文/ Text ：費爾蘭多·費尼斯/ Fernando Menis

可以說，我們工作的本質(zhì)是通過拯救那些已經(jīng)起作用并經(jīng)過時間考驗的方案，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方面，一方面是利用和加強自然元素；另一方面是根據(jù)每個項目和地點的具體要求，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，不過也有可能是因為我意識到自己生活在一個資源有限的寶地：加那利群島。

這一群島是我們大部分建筑作品的靈感來源和集中地，是歐洲、美洲和非洲大陸之間的一個特殊的交匯點。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)成了一個極其獨特的環(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，是對現(xiàn)代性以及一系列經(jīng)濟和建設(shè)條件的某種解讀。每個方案都源自于一個漫長而復(fù)雜的過程，即靠攏主題并審查內(nèi)容，在此過程中，建筑師和開發(fā)人員會根據(jù)特定的參數(shù)來調(diào)整計劃需求。

在處理原始材料及其所在環(huán)境下的真實潛力時，常識是理性和情感協(xié)作的框架，這兩個范疇貫穿于我們的工作和我個人的發(fā)展過程中。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)時建筑是由自然創(chuàng)造的。但光憑想象是不夠的，因為建筑首先是一個具有特定位置的物體。

處理這個物體要基于添加和提?。鹤畛醯母拍钍艿接媱澋挠绊?，就好像它是一個用手建模的元素，直到結(jié)晶發(fā)生，即形式和語言的配置。通過直接、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，但不會忘記其目的：要產(chǎn)生一種總會因嚴謹?shù)睦硇远尫懦鰜淼那楦小?/p>

為保持合理性，每個項目都會謹慎關(guān)注結(jié)構(gòu)條件、建設(shè)性條件和經(jīng)濟條件，以便建筑物體能夠恰當(dāng)?shù)厝谌胝w環(huán)境當(dāng)中。因此，我們的工作重點是重新激活我們工作地點的潛在力量。再利用那些因特定原因而被丟棄的物體、能量或概念，堅持在每個項目的特殊體驗中尋找重讀或重新闡釋。有時，為挽救建筑，解決城市特色稀缺問題，進而增強社會凝聚力，我們會借此恢復(fù)那些文化和社會參照的記憶，它們曾被不公正地遺忘。有時，我們只是把那些沒有得到足夠重視或考慮的東西框定下來，這些東西可能會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。我們會從理性和技術(shù)的角度來設(shè)計建筑，但我們是以工匠的身份來制造建筑物體，在每個細節(jié)的制作過程中都注重質(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)的物體成為了一個有生命的實體，并隨著時間的推移而進化。它已不再被看作是一種機械的東西，或僅僅是一些簡單的自主元件的組裝結(jié)果，而是一種直接從無定形物質(zhì)中提取出來的模擬器官，建筑師必須學(xué)會如何評價它。還要知道如何傾聽社會需求，滿足每一個項目所要求的經(jīng)濟需求，通過核實所期望的和已建造的工程解決問題或消除問題，從而獲得個人滿足感。好的建筑總是能夠改善現(xiàn)有的環(huán)境，促進社會發(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，這種二分法的研究在我們四十多年的實踐中得到了體現(xiàn)。隨著時間的推移，我們生產(chǎn)最初階段僅有的直覺或關(guān)注點已經(jīng)變成了研究的方向，在我們所有的項目中都可以橫向發(fā)現(xiàn)相關(guān)性。我逐漸意識到，我們處理每個新任務(wù)和新項目的方式中，都有某些恒定的元素：某些關(guān)注點始終存在，某些有效方案得到進一步改善，把自然力量作為基本設(shè)計元素……我已經(jīng)確定了這些恒定線，我最近在一個理論框架中將其構(gòu)建起來，并稱之為Hatching。

Hatching 在同一個思想體系中規(guī)劃我們多年來在項目和工作中構(gòu)思、研究和測試的假設(shè)和實驗、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“生命機器”的概念，旨在證明建筑構(gòu)筑物可以通過完全利用自然的力量和操縱形式來創(chuàng)造生命。在20 世紀，“未來城市”等概念試圖重塑人們的生活方式，為設(shè)計過程設(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)時舒適生活的標準。然而，回到建筑的基本原則，首個定居點是建立在氣候和地理條件更有利的地方。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，并且具有演變進化的潛能。

從這個意義上說，Hatching 探索出了諸多方法，以此創(chuàng)造一個能夠產(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需要的東西。通過利用和加強自然的力量，人造世界將成為綠洲，創(chuàng)造一個永恒棲息地，為生命提供理想的生存條件。通過Hatching，我們從一個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)樽匀皇澜纾谀抢?，自然的力量被用作設(shè)計工具，在不適宜居住的地區(qū)創(chuàng)造一個宜居的小氣候。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.