對結(jié)構(gòu)與建筑材料的態(tài)度
——關(guān)于瑞士格勞賓登州的新一代建筑師

丹尼爾·瓦爾澤/Daniel A. Walser

尚晉 譯/Translated by SHANG Jin

建筑師在設(shè)計(jì)建筑的過程中仍能把控的是什么？建造過程的工業(yè)化、預(yù)制技術(shù)、不熟練的工人，以及由投資人驅(qū)動(dòng)的建筑產(chǎn)業(yè)都帶來了嚴(yán)格的限制。因?yàn)橥顿Y人似乎不再相信有好的建筑，其他行業(yè)既為建筑師創(chuàng)造了可能性，但同時(shí)又約束了他們。

山區(qū)經(jīng)濟(jì)資源有限、距離遙遠(yuǎn)，尤其需要特別的方法來維持生活。新一代建筑師為解決這些問題開辟了各具特色的道路。其核心是一種態(tài)度：建筑，是解決由結(jié)構(gòu)所界定的空間組織問題的工具。建筑師將作品植根于形成其建筑和實(shí)踐的文化中——位于山區(qū)的環(huán)境里。這里延續(xù)了手工藝和與建造材料特性相關(guān)的常識(shí)，以此能夠充分利用建筑材料，并有針對性地發(fā)揮由空間限定的結(jié)構(gòu)工程設(shè)計(jì)。本文將介紹3種不同的設(shè)計(jì)方法。

概念設(shè)計(jì)方法

本文呈現(xiàn)的建筑態(tài)度是與建筑相聯(lián)系的方法。新一代建筑師關(guān)注的是今天作為建筑師進(jìn)行設(shè)計(jì)和建造的普遍方法。這就是為何地段不僅在格勞賓登州地區(qū)當(dāng)?shù)厥侵匾?，而且在具體的位置和時(shí)代品位之外還有諸多普遍性的主題。這種方法是非常概念性的。當(dāng)然，不同方法之間的界限在設(shè)計(jì)過程中沒有那么多樣化，并且在很大程度上與建造的樂趣有關(guān)。建造對社會(huì)是有影響的、關(guān)系密切的，并具有更大的意義。

對于瑞士的新興事務(wù)所，尤為重要的一個(gè)問題是公共建筑競賽。對他們而言，這種競賽對拓寬事務(wù)所的發(fā)展道路有很大幫助。像安德烈亞斯·利什（1927-1990）這樣的上一代建筑師幾乎建造了40所學(xué)校。他的事務(wù)所連續(xù)地承接公共項(xiàng)目。像彼得·卒姆托、瓦勒里歐·奧加提、云林和哈格曼事務(wù)所、伯思和德普拉塞事務(wù)所這樣的新一代建筑師都是從公共學(xué)校建筑開始開拓自己事業(yè)的。盡管需要建造的學(xué)校越來越少，但學(xué)校系統(tǒng)的改革帶來了新的工作，這些建筑師能通過公共項(xiàng)目將自己的工作室發(fā)展起來。首先就是大型委托項(xiàng)目。其中一個(gè)很重要的因素就是州建設(shè)部主任埃里克·班迪（1976-2002年在任）。他不僅關(guān)心公共建筑是否以最佳的方式建成，而且大力支持青年建筑師參加建筑競賽。時(shí)至今日，基礎(chǔ)設(shè)施已經(jīng)建成，需要的是大量翻新。它們的建設(shè)請了更廣泛的建造商和有特定知識(shí)的建筑師參加。這就讓新興的事務(wù)所很難贏得競賽。而在過去只有本地的事務(wù)所可以參加州級(jí)建筑競賽。如今，世界貿(mào)易組織/《關(guān)稅貿(mào)易總協(xié)定》讓競賽面向國際參賽者開放。為了完成預(yù)選，州政府通過提高資質(zhì)要求將參賽者減少到了可控的人數(shù)。這樣，科琳娜·梅恩或安杰拉·多伊貝爾就需要在其他州參賽。今天的建筑手法不能是形式化的，而需要一種概念化的態(tài)度。這就是為什么拉斐爾·祖博爾可以在日本同奧斯陸建筑設(shè)計(jì)學(xué)院的學(xué)生設(shè)計(jì)出“顛倒住宅”，以及科琳娜·梅恩能在圣加侖建成她的辦公樓。

上一代建筑師的影響

瑞士新一代建筑師的境況和過去是截然不同的。青年建筑師要從邊緣領(lǐng)域起步。在建筑行業(yè)，格勞賓登州是匯集了彼得·卒姆托、瓦勒里歐·奧加提以及伯思和德普拉塞事務(wù)所等世界知名的頂級(jí)建筑師的中心。以彼得·卒姆托為代表的老一代非常重視展開關(guān)于公眾認(rèn)可建筑的討論。他們還成立了“格勞賓登州工匠協(xié)會(huì)”（1978年），評選當(dāng)?shù)刈罱艹鼋ㄖ摹案駝谫e登州優(yōu)秀建筑獎(jiǎng)”（1987、1994、2001、2013、2017年舉辦），并出版了城市規(guī)劃研究的成果（彼得·卒姆托關(guān)于維科索普拉諾的研究[1]和對現(xiàn)存村落弗林[2]和卡斯塔塞尼亞[3]的調(diào)查（均在格勞賓登州古跡保護(hù)部的指導(dǎo)下由彼得·卒姆托完成）。該項(xiàng)行動(dòng)得到了私人基金會(huì)“格勞賓登州家園保護(hù)基金會(huì)”的支持。這個(gè)當(dāng)?shù)亟M織致力于保護(hù)建筑遺產(chǎn)，并與格勞賓登州空間規(guī)劃學(xué)會(huì)（BVR）共同支持研究項(xiàng)目。這場1970-1980年代的行動(dòng)著眼于發(fā)展山谷中的村鎮(zhèn)，并為它們創(chuàng)造生存的機(jī)會(huì)。他們并不認(rèn)同現(xiàn)代主義讓一切煥然一新的觀點(diǎn)，并抵制現(xiàn)在的商業(yè)化建筑投機(jī)。他們倡導(dǎo)的一個(gè)基本要素是純粹性和當(dāng)?shù)貍鹘y(tǒng)建筑的非凡品質(zhì)，以及村鎮(zhèn)的空間特性和潛力。卒姆托工作室仍發(fā)揮著舉足輕重的作用，即使他已不在格勞賓登州設(shè)計(jì)建筑。但很多國際青年建筑師都在他的工作室里，創(chuàng)作雄偉的建筑。

伯思和德普拉塞事務(wù)所、云林和哈格曼事務(wù)所，以及康拉丁·克拉沃特等新一代建筑師是從另一種態(tài)度出發(fā)的。一方面，他們更注重以建造和視覺相似性為基礎(chǔ)的具體建筑關(guān)系。他們大多數(shù)都受過蘇黎世聯(lián)邦理工學(xué)院的米羅斯拉夫·?？ㄌ氐挠?xùn)練（被稱為“類推建筑”運(yùn)動(dòng)），后來又在彼得·卒姆托的建筑事務(wù)所工作。1990年代初以來，這一代建筑師以結(jié)合現(xiàn)有文脈、特色鮮明的建筑影響了建筑的發(fā)展軌跡。

今天，除彼得·卒姆托之外還有兩個(gè)最具影響力的人：吉翁·卡米納達(dá)和瓦勒里歐·奧加提。他們或許是影響最大的建筑師?？准{達(dá)的作品非常關(guān)注地區(qū)建筑的多樣性，并將處在邊緣的聚落視為建筑發(fā)展的潛力。通過在弗林進(jìn)行的干預(yù)和建設(shè)，他證明了一般建筑對當(dāng)?shù)厣鐣?huì)的影響力和重要性，以及基于本地的建筑創(chuàng)作和手工藝的經(jīng)濟(jì)效用。

另一方面，瓦勒里歐·奧加提的側(cè)重點(diǎn)在于建筑的理念和清晰性，以及建筑思想和建筑表達(dá)的力量。他對自身表達(dá)精確而非只從功能出發(fā)的獨(dú)特建筑更感興趣。他不在意同文脈的形式化關(guān)聯(lián)。他能夠理解日本建筑師筱原一男的思想：不同于阿爾多·羅西的觀點(diǎn)，建筑文脈不再是至關(guān)重要的。

作為公共價(jià)值的建筑

如今，對于新一代建筑師，潮流已然改變，因?yàn)樾蝿菀呀穹俏舯?。人們再也不能通過當(dāng)?shù)馗傎惤⑵鹱约旱慕ㄖぷ魇?，而趨勢愈發(fā)多樣化。原因在于培養(yǎng)建筑師的建筑學(xué)校越來越多樣化，而新的趨勢更加關(guān)注不同的方法。

新一代建筑師不相信圖形或簡化理論方法的作用。他們高度質(zhì)疑既有的建筑潮流，因?yàn)樗嗟厥欠挠行У姆晒芾碇贫?，而不是探索建筑?huì)給社會(huì)帶來的可能性。這些建筑師把建筑當(dāng)作一種研究，并相信建造方案能對社會(huì)產(chǎn)生影響。正如戈迪安·布盧門塔爾在一次討論中所說的：“我們真正能做的就是：我們可以建造?！边@主要表達(dá)的是一種觀念，依靠建筑、材料和建造，我們就能在設(shè)計(jì)、塑造形體以及后來使用建筑和它改變大眾日常生活的過程中影響社會(huì)。

大多數(shù)事務(wù)所不會(huì)承擔(dān)很多公共項(xiàng)目。主要的項(xiàng)目都是私人委托，甚至是自發(fā)的行動(dòng)，比如戈迪安·布盧門塔爾和拉蒙·卡保羅設(shè)計(jì)的伊蘭茨“希爾普拉茨電影院”（2010），或者揚(yáng)·貝爾尼和耶奧格·克朗恩布爾設(shè)計(jì)的斯魯恩“灰石”體育場（2015）。從一個(gè)社會(huì)關(guān)注點(diǎn)出發(fā)，希望對公共生活產(chǎn)生影響的自發(fā)項(xiàng)目在邊緣地區(qū)能夠?qū)崿F(xiàn)創(chuàng)新是至關(guān)重要的。當(dāng)然，像吉翁·卡米納達(dá)或彼得·卒姆托這樣的建筑師對于這種項(xiàng)目是舉足輕重的。吉翁·卡米納達(dá)致力于弗林的發(fā)展，用建筑來支撐和鞏固當(dāng)?shù)亟?jīng)濟(jì)；而彼得·卒姆托則用他的理念：現(xiàn)存的村鎮(zhèn)各有特色。

瓦倫達(dá)斯是一座衰敗的小鎮(zhèn)，幾十年來已是人去屋空。經(jīng)過多項(xiàng)研究，建筑師為這座衰落的村鎮(zhèn)描繪了新的未來。建筑師卡保羅和布盧門塔爾發(fā)揮了特別的作用，他們進(jìn)行了初步研究，探索如何通過重新激活村鎮(zhèn)中心的4座建筑使它復(fù)興。今天的瓦倫達(dá)斯獲得了新的愿景，人們也在不斷回歸。其中的一個(gè)結(jié)果就是特雷胡斯的最終設(shè)計(jì)，這個(gè)全面的復(fù)原方案將盡可能保留原有建筑的主體，并讓新的建筑提供今天所需的一切舒適條件。

What are architects still able to control when they design buildings? The industrialisation of the building process, prefabrication, unskilled labour and an investor driven building industry sets tight limits. Other professions contribute and limit the possibilities of architects because investors do not believe in good architecture anymore.

Especially in mountainous regions, where financial resources are limited and distances are long, specific methodological solutions can make life possible. A younger generation of architects have developed their specific way to approach to the tasks. It is about an attitude towards architecture as a tool, to solve spatial and organisational problems defined by structure. The architects have their work rooted in a building culture where they originate and have their offices: in a mountain setting. Here handcraft is still available and a direct common sense relation to materiality of construction,making efficient use of building materials and specified use of spatial defined structural engineering. One can find three different methodological approaches.

Conceptual design approaches

The presented architecture attitudes are connectional approaches towards architecture. The younger architects are interested in a more general approach how today one can design and build as an architect. That's why the positions are not just useful locally in the area of Grisons but have general themes independent from a specific site and the design taste of a specific time. The approach is a very conceptual one. Of course the borders between the different approaches are less diverse in the design process and have much to do with the pleasure to build and to build buildings, which have an impact on society, are relevant and have a larger meaning.

A very important issue especially for young offices in Switzerland are public architectural competitions. For them such competitions are an important help to start their offices. Older generations like Andres Liesch (1927-1990) were able to build almost 40 schools. His office contiguously had public work. Later generations like Peter Zumthor, Valerio Olgiati, Jüngling and Hagmann,Bearth and Deplazes started their own careers with building public school buildings. Fewer schools were needed but the reorganisation of the school system still gave work to do. The architects were able to build up their studios with public work. These were first large commissions. A very important factor was Erich Bandi,the head of the cantonal building department (1976-2002). He was not just interested that public buildings are done with the best solutions. He was a big supporter of young architects in architecture completions.Today the infrastructure is built and there are large renovations needed. In these completions more general constructers and architects with specific knowledge are asked to participate. This makes it difficult for younger offices to win a competition. And previously in the cantonal architecture competitions only local offices could participate. Today, with the international WTO/GATT contracts competitions need to be open for international participants. To be able to do a preselection the canton reduces the participants to a manageable number by raising the qualification needed.Therefore Corinna Menn or Angela Deuber needed to win their competition projects in other cantons. Today the architecture approach can't be formalistic but needs a conceptual attitude. That's why Raphael Zuber can design the Inverted House in Japan with his students from Architecture Faculty AHO in Oslo or Corinna Menn can build her office building in St. Gallen.

The influences of older generations

The situation for younger architects in Switzerland has changed completely. Younger architects start their career in peripheral areas. In architecture the canton Grisons is a centre with extremely good and world-wide recognised architects as Peter Zumthor,Valerio Olgiati or Bearth and Deplazes. The older generations as Peter Zumthor and others were very much involved in opening up discussion for a pubic recognising architecture. They even founded the association the "Bündner Werkbund"(founded 1978), a local architecture prize for the best buildings in Grisons "Gutes Bauen in Graubünden" (held 1987, 1994, 2001, 2013, 2017) and published urban planning researches (Peter Zumthor on the Vicosoprano[1]) and inventories on existing villages like Vrin[2]or Castasegna[3](both by the preservation of historical monuments department of the canton of Grisons done by Peter Zumthor). The movement was supported by the private fondation "Bündner Heimatschutz", a local society which takes care of building heritage, and supports research projects together with the society for urban planners"Bündner Vereinfür Raumplanung" BVR. It was a movement in the 1970s and 1980s with tremendous interest in developing the towns in the valleys and give them a chance to exist. They did not believe in the modernistic idea that everything should be new and fought against the existing economic building speculation. A basic element was the purity and the excellent quality of the traditional local architecture and the spatial qualities and its potential of the towns. The studio of Zumthor is still important; even he does not build anymore in the Grisons. But a lot of young international architects work in his studio and develop ambitious architectural programmes.

The next generation as Bearth and Deplazes,Jüngling and Hagmann or Conradin Clavuot started with a bit a different attitude. On one hand they are much more interested in the specific relation of the building based on construction and a visual analogy.Most of them were trained by Miroslav ?ik at the ETH Zurich (a movement called "Analogic Architecture")and worked later at the architecture office of Peter Zumthor. This generation influenced the architecture discourse since the beginning of the 1990s with strong buildings, which are related to the existing context.

Today two other figures who are besides Peter Zumthor most influential: Gion A. Caminda and Valerio Olgiati. They might be the architects with the largest influence. Caminda focuses in his work very much on regional architecture diversity and sees the peripheral settlements as a potential for architecture. With his interventions and buildings in Vrin he was able to prove the power and the importance of normal architecture for a local society and the economical aspects of a local based architecture production and handcraft.

1 Domat/Ems二層平面，拉斐爾·祖博爾于2016年設(shè)計(jì)，一種空間設(shè)計(jì)方法已經(jīng)建立。餐廳，起居室及設(shè)置有4個(gè)不同空間的露臺(tái)/1st floor plan, Raphael Zuber, housing estate Domat/Ems (2016). A spatial design approach now built.Eating room, living room and a terrace with four different spaces.

2 位于庫爾的博申古特居住區(qū)（2018）項(xiàng)目模型，梅恩·杜里·阿爾昆特設(shè)計(jì)，項(xiàng)目中心是一個(gè)開放的公共空間/Men Duri Arquint, Model of the B?schengu estate in Chur (2018)with the public open space in the centre.（攝影/Photo: Daniel Rohner）

總的來看，新一代建筑師有很多不同的設(shè)計(jì)方法：建筑類型的、概念性的和地方性（地域性）的。這些不同的方面不能總是區(qū)分開來，許多建筑師甚至?xí)鶕?jù)承擔(dān)的項(xiàng)目采用不同的創(chuàng)作方法。

地域性方法

建筑師梅恩·杜里·阿爾昆特和科琳娜·梅恩在探索中形成了一種清晰的當(dāng)代愿景和建筑樣式，而其基礎(chǔ)是開放思維的地域性方法。傳統(tǒng)住宅的建筑類型、工藝做法和優(yōu)美的細(xì)部是基本問題。對于阿爾昆特而言，建筑的地域性因素以及項(xiàng)目的空間本質(zhì)是至關(guān)重要的。格奧爾·尼克遜和塞琳娜·瓦爾德則更多地從概念性的角度出發(fā)，將建筑理念放在中心地位上。盡管如此，他們能將自己的理念融入各種建筑類型和現(xiàn)有建筑的復(fù)雜關(guān)系之中。

梅恩·杜里·阿爾昆特認(rèn)為更好的環(huán)境能改善我們的生活和環(huán)境。因此需要將建筑放在與場地和該地區(qū)特定建筑文化的關(guān)系中去。在作爾茲的混凝土楚迪之家（2012）中，他借鑒了當(dāng)?shù)氐淖≌愋?，并使它成為一個(gè)室內(nèi)的空間之光雕塑（本刊P26）。

在阿羅薩的施米特海尼住宅（2013）內(nèi)，他進(jìn)一步提升了空間的復(fù)雜性，用堅(jiān)實(shí)的地下室和木結(jié)構(gòu)將建筑包裹起來。憑借分層的組織方式，建筑師能夠用傳統(tǒng)的坡屋頂木住宅將建筑與環(huán)境結(jié)合在一起。

在庫爾的博申古特居住區(qū)（2013-2018），建筑師構(gòu)想出兩排緊密的住宅，中間有一條公共走道。由于中間的空場，這個(gè)建筑群讓人們想起了丹麥建筑師約恩·伍重和他的金戈住宅項(xiàng)目（1956-1958）；同時(shí)因?yàn)樽≌瑳]有花園，而是與空場直接相連，又呼應(yīng)著山區(qū)的傳統(tǒng)住宅。梅恩·杜里·阿爾昆特是相信城市主義的。他認(rèn)為室內(nèi)空間、建筑和城市之間是沒有差別的。它們總是相互聯(lián)系才會(huì)構(gòu)成一個(gè)完整的項(xiàng)目。在這個(gè)低層高密度項(xiàng)目中，地域發(fā)揮了主要作用。

建筑師科琳娜·梅恩自己的第一個(gè)項(xiàng)目是弗利姆斯附近的科恩觀景臺(tái)（2006）。這個(gè)頗具表現(xiàn)力、對環(huán)境十分敏感的建筑亭亭玉立，幾乎是飄浮在空中的。這是一種毫不張揚(yáng)、尊重大自然的手法，同時(shí)又給人一種不可思議的感受（本刊P64）。

On the other hand Valerio Olgiati focuses on the idea of architecture and the clearness and the power of an architecture thought and building statement. He is much more interested in a good singular building which is a precise statement to itself and not so much based just in its function. He is not interested in a formalistic relation with the context. He understands the Japanese architect Kazuo Shinohara: a position against Aldo Rossi, where the architectural context is no more important.

Architecture as a public value

Today, for a younger generation the discourse has changed, because the situation has changed radically. One can't build up its own architecture studio anymore with local competitions and the discourse gets more diverse because of more diverse architecture schools where architects are trained and discourse is more particular on different methods.

The younger architects do not believe in the power of images or simplified theoretical approaches.They are very much sceptical of the established architecture discourse because it follows more the roles of an efficient legal administration and less the possibility architecture could have for society. The architects see architecture as a research and they believe in the built solution as a possibility to have an impact in society. Or as Gordian Blumenthal said once in a discussion: "what we really can do is:we can build." It is mainly about a belief that with architecture, material and the making of architecture we can influence the society during the design process, the building of the volume and later in the use of the building and its public influence in our daily lives.

Most of the offices do not build much public work. Most of the works are private commissions or even own started initiatives like the cinema "Cinema Sil Plaz" in Ilanz by Godian Blumenthal and Ramun Capaul (2010) or the Arena "Crap Gries" at Schluein(2015) by Jan Berni and Georg Kr?henbühl. The phenomena of self developed projects with a social focus to have an impact in communal live are crucial to be innovative in peripheral regions. Of course architects as Gion A. Caminada or Peter Zumthor were essential for such projects. Gion A. Caminada undertook developments in Vrin, to support and strengthen local economy with architecture, or Peter Zumthor with his belief that the existing towns have qualities.

The example of Valendas, a small crumbling town where people moved away for decades. Based on several studies architects gave a declining village a new future. The architects Capaul & Blumenthal had a specific role as they did the first preliminary study how to redevelop a village by reactivating four central buildings in the core of the village. Valedas today got a new vision and people are moving back. One of the results is the final design of the Türalihuus, a radical restoration, where the existing building substance is kept as much as possible and the building offers all comfort we need today .

The younger architects in general have several different design approaches: a typological, a conceptual and a locality (territorial) approach. The different aspects can't always be separated and several architects even tend to work in different approaches depending on the project they work.

Territorial approach

The architects Men Duri Arquint and Corinna Menn explore and produce clear contemporary vision and version based on an open-minded territorial approach. Traditional house typologies, craftsmanship and good detailing are a basic issue. Especially for Arquint the territorial aspect of architecture and its spatial essence of a project are essential. Georg Nickisch and Selina Walder come more from a conceptual standpoint where the building idea is in the centre. Nevertheless they are able to transfer their idea in a complex relation with typologies and existing structures.

Men Duri Arquint believes that a better environment can contribute to our life and environment. So a building needs to stand in relation to its site and the specific building culture of the area. In the house Tschudi in Zuoz (2012), which is built in concrete,he refers to the local housing type of the area. But still he modifies it to an inner, spatial light sculpture(page26).

In the house Schmidheiny in Arosa (2013) he even goes further in his spatial complexity by using a solid basement and a wooden structure covering the building. With its split level organisation the architect is able to connect the building within the surrounding with its wooden traditional pitched roof house.

In the settlement B?schengut in Chur (2013-2018) the architect envisions two rows of solid constructed houses with a public corridor in the middle. With its open field in the middle the complex remind us of the Danish Architect J?rn Utzon and his Kingo housing (1956-58) project, but refers as well to traditional houses in mountain areas when the house has no garden but is directly connected to the fields. Men Duri Arquint believes in urbanism. He sees no difference between interior, architecture and urbanism. It is always interlinked to give a whole of a project. It is a low-rise high-density project, where the territory plays the main role.

The architect Corinna Menn built it as a first own project a viewpoint at Conn, close to Flims(2006). The expressive and very sensitive integrated construction almost doesn't touch the ground. It is a very unspectacular and respectful way, how to approach nature and still have an incredible sensation(page64).

In the dormitory for disabled "Scalottas" in Scharans (2006), she designed each central large room of the accommodation unit with an inner kind of pitched roof. This design follows the forces in each ceiling and stands in relation to the expression of the connecting corridors in old, traditional bourgeoisie houses.

In her project of the office building in St. Gallen(2014-2017), she only developed a precise building structure to provide open spaces for the client. The structure is thus totally moved to the facade and is specifically set for each floor and gets smaller in its size as the less weight it has to take on each floor. On the top floor a restaurant is located. Here the roof was spanned to the smaller side of the house where she has the firewalls.

Georg Nickisch and Selina Walder are more interested in the idea of a project. But in their Refugi Lieptgas in Flims (2013) they developed an architecture, which loses completely the existinghay barn but forever very single piece of wood of the barn leaves its signs in the concrete. The material wood is transferred to the material concrete as one changes as well the use of the building. This change is an almost classical Greek transformation from wood construction to a more solid stone construction(page38).

沙蘭斯的“斯卡洛塔斯”（2006）是一所殘疾人公寓。建筑師在公寓單元中心的每個(gè)大房間里都設(shè)計(jì)了一個(gè)室內(nèi)坡屋頂。這個(gè)設(shè)計(jì)符合了每個(gè)天花板中的作用力，并與傳統(tǒng)中產(chǎn)住宅通道的形式表達(dá)保持了關(guān)系。

在她的圣加侖辦公樓項(xiàng)目中（2014-2017），她只設(shè)計(jì)了一個(gè)為業(yè)主提供開放空間的精確結(jié)構(gòu)。因此，這個(gè)結(jié)構(gòu)完全移到了立面上，并針對每個(gè)樓層進(jìn)行了特別設(shè)計(jì)，隨著每層荷載的減少而縮小。頂層上是餐廳。屋頂在這里跨到了住宅有防火墻的較小一側(cè)。

格奧爾·尼克遜和塞琳娜·瓦爾德更感興趣的是項(xiàng)目的理念。弗利姆斯的雷普格斯度假屋項(xiàng)目徹底拆除了原有的谷倉，但倉房的每塊木料都在混凝土上留下了永久的印記。木材被轉(zhuǎn)移到混凝土材料上，建筑的功能也隨之改變。這種變化恰如希臘古典建筑從木結(jié)構(gòu)演變?yōu)楦鼒?jiān)固的石建筑的過程（本刊P38）。

維亞馬拉峽谷是一處壯觀的山丘地貌。難怪100多年前旅游業(yè)要將山谷的底部打通。建筑師伊凡諾·伊塞皮和斯蒂芬·庫拉斯在這里建造了一座游客中心（2014），作為這個(gè)壯美景觀的入口。他們是順向思維的建筑師，所以也是合適的建筑師，能讓人在山谷入口的要沖之地品味咖啡（本刊P44）。

設(shè)計(jì)理念的概念性方法

拉斐爾·祖博爾和建筑師安杰拉·多伊貝爾利用視覺結(jié)構(gòu)來控制建筑，并實(shí)現(xiàn)大跨度，形成清晰的特質(zhì)。建筑師瓦勒里歐·奧加提被認(rèn)為是建立這種方法的重要人物。構(gòu)成這個(gè)理念的已不再是支撐項(xiàng)目的文脈和文化或形式關(guān)系，而更多的是項(xiàng)目的內(nèi)在理念。那么筱原一男成為路易·康之外的一個(gè)主要靈感來源便無足為奇了。

建筑師拉斐爾·祖博爾在阿爾卑斯山南側(cè)的意大利語區(qū)格羅諾建造了他的學(xué)校和幼兒園（2011）。這個(gè)當(dāng)代學(xué)校建筑的宣言與安德烈亞·帕拉迪奧及其他意大利建筑師的作品是一脈相承的。這座建筑是與結(jié)構(gòu)工程師帕特里克·加特曼共同設(shè)計(jì)的，在打開建筑空間之后符合了抗震的規(guī)范（本刊 P52）。

“顛倒住宅”是一個(gè)絕好的例子，它表明建筑不需要針對某個(gè)特定地區(qū)，而是一種通行的手法。抽象的設(shè)計(jì)方法不再以圖形、建筑類型或當(dāng)?shù)亟ㄔ旆椒橹行?，轉(zhuǎn)而關(guān)注材料的使用、建造和空間。它們與場地和建筑所在的文化有關(guān)。這完全不是一種形式化的手法，而是綜合了方方面面的和諧整體（本刊P56）。

塔爾校舍及幼兒園項(xiàng)目（2014），建筑師安杰拉·多伊貝爾設(shè)計(jì)了內(nèi)部和外部的結(jié)構(gòu)，而它們構(gòu)成了建筑的空間界限。這就像一個(gè)框架，其中的每個(gè)元素都相互依賴。在這里，建筑沒有模仿周圍的坡屋頂，而是給小鎮(zhèn)創(chuàng)造了一個(gè)中心，就像路易·康用他的建筑營造出來的效果（本刊P60）。

3 拉蒙·卡保羅和戈迪安·布盧門塔爾設(shè)計(jì)的希爾普拉茨電影院，2009-2010。該電影院作為一個(gè)社會(huì)空間，具有放映電影、舉辦音樂會(huì)和演講的功能。建筑師在外向性的環(huán)境中創(chuàng)造了一個(gè)極為重要的交流中心。/Cinema Sil Plaz, Ilanz, 2009-2010, architects Ramun Capaul and Gordian Blumenthal. The cinema functions as a social space and shows movies, concerts and lectures. The project was initiated by the architects and creates an important centre for exchange in a peripheral situation.（攝影/Photo: Laura Egger）

地方性與建筑類型的方法

拉蒙·卡保羅與戈迪安·布盧門塔爾和米夏埃爾·海米的復(fù)原工程和新建筑表明，他們關(guān)注的是偏遠(yuǎn)地區(qū)的地方性問題和特定的建筑條件。當(dāng)?shù)亟ㄖ愋偷倪\(yùn)用、材料和精確的空間構(gòu)成是關(guān)鍵內(nèi)容。他們在伊蘭茨完成了自己的電影院和大型超市等項(xiàng)目，從而推動(dòng)他們所在的社會(huì)進(jìn)一步發(fā)展。當(dāng)然，他們以此贏得了新的項(xiàng)目，并堅(jiān)信建筑會(huì)給社會(huì)帶來重大影響。揚(yáng)·貝爾尼和耶奧格·克朗恩布爾在本文最年輕的建筑師之列。他們的方法很接地氣，因此對社會(huì)是有影響的。他們體現(xiàn)出彼得·卒姆托和吉翁·卡米納達(dá)的設(shè)計(jì)手法，但沒有那么教條。伊索·于翁德爾的態(tài)度不同于此，因?yàn)樗P(guān)注建筑形式在視覺和氛圍方面的潛力。

伊蘭茨的希爾普拉茨電影院（2010）是建筑師拉蒙·卡保羅和戈迪安·布盧門塔爾用夯土墻設(shè)計(jì)的簡潔的隔聲電影院。這個(gè)形體原來就有，但對于各種活動(dòng)來說，這座電影院的基礎(chǔ)設(shè)施不足，而且考慮到周圍的住宅就需要吸聲處理。利用當(dāng)?shù)氐恼惩?，他們請本地工人建造了一座簡潔的建筑。這是一個(gè)完美的項(xiàng)目實(shí)例，體現(xiàn)出事務(wù)所保持項(xiàng)目控制和組織項(xiàng)目的方法。

在瓦倫達(dá)斯的特雷胡斯的全面翻新中（2015），這兩位建筑師挑戰(zhàn)了業(yè)主出租建筑用于度假的舊觀念。這座房子已經(jīng)閑置了大約70年，成了群山中消亡村落的墓碑。建筑師為它增加了今天生活所需的條件，然后進(jìn)行了清潔，保留了原狀。由于資金不足只能進(jìn)行基本風(fēng)格的翻新，而事實(shí)證明效果不錯(cuò)，滿足了周末度假的基本需要（本刊P70）。

位于達(dá)沃斯山腳下“有小餐廳的游泳屋”（2015）以詩意的方式給原有的池塘注入了新的活力。建筑師卡保羅和布盧門塔爾以現(xiàn)代的思路重新詮釋了傳統(tǒng)的木建筑。它是將抽象設(shè)計(jì)手法與鄉(xiāng)村建造方法合二為一的杰作。他們籍此為當(dāng)代建筑賦予了建筑文化富有活力的新意義（本刊P76）。

倫布賴恩的毛斯住宅改造（2010）對于度假的功能來說是簡單而直接的。建筑師米夏埃爾·海米決定不把基礎(chǔ)設(shè)施提升到當(dāng)代水平，而是根據(jù)需要進(jìn)行調(diào)整。例如，在寒冷的天氣，窗戶關(guān)閉時(shí)會(huì)增加窗簾，從而形成額外的保溫層。

The Viamala gorge is an impressive mountain formation. No wonder more than 100 years ago tourism made the basement of the gorge accessible.The architects Ivano Iseppi and Stefan Kurath were able to construct a visiting centre (2014) as the entrance of the spectacular site. They are straightforward thinking architects and therefore the right architects for a solution that gives the possibility to have a coffee at a great place, which gives access as the entrance of the gorge (page44).

Conceptual approach of the idea

Raphael Zuber and the architect Angela Deuber use visual structure to control building, and to open large spanning, to be able to create a clear essence. The architect Valerio Olgiati can be seen as an important figure in the formation of this approach. It is not anymore the context and its cultural or formal relations which frame the project, it is much more the inner idea of a project, which forms the idea. No wonder Kazuo Shinohara is beside Louis Kahn a leading inspiration.

The architect Raphael Zuber built with his schoolhouse and kindergarten in Grono, which is on the southern, Italian speaking side of the Alps (2011)a manifesto of a contemporary school building, which is in direct relation with the architecture of Andrea Palladio and other Italian architects. The structure itself was developed together with the structural engineer Patrick Gartmann to open up the building,thus be able react to earthquake regulations (page52).

The "Inverted House" is a perfect example where the architecture is not focused to a specific area but a possible approach. The abstract design approach does not focus anymore on images, typologies or local construction methods but on the use of material,construction and space, which stands in relation to the site and the culture the building is built. It is not at all a formal approach but a virtuous integration of all aspects (page56).

In the schoolhouse and kindergarten at BuchenThal (2014) the architect Angela Deuber developed an inner and an outer structure, which form the spatial limits of the building. It is like a skeleton and each element depends on the other. Here the building does not want to imitate the pitched roof surrounding but gives the town a centre, as Luis Kahn was able to give with his buildings (page60).

Locality and typological approach

The restorations and new buildings done by Ramun Capaul & Gordian Blumenthal and Michael Hemmi show that they occupy themselves with local questions in remote locations and its specific building conditions. The use of the local typologies,material and the precise formulation of space are key themes.They create some of their own projects like the cinema or a large supermarket in Ilanz to further develop the society where they live. Of course they get new projects that way but have an important belief in a strong impact that architecture can have for a society, Jan Berni and Georg Kr?henbühl are one of the youngest architects presented here. Their approach is very down to earth and consequent to have an impact in society. They reflect the design approaches of Peter Zumthor and Gion A. Caminada but are less dogmatic. Iso Huonder has a different attitude because he is more interested in the visual and atmospheric potential of architecture forms.

In the Cinema Sil Plaz, Ilanz (2010) the architects Ramun Capaul and Gordian Blumenthal designed a simple, soundproof cinema space with rammed earth walls. The volume already existed, but for events the cinema lacked infrastructure and the neighbour in the house needed sound absorption. By using local clay they were able to build a simple construction with local workers. That's a perfect example of a project, which is a method to keep the control of a project and to organise projects for their office.

In the radical renovation of the Türalihuus in Valendas (2015) the two architects challenged the way architecture still is accepted by clients to rent for holidays. The house stood empty for about 70 years.It stood there as a monument of the dying village in the middle of the mountains. The architects added to the building what was needed for today's quality of living and just cleaned and conserved what was there. The lack of money helped to do a basic style renovation, which proved effective – as the essential basics needed for weekend stay (page70).

The swimming house with small restaurant in Davos Munts Vattiz, (2015) are a poetical reactivation of the existing pond. The architects Capaul &Blumenthal were able to rethink the traditional timber construction in a modern way. It is a masterful way of bringing together an abstract design approach with the rural construction methods. So they give building culture a vividly new meaning for architecture today (page76).

The remodelling of the house Chesa Maus at Lumbrein (2010) is simple and direct for holiday purpose. The architect Michael Hemmi decided not to bring the infrastructure to contemporary standard but to adjust, what is needed. For example, when it is cold one closes the windows with extra curtains to get an extra layer of insulation.

The communal work place for the two villages R?züns and Bonaduz (2009-10) which Hemmi designed together with Michele Vasella, and Norbert Mathis is a traditional wood construction called Strickbau but not horizontal but vertical. The poetry of the structure lies in the consequent thinking and the reduction of the design elements. That's why it seems to be a very modern architecture and still as much to do with the local history (page80).

The Raiffeisen Arena "Crap Gries" in Schluein(2015) by Jan Berni and Georg Kr?henbühl show not just the poetry of architecture but also the possibilities, which a construction can have, when it opens new economical and social possibilities for the town. It is not just a building to play football - it is a motor for society (page92).

In addition to the modernisation of the camping Ogna in Trun (2016), the architect Iso Huonder shows his fascination for the visual aspects of architecture and the intellectual poetical relation architecture and a site can have. His camping buildings are very fictional but still work as a sign.The buildings are clear and very specific in their construction and expression (page86).

雷欽斯和博納杜茨這兩個(gè)村莊的公共工作空間（2009-2010）是海米與米歇爾·瓦塞拉和諾貝特·馬蒂斯共同設(shè)計(jì)的。它是對傳統(tǒng)“井干”木建筑的一種演繹，但不是水平向的，而是豎直向的。結(jié)構(gòu)的詩意蘊(yùn)含在生成的思想和設(shè)計(jì)元素的簡化之中。這就是為什么它看上去很像現(xiàn)代建筑，又與當(dāng)?shù)氐臍v史有莫大的淵源（本刊P80）。

揚(yáng)·貝爾尼和耶奧格·克朗恩布爾在斯魯恩設(shè)計(jì)的賴夫艾森“灰石”體育場（2015）在為小鎮(zhèn)帶來新的經(jīng)濟(jì)社會(huì)機(jī)遇時(shí)，不僅展現(xiàn)出建筑的詩意，還有建造帶來的多重可能。它不只是踢足球的地方，更是社會(huì)的一架引擎（本刊P92）。

在特倫的烏那營地現(xiàn)代化改造（2016）之外，建筑師伊索·于翁德爾表現(xiàn)出他對建筑視覺因素的癡迷，以及建筑和場地能夠具備的詩意關(guān)聯(lián)。他的營地建筑頗具幻想性，同時(shí)也是一種符號(hào)。這些建筑的建造和表達(dá)清晰而明確（本刊P86）。

4.5 文化之家是卡保羅及布盧門塔爾在2017年設(shè)計(jì)的項(xiàng)目。建筑師將兩個(gè)歷史地塊與新的用途連接起來，形成一個(gè)集展覽與就餐為一體的空間——包含了公共演講及活動(dòng)。對建筑師來說，通過在歷史結(jié)構(gòu)中創(chuàng)造出全新的空間品質(zhì)，從而謹(jǐn)慎地改變現(xiàn)有建筑材料是很重要的事情。在先前的改造項(xiàng)目中，其改造手法是精細(xì)地恢復(fù)歷史遺跡，而其后的項(xiàng)目，建筑師通過拆除建筑固有的舊地面和屋頂結(jié)構(gòu)，創(chuàng)造了一個(gè)適合展覽的全新空間，這種干預(yù)更為激進(jìn)/Project for a house of Culture "Obere Stube", Stein am Rhein (2017), Capaul & Blumenthal Architects. The house of culture is a complex project where the architects connect two historical plots with new uses: public lecture and event space, a space for exhibitions and restaurant.Important for the architects is the careful transformation of the existing building substance by creating new spatial qualities within the historical structures. In the front building the intervention is more subtle by restoring the historical substance while in the back building the intervention is more radical by removing the old floor and roof construction and creating a new space suitable for the new exhibition function.

作為本質(zhì)的結(jié)構(gòu)

結(jié)構(gòu)工程是各個(gè)事務(wù)所設(shè)計(jì)過程中舉足輕重的因素之一。工程師帕特里克·加特曼、瓦爾特·比勒、洛倫茨·科赫、安德利亞·佩德拉奇尼目前都是格勞賓登州推動(dòng)空間建筑結(jié)構(gòu)發(fā)展的關(guān)鍵人物。他們賦予了結(jié)構(gòu)工程一種特殊的意義和明確的態(tài)度。

可持續(xù)性

可持續(xù)性對于這些建筑師既不是目標(biāo)也不是時(shí)尚。它是處理社會(huì)、經(jīng)濟(jì)和生態(tài)問題，并將建筑置于社會(huì)中心的直接方案。這些建筑師運(yùn)用幾乎過時(shí)的設(shè)計(jì)手法將他們的建筑與今天的需求聯(lián)系起來。

拉蒙·卡保羅和戈迪安·布盧門塔爾通過利用當(dāng)?shù)夭牧?、建筑類型和本地社?huì)參與，有效地推動(dòng)了關(guān)于可持續(xù)性的討論。對手工藝和天然建筑材料的信任是創(chuàng)造明確而可持續(xù)的建筑的一大動(dòng)力。這種建筑能夠在當(dāng)?shù)亟ㄔ欤S持鄉(xiāng)村地區(qū)的經(jīng)濟(jì)，并無需提供短期方案的建筑專家支持。

建筑師伊凡諾·伊塞皮和斯蒂芬·庫拉斯用高速公路站（2008）創(chuàng)造出遠(yuǎn)離品牌形象的特殊建筑。他們在這里出售當(dāng)?shù)禺a(chǎn)品，并清楚這不是從別處來經(jīng)營的大公司，故而讓當(dāng)?shù)厝藖韰⑴c。這種匠心給了這座高速公路站一種土生土長的味道。

在圖西斯的維亞馬拉峽谷游客中心項(xiàng)目（2014）上，建筑師更進(jìn)一步，設(shè)計(jì)了一座頗為低調(diào)的建筑，并幫助投資人使這座建筑成為現(xiàn)實(shí)。這些建筑師在很大程度上參與了建筑的策劃和投資。

所有建筑師都參與了很多原有建筑的改造。我們可以看到像梅恩·杜里·阿爾昆特設(shè)計(jì)的阿爾德茨的諾特比塔爾府（2013）那樣壯觀的老建筑改造。它表明這些領(lǐng)域具備富有革新性和詩意的可能。原建筑主體的再利用和深入開發(fā)是更有意義的。

前世傳承下來的深厚積淀

所有這些思路都不是從天而降的。建筑師魯?shù)婪颉W加提（1910-1995）在現(xiàn)代與傳統(tǒng)建筑之間架起了一座橋梁。彼得·卒姆托等其他建筑師在1970年代推崇本地建筑。在對弗林和維科索普拉諾的建筑研究中，他形成了關(guān)于當(dāng)?shù)乜臻g特性的具體認(rèn)識(shí)，并清楚建筑和城市規(guī)劃能夠?qū)崿F(xiàn)的效果。

像吉翁·卡米納達(dá)這樣的建筑師有力地證明了社會(huì)參與能夠改變一個(gè)村莊，并使它適應(yīng)當(dāng)代的需要。他的目標(biāo)是突出每個(gè)村鎮(zhèn)的差異，讓它們獨(dú)一無二的特色更加鮮明。為了培養(yǎng)這種特別的思維，他走入鄉(xiāng)村社會(huì)，從這種共同發(fā)展中形成了自己的設(shè)計(jì)方案。

核心因素

對于這些建筑師，核心是將建筑提煉到真正的需求上；同時(shí)保持不失為有特定方案的突出設(shè)計(jì)。他們形成的核心理念是遠(yuǎn)離風(fēng)格化設(shè)計(jì)的態(tài)度的。這不是前人的教條，而是準(zhǔn)確、鮮明的方案，由結(jié)構(gòu)和材料特性構(gòu)成的建筑。

Structure as essence

Structural engineering is an essential aspect in the design process for all offices. The engineers Patrick Gartmann, Walter Bieler, Lorenz Kocheror, Andrea Pedrazzini are at present key figures in the development of spatial building structures in Graubünden. They give structural engineering a meaning and a clear attitude.

Sustainability

Sustainability is for these architects neither an aim nor a fashion. It is a direct solution dealing with social, economical and ecological questions to fit the architecture in the middle of the society. The architects use almost old-fashioned design approaches to connect their buildings with the demands of today.

Through their use of local material, typologies and local social involvement, Ramun Capaul and Gordian Blumenthal especially, are very much involved in a sustainability discussion. The trust in handcraft and natural building material is a driving force for a clear and sustainable architecture that can be locally produced, keeps the economy in such rural areas and does not need any support from building specialists with short time approaches.

The architects Ivano Iseppi and Stefan Kurath built with the motorway stop (2008) a specific building far away from branded images. Selling local products and taking care that it is not a big company from somewhere running the place but that locals are involved gives this motorway stop a specific,local touch.

In the Viamala Visiting centre project in Thus is(2014) the architects even go further by designing a very modest building and help the investors to able the building to actually be built. The architects were very much involved in the defining the programme and the financing structure.

All architects are very much involved in remodelling existing building structures. Because one can find such impressive and old architecture structures, remodelling buildings like the Fundaziun Not Vital by Men Duri Arquint in Ardez (2013) show that there areas well radical and poetic possibilities.The reuse and further development of existing building substance makes more sense.

建筑師梅恩·杜里·阿爾昆特在阿爾德茨主持設(shè)計(jì)的諾特比塔爾府修復(fù)項(xiàng)目，對格勞賓登的建筑師和城市規(guī)劃師來說，房屋更新和舊有建筑材料的復(fù)興及明確現(xiàn)有的城市狀況是一項(xiàng)重要的任務(wù)。/Renovation of the Fundaziun Not Vital in Ardez by the architect Men Duri Arquint, 2013. Renovations and revitalisations of old building substance and existing urban situations is an important task for architects and urban planners in Grisons.（攝影/Photo: Ralph Feiner）6

A strong basis by previous generations

All these strategies have not just fallen from heaven. The architect Rudolf Olgiati (1910-1995)bridged modern and traditional architecture. Other architects like or Peter Zumthor were in the 1970 extremely involved to develop a local architecture. In his architectural researches such as his study in Vrin or Vicosoprano he prepared a specific consciousness of the local spatial qualities and what one can achieve with architecture and urban planning.

Architects like Gion A. Caminada are important proof that with social involvement a village can change and adapt to today's needs. He aims to strengthen the differences of each town and village to make them even more unique. To develop such specific thinking,he involves the village society and from this mutual development he builds design solutions.

Essential

Essential for these architects is that the building

/Reference

[1] Zumthor, Peter. Vicosoprano. Entwicklung eines gestalterischen Grundgerüstes für eine Bauzone mit privaten Einfamilienh?usern am Dorfrand, Chur:Bündner Vereinigung für Raumplanung, 1980.

[2] Zumthor, Peter. Siedlungsinventar Graubünden.Vrin. Lugnez, Kantonale Denkmalpflege Graubünden,Chur, 1976.

[3] Zumthor, Peter. Siedlungs-Inventarisation in Graubünden. Aufgabenstellung und Methode des Bündner Siedlungsinventares mit Inventar Castasegna,Chur: Kantonale Denkmalpflege Graubünden, 1981.is reduced to what was really needed; yet a strong design with specific solutions remains. They develop an essence far away from stylish design attitudes. Not dogmatic as previous generations but precise and sharp with their solutions. Architecture formed by structure and materiality.