不同文化之間的建筑

Wolf Guenter Thiel，文化研究員

Wolf guenter Thiel， Researcher， cultural studies

不同文化之間的建筑

ARCHITECTURE IN BETWEEN CULTURES

Wolf Guenter Thiel，文化研究員

Wolf guenter Thiel， Researcher， cultural studies

鄰近河流，我們才能看到魚(yú)，鄰近山脈，我們才能聽(tīng)到鳥(niǎo)的歌聲。

世界上三分之一的二氧化碳大氣污染是由建筑物所產(chǎn)生的。為了減少這種排放，以滿(mǎn)足全球氣候變暖的挑戰(zhàn)，建筑師們正在為解決可持續(xù)發(fā)展和生態(tài)保護(hù)問(wèn)題而努力。他們?cè)诟咝Ч?jié)能建筑方面和科學(xué)家，研究人員，工業(yè)企業(yè)以及客戶(hù)等合作。由此，他們必須采用新現(xiàn)代主義的態(tài)度，利用高效率的技術(shù)解決方案，還有使用因地制宜的戰(zhàn)略。

Peter Ruge是一位德國(guó)建筑師，其事務(wù)所總部設(shè)在柏林。他也在德國(guó)德紹建筑研究院教學(xué)可持續(xù)設(shè)計(jì)課程。他在可持續(xù)建筑領(lǐng)域有著豐富的專(zhuān)業(yè)知識(shí)，體現(xiàn)在其多個(gè)建筑作品獲得了德國(guó)國(guó)家可持續(xù)建筑認(rèn)證。他的建筑尊重當(dāng)?shù)厝宋臈l件，體現(xiàn)出他的核心價(jià)值觀就是人類(lèi)發(fā)展和個(gè)人福祉?，F(xiàn)代化是一個(gè)跨文化，跨宗教，跨政治的理念，這就需要去適應(yīng)當(dāng)?shù)氐膫鹘y(tǒng)和行為。這意味著現(xiàn)代的建筑技術(shù)都是為了服務(wù)于不斷更新的文化傳統(tǒng)和態(tài)度。通過(guò)這個(gè)，他的建筑可以稱(chēng)為他對(duì)文化的理解，對(duì)文化的一種表達(dá)。

建筑師要理解當(dāng)?shù)匚幕且粋€(gè)復(fù)雜的過(guò)程，從城市發(fā)展，社會(huì)分層，語(yǔ)言溝通，支配形式以及自然環(huán)境等方面。對(duì)他來(lái)說(shuō)，一棟大樓不是一個(gè)孤立的個(gè)體，而是一個(gè)可以與周?chē)h(huán)境適應(yīng)并共享資源的機(jī)制。這樣一來(lái)，建筑不僅可以更智能，也可以和自然構(gòu)成一種和諧的關(guān)系。

2010年杭州會(huì)議中心的外立面設(shè)計(jì)就是一個(gè)很好的例子，杭州是浙江省的省會(huì)?！罢憬∫允a(chǎn)茶葉而著稱(chēng)，為了表達(dá)該地域特性，建筑的外觀設(shè)計(jì)主要是疊加了茶的種植路徑和種植網(wǎng)的輪廓。（Peter Ruge）“建筑看起來(lái)像多層的編織物所覆蓋，并賦予它以一種真實(shí)的建筑形態(tài)。從遠(yuǎn)處看，建筑外觀就像一個(gè)剛性體，但是當(dāng)走近時(shí)就會(huì)發(fā)現(xiàn)水平的和豎直的結(jié)構(gòu)網(wǎng)格。該建筑就是與杭州的整體環(huán)境融合一體，成為杭州的人文景觀的一部分。

Ruge認(rèn)為他的工作是將兩種文化的結(jié)合。文化的差異不是要點(diǎn)，而在兩者之間，或與解構(gòu)主義理論所說(shuō)的那樣：“延異”。雅克·德里達(dá)用這個(gè)詞來(lái)表達(dá)多種特點(diǎn)主宰產(chǎn)品的文本意義。我們的話(huà)語(yǔ)文字和標(biāo)志及其含義是根據(jù)他們所在的背景而改變。他用的是解構(gòu)主義的工具，來(lái)建立一個(gè)新的現(xiàn)代式建筑。在此，我們理解新現(xiàn)代主義作為一個(gè)可持續(xù)發(fā)展的概念，是健康，環(huán)境，社會(huì)和經(jīng)濟(jì)的有機(jī)結(jié)合。

即將在2015年竣工的杭州新天地工廠，是曾經(jīng)的工業(yè)遺跡成為當(dāng)代建筑的一個(gè)有力的例子。Ruge重組了整個(gè)建筑群，并保留了工業(yè)時(shí)代留下的建筑上的亮點(diǎn)。它顯示了當(dāng)今先進(jìn)的生產(chǎn)行業(yè)是多么的不同于其歷史的建筑。鋼鐵生產(chǎn)爐就像一個(gè)時(shí)間見(jiàn)證者，將遙遠(yuǎn)的過(guò)去鏈接到高科技的今天。他們不像是工業(yè)歷史的終結(jié)，而是一個(gè)不久前的遺留。他們看起來(lái)就像從一個(gè)蒸汽時(shí)代的小說(shuō)或電影詩(shī)意的隱喻。在今天超速發(fā)展的中國(guó)，現(xiàn)代工業(yè)時(shí)期已經(jīng)看起來(lái)古老，但比起實(shí)際的時(shí)間跨度，他們并沒(méi)有離的像看起來(lái)那么久遠(yuǎn)。

另一個(gè)2013年中國(guó)海南博鰲樂(lè)城總體規(guī)劃項(xiàng)目，也就是一富有遠(yuǎn)見(jiàn)的想法。這是一個(gè)將新現(xiàn)代主義和超現(xiàn)代主兩方面完美結(jié)合的典范。生態(tài)，健康和福祉是共生共存的關(guān)系。今天建筑的要求是要有預(yù)見(jiàn)未來(lái)的能力。該設(shè)計(jì)以五個(gè)環(huán)為基礎(chǔ)，體現(xiàn)的是人的五官和五種感知。主要解決的問(wèn)題是健康，交流，休憩和交通。因此，這樣的五環(huán)設(shè)計(jì)就是為了平衡這些系統(tǒng)，創(chuàng)造一個(gè)和諧的環(huán)境，在每個(gè)島嶼區(qū)之間和整個(gè)城市里推動(dòng)能量流動(dòng)。建筑師的可持續(xù)城市設(shè)計(jì)想法起到了顯著減少能源消耗和建筑占有量的目的。整個(gè)城市是二氧化碳零排放，有利于80%的可再生能源的生產(chǎn)，且提供了一個(gè)完全集成的交通系統(tǒng)。所有私人化石燃料車(chē)輛將留在城市外。可持續(xù)能源的使用和健康的核心理念的想法是共生共存。

Peter Ruge 是過(guò)去20年建筑和城市規(guī)劃的發(fā)展理念和態(tài)度轉(zhuǎn)變的見(jiàn)證者。在這些巨大的發(fā)展里，建筑和城市規(guī)劃的的愿景發(fā)生了改變。今天，生態(tài)和可持續(xù)的解決方案才是建筑設(shè)計(jì)和城市規(guī)劃的重點(diǎn)。節(jié)約能源和減少碳排放，同時(shí)通過(guò)建筑和景觀的融合達(dá)到健康和福祉才是建筑的目的。將環(huán)保理念延伸到設(shè)計(jì)的各個(gè)方面。他們對(duì)于創(chuàng)造可持續(xù)城市環(huán)境是至關(guān)重要的。

生態(tài)民居建筑是通過(guò)理解當(dāng)?shù)貍鹘y(tǒng)區(qū)域，保護(hù)棲息地的一種建筑類(lèi)型。它鼓勵(lì)利用當(dāng)?shù)氐氖称?，水，建材和清潔能源資源。它要求建筑與自然環(huán)境相結(jié)合。它通過(guò)保護(hù)和發(fā)展所有資源和生活空間，建立起自然和建筑環(huán)境之間的和諧關(guān)系，同時(shí)也滿(mǎn)足了人們的生理和心理需求。這樣的，以可持續(xù)發(fā)展為目標(biāo)，著力實(shí)現(xiàn)人與自然之間的和諧。民居建筑是一種與區(qū)域融合的建筑，是當(dāng)?shù)鼐用駛鹘y(tǒng)文化的反映。民居建筑也是基于對(duì)生態(tài)的理解，具有某些特性，如在形式和在建筑物的結(jié)構(gòu)上，經(jīng)濟(jì)的使用天然有機(jī)材料，融合和適應(yīng)自然。每一種文化都有其前現(xiàn)代的解決方案。能將那些文化的復(fù)興和高科技解決方案結(jié)合一起嗎？可以滿(mǎn)足全球氣候變化和不斷增長(zhǎng)的需求嗎？

近十年，Ruge 已經(jīng)在中國(guó)實(shí)現(xiàn)了數(shù)個(gè)建筑設(shè)計(jì)和城市規(guī)劃，實(shí)現(xiàn)和促進(jìn)了可持續(xù)發(fā)展的愿景。中國(guó)文化是他的建筑設(shè)計(jì)的重要驅(qū)動(dòng)力。可持續(xù)發(fā)展不僅是建立在效率和節(jié)約自然資源。它還是建立在地方和區(qū)域特點(diǎn)上的。這些原則需要尊重當(dāng)?shù)貧夂蚧驑?gòu)造的特殊性和他們的建設(shè)者，居民及本地需求。

2014年的“被動(dòng)屋布魯克”就是一個(gè)絕佳的例子。Ruge 作為一個(gè)建筑師與客戶(hù)合作，并鼓勵(lì)他們要了解設(shè)計(jì)和開(kāi)發(fā)，將其作為一個(gè)對(duì)話(huà)的過(guò)程；一個(gè)建筑師，客戶(hù)和工業(yè)或技術(shù)解決合作伙伴之間的對(duì)話(huà)。他這樣做的目的是為了使自己的作品更融合當(dāng)?shù)氐奈幕蜕?。在這個(gè)項(xiàng)目中，建筑師的目的是將被動(dòng)式房屋作為一個(gè)在溫暖，潮濕的氣候下的節(jié)能試點(diǎn)項(xiàng)目。他的建筑師們?cè)谠敿?xì)設(shè)計(jì)階段，優(yōu)化了項(xiàng)目很多的節(jié)能部分。而這些想法都體現(xiàn)在了外立面設(shè)計(jì)中。此外立面指的是中國(guó)園林護(hù)欄的典型防護(hù)結(jié)構(gòu)即用于保護(hù)草叢的細(xì)竹元素。這還是一個(gè)典型的高科技建筑，它更是因地制宜的范例。該建筑清楚的展現(xiàn)其適應(yīng)當(dāng)?shù)氐哪芰?，同時(shí)也展現(xiàn)了建筑為人為建的哲學(xué)理念。因此，可持續(xù)發(fā)展不是一個(gè)單獨(dú)的術(shù)語(yǔ)，而是在最終設(shè)計(jì)中適應(yīng)了當(dāng)?shù)匚幕驼軐W(xué)的態(tài)度，結(jié)合當(dāng)?shù)鼐用癖尘暗男略O(shè)計(jì)理念，使用高新科技，節(jié)約自然資源，融合當(dāng)?shù)刈匀?，氣候和健康的最佳途徑之一?！氨粍?dòng)式房屋布魯克”是一個(gè)非常好的例子。

當(dāng)然，該方法不能僅依靠技術(shù)支持單獨(dú)作為解決方案，還必須尊重當(dāng)?shù)睾偷貐^(qū)的文化特性。其中包括已經(jīng)歷了數(shù)千年的精神和哲學(xué)態(tài)度，他們依然是文化，是建筑的最可持續(xù)的動(dòng)力?！白鳛榻ㄖ煟覀儾皇侵魂P(guān)心建筑。以我們的理解，一個(gè)好的建筑，應(yīng)該是可以應(yīng)對(duì)人類(lèi)不斷變化的需求，文化和生活方式的建筑。（Peter Ruge）”

near to rivers， we recognize fish， near to mountains we recognize the songs of birds.

One third of the world‘s CO2 pollution of the atmosphere is produced by the operation of buildings. Toreduce this production， and to meet the challenges of global climate change objectives， architects workon contemporary sustainable and ecological solutions. They cooperate with scientists， researchers， industrial concerns， and last but not least their clients in terms of new highly energy-efficient building. Therefore they combine a neo-modern attitude with highly efficient hightechnology based solutions， as well as vernacular strategies.

Peter Ruge is a german architect， based in berlin， who teaches sustainable design at the dessau Institute of Architecture （dIA）. He has extensive expertise in the field of sustainable construction， reflected in his portfolio of already certified sustainable buildings. The core of his interest is the human being and its personal wellbeing. His architecture respects the human condition in all demands. Modernity is a trans-cultural， trans-religious and trans-political mind set， which is adjusted to the local traditions and convictions. This means the possibilities of modern building technologies are made to serve the ongoing processing of cultural traditions and attitudes. Through this his architecture becomes an expression of cultural understanding through general respect.

This architect understands civilization as a complex state society characterized by urban development， social stratification， symbolic communication forms and a perceived separation from， and domination over， the natural environment. For him a building has never been an isolated entity that consumes， but an integrated mechanism that can also produce and share its resources amongst built environments. In this way architecture can move further toward a harmonious and intelligent partnership with nature.

An example of this spirit is the fa?ade of the congress centre in Hangzhou， China from 2010. Hangzhou is the capital of Zheijing Province. “The Zheijang Province is known for its tea producing region. To express the building's regional characteristics，the design of the fa?ade is based on the superimposed configurations of the tea cultivation pathways and the planting nets.” （Peter Ruge） The building seems to be enveloped by a multi-layered fabric. This fabric evokes the remarkable architectural plasticity of the building. seen from a distance， the fa?ade appears like a rigid volume， but dissolves into a network of structures and levels on approach. The building is perfectly adjusted to the landscape and becomes a natural part of the cultural landscape of Hangzhou.

Ruge regards his work as a work in-between both cultures. The difference of cultures is not the main focus， but the in-between， or as deconstructivist theory puts it： the “différance”. Jacques derrida coins the term to describe heterogeneous features that govern the production of textual meaning. What we like to add to our discourse is the notion of words and signs and their meaning in relation to other words from which they differ. He uses a deconstructivist toolset to build a new modern or neo-modern type of architecture. Hereby we understand neo-modernism as a full notion of the aspects of sustainability towards health，and environmental，social and economic ecology.

The Xintiandi Factory in Hangzhou， which will be finished in 2015， shows a convincing case of incorporating the relicts of an industrial past into a contemporary building. Ruge's architecture restructures the whole building complex， and conserves at the same time the historical architectonic highlights of the industrial era. It shows how today's advanced production industry differs from its historical predecessors. The relicts of the steel producing furnaces are like testimonials of a time too far away to link to the hyper-modern and high-tech of today's surroundings. different from industrial monuments in Europe， they do not seem to testify to the closing of industrial history， but rather seem to be an archaic relict of a time long ago. They appear like poetic metaphors from a steam-punk novel or movie. Through the hyperdevelopments in China today， the modern industrial period already looks ancient，and seems to be further away from today's society than it really is.

The masterplan of the boao lecheng green Health City in Hainan， China （2013），gives an idea of this visionary presence. It is a perfect example of a combination of neo-modern and hyper-modern aspects. These aspects are symbiotically linked to ecology， health and well-being. Today the requirements for architecture involve the ability to foresee future conditions. The design is based on five rings related to organs and senses， using the islands and rings as metaphors. The main issues are health， communication， relaxation and individual transport. The idea is to balance these cycles and systems and create a harmonious planning arrangement，promoting positive energy flow within each of the island districts and throughout the whole city. The architect's idea of sustainable urban design involves a remarkable

杭州會(huì)議中心細(xì)部 Hangzhou Congress Center

被動(dòng)房屋布魯克 Passive House Bruck

reduction of energy consumption and the building footprint. The city is CO2 neutral and facilitates 80% renewable energy production. A fully integrated transportation system is provided. All private and fossil-fuelled vehicles will remain outside the development complex. The idea of sustainable energy ecological building and the core idea of health are symbiotically linked.

Peter Ruge has been a witness of the developing ideas and attitudes towards building and city planning in the last 20 years. during these immense developments，the vision of cities and the ideas of building and city planning have been adjusted. Today there is an essential interest in ecological and sustainable solutions. saving energy and reducing the footprint， as well as health and the idea of well-being through a fusion of landscape and architecture， are highly requested. Environmental strategies extend to all aspects of design. They are vital to the creation of sustainable urban environments.

Ecological vernacular architecture is a structure that protects habitants by understanding and interpreting the regional traditions of building and constructing. It encourages the use of local foods， water， building materials and clean energy resources. It requires buildings to be integrated into the natural environment. It works to establish a relationship between the natural and built environment by contributing to the conservation and development of all resources and biotope （living space），while it meets the physiological and psychological needs of people. In this way ecology， aimed at sustainability， tries to attain a harmony between man and nature. The term vernacular architecture expresses an architecture which employs the products of its region， which are themselves a result of traditionally grown cultural traditions. Vernacular architecture also corresponds to an understanding of ecological architecture， with some characteristics such as the use of natural-organic material，integration and adaptation with nature in terms of form and structure of the building，economic and practical application. Every culture has its pre-modern solutions. Would a renaissance of those go together with high-tech solutions？ Could a joint venture answer questions of the global climate change and the growing need to save energy？

For almost a decade Ruge has implemented plans， buildings and town planning in China， promoting and realizing sustainable design visions. This Chinese cultural impact is an essential driving force in his architectural approach. sustainability is not only founded in efficiency and the saving of natural resources. It is founded much more in local and regional vernacular building principles. These principles respect climatic or tectonic particularities and the local demands of their builders， inhabitants and users. In fact we find sources of inspiration as well in the spiritual and philosophical attitude of the very same people. This is where both worlds meet in a vernacular and high-tech venture against a background of Chinese philosophical attitudes and paradigms.

The Passive House bruck from 2014 is the most recent achievement， and a very good example for the joint venture process sketched here. As an architect Ruge collaborates with the client and encourages him to understand the process of designing and developing as a dialogue； a dialogue between the architect， the client and the industrial or technological solution partner. He does this especially in the context of the Chinese cultural traditions and habits. The aim of the architect here was to position the house as a pilot project for an energy-efficient residential building in a warm，humid climate. The architect has planned the project in meticulousness and numerous energy-efficient optimization steps in detailed design stages. The architect hints at this context at the fa?ade. The fa?ade refers to typical patterns and structure of a Chinese garden fence， and to the delicate bamboo elements used to protect the bushes. This is a vernacular additive to a high-tech building. It is a result of research in vernacular solutions and techniques established in and for the region. The building shows clearly not only local and regional solution techniques and fertilities in construction， but also the spiritual and philosophical idea of building and constructing as such in the region.

sustainability is therefore not alone a terminology， but also a mature cultural and philosophical attitude incorporated in the final product. The idea of vernacular backgrounds for new architecture， in combination with insights into new and highend technologies， may be one of the best ways to save natural resources as well as nature， climate and health of the inhabitants. Passive House bruck is a very good example of this.

The approach can never reduce its tools for problem solution to technology alone，but must respect local and regional cultural identities. These include spiritual and philosophical attitudes which have endured over thousands of years， and which remain the most sustainable driving forces of culture and its architecture. “As architects not only interested in building. good architecture we understand it is the static response （we ） to （are ） the changing conditions of human needs， to the rhythm of （as ）culture and subsequently， lifestyle.” （Peter Ruge）