原型建筑之進化——淺析BIG的設計理念與實踐方式

陳曦/CHEN Xi

1.“建筑進化論”投射出的設計思辨

正如BIG事務所主創(chuàng)建筑師比亞克·因格爾斯在其著作《是即是多》里所寫到的：

相比于革命（revolution），我們更感興趣的是進化（evolution）。就像達爾文把造物描述為一種過剩和選擇的過程，我們建議讓各種社會力量、每個人的多元利益關(guān)系決定哪些想法可以存活，哪些想法必須消亡。幸存下來的想法通過變異和雜交，變成一種全新的建筑形式，繼而演化發(fā)展。[1]

這樣一種名為“建筑進化論”的設計理念，支撐著BIG事務所近年來在設計實踐中不懈地探索。“進化而非革命”這一概念曾在1950年代被著名工業(yè)設計師艾略特·諾伊斯提出，然而50年后，丹麥建筑師比亞克·因格爾斯第一次將之拓展到了建筑創(chuàng)作的具體語境中：“生活在不斷進化，我們的城市和建筑也需要相應地進化以適應我們期待的生活方式”。[2]

“建筑進化論”的核心假設在于認定環(huán)境會對創(chuàng)作過程提供營養(yǎng)，而這一接受式的態(tài)度在比亞克的新書中被描述成了其標志性的口號：“是即是多”。他的理論是，那些喊著“不”、通過反對前人而樹立自己的建筑師，不過是以一種極端的方式追隨著前輩，由此產(chǎn)生了一系列后人不斷推翻前人的矛盾循環(huán)[1]。與此相反，“是”所表達的是一個不斷贊同外界的價值系統(tǒng)，使置入的建筑原型在外界環(huán)境的評價與選擇中自我進化。

1.1. 建筑作為達成城市“共識”的斡旋手段

不可否認的是，“是”與孕育它的社會環(huán)境息息相關(guān)。作為一個強調(diào)“共識”的福利國家，丹麥的社會制度基于“使每位公民都有同等的權(quán)利”、“每個觀點獲得尊重”這些原則，最終達成的共識往往是某種妥協(xié)或者勻質(zhì)的平庸。哥本哈根街頭各樣相同材質(zhì)、相同細部、相同預制件組成的建筑物代表著這樣一種“平等=妥協(xié)”的游戲規(guī)則。然而，BIG對這一原則提出了挑戰(zhàn)：為了達成妥協(xié)，是否必須要以犧牲各方利益為前提呢？BIG將建筑師定義為以空間為戰(zhàn)場的政治家，提出一種“不是忽視沖突，而是從沖突中得到養(yǎng)分，吸收和整合各種差異”的理念，塑造出一個“兼容的而非排斥的建筑”。[1]

1.“Architectural Evolution” and its design philosophy

As BIG's founding architect Bjarke Ingels writes in his book YES IS MORE:

“rather than revolution, we are interested in evolution. Like Darwin describes creation as a process of excess and selection, we propose to let the forces of society, the multiple interests of everyone, decide which of our ideas can live,and which must die.”[1]

This so-called "architectural evolution" was developed through BIG's exploration during the last five years. Although it was raised up by industrial designer Eliot Noyes in 1950s, "evolution instead of revolution" was introduced to the field of architecture design for the first time by architect Bjarke Ingels.[2]

The "architectural evolution" depends on the assumption that environment would feed the architecture creation, and this idea was later transformed into the title of Bjarke's new book: YES IS MORE. He believes that since the traditional avantgarde were saying "No" to everyone, they defined themselves by what they are against rather than they are for. As a result, it led to an succession of contradictions where each generation vote for the opposite of the previous.[1]On the contrary, "YES"represents a "pragmatic utopian architecture" that allows architects to say yes to all aspects of human life. By saying "YES", architecture would get evolved through the evaluation and selection of environment.

1.1. Architecture as an approach to reach city's consensus

Undoubtedly, "YES" is derived from its society. As a welfare country emphasizing "consensus", Denmark was built on the ground principles like "each citizen has equal rights" or "each viewpoint deserves same respect". However, it usually leads to compromise or equal boring. A gray goo of sameness accounting for the vast majority of the Copenhagen city stands for this rule of "equity = compromise". BIG challenged this rule by asking "what if trying to make everybody happy did not have to lead to sacrifice of different sectors?" Regarded themselves as "politicians" of space, BIG points a way to incorporate and integrate differences by tying conflicting interests into an inclusive rather than exclusive architecture.[1]

Thus, BIG's architecture creation serves as a way to approach social consensus in accordance with specific context. In some projects, "evolution" extends architects' vision from instinct geometric creation into deliberation on context programs, users and life styles. In other words, architects transformed their task from purely beautification into negotiation of multi-interests in urban space.

Copenhagen's Clover Field project is a good example of this idea. In 2005, the social democratic mayor Ritt Bjerregaard was elected and going to fulfill her promise of making 5 000 homes for low-incomes.BIG was invited to design a new residential community on a large playground zone in the center of Amager.However, this new residential program would no doubt encounter strong objection from football lovers and adjacent neighborhood. Home or football field? BIG suggested a third way to get both by building a narrow strip of residential program along the edge of the playground.

Continuing with this initial idea, BIG curved around existing club facilities and varied the height to respect the neighbors. This set of operations well achieved the requirements of politicians, developers and existing community. The plan soon got admiration from the major and greatly influenced the Danish Society.

因此，BIG的建筑創(chuàng)作成為在相應社會訴求下建筑師達成社會“共識”的斡旋手段。在具體的設計項目中，“進化”的方式將創(chuàng)作的考量維度從一次性的形式創(chuàng)造，拓展到回應不同功能屬性、使用人群、生活方式的應答式研究，使建筑師從既定城市功能的美化者，上升為城市利益的空間協(xié)調(diào)者。

哥本哈根三葉草運動場項目就體現(xiàn)著這樣的“進化”思想。2005年，哥本哈根新市長麗特·比耶高在競選中獲勝，并準備兌現(xiàn)其競選諾言——興建5 000處中低收入住宅，BIG被邀請在阿邁厄區(qū)中心一片巨大開闊的足球場上設計新的社區(qū)。不難預料，該項目滿足低收入者居住要求的同時，勢必將受到周邊市民及運動愛好者的強烈反對。要住宅還是足球場？兩難境地之下，BIG在第一輪住宅替代球場的方案基礎上，提出了新一輪共贏方案，通過沿球場的外圍新建住宅，形成長城式蜿蜒漫長的構(gòu)筑物，從而確保其內(nèi)部的城市公共空間絲毫未損。

這一創(chuàng)造性的方案得到認可后，BIG又在新一輪的方案中考慮了原有足球俱樂部的使用要求與周邊工業(yè)建筑的影響，并重新調(diào)整了居住建筑的高度與輪廓。這一系列的設計演進成功地回應了政治家、開發(fā)商、原有居民和工業(yè)遺跡的要求，實現(xiàn)了場地內(nèi)外各種社會利益的共存，不僅得到了比耶高市長的首肯，也在丹麥社會各界引起極大轟動。

1.2. 基于空間類型研究的可持續(xù)性建筑設計

“建筑進化論” 不只回應政治與開發(fā)利益中的復雜矛盾，同時也將可持續(xù)設計的理念作為“進化”過程中的選擇標準。BIG認為，科技的不斷進步，往往使得建筑表皮成為了一種以機械方式消耗能量而對建筑的不舒適進行補償?shù)姆椒ǎ欢ㄖ熓聦嵣峡梢詫⒛承┉h(huán)境品質(zhì)在建筑的設計過程中加以考慮，而不只是簡單地依賴各類機械設備。[3]

比亞克·因格爾斯常常引用丹麥生態(tài)專家比約恩·隆伯格在“哥本哈根共識”中提出的觀點：生態(tài)問題的解決只有符合社會經(jīng)濟模型才可能實現(xiàn)，而生態(tài)與經(jīng)濟的相互對立是一個原則性的誤讀。傳統(tǒng)環(huán)境保護要求人們克制一己私欲、限制空調(diào)、熱水浴、控制碳排放，把可持續(xù)技術(shù)發(fā)展與生活品質(zhì)對立起來，BIG則從類型研究角度提出新的可持續(xù)設計的理念：即利用功能的互補特性，最大化每個功能單體的效用。

在概念方案小丹麥項目中，BIG觀察到不同的建筑活動對應著不同的能耗模式，比如，居住單元需要更多的供暖能耗，而辦公室消耗更多能耗在制冷上。于是，設計師們提出了假設，即通過對全社會不同功能的能耗分析，我們可以得到具體關(guān)于水、熱、能的需求與過剩指標，并利用互補式組合優(yōu)化建筑的能耗。例如，通過多方案比較與選擇，許多符合能量互補原則的設計方案整體上構(gòu)成一個能量自給系統(tǒng)：酒店設有一個游泳池與超市，超市的冰箱與游泳池可以互相進行熱量交換，一者供暖，一者供冷。而居民樓帶有一個南向的陽臺，并有樹木植于其上，夏天植物會提供自然的遮陽，而冬天光禿禿的枝干會保證陽光直射室內(nèi)。

1.2. Sustainable concern based on typological studies

"Architectural evolution" is about not only social conflict, but also sustainable design. BIG believes that building surfaces essentially is an energy consuming and mechanical way of compensating for the fact that building is bad for what it is designed for. So BIG's architects put attribute to the physical design of the building instead of the machine room.[3]

Bjarke Ingels sometimes cites Danish ecologist Bj?rn Lomborg's viewpoint on "Copenhagen Consensus",which seeks to establish priorities on Earth's environmental challenges based on the theory of welfare economics. It uncovers a fundamental understanding that ecology against economy as good vs. evil. Traditional environmentalists recommend people to limit their uses of air-conditioning, hot bath, and etc. Thus,sustainability is erected as a contradictory term against life quality. However, BIG concerns about sustainability by doing typological studies on complementary programs to ensure the utilities of each program can be maximized.

In the conceptual project "Little Denmark", BIG's architects discovered that different activities had different energy consumption patterns. For example,houses spent energy on heating while offices spent more energy on cooling. So they argued that by analyzing the consumption pattern of each program in our society, we can get an overview of the particular needs and excesses一of energy, heat and water. As a result, they can design buildings with complementary program adjacent to each other to optimize the energy consumption. For instance,a self-sufficient system can be created by designing a swimming pool and a supermarket, where heat exchange happens between the refrigerators of the supermarket and swimming pool.

2. “原型進化”所指導的設計實踐

2.1. 原型的進化

建筑原型的進化是BIG設計實踐的一條重要線索，即以相同類型的空間構(gòu)思，運用于不同的設計項目中，并隨著具體的設計要求、環(huán)境特征而演變。

例如，上文中所提到的小丹麥項目構(gòu)成了BIG的一個主要原型：層疊而起的住宅單元與其下公共功能或活動相結(jié)合。像這樣以臺地形式將小單元私密功能置于上方，將大型公共空間置于其下的山型建筑，在之后的各類項目中不斷發(fā)展和涌現(xiàn)。

2009年接受一次采訪時，比亞克曾指著辦公室里一個很舊的模型談到，“這是我的畢業(yè)設計項目，混合了住宅與體育場等不同功能。這個項目進化成了你左手邊的模型，也就是‘山’住宅的前期草模。甚至，你可以發(fā)現(xiàn)這些想法被發(fā)展到你右手邊的炮臺公園項目中，臺階狀住宅在外，公共功能在內(nèi)。”[3]

從比亞克的畢業(yè)設計發(fā)展到炮臺公園，一些元素保存了下來，例如，臺階狀的住宅，疊落式的陽臺，近乎三棱錐狀的建筑輪廓。然而，根據(jù)不同的項目要求與場地特征，山型建筑的原型不斷演變著：位于哥本哈根市區(qū)的炮臺公園項目中，學院、清真寺、商業(yè)開發(fā)等不同功能的競逐，使山型的底部形成了各類大型公共功能和連續(xù)的商業(yè)街區(qū)；而坐落于哥本哈根市郊新區(qū)的“山”住宅則將底部的中空空間作為停車場，避免了另建獨棟停車樓，使住宅成為一個自我供給的微型城市，更促使頂部庭院式住宅享受一望無際的郊野景觀。BIG相信，通過不斷審視并挖掘過去的作品，更豐富的環(huán)境要素、更深刻的思考會使概念推進到更高的層次，從而完成“進化”。

3 KUBE競賽研究模型（部分）/Model thinking of KUBE

4 BIG建筑事務所模型庫（局部）/BIG’s archive

2.2. 設計方式：模型思考與原型檔案

如果說，根據(jù)政治、經(jīng)濟、環(huán)境要素而生成的設計成果體現(xiàn)出了BIG“建筑進化論”中的自然選擇理論，那么，BIG設計概念在不同方案中的再生、變異、雜交則反映了“進化論”的另一基本前提：過剩繁殖——它的實現(xiàn)，有賴于BIG事務所以模型為載體的設計方式及檔案機制。

在筆者參與過的KUBE哥本哈根社區(qū)中心競賽中，大量的實體模型超越了計算機在呈現(xiàn)空間尺度和環(huán)境方面的局限，給團隊提供了不同的視角。一個月的時間里，我們的3人設計小組完成了近100個1:500至1:200的方案模型。首先，根據(jù)場所和功能做體塊模型，隨后，選定了幾個有趣的概念進行多方案測試，確定方案后按照大比例尺的模型測試比例、調(diào)整細節(jié)。這一系列工序與“進化論”的思路驚人地吻合。在英國TED講座中，比亞克·因格爾斯也曾經(jīng)將事務所的設計活動比作達爾文的樹狀進化結(jié)構(gòu)：一個設計項目要從多代設計討論中的無數(shù)概念中經(jīng)過篩選、發(fā)展，甚至與其他項目進行雜交（比如一個形式優(yōu)秀的樣本與一個功能合理的樣本），才可以得到最終的設計結(jié)果。[4]

這樣的實踐方式，一方面，秉承著北歐建筑師固有的模型傳統(tǒng)——即運用模型作為設計而非表現(xiàn)工具，推敲從概念至細節(jié)的全部設計過程；另一方面，也折射出丹麥的預制建筑文化及其中體現(xiàn)出的功能理性與空間模數(shù)。二戰(zhàn)之后，預制技術(shù)的蓬勃發(fā)展使得建筑業(yè)徹底摒棄了現(xiàn)澆工序，促使建筑師運用一種模塊化的眼光看待建筑物。比亞克曾經(jīng)在一次采訪中談到，丹麥就好像個巨大的樂高樂園，由不同的預制建筑原件拼裝而成。可以推斷，以模型為主的推敲方式，也與這樣的視角相吻合。在樂高塔等強調(diào)模數(shù)的概念項目中，模型超越了其傳統(tǒng)的表現(xiàn)工具地位，深刻地影響著建筑物的形式邏輯。

對于BIG而言，許多“進化”過程中產(chǎn)生的巧妙創(chuàng)意無法滿足眼前項目的具體要求，但可能完美適用于另外的客戶或者環(huán)境要求，所以，BIG從不輕易拋棄自己的概念。事務所設置了一系列工序，將各種工作模型、檔案完整保存下來，成為一個多樣化的檔案庫，以備不時之需。

在《是即是多》的最后，一張說明圖用細線勾勒出不同項目之間的相互影響，描繪出BIG實踐的關(guān)鍵工序：通過建立思想庫，不斷測試并演進其中的設計思想。作為一個成立僅5年的公司，BIG以其獨特的工作方法和設計哲學獲得了廣泛的關(guān)注，讓我們試目以待，這場建筑實驗將會在未來帶給我們怎樣的新啟發(fā)。□

2. "Prototype Evolution" and its design approach

2.1. Prototypes' evolution

Architectural prototypes' evolution is one of the most important clues of BIG's design practice, which applies similar spatial prototypes in different circumstances and requirements. As a result, those prototypes will evolve into different outcomes better fitting their circumstance.

The Little Denmark project mentioned above,represents a symbolic prototype of BIG: the stepping residential units above + large public space underneath.This classical mountain-like structure consistently emerged in a number of BIG's projects.

In an interview of 2009, Bjarke pointed at a very old model and told me that it was his thesis project in school which served as a great example of "evolution".That model clearly showed a hybrid structure with housing above and sports hall below. Bjarke said, "that building evolved into the first model for the Mountain,and some of these ideas have been carried further in the Battery project, where you have the housing terraces outside and public programs inside".[3]

From his thesis project to the Battery, many of the elements were remained, such as terraced housing and gardens, public hall, pedestrian path, and pyramid shape. However, according to different clients and contexts, "mountain" has been evolved in different directions: in the Battery project, schools, mosque,commercial uses are competing against each other within the site boundary, eventually led to large public amenities like library, mosque and commercial street at ground level; but the Mountain utilized the bottom space as parking facility to support garden housing units with great views on top, and they all together serve as a self-sustained community in the wild suburbs of Copenhagen. BIG claims that by continuously visiting the key ideas of their work, they can absorb new gradients and advance it to the higher level, and gradually "evolve" the idea.

2.2. Design approach: model-thinking and prototype-archiving

On one hand, the design outcomes shaped by political, economic and environmental concern represent the idea of "natural selection" according to BIG's "evolution" theory. On the other hand, BIG's design method based on model-making and archiving support the platform of "excess production", which is also fundamental to the mutation and multiplication process of the "evolution".

In the Copenhagen KUBE competition I participated in 2009, a large amount of model making provided the team helpful visions, beyond the limitation of computer in terms of dimension and context. In just one month, a team of three people made more than one hundred 1:500 and 1:200 models.Earliest weeks we kept doing massing models to test different site plans, then comparative tests on several interesting schemes, later zoomed into large scale models to test spatial quality and architecture details.This sequence of model works suited the idea of"evolution" theory surprisingly. In the TED lecture,Bjarke Ingels once described the way that office worked as the "Evolution Tree" diagram: a project evolved from a series generations of design meetings, muted with other models (for instance, a beautiful model and a functional one), and then generated the final design outcome as a survival sample out of the architecture selection.[4]

5 BIG建筑方案之進化/Architectural evolution

（1-5 圖片來源：Bjarke Ingels Group）

This process on model-making inherited the tradition of Scandinavian architects who usually use model as a design tool rather than representational tool from conceptual studies to details. Moreover, it reflects the culture of prefabricated architecture in Denmark that the entire building industry is based on prefabricated modules and concrete elements. This circumstance urges Danish architects to think about architecture in module. As Bjarke once said,"contemporary Denmark has become a country entirely made from lego slabs," model-making as a work method perfectly suits the vision of modular architecture. In some projects like Lego Towers, models even had a clear impact on the geometry of the architecture.

Furthermore, another important work method in BIG is the way of archiving models and ideas due to the fact that many great ideas that do not fit the current context may be suitable for a different client and culture.As a result, BIG never throws anything out. Instead,architects keep all working models for the archive in case that they would be needed. Ideally, in future architects can easily grab ideas and mute them into the new ideas that our society would be looking for.

At the end of YES IS MORE, one single diagram describes the influences of different projects on each other, which illustrates the key methodology of BIG's"architectural evolution": archiving, muting, evolving and testing ideas. As a young firm with only five-year history, it has attracted world-wide attention owing to its unique design philosophy and working method.Let's see what it would become for this experimental practice in the future.□

[1] INGELS B, BIG Bjarke Ingels Group. Yes is More : An Archicomic on Architectural Evolution. Dansk arkitekturcenter, eds, Koln: Evergreen, 2010.

[2] JANTZEN U. TEXT MESSAGE: Bjarke Ingels.Metropolis Magazine, 2010(1): 90.

[3] 因格爾斯 B，陳曦. BIG的更多意義.城市·環(huán)境·設計，2010(10):112-117/INGELS B, CHEN X. BIG IS MORE.Urban.Environment.Design. 2010,47(10): 112-117

[4] TED Talk, Bjarke Ingels at TED, http://www.ted.com/talks/bjarke_ingels_3_warp_speed_architecture_tales.html