訪談：尤爾根·馬耶爾

訪談：尤爾根·馬耶爾

INTERVIEW： JüRGEN MAYER H.

導(dǎo)報：在我們的印象中，德式建筑是比較嚴(yán)謹(jǐn)精確的，而您的作品似乎表現(xiàn)不同風(fēng)格，請問這是德國目前普遍的趨勢嗎？

尤爾根?馬耶爾：我主要對如何把文化現(xiàn)象凝聚于建筑學(xué)感興趣，而在如何創(chuàng)作建筑作品和正確看待建筑學(xué)，如何確定建筑學(xué)未來地位等方面樂意接受新的挑戰(zhàn)。德式建筑以高效且管理出色而著稱，而這些都是極具價值的方面?？傆幸恍┡c眾不同的建筑師事務(wù)所，通過獨(dú)特的概念和嚴(yán)謹(jǐn)?shù)墓ぷ餮堇[這些優(yōu)點(diǎn)。

導(dǎo)報：您的作品形式往往與眾不同，請問您的依據(jù)是什么？您想通過您的作品來表達(dá)什么？

尤爾根?馬耶爾：我們通過發(fā)揮建筑物的潛能和把握其韻味來產(chǎn)生創(chuàng)作契機(jī)和制造驚喜。因?yàn)槲覀兛傄獮楦鞣N具體方案、地點(diǎn)和客戶制定個性化設(shè)計，我們就不能依靠固有的模式，而是在設(shè)計過程中開發(fā)，當(dāng)然也受以往經(jīng)驗(yàn)的影響。一些概念性方法也是基于我們對建筑項(xiàng)目和藝術(shù)設(shè)施的研究。我們親臨現(xiàn)場進(jìn)行詳細(xì)勘察，嚴(yán)謹(jǐn)?shù)胤磸?fù)推敲方案，并盡力從指定位置提取出特別的因素。我們建立適當(dāng)參數(shù)，作為每個項(xiàng)目的骨架或框架，這些只是基于客戶的設(shè)計綱要和程序邏輯的概念性條件，而不是設(shè)計驅(qū)動的成分。

導(dǎo)報：請問在您眾多的建筑作品中，哪一件是您最青睞的？為什么？

尤爾根?馬耶爾：迄今為止，“都市陽傘”項(xiàng)目仍然是我們最重要的項(xiàng)目。它坐落在21世紀(jì)新型城市空間的中心地帶，是從考古學(xué)層面了解塞維利亞歷史的重要地標(biāo)?！岸际嘘杺恪辈粌H有歷史內(nèi)涵，還包含了人們?nèi)粘Ｉ钏匦璧牟耸袌龊蜕虡I(yè)區(qū)，提供用于舉辦各種活動的公共區(qū)域，并設(shè)有提升裝置，可將游客們提升至樓頂觀景臺欣賞塞維利亞城市全景，這體現(xiàn)了一種“富于想象”的文化。所有這些不同的服務(wù)項(xiàng)目在白天和夜晚的不同時段分別開放并發(fā)揮不同作用。實(shí)際上塞維利亞與大多數(shù)西班牙城市一樣，非常接近24小時的不夜城。每當(dāng)您在城里轉(zhuǎn)轉(zhuǎn)，四處都充滿生機(jī)勃勃的氛圍。正如遮陽傘不僅僅在日間提供遮陽一樣，隨著“都市陽傘”為未來各類公共活動創(chuàng)造有利氛圍，其夜間功能可能會變得更加重要。 除了“都市陽傘”，我們還參與了格魯吉亞數(shù)項(xiàng)旨在塑造整個國家基礎(chǔ)設(shè)施全新景觀的項(xiàng)目。在這些成就的基礎(chǔ)上，我們朝著高樓大廈和程序上更復(fù)雜的項(xiàng)目邁進(jìn)。

導(dǎo)報：請問在此項(xiàng)目中最具挑戰(zhàn)性的有哪些方面？

尤爾根?馬耶爾：此項(xiàng)目的最后成功都是基于2004年夏季競標(biāo)的成功，之后通過我們工程師的投入、客戶和塞維利亞文化委員會的反饋，我們不斷制定和改進(jìn)方案。該項(xiàng)目匯聚了各種不同的力量和利益團(tuán)體，與市長成就息息相關(guān)。項(xiàng)目建設(shè)期從2005年開始直至2011年年中。研究各種結(jié)構(gòu)可能性和比較木材、鋼材和玻璃纖維鋼筋混凝土結(jié)構(gòu)數(shù)月后，我們才決定采用門薩毛奇項(xiàng)目為原型。用層壓木板構(gòu)造“都市陽傘”并覆蓋聚氨酯貼膜。而陽傘木結(jié)構(gòu)所用Kerto層壓木板由德國芬林生產(chǎn)。

導(dǎo)報：請問您能談?wù)剬Φ聡ㄖ逃母惺軉幔?/p>

尤爾根?馬耶爾：由于參與國際交流項(xiàng)目，德國教育在過去幾年也改變了很多。如今我們德國也出現(xiàn)了各種不同的教學(xué)理念，每所學(xué)校都關(guān)注不同的方面，無論是更偏重于技術(shù)，概念還是藝術(shù)。總體教育水平非常扎實(shí)，是開始建筑師職業(yè)生涯的良好基礎(chǔ)。

導(dǎo)報：請問最初是什么原因促使您想要成為一名建筑師呢？您可以描述您從第一個項(xiàng)目開始到現(xiàn)在的心理演變過程嗎？

尤爾根?馬耶爾：當(dāng)我還是個半大小伙時，我在報刊上看到了由埃里?！らT德爾松（Erich Mendelsohn）設(shè)計的斯圖加特Schocken百貨商場的照片，這張照片便成為了我想要深入了解建筑學(xué)的契機(jī)。到現(xiàn)在我仍然對“形式”的發(fā)展歷程充滿好奇。在這里“形式”不僅是一個物理實(shí)體，而且也是社會結(jié)構(gòu)的“儀式”、“慣例”和“界限”。建筑學(xué)需要找到對“形式”的空間響應(yīng)。

導(dǎo)報：請問您認(rèn)為該專業(yè)更需要科學(xué)精神還是創(chuàng)意？

尤爾根?馬耶爾：需要兩者的結(jié)合，例如：我們開始用各類媒介工具工作，設(shè)計和試驗(yàn)包括物理模型、手工和電腦繪圖，有時只需要到樹林里走走，而這正是創(chuàng)意的階段。但是，對于創(chuàng)意的實(shí)現(xiàn)，您還需要知道關(guān)于建筑材料和建筑法規(guī)的很多東西。于是我們需要各種工程師、顧問、公司和建筑專家網(wǎng)絡(luò)。

導(dǎo)報：請問在您看來，新材料和新技術(shù)是如何影響建筑學(xué)的？

尤爾根?馬耶爾：如今通過博客、教程和論壇等形式進(jìn)行建筑學(xué)溝通和交流，已經(jīng)影響了當(dāng)今建筑作品的制作；建成或未建成則是另外一回事。這增強(qiáng)了設(shè)計構(gòu)思的交流，同時也教會我們?nèi)绾螌ψ约旱脑O(shè)計過程保持一種批判態(tài)度。

我們主要的投資集中在拓展建筑材料方面，這里的建筑材料不僅限于傳統(tǒng)的“建材”。當(dāng)今，新媒體和新材料的出現(xiàn)擴(kuò)展了我們對“空間”的理解，同時也為溝通和社會文化的互動提供了新平臺。我們堅信，建筑應(yīng)該成為人們由被動的期望轉(zhuǎn)變成主動的參與和關(guān)注的催化劑。

導(dǎo)報：請問您在中國有過建筑實(shí)踐嗎？

尤爾根?馬耶爾：目前，我們正在參與蛇口校園文化的總體規(guī)劃，這是一個非常好的項(xiàng)目，探討四個團(tuán)隊(duì)合作設(shè)計的新形式。它具備成為未來發(fā)展的典型項(xiàng)目的潛力。

導(dǎo)報：請問您認(rèn)為建筑師的角色將在未來20年內(nèi)如何變化？

尤爾根?馬耶爾：我們認(rèn)為建筑學(xué)和建筑師應(yīng)視為催化劑的作用。他們可以擔(dān)當(dāng)動畫師角色，避免被動消耗空間，同時也負(fù)責(zé)規(guī)劃如何使用我們的公共領(lǐng)域。作為催化劑的建筑必須獨(dú)具魅力，足以激發(fā)創(chuàng)新形式的方案，乃至具備建筑使用和壽命方面的靈活性。如果您想溝通最新動態(tài)和引起關(guān)注，最好與物流技術(shù)和計算機(jī)技術(shù)相結(jié)合。這樣，借助通訊技術(shù)的發(fā)展，人人置身于公共空間，實(shí)現(xiàn)透明、網(wǎng)絡(luò)化和自發(fā)性的公共生活。

高速公路休息區(qū)2009-2011格魯吉亞哥里市攝影：Jesko M. Johnsson-Zahn

WAR： In our impression， Germany architecture is comparative rigor and accurate， while your works seem like a different picture， is that a common trend in German today？

Jürgen Mayer H. ： I am mainly interested in how cultural phenomena condensate on architecture， frame new challenges in how we produce and look at architecture， and how we can speculate about the future role of architecture. German architecture has a reputation of efficiency and good management which are all very good values. And there are some extraordinairy offices that extend these characteristics by a unique conceptual and formal agenda.

WAR： The form of your work is always special，what is that according to？ What do you want to express though your work？

Jürgen Mayer H. ： We want to create curiousity and surprise for the potential of a building and it′s context. Since we always develop individual designs for specific programs， sites and clients， we don’t start with a special formal attention in mind. It is developed during the design process and is influenced by former experiences for sure. Some conceptual approaches are based on our research by architectural projects and art installations. We look closely at the site， critically rethink the program and try to extract something that is special to the specific site. We establish parameters as a skeleton or framework for each project. These are conceptual conditions rather than design driven compositions， based on a clients brief，contextual references and programmatic logistics.

WAR： Among your so many architecture works，which one are you most favored？ Why？

Jürgen Mayer H. ： So far still Metropol Parasol is the most important project for us. Based on an archaeological window into the history of Sevilla， the parasols cover the very heart of the city for a new urban place for the 21st century. Metropol Parasol covers history， hosts the everyday life in the food market or in commercial spaces， offers open public space for events and contemplation， and it refers to a ‘visionary’culture with rising structures to elevate visitors onto a panoramic Sevilla city view on the roof-scape. All these different programs are open and active at various times of day and night. Actually Sevilla as with most Spanish cities， is very close to a 24 hour urban space. Whenever you walk around in the city， there is a lively， energetic atmosphere. As much as the parasols provide shadow during the day， nigh-time might become even more important when Metropol Parasol creates an atmospheric cover to various forms of public activities still to be invented. Beyond Metropol Parasol we are involved in a number of projects in Georgia which shape a new infrastructural landscape for a entire country. Based on these achievements we move forward towards high-rises and more programmatically complex projects.

WAR： What was the most challenging aspect in designing the project？

Jürgen Mayer H. ： The final project is based on a the competition entry we won in Summer 2004. We continually developed the scheme afterwards with the input of our engineers， feedback from the client and cultural comittees in Sevilla. The project was able to connect all different forces and interest groups as a mayor group achievement. The construction period was from 2005 to mid 2011. After some months of researching structural possibilities and comparing， timber， steel and glasfibre reinforced concrete structures，we decided to use our Mensa Moltke Project as the prototype. Metropol Parasol is realized with laminated wood plates and covered with a polyurethan skin. The timber construction of the parasols is made of Kerto laminated wood panels， produced by Finnforest， Germany.

WAR： Can you say something about the architecture education in German？

Jürgen Mayer H. ： German education transformed a lot in the last couple of years due to international exchange programs. Today we find a wide range of pedagogical concepts and each school has it′s focus on different aspects， either more technical， conceptual or artistic. The overall education level is very solid and good base to start your career as an architect.

WAR： What made you choose the path of architecture？ Can you describe an evolution in your mind from your first project until now？

Jürgen Mayer： At some point in my late youth I saw the Schocken department store by Erich Mendelsohn in Stuttgart in a publication. It was a kind of surprise that drew me towards studying architecture. One of my curiosities is still to find out how "form" develops. Not only form as a physical reality but also formality，ritual and boundaries of social constructs. Architecture needs to find a spatial response to that.

WAR： Do you think the profession does require a more scientific spirit or creative？

Jürgen Mayer H. ： It’s a combination of both. For example： We start working with all kinds of media. Designing and experimenting includes physical models， drawings by hand and computer and sometimes just walking in the woods， that’s a very creative phase. But for realization you need to know also a lot about building materials and building regulations. That′s when we activate our network of engineers，consultants， companies and constructions specialists.

WAR： In your opinion， how do new materials and technologies influence architecture ？

Jürgen Mayer H. ： Communicating and mediating architecture with blogs， tutorials， forums etc. have influenced the architecture being produced today； built and unbuilt， moved to another level. It enhanced exchanging ideas and teaches how to stay critical towards your own design process.

One major investment in our work is looking at expanding the material of architecture， beyond say just building material. The influence of new media and new materials now expands our understanding of“space” as a platform for communication and sociocultural interactivity. We believe that architecture should work as an activator to move people from a passive mode of expectation to an involved level of participation and attention.

WAR： What is your knowledge in terms of the architectural practice in China？

Jürgen Mayer H. ： We are currently involved in a master plan for a culture campus in Shekou. A fantastic project that explores new forms of co-designing with 4 teams. It has the potential to become a prototypical projects for future developments.

WAR： How do you like the role of the architect will change over the next twenty years？

Jürgen Mayer H. ： We think architecture and also the role of architect’s should be seen as Activators. They can work as animators to overcome a passive consumption of space， but become involved and also responsible for how we use our public realm. Activators have to be seductive enough to provoke new forms of program and even flexibility of use and duration. This works better with logistics and computer technology， also when you want to communicate what is going on and how you create attention. In this case the development of communication technology returns people back into public space， offering transparency， networks and spontaneity to public life.

邊境檢查站攝影： Jesko M. Johnsson Zahn