成為自然：九典建築的生物智慧建築展手冊 by Forgemind ArchiMedia 準建築人手札網站

Content

04-07 08-11 12-19

前言

九典建築的生物智慧

九典聯合建築師事務所簡介

20-21

沙崙Ｄ智慧綠能科學城：太陽能發電樹

22-29

北投圖書館

30-37 38-45 46-53 54-61 62-65 66-67 68-71 72-73 74-77 78-79 80-83 84-87 88-89 90-91

豐泰文教綠園區

國家圖書館南部分館北海岸環境教育中心

MOXA 桃園綠色人文廠房滬尾藝文休閒園區鳳山火車站

李長榮研發大樓苗栗火車站

台糖沙崙智慧綠能住宅台東原住民文創聚落

成功大學創新中心旺宏館

成功大學醫學院附設老人醫院 amba 意舍商旅

棗稻田有機農場

92-99

作品年表

100

版權頁

Preface

前言在環境變遷日益明晰的今日，以「生物智慧」為題，展出九典聯合建築師事務所的建築創作，似乎格外有意義。

首先，九典 20 年來的建築創作，代表了一個從地域環境觀點

重新考量現代主義建築的過程。就如同傑出的印度建築師 B. Doshi* 一般，九典的建築創作原點，深基於嚴謹的地域生活和環境特點考察和研究，積極發展及累積運用環境潛能的知識，

並以現代主義建築質樸的功能和構築坦率表現，耐心且靈活地解決不斷而來的衝突。2015 年，當張清華建築師以「Form

Follows Energy」為題發表演講 — 對應現代主義建築的教條

「Form Follows Function」，除了清晰說明了九典的創作理路，贏得滿室台灣優秀建築師的崇敬外，也顯露了其修正現代主義缺失的決心。

從另一個觀點來看，九典所採取的創作途徑，並非回溯前工業時期的鄉土建築傳統，而是類於 N. Foster、R. Piano 和 R.

Rogers** 那般，著重於新科技的運用，意圖產發出一種新型態

的、能與生態循環較為融合的建築美學。但這裡所謂的新科技，並非昂貴的高科技，而是台灣本地自行研發的各式創新科技。

就如同在這個展覽裡面某些作品可以看到的，九典對於台灣本地創新科技的敏感、理解和掌握，也是少有建築師能企及的。

在這兩點上的努力不懈，以及歷經無數次現實無情的考驗和磨練，九典已然鑄造出一套獨特的「低碳美學」方法論，不但豐

富了台灣建築的當代圖景，也為台灣建築界新創出一條可以和

國際前衛建築創作相接軌的道路。也是在這兩點上進行了自我反思，近來九典更總結地提出了「生物智慧」建築觀，作為接

下來摸索前進的目標，也希望能在這場展覽中和大眾分享，並得到回應和批評。

本展為九典首次建築個展。感謝成大藝術中心的邀請和協助，

以及建築系所的大力幫忙，讓九典開拓出的這條具有播種性意義的路徑有永續的可能，利澤眾生。展覽中，所有展件幾乎都

可回收再用，如展桌採租借自日常辦桌時所用之圓桌，上覆蜂

巢紙可重複使用並可收合易於儲放，可回收的鋁展架採型抗結構以節省材料等等，亦以展覽實踐生物智慧理念。

策展單位《實構築》季刊總編輯王俊雄

*Balkrishna Doshi (1927-)，2018 年普立茲克獎得主。

**Norman R. Foster (1935-)，英國建築師，1999 年得普立茲克獎和受封男爵； Renzo Piano R. Foster (1935-)，義大利建築師，1998 年得普立茲克獎；

Richard G. Rogers (1933-)，英國建築師，1996 年受封男爵，2007 年得普立茲克獎。這三位都以高科技建築著名於世。

Being Nature: The Biological Intelligence of Bio-architecture Formosana After embracing Industrial Revolution and capitalism, the human society has become driven by consumerism. The development of any new technology always aims to produce faster and better goods without any considerations given to the resulting environmental burden; architecture has been no exception. Most contemporary buildings adopt an irreversible construction method, such as reinforced concrete. Problems like massive extraction of raw materials and the ensuing pollution have left indelible scars on our planet. Since the founding of their practice, Bio-architeture Formosana has always believed that any human activities must be premised on respect for nature and has strived to create eco-friendly works based on their "low-carbon aesthetics". In recent years, they have further shifted their practice to embody the broader idea of "biological intelligence". They aspire to create architecture inspired by nature-adaptive to its surroundings and site-specific. In addition, it should achieve a high standard of 100% recyclable and reusable by not generating any waste during either its use or demolition. They have developed a series of nine concepts to describe the properties of bio-intelligent architecture as well as a set of design approaches to implement these ideas. The concepts are as follows: wilderness, locality, accommodation, lightness, durability, flexibility, comfort, health and beauty. Outstanding and bio-intelligent architecture is apt at adopting new technology and able to fulfill the demand of modern life while being eco-friendly. This is an unstoppable trend in architecture as our environment faces a dire future if we simply continue with the status quo. As a pioneer in this field, BaF offers an instructive view through its oeuvres showcased in this exhibition on how to realize biointelligent architecture and implement the ideal green future.

九典建築和生物智慧人類社會在迎向工業革命和資本主義後，變成以消費為導向，所有新技術的開發，都為了產出更快更棒的商品，而不去思考是否造成環境的負擔；建築也是如此。近代建築大多採用不可逆的建築方式，例如鋼筋混凝土，大量的原料開採，以及後續產生的污染等問題，都深深傷害了我們的地球。

九典建築自 1999 年創設以來，始終謹記人類活動必須以尊重自然為前提，遂以降低碳排放量的「低碳美學」為宗旨，致力做出友善生態的作品。近年，在實事求是的努力、和大量研究的基礎下，他們進一步轉向更宏大的「生物智慧」（Biological Intelligence）概念，希望建築能和天地萬物一樣，順應基地條

件、因地制宜，並且在使用中與拆除後，都不會產生廢棄物，達到 100% 回收再利用的高標準。他們發展出「野、近、空、輕、

久、讓、共、適、續」等 9 個概念，描述具生物智慧的建築的特性，並實際發展出一套設計方法去落實它。

優秀的生物智慧建築，能善用新技術，一方面友善生態圈，一方

面又滿足現今人們的需求，在地球環境岌岌可危的情況下，這樣的建築必然是未來的趨勢所在。九典身為此領域的領航者，於本

場展覽中，透過一系列作品告訴我們，如何具體做出生物智慧建築，如何實踐理想的綠色未來。

Bio-architecture Formosana

Bio-architecture Formosana was founded in 1999 by CHANG Ching Hwa and KUO Ying Chao. They set out to predicate their practice on "low-carbon aesthetics", aiming to reduce carbon emission as much as possible from the design to construction s t a g e . To a c h i e v e t h i s g o a l , t h e y m u s t m a k e re p e a t e d calculations of the carbon emission associated with every move and deploy a practical and sensible approach. Projects from this period include their best-known Beitou Public Library (2006), hailed by foreign media as one of the "most beautiful libraries in the world", Arts Workshop in Danshui (2010), Dormitary for ITRI Southern Taiwan Campus in Lioujia (2010), Flora Expo Pavilions in Taipei (2010) and Minquan Elementary School in Namasha (2012). This trajectory of works has also made them the emblem and pioneer of green building in Taiwan. In recent years, however, BaF has shifted from simple carbon reduction to adopt the more broad and inspiring idea of "biological intelligence". The watershed project was Taisugar's Circular Village in Shalun, which marks a transition from passive reduction of carbon emission to active recycling of resources toward the goal of "zero waste". This was also the point when BaF has formally closed the "technosphere" loop; all materials and resources may now be reused. In the same way a living thing dies and becomes nutrient for other new life, materials in a building at the end of its lifecycle become columns and piles for the next building--everything comes a full circle around.

Prof. WU Kwang-Ting of National Cheng Kung University argues that among Taiwanese architectural firms in their prime, BaF is the most astute to the directions of future trends. Furthermore, they achieve this not by intuition but rather through intensive research to develop their own know-how, which is remarkable both in Taiwan and overseas. Many people understand the concept of circular economy, but BaF has a unique ability to realize it. Take Taisugar's Circular Village as an example, the applications in both materials and structures are impressive and the execution of circular economy concepts exceptional. They have advanced from the most basic environmental protection in green building to mastering the overall control of light and airflow, enabling them to accomplish a more progressive form of green building. According to Chief Editor WANG Chun-hsiung of Architecture + Tectonics Taiwan, curator of this exhibition, BaF demonstrates a modest and unpretentious disposition. Rather than pursuing striking stylistic expressions or idealistic illusions, they choose to honestly and thoroughly implement their knowledge through rational analyses in a drive to make every detail friendly to both humans and nature. They are the most extraordinary practitioners of green building in Taiwan, always experimenting with staunch persistence to find different pathways toward a greener future.

關於九典聯合建築師事務所

英文名字是「Bio-architecture Formosana」，成立於 1999 年，創始者是張清華和郭英釗。最一開始，他們主張「低碳美學」，從設計到建造，都以盡量減少碳排為目標，為達此目的，必須反

覆計算每一個動作的碳排放量，展現實事求是的精神。最廣為人

知、被外媒評為「世界最美圖書館之一」的北投圖書館（2003）、淡水藝術工坊（2007）、工研院六甲院區二期宿舍（2007）、花博新生三館（2008）、那瑪夏民權國小（2010）都是這時期的作品，而這也讓他們成為台灣綠建築的代表和先驅者。

然而近年，在不斷思考建築與環境的關係之後，九典開始從單純的低碳，轉向更宏觀且更具啟發性的生物智慧建築。其中轉折的關鍵，是台糖沙崙智慧綠能循環住宅，這案子從消極的降低碳排放，變成積極的回收資源，致力做到零廢棄。也是在這個時候，

九典正式把工業迴圈（Technosphere）的圓接起來了，因為一

切材料、資源都可以再利用，一如生物的死亡其實是成為新生命的養份，被終結的建築，其材料也會成為下一棟建物的柱樁，一切都在循環迴圈之內。

成大建築系教授吳光庭認為，九典是台灣中壯代的建築師事務所中，最能精準掌握未來趨勢的，而且並非依靠直覺，而是透過大

量研究，發展出自己的 know-how，這在台灣和國外都較為罕見。循環經濟的概念很多人都知道，但他們有本事具體做出來，例如

台糖沙崙智慧綠能循環住宅，材料和結構的應用教人印象深刻，將循環概念落實地相當傑出。他們已經從綠建築最基本的環保，更進一步到掌握整體光和空氣的脈動，因而能表現更先進的綠建築形態。本展策展單位《實構築》季刊總編輯王俊雄也指出，九

典具有一種拙樸的性格，不追逐強烈風格，不玩弄意識形態的幻覺，而是藉理性分析，直率地將知識貫徹到底，盡量讓每個細節

都能友善人類，也友善大地。他們是台灣最傑出的綠建築實踐者，用職人般的毅力，嘗試抵達綠色未來的諸多路徑。

CHANG Ching Hwa CHANG Ching Hwa received her M.Arch from University of Pennsylvania and B.Arch from National Cheng Kung University. She is a member of American Institute of Architects (AIA) and U.S. Green Building Council (USGBC). She believes architecture must not only consider human needs but also the entire planet earth and future generations. In addition to design, she is also a dedicated educator and researcher. Her representative works include Beitou Public Library and Flora Expo Pavilions, both of which were awarded First Prize at the Taiwan Architecture Awards. She was named Outstanding Architect in Taiwan at its 11th edition. She is a Principal Architect at BaF.

張清華成大建築系學士，美國賓州大學建築系碩士。是美國建築學會

(AIA) 成員，和美國綠建築協會 (USGBC) 會員。認為做建築時，

不能只想到人類的需求，也得顧及整個地球和未來的世代。除設

計之外，也致力於教育和研發。代表作為獲台灣建築獎首獎的北

投圖書館、花博新生三館等。曾獲頒第十一屆中華民國傑出建築師，現為九典聯合建築師事務所主持人。

KUO Ying Chao KUO Ying Chao received his M.Arch from the University of California, Los Angles and B.Arch from National Cheng Kung University. He believes that in addition to bringing happiness to people, architecture should also promote sustainability and do no harm to the environment. He is one of very few in Taiwan's green building discipline who can deftly integrate theory and design. His representative works include Beitou Public Library and Flora Expo Pavilions, both of which were awarded First Prize at the Taiwan Architecture Awards. He was awarded Outstanding Architect in Taiwan in 2011 and Special Contribution to National Construction, Taiwan Real Estate Excellence Awards in 2019. He is a Principal Architect at BaF.

郭英釗成大建築系學士，美國加州大學 (UCLA) 建築碩士。重視建築在使人類快樂之餘，也能同時推行永續，不讓環境受害。是台灣綠

建築領域中少見能合宜結合理論與設計的人。代表作為獲台灣建

築獎首獎的北投圖書館、花博新生三館等。曾獲 2011 年中華民

國傑出建築師、2019 年國家卓越建設獎—國土建設特別貢獻獎。現為九典聯合建築師事務所主持人。

沙崙Ｄ智慧綠能科學城：太陽能發電樹這座太陽能發電樹，位於台南「沙崙智慧綠能科學城—綠能科技示

範場域」的一角。由於該園區建物低矮，又處在遼闊的嘉南平原上，九典希望透過高挑的象徵性構築，標示出這裡作為綠能示範場所的特殊身份，也同時增加話題性，吸引更多遊客來訪。工廠預製、現

場快速組裝的鋼骨結構，形成三根柱樁，彼此纏繞向上並提供支

撐，最上方有一整片太陽能板不斷造電，周圍則結合草坡、池塘等美麗的造景，如公園般親民且開放。展場以 1:30 的比例，3D 列印出這株高近 20 公尺的發電樹，傳遞九典結合綠能和生活的決心。

Taipei Public Library Beitou Branch Taipei City ďż¨ 2003-2006

Legend has it that when the Pingpu (Taiwanese Plains Indigenous) people first arrived in Beitou, they named it Beitou, meaning "witch", because they thought the misty ambience was the result of a witch's sorcery. A century later, the witch has vanished, the nightclubs have seen their glory and demise, and the hot springs have become historical attractions. It was not until Beitou Library was completed that the crowds of the distant past slowly returned and re-injected vigor into the area. Looking at this library from across the Huanggang River, the wooden structure with one story below and two above grade stands in visual harmony with the surrounding old trees and hot spring museum nearby, neither conspicuous nor imperceptible. The layered shingles insulate both water and heat. Higher up, the roof is slightly lifted, the verdant vegetation above embracing sunshine as well as greeting travelers from afar. Embedded into the topography and clasped by existing trees, the entire building forms a clever triangle that collects all rainwater recycled from the slanted roof and diverts it to the woodland side, leaving only a pure and elegant form.

Crossing the river and climbing the meandering steps shaded by tree foliage, you finally arrive at the entrance. "You can drink water inside; it's pretty user-friendly," you catch the fragment of a conversation between bypassing tourists. It is quiet inside, yet the feeling of pleasant surprises overflowing from people's inner emotion is palpable. They sit between the bookshelves and randomly pull out a volume to read or peruse articles in the newspaper area. Or, they are children who cannot hold back their laughers as they scale the flanking staircases and run over the daylight and shadows falling from the skylights below. Expansive glass doors and windows and total heat exchangers modulating the indoor temperature with outdoor air ensure the interior is always bright, comfortable and 30% more energy-efficient than similar buildings. An elderly local man with a cane, lovebirds clasping hands, schoolchildren on field trips. Everyone feels at home and at ease here and cannot help but linger.

After brief repose, the flow of people offers a hint that the glass doors in the walls may be opened. Once standing on the semioutdoor verandah, your view is instantly broadened and you are engulfed by breezes. Centenarian Beitou Park stretches out from below; a young man tries to capture little creatures in the creeks with his video camera. Blue skies provide the backdrop for buildings of varying heights in the distance. When you sit down in the wooden chair festooned with unicorn beetle patterns, vertical shades protect you from glaring sunlight, you wonder where the bird chatter is coming from, and all your senses become unadulterated. The witch has fallen into deep slumber, and the entertainment district of past no longer fills with singing and conviviality. Now, this place belongs to everyone. "Veiled in clouds and mists, like a dream yet ever so real," extols a line from Song of Beitou by Japanese songwriter Kurihara Shiraya. On a bright sunny day, nevertheless, the clouds and mists are nowhere to be seen and only the surrounding lush forests are in sight, ever so real.

北投圖書館

台北市｜2003-2006

傳說平埔族人初到北投時，看見煙霧繚繞，以為巫女作法，遂將此

地取作「北投」，亦即「女巫」之意。百年過去，這裡的女巫神隱，酒家興衰，泉湯也成古蹟，直至北投圖書館落成，長年不再的人潮才又緩緩回流，重新帶來生氣。

隔一條磺港溪抬頭看這座圖書館，地下一層、地上兩層的木建築，和周遭的老樹，不遠處的溫泉博物館，形成一種視覺上的和諧，不突兀也不畏縮。層層鋪疊的雨淋板防水又隔熱，更上方的屋頂微抬，綠油油一片植栽，迎向陽光，也迎向遠道而來的旅人。整棟建

物因嵌於地勢和原有的茂密林木，形成巧妙的三角形，把傾斜屋頂構築出的雨水回收系統，全收攏到緊挨著樹林的另一側去，外觀更顯單純而優雅。

跨過小溪，行經錯落著樹葉剪影的蜿蜒階梯，才能抵達入口。「館內可以喝水啦，滿人性化的。」你聽見擦身而過的遊客這樣說。裡面安靜，卻藏著人群心中的驚喜聲。他們或是坐在書櫃間隨性抽書翻閱，或是在讀報區挑燈細品文章，又或者孩子們壓抑不住

嘻笑，在兩側樓梯攀爬，踩著頭頂天窗落下的光與影。大面積玻璃門窗，和建築內建可以藉循環裡外空氣以調溫的全熱交換器，讓室內始終是明亮的，舒適的，也比起同類型建築節約三成的能

源。拄拐杖的社區阿伯，牽手的情侶，成隊郊遊的學童，所有人在這裡都自在自適，久不捨離席。

停歇一會，人群的移動給予了提示，原來牆上的玻璃門可以打開。一到半戶外的走廊，視野豁然開朗，風從四面來。百歲的北投公園在腳下延展，有少年正持攝影機捕捉溪流內的小生物。再遠處是高低不一的樓房，更遠處就是藍天。坐在鏤刻獨角仙圖案的木

椅子上，垂直遮陽板使光線不致刺眼，鳥語不知起自何方，一切感受變得純粹。曾經施法的女巫沈睡了，曾經夜夜笙歌的溫柔鄉

也不再高唱，如今這裡屬於所有人。「咚打哩咚嘟嚨嘟咚，被雲

霧所包圍，如夢似真。」栗原白也的《北投小唄》曾這樣歌頌。但陽光普照時，看不見雲霧，只有青鬱如翠的樹林，四周環繞，如此真實。

成為自然：九典建築的生物智慧 建築展手冊

成為自然：九典建築的生物智慧建築展手冊