泥作，威尼斯，意大利

概念設(shè)計(jì)：安娜·赫里格爾，馬丁·勞奇，安德烈斯·萊皮克

泥作，威尼斯，意大利

概念設(shè)計(jì)：安娜·赫里格爾，馬丁·勞奇，安德烈斯·萊皮克

1 泥作裝置的外景/Exterior view of the mud installation

受第15屆威尼斯國(guó)際建筑雙年展策展人亞歷杭德羅·阿拉維納的邀請(qǐng)，安娜·赫里格爾、馬丁·勞奇和安德烈斯·萊皮克決定將泥土作為展覽裝置的主題。

全球有30億人口居住在泥土建造的建筑中。這是有原因的。泥土依然是全球主導(dǎo)性的建筑材料。從拉丁美洲到非洲，從歐洲到亞洲，它幾乎在哪里都可以得到，而且造價(jià)很低。它直接來(lái)源于土地，而且能夠不對(duì)環(huán)境造成任何傷害地回歸土地。它從人類聚居的開始就被使用——出于各種各樣的目的，無(wú)論是在疏朗的鄉(xiāng)村還是致密的城市環(huán)境中。對(duì)于未來(lái)，泥土有著難以置信卻尚未被挖掘的潛能。

如今，越來(lái)越多的泥土構(gòu)筑物被其他材料取代。那些材料需使用不可再生的資源，耗費(fèi)大量能源并產(chǎn)生很高的CO2污染。簡(jiǎn)單地說，這個(gè)星球上沒有足夠的資源來(lái)為70億人口建造混凝土和鋼結(jié)構(gòu)的住宅。我們有必要探索泥土，將其作為未來(lái)城市和家園的材料。

我們需要做更多的研究、深入地技術(shù)研發(fā)，開發(fā)出新的建筑策略，以應(yīng)對(duì)當(dāng)下及未來(lái)社會(huì)的需求和愿景。我們應(yīng)該不斷探討這種材料，將它廣泛在雜志中出版、在展覽中展示、并納入大學(xué)教育的課程。我們需要培養(yǎng)新的工匠，我們需要恰當(dāng)?shù)捻?xiàng)目，來(lái)展現(xiàn)泥土建筑的穩(wěn)定性、舒適性、社會(huì)和生態(tài)作用，以及它的優(yōu)美。

泥土，遠(yuǎn)不只是一種建筑材料。人類與這種材料的關(guān)聯(lián)幾乎和人類本身一樣古老，但我們幾乎喪失了與它的聯(lián)系。這個(gè)展覽裝置就提供了一種非常親密的材料體驗(yàn)。在這件作品中，最主要的挑戰(zhàn)之一就是說服客戶相信泥土的品質(zhì)：它的穩(wěn)定性，它獨(dú)特的觸覺、豐富的色彩，以及對(duì)人類身心的積極影響。這很難用圖片來(lái)傳達(dá)，它需要真實(shí)可觸?！?（黃華青 譯）

項(xiàng)目信息/Credits and Data

概念設(shè)計(jì)/Concept Design: Anna Heringer (Laufen, Germany), Martin Rauch (Schlins, Austria), Andres Lepik (Munich, Germany)

客戶/Client: La Biennela di Venezia (Venice, Italy)

策展人/Co-curator: Zsuzsanna Stánitz

場(chǎng)地管理/Site Manager: Stefano Mori, Johannes Lerch

項(xiàng)目經(jīng)理/Project Manager: Clemens Quirin

結(jié)構(gòu)工程/Structural Engineer: gbd (Dornbirn, Austria)

建筑面積/Floor Area: 70m2

生土/Earth: 110m2, 25t

建造周期/Construction Phase: 2016

攝影/Photos: Stefano Mori (fig.1, 5, 7), Bruno Klomfar (fig.2-3), Students of Technical University Munich (fig.4),

線圖/Plans: Lehm Ton Erde Baukunst GmbH

2 該泥作被置于夯土地面上且可以進(jìn)入/The mud "pepita" is placed on a rammed earth floor and can also be entered

3 裝置內(nèi)部的自然采光/Natural lighting inside the "pepita"

Invited by Alejandro Aravena, curator of the 15th International Architecture Exhibition in Venice, Anna Heringer, Martin Rauch and Andres Lepik decided to put mud in the focus of their installation.

3 Billion people on this planet live in buildings made of mud. For good reason.

Mud is still the predominant building material of our world's population. From Latin America to Africa, from Europe to Asia - it is available almost everywhere and at a low cost. It comes directly from the earth and can be returned to the earth without any harm to the environment. It has been used since the beginning of human habitation - for any purpose, whether in spacious rural or dense urban contexts. It has incredible and yet undiscovered potential for the future.

Currently, more and more mud structures are being replaced with materials that require nonrenewable resources that consume energy and create high levels of carbon dioxide pollution. Simply put, the planet does not possess enough resources to build 7 billion homes out of concrete and steel. Society need to explore mud as the material for our future cities and homes.

Architects need more research, detailed technical development, and new design solutions to address the needs and aspirations of current and futures societies. People need to discuss this material more widely publish it in magazines, present it in exhibitions, and users need to embed it in the curriculum of universities. The industry needs to train new craftsmen. Architecture needs projects that reflect the stability, the comfort, the social and ecological relevance, and the beauty of mud design.

Earth is more than a building material. The relationship between human beings and this material is as old as humankind - but society has almost lost contact with it. This installation invites to an experience with this material in a very intimate way. In this installation, one of the primary challenges was to convince clients of the quality of earth: its stability, its haptic treasures, its richness in colors, as well as its positive influence on the body and mind. This is difficult to transmit with pictures. It needs to be touched.□

4 慕尼黑工業(yè)大學(xué)的學(xué)生在夯實(shí)夯土地面/Students from Technical University Munich are ramming the rammed earth floor

5 限時(shí)的施工現(xiàn)場(chǎng)（施工周期3個(gè)月）/Time-lapse of the building site (construction period: 3 months).

評(píng)論

穆鈞：現(xiàn)代建筑工業(yè)高速發(fā)展的百年以來(lái)，為應(yīng)對(duì)日益多元的建造需求，以鋼筋混凝土為代表的現(xiàn)代工業(yè)材料及其技術(shù)，似乎已表現(xiàn)得無(wú)所不能。這使得我們逐漸忘卻了，人類基于地方自然材料資源，探索實(shí)踐數(shù)千年形成的豐富多彩的傳統(tǒng)營(yíng)造技術(shù)和工藝?？陀^而言，正如“無(wú)所不能”的鋼筋混凝土卻存在高耗能高污染的缺陷一樣，任何材料在不同的層面均存在一定的優(yōu)點(diǎn)和缺點(diǎn)。但在一味追求“高精尖”的科學(xué)態(tài)度下，我們的營(yíng)造傳統(tǒng)連同其中蘊(yùn)含的價(jià)值，皆因其存在的所謂缺陷而被忘卻甚至被摒棄。安娜·赫里格爾帶領(lǐng)設(shè)計(jì)和實(shí)施的“泥作”與“奧米龍休閑空間”，使我們?cè)诒涞匿摻罨炷羺擦种?，得以重新觸摸和品味人類沉淀千百年的營(yíng)造傳統(tǒng)與智慧，感受那份久違的真實(shí)和情感，思考傳統(tǒng)的價(jià)值之于今天的意義。

張?chǎng)哼@兩個(gè)項(xiàng)目中都使用到了生土的另一種建造方式——Zabur技術(shù)。與利用模板夯筑的夯土不同，這種建造方式是靠手工塑造成型。土料中含水量較大，攪拌成泥狀，便于手工塑形，有時(shí)摻雜麥秸等天然纖維。材料和工藝的不同，使得Zabur技術(shù)可以建造自由、平滑的曲線造型。奧米龍跨國(guó)界項(xiàng)目充分發(fā)揮了這一優(yōu)勢(shì)，隨著土料的豎向堆垛、水平起伏和局部挖孔，實(shí)現(xiàn)了墻體、地面、頂棚、家具，乃至燈具設(shè)備安裝的一體化建造，形成了獨(dú)特的空間形態(tài)，很好地響應(yīng)了項(xiàng)目的功能需求。在威尼斯雙年展的泥作項(xiàng)目中，夯土技術(shù)與Zabur技術(shù)對(duì)比并置，機(jī)械夯筑的墻面、地面規(guī)整嚴(yán)謹(jǐn)、直來(lái)直去，與場(chǎng)地中心手工塑造的空間雕塑的粗糲、曲線、自由的開口進(jìn)行對(duì)比，刻意而充分地展示了兩種建造技術(shù)的表現(xiàn)性。事實(shí)上，生土的建造方式遠(yuǎn)不止這兩種，但都是各自地域性的集中體現(xiàn)。

6 剖面/Section

7 最后一層泥作裝置的建造/Building up the final layers of the "pepita"

Comments

MU Jun:One hundred years' rapid development of modern building industry in response to the increasingly diversified construction requirements has culminated in an omnipotence as represented by modern industrial materials and technologies. This may have taken us away from the rich traditional construction technologies and techniques that have developed over millennia's experimentation and practice with local natural material resources. Objectively speaking, as the "omnipotent" reinforced concrete is flawed in its high energy consumption and pollution, any material has certain strengths and flaws in different aspects. However, the blind pursuit of "advanced, accurate, and cutting edge" science and technology has made people forget or even abandon our construction traditions and their inherent values, only because of their so called defects. The "Mud Works" and "Omicron Relaxing Spaces", designed and implemented under the leadership of Anna Heringer, bring us from the cold reinforced forest back to the construction tradition and wisdom that have crystallized over thousands of years. Touching them, savoring them, and we can feel from them a remotely intimate truthfulness and warmness, thus reflecting the significance of traditional values in a contemporary context. (Translated by SHANG Jin)

ZHANG Wen:Both the two projects use another earthen construction technique named "Zabur". Different from rammed earth, Zabur is shaped by hand without shuttering. With more water content, the well-stirred mud is can be easily shaped manually, and sometimes straw and other natural fiber is mixed. Zabur can build free and smooth curve shape depending on different material and techniques. In the project of Omicron Crossing Border & Relaxing Spaces, Zabur produces this advantage to the full. With vertical stacking, the level fluctuation and the local digging holes, the integrated construction of wall, floor, ceiling, furniture, equipment and lamps installation makes a unique form in response to the functional needs of the project perfectly. In Venice Biennale, cob and rammed earth are positioned together, the mechanical rammed walls and ground are straight, regular and rigorous, comparing with the manually created cob space sculpture in the center, which is curve, rough and with free openings. This display deliberately and fully demonstrate the performance of the two kinds of construction technique. In fact, there are more than these two earthen construction techniques which all embodied their region features.

Mud Works, Venice, Italy, 2016

Concept Design: Anna Heringer, Martin Rauch, Andres Lepik