作者：Pitupong Chaowakul 泰國(guó)超級(jí)機(jī)器設(shè)計(jì)工作室主持建筑師

Essay by Pitupong Chaowakul; Principal Architect of Supermachine Studio, Thailand

就在我寫(xiě)這篇文章的時(shí)候，我的家鄉(xiāng)烏汶府（Ubonratchathani），一個(gè)位于曼谷600公里外的城市，剛剛遭受了2次熱帶風(fēng)暴的襲擊。河水泛濫，造成了大規(guī)模洪水，影響了郊區(qū)和市區(qū)成千上萬(wàn)的家庭，我家也不例外。當(dāng)我意識(shí)到事情變得非常嚴(yán)重時(shí)，我立馬乘飛機(jī)往家里趕。星期五晚上到達(dá)烏汶機(jī)場(chǎng)時(shí)，我沒(méi)有察覺(jué)到任何異常。我讓我哥哥開(kāi)車(chē)來(lái)接我，當(dāng)我們快到低壓線路區(qū)域時(shí)，問(wèn)題的嚴(yán)重性開(kāi)始漸漸顯露出來(lái)。出于安全考慮，城區(qū)已經(jīng)切斷電源，街區(qū)陷入一片黑暗之中。洪水水位達(dá)到了一個(gè)成人的胸口位置。大部分人已經(jīng)撤離，只有像我家這樣房屋處在很高地勢(shì)的住戶(hù)留了下來(lái)。為了保護(hù)自身財(cái)產(chǎn)安全，大家通過(guò)壘沙包和柴油水泵抽水來(lái)抵御洪水。這場(chǎng)洪水暴露了許多問(wèn)題，比如全球變暖、管理不善、腐敗、政府政策低效等等。作為一名建筑師，我一直在苦苦思索，在建筑行業(yè)所面臨各種新挑戰(zhàn)之際，我們能做什么。我們需要思考一下，針對(duì)其他世界性的關(guān)鍵問(wèn)題，比如流入海洋中的微塑料、令人難以忍受的城市交通狀況以及社交網(wǎng)絡(luò)帶來(lái)的社會(huì)變化，“建筑師能做些什么來(lái)更大程度地解決這些問(wèn)題？”或者“我們究竟能做些什么？”

While I am writing this, my hometown in Ubonratchathani, a city located 600 kilometers away from Bangkok, has just been struck by 2 tropical storms. There have been river overflows causing a flood in large scale affecting thousands of families both in suburbs and urban areas, my family house included. I took a flight home when I realized things had gone very serious. Arriving at the airport in Ubon on Friday evening, I didn't sense any ab-normalcy. I had asked my brother to pick me up, once my brother was driving closer to the low line area, reality started to reveal itself. Darkness has governed our neighborhood because the city cut off electricity due to safety reasons. The flood level was at a grown-up man's chest.Majority of the people have evacuated, leaving some households like ours which was built quite high up fighting to protect our properties with sandbags and a lot of diesel water pumps. Global warming,mismanagement, corruption, inefficient government policy... you name it. As an architect, I have been thinking hard, what we can do in these times where new factors are challenging the profession. Think about those other worldly critical issues like micro-plastic in our oceans, unbearable traffic conditions in our cities or social changes caused by social networks, “What can architects do, MORE to address them?”or “Can we do anything at all?”

我認(rèn)為自己接受了2種建筑教育模式，第一種模式是在我的故土泰國(guó)，它奠定美學(xué)和空間邏輯的基礎(chǔ)，另一種是20年前在荷蘭學(xué)習(xí)期間，開(kāi)啟了我的職業(yè)生涯。在欣賞“超級(jí)機(jī)器設(shè)計(jì)工作室”作品的時(shí)候，我們不能忽略這2個(gè)影響我們?cè)O(shè)計(jì)方法的輸入模式。通常情況下，建筑師在設(shè)計(jì)院校接受培訓(xùn)，了解房屋、博物館、醫(yī)院等不同類(lèi)型的建筑。但同時(shí)，通過(guò)審視周?chē)纳鐣?huì)人類(lèi)學(xué)力量來(lái)批判性地設(shè)計(jì)這些不同類(lèi)型的建筑也是非常重要的。這樣，一棟建筑就不僅僅只是一棟為了達(dá)到計(jì)劃或者商業(yè)性需求的建筑。它可以成為不同形式（室內(nèi)設(shè)計(jì)、文本、繪畫(huà)、動(dòng)畫(huà)等）的實(shí)踐，服務(wù)于社會(huì)。

I consider myself to have 2 modes of architectural education, one back here in Thailand to lay aesthetic and spatial logic foundation, and the other as a critical wake up call on my profession during my study in the Netherlands some 20 years ago. To read Supermachine studio's work, one can not skip these 2 inputs that have been shaping our design approaches. It is somewhat typical that architects were trained in design schools to understand different typologies of buildings from houses to museums to hospitals and so on. But at the same time, it is also utterly important to design those different types of architectures critically by looking at socio-anthropological forces around them. An architecture then can surpass a building that only serves programmatic or commercial requirement. Becoming practices in different forms (interior, text,drawing, animation etc.) that serve our societies.

在“超級(jí)機(jī)器設(shè)計(jì)工作室”作品的俏皮外表下，隱藏著對(duì)我們社會(huì)中正在發(fā)生的事情的批判性觀察。我們的很多作品都可以看作是信息。就像藝術(shù)家通過(guò)音樂(lè)傳遞信息，電影導(dǎo)演通過(guò)電影傳遞信息，廚師通過(guò)美食傳遞信息一樣。對(duì)于我們來(lái)說(shuō)，信息是通過(guò)建筑傳達(dá)出來(lái)的。影響我們生活的問(wèn)題總是盤(pán)踞在我們的腦海中。這些問(wèn)題的主題涉及從泰國(guó)人通過(guò)智能手機(jī)上的當(dāng)代應(yīng)用程序交流信息的方式，到糟糕的人行道狀況，到裝飾過(guò)度的迪斯科巴士的邏輯思維，再到我們街道上超載的貼紙卡丁車(chē)。我們的好奇心不斷增加。隨著時(shí)間的推移，作為設(shè)計(jì)師，我們可以有很多機(jī)會(huì)將這些信息銘刻在我們的概念性或者現(xiàn)實(shí)性的作品之中。無(wú)論此類(lèi)嘗試是否能在用戶(hù)/受眾中產(chǎn)生認(rèn)知度，我們覺(jué)得這樣做是義務(wù)所在。

Underneath the playful outlook of Supermachine Studio's works, hide critical observations towards what's happening in our societies. One can look at a lot of our projects as messages. The same way as artists are sending messages through music, film directors through movies, chefs through cuisines.For us messages are produced using architectures. Questions towards issues affecting our lives always oscillate back and forth in our heads. Topics range from the way Thais exchange messages through contemporary applications on smartphones to poor footpath-scape to logic of over-decorated disco buses to overloaded street sticker karts on our streets. The list of our curiosity goes on and on. Overtime, there had been multiple opportunities that we, as designers, could inscribe these messages into our projects both conceptual and realized ones. Whether the attempts can create any awareness among the users/audiences or not, we feel that we are responsible in doing so.

作為現(xiàn)實(shí)檢驗(yàn)的建筑

Architecture as reality check

智能手機(jī)“侵入”我們的生活。就像Elon Musk提到的那樣，手機(jī)已經(jīng)成為我們身體的延伸部分/我們的四肢。我們的生活離不開(kāi)手機(jī)。像中國(guó)這樣已經(jīng)建立了如此強(qiáng)大的電子支付系統(tǒng)的國(guó)家，讓我們明白了幾百年的實(shí)物貨幣很快就會(huì)成為歷史。我們現(xiàn)在只需使用一部智能手機(jī)就能做很多事情，這是前所未有的突破。從點(diǎn)餐、約會(huì)、到與世界另一端的朋友聊天……一切凡是你能想到的事情。我們盯著手機(jī)屏幕的時(shí)間越來(lái)越長(zhǎng)，因?yàn)橐M可能維持手機(jī)的充足電量以保證我們?nèi)觳粫?huì)錯(cuò)過(guò)重要工作，所以備用的移動(dòng)電源顯得尤為重要。

Smartphones have been invading our lives.. well they have become our bodies extension/ our limbs like Elon Musk mentioned. There is no way we can avoid them anymore. Countries like China has created such a strong system of e-payment that soon physical money as we understood for hundreds of years will become just history. Like never before, we can do plenty of things that we can do now by using just a smartphone.From ordering food, finding dates, or chatting with friends on the other side of the world... you name it. More and more we will spend our time on our screens, the spare power banks will be so important because the phones will have to stay on as long as possible to serve us on important tasks throughout the day.大家都在談?wù)撝悄苁謾C(jī)對(duì)我們社會(huì)的影響，這不是什么新鮮事。當(dāng)我們被邀請(qǐng)為邦盛海灘（曼谷以東100公里的一個(gè)沿海城市）的一個(gè)社區(qū)設(shè)計(jì)

游樂(lè)場(chǎng)地時(shí)，我們認(rèn)為，從某一維度來(lái)說(shuō)，建筑結(jié)構(gòu)是一個(gè)正在轉(zhuǎn)型的社會(huì)的紀(jì)念碑，這一點(diǎn)非常重要。特別是在泰國(guó)，一個(gè)有意識(shí)的不用固定的技術(shù)形式展示亞洲文化的國(guó)家。在這個(gè)國(guó)家，只要是有人和互聯(lián)網(wǎng)的地方，就會(huì)出現(xiàn)人們滑動(dòng)屏幕、上網(wǎng)的場(chǎng)景；火車(chē)乘客、卡車(chē)司機(jī)、保安警察，幾乎每一個(gè)人都在觸摸屏幕。手機(jī)上發(fā)生的事情似乎比現(xiàn)實(shí)世界中還要多。餐桌上，家人之間互不交流。辦公室里，同事們與其他地方的朋友聊天。在泰國(guó)這樣的國(guó)家，公共空間不足，人們對(duì)公共空間不夠關(guān)心，現(xiàn)實(shí)生活中人們見(jiàn)面的機(jī)會(huì)越來(lái)越少。

This is not new, everyone has been talking about the effects of smartphones on our society. When we were asked to design a playground that will be given to a community in Bangsaen (a coastal town 100km east of Bangkok), we thought it would be important that the built structure was, in one dimension, a monument towards a society that is transforming. Specially in Thailand, an Asian culture that adopted this formless technologies in such deliberate fashion. Every square meter in this country where there are people and internet, people are just pinching their phones screen; train passengers,truck drivers, security guards,polices basically almost every one. There are more happening behind those touchscreens than in the real physical world it seems. On the dining table, families don't talk to each other. In the office, colleagues talk to friends somewhere else. In a country like Thailand where public space is scarce and not care for enough, there are less and less opportunities for people to meet in real life.

1，居民于十卡塔旁野餐╱Picnic in 10 Cal Tower's shadow（攝影╱Photo：Spaceshift Studio）

2，在十卡塔中的趣味路徑/ A few possible routes to enjoy the Labyrinth（繪圖/ Diagram: Supermachine Studio）

3，十卡塔中游玩的家庭/ 10 Cal Tower: Parent and kid（攝影/ Photo：W Workspace）

常規(guī)的游樂(lè)場(chǎng)里也是這樣，父母帶著他們的孩子在那些專(zhuān)為兒童設(shè)計(jì)的五顏六色的游戲設(shè)施上奔跑、攀爬、滑行。傳統(tǒng)的游樂(lè)場(chǎng)地是加深成年人和孩子之間關(guān)系的一種古老設(shè)施。除了父母因?yàn)閾?dān)心孩子過(guò)于活躍發(fā)生危險(xiǎn)而會(huì)采取關(guān)心行動(dòng)之外，并無(wú)太多其它加深關(guān)系的交流。隨著智能手機(jī)的問(wèn)世，站在兒童游樂(lè)場(chǎng)旁無(wú)聊的父母?jìng)兘K于有了消磨時(shí)間的東西。使本已貧乏的成人與孩子之間的經(jīng)驗(yàn)交流機(jī)會(huì)幾乎為零。

At a typical playground, there are no differences, parents bring their kids to run, climb ,and slide around on those colorful play elements which are always made in children scale. A conventional playground is an ancient apparatus that stretches relationship between adults and kids. There is not that much tension between them other than an overly care actions from parents that are terrified of an imaginary danger to their overly active children. Comes the inauguration of smartphones, the boring parents standing next to kids' playgrounds finally have something to kill their time. The already poor adult-kid experience exchanges have become eternally malfunction.

10卡路里塔想創(chuàng)造一個(gè)交流場(chǎng)所，一個(gè)能讓父母和他們孩子可以在現(xiàn)實(shí)中交流的空間。在這個(gè)錯(cuò)綜復(fù)雜的紅色混凝土迷宮里捉迷藏，加深了父母與孩子之間的現(xiàn)實(shí)關(guān)系，反之則不然。上下樓梯時(shí)，人們通過(guò)不同的路線需要消耗10卡路里的熱量，所以游樂(lè)場(chǎng)地就是以這個(gè)能量消耗量命名的。但它闡明的不僅僅是父母和孩子之間的問(wèn)題，也是針對(duì)社區(qū)所有年齡段的人。從一開(kāi)始，為了讓每個(gè)人進(jìn)來(lái)探索10卡路里塔，人們將其放置在一個(gè)公園里。青少年們可以在周?chē)蚯榱R俏，而外地游客則可以將它當(dāng)作一個(gè)觀景塔臺(tái)，走到頂層俯瞰邦盛海灘的海景。

10 Cal tower is just about creating a meeting place, one that parents and their children can meet in reality.Play elements in the intertwined red concrete labyrinth is the act of hide and seek for each other so that physical relationships among people are strengthened and not vice-versa. Walking up and down the staircases, one will have to put in 10 Calories through different choices of routes, so the playground is named after this amount of energy. But more than stating the issue about adults and kids, it is also meant for all age groups in the neighborhood. From the very beginning, as it is placed in a public park, 10 Cal tower is meant for everyone to come in and explore. Teenagers can be around flirting with each other while stranger can walk to the top level using it as an observation tower looking at Bangsaen seascape.

建造一個(gè)與傳統(tǒng)游樂(lè)場(chǎng)截然不同的公共游樂(lè)場(chǎng)地，這本身就是一個(gè)巨大挑戰(zhàn)，尤其是，在泰國(guó)公共物品通常得不到很好保護(hù)。這些年來(lái)，人們與“游樂(lè)場(chǎng)”不同形式的互動(dòng)超出了我們的預(yù)期。一旦這座建筑建成并交付給公眾，建筑師們就可以見(jiàn)證它的實(shí)現(xiàn)了。人們經(jīng)常將卡車(chē)停在塔旁，將它當(dāng)做雨傘在它的陰涼處進(jìn)行海鮮野餐。這項(xiàng)活動(dòng)在邦盛海灘的椰子樹(shù)邊太常見(jiàn)了，所以游樂(lè)場(chǎng)地里也有這項(xiàng)活動(dòng)。一位泰國(guó)著名說(shuō)唱歌手在跑步時(shí)將自己赤身折在迷宮的紅色欄桿之間，這張照片一度在網(wǎng)絡(luò)上流傳開(kāi)來(lái)。這張對(duì)設(shè)計(jì)師來(lái)說(shuō)意想不到的圖片以這種可愛(ài)的方式出現(xiàn)了。塔上一如預(yù)期地開(kāi)始出現(xiàn)涂鴉，同時(shí)出現(xiàn)的還有一個(gè)糟糕的市政標(biāo)識(shí)牌，警告到如果發(fā)現(xiàn)涂鴉（當(dāng)然這從未發(fā)生過(guò)），將罰款2000泰銖。這種不和諧的景象再次出現(xiàn)……這就是現(xiàn)實(shí)，涂鴉和政府的標(biāo)識(shí)牌，哪一個(gè)更難看？每隔一段時(shí)間，我們也會(huì)看到十卡塔作為不同產(chǎn)品，例如汽車(chē)、箱包、服裝的背景出現(xiàn)。歐洲男模在一個(gè)設(shè)計(jì)為游樂(lè)場(chǎng)地的建筑上用他的六塊腹肌扭動(dòng)著身體。從抽象的角度來(lái)思考，從許多方面來(lái)講它或許是一個(gè)真正的“聚會(huì)場(chǎng)所”。

To have a version of public playground looking brutally different from those conventional ones is almost a great challenge in itself, especially in Thailand where objects in our public realm are usually not taken care of in a good way. Through the years we have seen people interacting with the “playground” in different ways than we can expect. Once the building was completed and given to the public, architects can just witness its reality. Many times people park their pick-up truck next to the tower and have a seafood picnic under its shade, using it as an umbrella. The activity is so popular along the coconut trees on Bangsaenbeach,so popular that the playground has to do the job as well. Once popping around on the internet, a photo of a famous Thai rapper fold himself nakedly in between the labyrinth's red railing during his free running exercise. A truly unexpected image for its designer in a lovely way. Grafitis started to appear as expected together with a bad graphic municipality's signage warning to fine 2,000 Thai Baht if they can catch it in action (which of course never happened.) Again... it is a reality, the graffiti and government's signage, which one is more ugly? Every once in a while, we also see 10Cal tower as a background for different products, cars, bags, garments. European male models with his six pack twisting his body on a structure designed to be a playground. Thinking about its identity on an abstract level, a real“meeting place” in many dimensions perhaps.

建筑作為現(xiàn)實(shí)的變體

Architecture as reality distortion

如果我們將視線移到6米高處，會(huì)發(fā)現(xiàn)泰國(guó)的低空景觀一團(tuán)糟……一個(gè)因洪水管理不善而出名的熱帶國(guó)家，將電線和通訊線路懸掛在了空中，而不是出于安全和經(jīng)濟(jì)原因，把它們埋在地下。泰國(guó)人已經(jīng)習(xí)慣了在二樓和三樓之間有一把黑色電線穿過(guò)。我們接受了這種現(xiàn)實(shí)。這樣的電線也更便于維護(hù)和增補(bǔ)。

Thailand's lower sky-scape is a mess.... if we look 6 meters up. A tropical country that is known for bad flood management decided to hang electrical and communication wires in the air rather than putting them underground for safety and financial reasons. Thai people are used to a handful of black wires that stretched through our second and third floors. It is a reality that we accept. Easy for maintenance and addition.

多年來(lái)，我們都知道我們的電力和電話亭不夠用，無(wú)法處理更復(fù)雜的地下管道。但隨著過(guò)去十年互聯(lián)網(wǎng)在家庭中的使用激增，我們城市的低空景觀再次發(fā)生變化。在移動(dòng)電話無(wú)線上網(wǎng)的時(shí)代，為了滿(mǎn)足家庭上網(wǎng)更快的需求，滿(mǎn)足像Netflix或HBO等國(guó)際內(nèi)容提供商提供更高帶寬電影的需求，每家每戶(hù)都必須安裝更快的光纖線路。隨著私人數(shù)據(jù)提供商安裝光纖線路的增多，泰國(guó)城市里的光纖線路越來(lái)越粗，越來(lái)越亂。通常情況下，他們只會(huì)在現(xiàn)有線路上添加新線路，出于卸載成本從不去撤除那些并未使用的舊線路。這些線路也被加長(zhǎng)，卷起來(lái)被綁在電子投票站上，以備將來(lái)延長(zhǎng)使用之需。像曼谷這樣的大城市的投票站上，我們通常會(huì)看到來(lái)自各個(gè)公司的龐大線路纏繞在我們頭頂幾米高的地方，就像一串按比例放大的葡萄。很多情況下，電線纏繞的太厚，形成了一堵黑墻，漂浮在我們城市道路兩旁的人行道上。一個(gè)因需求產(chǎn)生的更現(xiàn)代的城市元素將被連接起來(lái)。

For ages, we had known that our not-so-sufficient electrical and telephone office can not deal with a more complex underground ducts. But with the explosion of internet usages among households during the last decade, our cities' lower sky-scape are changing again. In the age of wireless internet on our mobile phones, much faster fiber optic wires that have to be installed in every house for demands for even faster internet at home, for higher bandwidth movies offered by international content providers like Netflix or HBO. With the particular way of installing the fiber optic wires by private data providers, the wires in Thailand's cities are getting thicker and messier like never before. Usually they will only add new lines onto the existing and never take out old ones that are unused due to the uninstallation costs. The lines are also over-lengthed, rolled up and tied onto electric polls for future extensions. On polls in big city like Bangkok,we usually see a gigantic wires from different companies tangled like scaled up grape bunch a few meters above our heads. In many cases, the wires are so thick that they form a flying black walls floating over footpaths on both sides of our city's road. Yet one more modern urban element created by the need to be connected.

4，十卡塔地面景觀/ 10 Cal Tower: On ground level（攝影/ Photo: W Workspace）

5，十卡塔中的兒童通道/ 10 Cal Tower:A special kid channel（攝影/ Photo: W Workspace）

6，十卡塔創(chuàng)造了相遇空間/ 10 Cal Tower: Meeting place（攝影/ Photo: W Workspace）

這種情況造成的另一個(gè)現(xiàn)實(shí)問(wèn)題就是，我們規(guī)劃的（或規(guī)劃外的）城市公共行道樹(shù)與這些電線在同一位置上。一旦公共樹(shù)木長(zhǎng)得比電線還高，就會(huì)給本就亂七八糟的網(wǎng)絡(luò)線路造成更大的混亂，一些熟練的園丁就被派到這些地方去修剪那些樹(shù)木。眾所周知園丁修剪樹(shù)木會(huì)毫不留情，對(duì)他們來(lái)說(shuō)修剪和切割沒(méi)什么區(qū)別。綠化環(huán)境重要還是更快的互聯(lián)網(wǎng)，很明顯哪一個(gè)對(duì)泰國(guó)人更為有用。這就是造成這種模棱兩可的城市環(huán)境的原因，泰國(guó)城市的樹(shù)木永遠(yuǎn)無(wú)法正常生長(zhǎng)，注定被修剪的矮小。

Another real problem caused by the situation is that our cities' public tree planting line are planned (or unplanned) to be on the same projection as these wires. Once the public trees grow higher than the wires,they start to create greater mess with the already messy networks, some skilless gardeners are sent to the locations to trim those trees. It is known to us that gardeners will trim our trees mercilessly. Trimming and cutting can not be distinguished as far as they are concerned. The need for green or faster internet. It's obvious which has been serving Thais better. That's what is causing this ambiguous urban setting where trees in Thai cities can never grow in a normal way and destined to be dwarf forever.

2013年的一個(gè)展覽中，這一城市現(xiàn)實(shí)恰好是我們的設(shè)計(jì)理念“改變”，展覽中另有12位建筑師提出了能夠給我們的生活方式帶來(lái)更好影響的設(shè)計(jì)。為了這次展覽，我們提出了迄今為止最小的建筑設(shè)計(jì)，一個(gè)曾經(jīng)在公共樹(shù)上生活的小動(dòng)物的房子。這棟房子想在某種程度上創(chuàng)造這樣一種環(huán)境：在曼谷這樣的城市中，樹(shù)木可以自然生長(zhǎng)，復(fù)雜的網(wǎng)絡(luò)電線可以盤(pán)旋在人行道上方。具體實(shí)施方面，我們建議在樹(shù)葉上開(kāi)洞供電線穿過(guò)，并用模壓絕緣管覆蓋這些電線，這樣可以保護(hù)生長(zhǎng)中的樹(shù)枝不會(huì)受到復(fù)雜的通信網(wǎng)絡(luò)和電線的破壞。這種綽號(hào)為RU-YERB的特殊絕緣管，有一個(gè)多孔的外罩面層，可以讓鳥(niǎo)類(lèi)或松鼠等小動(dòng)物住在里面。

This urban reality happens to be our design concept for CHANGE in one of the exhibitions in 2013 involving 12 other architects who proposed designs that can affect our way of living for the better. For the exhibition, we propose our smallest architecture yet, a house for small animals that used to live in our public trees. This house is, in a way, an attempt to create a situation that city like Bangkok can have trees that can together grow naturally together with complex wire networks hovering just above pedestrian footpaths. In action, we propose to create holes in tree foliage for wires to pass through and cover those wires with molded insulated tubes that will protect the growing branches from damaging the complex network of communication and electrical lines. The particular tube, nicknamed RU-YERB, shall have an outer skin which is porous enough for small animals like birds or squirrels to live in.

在這種情況下，我們的建筑保持了一種插圖般的美感，就像一幅夢(mèng)幻的圖畫(huà)。我們想象中的曼谷是一個(gè)綠色的熱帶城市，但不幸的是，歷史上無(wú)計(jì)劃的發(fā)展給這座我們熱愛(ài)的城市造成了許多復(fù)雜的問(wèn)題。用我們?cè)O(shè)計(jì)的儀器，描繪了一個(gè)扭曲的大都市的現(xiàn)實(shí)。無(wú)須在雨季冒著被洪水淹沒(méi)的風(fēng)險(xiǎn)把數(shù)百萬(wàn)根電線埋在地下，也無(wú)須把公共種植園留在能讓它們自然生長(zhǎng)的地方，我們可以造就一個(gè)獨(dú)一無(wú)二的綠色熱帶首都，一個(gè)擁有現(xiàn)代化摩天大樓的綠色森林。在人口稠密的曼谷，像猴子和野兔這樣不同種類(lèi)的動(dòng)物可以以一種前所未有的方式與人類(lèi)和平共處。

In this case, our architecture stays in a form of illustration, a dream picture. We imagined Bangkok to be a green tropical city, but unfortunately unplanned developments in history created many complicated problems in the city that we love. With our designed apparatus, we have pictured a distorted reality of the metropolis.Without placing millions of wires underground risking to be flooded in the monsoon season but also leaving public plantation where they stand so they could grow naturally, we can uniquely be quite a green tropical capital, a green forest together with modern skyscrapers. Different kinds of animals like monkeys and wild rabbits can coexist together with humans in this densely populated Bangkok like never before.

科幻建筑

Sci-fi architecture

建筑在展望人類(lèi)的未來(lái)中扮演著重要的角色。有時(shí)，它需要科幻化，比未來(lái)主義更超前，來(lái)推動(dòng)人們的想象力走向未來(lái)可能創(chuàng)造的環(huán)境。電影導(dǎo)演在處理電影方面就是非常好的范例。諾蘭執(zhí)導(dǎo)的電影，如《星際穿越》，創(chuàng)造了一個(gè)反烏托邦的故事，地球被嚴(yán)酷的沙塵暴覆蓋，人類(lèi)無(wú)法生存不得不將自己放逐到一個(gè)新的太空領(lǐng)域。

Architecture has a major role in envisioning humanity's future. And once in a while, it needs to be sci-fi,one step beyond futuristic, to drive people's imagination towards possible built environment. Film directors can be good examples in what they do with their movies. Nolan's movies like Insterstella creates such dystopian setting of earth covered by dust storm, too harsh for humans to live, that we have to deport ourselves to a new territory in space.

對(duì)于藝術(shù)形式的創(chuàng)造來(lái)說(shuō)，災(zāi)難片通常會(huì)受到質(zhì)疑。它們?cè)谒囆g(shù)形式的創(chuàng)造過(guò)程中既造成破壞又推動(dòng)創(chuàng)造。2011年湄南河三角洲爆發(fā)的特大洪水是發(fā)生在泰國(guó)的最嚴(yán)重的災(zāi)難之一。之后一場(chǎng)極強(qiáng)的熱帶風(fēng)暴襲擊了我國(guó)的北部地區(qū)。由于缺乏精確的氣候預(yù)測(cè)以及水資源管理混亂（加上糟糕的政治環(huán)境），一百億立方米多的水溢出了湄南河的支流，對(duì)多個(gè)北部城市的農(nóng)業(yè)用地、商業(yè)和政府區(qū)域造成了嚴(yán)重破壞。后來(lái)，大量的洪水慢慢向地勢(shì)低處流去，摧毀了一個(gè)又一個(gè)城市，曼谷也未能幸免，因?yàn)樗髦荒苎氐貏?shì)向南流入泰國(guó)灣。這場(chǎng)悲劇持續(xù)了3個(gè)月，造成300多人死亡，3個(gè)大型工業(yè)區(qū)受損，國(guó)家損失了數(shù)十億泰銖。

Disasters are usual suspects for creation of art forms. They destroy and create following the processes.One of the greatest disasters that happened in Thailand was a great flood on Chao Praya river delta back in 2011. After a very big tropical storm hit the upper part of our country. Without precise climate prediction and upheaval water management (plus bad politics), more than 10,000 million cubic meters of water overflow Chao Praya's tributaries causing serious damages on agricultural land, commercial, and governmental districts in many northern cities. Later on, that same amount of flood water slowly move down and destroyed cities after cities, Bangkok was not spared, as the only thing that the water wanted to go was to go down south to the Gulf of Thailand. The tragic event last 3 months, killed more than 300 lives,damaged 3 mega industrial estates, and cost the country billions of Thai Baht.

災(zāi)難期間，科學(xué)家、工程師和許多其他專(zhuān)家被聯(lián)合起來(lái)，為應(yīng)對(duì)這場(chǎng)災(zāi)難提供短期方案。猜猜誰(shuí)沒(méi)有被邀請(qǐng)參加任務(wù)……是的……建筑師！！一般情況下，對(duì)于泰國(guó)人來(lái)說(shuō)建筑師就是從事審美或稍微嚴(yán)重點(diǎn)的工作，比如修理漏水的房屋。在創(chuàng)造可持續(xù)的建筑環(huán)境、使泰國(guó)人民過(guò)上高質(zhì)量的生活方面，這個(gè)職業(yè)從未得到重視。我們不能責(zé)怪公眾，因?yàn)樘﹪?guó)的建筑話語(yǔ)范圍從來(lái)沒(méi)有超出這些膚淺的問(wèn)題，它也從未加深過(guò)我們對(duì)其他事情的理解。問(wèn)題之一是我們忘記了創(chuàng)造未來(lái)的場(chǎng)景是我們工作的一部分（盡管其中99%都是錯(cuò)誤的。）

During the catastrophe, scientists, engineers and many other experts were asked to join forces in advising in short term plans to tackle the event. Guess whom has never been asked to be in the missions... yes...architects!!! This profession is, for Thai people in general, one that deals with aesthetic or slightly more serious jobs like fixing leaks in houses. Never that it was considered important in creating sustainable built environment that enable Thai people to live good quality lives. We can not blame our public since Thai architectural discourses have never gone over those shallow issues and produced a profound understanding of what else we are responsible for. One of the problems was that we forgot that creating images of the future is part of our jobs (although 99% of them have been wrong.)

洪水悲劇發(fā)生一年后，超級(jí)機(jī)器設(shè)計(jì)工作室于2015年為暹羅建筑師協(xié)會(huì)策劃了一個(gè)名為“6個(gè)水城”的項(xiàng)目，并邀請(qǐng)其他5位建筑師為泰國(guó)6個(gè)容易出現(xiàn)泛濫問(wèn)題的城市提出富有遠(yuǎn)見(jiàn)的建筑設(shè)計(jì)?；谒麄兊挠^察最終得出實(shí)體模型和建筑設(shè)計(jì)圖像。和其他5個(gè)工作室一樣，我們也參與了創(chuàng)作。

One year after the flood tragedy, Supermachie studio curated a project for Association of Siamese

Architects in 2015, titled 6 water cities, asking 5 other architects to propose visionary images of 6 different.cities in Thailand that have been prone to flood problems. The end product were to be physical models and images of their architectural imagination based on what they observed. As well as the other 5 studios, we also took part in the creation.

7，超級(jí)水壩城/ Superbowl project（模型/ Model:Supermachine Studio）

8 超級(jí)水壩城╱Superbowl project（繪圖╱Diagram：Supermachine Studio）

9，超級(jí)水壩城/ Superbowl project（模型/ Model: Supermachine Studio）

超級(jí)水壩城項(xiàng)目是我們構(gòu)想在那空沙旺（自古以來(lái)就是一個(gè)重要的貿(mào)易城市）創(chuàng)建一個(gè)未來(lái)式城市。這座城市位于首都曼谷以北250公里處。匯聚了三條河流，形成了泰國(guó)最重要的河流湄南河。正因?yàn)槿绱耍@座城市在過(guò)去遭受了多次洪災(zāi)，2011年的特大暴雨洪災(zāi)那空沙旺也未能幸免。

Superbowl project was our futuristic city created on Nakornsawan, an important trade city from ancient times. The city is 250 kilometers north of the capital, Bangkok. It is where 3 rivers join and create Chao Phraya river, the most important water stream of Thailand. And because of that the city has faced many flood events in the past and did not escape the 2011's great water downpour.

雖然我們預(yù)想將城市創(chuàng)建在那空沙旺，但經(jīng)過(guò)長(zhǎng)期研究后，超級(jí)水壩城項(xiàng)目想要解決造成泰國(guó)水資源管理不善的更嚴(yán)重的問(wèn)題，因?yàn)樗Y源一直對(duì)泰國(guó)人民的日常生活品“稻米”極為重要。眾所周知，泰國(guó)是世界上最大的稻米出口國(guó)之一。為了繼續(xù)保持稻米的銷(xiāo)售大國(guó)地位，不得不犧牲大片土地來(lái)種植稻米，而這些農(nóng)場(chǎng)通常無(wú)法種植高大樹(shù)木（水稻喜光），同時(shí)必須給稻米提供大量的水供它們生長(zhǎng)。稻米很重要。它是泰國(guó)人民的日用品，但作為一種產(chǎn)品，它既便宜又不環(huán)保。一旦農(nóng)民排干他們的農(nóng)田，大量的肥料就會(huì)對(duì)天然水資源造成污染。最重要的是，種植稻米對(duì)水的需求變成了不同地區(qū)之間的權(quán)力斗爭(zhēng)，每年都會(huì)引發(fā)洪水。我們認(rèn)為應(yīng)該重新思考稻米種植。超級(jí)水壩城項(xiàng)目還將重組后的稻米種植模式納入了城市本身。

After a research at length, although our visionary image of the city is on Nakornsawan, but Superbowl project wanted to address the larger issue that cause mismanagement of water in the country, something that has been part of Thai people's everyday lives “RICE.” As known, Thailand is one of the largest rice exporters in the world. And to keep on being the top rice seller, the country has to sacrifice large area to be rice farms which normally have no big trees (rice hates shadow) and very large amount of water has to be fed to them. Rice is important. It is what Thai people eat every day but, as a product, it is cheap and not environmentally friendly. A lot of fertilizer pollutes natural water resources once farmers drain their farm lands. Most of all, the need of water to grow rice becomes power struggle between different areas and annually cause flood. In our view, rice farming should be rethought. Superbowl project has also included reorganized rice farming model into the city itself.

在我們看來(lái)，泰國(guó)需要能夠有效應(yīng)對(duì)不確定性降水的上層結(jié)構(gòu)，而由于全球變暖的形勢(shì)日益嚴(yán)峻，這種不確定性的降水只會(huì)更加難以預(yù)測(cè)。超級(jí)水壩城提議在300米高的土堤上建造一個(gè)可容納50萬(wàn)人的新?tīng)I(yíng)地。7x3公里寬的碗形水壩是一個(gè)巨型液壓機(jī)構(gòu)，將管理15億立方米的水資源；在雨季取水，在旱季放水，與傳統(tǒng)的水壩類(lèi)似。不同的是，堤壩是完全可居住的。事實(shí)上，我們?cè)O(shè)想的是整個(gè)那空沙旺的人口將遷移到海拔更高的地方，生活在一個(gè)新的巨型建筑結(jié)構(gòu)中。

In our vision, Thailand needs superstructure that can efficiently deal with uncertain precipitation that will only be harder to forecast because of more severe global warming situation. Superbowl suggest a new colony that can accommodate 500,000 people built on a 300 meters high soil dike. The 7x3 kilometer wide bowl is a mega hydraulic mechanism that will manage 1,500 million cubic meters of water; taking in water during monsoon season and releasing during dry seasons similar to conventional dam. The difference is that, the dike is habitable in a complete way. In fact we picture that the entire Nakornsawan's population will move up high and live in the new mega structure.

一條30米寬的建筑橫亙?cè)诘虊蔚耐馄律?，與綠化區(qū)交織在一起，坐落著高大樹(shù)木的綠化區(qū)成為了城市的熱帶森林。所有的項(xiàng)目活動(dòng)都將在這座建筑里進(jìn)行；動(dòng)物農(nóng)場(chǎng)、工業(yè)、市場(chǎng)、零售、文化活動(dòng)……成為功能齊全的城市。堤內(nèi)有多層軌道交通，管道系統(tǒng)通過(guò)對(duì)角梯交叉連接。人們出行將主要集中在這個(gè)城市，不再使用私家車(chē)。集水的內(nèi)側(cè)有多個(gè)公共碼頭供人們選擇。由于水體較大，我們建議將那空沙旺機(jī)場(chǎng)搬到超級(jí)水壩城內(nèi)部。這個(gè)漂浮機(jī)場(chǎng)擁有足夠長(zhǎng)的跑道，可供空客A380飛機(jī)方便降落。超級(jí)水壩城的頂端，是一條長(zhǎng)42.195公里的環(huán)形公路。該公路連接了位于城市最高層的多個(gè)公園。這個(gè)城市沒(méi)有頂層公寓。它是一個(gè)高度民主的棲息地。

A continuous 30 meter wide stripe of building meandering on the outer slope of the dike is intertwining with green area where we locate big trees, an urban tropical forest. All programs will be accommodated in the building; animal farms, industrial,markets, retails, cultural... a complete city. In the dike, there are multilayer mass transit, tube systems cross-connecting by diagonal elevators. People will mainly travel in this city without personal cars. On the inner side where water is collected, there are a number of public piers that people can choose to travel with. The water body is so large that we propose to move Nakornsawan airport into Superbowl itself. It will be a floating airport that has a long enough runway for an Airbus A380 to land conveniently. At the top of Superbowl, it is a band of ring road 42.195 kilometers long to be exact. The band connects multiple public park placing at the highest level of city. There are no penthouses in this city.It is highly democratic habitat.

超級(jí)水壩城只生產(chǎn)清潔能源，來(lái)源主要有兩方面；安裝高度超過(guò)300米的高壓風(fēng)電場(chǎng)和安裝在每平方米建筑表皮上的新一代超高效太陽(yáng)能電池。動(dòng)物養(yǎng)殖場(chǎng)的甲烷和垃圾回收的過(guò)程也被用來(lái)加熱水以此產(chǎn)生額外的能量。超級(jí)水壩城是高度可持續(xù)的。

Superbowl produces only clean energy, mainly from 2 sources; high voltage wind turbine farm installed higher than 300 meters high and new generation of super efficient solar cell installed on every square meter of the building skin. Methane of animal farms and garbage recycling process is also used to heat water to create additional energy. Superbowl should be highly sustainable.

不斷進(jìn)行水位管理的堤壩內(nèi)坡上，坐落著梯田稻米農(nóng)場(chǎng)。這里生產(chǎn)的稻米主要是供城市居民食用，所以該地區(qū)受到嚴(yán)格控制。種植在這里的稻米經(jīng)過(guò)了深入的研究，每年有6個(gè)輪作周期，每平方產(chǎn)率極高。此外，它可承受洪水災(zāi)害長(zhǎng)達(dá)3周。它是智慧農(nóng)業(yè)的終結(jié)，而不再是一望無(wú)際的稻作景觀。

On the inner slope of the dike where water level is constantly managed, lies terrace rice farms. Production of rice here is mainly for the residence of the city, so the area is strictly controlled. Rice that planted here have been through deep research. It has 6 crop cycles per year with extremely high harvesting percentage per square meter. Moreover it sustain flood up to 3 weeks. No more endless rice farming landscape, it is the end of intelligent agriculture.

建筑師還能做什么？

What “MORE” can an architect do?

超級(jí)機(jī)器設(shè)計(jì)工作室是建筑的忠實(shí)信徒，但我們也知道它的力量有限。建筑并不能解決當(dāng)今世界的所有問(wèn)題，但在某些方面，針對(duì)日常麻煩情況，建筑可以成為一個(gè)對(duì)其進(jìn)行深思的重要工具。在當(dāng)代設(shè)計(jì)前沿，沒(méi)有什么是理所當(dāng)然的。建筑師創(chuàng)造“MORE＊＊＊”的最大動(dòng)力源自周?chē)胀ㄊ挛镏g的關(guān)系。

Supermachine studio is a great believer in architecture but we also aware of its’ limited power. Architecture are not saviors for all problems in the world today but there are ways in which architecture can be a critical tool that reflects our everyday lives' complications. Nothing can be taken for granted in contemporary design frontier. Relationships between ordinary things that surround us is the greatest fuel for architect to do “MORE＊＊＊”

＊＊＊“MORE”是超級(jí)機(jī)器設(shè)計(jì)工作室正在制作的第一本書(shū)的代號(hào)。工作室目標(biāo)是在2020年底推出這本書(shū)

＊＊＊“MORE” is a code name of SupermachineStudio's first monologue that has been in the making. The studio target to launch the book at the end of 2020

10，鳥(niǎo)瞰超級(jí)水壩城/ Superbowl project from sky（制圖/ Collage: Supermachine Studio）

11，安裝前/ Ru-yerb: Operation Ru-yerb（制圖/ Collage: Supermachine Studio）

12，安裝后/ Ru-yerb: Imaginable urban forest（制圖/ Collage: Supermachine Studio）