設(shè)計(jì)資本—如何分六步（或多或少）完成聯(lián)合設(shè)計(jì)

作者Author: Caroline Bos

如今，建筑設(shè)計(jì)原則正迎接著由巨變帶來的可能性。在過去數(shù)十年間，收獲與成長(zhǎng)是我們?cè)诮ㄖ袠I(yè)中的真實(shí)寫照，并推動(dòng)了該行業(yè)的正規(guī)化及發(fā)展，但是，目前一切都變了。如今人們關(guān)注的是在核心領(lǐng)域中對(duì)幾乎全部重要注意事項(xiàng)進(jìn)行清晰闡述。任何事，是的，任何事都會(huì)改變——整個(gè)世界面臨著巨大的挑戰(zhàn)和需求。

意識(shí)到這一挑戰(zhàn)的存在也就意味著意識(shí)到了其蘊(yùn)含的潛力；建筑業(yè)亟需創(chuàng)新。沒有持續(xù)性的材料、文化和理念創(chuàng)新，這一領(lǐng)域就會(huì)失去其特殊性，進(jìn)而淪為普通建筑行業(yè)中乏善可陳的一部分。而在UNStudio的幫助下，我們?cè)缫岩庾R(shí)到了上述危機(jī)，這也是我們不斷開拓新領(lǐng)域、不斷迎接挑戰(zhàn)并解決問題的原因。但是，與此同時(shí)，這種實(shí)驗(yàn)性質(zhì)的態(tài)度也促使我們承建盡可能多的建筑。在經(jīng)濟(jì)全球化過程中，脫離建筑行業(yè)從來都不是我們的本意。

因此，我們積累了大量經(jīng)驗(yàn)和與實(shí)踐相關(guān)的知識(shí)。正是這些豐富的知識(shí)和經(jīng)驗(yàn)構(gòu)成了我們的設(shè)計(jì)資本。我們?nèi)绾问褂盟?？我們?nèi)绾伪４妗⒎窒聿⑼卣刮覀兊闹R(shí)？需要強(qiáng)調(diào)的是，這些知識(shí)是我們?cè)谌蚋鞯蒯槍?duì)不同規(guī)模、不同類型的好幾百個(gè)項(xiàng)目開展設(shè)計(jì)的過程中不斷積累的——它們都是獨(dú)一無二的建筑設(shè)計(jì)知識(shí)，而不是隨隨便便就能夠在互聯(lián)網(wǎng)上找到的。目前，UNStudio制定了兩種策略用于應(yīng)用并宣傳其設(shè)計(jì)資本。在內(nèi)部用三年時(shí)間進(jìn)行了四個(gè)知識(shí)平臺(tái)的建設(shè)之后，我們于2013年6月發(fā)布了開放資源知識(shí)網(wǎng)絡(luò)。此外，我們還在設(shè)計(jì)過程中充分運(yùn)用了我們的經(jīng)驗(yàn)和訓(xùn)練有素的判斷力。

本文旨在關(guān)注我們?cè)诟倪M(jìn)設(shè)計(jì)的過程中使用設(shè)計(jì)資本的方法，通過這些方法我們使設(shè)計(jì)變得更加智能、更加簡(jiǎn)潔。借鑒經(jīng)驗(yàn)使設(shè)計(jì)過程最優(yōu)化，這不單單關(guān)乎效率。如今，基于目前的需求情況和問題意識(shí)的情況來看，設(shè)計(jì)資本還能夠同時(shí)確定需要解決的主題并使它們相互聯(lián)系。這些主題包括：知識(shí)、文化和經(jīng)濟(jì)價(jià)值、健康和社會(huì)。我們?cè)撊绾沃匦抡J(rèn)識(shí)這些主題呢？我們?cè)撊绾卧诮ㄖ膬?nèi)生性和外生性這兩個(gè)永恒的價(jià)值觀之間尋找平衡呢？

步驟一：確定目標(biāo)

當(dāng)我們開始一個(gè)新項(xiàng)目，開始著手新的設(shè)計(jì)時(shí)，我們并非從第一天開始。實(shí)際上，UNStudio自6.395天前就已經(jīng)開始了，而對(duì)客戶來講新項(xiàng)目可能在478天前或8.201天前才能算做正式開始。上面的數(shù)字只是幾個(gè)任意數(shù)，但是重要的是我們并不是從頭開始；作為一個(gè)團(tuán)隊(duì)、一個(gè)整體、一個(gè)承擔(dān)著高風(fēng)險(xiǎn)的企業(yè)，作為建筑師，我們通常比我們的意識(shí)更為超前。UNStudio有其自身關(guān)于設(shè)計(jì)的長(zhǎng)遠(yuǎn)目標(biāo)和短期目標(biāo)，我們?cè)陂_始一個(gè)新項(xiàng)目時(shí)總會(huì)銘記這些目標(biāo)；實(shí)際上它們已經(jīng)融入了我們的行動(dòng)之中。

但是，客戶的目標(biāo)又是什么？問題背后還隱藏著什么問題？項(xiàng)目的主題到底是什么，在特殊情況下什么才是最為必需的？在這個(gè)特別摘要中，我們必須努力尋找需求的核心。答案肯定會(huì)讓人大吃一驚；核心可以是一面光滑平整的白墻，可以是想要提升所購(gòu)買地塊價(jià)值的渴望，也可以是城市連接設(shè)施的創(chuàng)造——任何事物都有可能，而我們必須透過明顯的表象看清事物的本質(zhì)。

步驟二：了解現(xiàn)狀

這看上去很容易，其實(shí)不然。什么是“現(xiàn)狀”？一個(gè)常用的詞是環(huán)境；建筑師通常將這個(gè)詞釋義為未知地點(diǎn)的物理環(huán)境、位置及布局。有時(shí)分析物理環(huán)境可能是件好事；而有時(shí)其可能會(huì)因過度研究，而研究中得到的新材料又毫無意義而造成了巨大浪費(fèi)。我們需要意識(shí)到這一點(diǎn)，并避免盲目的重復(fù)性工作，但是更為關(guān)鍵的一點(diǎn)是，我們需要將環(huán)境作為一個(gè)整體來考慮。一個(gè)具體的環(huán)境地點(diǎn)從哪兒開始又從哪兒結(jié)束？在大部分環(huán)境中可以使用全球定位技術(shù)，而這卻引發(fā)了各種各樣的問題與爭(zhēng)論，從本地到全球的爭(zhēng)論再到考古學(xué)和生物學(xué)領(lǐng)域的爭(zhēng)論，從政治領(lǐng)域到能源領(lǐng)域的爭(zhēng)論等等。環(huán)境概念所涉及的要遠(yuǎn)遠(yuǎn)超過地點(diǎn)的物理性概念，因此需要使用更為包容性的和更為模糊的術(shù)語(yǔ)。

了解現(xiàn)狀指了解不只是我們需要領(lǐng)悟的現(xiàn)狀本身，因?yàn)槲覀兛偸亲ゲ坏剿恼嬷B；我們管控現(xiàn)狀的唯一途徑就是與之互動(dòng)。在《存在與事件》的導(dǎo)言中，哲學(xué)家阿蘭·巴迪歐將現(xiàn)狀描述為“純粹冷漠的多樣性”。通常不能標(biāo)準(zhǔn)地把握現(xiàn)狀。它就是它，存在于復(fù)雜的形式。因此我們將自身浸入既定的現(xiàn)狀中，不存任何期望或偏見，領(lǐng)悟它的各個(gè)方面——也許最多只能領(lǐng)悟五分之三——我們可以從這些方面著手，將我們的知識(shí)和創(chuàng)造力應(yīng)用其中，使我們可以成為（仍引用巴迪歐的原話）“尋求真理的激進(jìn)分子”。這些方面的確可以涉及物理環(huán)境、現(xiàn)在與未來、社會(huì)建設(shè)，或更廣范圍的、令人難以置信的各種各樣的現(xiàn)象，如“中國(guó)”或“多功能設(shè)計(jì)”這兩個(gè)當(dāng)代的現(xiàn)狀。

步驟三：其他人的角色；網(wǎng)絡(luò)、機(jī)遇與風(fēng)險(xiǎn)

我們并不是唯一從事這項(xiàng)事業(yè)的人，而且接下來要發(fā)生的事情也不只由我們來決定。布魯諾·拉圖爾（Bruno Latour）稱，在一個(gè)網(wǎng)絡(luò)中你可以只做一名演員，對(duì)于建筑師來說這一點(diǎn)當(dāng)然也同樣適用。身處一個(gè)網(wǎng)絡(luò)之中，你就必須與其他人相互接觸；說服他們同意你的理念并認(rèn)同你的目標(biāo)，并勸說他們支持你。但是，就在我們?cè)噲D“招募”其他人的同時(shí)，其他人也在做著同樣的事情。通常情況下我們?cè)诒荣愔锌偸桥c其他演員處于競(jìng)爭(zhēng)的關(guān)系。我們的競(jìng)爭(zhēng)者會(huì)怎么做？他們的制勝策略又會(huì)是什么呢？

然后就會(huì)發(fā)現(xiàn)有些重要的其他人正處于委任我們的地位；關(guān)于他們的具體位置，我們知道多少？我們可以展開四點(diǎn)（優(yōu)勢(shì)、劣勢(shì)、機(jī)會(huì)、威脅）分析，試著找出這個(gè)網(wǎng)絡(luò)中較強(qiáng)的組織和較弱的組織，并據(jù)此找到我們前進(jìn)的道路。

步驟四：命名

為一個(gè)新型的具備復(fù)雜性的多層面事物命名從來都不是一件容易的事情，但有些時(shí)候，明確表達(dá)概念能夠幫助深化設(shè)計(jì)的過程。這一名稱必須是一本可擴(kuò)展的、擺在作者與讀者之間的“打開的書”。命名需要指示，明確方向，并激發(fā)一些靈感；與此同時(shí)還要為下一階段的設(shè)計(jì)留出機(jī)遇，留出未來的機(jī)會(huì)，并為其提供信息和知識(shí)的新來源。正如嬰兒一樣，隨著時(shí)間的流逝，他會(huì)向著他名字指引的方向成長(zhǎng)。

命名是一種交際行為；我們告訴其他人我們所想的是關(guān)于這個(gè)項(xiàng)目、這個(gè)建筑潛在工作的主題。我們選擇，我們編輯；我們創(chuàng)造捷徑。我們迫使自己盡可能在這早期階段保持思維明確。某些時(shí)候，在生活中人們會(huì)更改他們的名字，而這也是可以接受的。

步驟五：新的重大細(xì)節(jié)

目前，設(shè)計(jì)過程通常都十分短暫；相比十年前來說這一過程所用的時(shí)間至少縮短了百分之三十。對(duì)于客戶來說有經(jīng)濟(jì)上的壓力，這種壓力迫使客戶迅速推進(jìn)交流對(duì)話。因此必須改進(jìn)我們的散漫模式，并采用速記法。一切維持正軌的方法就是預(yù)先選取與項(xiàng)目有關(guān)的一些特色，并保證速度。我們?cè)谶^去的三年間不停地將這些特色投入實(shí)驗(yàn)。這些特色與大規(guī)模的、典型空間的構(gòu)造或外觀發(fā)展相關(guān)，這些發(fā)展表明設(shè)計(jì)主題仍在不斷進(jìn)化。

黑龍江省不同地區(qū)存在普惠金融程度不同的問題。對(duì)于普惠金融程度差的地區(qū),金融資源供給不足的地區(qū),加強(qiáng)金融機(jī)構(gòu)的引進(jìn)和重組。首先對(duì)農(nóng)村涉農(nóng)金融機(jī)構(gòu)進(jìn)行整合,形成以國(guó)有大型商業(yè)銀行為領(lǐng)頭,農(nóng)村信用社、村鎮(zhèn)銀行等新型農(nóng)村金融機(jī)構(gòu)的多層次的普惠金融體系。比如中國(guó)農(nóng)業(yè)銀行作為大型國(guó)有商業(yè)銀行,它的資金實(shí)力、業(yè)務(wù)范圍、產(chǎn)品創(chuàng)新能力都要優(yōu)于其他小型銀行,在解決普惠金融問題上的作用不可替代。因此,農(nóng)業(yè)銀行要承擔(dān)起支農(nóng)惠農(nóng)的責(zé)任,農(nóng)業(yè)銀行的營(yíng)業(yè)網(wǎng)點(diǎn)要保留到鄉(xiāng)鎮(zhèn),在農(nóng)村金融市場(chǎng)不能完全退出。農(nóng)業(yè)銀行應(yīng)和農(nóng)村信用社等農(nóng)村金融機(jī)構(gòu)一起發(fā)揮支持縣域經(jīng)濟(jì)發(fā)展的重任,帶動(dòng)提高整個(gè)農(nóng)村金融體系的服務(wù)水平。

步驟六：后象

UNStudio一直都對(duì)建造可以提供多重視角的分層澆筑建筑十分感興趣。我們不斷進(jìn)行新的設(shè)計(jì)選擇，促進(jìn)多樣性的發(fā)展，如：非對(duì)稱性、非笛卡爾幾何學(xué)、可以首尾相連的“無盡的”空間組成、“視差經(jīng)歷”以及莫爾效應(yīng)等。這也是我們目前仍在做的，因?yàn)槲覀円獎(jiǎng)?chuàng)造激動(dòng)人心的環(huán)境，在你每次看到時(shí)，它們都會(huì)激發(fā)出不同的視角。這就是“打開的書”，需要由使用者自己去發(fā)現(xiàn)、去探索。通過互動(dòng)與激勵(lì)，這也產(chǎn)生了社會(huì)效應(yīng)。

在開始一項(xiàng)新的設(shè)計(jì)時(shí)，我們都會(huì)問自己一個(gè)問題：這座建筑中的后象的主中心是什么？我們需要怎樣做才能取得最大的共鳴呢？

結(jié)論

設(shè)計(jì)技巧仍然極具價(jià)值。但是如今最重要的是，以專注且更具目標(biāo)指向性的方法應(yīng)用設(shè)計(jì)資本。機(jī)會(huì)之窗很窄；在快速選擇并在主題與事件（與其社會(huì)、經(jīng)濟(jì)、可持續(xù)性和/或其他方面有關(guān)）之間進(jìn)行互動(dòng)并進(jìn)行空間呈現(xiàn)的過程中，訓(xùn)練有素的判斷十分重要。以某種非確定的或規(guī)范的方法將設(shè)計(jì)過程結(jié)構(gòu)化，就有了上述六個(gè)步驟。

Today, the discipline of architecture is wide open to the possibility of radical change. The narratives of gain and growth that explained, legitimized and propelled forward so much architecture in the past decades have been interrupted. The focus now is on articulating new conceptualizations of possibly all the vital considerations at the core of the field. Everything, yes everything, can change – the problems and needs the world collectively faces are that big.

Awareness of this challenge also entails understanding its beneficial potential; architecture thrives on newness. Without continuous material, cultural and ideological innovations, the profession loses its specificity and becomes simply a bland part of a generic building industry. With UNStudio we have long realized this, which is why we have pushed ourselves in many different directions, continuously addressing new challenges and questions. But at the same time this experimental attitude has also led us to consciously seek to build as much as we could. Disengagement from the dangers of the building industry within the globalized economy has never been our preferred option.

As a result, we have amassed a huge amount of experience and practicerelated knowledge. It is this wealth of knowledge and experience that constitutes our design capital. How do we utilize it? How do we preserve, maintain, share and expand our knowledge? This is knowledge, it should be emphasized, that has been laboriously gained by working through numerous design phases on hundreds of projects of all scales and typologies in all parts of the world – it is completely unique design-related architectural knowledge, not something you just come across everywhere on the internet. Presently, UNStudio foresees two strategies to handle and propagate its design capital. In June 2013 we will launch an open source knowledge network, after having worked for three years internally on the development of four knowledge platforms. Besides this, we apply our experience, our trained judgment, to our project design process.

This text focuses on ways to use design capital to improve the design process, to make it more intelligent and more concise. Yet drawing on past experience to optimize the design process is not merely a question of efficiency. Now, in the current climate of need, and of problem awareness, design capital can also serve to identify and interconnect the topics that need to be addressed.

These topics are: knowledge, cultural and economic values, health, and society. How do we begin to understand these anew? How can we find a new balance between timeless values endogenous and exogenous to architecture?

Step 1: Identifying Goals

When we begin a new project, a new design, we do not start on day one. Actually, it is already day 6.395 for UNStudio, and for the client it may be day 478, or it may be day 8.201. The number is arbitrary, but what matters is that we do not start at the beginning; as a team, as a collective, as a highly risky enterprise, we are much further along than we often realize as architects. UNStudio has its long-term goals and shorter-term goals relating to design, which we take with us when we start the new project; they are already given.

But what are the goals of the client? What is the question behind the question? What is the project really about, what is really needed in a particular situation? We must try to discover what is at the core of the demand for this particular brief. The answer may be a surprise; it can be an image of a smooth white wall, it can be the desire to raise the value of the purchased plot, it can be the creation of an urban connection – anything is possible, and we must look beyond the obvious.

Step 2: Understanding the Situation

This is something that seems easy, but is not. What is a ‘situation’? A word often used is context; primarily architects interpret this to refer to the physical context, the position and lay-out of the location in question. Sometimes analyzing the physical context can be a good thing to do; sometimes it has already been exhaustively researched and the production of additional material is meaningless and wasteful. We need to be aware of this and avoid mindless repetition, but more crucially even we need to question to whole notion of context. Where does a context begin and end? Global positioning is a factor in many if not all locations, and this evokes all sorts of questions and debates, from local-global arguments, to archeology and biography, and politics and power. Context thus clearly pertains to far more than the physical aspects of the location, and therefore the more inclusive and ambiguous term situation is preferred.

Understanding the situation means understanding that is not the situation itself that we need to comprehend, because aspects of it will always remain outside our grasp; the only way we can manage a situation is by interacting with it. In the introduction of ‘Being and Event’ the philosopher Alain Badiou describes situation as ‘pure indifferent multiplicities’. A situation cannot usefully be approached normatively. It is what it is, in a complex way. Therefore we immerse ourselves in the given situation without expectation or prejudice, and extract from it some aspects – maybe just two to five at the most – which we can act on, to which we can apply our knowledge and creativity, which allow us to be (again in the words of Badiou) ‘militants of truth’. These aspects can indeed relate to the physical surroundings, now or in the future, to a social construction, or to a larger, implausibly multifarious phenomenon such as ‘China’, or ‘mixed-use’ to name but two contemporary situations.

Step 3: The Role of Others; Network, Chance and Risk

We are not in this alone, and so what happens next is not up to us alone. Bruno Latour has claimed that you can only be an actor in a network, and for architects this certainly seems true. Being in a network entails binding others to you; convincing them of your ideas and aims, and persuading them to support you. But just as we aim to ‘enroll’ other actors, they do too. Often we are pitched against other actors in a competition. What will our competitors do, what is their probable winning strategy?

Then there are those vital others who are in a position to commission us; what is their position exactly, as far as we can tell? We may make a SWOT analysis to try to pinpoint the stronger and weaker tissues within the network, and try to find our way forward accordingly.

Step 4: Naming

To put a name to a multifaceted thing that is emerging out of sheer complexity is always difficult, but sometimes it is possible and helpful to further the design process by articulating a concept. This name must be proliferative, an ‘open text’ that is created between author and reader. Naming entails pointing, giving some direction, and laying down some aspirations, while at the same time leaving still much open to chance, future opportunities, and new sources of information and knowledge that will enter the process at a later stage. A baby will grow into its name over time.

Naming also is a communicative act; we tell each other what we think is a major topic within this project, this potential work of architecture. Thereby we choose, we edit; we create a shortcut. We force ourselves to make ourselves as clear as we can be at this early point in time. Sometimes, later in life, people change their name, and that is fine too.

Step 5: The New Big Details

Currently, the design process is usually very short; at least 30 per cent shorter than it was ten years ago. There is an economic pressure on the part of the client, which makes it necessary to move the conversation forward quickly. Our discursive mode must therefore develop some personal shorthand. What we can do to remain on course, while still maintaining speed, is to preselect some features that we have been experimenting with over the last three years, and that we feel are pertinent to the project. These features pertain to large-scale, defining spatial, constructional or fa?ade-related recent developments that speak of design themes that are still evolving.

Step 6: After Image

UNStudio has always been interested in producing layered constructions that afford multiple viewpoints. We have consistently privileged design choices that would engender multiplicity, such as: asymmetry, non-Cartesian geometry, ‘endless’ spatial compositions that turn back on themselves, ‘parallax experiences’, and Moiré effects. And this is what we continue to do, in order to make inspiring environments that incite different perspectives each time you return to them, that are ‘open texts’ themselves, needing to be discovered and appropriated by the user, and that are socially relevant by being interactive and provocative.

Beginning a new design, we may ask ourselves the question: what will be the primary site for the after image in this building? Where are we aiming for maximum resonance?

Conclusion

Design skills are a valuable good still. But the most important issue today is the ability to apply design capital in a focused and goal-orientated way. The window of opportunity is narrow; the deployment of trained judgment is essential to quickly select and interconnect the spatial manifestations of topics and issues that are chosen for their social, economic, sustainable, and/or other relevance. Structuring the design process in a way that is not deterministic or prescriptive has led to the formulation of the Six Steps described above.