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2016一等獎作品“愛之聚落”

2019-04-26 12:39:23

此次競賽評委會主席伯納德·屈米先生是公認的當代最重要的建筑師之一,屈米認為沒有建筑可以脫離開概念與想法,描述建筑(例如建筑的動態使用)往往需要新的“標示”系統。此次競賽屈米表示希望尋找既有概念,又有“標示”和有代表性的新模式(fresh mode of representation)的作品。最終“Love village”獲得眾多評委的青睞,設計者從哲學的角度入手分析建筑概念本源,又對后現代社會種種建筑空間、行為習慣的變化進行深入思考,從而將愛的概念延伸至愛情旅館的設計中,以下就跟隨小編一起看一看屈米先生認為的“最具理性風(most rational)”的作品吧!

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love village

前言   PART IPREFAC
 
第一次看到題目和要求,我們便覺得,與其說這是一個關于建筑競賽的要求,它其實更像是一個關于建筑的宣言。它建立了一套觀念,在這個觀念下,建筑被拋向了一個更廣的領域,它成為概念的實體化。同時,一種“新的標示模式”與不同的功能選擇為我們提供了關于將概念具體化的方向。
 
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 .
 
考慮愛情旅館設計時,我們認為,愛情旅館是“愛”這一概念的實體化,現代社會中的勞動異化讓“愛”變得膚淺與廉價,而我們首先要做的就是對其概念進行重新定義。
 
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.
 
進程  PROGRESS愛之概念 
THE CONCEPT OF LOVE
 
人類用自己的理性建構起整個文明世界,然而隨著人類文明的不斷發展,人類理性的中心地位卻遭遇了一輪又一輪更為強烈的挑戰與顛覆。
 
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.
 
 
非理性主義對理性的顛覆
 

尼采叔本華的哲學中,權力意志是理解人類生存的核心。
In philosophy of Nietzsche and Schopenhauer, “the will to power” is the core to understand human existence.

弗洛伊德的潛意識學說在某種程度上對這一命題做出了深化與回應。他認為人類的意識就像是冰山浮出水面的一角,而潛意識才是深埋在水平面下的主體部分。
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.

馬爾庫塞的愛欲解放理論進一步發展了弗洛伊德的思想。在他眼里,愛欲絕不僅是性愛之欲,而是可以演化為多種形態的生命本能,它象征著一種真、善、美的統一境界。
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.

 
建筑的一切是關于愛與死亡
 
馬克思認為資本主義生產造成勞動本身與勞動產品之間產生了分離與異化,從而導致了勞動本身樂趣的喪失。
 
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.
 
馬爾庫塞將弗洛伊德與馬克思的理論結合起來。在他看來,人類文明所產生的“額外的潛抑”將愛欲牢牢地禁錮了起來。在批判現代文明的基礎上,他提出了愛欲普遍化的主張。
 
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.
 
知覺元素--飲食
 
與飲食文化相關的文藝作品
 
飲食化連接了人們最基本的生活需要以及最高的精神享受。不論現代社會的家庭結構、生活方式怎樣變化,飲食與“愛”始終被緊緊地錨固在一起。
 
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.
 
飲食文化與知覺元素
 
首先民以食為天,飲食首先是維持個體生存的最基本需要。另一方面,飲食是一種文化符號,它承載著觀念與傳統。《禮記》有言:“夫禮之初,始諸飲食”。從這兩個維度上看,飲食的雙重性,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,家庭烹飪人們通過自己的親手創造,獲得自己的勞動成果并享用又不失為一種對勞動異化的抵抗。
 
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.
 
作為建筑的愛情旅館亟需解構
 
愛情旅館作為一種建筑類型有著自己固有形制(本身固有的情節劇本,行為活動的設置)。通常,它是一個排遣欲望與需求的場所。愛情旅館亟需從建筑角度解構并重構。理想中的愛情旅館應是一個烏托邦式的空間,它能為人類的進一步解放提供可能。
 
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.
 
在過去的十年中,產生了大量的自由職業者,小微企業家,創客和其它新型的工作模式。社會結構的變遷帶來了的是中國一線城市中傳統辦公空間的衰落。
 
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. 
 
愛情旅館LOVE HOTEL
 
基地
 
我們的基地位于北京的中心城區,在這個區域,后工業時代的到來使眾多的辦公建筑處于空置狀態。與此同時,后現代的生活也產生了更加多樣化的戀愛模式。因此,將辦公建筑改為愛情旅館是我們對此提出的解決方案,于是便有了這樣一個的“愛之聚落”。
 
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.

從辦公建筑到愛情旅館
 
2015年7月,北京市委和市政府宣布加快通州區城市副中心的建設,這意味著北京的非首都功能將在一段時間內由中心城區全部移出。伴隨著這些非首都功能的轉移,原始的城市中心必然要面對新的功能調整。大量的辦公建筑將面臨功能的更新以及改造的進程。
 
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.
 
愛之聚落love village
 
本方案試圖通過呈現空間、運動與事件的三種關系:對抗、互惠以及中立,由此提供一個解讀建筑的新視角。
 
This scheme offers a new lens of architecture: It presents three different level of relationship between space, movement and events---- conflict, reciprocity and indifferent.
 
建筑中發生的事件與運動都有著自己獨立于建筑自身的結構,而傳統的設計往往將其忽視,直接指定空間所對應的功能。換言之,建筑設計并非取決于設計者的周密邏輯與宏大敘事,相反,正是空間、事件、運動之間所形成的那些偶然而愉悅的契合以及痛苦而持久的碰撞才成就了建筑空間的真實狀態。
 
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. 
 
這個題目可以理解為在標示系統之下展開的對建筑概念的實體化。這就意味著也許不存在單純的形式操作,而只有概念的分步驟表達。
 
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
 
事實上,建筑空間與內部發生的事件與運動總是處在相對獨立的維度上,按其自身規律而運行。于是,就形成了一系列相互分離的狀況,包括空間使用與空間形式的分離,空間意義與空間存在的分離,理想設計與實際情況的分離,等等。正是空間、事件、運動之間所形成的那些偶然而愉悅的契合以及痛苦而持久的碰撞才成就了建筑空間的真實狀態,而我們則試圖以一系列的操作手段來詮釋上述過程并探究它所可能帶來的深遠影響:
 
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.針對一個典型的辦公建筑,拆除輔助性結構(非承重的結構支撐以及垂直交通)。
1. choosing a typical office building, demolition the supporting structure (non load bearing structural support and vertical transportation).
2.在其中嵌入住宿單元和作為標示系統廚房單元,滿足愛情旅館的最基本功能。
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間建構一個創造和游樂的場所。
3.To construct a creative and leisure placein the remaining space by the surplus materials .
 
不同體系分別呈現對抗、互惠以及中立三種關系
 
我們試圖以一系列的操作手段來詮釋上述過程并探究它所可能帶來的深遠影響,力圖證明,空間,事件與運動在建筑中的不確定關系所能夠在愛欲的刺激之下釋放出無窮創造力。
 
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
 
辦公建筑通常是一個自治的空間系統,它總是與其中發生的事件保持一種中立的關系。平面中的水平分割與垂直支撐被減小到最少,而垂直交通與服務空間則緊湊布置。這樣的辦公建筑的平面常常是普適性的,因此可以滿足不同的使用安排。在這里,空間與事件之間的關系保持著絕對的中立,二者呈現出完全相互分離的狀態。
 
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. "
——曼哈頓手稿
 
由廚房所組成的是一個特殊的系統,它容納了與飲食相關的活動,同時也包含著無數與給定的功能所不同的事件。它是愛情事件的催化劑,是打破空間固有功能定義的發生器。在這里,這些廚房就像是一種中介,使空間與事件的關系由互惠變為對抗。
 
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.
 



對抗  Conflict:
 
(在建筑中)更多的關系處于復雜狀態,其中發生的事件和運動挑戰著原有建筑空間。廢墟和殘骸在空間單元之間形成了一個游樂場。在這里發生了空間與事件的游戲,這為空間的敘事序列提供了無限的可能性,因此也打破了理性主義所帶來的潛抑。
 
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.
 

 
住宿單元組成了嵌入整體中的另一個系統,它容納了愛情旅館作為旅館的最基本功能。在這里,建筑師指定了發生在空間中的事件。理想化的旅館房間被成組地壓縮在這個巨型結構中。剩余的公共空間被最大化,以容納那些通常被壓縮在旅館狹小房間之內的未定義的功能。在這里,空間、事件和運動處于一種交互的狀態。
 
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.
 



 
改造舊建筑的過程中所得到的剩余材料被重新利用。廢墟和殘骸在空間單元之間形成了一個游樂場。事件的游戲在這里展開,敘事性的空間提供了無限的可能。另一方面,愛欲所激發的靈感與創造力在這里得到盡情地釋放。
 
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,我們建立了三個序列,第一個序列是建筑平面,其上的符號標識出可能的運動。第二個序列展現了建筑空間原有的狀態,體現出純粹的,沒有承載任何事件與運動的空間。第三個序列展現了空間的使用,其中的事件或許與設定的功能相符,或許本身就是一種誤用。通過這三組并置的序列,我們力圖證明,空間,事件與運動在建筑中的不確定關系所能夠在愛欲的刺激之下釋放出無窮創造力。
 
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.

三個序列
 
結語  PART IV  EPILOGUE
 
當我們將愛情旅館看作“愛”這一概念的實體化,我們便發現了它自身所具有的無限可能性。我們相信,“愛”的廣袤足以改變形式的在場。“愛之聚落”是一個人類創造力的樂園,當不同的事件在這里發生,空間便具有一種變革的力量。它會證明概念并非烏有,而理想會照進現實。
 
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  天津大學
 

趙熠萌  天津大學
 
成果 HARVEST
 



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