阿科桑底
——試問如果，建筑、生物與城市設(shè)計

杰夫·斯坦因/Jeff Stein

尚晉 譯/Translated by SHANG Jin

阿科桑底
——試問如果，建筑、生物與城市設(shè)計

Arcosanti: What if? Architecture, Biology, and the Design of Cities

杰夫·斯坦因/Jeff Stein

尚晉 譯/Translated by SHANG Jin

1 南向全景/Southern exposure（攝影/Photo: Chris Ohlinger）

城市是人類有史以來為互相接觸、學習、溝通并交流思想、交換商品和服務(wù)而創(chuàng)造的最偉大的工具。中國高速持續(xù)的城鎮(zhèn)化表明，世界上最古老的文化之一對這種過程是何其重視，而城市對其社會的未來又是何其重要。

當然，城市如何設(shè)計，我們以何種模式建造城市，都對地球的生物（和氣候）有巨大影響。如今，世界上已有超過一半的人口居住在城市中或城市周圍。城市顯然已成為地球生態(tài)的組成部分。阿科桑底，這個47年前由建筑師鮑羅·索勒里在美國亞利桑那州創(chuàng)立的城市實驗室，將城市置于這種生態(tài)的中心、地球生物網(wǎng)的中心。理解它并根據(jù)它采取行動是我們這一代人的偉大使命：以變革和堅定的努力將人類與地球的關(guān)系從破壞改變?yōu)榕c自然共進互利。而最初的模型是由鮑羅·索勒里在阿科桑底為我們提出的。

阿科桑底在為城市設(shè)計開辟出新的道路。在這里，我們開始認識到，作為生物體——其實是超級生物體——城市沒有得到所需的時間演化成與地球上其他生物模式相符的形式。這種模式是演化性的、緊湊的、密集立體的、復(fù)雜而微型的。人腦經(jīng)過500萬年的進化成為這種模式最明顯的例子，這也是我們工作的具體原型。

指導原則非常簡單：相對于今天在大范圍地播散能源、資源和的碎片化時間浪費的城市爆炸，我們倡導的是城市內(nèi)聚，即以地球有機生物的進化模型為基礎(chǔ)的、承載城市密度和精細效能的立體容器。

最近，磁共振擴散成像研究已經(jīng)標出人腦的深層結(jié)構(gòu)，體現(xiàn)出大腦立體格網(wǎng)的連通性。而這種立體形式我們已經(jīng)在阿科桑底進行了47年的研究和試驗，目的是將它作為城市設(shè)計的基礎(chǔ)。神經(jīng)科學家現(xiàn)在提出人腦的三維格網(wǎng)結(jié)構(gòu)“有助于交流、協(xié)調(diào)、學習……”，我們認為這種三維結(jié)構(gòu)也將幫助城市更好地為居民服務(wù)。

因此，阿科桑底的建筑作品就是要使人連通：相互連通、與本地及亞利桑那州中部的生態(tài)連通、與太陽和四季連通，以及（至少在感知上）與宇宙的其他部分連通。自我的基礎(chǔ)、城市增長的一般基礎(chǔ)就是人們對連通的渴望。這就是臉書 （Facebook）風靡全世界的原因；盡管我們需要的只是那種技術(shù)。誠然，因為我們現(xiàn)在的城市設(shè)計問題百出，以可觀的能源、空間和時間的碎片化消耗將我們同真實的面對面溝通隔絕開。阿科桑底意在扭轉(zhuǎn)這種不可持續(xù)的趨勢，提供一種緊湊、復(fù)雜、步行、社區(qū)尺度的生活模型。

在過去的47年中有數(shù)千人來到阿科桑底幫助設(shè)計和建造它，并將它作為一種城市實驗室在其中居住一段時間。他們一直癡迷于這種“連通”概念，尤其是在連通生氣勃勃的密集城市體驗的同時，與周圍令人陶醉的自然景觀連通。

為了做到這一點，我們讓以私人空間（公寓）成為露天圓形劇場、工作空間和公共機構(gòu)等公共空間的邊界。在我們的“東方新月”社區(qū)，私人住宅的立面構(gòu)成了公共劇場的禮堂墻壁。在這里沒有危險的汽車和滿是CO的街道，每戶前門面對的都是精彩絕倫的藝術(shù)演出，在觀眾與表演者之間建立起真實的聯(lián)系——一切都是人的尺度。此外，社區(qū)本身的形式是一個半圓形平面，讓人們感受到彼此屬于一個真實親切的社區(qū)。最后，帶圓形洞口的大板透過立面構(gòu)成了框景。目的之一是讓人在目睹四周浩瀚的大漠時不致感到壓迫；二是為在潛意識上與皆由圓形物體構(gòu)成的宇宙連通：行星、恒星、星系。這種框景讓我們想到，自己不就屬于太空嗎？每塊板的實際位置也構(gòu)成了空間分區(qū)，讓人感受到公共、半公共、半私人和私人空間的緊密界限。

The city is the greatest tool yet invented for humans to meet, learn, experience each other, and exchange ideas, goods, and services. The rapid and continuing urbanization in China shows how much one of the world's oldest cultures values this experience, and how important cities are to the future of its society.

Cities, of course – how they are designed and the patterns by which we build them – have a tremendous impact on the biology (and the climate) of earth. Now, cities with over half the world's population living in and around them, are clearly an integral part of earth's ecology. Arcosanti, the urban laboratory founded 47 years ago, by architect Paolo Soleri in Arizona, U.S., places cities at the very centre of that ecology, at the very centre of the web of life on earth. Understanding and acting on this is the great work of our generation: the transformative and radical effort to change humanearth relations from disruptive and destructive to naturally enhancing and beneficial, and this was first modelled for us by Paolo Soleri at Arcosanti.

Arcosanti is pioneering a new approach to the design of cities. Here we are beginning to understand that as organisms – hyper-organisms, really – cities have not had the time necessary to evolve their forms in conformance with the pattern of the rest of life on earth. Tat pattern is evolutionary, compact, intensely three-dimensional, complex, and miniaturized. The human brain, after five million years of evolution is the clearest example of this pattern, and it is the physical model for our work.

2 索勒里辦公室與起草單位/Te S.O.D. Unit-Soleri Office and Drafting Unit（攝影/Photo: Alfonso Elia）

The guiding principle is simple. Instead of the current urban explosion which spreads a thin film of energy, resources, and time-wasting sprawl across great distances, we are arguing for urban implosion: three-dimensional containers of urban intensity and elegant efficiency based on the evolving model of organic life on earth.

Recent research using diffusion spectrum magnetic resonance imaging has mapped deep brain structure in humans. The result points to connectivity in the brain as a three-dimensional grid, the same three-dimensional form that we at Arcosanti have been researching and experimenting with for 47 years as a basis for the design of cities. Neuroscientists now suggest the human brain's 3D grid structure 'aids communication, coordination,learning…' We think this same three-dimensional structure will help cities perform better for their human inhabitants as well.

5 從南側(cè)望向半圓鑄造車間及西屋和大拱頂/Te Foundry Apse with West Housing and the Vaults viewed from south（攝影/ Photo: Yuki Yanagimoto）

6 科桑底基金會每年在阿科桑底舉辦意大利之夜音樂會與晚宴/Te Cosanti Foundation presents its Italian Night concert and dinner at Arcosanti annually（攝影/Photo: Hanne Sue Kirsch）

Thus, the work of architecture at Arcosanti is to connect people: to each other, to this place and its central Arizona ecology, to the sun and seasons, and – at least perceptually – to the rest of the cosmos itself. Basic to our identity, basic to the growth of cities universally, is the human desire to be connected. It is how Facebook has become so ubiquitous throughout the world; although we only need that technology, really, because our current cities are so ill designed, separating us from real face-to-face contact with each other through their pattern of massive energy, space, and time-wasting sprawl. Arcosanti intends to counteract that unsustainable trend, providing a model for life on a compact, complex, walkable, community scale.

The several thousand people who have come to Arcosanti over the past 47 years to help design and construct it, and live in it for a time as a kind of urban laboratory, continue to be invested in this notion of 'connection', especially connecting to both a vibrant intense urban experience and, at the same time, to the terrific natural landscape that immediately surrounds us here.

To do that we have made architecture whose private spaces – apartments – form the boundary of public space–open-air amphitheatres, work places, institutions, etc. In our East Crescent neighbourhood, the facades of private homes create the auditorium wall of a public theatre. Here, instead of facing dangerous car and CO filled streets, everyone's front door opens onto really extraordinary performing arts events, cementing a physical connection to audiences and performers alike, all at a human scale. In addition, the form of the neighbourhood itself, a semi-circle in plan, allows people to experience each other as part of a real physical community. Finally, there are largescale panels with circular openings in them that frame views through the facades, first, so that perceiving the vast surrounding desert landscape does not become overwhelming; and second, to provide a subconscious connection to a universe which is essentially made of round things: planets, stars, galaxies. Such a frame reminds us that we are part of all that. Moreover, each panel's physical placement also provides for spatial zoning, allowing a sense of the close-up boundaries of public, semipublic, semi-private, and private space.

Arcosanti is described as an urban laboratory. This means through its continued construction we are experimenting with several aspects of urban design: building form, building performance, and integrating aspects of cultural endeavour, energy production, heating and cooling, food growing, and waste recycling into the architecture of the city itself. We are making architecture do more work than ever before, and Arcosanti is doing this in ways that are intended to be elegant, economically affordable, and durable. As we continue, of course, we are actively seeking partners whose own work in other parts of the world can benefit from helping to finance and construct these experimental prototypes, and learn from them, at Arcosanti.

In this laboratory, our aim is to embody many of Paolo Soleri's ideas into the very fabric of the architecture itself. Take the idea that 'all life is connected'. Tis is not a notion that Soleri invented, but it is an idea that he agreed with and one that the architecture at Arcosanti supports. It does so by means of form, scale, colour, texture, mass, the tools all architects have – and use – to embody ideas in their buildings.

3 半圓陶瓷作坊/Ceramics Apse（攝影/Photo: Tomiaki Tamura）

4 2016年在半圓陶瓷作坊進行的演出/2016 performance in the Ceramics Apse（攝影/Photo: Hanne Sue Kirsch）

阿科桑底可以稱得上一座城市實驗室。這是說在它的持續(xù)建造中，我們對城市設(shè)計的多個方面進行了試驗：建筑形式和建筑性能等。我們還將文化因素、能源生產(chǎn)、供暖和制冷、種植食物和廢物回收等方面整合到城市自身的建筑中。我們還讓建筑發(fā)揮比過去更多的功能，而阿科桑底正在以精致、經(jīng)濟和耐久的方式將它實現(xiàn)。當然，隨著工作進一步開展，我們在積極尋找特定的伙伴——他們在世界其他地方的作品能通過幫助阿科桑底這些試驗原型提供資金并進行建造而受益，并從中汲取經(jīng)驗。

在這個實驗室里，我們的目標是在這個建筑自身的機體中體現(xiàn)鮑羅·索勒里的諸多思想。比如“萬生皆通”的思想，這不是索勒里提出的概念，而是他認同的一種思想，也是阿科桑底建筑支持的思想。這種思想是通過形式、尺度、顏色、質(zhì)地、體量來實現(xiàn)的，這些是所有建筑師在其建筑中體現(xiàn)思想所具備和使用的手段。

在阿科桑底，我們的建筑沿著一系列尺度和復(fù)雜性不斷增大的原型結(jié)構(gòu)推進。每個都保留著一種“樸素”感，而這是另一個源自生物界的基本建筑文化思想。

拱券

從試驗區(qū)中心開始，阿科桑底在1970年代建成的第一座建成作品是這些高大的曲形拱券，它們代表著一種庇護之下的公共空間。它使視線集中、供人漫步，并以最少的必要建筑連接起未來東西側(cè)的建筑。

半圓陶瓷作坊

美國建筑師路易·康將街道稱作“城市客廳”。漫步其中就能欣賞到余生之中盡情享受的東西。充斥著危險的汽車和C O的現(xiàn)代街道絕不是康所期望的學習中心。但在阿科桑底這座步行小鎮(zhèn)，人們會路過一座半圓殿形式的建筑，即一個1/4球體。其中的活動一目了然，人們甚至可以參與其中。這座建筑是一個陶瓷作坊/工作室，通過這個半圓殿的開口與太陽、四季和社區(qū)的其他人相連通。這種形式的半圓殿留出第四面墻向世界敞開，而正是這面墻讓大多數(shù)建筑與世隔絕。

半圓鑄造車間項

隨后在阿科桑底建造的是另一座半圓殿，里面是一個青銅鐘鑄造車間。同樣的開敞形式讓車間與世界連通，半圓殿加厚的北墻上加設(shè)的一系列住宅公寓使它更加繁復(fù)。在這里住宅與車間連為一體，二者又通過形式和材料與自然界連通。

東方新月

接下來在阿科桑底建成的是一整個住宅區(qū)和公共機構(gòu)（檔案館、辦公樓、教室、圖書館、學生宿舍）。它們采用了曲形半圓殿的經(jīng)典線條，并使它與表演藝術(shù)的圓形劇場連通。這樣人們就能感受到非同凡響的時刻，體會生命的無限可能，因為他們居住的建筑通過形式和尺度將他們都連在了一起。阿科桑底的東方新月不會讓人在獨戶住宅中看電視，使建筑（及其住戶）與自然和文化生態(tài)隔絕開，而要讓人連通所有這一切以及自身的潛能，還有從世界各地定期來這里在家家戶戶門口表演的藝術(shù)家。

建筑師鮑羅·索勒里的意圖是在建筑中實現(xiàn)空間與寧靜。對于他來說，指導思想一直是“建筑生態(tài)”，即以建筑和生態(tài)作為地球整個生物系統(tǒng)的兩大部分。索勒里對于它是這樣說的：“我們——人類——是自然的一部分，但我們追求的是自然無法給予的：公平、同情、思維的創(chuàng)作。這種創(chuàng)作決定了一種新自然，這種已然令人驚嘆的過程的非凡組成它是不斷演變的宇宙。”

7 東方新月，克里·索勒里圓形劇場/East Crescent, the Colly Soleri Amphitheatre（攝影/Photo: Hanne Sue Kirsch）

阿科桑底代表著一種形成中的“建筑生態(tài)”原型，一種意在從核心消除汽車、取代城郊擴張的步行導向城市。由于這種形式——向太陽和四季展示自身和居民的方式——它也能在地球的生物系統(tǒng)中運轉(zhuǎn)得更好。它可以能效很高，生產(chǎn)能源為自身供電，并能依靠一系列太陽能溫室生產(chǎn)食物供市民享用。在更深的層次上，建筑生態(tài)的概念承認城市是地球上最新的生物體。倘若它們（和在其中的我們）要繁榮興旺，我們的城市設(shè)計就必須符合其他成功生物體所遵循的原則：“微型化”和“復(fù)雜性”的雙重原則。其目的是讓建筑向上生長而不是鋪開，并以此建造密集的立體城市，模擬出地球上其他生命進化而成的形式。建筑生態(tài)密集、復(fù)雜的特性能將日常生活中商品、服務(wù)和思想交換與交流所需的時間、能源和資源降至最少。

我們可以滿懷信心地說：全世界的新一代都渴望創(chuàng)造實用持久的東西，擔負對這種文化具有實際價值的工作。今天的青年人可以看到，幾乎我們所有的建筑和用地模式都已過時。面對日益增長的人口以及我們對化石燃料和所有能源不斷變化的態(tài)度（和價格），我們在地球上居住的方式需要改變，這是顯而易見的，并且要盡快。有助于這一轉(zhuǎn)變的思想來自哪里？對于建筑和城市規(guī)劃，來源之一就是阿科桑底——即便是在初創(chuàng)期。

阿科桑底工作坊自1970年啟動以來吸引了7000多名學生，并一直是這個項目的教育重點。阿科桑底工作坊是最杰出的試驗教育：在美妙絕倫的景觀和位置實際建造優(yōu)美而實用的作品。隨著高等教學愈發(fā)全球化，阿科桑底對于全球教育的價值不斷拓展。

在阿科桑底的發(fā)展過程中，兩件事是肯定不變的：渴望建造更好未來的熱心人摩肩接踵，希望我們建筑周圍的沙漠景觀生態(tài)得以保存。歡迎您來阿科桑底作客。

At Arcosanti, our architecture has taken the path of a series of prototype structures of everincreasing scale and complexity, each retaining a sense of 'frugality', another of the primary architectural and cultural ideas that comes from the world of biology.

Vaulted Arches

Beginning at the centre of the development, the first structures built at Arcosanti in the early 1970s were these soaring, curved arches, marking a protected public space that focuses views, provides a promenade, and connects future construction east and west with the very least amount of architecture necessary to do so.

Ceramics Apse

American architect Louis Kahn described the street as an 'urban living room', down which a young person, as she walked, might see what she would like to do for the rest of her life. Modern streets, filled with dangerous cars and carbon monoxide are hardly the learning centre Kahn hoped they would be. However, at Arcosanti, a pedestrian town, people passing by a building in the form of an apse, a quarter of a sphere, can easily see what goes on within, and even take part in it. In the case of this building, a ceramics studio/work place is connected to sun, seasons, and the rest of the community by means of this apse opening. This form, the apse, opens up to the world by not building a fourth wall, the construction of which in most buildings actually shuts out pretty much everything.

Foundry Apse

Next to be constructed at Arcosanti was another apse, sheltering a bronze bell foundry. Te same open form connects a workplace to the world, with the added complexity of a series of residential apartments in the thickened north wall of the apse. Here the domestic is connected to the workplace and both are connected to the natural world through form and materials.

East Crescent

Next in line at Arcosanti has been the construction of an entire neighbourhood of residences and institutional spaces (archives, offices, classrooms, a library, student dormitory) that take the classical line of the curved apse and connect it to a performing arts amphitheatre. Thus, people are in touch with extraordinary moments, with life's possibilities, because the architecture in which they live connects them all by means of its form and scale. At Arcosanti's East Crescent, instead of watching television in the isolation of a singlefamily house whose architecture has disconnected it (and its inhabitants) from its natural and cultural ecology, people are connected to all this, plus to their own potential – and to that of artists from around the world who regularly perform in this space on everyone's doorstep.

For architect Paolo Soleri, whose intent was to achieve both space and silence in his architecture, the Parti – the big, guiding idea – has always been 'Arcology' architecture and ecology as two parts of a whole biological system on the earth. Here is what Soleri said about it: 'WE – humans – are part of nature, but we seek that which nature cannot deliver: equity, compassion, the work of the mind. That work defines a kind of NEO-nature, a divine component to an already astonishing process, the evolving cosmos.'

Arcosanti represents a prototype 'Arcology'-in-the-making, a pedestrian-oriented city meant to eliminate cars from its core and, as a result, provide an alternative to suburban sprawl. Because of its form – the way it displays itself and its inhabitants to the sun and seasons – it also becomes a better performer within earth's biological system. It can be quite energy efficient, able to produce energy to power itself, and through a series of solar greenhouses, able to produce food to power its citizens. At a deeper level, the notion of Arcology recognizes that cities are the newest organisms on the planet. If they (and we in them) are to flourish, our urban design must conform to guidelines adapted by other successful organisms: the twin rules of 'miniaturization' and 'complexity'. The intention is to build up not out, and thus create a dense 3-dimensional city, mimicking the evolved forms of the rest of life on earth. Te dense, complex nature of Arcology could minimize the amount of time, energy, and resources necessary to exchange goods, services, and ideas in everyday life.

We can say this with confidence: there is a hunger among the new generation worldwide to make something useful and lasting, to undertake work that is of real value to the culture. Young people today can see that nearly our entire building stock and the pattern in which it is laid out on the land, is obsolete. In the face of rising populations and our changing attitudes about, and the price of fossil fuels and energy use in general, it is clear that how we inhabit the earth needs to change, and quickly. Where are ideas coming from that can help this transition? In architecture and urban planning, one of those sources – even in its infancy – is Arcosanti.

8 鮑羅·索勒里特別紀念物/Paolo Soleri Special Assemblies（攝影/Photo: Chris Ohlinger）

The workshop program at Arcosanti, which has attracted more than 7000 students to the project since its inception in 1970, continues to be a primary educational focus of the project. The Arcosanti workshops are experiential education at its finest: actual construction of beautiful and useful work in an extraordinary landscape and location. With the increasing globalization of higher learning, Arcosanti's value to educational programs worldwide continues to expand.

Two things are sure to remain constant as Arcosanti evolves: the flow of curious minds eager to build a better future, and the beautiful and preserved ecology of the desert landscape surrounding our building site. We invite you to visit us at Arcosanti.

作者介紹：杰夫·斯坦因是亞利桑那州科桑底基金會副主席獲獎建筑師與作家。科桑底基金會由國際著名建筑師鮑羅·索勒里于60年前創(chuàng)立，負責亞利桑那州中部的阿科桑底城市實驗室的持續(xù)設(shè)計和建造。/Award winning architect and writer, Jeff Stein is Co-President of the Cosanti Foundation in Arizona. The Cosanti Foundation, begun 60 years ago, by internationally renowned architect Paolo Soleri, is responsible for ongoing design and construction of the urban laboratory Arcosanti, in central Arizona.

2017-03-05