原型建筑之進(jìn)化——淺析BIG的設(shè)計(jì)理念與實(shí)踐方式

陳曦/CHEN Xi

1.“建筑進(jìn)化論”投射出的設(shè)計(jì)思辨

正如BIG事務(wù)所主創(chuàng)建筑師比亞克·因格爾斯在其著作《是即是多》里所寫(xiě)到的：

相比于革命（revolution），我們更感興趣的是進(jìn)化（evolution）。就像達(dá)爾文把造物描述為一種過(guò)剩和選擇的過(guò)程，我們建議讓各種社會(huì)力量、每個(gè)人的多元利益關(guān)系決定哪些想法可以存活，哪些想法必須消亡。幸存下來(lái)的想法通過(guò)變異和雜交，變成一種全新的建筑形式，繼而演化發(fā)展。[1]

這樣一種名為“建筑進(jìn)化論”的設(shè)計(jì)理念，支撐著B(niǎo)IG事務(wù)所近年來(lái)在設(shè)計(jì)實(shí)踐中不懈地探索?！斑M(jìn)化而非革命”這一概念曾在1950年代被著名工業(yè)設(shè)計(jì)師艾略特·諾伊斯提出，然而50年后，丹麥建筑師比亞克·因格爾斯第一次將之拓展到了建筑創(chuàng)作的具體語(yǔ)境中：“生活在不斷進(jìn)化，我們的城市和建筑也需要相應(yīng)地進(jìn)化以適應(yīng)我們期待的生活方式”。[2]

“建筑進(jìn)化論”的核心假設(shè)在于認(rèn)定環(huán)境會(huì)對(duì)創(chuàng)作過(guò)程提供營(yíng)養(yǎng)，而這一接受式的態(tài)度在比亞克的新書(shū)中被描述成了其標(biāo)志性的口號(hào)：“是即是多”。他的理論是，那些喊著“不”、通過(guò)反對(duì)前人而樹(shù)立自己的建筑師，不過(guò)是以一種極端的方式追隨著前輩，由此產(chǎn)生了一系列后人不斷推翻前人的矛盾循環(huán)[1]。與此相反，“是”所表達(dá)的是一個(gè)不斷贊同外界的價(jià)值系統(tǒng)，使置入的建筑原型在外界環(huán)境的評(píng)價(jià)與選擇中自我進(jìn)化。

1.1. 建筑作為達(dá)成城市“共識(shí)”的斡旋手段

不可否認(rèn)的是，“是”與孕育它的社會(huì)環(huán)境息息相關(guān)。作為一個(gè)強(qiáng)調(diào)“共識(shí)”的福利國(guó)家，丹麥的社會(huì)制度基于“使每位公民都有同等的權(quán)利”、“每個(gè)觀點(diǎn)獲得尊重”這些原則，最終達(dá)成的共識(shí)往往是某種妥協(xié)或者勻質(zhì)的平庸。哥本哈根街頭各樣相同材質(zhì)、相同細(xì)部、相同預(yù)制件組成的建筑物代表著這樣一種“平等=妥協(xié)”的游戲規(guī)則。然而，BIG對(duì)這一原則提出了挑戰(zhàn)：為了達(dá)成妥協(xié)，是否必須要以犧牲各方利益為前提呢？BIG將建筑師定義為以空間為戰(zhàn)場(chǎng)的政治家，提出一種“不是忽視沖突，而是從沖突中得到養(yǎng)分，吸收和整合各種差異”的理念，塑造出一個(gè)“兼容的而非排斥的建筑”。[1]

1.“Architectural Evolution” and its design philosophy

As BIG's founding architect Bjarke Ingels writes in his book YES IS MORE:

“rather than revolution, we are interested in evolution. Like Darwin describes creation as a process of excess and selection, we propose to let the forces of society, the multiple interests of everyone, decide which of our ideas can live,and which must die.”[1]

This so-called "architectural evolution" was developed through BIG's exploration during the last five years. Although it was raised up by industrial designer Eliot Noyes in 1950s, "evolution instead of revolution" was introduced to the field of architecture design for the first time by architect Bjarke Ingels.[2]

The "architectural evolution" depends on the assumption that environment would feed the architecture creation, and this idea was later transformed into the title of Bjarke's new book: YES IS MORE. He believes that since the traditional avantgarde were saying "No" to everyone, they defined themselves by what they are against rather than they are for. As a result, it led to an succession of contradictions where each generation vote for the opposite of the previous.[1]On the contrary, "YES"represents a "pragmatic utopian architecture" that allows architects to say yes to all aspects of human life. By saying "YES", architecture would get evolved through the evaluation and selection of environment.

1.1. Architecture as an approach to reach city's consensus

Undoubtedly, "YES" is derived from its society. As a welfare country emphasizing "consensus", Denmark was built on the ground principles like "each citizen has equal rights" or "each viewpoint deserves same respect". However, it usually leads to compromise or equal boring. A gray goo of sameness accounting for the vast majority of the Copenhagen city stands for this rule of "equity = compromise". BIG challenged this rule by asking "what if trying to make everybody happy did not have to lead to sacrifice of different sectors?" Regarded themselves as "politicians" of space, BIG points a way to incorporate and integrate differences by tying conflicting interests into an inclusive rather than exclusive architecture.[1]

Thus, BIG's architecture creation serves as a way to approach social consensus in accordance with specific context. In some projects, "evolution" extends architects' vision from instinct geometric creation into deliberation on context programs, users and life styles. In other words, architects transformed their task from purely beautification into negotiation of multi-interests in urban space.

Copenhagen's Clover Field project is a good example of this idea. In 2005, the social democratic mayor Ritt Bjerregaard was elected and going to fulfill her promise of making 5 000 homes for low-incomes.BIG was invited to design a new residential community on a large playground zone in the center of Amager.However, this new residential program would no doubt encounter strong objection from football lovers and adjacent neighborhood. Home or football field? BIG suggested a third way to get both by building a narrow strip of residential program along the edge of the playground.

Continuing with this initial idea, BIG curved around existing club facilities and varied the height to respect the neighbors. This set of operations well achieved the requirements of politicians, developers and existing community. The plan soon got admiration from the major and greatly influenced the Danish Society.

因此，BIG的建筑創(chuàng)作成為在相應(yīng)社會(huì)訴求下建筑師達(dá)成社會(huì)“共識(shí)”的斡旋手段。在具體的設(shè)計(jì)項(xiàng)目中，“進(jìn)化”的方式將創(chuàng)作的考量維度從一次性的形式創(chuàng)造，拓展到回應(yīng)不同功能屬性、使用人群、生活方式的應(yīng)答式研究，使建筑師從既定城市功能的美化者，上升為城市利益的空間協(xié)調(diào)者。

哥本哈根三葉草運(yùn)動(dòng)場(chǎng)項(xiàng)目就體現(xiàn)著這樣的“進(jìn)化”思想。2005年，哥本哈根新市長(zhǎng)麗特·比耶高在競(jìng)選中獲勝，并準(zhǔn)備兌現(xiàn)其競(jìng)選諾言——興建5 000處中低收入住宅，BIG被邀請(qǐng)?jiān)诎⑦~厄區(qū)中心一片巨大開(kāi)闊的足球場(chǎng)上設(shè)計(jì)新的社區(qū)。不難預(yù)料，該項(xiàng)目滿(mǎn)足低收入者居住要求的同時(shí)，勢(shì)必將受到周邊市民及運(yùn)動(dòng)愛(ài)好者的強(qiáng)烈反對(duì)。要住宅還是足球場(chǎng)？?jī)呻y境地之下，BIG在第一輪住宅替代球場(chǎng)的方案基礎(chǔ)上，提出了新一輪共贏方案，通過(guò)沿球場(chǎng)的外圍新建住宅，形成長(zhǎng)城式蜿蜒漫長(zhǎng)的構(gòu)筑物，從而確保其內(nèi)部的城市公共空間絲毫未損。

這一創(chuàng)造性的方案得到認(rèn)可后，BIG又在新一輪的方案中考慮了原有足球俱樂(lè)部的使用要求與周邊工業(yè)建筑的影響，并重新調(diào)整了居住建筑的高度與輪廓。這一系列的設(shè)計(jì)演進(jìn)成功地回應(yīng)了政治家、開(kāi)發(fā)商、原有居民和工業(yè)遺跡的要求，實(shí)現(xiàn)了場(chǎng)地內(nèi)外各種社會(huì)利益的共存，不僅得到了比耶高市長(zhǎng)的首肯，也在丹麥社會(huì)各界引起極大轟動(dòng)。

1.2. 基于空間類(lèi)型研究的可持續(xù)性建筑設(shè)計(jì)

“建筑進(jìn)化論” 不只回應(yīng)政治與開(kāi)發(fā)利益中的復(fù)雜矛盾，同時(shí)也將可持續(xù)設(shè)計(jì)的理念作為“進(jìn)化”過(guò)程中的選擇標(biāo)準(zhǔn)。BIG認(rèn)為，科技的不斷進(jìn)步，往往使得建筑表皮成為了一種以機(jī)械方式消耗能量而對(duì)建筑的不舒適進(jìn)行補(bǔ)償?shù)姆椒?，然而，建筑師事?shí)上可以將某些環(huán)境品質(zhì)在建筑的設(shè)計(jì)過(guò)程中加以考慮，而不只是簡(jiǎn)單地依賴(lài)各類(lèi)機(jī)械設(shè)備。[3]

比亞克·因格爾斯常常引用丹麥生態(tài)專(zhuān)家比約恩·隆伯格在“哥本哈根共識(shí)”中提出的觀點(diǎn)：生態(tài)問(wèn)題的解決只有符合社會(huì)經(jīng)濟(jì)模型才可能實(shí)現(xiàn)，而生態(tài)與經(jīng)濟(jì)的相互對(duì)立是一個(gè)原則性的誤讀。傳統(tǒng)環(huán)境保護(hù)要求人們克制一己私欲、限制空調(diào)、熱水浴、控制碳排放，把可持續(xù)技術(shù)發(fā)展與生活品質(zhì)對(duì)立起來(lái)，BIG則從類(lèi)型研究角度提出新的可持續(xù)設(shè)計(jì)的理念：即利用功能的互補(bǔ)特性，最大化每個(gè)功能單體的效用。

在概念方案小丹麥項(xiàng)目中，BIG觀察到不同的建筑活動(dòng)對(duì)應(yīng)著不同的能耗模式，比如，居住單元需要更多的供暖能耗，而辦公室消耗更多能耗在制冷上。于是，設(shè)計(jì)師們提出了假設(shè)，即通過(guò)對(duì)全社會(huì)不同功能的能耗分析，我們可以得到具體關(guān)于水、熱、能的需求與過(guò)剩指標(biāo)，并利用互補(bǔ)式組合優(yōu)化建筑的能耗。例如，通過(guò)多方案比較與選擇，許多符合能量互補(bǔ)原則的設(shè)計(jì)方案整體上構(gòu)成一個(gè)能量自給系統(tǒng)：酒店設(shè)有一個(gè)游泳池與超市，超市的冰箱與游泳池可以互相進(jìn)行熱量交換，一者供暖，一者供冷。而居民樓帶有一個(gè)南向的陽(yáng)臺(tái)，并有樹(shù)木植于其上，夏天植物會(huì)提供自然的遮陽(yáng)，而冬天光禿禿的枝干會(huì)保證陽(yáng)光直射室內(nèi)。

1.2. Sustainable concern based on typological studies

"Architectural evolution" is about not only social conflict, but also sustainable design. BIG believes that building surfaces essentially is an energy consuming and mechanical way of compensating for the fact that building is bad for what it is designed for. So BIG's architects put attribute to the physical design of the building instead of the machine room.[3]

Bjarke Ingels sometimes cites Danish ecologist Bj?rn Lomborg's viewpoint on "Copenhagen Consensus",which seeks to establish priorities on Earth's environmental challenges based on the theory of welfare economics. It uncovers a fundamental understanding that ecology against economy as good vs. evil. Traditional environmentalists recommend people to limit their uses of air-conditioning, hot bath, and etc. Thus,sustainability is erected as a contradictory term against life quality. However, BIG concerns about sustainability by doing typological studies on complementary programs to ensure the utilities of each program can be maximized.

In the conceptual project "Little Denmark", BIG's architects discovered that different activities had different energy consumption patterns. For example,houses spent energy on heating while offices spent more energy on cooling. So they argued that by analyzing the consumption pattern of each program in our society, we can get an overview of the particular needs and excesses一of energy, heat and water. As a result, they can design buildings with complementary program adjacent to each other to optimize the energy consumption. For instance,a self-sufficient system can be created by designing a swimming pool and a supermarket, where heat exchange happens between the refrigerators of the supermarket and swimming pool.

2. “原型進(jìn)化”所指導(dǎo)的設(shè)計(jì)實(shí)踐

2.1. 原型的進(jìn)化

建筑原型的進(jìn)化是BIG設(shè)計(jì)實(shí)踐的一條重要線索，即以相同類(lèi)型的空間構(gòu)思，運(yùn)用于不同的設(shè)計(jì)項(xiàng)目中，并隨著具體的設(shè)計(jì)要求、環(huán)境特征而演變。

例如，上文中所提到的小丹麥項(xiàng)目構(gòu)成了BIG的一個(gè)主要原型：層疊而起的住宅單元與其下公共功能或活動(dòng)相結(jié)合。像這樣以臺(tái)地形式將小單元私密功能置于上方，將大型公共空間置于其下的山型建筑，在之后的各類(lèi)項(xiàng)目中不斷發(fā)展和涌現(xiàn)。

2009年接受一次采訪時(shí)，比亞克曾指著辦公室里一個(gè)很舊的模型談到，“這是我的畢業(yè)設(shè)計(jì)項(xiàng)目，混合了住宅與體育場(chǎng)等不同功能。這個(gè)項(xiàng)目進(jìn)化成了你左手邊的模型，也就是‘山’住宅的前期草模。甚至，你可以發(fā)現(xiàn)這些想法被發(fā)展到你右手邊的炮臺(tái)公園項(xiàng)目中，臺(tái)階狀住宅在外，公共功能在內(nèi)。”[3]

從比亞克的畢業(yè)設(shè)計(jì)發(fā)展到炮臺(tái)公園，一些元素保存了下來(lái)，例如，臺(tái)階狀的住宅，疊落式的陽(yáng)臺(tái)，近乎三棱錐狀的建筑輪廓。然而，根據(jù)不同的項(xiàng)目要求與場(chǎng)地特征，山型建筑的原型不斷演變著：位于哥本哈根市區(qū)的炮臺(tái)公園項(xiàng)目中，學(xué)院、清真寺、商業(yè)開(kāi)發(fā)等不同功能的競(jìng)逐，使山型的底部形成了各類(lèi)大型公共功能和連續(xù)的商業(yè)街區(qū)；而坐落于哥本哈根市郊新區(qū)的“山”住宅則將底部的中空空間作為停車(chē)場(chǎng)，避免了另建獨(dú)棟停車(chē)樓，使住宅成為一個(gè)自我供給的微型城市，更促使頂部庭院式住宅享受一望無(wú)際的郊野景觀。BIG相信，通過(guò)不斷審視并挖掘過(guò)去的作品，更豐富的環(huán)境要素、更深刻的思考會(huì)使概念推進(jìn)到更高的層次，從而完成“進(jìn)化”。

3 KUBE競(jìng)賽研究模型（部分）/Model thinking of KUBE

4 BIG建筑事務(wù)所模型庫(kù)（局部）/BIG’s archive

2.2. 設(shè)計(jì)方式：模型思考與原型檔案

如果說(shuō)，根據(jù)政治、經(jīng)濟(jì)、環(huán)境要素而生成的設(shè)計(jì)成果體現(xiàn)出了BIG“建筑進(jìn)化論”中的自然選擇理論，那么，BIG設(shè)計(jì)概念在不同方案中的再生、變異、雜交則反映了“進(jìn)化論”的另一基本前提：過(guò)剩繁殖——它的實(shí)現(xiàn)，有賴(lài)于BIG事務(wù)所以模型為載體的設(shè)計(jì)方式及檔案機(jī)制。

在筆者參與過(guò)的KUBE哥本哈根社區(qū)中心競(jìng)賽中，大量的實(shí)體模型超越了計(jì)算機(jī)在呈現(xiàn)空間尺度和環(huán)境方面的局限，給團(tuán)隊(duì)提供了不同的視角。一個(gè)月的時(shí)間里，我們的3人設(shè)計(jì)小組完成了近100個(gè)1:500至1:200的方案模型。首先，根據(jù)場(chǎng)所和功能做體塊模型，隨后，選定了幾個(gè)有趣的概念進(jìn)行多方案測(cè)試，確定方案后按照大比例尺的模型測(cè)試比例、調(diào)整細(xì)節(jié)。這一系列工序與“進(jìn)化論”的思路驚人地吻合。在英國(guó)TED講座中，比亞克·因格爾斯也曾經(jīng)將事務(wù)所的設(shè)計(jì)活動(dòng)比作達(dá)爾文的樹(shù)狀進(jìn)化結(jié)構(gòu)：一個(gè)設(shè)計(jì)項(xiàng)目要從多代設(shè)計(jì)討論中的無(wú)數(shù)概念中經(jīng)過(guò)篩選、發(fā)展，甚至與其他項(xiàng)目進(jìn)行雜交（比如一個(gè)形式優(yōu)秀的樣本與一個(gè)功能合理的樣本），才可以得到最終的設(shè)計(jì)結(jié)果。[4]

這樣的實(shí)踐方式，一方面，秉承著北歐建筑師固有的模型傳統(tǒng)——即運(yùn)用模型作為設(shè)計(jì)而非表現(xiàn)工具，推敲從概念至細(xì)節(jié)的全部設(shè)計(jì)過(guò)程；另一方面，也折射出丹麥的預(yù)制建筑文化及其中體現(xiàn)出的功能理性與空間模數(shù)。二戰(zhàn)之后，預(yù)制技術(shù)的蓬勃發(fā)展使得建筑業(yè)徹底摒棄了現(xiàn)澆工序，促使建筑師運(yùn)用一種模塊化的眼光看待建筑物。比亞克曾經(jīng)在一次采訪中談到，丹麥就好像個(gè)巨大的樂(lè)高樂(lè)園，由不同的預(yù)制建筑原件拼裝而成。可以推斷，以模型為主的推敲方式，也與這樣的視角相吻合。在樂(lè)高塔等強(qiáng)調(diào)模數(shù)的概念項(xiàng)目中，模型超越了其傳統(tǒng)的表現(xiàn)工具地位，深刻地影響著建筑物的形式邏輯。

對(duì)于BIG而言，許多“進(jìn)化”過(guò)程中產(chǎn)生的巧妙創(chuàng)意無(wú)法滿(mǎn)足眼前項(xiàng)目的具體要求，但可能完美適用于另外的客戶(hù)或者環(huán)境要求，所以，BIG從不輕易拋棄自己的概念。事務(wù)所設(shè)置了一系列工序，將各種工作模型、檔案完整保存下來(lái)，成為一個(gè)多樣化的檔案庫(kù)，以備不時(shí)之需。

在《是即是多》的最后，一張說(shuō)明圖用細(xì)線勾勒出不同項(xiàng)目之間的相互影響，描繪出BIG實(shí)踐的關(guān)鍵工序：通過(guò)建立思想庫(kù)，不斷測(cè)試并演進(jìn)其中的設(shè)計(jì)思想。作為一個(gè)成立僅5年的公司，BIG以其獨(dú)特的工作方法和設(shè)計(jì)哲學(xué)獲得了廣泛的關(guān)注，讓我們?cè)嚹恳源@場(chǎng)建筑實(shí)驗(yàn)將會(huì)在未來(lái)帶給我們?cè)鯓拥男聠l(fā)?！?/p>

2. "Prototype Evolution" and its design approach

2.1. Prototypes' evolution

Architectural prototypes' evolution is one of the most important clues of BIG's design practice, which applies similar spatial prototypes in different circumstances and requirements. As a result, those prototypes will evolve into different outcomes better fitting their circumstance.

The Little Denmark project mentioned above,represents a symbolic prototype of BIG: the stepping residential units above + large public space underneath.This classical mountain-like structure consistently emerged in a number of BIG's projects.

In an interview of 2009, Bjarke pointed at a very old model and told me that it was his thesis project in school which served as a great example of "evolution".That model clearly showed a hybrid structure with housing above and sports hall below. Bjarke said, "that building evolved into the first model for the Mountain,and some of these ideas have been carried further in the Battery project, where you have the housing terraces outside and public programs inside".[3]

From his thesis project to the Battery, many of the elements were remained, such as terraced housing and gardens, public hall, pedestrian path, and pyramid shape. However, according to different clients and contexts, "mountain" has been evolved in different directions: in the Battery project, schools, mosque,commercial uses are competing against each other within the site boundary, eventually led to large public amenities like library, mosque and commercial street at ground level; but the Mountain utilized the bottom space as parking facility to support garden housing units with great views on top, and they all together serve as a self-sustained community in the wild suburbs of Copenhagen. BIG claims that by continuously visiting the key ideas of their work, they can absorb new gradients and advance it to the higher level, and gradually "evolve" the idea.

2.2. Design approach: model-thinking and prototype-archiving

On one hand, the design outcomes shaped by political, economic and environmental concern represent the idea of "natural selection" according to BIG's "evolution" theory. On the other hand, BIG's design method based on model-making and archiving support the platform of "excess production", which is also fundamental to the mutation and multiplication process of the "evolution".

In the Copenhagen KUBE competition I participated in 2009, a large amount of model making provided the team helpful visions, beyond the limitation of computer in terms of dimension and context. In just one month, a team of three people made more than one hundred 1:500 and 1:200 models.Earliest weeks we kept doing massing models to test different site plans, then comparative tests on several interesting schemes, later zoomed into large scale models to test spatial quality and architecture details.This sequence of model works suited the idea of"evolution" theory surprisingly. In the TED lecture,Bjarke Ingels once described the way that office worked as the "Evolution Tree" diagram: a project evolved from a series generations of design meetings, muted with other models (for instance, a beautiful model and a functional one), and then generated the final design outcome as a survival sample out of the architecture selection.[4]

5 BIG建筑方案之進(jìn)化/Architectural evolution

（1-5 圖片來(lái)源：Bjarke Ingels Group）

This process on model-making inherited the tradition of Scandinavian architects who usually use model as a design tool rather than representational tool from conceptual studies to details. Moreover, it reflects the culture of prefabricated architecture in Denmark that the entire building industry is based on prefabricated modules and concrete elements. This circumstance urges Danish architects to think about architecture in module. As Bjarke once said,"contemporary Denmark has become a country entirely made from lego slabs," model-making as a work method perfectly suits the vision of modular architecture. In some projects like Lego Towers, models even had a clear impact on the geometry of the architecture.

Furthermore, another important work method in BIG is the way of archiving models and ideas due to the fact that many great ideas that do not fit the current context may be suitable for a different client and culture.As a result, BIG never throws anything out. Instead,architects keep all working models for the archive in case that they would be needed. Ideally, in future architects can easily grab ideas and mute them into the new ideas that our society would be looking for.

At the end of YES IS MORE, one single diagram describes the influences of different projects on each other, which illustrates the key methodology of BIG's"architectural evolution": archiving, muting, evolving and testing ideas. As a young firm with only five-year history, it has attracted world-wide attention owing to its unique design philosophy and working method.Let's see what it would become for this experimental practice in the future.□

[1] INGELS B, BIG Bjarke Ingels Group. Yes is More : An Archicomic on Architectural Evolution. Dansk arkitekturcenter, eds, Koln: Evergreen, 2010.

[2] JANTZEN U. TEXT MESSAGE: Bjarke Ingels.Metropolis Magazine, 2010(1): 90.

[3] 因格爾斯 B，陳曦. BIG的更多意義.城市·環(huán)境·設(shè)計(jì)，2010(10):112-117/INGELS B, CHEN X. BIG IS MORE.Urban.Environment.Design. 2010,47(10): 112-117

[4] TED Talk, Bjarke Ingels at TED, http://www.ted.com/talks/bjarke_ingels_3_warp_speed_architecture_tales.html