彼特·魯格專訪

文字/采訪：Alison Pedder， Peter Ruge Architekten， Berlin

彼特·魯格專訪

PETER RUGE INTERVIEW

文字/采訪：Alison Pedder， Peter Ruge Architekten， Berlin

-以你在歐洲和亞洲豐富的實(shí)踐經(jīng)驗(yàn)，你認(rèn)為在兩種文化背景下進(jìn)行設(shè)計(jì)的優(yōu)勢(shì)在哪里？-

我認(rèn)為在兩大洲工作，有趣的部分是是可以體驗(yàn)不同的文化，將不同的思路用于空間以及建筑設(shè)計(jì)的形成。在德國(guó)，建筑設(shè)計(jì)最傳統(tǒng)的開始方法是首先專注于建設(shè)基礎(chǔ)設(shè)施，為其后的建筑成果奠定基礎(chǔ)。而在亞洲我發(fā)現(xiàn)了一個(gè)更全面，更以文化導(dǎo)向的方法存在著，并指導(dǎo)著設(shè)計(jì)的方向。

而我們的做法即是加強(qiáng)我們德國(guó)已有的方法，在設(shè)計(jì)中利用自己的優(yōu)勢(shì)，取其精華去其糟粕。我們相信，在建筑設(shè)計(jì)中，新高科技術(shù)技術(shù)支持是一方面，同時(shí)了解當(dāng)?shù)匚幕?，并與自然環(huán)境和諧的融合也是重要的一方面。

-這引導(dǎo)了我產(chǎn)生了第二個(gè)問題。你有從中國(guó)的自然景觀和建筑形式中獲得了什么樣的啟示？-

對(duì)我來說中國(guó)和德國(guó)之間最大的區(qū)別是空間方式的對(duì)比上，反映出了非常不同的文化價(jià)值觀和生活方式。中國(guó)有著和整個(gè)歐洲一樣大的地域面積，并且有著若干世界上人口最稠密的城市。然而這些城市的名字很少被歐洲所熟知。但恰恰是這些城市顯示出了對(duì)空間完全不同的處理方式，因此極大程度地改變了中國(guó)建筑師的設(shè)計(jì)手段。

中國(guó)的建筑空間概念被用地量所限制。對(duì)空間的不同的安排給了這個(gè)國(guó)家生活的方式；這些建筑景觀就像城市的語言一般。在我第一次訪問中國(guó)時(shí)，我很榮幸與蒙古族首領(lǐng)一同旅行，他充當(dāng)了兩種語言的翻譯。在這里，我聽到反映中國(guó)文化的兩種不同的語言，通過他們的文化影響著當(dāng)?shù)氐目臻g品質(zhì)。

-如何將文化素質(zhì)轉(zhuǎn)變?yōu)榻ㄖ|(zhì)量？-

這是一個(gè)非常有趣的問題。通過在這兩個(gè)大洲的頻繁廣泛的合作，我相信，我已經(jīng)形成了一種在建筑和城市設(shè)計(jì)中跨文化的方法。我不覺得每個(gè)項(xiàng)目時(shí)有存在著在東方和在西方的差異。我在“在兩者之間”發(fā)現(xiàn)了一些新的東西。

我們把這個(gè)東西利用在設(shè)計(jì)被動(dòng)式房屋布魯克的時(shí)候，即把這個(gè)國(guó)家傳統(tǒng)的建筑結(jié)構(gòu)作為我們的出發(fā)點(diǎn)。將空間，建筑和外立面相互分離。設(shè)計(jì)理念融合了空間概念的三要素； 單間客房和公寓，創(chuàng)建一個(gè)空間的集合；框架顯示了施工的方法；和外部的立面像在給結(jié)構(gòu)織“毛衣”，以保護(hù)建筑物。

建筑物的技術(shù)要求，如氣候，室內(nèi)溫度的調(diào)節(jié)，風(fēng)向，地震，建筑朝向和功能，也被考慮在內(nèi)。將悠久的中國(guó)歷史和現(xiàn)今的高新技術(shù)相結(jié)合，成為了在中國(guó)當(dāng)代的節(jié)能發(fā)展和可持續(xù)的一個(gè)很好的建筑設(shè)計(jì)例子。

-在設(shè)計(jì)被動(dòng)式房屋布魯克這個(gè)過程中，你有沒有遇到什么問題？（語言障礙，建筑技術(shù)，或......）你怎么處理？-

肯定會(huì)有語言障礙，但要想辦法結(jié)合不同的方式，以面對(duì)不同的建筑施工挑戰(zhàn)。要克服這些的唯一方法是投入實(shí)踐去討論懸而未決的問題，直到他們得到解決為止。

-可持續(xù)建筑的主要部分是...？

可持續(xù)建筑時(shí)要在可持續(xù)性的三大支柱即生態(tài)，經(jīng)濟(jì)和社會(huì)之間達(dá)到平衡。這涉及到對(duì)建筑物各個(gè)部分進(jìn)行全面的設(shè)計(jì)評(píng)估，由此來確定一個(gè)最佳的解決方案，并以此來指導(dǎo)我們的下一代。

-你是如何覺得可持續(xù)發(fā)展與城市規(guī)劃的關(guān)系？什么是未來的發(fā)展趨勢(shì)？-

就目前的情況來看，至少在德國(guó)，廣大建筑師聲稱要生產(chǎn)可持續(xù)建筑，但是他們的實(shí)踐重點(diǎn)卻只從一個(gè)單一的角度來看，如融資，或節(jié)能減排，或社會(huì)條件。我的目標(biāo)是將這些意見結(jié)合起來，以一個(gè)整體的角度來看。

目前社會(huì)迫切需要是生產(chǎn)資源節(jié)約型建筑，這應(yīng)該延伸到如何設(shè)計(jì)，才存在能夠在整個(gè)生命周期中有進(jìn)行調(diào)整的可能性來應(yīng)對(duì)最終的拆除，最大限度地減少對(duì)環(huán)境的影響。這是我對(duì)未來趨勢(shì)的預(yù)測(cè)，這將反映在通過數(shù)字智能資源優(yōu)化整個(gè)城市，建筑，和資源的利用。

-讓我回到你的設(shè)計(jì)中的技術(shù)元素，它的能源效率。你是如何計(jì)算舒適的內(nèi)部空間的，用什么方法來確保這些目標(biāo)的實(shí)現(xiàn)？-

為了創(chuàng)造新的建筑集成技術(shù)，進(jìn)步的新建筑總是比提高現(xiàn)有結(jié)構(gòu)的能源效率更直接。設(shè)計(jì)新的建筑物時(shí)，優(yōu)化的第一階段開始于計(jì)算所需絕緣的墻，屋頂和地板的量，接著使用三層玻璃和密封劑窗。下一階段解決通風(fēng)，熱交換室內(nèi)的空氣，使整個(gè)建筑冷卻熱交換。最高水平是建筑物的能源生產(chǎn)需要修改，通過機(jī)械系統(tǒng)，幫助建設(shè)實(shí)際操作起來更有效率。

-近日被動(dòng)式房屋布魯克已經(jīng)在中國(guó)長(zhǎng)興完成。你做了什么樣的措施，以達(dá)與傳統(tǒng)的中國(guó)建筑相比可以減少95%的能源消耗？ -

是的，被動(dòng)式房屋布魯克作為一個(gè)可持續(xù)發(fā)展標(biāo)準(zhǔn)的建筑只會(huì)損耗5%的能源。對(duì)我們來說，一個(gè)被動(dòng)式房屋的意義即在于不需要主動(dòng)提供能源，如在白天利用太陽，在冬季利用光和熱。我們喜歡把它類比成一個(gè)結(jié)構(gòu)的一大“套衫”，這意味著內(nèi)部和外部條件能夠完全相互分開，除非用戶需要調(diào)整。另一個(gè)被動(dòng)式房屋的重要因素是能量的消耗，如機(jī)械輔助自然通風(fēng)或傳感器操作的照明系統(tǒng)的調(diào)節(jié)。

-從你開始你的職業(yè)生涯的第一天到現(xiàn)在，你肯定經(jīng)歷了很多不同的階段了。你在不同的階段的設(shè)計(jì)概念是什么？不同的設(shè)計(jì)概念是如何影響你當(dāng)前的設(shè)計(jì)理念的？-

當(dāng)我著手進(jìn)行一個(gè)新的項(xiàng)目，我總是以全新的面貌面對(duì)，就像一張全新空白的紙張。從我開始的第一天，我就不段尋找新的挑戰(zhàn)。對(duì)我來說，關(guān)鍵是要把握抓住新的想法，并找到解決空間挑戰(zhàn)的創(chuàng)新方法。這一過程涉及對(duì)每個(gè)項(xiàng)目進(jìn)行綜合評(píng)價(jià)，將兩種文化背景融合，這和可持續(xù)發(fā)展的需求一樣。

-你是如何看待你作為一個(gè)建筑師的角色？-

一個(gè)有著很多有趣設(shè)想的故事家。

-在你的職業(yè)生涯中，有什么人對(duì)你有顯著的影響？他/她以什么方式對(duì)你產(chǎn)生了影響？-

我要感謝我的朋友和老師Günter Nitschke，他對(duì)日本庭園和亞洲建筑的深刻洞察對(duì)我有著很大的印象 -他稱我是文化間諜。

-從你的事務(wù)所網(wǎng)站上，我們看到你在中國(guó)有一些項(xiàng)目。你對(duì)這個(gè)國(guó)家和其建筑的第一印象是什么？你可以跟我們分享一下你第一次去中國(guó)的故事嗎？-

我第一次訪問中國(guó)是在九十年代，去蘇州，我在那里完成了聯(lián)合國(guó)保護(hù)區(qū)的圖紙繪制。我深受中國(guó)5千年歷史文化的吸引，感到自己和這個(gè)國(guó)家有緊密的聯(lián)系，并且很想回到中國(guó)繼續(xù)工作。我沒有預(yù)料再次返回中國(guó)和這之間隔了12年的時(shí)間，我更沒有預(yù)料到從那時(shí)起，我開始在中國(guó)和德國(guó)之間頻繁往返。

-你向我展示了一些非常具有啟發(fā)靈感的照片，是你在中國(guó)杭州對(duì)一個(gè)舊廠房改造的照片，你能給我一些線索，你是如何完成這個(gè)美麗的設(shè)計(jì)的？-

這個(gè)舊廠房基本上是一個(gè)開放的空間，是從蘇聯(lián)時(shí)期遺留下來的 -即中國(guó)生產(chǎn)鋼的年代。我們的客戶希望將20000平方米投入用以重建。首先，我們必須決定的多少空間應(yīng)該繼續(xù)保留。因?yàn)槠渥畛醯墓δ苁且粋€(gè)工廠，設(shè)計(jì)的方向是需要與現(xiàn)有結(jié)構(gòu)形成和諧關(guān)系，但有要適應(yīng)當(dāng)代。因此與現(xiàn)狀相對(duì)比的是，在兩個(gè)中心區(qū)域的設(shè)計(jì)了白色的橢圓“鉆石”，以時(shí)間和壓力的獨(dú)特組合來創(chuàng)建該項(xiàng)目的特點(diǎn)。

-你是說永恒的鉆石？-

是的，絕對(duì)的，永恒的鉆石！但是，自然資源是絕對(duì)不會(huì)永恒存在的。所以在每個(gè)國(guó)家包括中國(guó)在內(nèi)，我們的設(shè)計(jì)，都是利用了當(dāng)?shù)氐馁Y源來進(jìn)行建筑物的施工和維護(hù)。

-最后，設(shè)計(jì)該如何滿足建筑的需求？-

作為建筑師，我們不僅對(duì)建筑感興趣。好的建筑，在我們的理解是，應(yīng)該是可以應(yīng)對(duì)人類不斷變化的需求，文化和生活方式的建筑。我們選擇生活的空間是有助于保留老傳統(tǒng)，同時(shí)也又創(chuàng)造了新的空間。在這一點(diǎn)上的建筑和設(shè)計(jì)滿足應(yīng)始是活的，是不斷前進(jìn)的，是對(duì)空間的豪華享受，是不可定義的。

- Having practiced extensiveIy in both Europe and Asia， what have you found to be the advantage of designing within the context of two cuItures？ -

What I find interesting about working within two continents is experiencing different cultural approaches to space， architecture， ways of developing ideas. A german approach conventionally begins with the technical，focusing firstly on the buildings infrastructure to create a foundation for design outcomes. Whereas in Asia I have found that a more holistic，culturally informed methodology exists that guides the direction in which a design takes place.

Our approach seeks to enhance established methodologies and harness their strengths through designs that are considered and sensitive. We believe that how we produce architecture is an important step toward creating environments that are highly technologically developed on the one hand， and also demonstrate a natural understanding of form and culture.

- This Ieads me immediateIy to my second question. What kind of inspiration have you sought from the naturaI form and architecture of China？ -

The biggest difference between China and germany for me is the contrast in the way that space has been appropriated， reflecting very different cultural values and lifestyles. China is geographically as big as Europe and has some of the largest， most densely populated cities in the world， but whose names are still rarely recognized in Europe. These kinds of cities reveal completely different approaches to space and therefore dramatically alter the means by which they are organized.

The Chinese concept of space is fixed and bound to the site. The arrangement and prioritization of spaces gives voice to the nation's ways of life； these built landscapes speak like an urban language. The first time I visited China I was privileged to be traveling with the Mongolian president，who was provided with a direct translation between the two languages. Here I heard two different voices reflecting the language of their cultures，and through culture the quality of their spaces.

- How is the quaIity of cuIture transposed into the quaIity of architecture？-

That is a very interesting question. Through having worked extensively in both continents， I am convinced that I have developed an intercultural approach to architecture and urban design. I do not feel the differences in our projects in terms of orient and occident. I have found something new：the ‘in -between'.

We took this provocation as our starting point when developing the Passive House bruck， and referenced in detail the country's traditional temporary structures. space， construction and skin are separated. The design concept combines three elements of spatial conception； a collection of single rooms and apartments that create one space； a woven framework to inform the method of construction； and an exterior skin drawn over the structure as a ‘pullover' to protect and enclose the building's volume.

The technical demands of the building， such as climate， regulation of interior temperature， wind direction， earthquake proficient foundations，orientation and functionality， are also taken into consideration. The combination of a time-honoured and technologically advanced approach will become an excellent example for the development of modern energysaving and sustainable architecture in China.

- During the process， did you encounter any probIems when constructing Passive House Bruck？ （Ianguage barriers， architecturaI technique， or…）How did you deaI with them？ -

There is always the challenge of language barriers and finding ways to combine differences in approach to the construction of a building. The only way to overcome these is to take your time and firmly discuss the open questions until they are solved.

- The major part of sustainabIe architecture Iies in...？ -

A balance between the ‘three pillars' of sustainability： ecology， economy and social. This involves a holistic approach toward the evaluation of a building's components to generate paradigms that direct us toward the best possible solutions for future generation（s）.

- What do you think of sustainabIe and urban design？ What is the trend in the future？ -

The current situation， at least in germany， is that the majority of architects claim to be producing sustainable architecture， despite their best practice focusing on only a single point of view， such as financing， or energy reduction， or social conditions. My aim is to combine these aspects and to embrace a holistic perspective based on the origin of a location. The present urgent demand to produce resource-efficient buildings should extend to the possibilities of how a building can be adjusted throughout its life-cycle， and should address the challenge of eventual disassembly that minimizes environmental impact. It is my prediction that future trends will reflect an optimization of the city， its architecture and the use of resources through digital communication.

- Let me come back to a more technicaI eIement of your designs，that of energy efficiency. How do you caIcuIate comfortabIe interior spatiaI conditions and what methods do you use to ensure that these goaIs are achieved？ -

To create new buildings that integrate progressive technologies is alwaysmore straightforward than improving the energy efficiency of existing structures. When designing new buildings， the first stage of optimization begins with calculating the amount of insulation required for walls， roof and floor， followed by the use of triple-glazing and sealants for windows. The next stage addresses ventilation， heat exchange of in-coming and outgoing air， and the efficient distribution of heating or cooling throughout the building. At the highest level of scrutinisation， the building's production of energy requires modification， achieved through the implementation of mechanical systems that assist the building to operate more efficient.

- RecentIy Passive House Bruck has been compIeted in Changxing，China. What kind of provisions are you making to achieve a 95% reduction in primary energy compared to a conventionaI Chinese buiIding？ -

Yes， Passive House bruck will only use 5% as much energy as a standard Chinese building. For us， a passive house means using only systems that avoid any additional operation of the building， such as utilizing the sun in winter for light and heat during the day. We like to think of it as dressing the structure in a big ‘pullover'， meaning that the interior and exterior conditions are able to be completely separated from one another， unless the user adjusts the building otherwise. Another important factor in a passive house is the regulation of the active consumption of energy， such as mechanically assisted natural ventilation or sensor operated lighting systems.

- Since the day you started your architecture career， you must have gone through different stages. What is the design concept at different stages？ How do different concepts infIuence your current design concept？ -

When I embark upon a new project I always begin with a fresh， empty，white sheet of paper. I am looking

for new challenges， as I have been since the first day I started. For me， the key is to grasp hold of new ideas and to find innovative ways of addressing spatial challenges. This process involves a comprehensive evaluation of each project that prioritizes both cultural background and sustainable demands equally.

- What do you see as your roIe as an architect？ -

A story teller with an interesting vision.

- In your career， is there a person who has had a significant influence on you？ In what way has she/he influenced you？ -

I would like to thank my good friend and teacher günter nitschke for his deep insight of Japanese gardens and Asian Architecture - and for calling me a cultural spy.

- From your website， we know that you have some projects in China. What is your first impression on this country/ architecture？ CouId you share with us some stories about your first visit to China？ -

My first visit to China was to suzhou in the early nineties， where I completed drawings for the conservation area of the United nations. Inspired by the country's 5000 years of culture， I felt an instant connection and deep desire social conditions. My aim is to combine these aspects and to embrace a holistic perspective based on the origin of a location. The present urgent demand to produce resource-efficient buildings should extend to the possibilities of how a building can be adjusted throughout its life-cycle， and should address the challenge of eventual disassembly that minimizes environmental impact. It is my prediction that future trends will reflect an optimization of the city， its architecture and the use of resources through digital communication.

- You showed me some very inspiring images from a factory renovation project that you designed， in Hangzhou. CouId you give

me some cIues as to how you approached this beautifuI design？ -

The factory was basically an open space， left over from the Russian-Chinese period of steel production. The client wanted to insert 20，000 m2into the building and implement a new function. Firstly we had to decide how much the space should continue to reflect its initial function as a factory， which guided the design in a direction that required a harmonious relationship with the existing structure. In contrast to the industrial envelope， two ‘white diamonds' were gently placed within the halls，representing the unique combination of time and pressure to create an object of intrinsic beauty and inherent strength.

- You mean diamonds are forever？？？ -

Yes， absolutely， diamonds are forever！ However， natural resources are definitely not， and in every country in which we find ourselves designing，China included， we take measures to ensure the responsible and sensitive use of local resources in the construction and operation of our buildings.

- At what point does design meet architecture？ -

As architects we are not only interested in just building. good architecture，as we understand it， is the static response to the condition of human needs， to the rhythm of culture and subsequently， lifestyle. The spaces which we choose to inhabit become instrumental in the preservation of old traditions， and also the creation of new ones. The point at which architecture and design meet should always be moving， and in the most luxurious of spaces， undefinable.