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FEATURE REPORT
随着国内外设计师读者数量的不断 增多，从本期开始， 《绿色建筑技术》 会开始对建筑设计报以部分关注。希 望以此带给读者更高级的视觉享受， 传递国际上前卫独特的设计理念。 本期出境的是瑞士设计师 萨母伏尔 多利尼 和正在伦敦举办展览的 大卫 奇普菲尔德 。伏尔多利尼“不要刻意 表现，让它自己出现”的独特理念，体 现了建筑与自然的高度和谐。奇普菲 尔德“世界中的世界”的建筑理想更 是独树一帜，用不复杂的设计传递着 甚为深刻的思考和内涵。
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Taking into account the continually increasing number of the designer readers at home and abroad, “Green Architectural Technology” will pay more attention to architectural design from now on with the hope to offer the audience higher visual entertainment and broadcast the internationally advanced and unique design conception. 萨母伏尔多利尼, the Swiss designer, and David Chipperfield, the design master who is holding an exhibition in London at the moment are presented in this volume. 伏尔多利尼's special principle of “an automatically appearing effect rather than an artificially purposeful description” reflects a senior harmony to be constructed between nature and architecture while Chipperfield's ideal of “a more internal architectural world” advocates for an expression of deep thoughts and connotation through a kind of design far from being complicated.
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建筑 传递 愿景 的工具 Form Matters 大卫 奇普菲尔德 建筑主张： “建筑是世界中的世界” "Building is the world in the world"
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大
卫·奇普菲尔德（David Chipperfield）第一个落成的大设计项目是1983年在塞隆街上建成的“三宅一生”时装店，这个商店很久 前就已经拆掉了。纹路清晰的白色大理石，宽阔的木地板以及色彩鲜艳的装饰材料，这种设计风格对于今天的大卫·奇普菲尔德 来说，看起来稍稍昂贵了一些。但对于今天大卫·奇普菲尔德来说，这个时装店依然是对空间设计所做的一次严肃的实验，其设计 的动机和目标与他今天的设计理念也相差不远。即使在当时，大卫·奇普菲尔德也觉得“不必设计地太复杂”是很重要的。一个商
店所需要的只是漂亮的地板而已。 “三宅一生”时装店将他的设计理念传到了日本。西方建筑浪潮涌入日本泡沫经济之时，大卫·奇普菲尔德是早 期代表之一。他在那里设计了两栋建筑—一座美术馆和一栋办公楼。这足以使他的事务所在伦敦声名远扬，即使当时在伦敦他只设计了为数不多 的几栋建筑：摄影师尼克·奈特（Nick Knight）的住宅、位于亨利镇（Henley）的“河流及划船博物馆”以及位于卡姆登（Camden）的一座小型 办公楼。 奇普菲尔德的建筑事务所与《蓝图》杂志同在一栋基本废弃的大楼内。他将大楼的地下室精心设计，改造为一个建筑画廊—9H。在那个时期， 一种利己主义的偏狭观念使伦敦盲目地认为自己是一流的建筑中心，而9H的收敛则被认为是对中心的一种疏离。9H代表最硬的铅笔，以严格 著称的9H决定将后来出现在瑞士建筑师事务所（如Herzog&de Meuron）中的理智的建筑风格和奥地利的建筑风格引入到盎格鲁-撒克逊人的 狭隘世界中去。这个任务可不简单。确实，9H的理念给奇普菲尔德事务所带来了一个事与愿违的结果。在废弃的岸边发电站重建为泰特美术馆 （Tate Modern）的竞标中，奇普菲尔德事务所投入一切进行竞争，甚至在最后一刻还计划将岸边发电站旧建筑的烟囱拆掉，以创造出一种为美
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术馆精心设计的特有的空间感。最终Herzog&de Meuron事务所中标了，而不是奇普菲尔德事务所。所以直到现在，泰特美术馆的一大缺陷仍然 是空间不够宽敞。 20世纪80年代，奇普菲尔德在金斯敦大学和建筑学会完成培训后，在理查德·罗杰斯（Richard Rogers）和诺曼·福斯特（Norman Foster）手下 工作，这段时期他真正开始从事建筑行业。虽然这一时期行业不景气，但是奇普菲尔德没有向威尔士王子（Wales）、王子的助手以及那个时期愤 世嫉俗的商人们妥协。相反，他坚持9H 团队信奉的克制的、安静的以及慎重的建筑精神。这种精神与英国人行事时那种好战的庸俗之气时不时 产生摩擦。当奇普菲尔德在一个普通的郊区街道上为尼克·奈特（Nick Knight）设计住宅时，当地的邻居不仅没有觉得自己的住宅了无生趣，反 而极力阻拦建造这座住宅。在卡姆登的马厩里建造自己的办公楼时，奇普菲尔德也遇到很大的阻力，伦敦晚报力捧奇普菲尔德的反对者，他们 称他是： “野心勃勃的现代主义者”设计出“不合比例的建筑物”。这是，奇普菲尔德意识到，要想夺得设计的机会，甚至是生存的机会，他就必须 放眼欧洲，而不是局限于英国，只有这样才能将严肃和理性的精神融入到作品中去，而不是局限于“风格上的特异姿态”。 今天，奇普菲尔德是国际建筑设计届的领导人物。虽然在英国它的设计相对少一些，但他在中国、美国、日本、意大利、西班牙和德国正在进行着 或已经进行了很多设计。所以，奇普菲尔德虽然在骨子里很多方面是英国人，但他是英国建筑师中最能代表欧洲风格的。他在柏林的办公室比他 在伦敦的都要大。在这个建于10年前的办公室里，他进行了迄今为止他认为最复杂的设计，那就是柏林新博物馆的设计和建造。柏林旧博物馆自 从在二战中被炸毁后就没有进行重建。
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FEATURE REPORT 处在这样一个位置，奇普菲尔德很难给自己定位，对于一个将设计扎根于位置、记忆和材料质量 的建筑家来说更是如此。就像你加入了国际飞翔马戏团，你怎能拒绝它所提倡的夸张和应急动作 呢？ 奇普菲尔德的作品确确实实是属于保守派的。他希望建筑物能够长久永存，而不仅仅是一时的景 观。位于格拉斯哥的BBC新总部大楼处在城市边缘一个废弃的封闭船坞中，周围是平淡无奇的商业 园区和公寓楼。奇普菲尔德称，他的目的是要给这个“大风一吹便无影无踪”的环境增添一点恒久 感和空间感。 预算资金有限，BBC以简单的程序将这个项目外包给信贷公司，在这样的条件下，奇普菲尔德没 有太多选择的余地。但是他在设计时充分利用了建筑物的内部空间。类似于安道夫·鲁夫（Adolf Loos）的“空间设计”观念，奇普菲尔德强调将固定元素瞬时化，他将摄影棚的作用充分发挥。将 摄影棚安置在大楼的地板上，看起来就像巨大的阶梯，其顶部空间也设计成可以工作的场所，按顺 序层叠下来，这样室内的空间感更强烈，屋顶看起来就更高了。经过这样的设计，奇普菲尔德在“有 限的空间里”创造了“无限的空间”。 他在日本设计的两栋建筑恰恰对他提出了相反的挑战，那就是怎样在当时日本郊区嚣乱的郊区之中 创造出一种静止的感觉。奇普菲尔德通过“世界之中的世界”这一设计理念实现了这样的目标。 随着奇普菲尔德设计水平的不断提高和设计理念的不断成熟，他开始探索“瞬时化”的新的表现形 式，并形成了自己独特的设计理念。奇普菲尔德作品中最艰难的一项、也是最难以归类的工程就是 柏林新博物馆（Neues Museum）。这项工程无疑是他成熟设计理念下的作品的象征，可能也是他 在设计理念上承担最大风险的一项工程。在这项工程中，他的设计理念既是传统的，因为他借鉴了 威廉·莫里斯（William Morris）于19世纪建立“古代建筑保护协会”时所提倡的“修复古代建筑”的 理念；又是现代的，因为它具有当代建筑理念的收敛性。 柏林新博物馆与以往任何建筑试图在“对待历史以及修复历史”上的态度截然不同，因为它不遗余 力地保护每一个在战争中遭受毁坏以及在战后几十年内被遗忘的历史碎片。 同柏林新博物馆一样，一批以德国玛巴赫市（Marbach）的现代文学博物馆为首的建筑也以独有的 风格出现。现代文学博物馆坐落在岩石高地顶端，旁边是古典建筑。奇普菲尔德打破了战后德国建 筑的最大禁忌，将博物馆设计为现代古典主义建筑风格。在这样的风格下，廊柱是不可缺少的，但 是顶部没有楣构。奇普菲尔德不愿过分渲染这种风格，但是这显然是一种暗示，表明奇普菲尔德正 在进行的几项工程中也将会出现类似的设计。这种遵守纪律的建筑手法只是奇普菲尔德设计的一 个方面。 巴伦西亚主办世界杯时，奇普菲尔德为其设计的“美洲杯大楼”显示出他对建筑与城市生活关系的 浓厚兴趣，以及对建筑物社会因素的关切。这样，奇普菲尔德在设计时逐渐使这座大楼不再是游艇 赛季赞助商观看比赛的平台，而是使其融入到城市中，成为大众生活的一部分。 奇普菲尔德的宏大目标认为建筑设计不仅仅是在图纸上排列砖块，以及建造宏伟的建筑物，而是 清晰传达共同愿景的一个工具，如一所大学应该是什么样子，或者一个文化中心怎样才能成为城市 生活的一部分。奇普菲尔德就是一个实用主义者。任何一个管理大型事务所的人都必须是实用主义 者。奇普菲尔德打算做无米之炊。他一方面要提高马德里市郊的大众住宅项目的地位，另一方面又 要为艺术家安东尼·格雷姆（Antony Gormley）设计复杂的、有挑战性的工作室。但是不管怎样，奇 普菲尔德都会直坚持自己所相信的建筑学的实质。
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D
avid Chipperfield’s first substantial project was the
and Norman Foster, was not to compromise with the Prince of Wales
long demolished shop designed for Issey Miyake in
and his acolytes or with the cynical commercial developers of the
Sloane Street in 1983. With its veined white marble,
period. Instead he stuck with the restrained, quiet, thoughtfulness of
generously proportioned timber floor boards, and an
the architecture that the 9H team championed. There were a couple of
intricate palette for the supporting cast of materials it might seem a
bruising encounters with the militantly philistine nature of the British
little rich for the Chipperfield of today, but it remains a sophisticated
way of doing things. When Chipperfield designed Nick Knight’s
exercise in place-making, and in its intentions and ambitions is not
house in an undistinguished suburban street, the neighbours,
so far from what he would be doing now. Even then Chipperfield was
unabashed by the banality of their own homes, did all that they
ready to say that it was important not to do too much. All that a shop
could to prevent it from being built. Chipperfield had an equally hard
might need would be a really beautiful floor. That introduction to
time building his own offices in a mews in Camden, with the London
Issey Miyake was to take him to Japan, where he was one of the early
evening paper gleefully egging on opponents of what was described
arrivals in the wave of Western architects sucked into the Tokyo of
as his ‘aggressively modernist, and out of scale design’. In the
the Bubble Economy. He built two substantial buildings - an art gallery
process Chipperfield realised that to have any chance of building, or
and an office building. It was enough to keep his office in London
indeed surviving, he would have to look beyond Britain to mainland
afloat, though he built very little in Britain at that time: a house for the
Europe, where he could see himself as part of a group of architects
photographer Nick Knight, the River and Rowing Museum in Henley,
who brought a seriousness and intellectual ambition to their work that
and a little office building in Camden.
went beyond stylistic mannerisms.
Chipperfield had an office in the same semi derelict building as
Chipperfield today heads a substantial international practice. He
Blueprint Magazine. With space to spare, he turned the basement of
is building or has built in China, America, Japan, Italy, Spain and
the building into the architecture gallery, 9H. For the London of those
Germany, though comparatively little in Britain. And so, Chipperfield,
days, where a self-regarding insularity gave it an unjustified faith in its
who is in so many ways quintessentially English, has become the
own pre-eminence as an architectural centre, the bracing astringency
most European of British architects. His office in Berlin - established
of 9H was something of a departure. Named for the hardest of
a decade ago to work on the most complex project he has ever
hard lead pencils, 9H was determined to bring the unsentimental
addressed, the reconstruction of the Neues Museum, Berlin’s
architectural sensibility of what were then seen as obscure Swiss
archaeological museum, bombed in the Second World War, and never
firms, such as Herzog and de Meuron, and assorted Austrians, to the
restored - is now larger than his London operation.
blinkered attention of the Anglo Saxon world. It was not an easy task.
It is a complex position in which to find himself, especially for an
And indeed, 9H’s policy was to have some piquantly unintended
architect who believes in rooting his work in place, memory, and
consequences. It was Herzog and de Meuron who were selected
material qualities. When you have joined the international flying
to rebuild the derelict Bankside power station as Tate Modern,
circus, how do you resist the tendency it encourages toward the
rather than Chipperfield who had put everything that he could into
showy gesture, and the quick fix?
his competition submission, even a last minute plan to amputate
Chipperfield’s work could be seen as conservative in the best sense.
the building’s landmark chimney, in a move to create the kind of
He is looking for architecture that lasts, that resists the culture of
generously proportioned gallery spaces that Tate Modern still lacks in
spectacle. Presenting his design for a new headquarters for the BBC
sufficient quantity.
in Glasgow to a competition jury, with a site on the edge of a derelict
His response to the difficult climate of the 1980s when he started in
enclosed dock on the fringes of the city, surrounded by a howling
practice, a er training at Kingston University and at the Architectural
void of anonymous and banal business parks and apartment towers,
Association, followed by time spent working for both Richard Rogers
Chipperfield described his task as trying to find a way to give some
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sense of permanence and place to an environment, which looked, as he put it, as if it might blow away with the first gust of wind. Given the restrictions of the budget, and the brutal simple-mindedness of a procurement procedure that saw the BBC outsourcing the project to a finance house, there were not too many options for Chipperfield. But he came up with a project that made the most of its interior. Like an Adolf Loos raumplan, he took the fixed elements of the brief: the studios, and placed them on the floor of the building, like giant steps. He put the social spaces of the building on top of them in a cascading sequence that raises the height of the interior. In the process he made somewhere out of nowhere. The challenge for his two early Japanese buildings was almost the reverse, how to create a moment of stillness in the midst of the chaotic life of the suburban fringes of contemporary Japanese cities. He did it by creating a world within a world. As Chipperfield’s practice has grown and matured, he has stepped up to the challenge of exploring new types of brief, and developing his own distinctive voice. The most complex, and hard to categorise is the Neues Museum in Berlin, which undoubtedly stands as his first mature landmark, and perhaps also the building in which he has taken the biggest conceptual risks, and come up with solutions that are both traditional in that they refer back to the strategies for dealing with the restoration of old buildings advocated by William Morris when he set up the Society for the Protection of Ancient Buildings in the 19th century, and yet have an entirely contemporary astringence. The Neues Museum, with its obsessively painstaking approach to preserving every flake of damaged paint from a building mutilated by war, and dissolving in the rain of decades of post war neglect, is like nothing previously attempted in its attitude to history, and its attempt to make something new out of it. Equally original in its own way is the emergence of a group of buildings that began with the Museum of Modern Literature in Marbach, Germany. With a cliff top setting, alongside a classical neighbour, Chipperfield broke the greatest post war taboo of German architecture, and introduced what can only be understood as a modernised classical building, with colonnade, though no entablature, or capitals on its columns. Chipperfield is uncomfortable about having too much made of this, but it is clearly a vocabulary which is set to recur in other projects that he is working on. This kind of disciplined tectonic approach is only one strand to his work. The building he did for Valencia’s waterfront when that city hosted the America’s Cup is a reminder of his interest in the relationship of architecture with urbanism, and also a concern for the social aspects of a building. Chipperfield gently subverted what was intended to be a viewing platform for an elite group of sponsors for the yacht racing season, by tying it into the city around and making it partly permeable to the public. For Chipperfield, a master plan is not merely the disposition of blocks on a map, a kind of large scale architecture, rather it is a means of articulating a shared vision about what a university might be like, or how a cultural centre can be part of the life of a city. He is a pragmatist of course. Anybody with a large office to maintain has to be that. He is ready to make silk purses out of the sow’s ear projects; bringing a certain dignity to affordable mass housing projects on the edge of Madrid, at the same time as engaging in the intellectually sophisticated challenge of making a studio for the artist Antony Gormley. But he has stuck to his belief in architecture of substance.
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FEATURE REPORT 更多信息：请访问奇普菲尔德个人网网站：www.davidchipperfield.com 131大道，大卫·奇普菲尔德, (Arquitectura Viva SL 2009) 大卫·奇普菲尔德, Zusammenspiel, Ernsting Service Centre, Dr Bernd Ernstingand Jurgen Tietz (Ediciones Poligrafa S.A. 2003) El Croquis 87+120 -大卫·奇普菲尔德1991-2006, Aaron Betsky (El Croquis, 2006)
FURTHER READING Visit Chipperfield’s website at www.davidchipperfield.com"davidchipperfield.com AV 131 David Chipperfield, (Arquitectura Viva SL 2009) David Chipperfield, Zusammenspiel, Ernsting Service Centre, Dr Bernd Ernstingand Jurgen Tietz (Ediciones Poligrafa S.A. 2003) El Croquis 87+120 - David Chipperfield 1991-2006, Aaron Betsky (El Croquis, 2006)
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造一座 观察 自然的 房子 A House to Observe the Nature 萨母伏尔多利尼 建筑主张： “不要刻意表现，让它自己出现” do not show it, let it show naturally
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在
瑞士Montet山区的田埂旁，悄悄的出现了一座别 墅，这是瑞士新生代设计师桑姆·伏尔多利尼的作 品，很多人都曾说别墅的主人选桑姆作设计师是 一张不按常理出的牌，因为桑姆从来都是清新简
洁的文艺青年。既然是度假用的私人住所，也许更应该走舒适的乡 村路线。但是主人正是看中了桑姆的天真，这位已经奔四的设计师 依旧没有被商业化竞争打败，如果你看到他对自己作品构思的诠 释，你一定会被他的孩子气所折服。学会简单的人才是聪明的，桑 姆正是这一类。
By the ridge of Montet mountain area in Switzerland, a villa designed by Sam Vordonia has emerged quietly. As a Swiss designer from the new generation, Sam has always been a fresh and simple young artist and it is widely considered surprising when the villa owner selected Sam to do the design. Since it is a private residence for holiday, perhaps the cozy country style is the best choice. The villa owner took a fancy to the innocence of the designer who is in his 30s does not compromise with commercial competition. If you get to see Sam’s interpretation of the ideas in his works, you will be impressed by his childishness. To be simple to be smart---Sam is just this kind of guy.
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FEATURE REPORT 大地的测量
在
农耕的边缘建造一座私人房屋，这对Morcle来说并 不是难题，从来他对自然法则系统的东西都不憷头， 桑姆使用通过这座建筑，与Montet山，与果园，与田 埂等所有美丽的东西对话，当然，他也说， “我要让这
建筑和通向Morcle峭壁的对角线产生对话。”这是艺术家的想法，我 们可能听不太懂，但是能够清晰看到的是，Morcle在构思之前，一定 对周围的地貌作了深入的勘测和解读，他想让这所房子与周围的风景 关系默契，让这座建筑的外型轮廓能充分融入风景。正向他一贯的风 格：通过简单地改变几何造型，渗透环境。这样风景就延伸到了房子 里，与房子相呼应。
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房子成为了观察的工具，捕捉周围偶然的诗意。 桑姆是典型的意大利血统长相，却生于瑞士，这个国度的湖光山色奠定了他热爱自然的基 础，同时，他也很热爱中国，他曾经发誓说，自己上辈子是中国人！这几年，他一有假期就往中 国跑，在北京的胡同里，他又说“我好像看见了自己上辈子在这里生活的纪录片”。 这就是充满想象力和热情的桑姆，当Montet处所的主人找到他之后，他一头便扎进自然里 呆了很久，说是要仔细的看过这里的每一处场景，这些场景都有可能成为这个建筑作品最后 定稿的决定性因素， “我不是在创造，我只不过是在重复自然，好像在这里又种下一棵树”。 桑姆了解到，这块山地曾经是古老的海底盆地，有大量的沉淀物，土地富含蒸发盐（石膏和 盐）。这个地方的重要特点是，在浸蚀和蚀变作用下，一些过去被掩埋在深处的岩石暴露在 表面。
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所以，让建筑与这些错落分布的，长着青苔的峭壁想融合，让房子好似从大块矿石中切割出来似的，成 了他最初的设想。 5年前，桑姆也曾遇到一个类似的项目，那也是在阿尔卑斯山区的一块古老的葡萄梯田遗址上建一座私 人居所。从那时起，桑姆就对这种在自然中设计的方式开始热爱起来。当你看到他的作品，你会怀疑 这也是设计么？太简单了，但是，当一个作品，就在那里，不去打扰到周围的一草一木，这才是最难的。 “我只需要在这些建筑上设计几个窗子就够了，每个窗户都是一个故事，每个窗户也都是一片风景。你 想看到什么风景，经历什么样的生活，我就在哪里为你开窗。” 这样，建筑可以忘了建筑师而装满历史。
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Measurement of the Land
T
o bu i ld a pr ivate residence nea r farmland is not tough for Morcle who has never been set back by things related to law of nature. Through this
architecture, Sam intended to provoke dialogues with all beautiful things such as Montet Mountain, fruit garden and farmland ridge. Apart from these, Sam said, “I’d like the architecture to talk with the diagonal line to the Morcle cliff.� This is the notion of an artist, so we may not understand, but what we can know for sure is before designing, Morcle did profound measurement and inspection about the land features around: he wanted the house to harmonize with surrounding scenery and its exterior figure to fit into the landscape. This is in line with his style all along---blending into the environment through simple transformation of geometric shapes. As a result, scenery extends into the house and echoes with it.
The house becomes an instrument to observe and capture occasional poetic atmosphere around.
Of Italian decent and with typical Italian appearance, Sam was born in Switzerland where the beautiful lakes and mountains laid the foundation of his love
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for nature. At the same time, he loves China and has vowed that he was Chinese in his past life! In recent years, he comes to China whenever he has got a vacation. At the Hutong of Beijing, Sam said, “I seem to watch a documentary of my living here in the past life.”
This is Sam, a man full of imagination and enthusiasm. When the owner of Montet villa came to him, he flung himself into nature and stayed there for a long time to check carefully all the spots of the scene which would likely to be the decisive factors of the architecture’s final version, “I am not creating. I am just repeating the nature, as if another tree is planted here.”
Sam inspected that this mountain area was once an ancient basin under the sea which was abundant of sediment and evaporite (gypsum and salt). An important feature of this place is that with the function of erosion and alteration, some rocks which were buried in the depths now were exposed on the surface. So the first version of Sam’s designing was having the architecture integrate with the mossy cliffs scattered around so that the house looked as if it was cut out from the bulks.
Five years ago, Sam encountered a similar project---a private residence at the ancient ruins of a grape terrace in the Alps mountain region. Since then, Sam has developed his favor of designing in nature. When looking at his work, one may wonder whether it is really a design because it seems so simple. But, when
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a piece of work exists with no disturb of surrounding plants, it is really a toughest one. “I just need to design a few windows on these buildings. That is enough. Every window is a story, and a landscape, too. Tell me what you want to see and what you want to experience, I’ll tell you where to open a window.”
Thus, architecture can fade its architect and be filled with history.
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