Audi Urban Future Award

༬՚዆ፕ SPECIAL REPORT ABITARE CHINA

ມ౎ቛ

࿄ઠ‫׭‬๨ยऺǖ ࣙၙईࣙၙ೦௶Ǜ Designing Urban Future: Illusion or Disillusion?

ጲ / by Umi

‫ܔ‬

‫׭‬๨࿄ઠ‫ၙڦ‬ၡࢅยऺLjٗઠ‫ۼ‬๟ᅃ߲ཡࣆᇑ၄ ࣅĂአዎऐࠓ‫ݴ‬ದ‫ڟ‬ᄂ़ᆶए‫إ‬ยแቛਸ‫ॺڦ‬ยዐLjႚ ࠻‫ح‬ටૌ૦๏Lj࿢்ጺᅈડ ऐഗิ٪ăంሏདഐઠ० ํኮक़૶ჄႠ‫ڦ‬࿚༶ă௅้߲‫ڦپ‬ට੗ᅜ৑੗ీ ‫ܠׯ‬ᄣܸᆶႾ‫׭ڦ‬๨ॺࠓă ኱๟‫ِދ‬ă ࠎࣃ้क़‫ڦ‬࿮၌ᇺ‫ت‬๘হ‫ڦ‬ઢ཮Ljփጲਥ‫෇ڦ‬௚ጣఋLj Bjarke Ingels GroupDŽ‫چ‬஛Džሞਖ਼ጦྼܻ൸၍DŽᆯఊܻ ... ঴‫ڦేݣ‬႐዇ă ‫ڍ‬๟࿢்‫ڦ‬࿔ࣅओ‫ۏ‬ᅙঢ়ඟኄၵ‫ܔ‬࿄ઠ‫ၙڦ‬ၡሞ࿄ઠ԰ ۨୱླྀ܏‫ڥ‬ઠDž‫ڦ‬ഔ݀ူᇨ֪20౎ࢫ࿢்ॽփᆩ॑‫כ‬Lj

ఏ‫ݤ‬ຯLj Ė࡟ਜ਼‫ࡔڽ‬ė

ৎኮമՎ‫ׯ‬କ৹‫ၙڦ‬ၡăኄՍ๟ཡࣆԨว‫ڦ‬ՑኤLjཡࣆ ܸ๟ഛ‫כ‬ሞ႑တဣཥኸ‫ူڞ‬ጲ‫॑ۯ‬๓࿢்ăຕጴࣅ‫ڢ‬ୟ ᅃ‫ڋ‬ԥ዆ሰLj৽ᅙঢ়઻କăఫ஺़඗ཡࣆవᅜ‫ג‬ሁLj࿢ ॽቛ๖ጲ‫ۯ‬ഛ‫כ‬Ăႜට‫ࡆڦ‬गժԍኤ໱்ࢻփ၎঍Ljᅪ ்࣏๟࠲ጀٗ၄ํ‫݀؜‬Ljසࢆॷ৊๕‫ڦ‬থৎᅃ߲੗ీ‫཮ ڦ‬঴ਦ‫׭‬๨ୁ‫ۯ‬Ⴀ࿚༶ă‫ړ‬඗LjኄሞԨْยऺ৪ෘ‫ڦ‬ᇕ ॽઠLjཞ้ԍኤփۨᅭࢅࡀࣄኄ߲࿄ઠLjᅜ௨໲ሞ࿢் ৣዐኄ၂‫ڥ‬೤ᅃહᆦᅥă ‫ڦ‬๮ዐ֜઻๝ඁă

Cloud 9๚ခ໯DŽဇӬცDž൩ઠ8዁

10໠‫ڦ‬

ᆯ‫ࡔڤ‬Stylepark֧ࣄ‫ڦ‬ӎ‫ڱ‬࿄ઠ‫׭‬๨ยऺ‫ٷ‬ঃྺୃ࿋ ࡚ጱĊĊܾๆ౎ࢫ‫ڦ‬ਦ֧ኁᅃഐ߾ፕLjྷජ຺߲ए Ԩᇮ ሞࡔाฉ᫮᫮ิ࣪‫ॺڦ‬ዾ฾DŽ๚ခ໯Dž༵ࠃକೝ໼Ljᄥ ໎ ࠓ ၙ Ċ Ċ ഄ ᅃ ൣ ল ੗ ም ิ ీ ᇸ Lj ഄ ܾ ዆ ሰ ీ ᇸ ‫ॺ ڦ‬ ൩໱்ยऺ2030౎‫׭ڦ‬๨ăྷජୁ‫ۯ‬ႠĂॺዾᇑ‫׭‬๨݀ ዾLjഄෙ຤ీᇑ඘ଙ‫׾ۉ‬Ljഄ຺ࢇ૙‫׭‬๨ྪ߭Lj໱்ᅃ ቛ‫ڦ‬ዷ༶Ljยऺ࣍ব༬՚࠲ጀ‫ࡀג‬ఇ‫ۼ‬๨‫ڦ‬ਃዿጒ઄Lj ഐ௮ࣼକெࡻ‫ڦ‬࿄ઠ཮ৠLjසຏఢӯิ‫ݝڦ׊‬࿭LjԈሞ ထྭٗႎీᇸᅜत঍ཚ֧୼‫ݛ‬௬‫ݒ‬າ၄ሞ‫׭‬๨‫ڦ‬၌዆ᇑ ഘಟዐ‫ڦ‬ഛ‫כ‬Ă‫ݧ‬ऐă໱்‫ࣼ཮ڦ‬ᅨፌᆶཡࣆૂᇴӯ‫ڦ‬ ࿚༶Ljᅜ൱ਗ਼ࣃ࿄ઠ‫ڦ‬૙ၙ‫ ׭‬๨ăঢ়ࡗമࢫෙ߲‫ܠ‬ሆ‫ૂ੺ ڦ‬एۙă ߁౒݀ቛࢅ‫ࡕׯ‬ቛ๖Ljፌዕ֖ᇑೠঃ‫ڦ‬࿵࿋ॺዾ฾DŽ๚ le nna Bie

B

ခ໯Dž‫װ‬၄କओटᇑ‫ܠ‬ᄣ‫ڦ‬ยऺ঳ࡕă

ՔጚᆐሰDŽዐࡔDž‫ॺڦ‬ዾ฾ቧ᧪‫ݒ‬າକዐࡔৎबๆ ౎Đ‫ڢ‬ୟᆫံđ‫݀ڦ‬ቛఇ๕Lj༵‫ں؜‬ཎ‫ࠌࠅڪ‬঍ཚᆫံ

Alison Brooks๚ခ໯DŽᆈࡔDž঳ࢇၭ႙࣍ԍഛ‫ࢅכ‬ዮ ‫ ݆ ၙ ڦ‬ă ኍ ‫ ܔ‬ԛ ৙ Lj ໱ ᆩ ಕ ‫ ߛ ڦ ٷ‬໏ ཎ ୟ ၍ ӝ ‫ ׭‬๨ Ԉ සຕጴ‫ڪࣆۉ‬዇ీዕ‫ظ܋‬ሰକ߸ൟ຿ࢅ߲ටࣅ‫॑ڦ‬๓༹ ྷLjժยऺକᄂ၍‫֫ߛגڦ‬Ăߛ௢‫ڦ܈‬૬༹݀ቛăሞా ᄓLjᄺྺ‫׭‬๨঴‫ݣ‬କ‫ٷ‬ଉ੣क़Ljᆩᅜ߸ටႠ‫ॺڦ‬ยăॺ ‫׭‬Lj໱ᆩ঍ཚ‫د‬๼‫ټ‬ൽ‫پ‬ୟྪLjට்ሞၭ႙ഛ‫כ‬૛़੗ ዾ฾ᅜ‫ۼٷג‬๨௕சྺ૩Ljӝ‫ںړ‬ट‫܋‬ᆛफ‫ڦ‬มࣷĂ࿔ ჋ስ॑๓Ljᅨ੗঍ᆯ‫د‬๼‫ׯྜټ‬୫‫ײ‬Ljܸᆔ‫ܠ߸ڥ‬ጲᆯ

110

021

Alison Brooks Architects

BIG - Bjarke Ingels Group

I

magining and designing the future city has always been a matter of finding consistence between fairy tale and the reality. People from any given time in history have deliberately done so, and, as a consequence, making themselves fall in love with the future blueprint. As time goes, however, our own cultivation consciously resists such imagination, the future vision becomes outdated vision before future draws near. This is the dialectics of the fairy tale: once it is created and fixed, it becomes old too soon. As that quality of the fairy tale makes it hard to transcend, we may only start from the reality and approach the point where future is almost tangible, yet we avoid defining and fixing it, in order that it doesn’t slip away from our own hands.

Curated by Stylepark, Audi Urban Future Award invites six remarkable, and by no means stereotypical, architects and firms to design the 2030 urban future. Mobility, architectural and urban development are particular issues addressed in the designs. Often concerning living situations in mega cities, the participating architects explore new energy forms and mobility strategies in attempt to draw a blueprint of the urban future. After three months of development, the final exhibition of five architects and firms presents very diverse approaches.

Alison Brooks Architects (UK) employs compact electric cars and smart phone-based digital dashboard for more personal and relaxed driving experience, and thereby releases spaces for community development in the city. The architect takes megacity Mumbai as a case, and proposes a sustainable urban extension based upon an existing transport infrastructure, integrating culture, infrastructure, political and social institutions in an orderly construct.

Bjarke Ingels Group (Denmark) prophesies a future of driverless cars in 20 years’ time, based on a study of the Kurzweil curve. The

cars will drive us, each supervised by an omniscient transport system that enables best optimal flow without causing interference between cars and with pedestrians. This take on mobility option seems to go at the future in a doing-it-once-and-for-all fashion.

Cloud 9 (Spain) invites a group aged 8 to 10, the future urban leaders so to speak, to join the process. They present four core values, clean renewable energies, buildings as power plants, hydrogen technology and fuel cell and lastly smart grid, and insert them into urban prototypes, in a way not without fairy tale overtones. Houses with stems shooting out, automobiles and airplanes cast in bubbles are just some examples of this happy project.

Standardarchitecture’s Zhang Ke (China) consider the “road first” city development model, practiced throughout China, to be outdated, and proposed a “subway first” model for the existing Beijing urban sprawl. Zhang Ke envisions a city circling the now Beijing, supported by vast subway infrastructure and containing extremely high density hybrid living and working spaces, the “meta-mountains”. In the inner city, he adopts traffic belts for individual and collective transportation, allowing more freedom and community activities even on the road. The roads no longer in use, recently freed spaces and facades of buildings are rendered green: the agricultural culture strikes back.

In answer to the attitude toward future, Zhang Ke claims that 2030 is rather tangible and 2030 in China may be the equivalent of 2060 or even 2090 in western countries, for China will have to go through more dramatic transformation. Standardarchitecture builds upon a realistic base of current problems and challenges of the future. The future may be partly predicted with aid of statistics and deduction, the other part is left to uncertainty--an earthquake, for example, could prove to be a chance for a city to redevelop itself.

Throughout human history, we have been dependent on machines to survive. Fate, it seems, is not without a sense of irony. ... Free your mind.Morpheus, in the movie “The Matrix”

021

111

J. MAYER H. Architects

੣क़ࢅ঍ྫ੣क़ăፌࢫLjቧ᧪ӝႎࡀࣄା‫ںཱིڦ؜‬Ăॺ ႚༀփም࿘ۨLj੗ᅜൟᅟԥටႪ߀ăຕጴႚༀेഽĂ‫ڍ‬ ዾྔ૬௬Ă৹கୟ࣏ߴକ౫ᄽă

ᄺᆶ੗ీൽ‫پ‬࿿૙ႚༀă

࠲ᇀසࢆੂ‫ځ‬࿄ઠLjቧ᧪ຫǖ࿢்ਥ‫ڥ‬2030౎ժփఫ

ኄ߲‫ݛ‬ӄሞӚ‫ڥ‬ཀྵؕࢫԥ࠽‫ݘ‬ᅱஃLj‫࢔ۼॆٷ‬ჹ໖‫ڦ‬

஺ᄫᇺLj๟ਏᆶ၄ํࢅมࣷᅪᅭ‫ڦ‬ăዐࡔᇑ౹ெࡔॆ้ ੊୯ኄ๟‫ޏ‬๟࿢்໯Ⴔᄲ‫ڦ‬࿄ઠĊĊᅃ߲࿮໯փԈ‫ڦ‬ຕጴ क़ฉժփ‫ڪܔ‬Ljዐࡔ‫ڦ‬2030౎੗ీ၎‫ړ‬౹ெ‫ڦ‬2060౎ई ဣཥ੦዆࠵ߌ‫ڦ‬࿄ઠLjᅃ߲փምਏᆶ༬ۨ࿿૙ႚༀܸ๟႑ 2090౎Lj໯ᅜዐࡔ‫׭‬๨঳ࠓᄲঢ়૦߸‫ڦٷ‬ገՎă࿢்ጺ တॺࠓ‫׭ڦ‬๨࿄ઠLjᅜतኄᄣ‫ڦ‬࿄ઠዐට‫ڦ‬ว༹ํሞႠ๟ ঳‫ڦူړ‬࿚༶Ljॠ๫࿄ઠ‫ڦ‬཈቟Ljᅜُ༵‫؜‬ᆌ‫ݛܔ‬ӄLj ‫ޏ‬ᄺ๴‫ྰڟ‬ၾăJürgen Mayer H.Ԩටሞ๚ࢫߢ໕࿢ǖ ‫ۅ݀؜‬๟࢔၄ํ‫ڦ‬ă࿢ၙ‫ܔ‬࿄ઠ‫ڦ‬ᇨ֪ᅃև‫ݴ‬ཚࡗຕ਍

ĐཡࣆLjᅃLj๟ᅃዖঞᇣ๮܎LjܾLjഽۙടടփ๟၄ํ

ࢅஇडླྀ܏Ljଷᅃև‫ྜݴ‬ඇփ੗ᇨ९Lj૩ස‫ںٷ‬ኒLjܸ ‫ڦ‬ఫᅃև‫ݴ‬ă໯ᅜ࿢࢔৚ჲ໯ᆶටᅜྺ࿢ቛ๖‫৽ڦ‬๟࿄ઠઢ ُၵ๚ॲঢ়‫׭ߴ׉‬๨‫ټ‬ઠዘႎอ๫݀ቛ֧୼‫ڦ‬੗ీă

཮ăഄํփ඗ă࿢ቛ๖‫ڦ‬๟࿢்ੂ‫༹ࢅڟ‬ᄓ‫ڦڟ‬၄ํ‫ڦ‬ᅃዖ

‫ڍ‬๟ᄺႹኟ๟ኄփ੗ᇨ९‫ڦ‬ᅺ໎ਦۨକॺዾ฾ॷ৊๕

൵ၠLj࿢ӝ໲बๆ౎ࢫ‫ڦ‬੗ీ঳ࡕሞُ‫ٷݣ‬ă঄ኄ߲ࠤ๚๟

‫ܔڦ‬࿄ઠ‫ڦ‬ยऺᇑ੔ࣙĂཡࣆ‫ڦ‬൶՚ă֖ቛ‫ڦ‬ፌࢫᅃ߲

ྺକඟ࿢்߸಼ಒ‫ူړځੂڦ‬Lj‫ܔ‬࿄ઠፔၵࡻ๚ăࡻၟ໯ᆶ

ย ऺ Lj ᅨ ๟ ӎ ‫ ڱ‬࿄ ઠ ‫ ׭‬๨ ย ऺ ‫ ٷ‬ঃ ‫ ڥ‬ዷ Lj ॺ ዾ ฾ Jü rgen ට‫ۼ‬ཞᅪ‫ۉ‬ጱ‫כ‬Ă࿮ට॑๓ഛ‫ڦכ‬മৠLjණྺม঍ྪஏ੗ᅜ Mayer H.ടടߴ࿢்঄କᅃ߲ཡࣆࠤ๚LjA.WAYǖ߲ට‫߀ ڦ‬Վ๘হLj࿢ਥ‫ڥ‬ኄ֍๟‫ޝ‬ੲ‫ڦ‬౷ჾDŽၙ​ၙഄ૧ᅮൻ‫ۯ‬ኁLj ୁ‫׭ྺׯࣷۯ‬๨ሺഽ၄ํDŽaugmented

realityDžဣཥ‫ڦ‬ᅃ ၙ​ၙĐ୴෥ಟ఑ঢ়षđDžă໯ᅜ࿢்‫ݛڦ‬ӄӝణമኄዖණኪ

և‫ݴ‬Lj႑တဣཥփৈඟටᇑ঍ཚ߾ਏጲᆯႜ‫ۯ‬Lj߸ీࠕ ‫ںৣڦڐࣚڟٷݣ‬Ljኻྺඟට்߸ࡻණኪ၄ํ‫ڦ‬ጽၠăሞኄ ߛ࿭ॺᨊ‫ڦ‬ኝࢇ໯ᆶට‫߲ڦ‬ට႑တLj๑‫ڥ‬ටĂ‫כ‬ᇑዜྷ ၵᆴຫཷ༹Ă૧ᅮ़‫ڥ‬ኁኮዐLj࣏ࡻᆶ࿢்‫ڦ‬ၭ​ၭཡࣆࠃට ‫ॺڦ‬ዾࢅ࣍ৣ௅้௅ਗ਼၎ࢻ‫د‬๼߳ૌ႑တLjׂิࢻ‫ۯ‬ă ለ‫܁‬ăđ ഛ‫כ‬ኮᇀට‫ڦ‬ᅪᅭ‫ࡗג‬କ०‫॑ڦڇ‬๓߾ਏLj‫ྺ​ྺׯ‬ට༵

‫ٷ‬ঃ‫ڥ‬ዷ੗ీ๟ኄْ࿄ઠ‫׭‬๨ยऺ৪ෘྸᅃᅃ࿋Նࡗ

ࠃߌ࠳ၛ๴ࢅ‫ڿد‬ኪ๎Ă႑တ‫ڦ‬ೝ໼ăਏ༹ܸํሞ‫۫ڦ‬

‫׈‬๬ۨᅭ࿄ઠ‫ॺڦ‬ዾ฾Ljܸ໱‫ࠤڦ‬๚ඟටၭ​ၭ‫ڦ‬੤ࣛኮ

ဇሞኄ߲ຕጴሺഽ၄ํྼ‫܈‬૛Վ‫ؽڥ‬๮੗तLj໲‫ڦ‬࿿ዊ

ᇆቴ‫ڟ‬ၵ၄ํมࣷ‫ڦ‬࿒٪ă࿢்዁ณ੗ᅜጲ࿢য়ႝǖ ኈ૙ᇸጲࣙၙ೦௶ăኈํᇸጲၙၟඍ݄ăDŽԕ‫ڤ‬૛ჱDž

112

021

Alison Brooks Architects

BIG - Bjarke Ingels Group

This uncertainty factor, however, may well be where the architect’s future vision and fairy tales are set apart. The last project, by German architect Jürgen Mayer H., also the winner of Audi Urban Future Award, tells fittingly a fairy tale. “A.WAY” assumes that the individual is a node in an augmented reality system of the city, which not only allows trouble-free mobility, but also integrates all the information from user’s hobbies to habits in its intelligence, and make possible, in turn, for the user to interact with surrounding buildings and environment. Automobile becomes the ultimate sensorial experience machine, a platform of constant information and knowledge exchange. The concrete reality is brought to our fingertip, at the same time its form is challenged, altered by the layers of augmented reality at play. The digital augments but could also potentially replace physical forms.

The prize winning of this project stirred a certain degree of distress.

Do we want to hand out our future to an omniscient information system? Do we feel comfortable with our cities possessing no fixed form and being a construct of data and information? Is physicality any relevant? Confronting these serious questions, Jürgen Mayer H. answered me later, smilingly: You know, the idea of a fairytale is that, A, it might be a pedagogical tool, B, highlights somethings that is exactly not reality, is a fairytale. So, I am very surprised that almost everybody read my project as my vision of the future. It is not. It is meant to highlight a tendency we see now, we live now, and project that one into some more years to come. By telling this story we can become more critical of the situation now, and make decisions that might help us to create a better future. this whole “cars are electric and will drive automatically”, and “sustainability and social media is the new big thing that will change society”, is such a general rhetoric, that seems not to be discussed or questioned at all (think about what are the

interest groups behind this, the green bubble, and network empires), and our project takes this common agreement to a level where it becomes so obscene that it helps us to establish arguments now to understand better what really is going on. In the end it is also a whole network of lobbies, interest groups etc., so, our pokeville story is a reading tool for today!

The award winner is the only participant who has succeeded in distancing himself from the pitfall of defining a future. Following a fit of upset, his little fairy tale proves duly heart-warming. Which reminds us, Truth is born of disillusion. The real is born of lack of imagination.

(Jean Baudrillard)

le nna Bie

B 021

113