城堡游泳浴场，兰斯克鲁纳，瑞典

建筑设计：温高建筑事务所

兰斯克鲁纳的城堡游泳浴场的扩建设计，是源于两个或者是3个非常重要的图像。其中的两个来自外部，而另一个则来自内部。最后一个灵感是最重要的。

我的第一个回忆是蓝色的，蔚蓝的天空越过水面。我望到边际则是蓝绿色的，感觉失重而虚幻。当我被拖出水面的时候，平静被打破了。这就是我最初的记忆，我在祖父的游泳池里几乎溺水。

城堡游泳浴场有3个水池：一个是泳道池，一个是跳水池，另外一个是儿童池。这是3个蓝绿色的矩形，紧挨着它们的是座蓝色的矩形新建筑。水充溢在4色的玻璃中。1个垂直方向的泳池位于3个水平方向的泳池之间。

在我脑海中产生的第二个图像是在我稍微长大些的时候，和父母去参观家乡的一座博物馆。19世纪中叶，瑞典画家马库斯·拉尔森在充满野性和激情的作品中描绘了大自然的力量，这幅画被称作“斯莫兰瀑布”。但是，拉尔森原本是远离野性风格的，而后来他开始从事与这个主题有关的创作。在巴黎的工作室，水、光、云、风和衰败都被描绘出来。这种外表上的野性却是来自内心的。这种印象后来被运用到建筑当中——从墙体后被保护的世界里可以观赏到野性的景观。从这幢建筑的裂缝中，可以瞥见一丝大海。这将成为内部与外部之间，或者文化与自然之间对立的伤痕。

最后一个图像来自大卫·霍克尼。他那关于泳池的色彩鲜艳的绘画作品被转化到瓷砖马赛克上，呈现出刚柔并济的效果。无论在这幢建筑物内部或外部，都感觉像蜥蜴的皮肤并环绕水面展开。这幢建筑巨大的表面是凉爽的，并且时常是湿润的。玻璃引入的光线形成了两个蓝色的阴影。不同层次的边界呈环形，因为水面会反射出它周围的事物。

流水映射出蓝天和水池。湿润的玻璃表皮在蓝色的阴影中闪烁，暗示着海洋发出的粼粼波光。长50m的海水泳池，始于1967年，是瑞典最快的泳道。水成为建筑与景观的主题。透过狭缝可以瞥见海洋以及锥形的裁判塔，暗指城市中独特的水塔。□（张晓黎 译）

Two, or maybe three, images were impor tant then I designed the extension to the Citadel Swimming Baths in Landskrona. Two of them came f rom outside,one from within. The last came first.

My first memory is blue, blue sky beyond the water’s sur face. Turquoise if I look to the side.Weightlessness and unreality. The silence is broken as I am dragged up through the water’s surface. That is my very f i rst memory. Almost drowning in my grandfather’s pool.

The Citadel Swimming Baths have three pools:one for lane swimming, one for diving and one for children. Three rectangles of rippled turquoise. Next to them a new building as a rectangle of rippled blue.The water runs over glass in four colours. A vertical pool among the three horizontal ones.

The next image came to me as I was slightly older,visiting the museums of my hometown with my parents.In the middle of the 19th century did the Swedish artist Marcus Larsson paint the power of nature in a wild and furious picture called Waterfall in Sm宭and. But Larsson was far from the wilderness then he worked with the motif. The water, light, clouds, wind and decay were all painted in a studio in Paris. It is a view out to the wild viewed safely from the inside. This impression was later to be transformed into architecture － to create a view toward the wild from the protected world behind walls. The sea is glimpsed through slits in the building.It becomes the slash in the opposites inside/outside, or culture/nature.

David Hockney made the final image. His colourful pictures of pools were transformed into a tile mosaic,at once hard and soft. It feels like the skin of a lizard and rol ls out like rings on the water, both inside and outside the building. The building’s vast surfaces are cool and of ten wet. The glass lets in the light and creates two shades of blue. Layered edges on the patterns of the circles, as the water’s surface reflects its surroundings.

Sky and pools are mirrored in the running water.The wet glazing of the facades glitters in shades of blue, suggesting the shimmering light of the sea. The 50-metre saltwater pool, dating f rom 1967, is one of Sweden’s fastest. Water sets the theme of both architecture and landscaping. The sea is glimpsed through slits, and the tapering judges’ tower al ludes to the city’s distinctive water tower.□

9 细部/Detail

10、11 平面/Floor plan

12 内景/Interior view

13 外景/Exterior view