人物訪談

導(dǎo)報(bào)：在不同的建筑項(xiàng)目中，您如何控制建筑材料的使用呢？

曼尼斯：我會(huì)承諾盡可能使用天然材料，因?yàn)樗鼈兊念伾图y理可以讓建筑在視覺上融入自然環(huán)境，并且材料上與其所在的文化相契合。同時(shí)，我使用的是制造加工而成、在當(dāng)?shù)爻Ｓ玫牟牧?。比如，我在托倫的CKK Jordanki 音樂廳和國(guó)會(huì)大廳使用了混凝土和磚，因?yàn)槌水?dāng)?shù)刂圃斓幕炷镣?，磚是該地區(qū)另一種最常見的材料，在建筑物和歷史城市中心的立面上很常見。另外，在特內(nèi)里費(fèi)的Magma 文化與會(huì)議中心，我采用了島上的混凝土和火山石，因?yàn)樗鼈兪羌幽抢簫u中非常容易獲取的兩種材料。如果我要在中國(guó)進(jìn)行建造，我也會(huì)使用當(dāng)?shù)氐牟牧稀?/p>

這種物質(zhì)性的方法符合Km0 建筑的一個(gè)原則，我也算或多或少地堅(jiān)持了這一原則。據(jù)專家稱，建筑排放的二氧化碳約占總排放量的40%，其中大部分不是來自運(yùn)營(yíng)能源（開燈和空調(diào)所需的電力），而是來自建筑所需的能源。這種類型的能量消耗被稱為蘊(yùn)含能源，指在建筑材料和系統(tǒng)的生產(chǎn)和運(yùn)輸過程中產(chǎn)生的排放物。

如果我們渴望減少建筑的碳足跡，換句話說，如果我們想變得“綠色”，那就有必要對(duì)所有這些過程進(jìn)行深入研究，因?yàn)閮H僅配備節(jié)能技術(shù)或承諾節(jié)能的建筑（例如太陽(yáng)能電池板）還不夠，必須追蹤這項(xiàng)技術(shù)從制造、運(yùn)輸過程到多年來的維護(hù)過程、其再利用或循環(huán)利用的潛力及生物降解性等。換句話說，需要全面的數(shù)據(jù)來評(píng)估承諾減少的排放量是否抵消了大樓的排放量。這是非常復(fù)雜的，目前，沒有任何計(jì)劃、軟件和證書能夠保證達(dá)成這一目標(biāo)。從我所處的位置，一個(gè)幾乎是手工館大小的建筑工作室，我認(rèn)為，如果我能夠使用當(dāng)?shù)氐牟牧?、?dāng)?shù)氐墓竞凸そ?，那我就可以為環(huán)境和社會(huì)凝聚力做出一點(diǎn)貢獻(xiàn)。

除此之外，我們還努力再利用和回收所有可用材料。有時(shí)，我們會(huì)再利用整座建筑，比如拉奧羅塔瓦的Teobaldo Power 表演藝術(shù)廳的修復(fù)，或圣克魯斯-德特內(nèi)里費(fèi)的舊學(xué)校La Asunción 和Viera y Clavijo 公園的適應(yīng)性再利用，使其成為在歐洲的第二個(gè)總部，即未來的羅丹博物館?；蛘?，就像90 年代的El Tanque 文化空間一樣，把一個(gè)古老的石油儲(chǔ)藏地改造成了一個(gè)多用途的文化空間。在其他項(xiàng)目中，我們只再利用我們整合到新建筑中的元素或零件，從這個(gè)意義上說，加那利群島政府的總統(tǒng)府算是一個(gè)典范，其建筑的核心是一個(gè)古老的木質(zhì)天井；或是柏林施普雷河中的浮池，再利用并改造了一艘舊駁船；或是House MM，其構(gòu)筑物連接到一個(gè)中央樓梯，這一樓梯由圣克魯斯-德特內(nèi)里費(fèi)CEPSA 煉油廠的廢料制成；或是CKK Jordanki 音樂廳，這部分利用了廢棄的碎磚。

混凝土，在我們的建筑中非常常見，也是世界上使用最多的建筑材料之一，可能看起來不像是一種可持續(xù)的材料。然而，它是一種本土生產(chǎn)的材料，具有彈性、耐用、多用途等優(yōu)點(diǎn)，可作為骨料回收來生產(chǎn)新的混凝土，大大減少了排放，成為循環(huán)經(jīng)濟(jì)的一部分。近日，聯(lián)合國(guó)政府間氣候變化專家組指出，隨著時(shí)間的推移，混凝土建造的形式不斷改進(jìn)，目前在其生產(chǎn)過程中，能吸收高達(dá)50%的二氧化碳排放，因此它可以幫助改善生活環(huán)境（參考請(qǐng)見：https://www.ipcc.ch）。

導(dǎo)報(bào)：在建筑造型中，您的作品往往具有雕塑般的體量和邊緣。這與您的經(jīng)歷或當(dāng)?shù)匚幕嘘P(guān)嗎？

曼尼斯：在我的項(xiàng)目中，從環(huán)境、計(jì)劃和預(yù)算所需的合理性出發(fā)，我會(huì)自由使用幾何圖形?？朔?duì)稱性打開了新的方向，一方面，通過更接近自然界中更為典型的形式，或者，如您在問題中所說，增強(qiáng)某些雕塑屬性，表達(dá)的可能性得到擴(kuò)展。另一方面，技術(shù)上的可能性也得到了擴(kuò)展，在不妨礙項(xiàng)目富有表現(xiàn)力這一雄心的前提下能夠響應(yīng)復(fù)雜的計(jì)劃。我處理這種雙重張力的方式是使用可塑材料制成的模型，它具有靈活性，可以隨著信息和想法變化，在一個(gè)來回的過程中發(fā)展演變。為了解釋模型和項(xiàng)目之間的這種互動(dòng)關(guān)系，用CKK Jordanki 音樂廳和國(guó)會(huì)大廳作個(gè)例子，這也許是我迄今為止職業(yè)生涯中遇到的最復(fù)雜的例子，在大廳中，我們不僅通過模型和測(cè)量來定義聲學(xué)系統(tǒng)，還整合了物質(zhì)性和當(dāng)?shù)亟ㄔO(shè)性文化。

CKK Jordanki音樂廳的聲學(xué)設(shè)計(jì)要求空間具有靈活性，既可以作為Toruńska Orkiestra Symfoniczna 本部，也可以作為一個(gè)多用途的場(chǎng)地，用于舉辦各種類型的活動(dòng)，包括會(huì)議、大型音樂會(huì)、劇院和歌劇。為了滿足這些“雄心壯志”，可變聲學(xué)成為了主廳設(shè)計(jì)的重要部分，為了實(shí)現(xiàn)這一點(diǎn)，我自己和聲學(xué)工程師在之前工程中積累的經(jīng)驗(yàn)就派上了用場(chǎng)。然而，聲學(xué)是一門復(fù)雜的科學(xué)，它不僅需要知識(shí)和經(jīng)驗(yàn)，還需要先進(jìn)的技術(shù)工具才能達(dá)到預(yù)期的效果。在項(xiàng)目的初始階段，由于其內(nèi)表面覆蓋著鋁箔，我們通過分析激光束在大廳粘土模型中的反射來確定內(nèi)表面的形狀。這使我們能夠?qū)崟r(shí)對(duì)大廳進(jìn)行造型設(shè)計(jì)。后來，在設(shè)計(jì)開發(fā)過程中，我們使用了計(jì)算機(jī)3D 建模在迭代過程中對(duì)大廳的形狀進(jìn)行微調(diào)。在設(shè)計(jì)過程中，我們將逐步細(xì)化模型并進(jìn)行分析，直到對(duì)計(jì)算結(jié)果滿意為止。在此過程中，我們還使用了大廳的比例模型來分析具體情況。大廳內(nèi)表面高度不規(guī)則的幾何形狀確保了第一層的聲音擴(kuò)散，這些表面的形狀經(jīng)過精心制作，能夠最大限度地?cái)U(kuò)大環(huán)繞感。使用厚重的材料（混凝土和磚）能夠最大限度地減少低頻吸收，完整展現(xiàn)渾厚飽滿的低音。

并且，墻壁和天花板的粗糙紋理表面確保了第二層的聲音擴(kuò)散，且僅在高頻率（2kHz 及以上）才會(huì)發(fā)揮作用。這就是當(dāng)?shù)匚镔|(zhì)文化和建設(shè)性文化的來源。什么是“picado”？這是一種新的、經(jīng)過認(rèn)證的材料，將混凝土與其他材料混合，并在混凝土凝固后“鑿”其表面使其達(dá)到一定效果。添加材料的選擇取決于一些因素，如功能性和表現(xiàn)力、與當(dāng)?shù)亟ㄖ幕鹾匣颥F(xiàn)場(chǎng)材料的可用性。在加那利群島的總統(tǒng)府大樓（1999，特內(nèi)里費(fèi)島）中，我們?cè)囼?yàn)了紋理混凝土；但在Magma 文化和會(huì)議中心（2007，特內(nèi)里費(fèi)島），我們將混凝土與多孔火山石混合在一起，并切割了最終表面，從而在空間中實(shí)現(xiàn)了某種聲學(xué)效果，具有里程碑意義。我們完善了Jordanki 文化和會(huì)議中心（2015，波蘭）的工藝，將混凝土與紅磚混合在一起，紅磚廣泛應(yīng)用于托倫歷史中心的立面，以此來向這一遺產(chǎn)致敬。在這種情況下，在聲音反射和擴(kuò)散方面，高達(dá)3 到4 厘米的不規(guī)則塊狀混合物具有良好的聲學(xué)特性，適合在音樂廳使用。除此之外，我們通常使用與當(dāng)?shù)亟?jīng)濟(jì)相關(guān)的本土材料，而托倫的傳統(tǒng)材料是磚。這種質(zhì)地柔和了與堅(jiān)硬平坦表面的鏡面反射有關(guān)的刺耳聲音，使管弦樂隊(duì)的聲音圓潤(rùn)、流暢。

導(dǎo)報(bào)：您的作品被稱為“令人興奮的建筑，人們一眼就會(huì)愛上它”。那您覺得人們?yōu)槭裁磿?huì)對(duì)您的作品一見鐘情呢？您作品成功的秘訣是什么？

曼尼斯：在我看來，從廣義上理解，建筑要能夠改善生活。我們的目標(biāo)當(dāng)然是改善人類的生活，但絕不要與自然環(huán)境發(fā)生沖突。與地球的歷史相比，人類的歷史相對(duì)較短。在人類之前，幾乎存在著其他一切我們稱之為自然的東西。在人類殖民、建筑出現(xiàn)之前，它的原始狀態(tài)是什么樣的？處于社會(huì)當(dāng)中，該如何回應(yīng)我們現(xiàn)在的現(xiàn)狀和需要，而不必停留在當(dāng)前總是轉(zhuǎn)瞬即逝的時(shí)刻？怎樣能建造一座能夠適應(yīng)我們隨時(shí)間推移而不可避免地進(jìn)化的建筑？每當(dāng)我去受委托建造的新地方時(shí)，總會(huì)冒出這些想法，這是一種想象力的鍛煉。有了答案后，我試圖通過建筑恢復(fù)一種原始時(shí)間和地點(diǎn)的感覺，且同時(shí)仍然滿足當(dāng)前的計(jì)劃和預(yù)算要求，但會(huì)著眼于未來。

如果嘗試成功，其成果可以被稱為“永恒建筑”。首先，由此構(gòu)造的建筑或基礎(chǔ)設(shè)施會(huì)引發(fā)一場(chǎng)自然意外，以徹底、演進(jìn)的形式，構(gòu)筑物將更接近于自然界中發(fā)現(xiàn)的形態(tài)，而不是人類制造的形態(tài)中發(fā)現(xiàn)的形態(tài)。在我們通常生活的擬人化場(chǎng)景中，不管審美偏好如何，任何自然或類似的表現(xiàn)形式都是令人神往的?；蛟S這也解釋了最初迷戀的原因。

但是，我的目標(biāo)是在對(duì)項(xiàng)目有了更深入的了解后，將這種迷戀轉(zhuǎn)化為持久的熱情。出于這個(gè)原因，我把用戶和建筑之間的關(guān)系想象成一次初始旅程，在這段旅程中，通過不同的感覺來不斷打破界限：不同的紋理帶來出乎意料的觸感，控制自然光以創(chuàng)造戲劇性的效果，高空低空順序排列使加壓和減壓的感覺交替，空隙構(gòu)成視野框架并將視線引向景觀，環(huán)繞的音響效果，增加保護(hù)感的體量等。

另外，在理性方面，我追求具有高度適應(yīng)性的建筑：內(nèi)部結(jié)構(gòu)的某些不確定性為用戶（無論是個(gè)人還是集體）留下了足夠的自由，讓他們可以在現(xiàn)在或?qū)淼娜魏螘r(shí)候接管并使其成為自己的空間。同時(shí)，通過根據(jù)地形仔細(xì)開展工程、使用當(dāng)?shù)夭牧虾凸?、再利用和循環(huán)利用、被動(dòng)解決方案和易于維護(hù)性來努力提高建筑物的可持續(xù)性。

導(dǎo)報(bào)：在不同國(guó)家和城市進(jìn)行建筑創(chuàng)作之前，您對(duì)探索當(dāng)?shù)氐牡赜蛭幕袥]有自己獨(dú)特的想法？

曼尼斯：在我看來，建筑必須放在自然環(huán)境與人工環(huán)境里，想要破譯兩者之間已建立的編碼關(guān)系，研究地域文化是必要的一步。這就需要我們觀察當(dāng)?shù)氐泥l(xiāng)土建筑，研究其歷史，了解區(qū)域和當(dāng)?shù)亟?jīng)濟(jì)，揭示傳統(tǒng)上使用的技術(shù)、解決方案和材料，因?yàn)樗鼈兊挠行砸央S著時(shí)間的推移而得到證明。這是一項(xiàng)不斷積累的龐大學(xué)問，可以從當(dāng)前技術(shù)提供的視角來加以利用。

這種信念使我開始了Hatching 這個(gè)長(zhǎng)期研究項(xiàng)目，我們的小型創(chuàng)新部門正在開發(fā)，希望能夠?yàn)榭沙掷m(xù)生活這個(gè)辯題做出貢獻(xiàn)。Hatching 的研究方向之一是，在缺水的情況下能否生活。在沙漠和島嶼上，我們想要系統(tǒng)化和推動(dòng)的事情已經(jīng)有了直觀的實(shí)踐。例如，在杰里亞的蘭薩羅特島以及世界上其他干旱地區(qū)，農(nóng)民通過多孔火山巖吸收云中濕氣來對(duì)抗極端干旱。這種原始方法基于露點(diǎn)：露點(diǎn)溫度是空氣中所含的水蒸氣開始凝結(jié)并產(chǎn)生露、霧、云或霜的最低溫度。我們的研究受這一經(jīng)驗(yàn)的啟發(fā)，并想要升華這一原理，通過自然提供水和濕氣來創(chuàng)造沙漠中宜居的棲息地。

我設(shè)想了一個(gè)零能源浪費(fèi)的生命機(jī)器。我的目標(biāo)是證明一個(gè)建筑能夠通過輸送水來創(chuàng)造生命，而水以前完全是通過自然能量和形式變換從風(fēng)和云中提取的。1:1 原型建筑將是一個(gè)吸收性混凝土立方體。由于北風(fēng)的侵蝕，其北側(cè)多孔，因此潮濕的風(fēng)可由此進(jìn)入并在里面形成密集的“云”。這種冷凝會(huì)促使植被噴發(fā)式生長(zhǎng)，并促進(jìn)水循環(huán)。水也儲(chǔ)存在構(gòu)筑物的絕緣基礎(chǔ)中，以保持其溫度。基礎(chǔ)也起到了抵御低層暖風(fēng)的作用。而且，由于生命需要陽(yáng)光，南側(cè)將在避熱的同時(shí)實(shí)現(xiàn)采光。外圍的小氣孔和大開口是復(fù)雜的管道和腔室系統(tǒng)的入口及出口，通過這些管道和腔室可以實(shí)現(xiàn)通風(fēng)。

我認(rèn)為，無論何時(shí)建造一座新建筑，都必須能夠創(chuàng)新和確認(rèn)自己的身份，但始終要從擁有和使用它的社區(qū)認(rèn)可的角度出發(fā)。如果不是直接的公共空間或建筑，即使是最私人的住宅，通常也會(huì)有一個(gè)公共區(qū)域。建筑一旦建成就是無法回避的，每天都會(huì)看到它，都會(huì)與它互動(dòng)。因此在我看來，建筑除了帶有建筑師的個(gè)人標(biāo)志外，還應(yīng)該能夠代表當(dāng)?shù)匚幕@一點(diǎn)很重要。

導(dǎo)報(bào)：您認(rèn)為建筑之美應(yīng)該更注重直觀感受，還是需要加入一些理解才能領(lǐng)略到？

曼尼斯：我相信建筑之美在于為復(fù)雜的問題和需求給出技術(shù)上的創(chuàng)新答案，并以直觀智慧（即我們的感覺和感受）可以理解的形式表達(dá)。

導(dǎo)報(bào)：新建筑應(yīng)如何與周圍的建筑協(xié)調(diào)起來呢？您在建筑設(shè)計(jì)中是如何考慮周圍的建筑呢？

曼尼斯：建筑環(huán)境產(chǎn)生于社會(huì)又作為社會(huì)一種有形的、幾乎可量化的表現(xiàn)形式，我對(duì)它和對(duì)自然環(huán)境的關(guān)注度是一樣的。如果我想了解由我設(shè)計(jì)的建筑所在的社區(qū)，我不會(huì)忽視一直以來它占有這片居住地的方式。因此，在為該地設(shè)計(jì)項(xiàng)目時(shí)，我會(huì)考慮到當(dāng)前形勢(shì)及其演進(jìn)，以及我的發(fā)展，嘗試將該項(xiàng)目發(fā)展成為一種價(jià)值主張，響應(yīng)提高其所在城市結(jié)構(gòu)總體質(zhì)量的目標(biāo)。

因此，如果建筑場(chǎng)地位于一個(gè)混亂和分散的城市社區(qū)，我會(huì)盡量讓建筑成為中心參照點(diǎn)。Magma 藝術(shù)與會(huì)議中心以及Las Chumberas 的圣救世主教堂和社區(qū)中心就是如此：該項(xiàng)目位于特內(nèi)里費(fèi)島上圣克魯斯-德特內(nèi)里費(fèi)和拉古納之間的郊區(qū)。在這個(gè)名為L(zhǎng)as Chumberas的多邊形社區(qū)，住著670 戶家庭，由70 年代的42 個(gè)街區(qū)以及購(gòu)物中心和工業(yè)倉(cāng)庫(kù)組成。由于不穩(wěn)定和瓦解的城市結(jié)構(gòu)，在該地區(qū)居住著一群無權(quán)無勢(shì)的人。在此背景下，社區(qū)改造開始了，居民們?cè)O(shè)想未來的教堂和社區(qū)中心將成為改造的催化劑：目的是成為城市中心參照點(diǎn)。這座建筑以其巨大規(guī)模，幫助當(dāng)?shù)厣鐓^(qū)定義了一個(gè)新的身份，并為公眾注意到該社區(qū)的不穩(wěn)定性提供支持。該項(xiàng)目已被收錄進(jìn)紐約現(xiàn)代藝術(shù)博物館，證明了包括建筑師團(tuán)隊(duì)在內(nèi)的所有參與者在這方面所做的部分工作成果。

相反，如果要我設(shè)計(jì)的建筑場(chǎng)地位于一個(gè)正常運(yùn)行的穩(wěn)定環(huán)境中，也許在遺產(chǎn)中還有一定的歷史分量，此時(shí)我的干預(yù)措施就不再求改變順序，而是確定價(jià)值并識(shí)別它們，同時(shí)在視覺、規(guī)劃等層面豐富城市機(jī)理。CKK Jordanki 音樂廳就是這樣：其位于歷史悠久的市中心周圍的綠環(huán)內(nèi)，俯瞰著維斯瓦拉河。為了使新建筑在自然環(huán)境和建筑環(huán)境中顯得和諧，在設(shè)計(jì)體量的方向和高度時(shí)需要特別小心。因此，該建筑只占據(jù)了場(chǎng)地的一半，另一半則留作公園，并且高度盡可能低，以避免遮擋河上的景觀。所達(dá)到的視覺效果是一個(gè)自然物體，一塊臥于緩坡草甸上的天然巖石。它的存在并沒有掩蓋這座歷史名城的光輝，這是一座受聯(lián)合國(guó)教科文組織保護(hù)的城市，幾乎所有老城區(qū)的外墻都以紅磚裝飾。實(shí)際上，Jordanki CKK 音樂廳中使用的磚塊是對(duì)傳統(tǒng)磚塊的重新詮釋，是對(duì)托倫市外墻的引用，說到底是對(duì)其文化遺產(chǎn)的引用。

導(dǎo)報(bào)：您認(rèn)為建筑在場(chǎng)地中所扮演的是什么角色，是共同塑造了這種感覺的配角還是更重要的主角？

曼尼斯：建筑必須能夠創(chuàng)造一個(gè)原本沒有的空間，從而促進(jìn)社會(huì)凝聚力和進(jìn)化。然而，建筑的改造能力不僅取決于建筑師，還必須根據(jù)項(xiàng)目周圍的具體環(huán)境和象征性環(huán)境進(jìn)行校準(zhǔn)。如果沒有足夠的創(chuàng)造性規(guī)則，沒有愿意尋求最佳解決方案的客戶或社區(qū)，建造好的建筑（即改善生活的建筑）的嘗試可能會(huì)失敗。如前所述，建筑方案是對(duì)自然和建筑環(huán)境、計(jì)劃、預(yù)算、開發(fā)商或未來用戶等的平衡回應(yīng)……需要除了建筑師之外更多的參與方的承諾。

我已經(jīng)詳細(xì)介紹了教堂如何成為解體的城市結(jié)構(gòu)的中心，并為周邊社區(qū)提供可見性。還提到了CKK Jordanki音樂廳的案例，它在尊重當(dāng)?shù)亟ㄖz產(chǎn)的同時(shí)，能夠擴(kuò)大城市的文化內(nèi)涵，像是一個(gè)適應(yīng)性極強(qiáng)的容器，能夠舉辦非常廣泛的表演藝術(shù)項(xiàng)目。但是，德國(guó)柏林施普雷河上的浮池項(xiàng)目才是一個(gè)建筑項(xiàng)目所能擁有的深刻改造能力的典型。自2004 年落成以來，它的成功就立刻顯現(xiàn)出來，目前已經(jīng)為城市的休閑和文化活動(dòng)場(chǎng)所。然而，它最大的優(yōu)點(diǎn)是將柏林城市生活的一個(gè)基本問題公之于眾：柏林人有一條流經(jīng)城市的施普雷河，但河水污染嚴(yán)重，使得洗澡很危險(xiǎn)并被禁止。柏林人在河岸曬日光浴，卻不能洗澡。我們的公共游泳池在提出解決方法的同時(shí)也突出了問題，就像從河里取出第一滴干凈的水。通過我們的項(xiàng)目，我們希望可以提高人們對(duì)凈化河流、保護(hù)河流并恢復(fù)其與城市關(guān)系的必要性的認(rèn)識(shí)。正如AEDES FORUM BERLIN 畫廊的創(chuàng)始人兼副主任Kristin Feireiss 所指出的那樣（見西班牙加那利廣播電臺(tái)播出的費(fèi)爾南多·梅尼斯的電視報(bào)道第35 分36 秒），2012 年，也就是近十年后，“Flussbad 協(xié)會(huì)成立的目的是清潔施普雷河的水，使人們能夠在市中心的河里洗澡?！?/p>

導(dǎo)報(bào)：您如何看待混凝土材料？您想嘗試更多輕柔的材料用于建筑嗎？

曼尼斯：我做的項(xiàng)目不太為人所知，可能是因?yàn)樗鼈儾皇墙ㄔ斓模圆幌衿渌?xiàng)目的名氣那樣大，但這些項(xiàng)目對(duì)我的建筑作品形象產(chǎn)生了決定性的影響。正因如此，更多的建筑才被人所知，如加那利群島政府的總統(tǒng)府（1999）、Magma 藝術(shù)與會(huì)議中心（2007）、CKK Jordanki 音樂廳（2015）、位于阿德赫的西班牙廣場(chǎng)（2011）及其仍在建設(shè)中的地下博物館或特內(nèi)里費(fèi)體育場(chǎng)（2007），它們都是明顯地表達(dá)地球理念的項(xiàng)目。

但是，我想知道人們是如何感知和描述其他項(xiàng)目的。比如我剛才提到的柏林浮池項(xiàng)目（2004）；或者Cool Box 項(xiàng)目（2011），是一項(xiàng)關(guān)于竹子建筑的方案，在哥斯達(dá)黎加薩拉皮基舊港環(huán)境教育空間競(jìng)賽中獲得第二名；或者Bürchen Mystik（2013），是瑞士阿爾卑斯山一個(gè)小鎮(zhèn)經(jīng)濟(jì)和社會(huì)復(fù)興競(jìng)賽的獲勝方案，我們?cè)谀抢锾岢隽艘幌盗幸阅静暮湍静男」S為中心的城市和旅游基礎(chǔ)設(shè)施；或者Ana Bautista 體操館（1992），一個(gè)木質(zhì)和混凝土構(gòu)筑物，有著一個(gè)巨大的起伏屋頂，屋頂上有巨大的玻璃立面；或者像Icod de Vinos 的El Drago 公園，一個(gè)始于20 世紀(jì)80 年代的復(fù)原項(xiàng)目？

一個(gè)方案，包括材料的選擇，是一系列考慮的產(chǎn)物，其中原因和情感相互作用。然而，我不否認(rèn)，我對(duì)我們地球的地質(zhì)歷史、表現(xiàn)形式、它的裂縫、火山和液態(tài)可存儲(chǔ)水泥漿、它的堅(jiān)固性和結(jié)晶性以及它的侵蝕和開采非常著迷。還有它所擁有的生態(tài)系統(tǒng)的多樣性。同時(shí)，我對(duì)海洋及其神秘的生物多樣性也很著迷。最后一點(diǎn)則是我無法也不打算避免的親緣關(guān)系轉(zhuǎn)化的個(gè)人印記。

導(dǎo)報(bào)：現(xiàn)實(shí)中，如何實(shí)現(xiàn)自然能源與建筑的共生？

曼尼斯：這正是我在整個(gè)創(chuàng)造過程中一直探索的。80年代，我在巴塞羅那接受了建筑師培訓(xùn)，并在巴黎的Bofill 工作室工作了一段時(shí)間，之后我回到了加那利群島，和我的同事一起參加并贏得了Icod de los Vinos的El Drago 公園修復(fù)比賽。Drago 是一種古老的樹，也是加那利群島的象征。在可持續(xù)發(fā)展或生態(tài)保護(hù)等概念仍然是外來新事物的時(shí)候，我們就敢于提出一種即使不是開創(chuàng)性也是不同尋常的方法：將重點(diǎn)放在El Drago上，恢復(fù)交通和建筑入侵前古樹周圍的自然環(huán)境。在我后來職業(yè)生涯的關(guān)鍵時(shí)刻，我意識(shí)到了我的“幸運(yùn)島”的性質(zhì)所具有的非凡價(jià)值，并且我開始了一條軌跡?；蚨嗷蛏俚?，這條軌跡顯然一直以建筑的行動(dòng)主義為標(biāo)志，支持尊重自然，與之共存。

我對(duì)您的問題沒有明確的答案，但正如我的項(xiàng)目所表明的那樣，我傾向于與自然力量合作并將它們用作項(xiàng)目的元素，優(yōu)先考慮被動(dòng)解決方案。當(dāng)?shù)匦魏偷責(zé)帷⒅脖?、自然光、空氣、濕度、天然材料以一種令人崇敬的方式融合在一起，可以為我們提供空調(diào)、通風(fēng)、陽(yáng)光、衛(wèi)生、聲學(xué)和建筑物結(jié)構(gòu)相關(guān)解決方案。

導(dǎo)報(bào)：您了解中國(guó)嗎？請(qǐng)談?wù)勀鷮?duì)中國(guó)現(xiàn)代建筑的看法

曼尼斯：對(duì)于這個(gè)話題我有很多可談的，我對(duì)香港和臺(tái)灣的島嶼領(lǐng)土有所了解，在中國(guó)大陸，我知道一些像麗江這樣的地方，但對(duì)于歐洲人來說，中國(guó)很大，我每次到這個(gè)美妙的國(guó)家旅行，都會(huì)學(xué)到一些新的東西。

關(guān)于中國(guó)現(xiàn)代建筑，近幾年來，我發(fā)現(xiàn)了越來越多優(yōu)秀的建筑師，我特別欣賞“標(biāo)準(zhǔn)營(yíng)造”工作室，尤其是他們?cè)诒本┑奈⒑?，我也很欣賞王澍對(duì)建筑的遠(yuǎn)見，僅舉幾例。

導(dǎo)報(bào)：您對(duì)當(dāng)今世界建筑的發(fā)展趨勢(shì)有何看法？

曼尼斯：在一個(gè)像今天這樣復(fù)雜的世界中，在我們沒有辦法全面解決氣候變化的情況下，重要的是應(yīng)用“大家一起”或者更好地說是“負(fù)責(zé)任地一起”的文化，來管理所有出現(xiàn)的復(fù)雜性。

我更喜歡談?wù)摴駲?quán)利，而不是建筑的趨勢(shì)。擁有高質(zhì)量的建筑是公民的權(quán)利，建筑被理解為城市和城市景觀創(chuàng)造機(jī)會(huì)的學(xué)科。不僅僅是一種趨勢(shì)，我認(rèn)為將常識(shí)融入建筑（鄉(xiāng)土建筑往往是這樣建造的）在今天幾乎是一種創(chuàng)新。這是因?yàn)樗鼘⒔ㄖc文化、人文景觀與自然和可持續(xù)性結(jié)合在一起。換句話說，建筑的目標(biāo)是實(shí)現(xiàn)理性與情感交融。而且我認(rèn)為，如果不是如此，那應(yīng)該是一個(gè)世界的趨勢(shì)，這個(gè)世界只有一個(gè)世界，除了我們所有人都居住的這個(gè)星球之外，我們沒有其他星球。

WARA:How do you control the use of building materials in different construction projects?

Menis:I have made a commitment to use natural materials from the place whenever possible because through their colors and textures,they contribute to the building being visually integrated into its natural environment and materially in accordance with the culture that hosts it.At the same time,I use materials that are manufactured and are in common use in the place.Thus,for example,I have used concrete and brick for the CKK Jordanki Concert and Congress Hall in Torun because in addition to the concrete that is manufactured locally,brick is another of the most common materials in the area and is very present in buildings and on the facades of the historic city center.On the other hand,for the Center of Culture and Conventions Magma of Tenerife,I have used concrete and volcanic stone from the island because they are two very accessible materials in the Canary Islands.If I were to build something in China,I would use local materials.

This approach to materiality is in line with one of the principles of Km0 architecture to which I adhere more or less imperfectly.According to experts,buildings are responsible for about 40% of carbon dioxide emissions and much of this comes not from operational energy (the electricity to turn on lights and air conditioning),but from the energy used to build.This type of energy expenditure is known as embodied energy and refers to the emissions produced in the process of production and transport of construction materials and systems.

If we aspire to reduce the carbon footprint in construction,in other words,if we want to be "green",it is necessary to look in depth at all these processes because it is not enough to have a building equipped with technology that saves or promises to save energy costs-such as,for example,solar panels-you have to trace the footprint from the manufacturing and transportation process of this technology to its maintenance over the years,its potential for reuse or recycling,its biodegradability,etc.In other words:comprehensive data are needed to assess whether the amount of emissions that you promise to reduce offsets the amount of emissions that was released to be in our building.This is very complex and,at the moment,there is nothing,no program,no app,no certificate that guarantees this completeness.From the position in which I find myself,that of an architecture studio of almost artisanal size,I consider that I can contribute to the care of the environment and the social cohesion if I privilege the use of local materials as well as local companies and artisans.

Added to this is the effort we make to reuse and recycle all possible materials.Sometimes we reuse an entire building such as is the case with the Rehabilitation of the Teobaldo Power Performative Arts Theater in La Orotava or with the Adaptive Reuse of the old School La Asunción and Park Viera y Clavijo in Santa Cruz de Tenerife to become the future Rodin Museum,its second headquarters in Europe.Or,as has happened in the `90s with the El Tanque Cultural Space,an old oil deposit that we transformed into a multipurpose cultural space.In other projects,we only reuse elements or parts that we integrate into the new building and,in this sense,the Presidency of the Government of the Canary Islands has been exemplary where the heart of the building is an old wooden patio,or the Floating pool in the river Spree of Berlin that reuses and transforms an old barge,or House MM whose structure is attached to a central staircase made with waste material from the CEPSA oil refinery of Santa Cruz de Tenerife,or CKK Jordanki where we used broken bricks destined for waste.

Concrete,very present in our buildings and one of the most used construction materials in the world,may not seem like a sustainable material.However,it is a material that is produced locally,it is resilient,durable,versatile and can be recycled as an aggregate to produce new concrete,significantly reducing emissions,which makes it part of the circular economy.Recently,the UN,through its Intergovernmental Group of Experts on Climate Change,pointed out that concrete in its built form can absorb over time up to 50% of the carbon dioxide that is emitted during its production process and by therefore it can help to improve the living environment.(for reference,please see:https://www.ipcc.ch).

WARA:ln architectural modeling,your works often have sculptural volume and edges.Is this related to your experience or local culture?

Menis:In my projects,from the rationality required by the context,the program and the budget,I work with free geometries.Overcoming symmetry opens up directions in which,on the one hand,expressive possibilities are expanded by getting closer to forms more typically found in nature or,as you say in your question,enhancing certain sculptural attributes.On the other hand,the technical possibilities are also expanded to respond to complex programs without compromising the expressive ambition of the project.My way of dealing with this double tension is through working with models made of moldable materials that,thanks to this flexibility,can evolve along with the data and ideas,in a back-and-forth process.To explain this interactive relationship between model and project,perhaps the most complex example of my career to date serves me,the CKK Jordanki Concert and Conventions Hall,in which we were defining the acoustic system through models and measurements,but also by integrating materiality and local constructive culture.

The acoustic design brief for the CKK Jordanki called for a flexible room that could serve both as the home of the Toruńska Orkiestra Symfoniczna and as a multi-purpose venue for all types of events,including congress and conference,amplified concerts,theater and opera.In order to cope with these ambitious expectations,variable acoustics were an essential part of the design of the main hall and to achieve it,my own and the acoustical engineer's experience in previous works were essential.However,acoustics is a complex science that requires not only knowledge and experience,but also advanced technological tools in order to achieve the desired outcome.In the preliminary stage of the project,the shape of the inner surfaces was defined by analyzing the reflections of a laser beam in a clay model of the hall with its inner surfaces covered in aluminum foil.This allowed us to actually “sculpt”the hall in real time.Later on,during the design development,computer 3D modelling was used to fine tune the shape of the hall in an iterative process.Progressive refinements were introduced in the model and analyzed during the design process,until we were happy with the calculated results.During the design process,a scale model of the hall was also used to analyze specific situations.This highly irregular geometry of the inner surfaces of the hall guarantees a first layer of diffusion and the shape of those surfaces has been carefully crafted to maximize the sense of envelopment.The use of massive and heavy materials (concrete and brick) minimizes the low frequency absorption,providing a warm and full bass sound.

However,a second layer of diffusion,effective only at high frequencies (2 kHz and above),is provided by the rough,textured surface of the walls and ceiling.And,here it's where the local materiality and constructive culture comes in.What is the "picado"? It's a new,certified material that consists of mixing concrete with other materials,and"chipping" its surface after it is set to achieve certain effects.The choice of materials added responds to factors such as the functionality and expressiveness desired,the coherence with local architectural culture or the availability of materials on site.We had already experimented with textured concrete in the building for the Presidency of the Government of the Canary Islands (1999,Tenerife),but the Magma Centre for Culture and Congress (2007,Tenerife)was a milestone in its use,since we mixed concrete with porous volcanic stone and chipped the resulting surface to achieve a certain acoustics within the spaces.We perfected the technique for the Jordanki Culture and Congress Centre (2015,Poland) where we mixed concrete with red bricks,a material that is widely used in the facades of the historic heart of Torun,thus paying homage to this legacy.In this case,the massive mixture with irregularities of up to 3 to 4 cm has excellent acoustic properties in terms of reflection and diffusion of sound,making its use suitable in the concert halls.Besides this,we usually use local materials that involve the local economy and here,in Torun,that traditional material is brick.This texture softens the harsh sound associated with purely specular reflection from hard and flat surfaces,and gives a mellow and smooth character to the sound of the orchestra.

WARA:Your work is described as "an exciting building that people can fall in love with at a glance".Then why do you think people fall in love with your work at a glance? What is the secret of the success of your work?

Menis:Architecture as I conceive it,should be able to improve life,understood in a broad sense.The goal is to improve the lives of humans of course,but never in conflict with their natural environment.The history of the human species represents a relatively short period compared to the history of the planet.Before us,there has been almost everything else that we call nature.What was it like in its original state,before our ways of colonizing it appeared,before architecture?How can I respond to what we are and need now as a society without necessarily remaining anchored in the current moment,always fleeting? How could you make a building that can adapt to our inevitable evolution over time? It is an exercise of imagination that I always submit to when I go to a new place that I have been commissioned to build in.With the answer that I give,through my architecture,I try to restore a certain sense of a primeval time and place while still meeting current program and budget requirements,but with an eye toward the future.

If the attempt is successful,the result is an architecture that could be called "timeless architecture".In the first place,the resulting building or infrastructure will evoke a natural accident,of organic and resounding forms,closer to those found in nature than to those found among forms made by humans.Within the anthropized scenario in which we usually develop our lives,any manifestation of nature or something similar to it can be fascinating,regardless of any aesthetic preferences.Perhaps this explains the initial crush.

But,my ambition is that this crush is transformed into lasting passion after a deeper knowledge of the project.For this reason,I imagine the relationship between user and building almost as an initiatory journey in which thresholds are overcome through different sensations:varied textures that surprise the touch,controlled natural lighting to create dramatic effects,the sequence between low and great heights to alternate the sensations of compression and decompression,gaps that frame views and direct the gaze towards the landscape,enveloping acoustics,the massiveness that increases the feeling of protection,etc.

On the other hand,that of rationality,I seek to make highly adaptable buildings:certain indeterminacy in the interior configuration,leaves enough freedom for the user,individual or collective,to take over the space,make it their own,now or at any time in the future.At the same time,I seek to enhance the sustainability of the building through careful implementation in the topography,the use of local materials and companies,reuse and recycling,passive solutions and easy maintenance of the buildings.

WARA:Before architectural creation in different countries and cities,do you have your own unique thoughts on exploring the local regional culture?

Menis:Studying regional culture seems to me a necessary step in the attempt to decipher the codified relationship that has been built between the natural environment and the artificial environment in which you are going to have to settle your building.Observing the vernacular architecture of the place,studying its history,understanding the regional and local economy,reveal techniques,solutions and materials that have been used in a traditional way,whose effectiveness has been demonstrated over time.It is an enormous learning that has been accumulating and that you can take advantage of with the perspective that current technology provides.

This conviction has led me to start Hatching,a longterm research project that we are developing in our small innovation department from the desire to contribute to the debate of living sustainably.One of the research lines within Hatching,is the possibility of living in water scarcity scenarios.In deserts and islands,what we want to help systematize and advance has already been practiced intuitively.For instance,on the island of Lanzarote,in Geria,but also in other arid parts of the worlds,the farmers fight extreme aridity by collecting clouds humidity through absorption by porous volcanic rocks.This primitive method is based on the dew point:The dew point temperature is the lowest temperature at which the water vapor contained in the air begins to condense and produce dew,mist,clouds or frost.Our research is inspired in this experience and seeks to escalate its principles to enable liveable habitats in the desert by naturally providing water and humidity.

I imagine a life machine with zero-energy waste.I aim to prove that an architectural structure can originate life by delivering water,previously extracted from winds and clouds by exclusively using natural energy and form manipulation.The 1:1 prototype would be an absorbent concrete cube.Northern winds erode it,making its northern side porous and so allowing humid winds to enter and form dense clouds inside.This condensation provokes vegetation to erupt and contribute to a water circulation.Water is also stored in the insulated base of the structure where it maintains its temperature.The base also works as a protection against lower warm winds.And,since life needs sun,the south side will provide shelter from heat while allowing sun rays to enter.Peripheral small pores and large openings are entrances and exits for a complex system of canals and chambers through which winds blow to provide ventilation.

I think that whenever making a new building,you have to be able to innovate and affirm your identity,but always from what is recognizable by the community that hosts it and will use it.Architecture,even in its most private version that is private housing,usually has a public part when it is not directly a public space or building.Once built,architecture is inevitable,you will see it and you will have to interact with it every day.For this reason,it seems important to me that,beyond the personal mark of the architect,architecture should be able to represent the local culture.

WARA:Do you think the beauty of architecture should pay more attention to direct feeling,or do you need some understanding to get it?

Menis:I believe that the beauty of architecture consists in giving technically innovative answers to complex questions and needs,codifying them in expressions that may be read by our intuitive intelligence that is our senses and feelings.

WARA:How should the new building relate to the surrounding buildings? How do you consider the surrounding buildings in your architectural design?

Menis:To the built environment,as a tangible,almost quantifiable manifestation of the society that produced it,I pay the same attention that I pay to the natural environment.If I intend to understand something about the community that will use my building,I cannot ignore the ways in which it has been occupying the territory it inhabits,throughout history to the present day.Therefore,the project that I will make for the place,will take into account the existing,but also the evolution to the current situation and mine,will try to be a value proposition,responding to the objective of enhancing the general quality of the urban fabric in which it settles.

Thus,if my site is located in a neighborhood with a confused and disaggregated urbanism,I will try to make my building provide centrality,to function as a reference place.This is the case of Magma Art&Congress or The Holy Redeemer Church and Community Center of Las Chumberas: The site is located on the outskirts halfway between Santa Cruz de Tenerife and La Laguna,on Tenerife island.The neighborhood called Las Chumberas,is a 670 homes polygon organized into 42 blocks from the '70s plus shopping centers and industrial warehouses.Flawed by precariousness and disintegrated urbanism,the area is inhabited by an unprivileged population.In this context,a process of transformation of the neighborhood began,in which the future Church and Community Centre has been envisioned by the residents as a catalyst for change:It was meant to become a place of urban centrality and reference.The building with its massive presence,helped defining a new identity for the local community and supported it at drawing public attention to their precariousness.The fact that this project has been included in the MoMA New York's collection may reveal part of the work that all those involved,including the team of architects,have carried out in this regard.

On the contrary,if my site is located in a settled environment that works correctly,which perhaps has a certain historical weight within the heritage,my intervention does not seek to alter the order but rather to identify the values and recognize them while enriching the urban fabric at the visual,programmatic etc.level.This has been the case with CKK Jordanki:which is located within a green ring around the historic city center,overlooking the Vistula River.Therefore,special care was took in designing the orientation and height of the volumes so that the presence of the new building establishes a harmonious relationship with the natural and built environment.Thus the building occupies half of the plot,the other half being dedicated to park and the height is kept as low as possible,to avoid blocking the view over the river.The visual effect achieved is that of a natural object,a rock embedded in a gently sloping meadow,cuya presencia no se sobre impone al perfil bajo de la ciudad histórica,an UNESCO protected city,in which almost all the fa?ades of the old town boast of red brick.Actually,the use of brick in Jordanki CKK is a contemporary reinterpretation of the traditional brick,is a reference to Torún's fa?ades,and ultimately to its cultural heritage.

WARA:What do you think is the role of architecture in the site,the supporting role and the more important protagonist that co-shape the feeling?

Menis:Architecture must be able to create a place where there was none and thereby contribute to social cohesion and evolution.Its transformative capacity,however,depends not only on the architect and has to be calibrated according to the material and symbolic circumstances surrounding the project.Without having adequate and creative regulations as allies,a client or a community willing to seek the best possible solution,the attempt to achieve good architecture,that is,architecture that improves life,can fail.As explained before,the architectural proposal is a balanced response to the natural and built environment,the program,the budget,the developer or the future user,etc.etc ...and it needs the commitment of more involved in addition to the architect.

I have detailed how the Church has been able to provide centrality to a disintegrated urban fabric and visibility to a peripheral neighborhood.I have been also referring to CKK Jordanki,as an example of a building that,while respecting the local architectural heritage,was able to expand the cultural offer of the city,providing an extremely adaptable container capable of hosting a very broad program of performing arts.But,perhaps,an exemplary project for the profoundly transformative capacity that an architecture project can have is the Floating Pool on the River Spree in Berlin,Germany.Since it was inaugurated in 2004,its success has been instantaneous and it currently completes the leisure and cultural offer of the city.However,its greatest merit is having made visible a fundamental problem of the urban life in Berlin:Berliners had a river,the Spree,which runs through the city,but with the water so polluted that bathing was dangerous and banned.Berliners sunbathed on the banks of the river,but could not bathe.Our public swimming pool highlighted the problem while opening a way to solve it,proposing the first drop of clean water in the river.Our hope was that,with our project,we could contribute to raising awareness of the need to decontaminate the river,protect it and thus recover its relationship with the city.As noted by Kristin Feireiss,the founder and co-director of the gallery AEDES FORUM BERLIN (in the TV report on Fernando Menis,broadcast by Radio Televisión Espa?ola de Canarias,minute 35:36),in 2012,that is almost a decade later,"the Flussbad Association was established with the aim of cleaning the water of the Spree river and being able to bathe in the river,right in the center of the city."

WARA:What do you think of concrete materials?Do you want to try more light and soft materials to shape the building?

Menis:Project I did are less-known,probably because they were not built and so,they have not become as widespread as others,which in the end,have become definitive for the image that is perceived of my architectural production.Thus,more buildings have been disseminated such as the Presidency of the Government of the Canary Islands (1999),Magma Art&Congress (2007),CKK Jordanki (2015),the Plaza Espa?a of Adeje (2011) and its underground Museum still in process or the Athletics Stadium of Tenerife(2007).They are all projects with a markedly telluric expression.

But,I wonder how other projects are perceived or could be described.Project like,for instance the Berlin floating pool (2004),which I just mentioned? Or the Cool Box project (2011),a proposal for a building made of bamboo that won the second position in the competition of the Space for Environmental Education of Puerto Viejo de Sarapiquí in Costa Rica? Or Bürchen Mystik (2013),the winning proposal of a competition for the economic and social reactivation of a town in the Swiss Alps;we proposed there a series of urban and tourist infrastructures that put the use of wood and wood small factories at the center? Or the Ana Bautista Gymnastics Hall (1992),made as a large undulating roof that rests on a wooden and concrete structure with a huge glazed fa?ade? Or a project like the El Drago Garden in Icod de Vinos,a renaturation project that began in the 1980s?

A scheme,including the choice of materials,is the result of a series of considerations,in which reasons and emotions collaborate.However,I do not deny that I am fascinated by the geological history of our planet,its manifestations,its fractures,its volcanoes and liquid stone,its solidity and crystallization,but also its erosion and extraction.The diversity of ecosystems that inhabit it.At the same time,there is my fascination for the sea and its mysterious biological richness.In the end,affinities translate into a personal imprint that I cannot and do not intend to avoid.

WARA:ln reality,how to achieve symbiosis between natural energy and architecture?

Menis:This is precisely a constant search throughout my production.In the '80s,after my training as an architect in Barcelona and a period as a worker in Bofill's studio in Paris,I returned to the islands and,with my associates,submitted to and won the El Drago Park Rehabilitation Contest in Icod delos Vinos.The Drago is an ancient tree,a symbol of the Canary Islands.At a time when concepts such as sustainability or ecology could still be exotic,we dared to propose an approach that was unusual if not pioneering:to focus on El Drago as the opportunity to restore the nature that had surrounded the ancient tree before it was invaded by traffic and building.At that crucial moment for my later career,I became aware of the extraordinary value that the nature of my "fortunate islands" has and I begin a trajectory that,more or less obviously,has always been marked by activism through architecture,in favor of a respectful coexistence with nature.

I do not have a definitive answer to your question,but as my projects show,I am inclined to collaborate with natural forces and use them as elements of the projects,prioritizing passive solutions.Topography and geothermal energy,vegetation,natural light,air,humidity,natural materials,integrated in a respectful way,can offer us solutions for air conditioning,ventilation,sunlight,hygiene,acoustics,and the structure of our buildings.

WARA:Do you know anything about China? Please share your opinion on Chinese modern architecture

Menis:Knowing about China is a lot to say,I know something about the island territories of Hong Kong and Taiwan,and,in mainland China,I know some place like Lijiang but for someone coming from Europe,China is huge,and,every trip I have made to your wonderful country I learn something new.

Concerning the Chinese modern architecture,in these last years,I have been discovering more and more wonderful architects.I particularly appreciate ZAO/ standardarchitecture,especially their Micro-Hutong in Beijing and l also relate to Wang Shu's vision towards architecture,just to name a few.

WARA:What is your opinion on the development trend of architecture in the world today?

Menis:In a world as complicated as today,in the midst of the climate change for which we do not have total solutions,it is important to apply the culture of "us,together" or better said of "responsibly together"to manage all the complexity coming in.

Rather than trends in architecture,I prefer to talk about citizen rights.It is a citizen's right to have quality architecture,understood as the discipline that makes or creates the opportunity for cities and urban landscapes.More than a trend,I think putting common sense into architecture (vernacular architecture was always built like this) is almost innovative today.It is innovative because it mixes architecture and culture,with human and cultural landscapes with nature and sustainability.In other words,mixing reason and emotion is the goal of architecture.And I think that,if it is not,that should be the trend in a world that is only one world,we have no other planet than this one where we all inhabit.