建筑论 ARCHITECTURE
无限的Wirrwarr “有一个概念可以腐蚀并打翻所有的概念。我指的不是邪恶，它仅在伦理限度内成 立。我指的是无限。”—— 博尔赫斯 文 由密 / text by Umi 图片提供 / photos by Jürgen Mayer H. 上图：Jürgen Mayer H.近期出版的 名为《Wirrwarr》的书，在某些方 面解释了他作品中的精神来源。
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陆德国建筑事务所J. Mayer H.的网站，一组如《骇客
住Abitare：从你书中的图案中我几乎看到了它们在三维
帝国》中视窗的数字串闪动出现。这是一个密码？
空间的形态，你会不会以这样的视角看待图案呢？
Mayer
Jürgen Mayer H. ：会的。图案包含几个方面。首先，
H.在建筑界冉冉上升，他们的作品常常以妖冶的形态示
我对它二维的形态感兴趣，这里面包含了空间排布的某种
人，但形态的妖冶是一条无穷尽的道路，表象之外还有什
策略，通过它控制哪些信息可以穿透，哪些不能，以此用
么内涵呢？Jürgen Mayer H.最近出版了一本乍看起来古怪的
作信封内的密码或个人信息保护，几乎可以说是一种信息
书，名为《Wirrwarr》，在某些方面揭示了他作品中的精神
伪装术。这个逻辑在建筑中也适用：建筑是内部与外部空
来源：这本书荟萃了他数年来收集的起保护作用的图案，
间、公共与私人空间、暴露的和隐匿的空间之中的一层体
装饰图形？建筑宣言？近年来，主持建筑师Jürgen
这是一种通常在私人信函内表面的密码图案，以避免信封
肤。图案把私人信息包裹在其中，唯有透过信封上的窗口
里的内容因透光而被看到。
才知道信件何去何从，如同赋予它一个身份；同样在建筑
这
类“图案”（姑且把它翻译成“图案”，虽然没有
中，窗子起到了让人窥视私人生活和空间的作用，建筑的
必然的装饰作用）出现在建筑师的一些装置中，并
外立面是一种体肤。其次，我们的建筑和装置作品中经常
成为某种视觉元素，而在另一些作品中，它甚至还成为一种
用到立体化的图案，正是通过对立体化空间的占有，让我
构成元素，与建筑师的“空间策略”、建筑、展览设计及城
们得以斡旋于内部和外部、私人和公共空间。这种模棱两
市设计之间的关系错综复杂。正如主题所指，这本书的隐晦
可的状态让我着迷。还有，图案本身也丰富的形态主题，
与数据保护图案的效果不相上下。对此，《Abitare》与Jürgen
我的书中就有一种图案全部由城市名的拼写构成，它们被
Mayer
重复和叠加，得出乍看之下颇有声势的字团图案，这其实
H.进行了一次深入且隐晦的探讨，虽然看起来不够“
建筑”，但却是对一位建筑师思维线路的真实追踪。 78
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也是一种可解读的图案。我们应“奥迪未来城市设计大
Infinite Wirrwarr There is a concept which corrupts and upsets all others. I refer not to Evil, whose limited realm is that of ethics; I refer to the infinite. Jorge Luis Borges
OMayer H., a flow of data fills the screen in a Matrix fashion. pening up the webpage of German architecture office J.
What is it- secret codes, decoration elements, or an architectural manifesto? The architect Jürgen Mayer H., on his way to architecture stardom, presents us with a line of works with groovy forms. But being groovy is not as important as the message behind, what could that be? Jürgen Mayer H. recently published a seemingly bizarre book called Wirrwarr A German-English dictionary translates it as “hurly-burly”, admittedly, paying tribute to the pattern of the word), an archive of his years-long collection of what he calls “data-protection patterns”, i.e. the patterns printed in the inside of envelopes so that people cannot decipher the letter’s content by holding it against the light. These patterns appear in Jürgen Mayer H.’s works, sometimes as visual features, sometimes as structural elements. But the spatial strategy that the architect adopts in designing exhibition space, architecture and urban vision, can be debated - one cannot grasp
it from Wirrwarr, which, by intention or not, well fits the agenda of the book, to conceal and to protect. Intrigued by this, Abitare China speaks with Jürgen Mayer H. to explore his world of infinite patterns. As much un-architectural as it may seem, it maps (part of) the interior of an architect’s mind. Abitare Looking at the sheer visuals of the patterns from your book, I started to project them into a three dimensional space. Could it be one way you see them? Jürgen Mayer H. Yes. There are different aspects to patterns. First, I like it as surface, there are very clear strategies, shown in the patterns. Data protection pattens are like information camouflage techniques: they control what is readable and visible and what is not. This selective quality is very architectural too. Architecture is a skin between inside and outside, between public and the private, exposed and intimate. Patterns are envelopes of something concealed inside - only the window on an envelope where you see the postal address makes it specific to the persons. Similar in architecture, windows allow you to look inside and see
Above:Jürgen Mayer H. recently published a book named “Wirrarr”，an archive of his years-long collection of what he calls “data-protection patterns”.
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奖”之邀做的城市设想“A.Way”之中有一系列复杂形态的
住： 这似乎不仅仅是图案，而与数集、数据库等联系起
城市母体，正是借助一些关于交通、流动性的单词拼写的
来，这与图案生成和创造有关系吗？
立体化组合建构的。我们旨在调解多方的对立，而不是提
JMH.：其实我在高中主修了两门课，数学和艺术。数学
供确定的解决方案。
逻辑的纯粹和衍化过程，一直让我很着迷，它兼顾真理和
住： 从二维转译到三维实体物件的过程或其反过程是怎样
逻辑，并让我能够审慎看待自己的创作。
的？
住：对于你，世界是否是一个网络，或者是一种网络空间呢？ JMH.：或许说是相互依存的空间更合适。相互连接与联
JMH.： 我们就二维图案到三维物件的变幻做了一系列实
下图：Heat. Seat椅子可以根据温度 褪去颜色，离开后这种亲密的痕迹 才慢慢恢复正常。 below:Heat. Seat Chairs with temperature sensitive surface, when you sit on it, the color disappears, and after you leave it, it cools off, the color comes back.
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验，将于9月份在柏林一个画廊展出。成果大致是：从正
系，相互依赖。
前面看到这个物件，它好像是二维的图案，然而稍稍偏转 一个角度，它便会显露出背后复杂的空间结构、网络和骨
住：可以把这个网络视觉化吗？ JMH.：这已经有人做过了，我们更感兴趣的是如何制造
架。
或从这些关系网中投射出新的东西。
住：这个过程让我想到伦敦AA组织的“Beyond Entropy”展
住：当然如此，不过视觉化可以更快地向大众传达信息，
览中的一件作品：刑侦现场的照片经过三维扫描，再三维
比如“世界是平的”。关联无处不在，但是在局部规模，
制模输出，所得到的现场模型看上去比真实世界还要真实
联系网会被边界牵制——人们总会以自己的兴趣点为出发
一些。
点。社会学家Bruno Latour最近在一篇文章中根据哲学家Peter
JMH.：现在我们做的是二维到三维的转换变形，将来也
Slotherdijk的想法修正了一下自己关于联系网络的看法，他
许又会有另外的转换过程吸引我们。从项目本身来看的
认为一个网络构成的球体才能够解释世界，球体上密布的
话，我们的Octobar可以算一例，它在真实空间中展现由多
网络使球体更加牢固，并且不必再去区分内部和外部的区
媒体屏幕构建空间结构和网络。
别了。
图片提供 / photos copyright belong to Autostadt
the interior space and personal lives, where the facades of the buildings act as a skin. Then, when you look at our work, we take the patterns and often interpret them three dimensionally, in a way we try to inhabit exactly that space of negotiation between the inside and outside, private and public. That’s the ambivalence I’m interested in. There are all different kinds of patterns, in the book we have one that consists of names of cities, which multiplied and put together, form this flurry of letters. So sometimes, there’s a text to read from the patterns. In “A. Way”, an urban fantasy we presented for Audi Urban Future Award, we designed the “pokeville” (urban complex) based on a pattern made three dimensional. I took from words related to mobility and transportation to construct it. You see, it’s meant to be a negotiator rather than a resolution. AbitareHow is the translation progress like, transforming something from 2D to a real 3D object or backward? JMH. We did some studies which we will show in September in Berlin, where we take patterns and interpret them three dimensionally. So when you look from the frontal, you see just the pattern, and as soon as you turn a little bit to the side, it becomes a labyrinth of inner structures, networks and skeletons.
AbitareThis process reminds of a piece I saw at the Beyond Entropy exhibition organized by AA School, where a forensic photo is scanned and 3D printed. The resulting “sculpture” departs from the original site represented in the photo. JMH. At this point, we are working on the 2D into 3D process, it would be interesting to see in the next step how to change it again. But you can see perhaps a more realistic translation process in the exhibition design of the Level Green exhibition design we did for the Autostadt, where media screens and interactive surfaces become part of a network or skeleton structure. Abitare That seems to have something to do with data collection, numerical system, are they something that comes into the process of pattern creating? JMH. When I was in high school, I specialized in mathematics and fine art. So I have a interest in the logistics and purity of mathematics, it balances well the question of truth and logic, and at the same time allows the liberty of critically looking at what you are doing. Abitare Do you see the world as a network, or networked place? JMH. Interdependency might be a better way to describe the world. Interdependency of collectivity, reliability and
上图：2009年6月，Jürgen Mayer H.为 德国大众设计的Autostadt展览，概念 是Level Green。 Above:The exhibition Autostadt designed by Jürgen Mayer H. for Volkswagen Group’s Communication’s Platform, the concept is Level Green.
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JMH.：球体的概念也可以这么理解——条条大路通向起 点，只是路上积累了更多的知识。我们推出这些理念是为 了理解世界，因此需要时时调整它们，这也是建立知识架 构的精彩之处。
住： 球体之后是什么？我会问。不过，回到图案，图案 作为一个抽象概念还是很有吸引力的。
J M H . ： 不过我们并没有把图案二字用作书名。书名 Wirrwarr这个词很德国，是讲一种没有秩序的胶着状态，用 状态起兴比用物名为题要好。
住：生活中你会注意到“图案”吗？ JMH.：可以说我四处都能寻到它，不仅仅是视觉形态上 的图案，更有生活常规的重复的部分。你在自己身上也会 发现它的痕迹。它把你的生活固定在某些点上，但偶尔你 也会希望打破这个规则。
住 ： 动作的重复值得挖掘，在表演艺术中，动作（an action）无数次的重复便成为表演（an act）。
JMH.：在音乐特别是电子音乐中，也可以找到往复出现 的“图案”。最近它在数学领域的混沌理论中也流行起 来，科学家也发现了相似的形态同时存在于微观世界和星 系宇宙，又是重复“图案”。
住：那么参数化设计和数据及程式有没有什么关联？ JMH.：参数化设计帮助形成灵活的设计进程和复杂的形 态结果，我们的作品不能说是很大程度上基于参数设计 的。我认为参数化设计过于简单化，不能完全满足做设 计的乐趣，或者说责任。创作者的责任在当下还是很重要 的。
住：在设计工作中你如何自我更新？ JMH.：除了偶尔构想诸如二维到三维变幻的实验，我们 在材料和制作工艺上不断进取。比如我们试用了的身体工 程技术，Heat.Seat椅子能够根据温度褪去颜色，离开后这
摄影 / photos by Christine Dempf
亲密的痕迹才慢慢恢复正常。这再次引发类此图案带给我
摄影/photos by Ludger Paffrath
本页图：Jürgen Mayer H.于2010年6月 在柏林的某画廊举办的RE.FLECKS 展览。 This page : Jürgen Mayer H.’s exhibition RE.FLECKS was opened in Berlin on June 2010.
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们的问题：哪些是表象的，哪些是隐藏的，什么是私人 的，什么是公开的，这是一种通过轻松的感官方式触及的 二元辩证。
interconnections. AbitareIs there a way to represent it visually? JMH. I think that’s what has been done already. We are more interested in production, or projection of the connections. AbitareRight - but visuals nevertheless deliver the message to the most people, for example, “the world is flat.” Connections are everywhere, but on the local level, you see borders - people connect only to what they are interested in. So the sociologist Bruno Latour updated his idea of the networked world, inspired by philosopher Peter Slotherdijk, and came up with the sphere model. As a sphere of connections, It won’t easily come apart, and there’s not a clear distinction between inside and outside. JMH. The sphere model may also be read this way: which ever direction you go, you will always end up at the same spot, with some knowledge accumulated from the journey… I think we all try to understand what’s going on around us, and we always have to readjust the models we propose of the world. That’s the beauty of developing knowledge. Abitare :What comes after the sphere? I’d be curious. But to go back, I think pattern as a concept has some charm to it. JMH. We didn’t, however, put “pattern” in the title, Wirrwarr is a better title, It’s a very German word, meaning confusion, a state without order. This illustrates more of a condition rather than object. Abitare Where else in life do you see patterns? JMH. I see them everywhere, not only as visuals, but also as rituals, repetition of daily routines. You can see it in yourself too. It constitutes the stabilization of life, but once in while you want to break through it.
Abitare Repetition of action can be interesting to observe, in performance, when something is repeated for a number of times, an action becomes an act. JMH. In music you can find patterns too, especially in electronic music. Also I think it becomes big in mathematics, when we talk about chaos theory. You find the same form in microscopic organisms and at the same time in something as big as the galaxy reoccurring pattern. Abitare Tell me about parametric design, isn’t it sort of playing in a different way with data and formulas? JMH. Parametric design is helpful if you want to have a flexible design process, or more complex forms. I wouldn’t say our works is parametric-based. It’s too simplistic in a way, and negates the beauty of decision making or, responsibilities, if you want to put it that way. I think responsibilities of the author (architect) is still important. Abitare How do you reinvent yourself in design? JMH. Other than the kind of experiment with 2D going 3D mentioned before, we also reinvent materials and construction technologies. There’s the body technology we’ve looked into that runs parallel to the questions of patterns. We designed the Heat. Seat chairs with temperature sensitive surface, so when you sit on it, the color disappears, and after you leave it, it cools off, the color comes back. This again brings the questions of what you conceal, what you expose, what is private, what is public, very similar to what the data-protection patterns are doing. It’s a playful, sensorial way of experimenting with exposure/ discretion.
Jürgen Mayer H. 德国建筑师Jürgen Mayer H.于1996年 在柏林创立自己的工作室，视角集 中在建筑、信息传达和新技术的交 互领域。项目范围包括城市规划、 建筑、装置以及新材料研究，以人 体、科技和自然之间的相互关系为 设计出发点，创造出各种空间形 态。近期项目包括Ostfildern市政厅， 卡尔斯鲁厄大学的一个学生中心， 西班牙塞维利亚的一座广场改造。 Founded his studio in 1996 in Berlin, Germany, J. Mayer H. focuses on works at the intersection of architecture, communication and new technology. Recent projects include the Town Hall in Ostfildern, Germany, a student center at Karlsruhe University and the redevelopment of the Plaza de la Encarnacion in Sevilla, Spain. From urban planning schemes and buildings to installation work and objects with new materials, the relationship between the human body, technology and nature form the background for a new production of space. www.jmayerh.de
编辑 李涤非/edited by Li Difei
下图：Jürgen Mayer H.应“奥迪未 来城市设计大奖”之邀所做的城市 设想“A.way” Below:Jürgen Mayer H. presented “A.way” for Audi Urban Future Award
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