從理性與情感到孵化

文/ Text ：費(fèi)爾蘭多·費(fèi)尼斯/ Fernando Menis

可以說(shuō)，我們工作的本質(zhì)是通過(guò)拯救那些已經(jīng)起作用并經(jīng)過(guò)時(shí)間考驗(yàn)的方案，使我們之前已經(jīng)完工的作品再次煥然一新。我們的方法分為兩個(gè)方面，一方面是利用和加強(qiáng)自然元素；另一方面是根據(jù)每個(gè)項(xiàng)目和地點(diǎn)的具體要求，利用和增厚文化或歷史遺產(chǎn)。我父母這一代人有回收和循環(huán)利用的習(xí)慣，不斷積累東西以便以后再利用，受其影響，我也不例外，不過(guò)也有可能是因?yàn)槲乙庾R(shí)到自己生活在一個(gè)資源有限的寶地：加那利群島。

這一群島是我們大部分建筑作品的靈感來(lái)源和集中地，是歐洲、美洲和非洲大陸之間的一個(gè)特殊的交匯點(diǎn)。這一群小島嶼，位于大西洋中部，氣候溫和，擁有非凡的生物多樣性。這里有連續(xù)火山爆發(fā)重疊而成的奇特景觀，所有的自然元素——土地、水、空氣、光線——共同構(gòu)成了一個(gè)極其獨(dú)特的環(huán)境。同樣地，我們的工作成果也可以理解為各種影響重疊的結(jié)果，是對(duì)現(xiàn)代性以及一系列經(jīng)濟(jì)和建設(shè)條件的某種解讀。每個(gè)方案都源自于一個(gè)漫長(zhǎng)而復(fù)雜的過(guò)程，即靠攏主題并審查內(nèi)容，在此過(guò)程中，建筑師和開(kāi)發(fā)人員會(huì)根據(jù)特定的參數(shù)來(lái)調(diào)整計(jì)劃需求。

在處理原始材料及其所在環(huán)境下的真實(shí)潛力時(shí)，常識(shí)是理性和情感協(xié)作的框架，這兩個(gè)范疇貫穿于我們的工作和我個(gè)人的發(fā)展過(guò)程中。將情感理解為建筑的本質(zhì)和非物質(zhì)內(nèi)容：我們所想象和研究的大地世界屬于建筑存在之前的一種狀態(tài)，當(dāng)時(shí)建筑是由自然創(chuàng)造的。但光憑想象是不夠的，因?yàn)榻ㄖ紫仁且粋€(gè)具有特定位置的物體。

處理這個(gè)物體要基于添加和提?。鹤畛醯母拍钍艿接?jì)劃的影響，就好像它是一個(gè)用手建模的元素，直到結(jié)晶發(fā)生，即形式和語(yǔ)言的配置。通過(guò)直接、直觀的橡皮泥建模，從物理接近物體及其三維立體的那一刻，情感隨之呈現(xiàn)。由于材料要能夠適應(yīng)工作策略，而建筑師的工作參數(shù)又是動(dòng)態(tài)的，因此材料選擇非常重要。這種方法導(dǎo)致的結(jié)果是，不斷地調(diào)整方案，但不會(huì)忘記其目的：要產(chǎn)生一種總會(huì)因嚴(yán)謹(jǐn)?shù)睦硇远尫懦鰜?lái)的情感。

為保持合理性，每個(gè)項(xiàng)目都會(huì)謹(jǐn)慎關(guān)注結(jié)構(gòu)條件、建設(shè)性條件和經(jīng)濟(jì)條件，以便建筑物體能夠恰當(dāng)?shù)厝谌胝w環(huán)境當(dāng)中。因此，我們的工作重點(diǎn)是重新激活我們工作地點(diǎn)的潛在力量。再利用那些因特定原因而被丟棄的物體、能量或概念，堅(jiān)持在每個(gè)項(xiàng)目的特殊體驗(yàn)中尋找重讀或重新闡釋。有時(shí)，為挽救建筑，解決城市特色稀缺問(wèn)題，進(jìn)而增強(qiáng)社會(huì)凝聚力，我們會(huì)借此恢復(fù)那些文化和社會(huì)參照的記憶，它們?cè)徊还剡z忘。有時(shí)，我們只是把那些沒(méi)有得到足夠重視或考慮的東西框定下來(lái)，這些東西可能會(huì)成為新的參考或資產(chǎn)。我們把循環(huán)利用理解為一種重新進(jìn)入循環(huán)的方式，或者轉(zhuǎn)換態(tài)度和概念，可以根據(jù)心境或它們所處的自然循環(huán)挖掘出新功能。這種不斷的回顧可能是一種回望，但絕不是一種懷舊或天真的態(tài)度。我們會(huì)從理性和技術(shù)的角度來(lái)設(shè)計(jì)建筑，但我們是以工匠的身份來(lái)制造建筑物體，在每個(gè)細(xì)節(jié)的制作過(guò)程中都注重質(zhì)量，就像手工制作一樣。

由于理性和情感之間的相互作用，被建構(gòu)的物體成為了一個(gè)有生命的實(shí)體，并隨著時(shí)間的推移而進(jìn)化。它已不再被看作是一種機(jī)械的東西，或僅僅是一些簡(jiǎn)單的自主元件的組裝結(jié)果，而是一種直接從無(wú)定形物質(zhì)中提取出來(lái)的模擬器官，建筑師必須學(xué)會(huì)如何評(píng)價(jià)它。還要知道如何傾聽(tīng)社會(huì)需求，滿足每一個(gè)項(xiàng)目所要求的經(jīng)濟(jì)需求，通過(guò)核實(shí)所期望的和已建造的工程解決問(wèn)題或消除問(wèn)題，從而獲得個(gè)人滿足感。好的建筑總是能夠改善現(xiàn)有的環(huán)境，促進(jìn)社會(huì)發(fā)展，提高生活質(zhì)量。

這種理性和情感的二分法在一定程度上制約了我們的建筑設(shè)計(jì)，這種二分法的研究在我們四十多年的實(shí)踐中得到了體現(xiàn)。隨著時(shí)間的推移，我們生產(chǎn)最初階段僅有的直覺(jué)或關(guān)注點(diǎn)已經(jīng)變成了研究的方向，在我們所有的項(xiàng)目中都可以橫向發(fā)現(xiàn)相關(guān)性。我逐漸意識(shí)到，我們處理每個(gè)新任務(wù)和新項(xiàng)目的方式中，都有某些恒定的元素：某些關(guān)注點(diǎn)始終存在，某些有效方案得到進(jìn)一步改善，把自然力量作為基本設(shè)計(jì)元素……我已經(jīng)確定了這些恒定線，我最近在一個(gè)理論框架中將其構(gòu)建起來(lái)，并稱之為Hatching。

Hatching 在同一個(gè)思想體系中規(guī)劃我們多年來(lái)在項(xiàng)目和工作中構(gòu)思、研究和測(cè)試的假設(shè)和實(shí)驗(yàn)、方案和創(chuàng)新。這屬于自然可持續(xù)人類化這一更廣泛主題的一部分，基于零能源浪費(fèi)“生命機(jī)器”的概念，旨在證明建筑構(gòu)筑物可以通過(guò)完全利用自然的力量和操縱形式來(lái)創(chuàng)造生命。在20 世紀(jì)，“未來(lái)城市”等概念試圖重塑人們的生活方式，為設(shè)計(jì)過(guò)程設(shè)定新的參數(shù)，并決定人們的需求。這些想法通常是為了滿足人類的需要和當(dāng)時(shí)舒適生活的標(biāo)準(zhǔn)。然而，回到建筑的基本原則，首個(gè)定居點(diǎn)是建立在氣候和地理?xiàng)l件更有利的地方。挑戰(zhàn)在于要始終響應(yīng)人們的需求，以可持續(xù)的方式發(fā)展城市環(huán)境，并且具有演變進(jìn)化的潛能。

從這個(gè)意義上說(shuō)，Hatching 探索出了諸多方法，以此創(chuàng)造一個(gè)能夠產(chǎn)生和維持生命的環(huán)境，回歸生命的基本要素，提供地球上生命永遠(yuǎn)需要的東西。通過(guò)利用和加強(qiáng)自然的力量，人造世界將成為綠洲，創(chuàng)造一個(gè)永恒棲息地，為生命提供理想的生存條件。通過(guò)Hatching，我們從一個(gè)完全不同的角度重新審視了“理想城市”構(gòu)筑物，即人造世界轉(zhuǎn)變?yōu)樽匀皇澜?，在那里，自然的力量被用作設(shè)計(jì)工具，在不適宜居住的地區(qū)創(chuàng)造一個(gè)宜居的小氣候。該方案是自然發(fā)展、自然塑造而成的，因此對(duì)人類建造環(huán)境這一創(chuàng)造有著至關(guān)重要的影響。

It could be said that the essence of our work has been defining as a way to repeat and update what has been rightly done before us by rescuing solutions that have already worked and been successfully tested along the time.Our method is based on using and enhancing the natural elements on one hand as well as the cultural or historical assets,on the other hand,according to the specific requisites of each assignment and place.The need to retrieve and recycle may come from the mentality of a generation-my parents' but also mine- that grew accumulating things to reuse later,or perhaps it comes from my awareness of living in a limited and valuable territory:the Canary Islands.

An inspiration and the location for a large part of our architectural production,the archipelago constitutes a privileged meeting point between the European,American and African continents.It is a group of small islands with a mild climate and an extraordinary biodiversity in the middle of the Atlantic Ocean.A strange landscape arising from the overlapping of successive volcanic eruptions and in which all natural elements-land,water,air,light-configure an environment of immense singularity.In the same way,the result of our work can be understood as a consequence of an overlapping of influences,of a certain reading of Modernity and a series of economic and constructive conditions.Each scheme derives from a long and complex process of approaching and reviewing its content in which the architect,as well as the developer,adjust the programmatic needs to certain parameters.

Common sense when addressing raw material and its authentic potential in the context where it is inserted,is the framework in which reason and emotion collaborate,the two categories present throughout our work and in my own personal evolution.We understand emotion as an essential and immaterial content of architecture:the telluric worlds that we imagine and investigate belong to a state prior to the existence of architecture,at a time when this was created by nature.But it is not enough to imagine,since architecture is,above all,a physical object with a given location.

Our way of working on this object is based on addition and extraction:the initial concept suffers the erosion induced by the program as if it were an element modeled with the hands,until crystallization occurs,that is,the configuration of form and language.The emotion is present from the very moment of the physical approach to the object and its threedimensionality through direct and intuitive modeling with plasticine.Hence the importance of choosing the material because the material should be able to adapt to the work strategy,since the parameters with which the architect works are dynamic.As a consequence of this method,the scheme changes continuously,although without forgetting the purpose:to produce an emotion always decanted by the rigor of reason.

The rationality with which each project is undertaken is based on scrupulous attention to structural,constructive and economic conditions so that the architectural object is capable of being properly inserted in a context and remaining in it.Therefore,our work focuses on reactivating the latent forces in the sites we work in.We reuse those objects,energies or concepts that have been discarded for specific reasons,always looking for a rereading or reinterpretation within the special experience that each project is.Sometimes we recover the memory of unjustly forgotten cultural and social references to rectify poorly focused urban situations or revive places and increase social cohesion.Sometimes we only frame what is not enough valued or considered and may become a new reference or asset.We understand recycling as a way of putting back into circulation or transferring attitudes and concepts that can find a new function according to the spirit or the natural cycle in which they were inserted.This constant review may be a look back,but never a nostalgic or naive attitude.We envision producing architecture from a rational and technological perspective,but we manufacture architectural objects as artisans,taking care of the quality in the making of each detail as if it were handmade.

Thanks to the constant interaction between reason and emotion,the constructed object becomes a living entity,evolving over time.It is no longer conceived as a mechano,the result of the mere addition of simple autonomous elements,but as a modeledorgan,extracted directly from the amorphous matter,that the architect must learn how to assess.He must also know how to listen to social demands and meet the economic demands that each project implies,expecting the personal satisfaction that is obtained by verifying that the desired and built works,that it solves a situation or eliminates a problem.Good architecture always improves the pre-existing,enables social evolution and increases the quality of life.

The degree to which this dichotomy between reason and emotion conditions the architecture we carry out is manifested in the lines of research that have been articulating our practice for more than forty years now.What were only intuitions or concerns in the initial stages of our production,over time,have become lines of research,which are found in a transversal way in all our projects.I have progressively realized that there are certain constant elements in the way we approach each new assignment and in which we work for each new project:certain concerns are always there,certain solutions,which were efficient,evolve and are improved,the use of natural forces as essential design elements...I have identified these constant lines and,recently,I have structured them in a theoretical framework that I called Hatching.

Hatchingorganizes,within the same system of thought,those hypotheses and experiments,solutions and innovations conceived,researched and tested in our projects and works along the years.It is part of the broader theme of the sustainable anthropization of nature and it is based on the concept of a zero energy waste "life machine",aiming to demonstrate that an architectural structure can produce life through the exclusive use of the forces of nature and the manipulation of forms.

In the 20th century,concepts like "The Future City"sought to reshape people's way of life,set new parameters for the design process,and decide what people needed.These ideas often responded to human needs and the standards of a comfortable life at the time.However,going back to the fundamentals of construction,first settlements were created where the climatic and geographical conditions were more favorable.The challenge lies in responding to the needs of people at all times,developing the urban environment in a sustainable way and with the possibility of evolving.

In this sense,Hatching explores ways of creating an environment capable of generating and sustaining life,returning to the basics of life,offering what life on Earth always needs.By using and enhancing the forces of nature,the artificial world created by man,will become an oasis,generating a timeless habitat with the ideal conditions for life.WithHatching,the structure of the "ideal city" is rethought from a completely different perspective:the artificial world created by man is transformed into the natural one,where the forces of nature are used as design tools to create a livable microclimate in uninhabitable areas.The scheme evolves naturally and is shaped by nature,which thus has an essential influence on the creation of a human built environment.