格，品质极高，以至于价格可以等同于黄金，因此得名为金 砖，它在制作前，经过选料，陈腐，氧化，之后经历成型， 烧制，浸油，封蜡，抛光等制作程序，才能使用。这种就是 建造明清故宫建筑群的主要材料。
Brick masonry buildings in our country‘s history can be traced back to the Xia Dynasty。 Between the twenty‐first Century BC to sixteenth Century BC, artisans have built the Great Wall to against foreign rammed ,which still remained 6350 kilometres . Another famous "BRIC" appeared in the Ming and Qing Dynasties, it has strictly, high quality, and the price can be equated to gold, so named for the BRICs, it before production, after the election materials, stale, oxidation. This is the main material to build the Imperial Palace buildings in Ming and Qing Dynasties.
平遥古城位于山西中部的晋中平遥，是一座具有2700多年历史的文化名城。
The Ancient City of Ping Yao in Shanxi , which is located in the central Jinzhong Pingyao, is a city with 2700 years of history and cultural.
福建泉州的“红砖大厝”——“蔡资深古民居”。
Fujian Quanzhou "red house“—— "Cai vernacular dwelling "
安徽省及其周边一带大量保存的皖南民居
vernacular dwelling in Anhui province and its surrounding areas .
宁波博物馆——王澍
Ningbo Museum ‐‐ Wang Shu 王澍，中国美术学院建筑艺术学院院长，2012年2月27日获得了2012年普利兹克建筑奖，成为获得这奖项的第一个中国公民。
Wang Shu, Dean of architecture of The China Academy of Art School. In February 27, 2012, he won the 2012 Pritzker Architecture Prize anf becoming the first Chinese citizen to obtain this prize.
宁波博物馆是中国当代具有代表性的砖建筑作品，其立面材料源于基地上原本30多个村落拆毁之后所遗留的具有历史信息的旧 砖，它们被重新整合成为新建筑的表皮刻意呈现，成为广为人知的“瓦爿墙”。
The Ningbo museum is a representative work of Chinese contemporary brick building. Its’ facade material is derived from 30 more destroyed villages whose bricks have full of historic informations . Now thses bricks get back together into a new building with its’ well‐known “Pan walls".
很多被拆毁村落的原住民数次来到宁波 博物馆，对于他们而言，这栋巨大的砖 建筑是一座记忆之城。宁波博物馆表达 了“对时间的诗意体验”，使用“瓦爿墙” 的意义在于对时间的保存，回收的旧砖 瓦承载着传统，它们在成为新建筑的一 部分后见证了消逝的历史。
A lot of villages aboriginal visit to Ningbo Museum, for their part, the huge brick building is a city of memory. The Ningbo Museum has expressed "experience" of poetry, and the use of “Pan walls" is to hold time, the recovery of the old carrys forward the traditional, which witnessed the passing history.
中国当代优秀砖建筑的案例不太多，但这并不表示砖在中国是一种不常用的建筑材料。恰恰相反，中国砖的使用量高居世界第 一，并且也在致力发展更加生态、环保的砖砌块材料，如利用工业废料（炉渣、粉煤灰等）与河泥等制成的各种砖砌块，它们多 用作结构或填充材料，很少用于直接表现外观。同样因为生态的、环保的理由，实心粘土砖在中国的很多城市却是明令禁止的， 这与欧洲将粘土砖作为一种生态、环保的建筑材料的观念大相径庭。
However, Chinese contemporary outstanding brick buildings is not too much. But that does not mean that brick is not a commonly used building materials in China. On the contrary, the use of brick in China is ranked first in the world. We also committed to the development of more ecological, environmental protection brick materials, such as the use of industrial waste (slag, fly ash and so on) , kinds of bricks made by mud. These bricks used as structural or filler material, rarely used for direct appearance. Also because of ecological, environmental reasons, solid clay brick is banned in many Chinese cities, which is quite different from most of European countries.
在中国，由于缺乏必要的、科学的行业标准，也由于巨大的市场需求和激烈的价格竞争，绝大多数实心粘土砖产自手工作坊式的砖 窑。 其粗放的生产过程造成了土地资源的极大浪费，有害废水和污烟的直接排放让生态环境遭受很大的破坏，砖产品的性能也不尽 如人意。禁用实心粘土砖的原因并不复杂，主要是为了减少对耕地的破坏以及在生产过程中对环境的污染。欧洲在1950、1960 年代 也经历了砖产品向生态、环保发展的转型，但是欧洲并没有简单的禁用实心粘土砖，而是在提升技术水平上下功夫，发展出了符合 生态、环保理念的系列砖产品，值得我们学习和借鉴。砖建筑需通过工匠精湛的技艺，一块一块精心砌筑形成表面肌理无以伦比的 丰富性，精良的砖产品和精湛的技艺是砖建筑魅力的源泉。优秀的砖建筑往往是建筑师和工匠用心付出、通力合作的结果。
In China, due to the lack of necessary, scientific industry standards, but also because of the huge market demand and fierce price competition, the majority of solid clay bricks is produced from manual workshop type. Its extensive production process caused a great waste of land resources, the direct discharge of hazardous waste and dirty smoke make ecological environment suffer great destruction . The reason to disable the solid clay brick is not complicated, mainly in order to reduce the destruction of arable land and the pollution of the environment in the production process. In Europe, people are not easy to prohibit the use of solid clay brick, but improved product quality by technical means, which also reduce environmental pollution. This is the correct direction of development, and is our common desire.
Voortbouwen
is een blijvende fascinatie; de fascinatie van het blijvende
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