設(shè)計(jì)的過程

PROCESS OF DESIGN

蒂爾·施耐德和米夏埃爾·舒馬赫于1988年在美茵河畔的法蘭克福成立了施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所。他們的傳奇設(shè)計(jì)方案——信息盒子，在東西德統(tǒng)一后不久就豎立在當(dāng)時(shí)柏林最大的建筑工地上，這一項(xiàng)目讓施耐德+舒馬赫得到了全世界的贊譽(yù)和認(rèn)可。自那之后，施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所又陸續(xù)設(shè)計(jì)開發(fā)了100多座建筑、城市開發(fā)項(xiàng)目和眾多的產(chǎn)品設(shè)計(jì)作品。

Till Schneider and Michael Schumacher founded schneider+schumacher in Frankfurt am Main in 1988. Their legendary information box, erected shortly after reunification on what was then the largest construction site in Berlin, brought the office worldwide recognition. Since then, more than 100 buildings, urban development projects and numerous product designs have emerged.

在他們的哲學(xué)理念中，設(shè)計(jì)策略需要足夠強(qiáng)大來對(duì)變化作出應(yīng)對(duì)。如果仔細(xì)審視施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所的設(shè)計(jì)方案，就會(huì)發(fā)現(xiàn)他們從不會(huì)總是采用相似的設(shè)計(jì)方法。建筑設(shè)計(jì)領(lǐng)域的范圍過于寬廣。不僅僅是建筑項(xiàng)目類型的不同——工業(yè)和辦公樓建筑、博物館、住宅和教育建筑、教堂、酒店，以及橋梁——不同建筑的規(guī)模和設(shè)計(jì)背景也各不相同。施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所除了從事大型城市項(xiàng)目之外，也接手小型的設(shè)計(jì)項(xiàng)目，例如家具設(shè)計(jì)等。新造建筑、建筑翻新及改造都是施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所的專長(zhǎng)。在某些情況下，設(shè)計(jì)背景會(huì)提供靈感：“它會(huì)向你低語(yǔ)”（蒂爾·施耐德談到），在某些時(shí)候建筑項(xiàng)目會(huì)在一片綠地上進(jìn)行施工。

In their philosophy a design strategy needs to be sufficiently powerful to respond to change. If you question the methodology with which schneider+schumacher develop their designs, there is nothing to indicate they always adopt a similar approach. The spectrum of buildings is too broad for that. Not only do projects differ - industrial and office buildings, museums, residential and educational buildings, a church, hotels,bridges but both scale and context vary too. The office tackles projects on a large urban scale and small-scale projects too, such as furniture design. New buildings,as well as refurbishments and conversions are all part of their repertoire. Sometimes the context offers inspiration: "It whispers something to you" (Till Schneider), at other times construction takes place on a green- field site.

一個(gè)能夠適應(yīng)整個(gè)設(shè)計(jì)過程變化的堅(jiān)實(shí)基礎(chǔ)，取決于在一開始就找到正確的方法來應(yīng)對(duì)該項(xiàng)設(shè)計(jì)主題。因此在項(xiàng)目開始之時(shí)就能提出如下問題是至關(guān)重要的：我們是要?jiǎng)?chuàng)造一個(gè)令人難忘的建筑存在？實(shí)現(xiàn)一種特定的功能？還是營(yíng)造一個(gè)特定的氛圍？米夏埃爾·舒馬赫把設(shè)計(jì)比喻成一種腦筋急轉(zhuǎn)彎——一個(gè)人必須能協(xié)調(diào)設(shè)計(jì)概要的各個(gè)方面，同時(shí)又要關(guān)注問題的關(guān)鍵所在。

A robust foundation - one capable of accommodating change throughout the design process - is contingent on finding the right way of approaching the topic at the outset. So it is crucial to question at the start of a project what really matters:creating an imposing presence, fulfilling a specific function, engendering a particular atmosphere? Michael Schumacher likens design to a brain-twister - one has to reconcile all the various aspects of the brief, yet simultaneously focus on the crux of the matter.

每一座半木制結(jié)構(gòu)的房子都是從一個(gè)合乎邏輯的結(jié)構(gòu)原理演變而來的。正是合理的結(jié)構(gòu)原理使建筑物能夠長(zhǎng)期穩(wěn)固。這是理解建筑體系結(jié)構(gòu)的另一種方式。而不能僅當(dāng)成一種如今風(fēng)行的鋪張華麗的設(shè)計(jì)方案來考慮。（米夏埃爾·舒馬赫）

Every half-timbered house evolves from a logical structural principle. It is what keeps architecture permanently anchored. This is another way of understanding architecture. And not merely as a design extravaganza, as happens all too often these days. (Michael Schumacher)

這句話有助于闡明米夏埃爾·舒馬赫所說的“我們更喜歡建造帆船而不是摩托艇”的含義。帆船的優(yōu)雅源于它對(duì)一系列條件的巨大依賴，這些條件能有效地縮小實(shí)現(xiàn)預(yù)期功能所需的內(nèi)容范圍。而這恰恰是美產(chǎn)生的地方，因?yàn)榍楦性醋杂诶硇浴＿@就是首先探索理性方法全部潛力的重大意義所在。多年來，施耐德+舒馬赫的參數(shù)化設(shè)計(jì)一直是其設(shè)計(jì)方法的重要組成部分，并因此產(chǎn)生出高效的結(jié)構(gòu)方案，例如高速公路教堂項(xiàng)目的肋木結(jié)構(gòu)設(shè)計(jì)和法蘭克福展館的三方互鎖外殼結(jié)構(gòu)。

This quote helps to clarify what Michael Schumacher means when he says, "We prefer building sailing boats to motorboats." The elegance of a sailing boat stems from its immense dependence on a set of conditions that effectively cut down the scope for fulfilling the desired function. And it is precisely here that beauty arises,since the emotional is derived from the rational. That is why it makes sense to first explore the full potential of a rational approach. For years now, parametric design at schneider+schumacher has been an integral part of the office, and it has led to efficient structures such as the ribbed timber construction of the motorway chapel,and the three interlocking shells of the Frankfurt Pavilion.

數(shù)字工具已經(jīng)融入人們的日常生活環(huán)境，同樣地，它們也成為建筑設(shè)計(jì)辦公室日常工作的一部分。

Digital tools have become an accepted part of our everyday environment and equally they form part of day-to-day life in architecture offices too.

然而重要的一點(diǎn)是，不能過于依賴這種數(shù)字化讓其成為一種顛撲不破的設(shè)計(jì)方法，進(jìn)而產(chǎn)生限制性。出于這一原因，施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所一直堅(jiān)持使用包括模擬工具以及數(shù)字工具在內(nèi)的所有可能的設(shè)計(jì)工具。使用一種新工具有它的好處，同樣也有隨之而來的缺點(diǎn)。因此，設(shè)計(jì)辦公室的每位員工都有一個(gè)速寫本，在實(shí)際物理模型上完成的工作仍然是設(shè)計(jì)過程中的一種重要資源。施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所提倡使用傳統(tǒng)的工作模型，讓設(shè)計(jì)人員在模型上進(jìn)行相應(yīng)的粘連或切斷以鼓勵(lì)提出不同的方法來解決問題，而不是簡(jiǎn)單地一遍又一遍地打印出三維模型。

However it is important not to allow this process to become so irrefutable that it then also becomes restrictive. For this reason, the office employs the entire range of potential tools, analogue as well as digital. The pluses of a using a new tool cannot be had without its concomitant minuses. Every office employee therefore keeps a sketchbook and work done on actual physical models continues to be an important resource in design work. The use of traditional working models, where one glues things on or cuts them off, encourages a different approach to problem-solving compared to simply printing out a 3D model over and over again.

即使由于環(huán)境的變化而不得不修改計(jì)劃，潛在的概念仍然對(duì)結(jié)果起著決定性作用。

Even when plans have to be amended due to changing circumstances, the underlying concept still determines the outcome.

盡管在每一個(gè)項(xiàng)目開始的時(shí)候施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所都充滿了這種好奇心和愿望，就仿佛這是他們第一次接手設(shè)計(jì)項(xiàng)目一樣，但不論怎樣每個(gè)項(xiàng)目都有一個(gè)單一的出發(fā)點(diǎn)，而這在某種程度上也證明了施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所迄今在結(jié)構(gòu)設(shè)計(jì)方面所取得的成就：蒂爾·施耐德設(shè)計(jì)的兩座摩天大樓和米夏埃爾·舒馬赫設(shè)計(jì)的變形挖掘機(jī)項(xiàng)目，這些都是在上世紀(jì)80年代設(shè)計(jì)完成的，當(dāng)時(shí)兩人均剛剛開始自己的職業(yè)生涯。正如蒂爾·施耐德的摩天大樓設(shè)計(jì)方案以一種基于內(nèi)在邏輯的建筑形式實(shí)現(xiàn)它的優(yōu)雅從而超越單純對(duì)結(jié)構(gòu)的關(guān)注一樣，在米夏埃爾·舒馬赫變形挖掘機(jī)項(xiàng)目中，挖掘機(jī)經(jīng)歷一系列的變化，通過執(zhí)行預(yù)定任務(wù)來“對(duì)自己施加了魔法”。然而，這項(xiàng)設(shè)計(jì)任務(wù)之所以最終變得與眾不同，是因?yàn)槿狈θ魏文軌蝾A(yù)先定義的目標(biāo)，這意味著只能通過挖掘機(jī)的自發(fā)行動(dòng)來實(shí)現(xiàn)結(jié)果。通過這種方式，挖掘機(jī)所產(chǎn)生的結(jié)果將是一個(gè)不可能通過任何蓄意意圖來進(jìn)行煽動(dòng)的最終結(jié)果。M.C.Escher的繪畫作品之所以如此廣受歡迎，不正是因?yàn)樗哂刑魬?zhàn)理性、將理性推向極限，以至于使其邏輯變得難以處理，甚至不合邏輯的特點(diǎn)嗎？對(duì)于詩(shī)歌而言也是如此：如果一首詩(shī)歌被認(rèn)為仍停留在追求詩(shī)意的境界水平上，那么它依然是庸俗的。另一方面，按照J(rèn)an Turnovsky的說法，真正的詩(shī)“是富有詩(shī)意的，但同時(shí)也是非詩(shī)意的，例如切合實(shí)際的”。但這也意味著，如同米夏埃爾·舒馬赫所言，“事實(shí)上一切都可能是詩(shī)意的?！?/p>

In spite of all this curiosity and the desire to start each project as if it were their very first, there is a single point of departure that, to some extent, exemplifies what the office has achieved to date in terms of architecture: the two skyscraper designs (Till Schneider) and the metamorphosis of an excavator (Michael Schumacher), projects from the 1980s when both were at the start of their careers. Just as Till Schneider's skyscraper achieves its elegance with a form of construction based on an inherent logic - thereby transcending mere structural concerns - in Michael Schumacher's Metamorphosis the excavator undergoes a change in which it "bewitches itself" through carrying out the task it was intended for. However ultimately this task becomes something different because the lack of any previously defined objective means that the outcome can only be achieved through the act of excavation. And in doing just this, the excavator produces an end result that would have been impossible to instigate through any deliberate intent. Is not M. C. Escher's graphic work so popular precisely because it challenges the rational and pushes it to the limit, to a point where its logic becomes intractable, even illogical? And so it is with the poetic: if it remains within the boundaries of what is recognized as being poetic, it remains kitsch. According to Jan Turnovsky, on the other hand, the truly poetic, “is poetic, yet at the same time unpoetic, for example practical". But this also means, according to Michael Schumacher that, “In fact everything is potentially poetic.”

身份識(shí)別和國(guó)際化

Identity and Internationalism

施耐德+舒馬赫的建筑和設(shè)計(jì)作品以清晰和精確為特點(diǎn)，他們的創(chuàng)作水平與設(shè)計(jì)辦公室的工作和溝通方式有著明顯的關(guān)聯(lián)。其中一個(gè)對(duì)另一個(gè)的影響是如此之大，以至于不可能將它們的架構(gòu)方法或工作方法歸因于因果關(guān)系。米夏埃爾·舒馬赫介紹到，一種非常有用的做法就是在設(shè)計(jì)初期階段，將最終建筑報(bào)告的第一段寫在紙上。這將有助于顯示是否已經(jīng)足夠精確地明確了特定設(shè)計(jì)的優(yōu)先級(jí)和質(zhì)量要求，以便在項(xiàng)目設(shè)計(jì)開發(fā)過程中可以反復(fù)使用這段文字來作為對(duì)照控制。這并不是說固執(zhí)地堅(jiān)持最初的設(shè)計(jì)理念，而是作為一種相對(duì)恒定的標(biāo)準(zhǔn)，可以在設(shè)計(jì)的后期階段進(jìn)行衡量比照。如果能夠?qū)φ麄€(gè)項(xiàng)目進(jìn)行連貫描述，并且如果能清楚地明確建筑師的優(yōu)先權(quán)應(yīng)集中在何處，那么這個(gè)項(xiàng)目就顯然能擁有一種可以充分表達(dá)的結(jié)構(gòu)。在開發(fā)階段的關(guān)鍵節(jié)點(diǎn)，項(xiàng)目人員也會(huì)將正在進(jìn)行中的設(shè)計(jì)工作呈交給不參與該項(xiàng)目設(shè)計(jì)的其它辦公室成員——這些員工的公正意見將有助于確定論點(diǎn)的信服程度，以及設(shè)計(jì)決策的合理性。

schneider+schumacher's buildings and designs are characterised by clarity and precision, and the calibre of their work clearly correlates to how the office works and communicates. One impacts the other so much that it is impossible to attribute either - their approach to architecture, or their approach to work - to cause or effect. Michael Schumacher claims one very useful exercise is to set down on paper, at an early stage, the first paragraph of a final building report. This then helps to show whether the priorities and qualities of a particular design have been sufficiently precisely established, so that the text can be repeatedly used as a control as the project design develops.This does not mean doggedly clinging on to the initial concept, but it is a constant yardstick by which a design can be measured during later stages. If the whole project can be described coherently, and if it is clear where the architects' priorities lie, the project evidently has a structure that can be conveyed. At crucial junctures during the development phase, work-in-progress is also presented to other office members not involved in the design work - their impartial opinions help in determining whether the line of argument is convincing, and the design decisions plausible.

這種經(jīng)過實(shí)踐反復(fù)驗(yàn)證的做法使設(shè)計(jì)工作室培養(yǎng)出了一種共同的精神，這也意味著兩位創(chuàng)始人不需要對(duì)工作室里發(fā)生的每件事都進(jìn)行復(fù)核。施耐德+舒馬赫也不排除采用經(jīng)驗(yàn)和可靠的解決方案。關(guān)于這一點(diǎn)，米夏埃爾·舒馬赫喜歡引用密斯凡德羅的話“一個(gè)人不可能每周一都發(fā)明創(chuàng)造出新的建筑設(shè)計(jì)方案”，而是主張“要積極采用經(jīng)驗(yàn)且可靠的解決方案，并且時(shí)常重復(fù)借鑒?！?/p>

This permanent back-and-forth within the practice fosters a certain common spirit, and means that the two founding directors do not need to double-check everything that goes on in the office. Nor does it preclude tried-and-tested solutions. In this respect, Michael Schumacher likes to quote Mies van der Rohe, who reputedly said, ‘One cannot reinvent architecture every Monday.' Instead he recommended, ‘Make it big, and repeat it often.'

憑借這一觀點(diǎn)，設(shè)計(jì)師就能夠理解如何在不損害實(shí)踐哲學(xué)的前提下，在另外一個(gè)或兩個(gè)國(guó)家中實(shí)踐對(duì)建筑設(shè)計(jì)的管理和實(shí)施過程。施耐德+舒馬赫利用有利環(huán)境，在奧地利和中國(guó)都設(shè)立了辦事處，而這兩處國(guó)家辦事處的建立都是源自于競(jìng)爭(zhēng)。在奧地利，施耐德+舒馬赫贏得了奧地利塔爾海姆全新Fronius國(guó)際研發(fā)中心的設(shè)計(jì)方案競(jìng)標(biāo)。

With this in mind, one can begin to understand how managing an architectural practice in another country - or two - can be made to work without compromising practice philosophy. Fortunate circumstances led to establishing offices in Austria and China - both triggered by a competition. In Austria, schneider+schumacher won the competition for a new research and development centre in Thalheim, Austria, for Fronius International.

奧地利維也納辦事處不僅僅是施耐德+舒馬赫的另一個(gè)經(jīng)濟(jì)立足點(diǎn)，它還促進(jìn)了思想交流，特別是在住宅設(shè)計(jì)工作方面，目前施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所參與的幾個(gè)國(guó)際知名住房項(xiàng)目正在全新的市區(qū)地段——例如維也納Seestadt Aspern以及Nordbahnhof 區(qū)——進(jìn)行開發(fā)。

The Vienna office serves as more than just another economic foothold, it also stimulates the exchange of ideas - especially with regards to residential work, where internationally acclaimed housing projects are currently being developed in new neighbourhoods and urban districts, for instance, at the SeestadtAspern and the Nordbahnhof districts in Vienna.

施耐德+舒馬赫將中國(guó)辦事處的設(shè)立視為一個(gè)良好的機(jī)遇，可以更自由地處理設(shè)計(jì)問題，并測(cè)試得到更加激進(jìn)的設(shè)計(jì)方法。2011年，施耐德+舒馬赫在杭州錢江科技城市民中心項(xiàng)目的國(guó)際競(jìng)標(biāo)中勝出，這也是促使他們做出設(shè)立中國(guó)辦事處這一決定的原因。另外一個(gè)推動(dòng)因素是施耐德+舒馬赫與Nan Wang的成功合作，促使她在2012年提出邀請(qǐng)施耐德+舒馬赫在中國(guó)設(shè)立辦事處的想法。

Setting up an office in China was seen as an opportunity to approach things more freely and to test out a more radical design approach. Here too, the decision was initially prompted by winning an international competition in 2011 for the Civic Centre of Qianjiang Technology City in Hangzhou.The successful collaboration with Nan Wang led to the establishment of an office in China under her direction in 2012.

我們?cè)诰S也納、天津和深圳所做的工作也推動(dòng)了我們?cè)诜ㄌm克福的工作——包括在設(shè)計(jì)方案組合方面的工作，但最重要的是對(duì)我們思考方式的影響。國(guó)外辦事處的設(shè)立拓寬了我們的視野。它就像一扇窗戶，你可以透過它觀察到周圍的景色。（蒂爾·施耐德）

What we are doing in Vienna, Tianjin and Shenzhen also gives a boost to our work in Frankfurt - in our portfolio, but above all, in the way we think. It broadens the horizon. It's like a window through which you can survey the scene. (Till Schneider)

完美成熟的施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所

（文/彼得·庫(kù)克爵士）

在施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所最近的作品中似乎呈現(xiàn)出三種顯而易見的風(fēng)格傾向，對(duì)于建筑評(píng)論家來說，比較這三種傾向中的至少兩種或更多的案例是很有用處的。從年代、品味和熱情來看，在蒂爾·施耐德和米夏埃爾·舒馬赫的成名時(shí)代，那時(shí)北歐最好的建筑似乎都是“高科技建筑”，而我們必須要記住的是，米夏埃爾·舒馬赫曾經(jīng)在Norman Foster的設(shè)計(jì)辦公室工作了數(shù)月。

因此他們很善于也富有創(chuàng)意來處理玻璃、接縫、邊緣、節(jié)能技術(shù)方法以及發(fā)掘起重機(jī)和挖土機(jī)的潛力。他們的聰明才智確保了這不僅僅是一種潛在的信手拈來，而是實(shí)現(xiàn)一種創(chuàng)造性的利用，使建筑更有效率、更節(jié)能，并且更加獨(dú)特巧妙。作為設(shè)計(jì)背景，我不確定法蘭克福是否能夠像倫敦、斯圖加特、洛杉磯、紐約或者東京等城市那樣提供本地創(chuàng)意競(jìng)爭(zhēng)力——它依然是一個(gè)帶有令人不安的反改革色調(diào)的商業(yè)游樂場(chǎng)——包容且不排斥來自于黑森州之外的設(shè)計(jì)公司的創(chuàng)造性。因此，這兩個(gè)男孩子經(jīng)常獨(dú)自在外面冒險(xiǎn)，尋找機(jī)遇。

我將用十個(gè)項(xiàng)目來演示說明以下這三個(gè)傾向，但這并不意味著除此之外他們沒有其它好的方面可以借鑒。

一、清晰的圖像

關(guān)于這一點(diǎn)尤其值得稱贊的項(xiàng)目是2003年的法蘭克福機(jī)場(chǎng)西港塔樓項(xiàng)目，它的建造為法蘭克福市帶來了一處優(yōu)雅而不拘一格的標(biāo)志性建筑并采用了一種特殊的設(shè)計(jì)技巧，即在圓形內(nèi)放置方形樓層，同時(shí)建造了分為四層的冬季花園，既能使人身心愉悅又能降低建筑能耗。這座城市里的大多數(shù)塔樓都是亂糟糟不成章法，或者又過于嚴(yán)肅、四四方方。在此項(xiàng)目之前，他們已經(jīng)登上了一個(gè)大型的項(xiàng)目舞臺(tái)，并把他們的設(shè)計(jì)作品呈現(xiàn)給國(guó)際觀眾：1994年，在柏林市快速重建計(jì)劃的實(shí)施過程中，一個(gè)鮮紅色的高蹺箱型建筑物向來自全球的700萬名訪客提供了這樣一種信息：建筑的自信無堅(jiān)不摧。

與此同時(shí)中國(guó)深圳也不再因循守舊，沒有選擇“互連CBD”雙塔方案，而是又一次展示出了自己的直爽和決心——打造與國(guó)際“地標(biāo)”家族相媲美的建筑。然而成功地建造這樣的建筑物并不一定需要巨大的規(guī)模，2013年施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所在威爾斯多夫的高速公路教堂項(xiàng)目旨在喚起人們對(duì)白色鄉(xiāng)村教堂的記憶，設(shè)計(jì)方案無所畏懼地將地面上的一堵墻拉起并將其扭曲成一對(duì)簡(jiǎn)單但令人驚訝的“貓耳”形狀，實(shí)際上，這對(duì)“貓耳”形狀的靈感來自于祭壇上的提燈，該項(xiàng)目產(chǎn)生了巨大的影響。整個(gè)公路教堂的內(nèi)部是一個(gè)通過數(shù)字技術(shù)創(chuàng)建的木制交叉肋結(jié)構(gòu)。

二、富有感情的設(shè)計(jì)編排

施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所在2013年的厄拉芬大橋項(xiàng)目中也采用了墻面扭轉(zhuǎn)方案，使其圍繞自身旋轉(zhuǎn)，同時(shí)又通過將結(jié)構(gòu)“內(nèi)部要素”保持在道路的一側(cè)，并將另一側(cè)設(shè)計(jì)成精致欄桿結(jié)構(gòu)的手法，使往來行人能夠在通過橋梁時(shí)欣賞并沉醉于這種翩翩起舞般的編排設(shè)計(jì)。

施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所另一件名為“波浪”的作品，由六件通過編排以及緊扣固定的引人入勝的雕塑組成。正是這六件作品的布局設(shè)計(jì)，讓施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所有機(jī)會(huì)通過形式來展示其清晰的藝術(shù)性。在建筑設(shè)計(jì)領(lǐng)域中，“褶皺”藝術(shù)形式很少有機(jī)會(huì)得到展示——這是因?yàn)楫?dāng)采用這種表現(xiàn)方式的時(shí)候，往往容易暴露出建筑師對(duì)曲線魔術(shù)的笨拙處理手法。但在該項(xiàng)目中情況并非如此，因?yàn)槿藗儾粌H看到施耐德+舒馬赫非常享受這種手法的運(yùn)用，并且也完全掌控了局面。

2009年設(shè)計(jì)的“皇家”系列也反映出了對(duì)這種運(yùn)用的享受，在作品中綠絲帶的抒情性與對(duì)20世紀(jì)50年代現(xiàn)代主義的記憶結(jié)合在一起并折疊延伸。

三、與地面對(duì)話

在達(dá)姆施塔特的Fair Accelerator設(shè)施項(xiàng)目中，地面被“拉起”到實(shí)驗(yàn)室大樓上，有時(shí)甚至被“拉”到實(shí)驗(yàn)室大樓的上方。如果項(xiàng)目規(guī)模較小，應(yīng)謹(jǐn)慎使用這一手法，但在這個(gè)項(xiàng)目中，可以實(shí)施數(shù)個(gè)多方向的折疊：它變成了發(fā)生在地面、物體、表面和交錯(cuò)構(gòu)臺(tái)和橋梁之間的一場(chǎng)冒險(xiǎn)游戲。

但是在曼海姆宮研究和會(huì)議中心（2013年），與地面的對(duì)話就必然更受控制，但它同樣頑皮地挑戰(zhàn)著這塊土地的神圣性，在一個(gè)如此貼近極具歷史象征意義的地點(diǎn)通過放置或者不放置效果強(qiáng)大的結(jié)構(gòu)誘餌——一系列切割雕刻體，使整個(gè)空間變得如此高雅，并同時(shí)在內(nèi)部創(chuàng)造出十分雅致的空間（可以巧妙看到外部景色）。

最后介紹的是我最喜歡的施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所建筑項(xiàng)目：這是一次與地面的對(duì)話，但同時(shí)也是與附近的圓形玻璃塔以及許多其它結(jié)構(gòu)的交流呼應(yīng)，這更多地展示了他們作為設(shè)計(jì)思想家和技術(shù)專家的品質(zhì)。

Staedel博物館的擴(kuò)建工程無疑是一項(xiàng)巨大的挑戰(zhàn)：Staedel博物館的所在地點(diǎn)也是施耐德+舒馬赫歷史的一部分——這座位于米夏埃爾·舒馬赫舊居街道一端的博物館，其后花園毗鄰蒂爾·施耐德與米夏埃爾·舒馬赫曾經(jīng)就讀的藝術(shù)學(xué)院，如今從施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所的窗口望去還能清楚地看見Staedel博物館。

他們毫不畏懼地把花園里的草坪像揪手帕一樣從地面上提起來，并在提升草坪的下方設(shè)置了新的走廊。通過巧妙地對(duì)圓形穿孔進(jìn)行漸變處理，創(chuàng)造出一個(gè)柔和又富有英雄氣概的精美定制樓梯。并在一側(cè)的墻上雕刻出一組討人喜愛的扶手——整個(gè)設(shè)計(jì)大體就是這樣。

那么需要注意的重點(diǎn)就是：因?yàn)橐恍﹪?guó)際知名的建筑師們一直在玩弄藝術(shù)博物館的形式，而且常常表現(xiàn)出“聰明反被聰明誤”——這是一種英語(yǔ)表達(dá)，多指代自負(fù)自大。如今，孩子們有了一個(gè)很好的主意…并且能平靜而優(yōu)雅地去追尋和實(shí)現(xiàn)。

蒂爾和米夏埃爾——他們真的是追求品質(zhì)的人。

施工與材料

一個(gè)項(xiàng)目從最初構(gòu)思到最終完工的過程是建筑設(shè)計(jì)工作的重要組成部分。建筑設(shè)計(jì)不是簡(jiǎn)單地根據(jù)一個(gè)已經(jīng)成型的構(gòu)思按部就班地設(shè)計(jì)和實(shí)施。米夏埃爾·舒馬赫學(xué)生時(shí)代的研究項(xiàng)目是關(guān)于挖掘機(jī)的，挖掘機(jī)的運(yùn)動(dòng)創(chuàng)造了具有獨(dú)特品質(zhì)的空間，能夠清楚地表明生產(chǎn)過程及其內(nèi)在規(guī)律是如何造就了建筑本身。即便是在新開發(fā)項(xiàng)目最初看起來并不符合原定意圖的情況下，這種把握掌控這種過程并實(shí)現(xiàn)積極相互作用的能力僅僅是施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所眾多特質(zhì)中的其中一種——它既屬于建筑設(shè)計(jì)的邏輯，也屬于最終帶來這些變化的其它方面，例如材料、施工建造和使用過程。

在蒂爾·施耐德和米夏埃爾·舒馬赫的摩天大樓設(shè)計(jì)方案中，采用由對(duì)形式、建造施工和質(zhì)量（如材料真實(shí)性）的邏輯理解以及清晰考慮所構(gòu)成的復(fù)雜組合，并通過一種易于理解的表現(xiàn)方式來創(chuàng)造建筑物的想法尤其得到了很好的展現(xiàn)。在很大程度上，這些方案在當(dāng)時(shí)都是最重要的工程設(shè)計(jì)壯舉。然而，要使每座塔樓都具有其獨(dú)特性和可識(shí)別性也是一項(xiàng)挑戰(zhàn)。這使得它們?nèi)菀资艿侥欠N嘩眾取巧、華而不實(shí)的不良設(shè)計(jì)思維的影響。蒂爾·施耐德提出一個(gè)問題：在什么情況下，獨(dú)特唯一性才能僅憑自愛而生，而不是衍生于自己的內(nèi)在邏輯。他早期對(duì)塔樓的研究演示說明了如何去理解這種自我生成的邏輯：盡管擁有獨(dú)特的外形，但總歸是衍生于一個(gè)看似真實(shí)的構(gòu)建原則。

密碼與標(biāo)志符號(hào)

建筑物通過運(yùn)用標(biāo)志符號(hào)作用來產(chǎn)生影響，但這絕不是建筑物的全部功能。簡(jiǎn)而言之，這句話可能概括了施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所在其設(shè)計(jì)作品中關(guān)于建筑意象的全部立場(chǎng)，一些建筑設(shè)計(jì)任務(wù)可能會(huì)促使建筑師進(jìn)行高度的聯(lián)想意象，但其它一些設(shè)計(jì)任務(wù)本身也可以作為自身強(qiáng)大的建筑意象。這兩個(gè)重疊的方面是建筑隱喻本質(zhì)的一部分：首先，當(dāng)建筑物與其它物體相關(guān)聯(lián)時(shí)，設(shè)計(jì)原型或圖像就會(huì)被激活，其次，建筑物本身也會(huì)由于其強(qiáng)大的存在感而產(chǎn)生圖像效果。隱喻參考是建筑設(shè)計(jì)中重要的交互手段，但不是唯一的手段。

我們的目標(biāo)是找到一種易于解釋的表現(xiàn)語(yǔ)言，一種不定義如何去理解建筑物的表現(xiàn)語(yǔ)言。如果這個(gè)過程是自發(fā)進(jìn)行的，那就再好不過了，這樣觀察者就可以自己解讀建筑里面的東西。(蒂爾·施耐德)

通過這種態(tài)度來設(shè)計(jì)建造高品質(zhì)的建筑，需要首先認(rèn)同并堅(jiān)持幾項(xiàng)基本原則。首先是不要沉迷于外在圖像效果：米夏埃爾·舒馬赫談到“對(duì)于那些不惜一切代價(jià)搏人眼球的方案，我們從來不屑一顧”。第二，為了不變成自己設(shè)計(jì)風(fēng)格的囚徒，建筑師們不應(yīng)該像所謂的“明星建筑師”那樣，被誘惑去創(chuàng)造一種識(shí)別度高的“品牌作品”，并陷入高度自我參照的不良循環(huán)之中。第三條原則是，要有意給使用者和那些關(guān)注建筑物的人留有一些余地：讓他們能自由地詮釋理解建筑物中的方方面面。

建筑師們永遠(yuǎn)不會(huì)想到人們會(huì)將西港塔樓命名為“Geripptes”，更不會(huì)想到人們會(huì)說塔樓像一個(gè)蘋果酒杯，但他們不介意別人進(jìn)行這樣的解讀。這正是他們的指導(dǎo)原則，一個(gè)指向超越外在形象和象征事物的原則。

無論是通過觀察設(shè)計(jì)圖像還是在建筑物的使用過程中，人們都應(yīng)該擁有在心中為自己建造合適建筑物的機(jī)會(huì)。建筑物必須足夠有趣，以至于人們會(huì)想一次又一次地使用它，而且外觀必須擁有充足的聯(lián)想空間，這樣人們才能一次又一次地去重新解釋它：“我們相信這樣一個(gè)事實(shí)：建筑本身是在進(jìn)化的”蒂爾·施耐德如是說。

這顯然是參考了英國(guó)建筑師和藝術(shù)家群體建筑電訊派的作品，以及他們輕松、愉悅、諷刺而又模糊的象征意義。設(shè)計(jì)目的被提升為一種表達(dá)方式。但是，這種提升還有一種令人愉悅的強(qiáng)大力量，因?yàn)闊o論是象征符號(hào)還是所代表的內(nèi)容，都不容易歸類。“行走的城市”既是作為一種機(jī)械構(gòu)造的城市，也是一種作為城市的機(jī)械構(gòu)造，既是一個(gè)游動(dòng)的城市，也是城市的一種游動(dòng)。這無法進(jìn)行明確的單一解釋：人們?cè)绞窃噲D對(duì)其固定釋義就越難以進(jìn)行歸類，而這防止了象征主義僅僅停留在隨意武斷的層面。相反，它成為設(shè)計(jì)的固有本質(zhì)要素，因?yàn)樗鼘儆谧陨硭u(píng)述的世界。

當(dāng)然，外在形象所帶來的不可避免的作用力量以一種非常特殊的方式施加在摩天大樓上。例如前文已經(jīng)提到的西港塔樓。施耐德+舒馬赫建筑設(shè)計(jì)事務(wù)所的摩天大樓設(shè)計(jì)從不依賴于（沒有任何韻律或理由地）通過隨意引入符號(hào)來創(chuàng)造引人注目的東西。建筑本身就是一個(gè)標(biāo)志符號(hào)。正如蒂爾·施耐德在St?delschule最后一篇論文所證明的那樣，如果一個(gè)人認(rèn)真對(duì)待基本規(guī)則，專注于建筑、潛在的用途、城市環(huán)境、功能和材料，那將會(huì)大有裨益。米夏埃爾·舒馬赫概括總結(jié)道：“一艘性能良好的帆船，外形肯定也不錯(cuò)?！币虼?，鑒于通過在設(shè)計(jì)概要中問清重點(diǎn)所在，詢問客戶真正想要什么，以及確定場(chǎng)地和周圍環(huán)境具體性質(zhì)等方式來遵守設(shè)計(jì)實(shí)踐準(zhǔn)則——施耐德+舒馬赫所有的設(shè)計(jì)結(jié)果都是互不相同的。

顏色、光線與氛圍

我們堅(jiān)信建筑應(yīng)能實(shí)現(xiàn)改變。如果你以正確的方式開始，那么你就不需要在最后投入太多——而打下良好的基礎(chǔ)之后，復(fù)雜的設(shè)計(jì)過程幾乎能夠自行發(fā)生。（米夏埃爾·舒馬赫）

? Rainer Taepper

? Rainer Taepper

SCHNEIDER AND SCHUMACHER IN FULL MATURITY

(by Sir Peter Cook)

There seem to be three directions evident in the recent work of schneider+schumacher and it is useful for the critic to be able to compare at least two or more examples of each of these directions.Generationally, and by taste and enthusiasm, both Till Schneider and Michael Schumacher have emerged from a period when the best North European architecture seemed to be ‘High Tech' - and we must remember that Michael spent several months in the office of Norman Foster.

Thus they have been both creative and comfortable with the manipulation of glass, joints, edges,technical approaches to energy conservation and the potential of the crane and the digging machine.Their sheer intelligence has ensured that this has not just been a latent comfort but has been put to creative use in making their buildings efficient, energy conscious and quite often ingenious. As a background, I am not sure that Frankfurt can offer the local idea-competitiveness of such cities as London, Stuttgart, Los Angeles, New York or Tokyo - it remains a commercial playground with disturbing reactionary undertones - hosting, but not parrying the inventiveness of outside firms who land a job in Hessen. Therefore the boys have often been out there alone, taking chances.

I will use ten projects to illustrate these three directions, which does not mean that there are not other,rather good things of theirs to be seen.

1. THE CLEAR IMAGE

Hence it is all the more to their creditthat the creation of the circular Westhafen Tower of 2003 gives Frankfurt an elegant and unfussy statementand a special trick created by the placement of square floors within the circle and the creation of four-storey winter gardens that evoke both delight and a reduction in energy consumption. Most other towers in the city fuss and fiddle or become grim and foursquare.

Before this, they had stepped onto a stage that brought their work to an international audience: in the middle of rapidly reconvening Berlin in 1994 with a bright red box on stilts that fed information to 7,000,000 visitors, with an architecture of unassailable confidence.

Shenzhen missed a trick in not choosing their ‘Connected CBD' double-tower which again, has a directness and determination - up there with the international family of ‘marker' architecture. Yet success in creating such architecture does not need enormous scale and the Autobahn Church at Wilnsdorf of 2013 makes its impact by taking the memory of the white, village church and fearlessly pulling a ground based band of wall up and twisting it into a simple but surprising pair of ‘cat's ears'that are in fact, lanterns to the altar. The interior being a digitally created timber cross-ribbed structure.

2. THE LYRICAL WEAVE

Their ?lhafen Bridge of 2013 takes the twisting of a wall yet further and swings it round itself, but by keeping the structural ‘gut' as one side of the path and releasing the other side as an elegantly detailed balustrade, it encourages the choreography of the bridge-crosser to comeinto the game.

Yet it is the placement of a series of six weaving, clasping, tantalising sculpture pieces known as ‘The Wave' that gives schneider+schumacher the chance to show their clear artistry with form. The art of‘drape' is rarely given the chance to be demonstrated - and when it is, the results often expose the architect's leaden-footed approach to the magic of a curve. Not so here - for they are not only seen to be enjoying themselves but completely in control as well.

There is also an echo of this enjoyment in the necessarily more circumspect ‘Royal' of 2009, where the lyricism of the green ribbons picks up on - and folds and extends them - along with some memories of 1950s Modernism.

3. DIALOGUES WITH THE GROUND

At the Fair Accelerator Facility in Darmstadt, the ground is effectively ‘pulled' up onto, and sometimes‘over' the laboratory buildings. On a lesser sale it would be noteworthy, but here, there are several- and multidirectional folds: it becomes a daredevil game between ground, object, surface and interlaced gantries and bridges.

If at Mannheim Palace Study and Conference Centre (2013) the dialogue with the ground is necessarily more controlled, it is no less cheeky in its challenge to the assumed sanctity of the ground and the placement - or not - of powerful decoys in the close presence of an historic symbol - carving a cutting, fashioning it so elegantly and then producing such elegant spaces within (with clever views through to the outside).

I have left my most favourite schneider+schumacher building until last: it is a dialogue with the ground,but again, as with the circular, glass tower nearby - and much else - it is more - demonstrating their qualities as thinkers as well as technologists.The Staedel Museum extension was surely a challenge: sitting there as part of their own history - as former students of the Staedelschule behind the garden, as an object visible from their offices, for a time, and at the end of the street in which Michael himself lives.

Fearlessly they pulledup the grass of garden like a handkerchief and inserted the new galleries below. Subtly graduating the circular perforations, creating a gently heroic and beautifully tailored staircase down into it. Sculpting a delightful handrail into the wall - and that's about it.

And that's the point: for the International Circus of Name Architects has played with the Art Museum format and often been ‘too clever by half'- an English expression that refers to self-consciousness and pomposity. No, the boys had a great idea… and pursued it calmly and elegantly.

Till and Michael - they're quality guys.

DESIGN PHILOSOPHY

Construction and Material

The process of development, that a project undergoes from an initial idea to a finished building, is part and parcel of architectural work. Architecture does not simply involve working on an already finished idea and then executing it. Michael Schumacher's student research project on excavators, whose movement creates space with a unique quality makes it clear to what extent it is the production process and its underlying laws that giving rise to architecture. The ability to grapple with this process and to work with it, even when new developments do not initially appear to fit in with the original intention, is just one of the qualities that typify schneider+schumacher - it belongs to the logic of architecture just as much as the other aspects that ultimately bring about such changes, such as materials, construction and use.

The idea of creating architecture out of a complex combination of a logical and clear consideration of form, construction, and qualities such as truth to materials - and doing this in an accessible and comprehensible language - is particularly well illustrated in Till Schneider and Michael Schumacher's approach to the design of skyscrapers.These are, to a great extent, first and foremost feats of engineering. At the same time,however, it is a challenge to make every tower unique and identifiable. And this makes them susceptible to attention-grabbing games, or gimmicks. Till Schneider poses a question: When is uniqueness merely in love with itself, as opposed to derived from its own internal logic? His early tower studies demonstrate how such self-generated logic may be understood: despite having a unique shape, this is always derived from a plausible constructive principle.

杭州市民中心 Civic Center Hangzhou ?schneider+schumacher

Ciphers and symbols

Architecture makes an impact using symbols and as a symbol - but this is by no means all it does. This, in a nutshell, might sum up the position schneider+schumacher adopt in their work with regard to imagery in architecture. While some architectural assignments may prompt the architects into offering a high degree of associative imagery, others can act as strong images themselves. These two overlapping aspects are part and parcel of the metaphorical nature of architecture: firstly, when association with other objects, archetypes or images are activated, and secondly, when buildings become images themselves, due to their powerful presence. Metaphorical reference is an important means of communication in architecture, though not the only one.

Our aim is to find a language that is open to interpretation, one that doesn't define how a building should be understood. It's better if this happens spontaneously, so observers can read things into the building themselves. Till Schneider

Producing architecture of this high quality, with this attitude, involves acknowledging several ground rules. The first is not to get hung up on the image: “We were never interested in conspicuousness at any price,” says Michael Schumacher. Secondly, in order not to become a prisoner of their own style, architects should not be tempted into creating a recognisable ‘brand', as is the case with so-called “starchitects”, who tend to be very self-referential. The third rule requires that users and those who look at buildings are deliberately allowed some leeway: they should be free to interpret things for themselves.The architects would never have come up with the idea of dubbing the Westhafen Tower the ”Geripptes”, let alone ever have thought of building a cider glass - but they do not mind if others interpret it as such. This is their guiding principle, one that points to something beyond images and symbolism.

Whether through images or in use - people should be given the opportunity to appropriate buildings for themselves. The place has to be interesting enough that people will want to use it again and again, and the appearance has to be open to association, so that people can reinterpret it over and over again: “we trust in the fact that buildings themselves evolve”, says Till Schneider.

Here there is an obviously reference to the works of the British group of architects and artists Archigram, and their relaxed, cheerful, and ironically ambiguous symbolism.Purpose is elevated to become a means of expression. But this exaltation also has something happily robust about it, since neither the symbol, nor what it signifies, is easy to pigeonhole. A ‘Walking City' is both a city as a machine and a machine as a city, a nomadic city and a city of nomads. There is no obvious single interpretation: the more one attempts to pin it down it, the more it defies categorisation, which prevents the symbolism being merely arbitrary. Instead it becomes inherently essential to the design, because it belongs to the world it is commenting on.

The inescapable power of imagery applies, of course, in a very specific way to skyscrapers.The Westhafen Tower has already been mentioned. schneider+schumacher's skyscraper designs never rely on the arbitrariness of introducing symbols - without any rhyme or reason - in order to create something eye-catching. The building itself is the symbol. As Till Schneider's final thesis at the St?delschule proves, it helps if one takes the ground rules seriously, focusing on construction, potential uses, the urban context, function and materials. Michael Schumacher sums it up: “A sailing boat that sails well, also looks good.” And accordingly - since it is the practice's maxim to begin by asking what is particularly important in a design brief, to question what the client really wants, and the specific nature of the site and its surroundings - all their designs turn out differently.

Colour, Light and Atmosphere

We strongly believe that buildings should be allowed to change. If you start in the right way, you don't need to invest a lot at the end - the complex process of design means it happens almost all by itself. (Michael Schumacher)