以可持續(xù)發(fā)展作為特性

Peter Reischer， 記者

Peter Reischer， Journalist

以可持續(xù)發(fā)展作為特性

SUSTAINABILITY AS IDENTITY

Peter Reischer， 記者

Peter Reischer， Journalist

當(dāng)你翻開這本書，看了前幾頁，你就會(huì)被這本書所吸引，一個(gè)充滿標(biāo)志，符號(hào)和圖像的世界。建筑設(shè)計(jì)擺脫了其傳統(tǒng)的滿是建筑專業(yè)術(shù)語的世界，而是充滿了很多無定形的表面和各種三維符號(hào)。這本書即是一個(gè)多元化的圖形世界，這些符號(hào)在其后被發(fā)現(xiàn)是建筑師在實(shí)際建筑工作中所使用的。而這第一眼 -這些相鄰的浮動(dòng)圖標(biāo)就已經(jīng)向我們展現(xiàn)了這個(gè)世界的多樣性和Peter Ruge的設(shè)計(jì)精神。

作為一名建筑師，他與經(jīng)典的現(xiàn)代風(fēng)格步調(diào)一致，卻又獨(dú)特于表達(dá)和語言。即使從技術(shù)上看起來完全是日本建筑元素的亭子，或者是類似密斯凡德羅的極簡(jiǎn)形式，或又是被勒·柯布西耶稱之為的野獸派藝術(shù)的表現(xiàn)風(fēng)格，他沒有排除任何當(dāng)代的建筑流派，但他不只是簡(jiǎn)單地將他們囊括，而是將所有的不同元素消化吸收，將他的設(shè)計(jì)和環(huán)境，氣候，社會(huì)和可持續(xù)發(fā)展結(jié)合起來。建筑真正變得因地制宜起來。當(dāng)?shù)厝说男枨?，?dāng)?shù)匚幕奶攸c(diǎn)都是他考慮的要點(diǎn)。正是在這些背景下，用不同的比例，用不同的材料，甚至強(qiáng)烈的反差對(duì)比，都充分體現(xiàn)了他融入當(dāng)?shù)匚幕尘暗乃悸?。另外，他還意識(shí)到形成自己的獨(dú)特設(shè)計(jì)風(fēng)格和特點(diǎn)，并使之符合現(xiàn)代社會(huì)的要求。注重時(shí)代的特性可以在他的家具設(shè)計(jì)中即體現(xiàn)得淋漓盡致。

Peter Ruge的設(shè)計(jì)項(xiàng)目不僅包括公寓，公寓樓，文化建筑，可持續(xù)發(fā)展規(guī)劃，還有中國(guó)的大型居住區(qū)。你可以感受到，無論是80平方米的居住空間還是28平方公里的城市規(guī)劃，Peter Ruge都無一例外給與同樣的重視，投入同等的激情和關(guān)注。特別是，由于他超過20年作為一個(gè)建筑師和城市規(guī)劃師的經(jīng)驗(yàn)，這些圖像的表達(dá)都是完全平衡平等的。

總的來說，這些漂浮的圖像-如前面提到的可持續(xù)發(fā)展都是有益的。這個(gè)世界需要我們將這些想法傳達(dá)給我們的后代，甚至可能是一個(gè)更好的想法。這樣的態(tài)度是我們這個(gè)時(shí)代建筑創(chuàng)作所需要的特征。Peter Ruge 和他位于柏林的事務(wù)所，充分吸收各種建筑元素的精華，進(jìn)而增加他們的對(duì)培養(yǎng)這些元素文化土壤的領(lǐng)悟，最后真正應(yīng)用發(fā)展了這些元素。我相信，這樣的過程是相輔相成的。

當(dāng)你每年聽聞氣候峰會(huì)的失敗，意識(shí)到本應(yīng)達(dá)成的氣候目標(biāo)又一次無法實(shí)現(xiàn)時(shí)，毫無疑問Peter Ruge 的設(shè)計(jì)工作則是一個(gè)看得見摸得著的努力。在中國(guó)，這些可持續(xù)的想法正在得以實(shí)現(xiàn)。他認(rèn)為可持續(xù)發(fā)展是一個(gè)解決問題的有效辦法，他多年來一直支持資源節(jié)約型建筑結(jié)構(gòu)。

在他的城市規(guī)劃和問題解決方案中，顯示了他對(duì)時(shí)間，空間，個(gè)人以及他們之間相互影響關(guān)系的獨(dú)特理解。將宏觀的形式巧妙地結(jié)合起來形成結(jié)構(gòu)，這也在空間上轉(zhuǎn)變成休憩和綠色空間從而促進(jìn)溝通。

尤其是在中國(guó)，當(dāng)?shù)氐暮芏嘟ㄖ悸匪坪醪环衔覀兊臍W洲的經(jīng)典思維，在我們看來，Peter Ruge的觀點(diǎn)是不是從西方的方法作為“啟發(fā)”，但在選擇一種跨文化的的融合過程。所以他不是將一個(gè)建筑簡(jiǎn)單地復(fù)制到中國(guó)，而是耐心地建議和修改設(shè)計(jì)來使他的作品被當(dāng)?shù)亟邮埽@或許也是他在影響現(xiàn)代中國(guó)文化的過程吧。這種不尋常的態(tài)度使得他在中國(guó)綿陽城市可持續(xù)發(fā)展規(guī)劃中獲獎(jiǎng)。這個(gè)綿陽玫瑰的規(guī)劃設(shè)計(jì)是城市規(guī)劃的典范。與法國(guó)哲學(xué)家羅蘭·巴特的觀點(diǎn)一致，符號(hào)學(xué)系統(tǒng)被Ruge在三個(gè)層面上所使用：能指，所指以及這兩個(gè)部分的組合體，即符號(hào)。

If you look at the first few pages， the basis of this book， you will be visually drawn into a world， a world of signs， symbols and iconographic representations. We recognize architectural symbols emerging from the traditional characters， amorphous surfaces and three-dimensional indications— the world of architectural language. It is a diverse， partially graphic world， which finds its expression and its counterpart in the implementation of real buildings in the work of the architect. And this first sight —the adjacent floating icons — already shows the diversity of this world and the spiritual constitution of Peter Ruge.

As an architect， he is associated with the classic modern， unique in its expression and its language. but also with buildings that look almost Japanese in their rigor and discipline， such as light pavilion-like elements in the tradition of Mies van der Rohe and the so-called brutalism of le Corbusier. He excludes no contemporary trends in the architectural scene， but he does not regard parametricism as the result of a computer program， but rather of the joining and merging of all，the architecture and the relevant parameters such as the environment， the climate， and the social and sustainability context. The responsiveness to him of the location， and of the people who live there with their culture， are crucial for the creation of his buildings. Playing with conditions， with proportions， and contrasts in the materials also characterize his designs. but he is also aware of style elements and design features that convey the reference to the present day — especially in his furniture.

In family houses， apartment blocks and cultural buildings， concepts of sustainable planning，whole neighborhoods and major projects in China， 80 m2 of living space are treated with the same love and care as 28 km2 of urban planning. In particular， there is a balance of iconographic expression and sculptural shape due to his more than 20 years of professional experience as an architect and urban planner.

And over all it floats the — previously mentioned — sustainability， the idea that we are required to pass this world on to our children， and possibly even a better one. An attitude that was supposed to be characteristic of all architecture creators of our time. His architecture， as well as the concepts of his office — based in berlin — internalize thoughts on the origin of things， as well as on the culture in which they arise， and are truly contextual. Especially in the face of the failure of the annual climate summits and the consequent， and conscious， non-achievement of climate targets， Peter Ruge's work is a visible attempt， in a country such as China， to implement these ideas in the real world. sustainability is considered by him to be a problem-solving strategy， and his decision to support resource-saving architecture will show its validity for many years.

In his urban planning approaches and proposed solutions he displays a deep sense of time，space， relationships and the effect of individual components on human life and its users. large forms are skillfully combined to form structures， which in turn form spaces for recreation and green and thus enable communication.

Especially in China， where in our opinion an often almost diametrically opposite position on someissues of architecture exists， Ruge's view is not an “instructive” approach from the West，but a processon a cross-cultural meta-level. so it is not an export of architecture， but a gentle insemination by proposals and designs， which also recognize its symbolic impact on Chinese culture. The success ofthis unusual attitude is visible in the winning competition entry for sustainable urban development in Mianyang， in which the leaves of a rose form a model of urban planning. As in the analysis of theFrench philosopher Roland barthes， semiological systems are used by Ruge at three levels： thesignifier， the signified and the sign as an associative entity.