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2016一等奖作品“爱之聚落”

2019-04-26 12:39:23

此次竞赛评委会主席伯纳德·屈米先生是公认的当代最重要的建筑师之一,屈米认为没有建筑可以脱离开概念与想法,描述建筑(例如建筑的动态使用)往往需要新的“标示”系统。此次竞赛屈米表示希望寻找既有概念,又有“标示”和有代表性的新模式(fresh mode of representation)的作品。最终“Love village”获得众多评委的青睐,设计者从哲学的角度入手分析建筑概念本源,又对后现代社会种种建筑空间、行为习惯的变化进行深入思考,从而将爱的概念延伸至爱情旅馆的设计中,以下就跟随小编一起看一看屈米先生认为的“最具理性风(most rational)”的作品吧!

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love village

前言   PART IPREFAC
 
第一次看到题目和要求,我们便觉得,与其说这是一个关于建筑竞赛的要求,它其实更像是一个关于建筑的宣言。它建立了一套观念,在这个观念下,建筑被抛向了一个更广的领域,它成为概念的实体化。同时,一种“新的标示模式”与不同的功能选择为我们提供了关于将概念具体化的方向。
 
When we saw the topic and requirements title and requirements for the first time, we thought that this is not so much about competition, it is more like a declaration about the building. It established a set of concepts,under the concept, the building was put to a broader field,“notation” became a  materialization of the concept. . At the same time, a kind of "new label model" with different functions provide us themethod to specify the  concept .
 
考虑爱情旅馆设计时,我们认为,爱情旅馆是“爱”这一概念的实体化,现代社会中的劳动异化让“爱”变得肤浅与廉价,而我们首先要做的就是对其概念进行重新定义。
 
When considering the design background: first of all, we believe that love hotels is the materialization of the concept of "love",and  in the modern society labor alienation is making “love” shallow and cheap, we have to  redefine the concept of it.
 
进程  PROGRESS爱之概念 
THE CONCEPT OF LOVE
 
人类用自己的理性建构起整个文明世界,然而随着人类文明的不断发展,人类理性的中心地位却遭遇了一轮又一轮更为强烈的挑战与颠覆。
 
Human constructs the civilized world with rationality; however, with the continuous development of human civilization, central position of human reason has suffered from even greater challenge and subversion.
 
 
非理性主义对理性的颠覆
 

尼采叔本华的哲学中,权力意志是理解人类生存的核心。
In philosophy of Nietzsche and Schopenhauer, “the will to power” is the core to understand human existence.

弗洛伊德的潜意识学说在某种程度上对这一命题做出了深化与回应。他认为人类的意识就像是冰山浮出水面的一角,而潜意识才是深埋在水平面下的主体部分。
Freud's theory of the subconscious, to some extent, continues that proposition. He thinks that consciousness is only the tip of the iceberg floating on the surface of the sea while the subconscious, the main body of the iceberg is submerged under sea level.

马尔库塞的爱欲解放理论进一步发展了弗洛伊德的思想。在他眼里,爱欲绝不仅是性爱之欲,而是可以演化为多种形态的生命本能,它象征着一种真、善、美的统一境界。
Herbert Marcuse's Eros and Civilization is the further development of Freud's thought. For Marcuse, Eros is not simply sexual desire but symbolizes the perfection of the truth, kindness and beauty.

 
建筑的一切是关于爱与死亡
 
马克思认为资本主义生产造成劳动本身与劳动产品之间产生了分离与异化,从而导致了劳动本身乐趣的丧失。
 
Heinrich Marx Karl believes that in capitalist society, the alienation of labor with its product results in the loss of fun and pleasure in labor.
 
马尔库塞将弗洛伊德与马克思的理论结合起来。在他看来,人类文明所产生的“额外的潜抑”将爱欲牢牢地禁锢了起来。在批判现代文明的基础上,他提出了爱欲普遍化的主张。
 
Marcuse's theory is a combination of Freud's and Marx's. In his eyes, human civilization produces "additional repression" which put the Eros in even more tightened imprisonment. Based on the criticism of modern civilized society, he put forward the proposition of the universality of human desire and lust.
 
知觉元素--饮食
 
与饮食文化相关的文艺作品
 
饮食化连接了人们最基本的生活需要以及最高的精神享受。不论现代社会的家庭结构、生活方式怎样变化,饮食与“爱”始终被紧紧地锚固在一起。
 
The significance of food culture lies in its duality ---- a combination of sacred and secular meaningDespite the transformations of family pattern and way of living, the central position of food as one of basic demands in daily live has never been threatened throughout history.
 
饮食文化与知觉元素
 
首先民以食为天,饮食首先是维持个体生存的最基本需要。另一方面,饮食是一种文化符号,它承载着观念与传统。《礼记》有言:“夫礼之初,始诸饮食”。从这两个维度上看,饮食的双重性,既神圣又世俗。
 
.In the first place, food is the most basic need for subsistence.On the other hand, just as noted in Chinese classic The Book of Rites (LiJi): "The beginning of ritual is diet" food culture is the most symbolic constituents of ordinary family life.
 
此外,家庭烹饪人们通过自己的亲手创造,获得自己的劳动成果并享用又不失为一种对劳动异化的抵抗。
 
Cooking is among few pleasant labors in which people enjoy the creative process, harvest the fruit of labor, sense the warmth of humanity and savor the product of labor. In this sense, home cooking should be regarded as a method of resistance against the alienation of human labor.
 
作为建筑的爱情旅馆亟需解构
 
爱情旅馆作为一种建筑类型有着自己固有形制(本身固有的情节剧本,行为活动的设置)。通常,它是一个排遣欲望与需求的场所。爱情旅馆亟需从建筑角度解构并重构。理想中的爱情旅馆应是一个乌托邦式的空间,它能为人类的进一步解放提供可能。
 
Love hotel as a type of architecture has its common program (or scenario, plan, activities). Normally, it is a place where people express their desire and need. Love hotel as architecture needs to be deconstructed and reconstruct. The ideal Love Hotel is utopian space, which should be able to provide the possibility for human being’s further liberation.
 
在过去的十年中,产生了大量的自由职业者,小微企业家,创客和其它新型的工作模式。社会结构的变迁带来了的是中国一线城市中传统办公空间的衰落。
 
The past decade witnesses the emergence of numerous freelance workers, self-employed entrepreneurs of start-ups, the makers and other new working patterns. The change in social structure has ushered in a decline of traditional workplace in Chinese first-line cities. 
 
爱情旅馆LOVE HOTEL
 
基地
 
我们的基地位于北京的中心城区,在这个区域,后工业时代的到来使众多的办公建筑处于空置状态。与此同时,后现代的生活也产生了更加多样化的恋爱模式。因此,将办公建筑改为爱情旅馆是我们对此提出的解决方案,于是便有了这样一个的“爱之聚落”。
 
Our site locates in central Beijing, where post-industrial age offers vacant office buildings, post modern life generates diversified patterns of love and the repurpose of office building to love hotel indicates a solution, hence the emergence of the Love Village.

从办公建筑到爱情旅馆
 
2015年7月,北京市委和市政府宣布加快通州区城市副中心的建设,这意味着北京的非首都功能将在一段时间内由中心城区全部移出。伴随着这些非首都功能的转移,原始的城市中心必然要面对新的功能调整。大量的办公建筑将面临功能的更新以及改造的进程。
 
July 2015, the Beijing Municipal Committee of the Communist Party of China announced the policy to accelerate the transformation of Tongzhou District in Beijing into the " Vice  Administrative Centre”, which means the non capital function of old Beijing will be moved out entirely. With the dissipation of non capital function, parts of original city center are destined to be repurposed. Numbers of office buildings will face the function renewal and transformation process.
 
爱之聚落love village
 
本方案试图通过呈现空间、运动与事件的三种关系:对抗、互惠以及中立,由此提供一个解读建筑的新视角。
 
This scheme offers a new lens of architecture: It presents three different level of relationship between space, movement and events---- conflict, reciprocity and indifferent.
 
建筑中发生的事件与运动都有着自己独立于建筑自身的结构,而传统的设计往往将其忽视,直接指定空间所对应的功能。换言之,建筑设计并非取决于设计者的周密逻辑与宏大叙事,相反,正是空间、事件、运动之间所形成的那些偶然而愉悦的契合以及痛苦而持久的碰撞才成就了建筑空间的真实状态。
 
Events and movements have structures independent from architecture, which is ignored in traditional design procedure.  In other word, design is not determined by designers careful logic, systematic thinking, wholesome planning or magnified narrative. On the contrary, it is the occasional pleasure of unions and long lasting pain of collisions between space, events and movements that makes the reality. 
 
这个题目可以理解为在标示系统之下展开的对建筑概念的实体化。这就意味着也许不存在单纯的形式操作,而只有概念的分步骤表达。
 
This topic can be understood as in labeling system for building the materialization of the concept. This means that there may not be simple in the form of operation, and only the step of the concept of expression.
 
操作手法
 
事实上,建筑空间与内部发生的事件与运动总是处在相对独立的维度上,按其自身规律而运行。于是,就形成了一系列相互分离的状况,包括空间使用与空间形式的分离,空间意义与空间存在的分离,理想设计与实际情况的分离,等等。正是空间、事件、运动之间所形成的那些偶然而愉悦的契合以及痛苦而持久的碰撞才成就了建筑空间的真实状态,而我们则试图以一系列的操作手段来诠释上述过程并探究它所可能带来的深远影响:
 
In fact, the architectural space with the internal events and sports is always in a relatively independent dimensions and run according to its own rule. Then, formed a series of separattion , including the separation of space use and space form,  separation of space exist and space sense , and so on. it is the occassional pleasure of unions and long lasting pain of collisions between space, events and movements that makes the reality. We try to illustrate the above proccess through a series of operations and explore its the powerful impact :
 
1.针对一个典型的办公建筑,拆除辅助性结构(非承重的结构支撑以及垂直交通)。
1. choosing a typical office building, demolition the supporting structure (non load bearing structural support and vertical transportation).
2.在其中嵌入住宿单元和作为标示系统厨房单元,满足爱情旅馆的最基本功能。
2.Inserting inhabitable cells and kitchens which serve as notation. These satisfy the basic functions.
3.利用改造中所得到的剩余材料在剩余空间建构一个创造和游乐的场所。
3.To construct a creative and leisure placein the remaining space by the surplus materials .
 
不同体系分别呈现对抗、互惠以及中立三种关系
 
我们试图以一系列的操作手段来诠释上述过程并探究它所可能带来的深远影响,力图证明,空间,事件与运动在建筑中的不确定关系所能够在爱欲的刺激之下释放出无穷创造力。
 
We try to illustrate this point via a series of operations and explore the powerful impact of these disjunctions, trying to prove that indeterminacy among space, events and movement is all powerful, especially when stimulated by Eros.
 
中立  Indifference
 
办公建筑通常是一个自治的空间系统,它总是与其中发生的事件保持一种中立的关系。平面中的水平分割与垂直支撑被减小到最少,而垂直交通与服务空间则紧凑布置。这样的办公建筑的平面常常是普适性的,因此可以满足不同的使用安排。在这里,空间与事件之间的关系保持着绝对的中立,二者呈现出完全相互分离的状态。
 
Office building usually is a self autonomous spatial system that is more or less indifferent with the events taking part in it. The plan of office building is a generic layout that is easily adaptable to different use and occupation. After demolishing the subsidiary structures----none load bearing supports and vertical circulations, we see unobstructed generic space.
 

 
互惠   Reciprocity
 
"Architecture spaces and programs can also become totally interdependent and fully condition each other's existence. In these cases, the architect's view of the user's needs determines every architectural decision. "
——曼哈顿手稿
 
由厨房所组成的是一个特殊的系统,它容纳了与饮食相关的活动,同时也包含着无数与给定的功能所不同的事件。它是爱情事件的催化剂,是打破空间固有功能定义的发生器。在这里,这些厨房就像是一种中介,使空间与事件的关系由互惠变为对抗。
 
Kitchens constitute a specialized system to accommodate activities centered on food culture as well as numerous events in disjunction with the assigned function of space. It is catalyst for love affairs, generator of events that breaks the bounds of usage dictated by space, transition from reciprocity to conflict between space and use.
 



对抗  Conflict:
 
(在建筑中)更多的关系处于复杂状态,其中发生的事件和运动挑战着原有建筑空间。废墟和残骸在空间单元之间形成了一个游乐场。在这里发生了空间与事件的游戏,这为空间的叙事序列提供了无限的可能性,因此也打破了理性主义所带来的潜抑。
 
Most relationships are of course more complicated. Events and movements challenge the space. Debris and wreckage forms a playground between cells where the play between space and events happen, giving endless possibilities to the narrative sequence, hence breaking the repression imposed by rationalism.
 

 
住宿单元组成了嵌入整体中的另一个系统,它容纳了爱情旅馆作为旅馆的最基本功能。在这里,建筑师指定了发生在空间中的事件。理想化的旅馆房间被成组地压缩在这个巨型结构中。剩余的公共空间被最大化,以容纳那些通常被压缩在旅馆狭小房间之内的未定义的功能。在这里,空间、事件和运动处于一种交互的状态。
 
The inserted inhabitable cells is a system that accommodates the basic functions of love hotel. Here architects allocates the events. Ideal hotel rooms clustered together in this mega structure, leaving most collective space to accommodate undefined functions normally squeezed into hotel rooms. Here,space, events and movements are in reciprocity.
 



 
改造旧建筑的过程中所得到的剩余材料被重新利用。废墟和残骸在空间单元之间形成了一个游乐场。事件的游戏在这里展开,叙事性的空间提供了无限的可能。另一方面,爱欲所激发的灵感与创造力在这里得到尽情地释放。
 
In the process of reforming the old building of remaining material could be reused. Rubble and debris in space between unit formed a play area. The space of the narrative offers limitless possibilities as the story unfolds. On the other hand,people can release the inspiration and creativity which  inspired by love.  
 
最后,我们建立了三个序列,第一个序列是建筑平面,其上的符号标识出可能的运动。第二个序列展现了建筑空间原有的状态,体现出纯粹的,没有承载任何事件与运动的空间。第三个序列展现了空间的使用,其中的事件或许与设定的功能相符,或许本身就是一种误用。通过这三组并置的序列,我们力图证明,空间,事件与运动在建筑中的不确定关系所能够在爱欲的刺激之下释放出无穷创造力。
 
We invented three sequences. The first is plan with notations of movement. The second about original status of space without intervention of events and movements. The third is about use. Things that happen may correspond to assigned function or perhaps only a misuse.By juxtaposition of three sequence, we try to prove that indeterminacy among space, events and movement can generate infinite creativity under the stimulation of Eros.

三个序列
 
结语  PART IV  EPILOGUE
 
当我们将爱情旅馆看作“爱”这一概念的实体化,我们便发现了它自身所具有的无限可能性。我们相信,“爱”的广袤足以改变形式的在场。“爱之聚落”是一个人类创造力的乐园,当不同的事件在这里发生,空间便具有一种变革的力量。它会证明概念并非乌有,而理想会照进现实。
 
When we see love hotels as the materialization of the concept of "love", we found itself has infinite possibilities. We believe that "love" vast enough to change the form of the present. The settlement of "lovevillage" is a paradise of human creativity, when different events happened here, space is a kind of the power of change. It will prove concept is not empty declaration, and the dream will shed light into reality.
 
 
作者 DESIGNER
 

邱雨新  天津大学
 

赵熠萌  天津大学
 
成果 HARVEST