彼特·鲁格专访

文字/采访：Alison Pedder， Peter Ruge Architekten， Berlin

彼特·鲁格专访

PETER RUGE INTERVIEW

文字/采访：Alison Pedder， Peter Ruge Architekten， Berlin

-以你在欧洲和亚洲丰富的实践经验，你认为在两种文化背景下进行设计的优势在哪里？-

我认为在两大洲工作，有趣的部分是是可以体验不同的文化，将不同的思路用于空间以及建筑设计的形成。在德国，建筑设计最传统的开始方法是首先专注于建设基础设施，为其后的建筑成果奠定基础。而在亚洲我发现了一个更全面，更以文化导向的方法存在着，并指导着设计的方向。

而我们的做法即是加强我们德国已有的方法，在设计中利用自己的优势，取其精华去其糟粕。我们相信，在建筑设计中，新高科技术技术支持是一方面，同时了解当地文化，并与自然环境和谐的融合也是重要的一方面。

-这引导了我产生了第二个问题。你有从中国的自然景观和建筑形式中获得了什么样的启示？-

对我来说中国和德国之间最大的区别是空间方式的对比上，反映出了非常不同的文化价值观和生活方式。中国有着和整个欧洲一样大的地域面积，并且有着若干世界上人口最稠密的城市。然而这些城市的名字很少被欧洲所熟知。但恰恰是这些城市显示出了对空间完全不同的处理方式，因此极大程度地改变了中国建筑师的设计手段。

中国的建筑空间概念被用地量所限制。对空间的不同的安排给了这个国家生活的方式；这些建筑景观就像城市的语言一般。在我第一次访问中国时，我很荣幸与蒙古族首领一同旅行，他充当了两种语言的翻译。在这里，我听到反映中国文化的两种不同的语言，通过他们的文化影响着当地的空间品质。

-如何将文化素质转变为建筑质量？-

这是一个非常有趣的问题。通过在这两个大洲的频繁广泛的合作，我相信，我已经形成了一种在建筑和城市设计中跨文化的方法。我不觉得每个项目时有存在着在东方和在西方的差异。我在“在两者之间”发现了一些新的东西。

我们把这个东西利用在设计被动式房屋布鲁克的时候，即把这个国家传统的建筑结构作为我们的出发点。将空间，建筑和外立面相互分离。设计理念融合了空间概念的三要素； 单间客房和公寓，创建一个空间的集合；框架显示了施工的方法；和外部的立面像在给结构织“毛衣”，以保护建筑物。

建筑物的技术要求，如气候，室内温度的调节，风向，地震，建筑朝向和功能，也被考虑在内。将悠久的中国历史和现今的高新技术相结合，成为了在中国当代的节能发展和可持续的一个很好的建筑设计例子。

-在设计被动式房屋布鲁克这个过程中，你有没有遇到什么问题？（语言障碍，建筑技术，或......）你怎么处理？-

肯定会有语言障碍，但要想办法结合不同的方式，以面对不同的建筑施工挑战。要克服这些的唯一方法是投入实践去讨论悬而未决的问题，直到他们得到解决为止。

-可持续建筑的主要部分是...？

可持续建筑时要在可持续性的三大支柱即生态，经济和社会之间达到平衡。这涉及到对建筑物各个部分进行全面的设计评估，由此来确定一个最佳的解决方案，并以此来指导我们的下一代。

-你是如何觉得可持续发展与城市规划的关系？什么是未来的发展趋势？-

就目前的情况来看，至少在德国，广大建筑师声称要生产可持续建筑，但是他们的实践重点却只从一个单一的角度来看，如融资，或节能减排，或社会条件。我的目标是将这些意见结合起来，以一个整体的角度来看。

目前社会迫切需要是生产资源节约型建筑，这应该延伸到如何设计，才存在能够在整个生命周期中有进行调整的可能性来应对最终的拆除，最大限度地减少对环境的影响。这是我对未来趋势的预测，这将反映在通过数字智能资源优化整个城市，建筑，和资源的利用。

-让我回到你的设计中的技术元素，它的能源效率。你是如何计算舒适的内部空间的，用什么方法来确保这些目标的实现？-

为了创造新的建筑集成技术，进步的新建筑总是比提高现有结构的能源效率更直接。设计新的建筑物时，优化的第一阶段开始于计算所需绝缘的墙，屋顶和地板的量，接着使用三层玻璃和密封剂窗。下一阶段解决通风，热交换室内的空气，使整个建筑冷却热交换。最高水平是建筑物的能源生产需要修改，通过机械系统，帮助建设实际操作起来更有效率。

-近日被动式房屋布鲁克已经在中国长兴完成。你做了什么样的措施，以达与传统的中国建筑相比可以减少95%的能源消耗？ -

是的，被动式房屋布鲁克作为一个可持续发展标准的建筑只会损耗5%的能源。对我们来说，一个被动式房屋的意义即在于不需要主动提供能源，如在白天利用太阳，在冬季利用光和热。我们喜欢把它类比成一个结构的一大“套衫”，这意味着内部和外部条件能够完全相互分开，除非用户需要调整。另一个被动式房屋的重要因素是能量的消耗，如机械辅助自然通风或传感器操作的照明系统的调节。

-从你开始你的职业生涯的第一天到现在，你肯定经历了很多不同的阶段了。你在不同的阶段的设计概念是什么？不同的设计概念是如何影响你当前的设计理念的？-

当我着手进行一个新的项目，我总是以全新的面貌面对，就像一张全新空白的纸张。从我开始的第一天，我就不段寻找新的挑战。对我来说，关键是要把握抓住新的想法，并找到解决空间挑战的创新方法。这一过程涉及对每个项目进行综合评价，将两种文化背景融合，这和可持续发展的需求一样。

-你是如何看待你作为一个建筑师的角色？-

一个有着很多有趣设想的故事家。

-在你的职业生涯中，有什么人对你有显著的影响？他/她以什么方式对你产生了影响？-

我要感谢我的朋友和老师GÜnter Nitschke，他对日本庭园和亚洲建筑的深刻洞察对我有着很大的印象 -他称我是文化间谍。

-从你的事务所网站上，我们看到你在中国有一些项目。你对这个国家和其建筑的第一印象是什么？你可以跟我们分享一下你第一次去中国的故事吗？-

我第一次访问中国是在九十年代，去苏州，我在那里完成了联合国保护区的图纸绘制。我深受中国5千年历史文化的吸引，感到自己和这个国家有紧密的联系，并且很想回到中国继续工作。我没有预料再次返回中国和这之间隔了12年的时间，我更没有预料到从那时起，我开始在中国和德国之间频繁往返。

-你向我展示了一些非常具有启发灵感的照片，是你在中国杭州对一个旧厂房改造的照片，你能给我一些线索，你是如何完成这个美丽的设计的？-

这个旧厂房基本上是一个开放的空间，是从苏联时期遗留下来的 -即中国生产钢的年代。我们的客户希望将20000平方米投入用以重建。首先，我们必须决定的多少空间应该继续保留。因为其最初的功能是一个工厂，设计的方向是需要与现有结构形成和谐关系，但有要适应当代。因此与现状相对比的是，在两个中心区域的设计了白色的椭圆“钻石”，以时间和压力的独特组合来创建该项目的特点。

-你是说永恒的钻石？-

是的，绝对的，永恒的钻石！但是，自然资源是绝对不会永恒存在的。所以在每个国家包括中国在内，我们的设计，都是利用了当地的资源来进行建筑物的施工和维护。

-最后，设计该如何满足建筑的需求？-

作为建筑师，我们不仅对建筑感兴趣。好的建筑，在我们的理解是，应该是可以应对人类不断变化的需求，文化和生活方式的建筑。我们选择生活的空间是有助于保留老传统，同时也又创造了新的空间。在这一点上的建筑和设计满足应始是活的，是不断前进的，是对空间的豪华享受，是不可定义的。

- Having practiced extensiveIy in both Europe and Asia， what have you found to be the advantage of designing within the context of two cuItures？ -

What I find interesting about working within two continents is experiencing different cultural approaches to space， architecture， ways of developing ideas. A german approach conventionally begins with the technical，focusing firstly on the buildings infrastructure to create a foundation for design outcomes. Whereas in Asia I have found that a more holistic，culturally informed methodology exists that guides the direction in which a design takes place.

Our approach seeks to enhance established methodologies and harness their strengths through designs that are considered and sensitive. We believe that how we produce architecture is an important step toward creating environments that are highly technologically developed on the one hand， and also demonstrate a natural understanding of form and culture.

- This Ieads me immediateIy to my second question. What kind of inspiration have you sought from the naturaI form and architecture of China？ -

The biggest difference between China and germany for me is the contrast in the way that space has been appropriated， reflecting very different cultural values and lifestyles. China is geographically as big as Europe and has some of the largest， most densely populated cities in the world， but whose names are still rarely recognized in Europe. These kinds of cities reveal completely different approaches to space and therefore dramatically alter the means by which they are organized.

The Chinese concept of space is fixed and bound to the site. The arrangement and prioritization of spaces gives voice to the nation's ways of life； these built landscapes speak like an urban language. The first time I visited China I was privileged to be traveling with the Mongolian president，who was provided with a direct translation between the two languages. Here I heard two different voices reflecting the language of their cultures，and through culture the quality of their spaces.

- How is the quaIity of cuIture transposed into the quaIity of architecture？-

That is a very interesting question. Through having worked extensively in both continents， I am convinced that I have developed an intercultural approach to architecture and urban design. I do not feel the differences in our projects in terms of orient and occident. I have found something new：the ‘in -between'.

We took this provocation as our starting point when developing the Passive House bruck， and referenced in detail the country's traditional temporary structures. space， construction and skin are separated. The design concept combines three elements of spatial conception； a collection of single rooms and apartments that create one space； a woven framework to inform the method of construction； and an exterior skin drawn over the structure as a ‘pullover' to protect and enclose the building's volume.

The technical demands of the building， such as climate， regulation of interior temperature， wind direction， earthquake proficient foundations，orientation and functionality， are also taken into consideration. The combination of a time-honoured and technologically advanced approach will become an excellent example for the development of modern energysaving and sustainable architecture in China.

- During the process， did you encounter any probIems when constructing Passive House Bruck？ （Ianguage barriers， architecturaI technique， or…）How did you deaI with them？ -

There is always the challenge of language barriers and finding ways to combine differences in approach to the construction of a building. The only way to overcome these is to take your time and firmly discuss the open questions until they are solved.

- The major part of sustainabIe architecture Iies in...？ -

A balance between the ‘three pillars' of sustainability： ecology， economy and social. This involves a holistic approach toward the evaluation of a building's components to generate paradigms that direct us toward the best possible solutions for future generation（s）.

- What do you think of sustainabIe and urban design？ What is the trend in the future？ -

The current situation， at least in germany， is that the majority of architects claim to be producing sustainable architecture， despite their best practice focusing on only a single point of view， such as financing， or energy reduction， or social conditions. My aim is to combine these aspects and to embrace a holistic perspective based on the origin of a location. The present urgent demand to produce resource-efficient buildings should extend to the possibilities of how a building can be adjusted throughout its life-cycle， and should address the challenge of eventual disassembly that minimizes environmental impact. It is my prediction that future trends will reflect an optimization of the city， its architecture and the use of resources through digital communication.

- Let me come back to a more technicaI eIement of your designs，that of energy efficiency. How do you caIcuIate comfortabIe interior spatiaI conditions and what methods do you use to ensure that these goaIs are achieved？ -

To create new buildings that integrate progressive technologies is alwaysmore straightforward than improving the energy efficiency of existing structures. When designing new buildings， the first stage of optimization begins with calculating the amount of insulation required for walls， roof and floor， followed by the use of triple-glazing and sealants for windows. The next stage addresses ventilation， heat exchange of in-coming and outgoing air， and the efficient distribution of heating or cooling throughout the building. At the highest level of scrutinisation， the building's production of energy requires modification， achieved through the implementation of mechanical systems that assist the building to operate more efficient.

- RecentIy Passive House Bruck has been compIeted in Changxing，China. What kind of provisions are you making to achieve a 95% reduction in primary energy compared to a conventionaI Chinese buiIding？ -

Yes， Passive House bruck will only use 5% as much energy as a standard Chinese building. For us， a passive house means using only systems that avoid any additional operation of the building， such as utilizing the sun in winter for light and heat during the day. We like to think of it as dressing the structure in a big ‘pullover'， meaning that the interior and exterior conditions are able to be completely separated from one another， unless the user adjusts the building otherwise. Another important factor in a passive house is the regulation of the active consumption of energy， such as mechanically assisted natural ventilation or sensor operated lighting systems.

- Since the day you started your architecture career， you must have gone through different stages. What is the design concept at different stages？ How do different concepts infIuence your current design concept？ -

When I embark upon a new project I always begin with a fresh， empty，white sheet of paper. I am looking

for new challenges， as I have been since the first day I started. For me， the key is to grasp hold of new ideas and to find innovative ways of addressing spatial challenges. This process involves a comprehensive evaluation of each project that prioritizes both cultural background and sustainable demands equally.

- What do you see as your roIe as an architect？ -

A story teller with an interesting vision.

- In your career， is there a person who has had a significant influence on you？ In what way has she/he influenced you？ -

I would like to thank my good friend and teacher günter nitschke for his deep insight of Japanese gardens and Asian Architecture - and for calling me a cultural spy.

- From your website， we know that you have some projects in China. What is your first impression on this country/ architecture？ CouId you share with us some stories about your first visit to China？ -

My first visit to China was to suzhou in the early nineties， where I completed drawings for the conservation area of the United nations. Inspired by the country's 5000 years of culture， I felt an instant connection and deep desire social conditions. My aim is to combine these aspects and to embrace a holistic perspective based on the origin of a location. The present urgent demand to produce resource-efficient buildings should extend to the possibilities of how a building can be adjusted throughout its life-cycle， and should address the challenge of eventual disassembly that minimizes environmental impact. It is my prediction that future trends will reflect an optimization of the city， its architecture and the use of resources through digital communication.

- You showed me some very inspiring images from a factory renovation project that you designed， in Hangzhou. CouId you give

me some cIues as to how you approached this beautifuI design？ -

The factory was basically an open space， left over from the Russian-Chinese period of steel production. The client wanted to insert 20，000 m2into the building and implement a new function. Firstly we had to decide how much the space should continue to reflect its initial function as a factory， which guided the design in a direction that required a harmonious relationship with the existing structure. In contrast to the industrial envelope， two ‘white diamonds' were gently placed within the halls，representing the unique combination of time and pressure to create an object of intrinsic beauty and inherent strength.

- You mean diamonds are forever？？？ -

Yes， absolutely， diamonds are forever！ However， natural resources are definitely not， and in every country in which we find ourselves designing，China included， we take measures to ensure the responsible and sensitive use of local resources in the construction and operation of our buildings.

- At what point does design meet architecture？ -

As architects we are not only interested in just building. good architecture，as we understand it， is the static response to the condition of human needs， to the rhythm of culture and subsequently， lifestyle. The spaces which we choose to inhabit become instrumental in the preservation of old traditions， and also the creation of new ones. The point at which architecture and design meet should always be moving， and in the most luxurious of spaces， undefinable.