对结构与建筑材料的态度——关于瑞士格劳宾登州的新一代建筑师

丹尼尔·瓦尔泽/Daniel A. Walser

尚晋 译/Translated by SHANG Jin

建筑师在设计建筑的过程中仍能把控的是什么？建造过程的工业化、预制技术、不熟练的工人，以及由投资人驱动的建筑产业都带来了严格的限制。因为投资人似乎不再相信有好的建筑，其他行业既为建筑师创造了可能性，但同时又约束了他们。

山区经济资源有限、距离遥远，尤其需要特别的方法来维持生活。新一代建筑师为解决这些问题开辟了各具特色的道路。其核心是一种态度：建筑，是解决由结构所界定的空间组织问题的工具。建筑师将作品植根于形成其建筑和实践的文化中——位于山区的环境里。这里延续了手工艺和与建造材料特性相关的常识，以此能够充分利用建筑材料，并有针对性地发挥由空间限定的结构工程设计。本文将介绍3种不同的设计方法。

概念设计方法

本文呈现的建筑态度是与建筑相联系的方法。新一代建筑师关注的是今天作为建筑师进行设计和建造的普遍方法。这就是为何地段不仅在格劳宾登州地区当地是重要的，而且在具体的位置和时代品位之外还有诸多普遍性的主题。这种方法是非常概念性的。当然，不同方法之间的界限在设计过程中没有那么多样化，并且在很大程度上与建造的乐趣有关。建造对社会是有影响的、关系密切的，并具有更大的意义。

对于瑞士的新兴事务所，尤为重要的一个问题是公共建筑竞赛。对他们而言，这种竞赛对拓宽事务所的发展道路有很大帮助。像安德烈亚斯·利什（1927-1990）这样的上一代建筑师几乎建造了40所学校。他的事务所连续地承接公共项目。像彼得·卒姆托、瓦勒里欧·奥加提、云林和哈格曼事务所、伯思和德普拉塞事务所这样的新一代建筑师都是从公共学校建筑开始开拓自己事业的。尽管需要建造的学校越来越少，但学校系统的改革带来了新的工作，这些建筑师能通过公共项目将自己的工作室发展起来。首先就是大型委托项目。其中一个很重要的因素就是州建设部主任埃里克·班迪（1976-2002年在任）。他不仅关心公共建筑是否以最佳的方式建成，而且大力支持青年建筑师参加建筑竞赛。时至今日，基础设施已经建成，需要的是大量翻新。它们的建设请了更广泛的建造商和有特定知识的建筑师参加。这就让新兴的事务所很难赢得竞赛。而在过去只有本地的事务所可以参加州级建筑竞赛。如今，世界贸易组织/《关税贸易总协定》让竞赛面向国际参赛者开放。为了完成预选，州政府通过提高资质要求将参赛者减少到了可控的人数。这样，科琳娜·梅恩或安杰拉·多伊贝尔就需要在其他州参赛。今天的建筑手法不能是形式化的，而需要一种概念化的态度。这就是为什么拉斐尔·祖博尔可以在日本同奥斯陆建筑设计学院的学生设计出“颠倒住宅”，以及科琳娜·梅恩能在圣加仑建成她的办公楼。

上一代建筑师的影响

瑞士新一代建筑师的境况和过去是截然不同的。青年建筑师要从边缘领域起步。在建筑行业，格劳宾登州是汇集了彼得·卒姆托、瓦勒里欧·奥加提以及伯思和德普拉塞事务所等世界知名的顶级建筑师的中心。以彼得·卒姆托为代表的老一代非常重视展开关于公众认可建筑的讨论。他们还成立了“格劳宾登州工匠协会”（1978年），评选当地最杰出建筑的“格劳宾登州优秀建筑奖”（1987、1994、2001、2013、2017年举办），并出版了城市规划研究的成果（彼得·卒姆托关于维科索普拉诺的研究[1]和对现存村落弗林[2]和卡斯塔塞尼亚[3]的调查（均在格劳宾登州古迹保护部的指导下由彼得·卒姆托完成）。该项行动得到了私人基金会“格劳宾登州家园保护基金会”的支持。这个当地组织致力于保护建筑遗产，并与格劳宾登州空间规划学会（BVR）共同支持研究项目。这场1970-1980年代的行动着眼于发展山谷中的村镇，并为它们创造生存的机会。他们并不认同现代主义让一切焕然一新的观点，并抵制现在的商业化建筑投机。他们倡导的一个基本要素是纯粹性和当地传统建筑的非凡品质，以及村镇的空间特性和潜力。卒姆托工作室仍发挥着举足轻重的作用，即使他已不在格劳宾登州设计建筑。但很多国际青年建筑师都在他的工作室里，创作雄伟的建筑。

伯思和德普拉塞事务所、云林和哈格曼事务所，以及康拉丁·克拉沃特等新一代建筑师是从另一种态度出发的。一方面，他们更注重以建造和视觉相似性为基础的具体建筑关系。他们大多数都受过苏黎世联邦理工学院的米罗斯拉夫·希卡特的训练（被称为“类推建筑”运动），后来又在彼得·卒姆托的建筑事务所工作。1990年代初以来，这一代建筑师以结合现有文脉、特色鲜明的建筑影响了建筑的发展轨迹。

今天，除彼得·卒姆托之外还有两个最具影响力的人：吉翁·卡米纳达和瓦勒里欧·奥加提。他们或许是影响最大的建筑师。卡米纳达的作品非常关注地区建筑的多样性，并将处在边缘的聚落视为建筑发展的潜力。通过在弗林进行的干预和建设，他证明了一般建筑对当地社会的影响力和重要性，以及基于本地的建筑创作和手工艺的经济效用。

另一方面，瓦勒里欧·奥加提的侧重点在于建筑的理念和清晰性，以及建筑思想和建筑表达的力量。他对自身表达精确而非只从功能出发的独特建筑更感兴趣。他不在意同文脉的形式化关联。他能够理解日本建筑师筱原一男的思想：不同于阿尔多·罗西的观点，建筑文脉不再是至关重要的。

作为公共价值的建筑

如今，对于新一代建筑师，潮流已然改变，因为形势已今非昔比。人们再也不能通过当地竞赛建立起自己的建筑工作室，而趋势愈发多样化。原因在于培养建筑师的建筑学校越来越多样化，而新的趋势更加关注不同的方法。

新一代建筑师不相信图形或简化理论方法的作用。他们高度质疑既有的建筑潮流，因为它更多地是服从有效的法律管理制度，而不是探索建筑会给社会带来的可能性。这些建筑师把建筑当作一种研究，并相信建造方案能对社会产生影响。正如戈迪安·布卢门塔尔在一次讨论中所说的：“我们真正能做的就是：我们可以建造。”这主要表达的是一种观念，依靠建筑、材料和建造，我们就能在设计、塑造形体以及后来使用建筑和它改变大众日常生活的过程中影响社会。

大多数事务所不会承担很多公共项目。主要的项目都是私人委托，甚至是自发的行动，比如戈迪安·布卢门塔尔和拉蒙·卡保罗设计的伊兰茨“希尔普拉茨电影院”（2010），或者扬·贝尔尼和耶奥格·克朗恩布尔设计的斯鲁恩“灰石”体育场（2015）。从一个社会关注点出发，希望对公共生活产生影响的自发项目在边缘地区能够实现创新是至关重要的。当然，像吉翁·卡米纳达或彼得·卒姆托这样的建筑师对于这种项目是举足轻重的。吉翁·卡米纳达致力于弗林的发展，用建筑来支撑和巩固当地经济；而彼得·卒姆托则用他的理念：现存的村镇各有特色。

瓦伦达斯是一座衰败的小镇，几十年来已是人去屋空。经过多项研究，建筑师为这座衰落的村镇描绘了新的未来。建筑师卡保罗和布卢门塔尔发挥了特别的作用，他们进行了初步研究，探索如何通过重新激活村镇中心的4座建筑使它复兴。今天的瓦伦达斯获得了新的愿景，人们也在不断回归。其中的一个结果就是特雷胡斯的最终设计，这个全面的复原方案将尽可能保留原有建筑的主体，并让新的建筑提供今天所需的一切舒适条件。

What are architects still able to control when they design buildings? The industrialisation of the building process, prefabrication, unskilled labour and an investor driven building industry sets tight limits. Other professions contribute and limit the possibilities of architects because investors do not believe in good architecture anymore.

Especially in mountainous regions, where financial resources are limited and distances are long, specific methodological solutions can make life possible. A younger generation of architects have developed their specific way to approach to the tasks. It is about an attitude towards architecture as a tool, to solve spatial and organisational problems defined by structure. The architects have their work rooted in a building culture where they originate and have their offices: in a mountain setting. Here handcraft is still available and a direct common sense relation to materiality of construction,making efficient use of building materials and specified use of spatial defined structural engineering. One can find three different methodological approaches.

Conceptual design approaches

The presented architecture attitudes are connectional approaches towards architecture. The younger architects are interested in a more general approach how today one can design and build as an architect. That's why the positions are not just useful locally in the area of Grisons but have general themes independent from a specific site and the design taste of a specific time. The approach is a very conceptual one. Of course the borders between the different approaches are less diverse in the design process and have much to do with the pleasure to build and to build buildings, which have an impact on society, are relevant and have a larger meaning.

A very important issue especially for young offices in Switzerland are public architectural competitions. For them such competitions are an important help to start their offices. Older generations like Andres Liesch (1927-1990) were able to build almost 40 schools. His office contiguously had public work. Later generations like Peter Zumthor, Valerio Olgiati, Jüngling and Hagmann,Bearth and Deplazes started their own careers with building public school buildings. Fewer schools were needed but the reorganisation of the school system still gave work to do. The architects were able to build up their studios with public work. These were first large commissions. A very important factor was Erich Bandi,the head of the cantonal building department (1976-2002). He was not just interested that public buildings are done with the best solutions. He was a big supporter of young architects in architecture completions.Today the infrastructure is built and there are large renovations needed. In these completions more general constructers and architects with specific knowledge are asked to participate. This makes it difficult for younger offices to win a competition. And previously in the cantonal architecture competitions only local offices could participate. Today, with the international WTO/GATT contracts competitions need to be open for international participants. To be able to do a preselection the canton reduces the participants to a manageable number by raising the qualification needed.Therefore Corinna Menn or Angela Deuber needed to win their competition projects in other cantons. Today the architecture approach can't be formalistic but needs a conceptual attitude. That's why Raphael Zuber can design the Inverted House in Japan with his students from Architecture Faculty AHO in Oslo or Corinna Menn can build her office building in St. Gallen.

The influences of older generations

The situation for younger architects in Switzerland has changed completely. Younger architects start their career in peripheral areas. In architecture the canton Grisons is a centre with extremely good and world-wide recognised architects as Peter Zumthor,Valerio Olgiati or Bearth and Deplazes. The older generations as Peter Zumthor and others were very much involved in opening up discussion for a pubic recognising architecture. They even founded the association the "Bündner Werkbund"(founded 1978), a local architecture prize for the best buildings in Grisons "Gutes Bauen in Graubünden" (held 1987, 1994, 2001, 2013, 2017) and published urban planning researches (Peter Zumthor on the Vicosoprano[1]) and inventories on existing villages like Vrin[2]or Castasegna[3](both by the preservation of historical monuments department of the canton of Grisons done by Peter Zumthor). The movement was supported by the private fondation "Bündner Heimatschutz", a local society which takes care of building heritage, and supports research projects together with the society for urban planners"Bündner Vereinfür Raumplanung" BVR. It was a movement in the 1970s and 1980s with tremendous interest in developing the towns in the valleys and give them a chance to exist. They did not believe in the modernistic idea that everything should be new and fought against the existing economic building speculation. A basic element was the purity and the excellent quality of the traditional local architecture and the spatial qualities and its potential of the towns. The studio of Zumthor is still important; even he does not build anymore in the Grisons. But a lot of young international architects work in his studio and develop ambitious architectural programmes.

The next generation as Bearth and Deplazes,Jüngling and Hagmann or Conradin Clavuot started with a bit a different attitude. On one hand they are much more interested in the specific relation of the building based on construction and a visual analogy.Most of them were trained by Miroslav Šik at the ETH Zurich (a movement called "Analogic Architecture")and worked later at the architecture office of Peter Zumthor. This generation influenced the architecture discourse since the beginning of the 1990s with strong buildings, which are related to the existing context.

Today two other figures who are besides Peter Zumthor most influential: Gion A. Caminda and Valerio Olgiati. They might be the architects with the largest influence. Caminda focuses in his work very much on regional architecture diversity and sees the peripheral settlements as a potential for architecture. With his interventions and buildings in Vrin he was able to prove the power and the importance of normal architecture for a local society and the economical aspects of a local based architecture production and handcraft.

1 Domat/Ems二层平面，拉斐尔·祖博尔于2016年设计，一种空间设计方法已经建立。餐厅，起居室及设置有4个不同空间的露台/1st floor plan, Raphael Zuber, housing estate Domat/Ems (2016). A spatial design approach now built.Eating room, living room and a terrace with four different spaces.

2 位于库尔的博申古特居住区（2018）项目模型，梅恩·杜里·阿尔昆特设计，项目中心是一个开放的公共空间/Men Duri Arquint, Model of the Böschengu estate in Chur (2018)with the public open space in the centre.（摄影/Photo: Daniel Rohner）

总的来看，新一代建筑师有很多不同的设计方法：建筑类型的、概念性的和地方性（地域性）的。这些不同的方面不能总是区分开来，许多建筑师甚至会根据承担的项目采用不同的创作方法。

地域性方法

建筑师梅恩·杜里·阿尔昆特和科琳娜·梅恩在探索中形成了一种清晰的当代愿景和建筑样式，而其基础是开放思维的地域性方法。传统住宅的建筑类型、工艺做法和优美的细部是基本问题。对于阿尔昆特而言，建筑的地域性因素以及项目的空间本质是至关重要的。格奥尔·尼克逊和塞琳娜·瓦尔德则更多地从概念性的角度出发，将建筑理念放在中心地位上。尽管如此，他们能将自己的理念融入各种建筑类型和现有建筑的复杂关系之中。

梅恩·杜里·阿尔昆特认为更好的环境能改善我们的生活和环境。因此需要将建筑放在与场地和该地区特定建筑文化的关系中去。在作尔兹的混凝土楚迪之家（2012）中，他借鉴了当地的住宅类型，并使它成为一个室内的空间之光雕塑（本刊P26）。

在阿罗萨的施米特海尼住宅（2013）内，他进一步提升了空间的复杂性，用坚实的地下室和木结构将建筑包裹起来。凭借分层的组织方式，建筑师能够用传统的坡屋顶木住宅将建筑与环境结合在一起。

在库尔的博申古特居住区（2013-2018），建筑师构想出两排紧密的住宅，中间有一条公共走道。由于中间的空场，这个建筑群让人们想起了丹麦建筑师约恩·伍重和他的金戈住宅项目（1956-1958）；同时因为住宅没有花园，而是与空场直接相连，又呼应着山区的传统住宅。梅恩·杜里·阿尔昆特是相信城市主义的。他认为室内空间、建筑和城市之间是没有差别的。它们总是相互联系才会构成一个完整的项目。在这个低层高密度项目中，地域发挥了主要作用。

建筑师科琳娜·梅恩自己的第一个项目是弗利姆斯附近的科恩观景台（2006）。这个颇具表现力、对环境十分敏感的建筑亭亭玉立，几乎是飘浮在空中的。这是一种毫不张扬、尊重大自然的手法，同时又给人一种不可思议的感受（本刊P64）。

On the other hand Valerio Olgiati focuses on the idea of architecture and the clearness and the power of an architecture thought and building statement. He is much more interested in a good singular building which is a precise statement to itself and not so much based just in its function. He is not interested in a formalistic relation with the context. He understands the Japanese architect Kazuo Shinohara: a position against Aldo Rossi, where the architectural context is no more important.

Architecture as a public value

Today, for a younger generation the discourse has changed, because the situation has changed radically. One can't build up its own architecture studio anymore with local competitions and the discourse gets more diverse because of more diverse architecture schools where architects are trained and discourse is more particular on different methods.

The younger architects do not believe in the power of images or simplified theoretical approaches.They are very much sceptical of the established architecture discourse because it follows more the roles of an efficient legal administration and less the possibility architecture could have for society. The architects see architecture as a research and they believe in the built solution as a possibility to have an impact in society. Or as Gordian Blumenthal said once in a discussion: "what we really can do is:we can build." It is mainly about a belief that with architecture, material and the making of architecture we can influence the society during the design process, the building of the volume and later in the use of the building and its public influence in our daily lives.

Most of the offices do not build much public work. Most of the works are private commissions or even own started initiatives like the cinema "Cinema Sil Plaz" in Ilanz by Godian Blumenthal and Ramun Capaul (2010) or the Arena "Crap Gries" at Schluein(2015) by Jan Berni and Georg Krähenbühl. The phenomena of self developed projects with a social focus to have an impact in communal live are crucial to be innovative in peripheral regions. Of course architects as Gion A. Caminada or Peter Zumthor were essential for such projects. Gion A. Caminada undertook developments in Vrin, to support and strengthen local economy with architecture, or Peter Zumthor with his belief that the existing towns have qualities.

The example of Valendas, a small crumbling town where people moved away for decades. Based on several studies architects gave a declining village a new future. The architects Capaul & Blumenthal had a specific role as they did the first preliminary study how to redevelop a village by reactivating four central buildings in the core of the village. Valedas today got a new vision and people are moving back. One of the results is the final design of the Türalihuus, a radical restoration, where the existing building substance is kept as much as possible and the building offers all comfort we need today .

The younger architects in general have several different design approaches: a typological, a conceptual and a locality (territorial) approach. The different aspects can't always be separated and several architects even tend to work in different approaches depending on the project they work.

Territorial approach

The architects Men Duri Arquint and Corinna Menn explore and produce clear contemporary vision and version based on an open-minded territorial approach. Traditional house typologies, craftsmanship and good detailing are a basic issue. Especially for Arquint the territorial aspect of architecture and its spatial essence of a project are essential. Georg Nickisch and Selina Walder come more from a conceptual standpoint where the building idea is in the centre. Nevertheless they are able to transfer their idea in a complex relation with typologies and existing structures.

Men Duri Arquint believes that a better environment can contribute to our life and environment. So a building needs to stand in relation to its site and the specific building culture of the area. In the house Tschudi in Zuoz (2012), which is built in concrete,he refers to the local housing type of the area. But still he modifies it to an inner, spatial light sculpture(page26).

In the house Schmidheiny in Arosa (2013) he even goes further in his spatial complexity by using a solid basement and a wooden structure covering the building. With its split level organisation the architect is able to connect the building within the surrounding with its wooden traditional pitched roof house.

In the settlement Böschengut in Chur (2013-2018) the architect envisions two rows of solid constructed houses with a public corridor in the middle. With its open field in the middle the complex remind us of the Danish Architect Jørn Utzon and his Kingo housing (1956-58) project, but refers as well to traditional houses in mountain areas when the house has no garden but is directly connected to the fields. Men Duri Arquint believes in urbanism. He sees no difference between interior, architecture and urbanism. It is always interlinked to give a whole of a project. It is a low-rise high-density project, where the territory plays the main role.

The architect Corinna Menn built it as a first own project a viewpoint at Conn, close to Flims(2006). The expressive and very sensitive integrated construction almost doesn't touch the ground. It is a very unspectacular and respectful way, how to approach nature and still have an incredible sensation(page64).

In the dormitory for disabled "Scalottas" in Scharans (2006), she designed each central large room of the accommodation unit with an inner kind of pitched roof. This design follows the forces in each ceiling and stands in relation to the expression of the connecting corridors in old, traditional bourgeoisie houses.

In her project of the office building in St. Gallen(2014-2017), she only developed a precise building structure to provide open spaces for the client. The structure is thus totally moved to the facade and is specifically set for each floor and gets smaller in its size as the less weight it has to take on each floor. On the top floor a restaurant is located. Here the roof was spanned to the smaller side of the house where she has the firewalls.

Georg Nickisch and Selina Walder are more interested in the idea of a project. But in their Refugi Lieptgas in Flims (2013) they developed an architecture, which loses completely the existinghay barn but forever very single piece of wood of the barn leaves its signs in the concrete. The material wood is transferred to the material concrete as one changes as well the use of the building. This change is an almost classical Greek transformation from wood construction to a more solid stone construction(page38).

沙兰斯的“斯卡洛塔斯”（2006）是一所残疾人公寓。建筑师在公寓单元中心的每个大房间里都设计了一个室内坡屋顶。这个设计符合了每个天花板中的作用力，并与传统中产住宅通道的形式表达保持了关系。

在她的圣加仑办公楼项目中（2014-2017），她只设计了一个为业主提供开放空间的精确结构。因此，这个结构完全移到了立面上，并针对每个楼层进行了特别设计，随着每层荷载的减少而缩小。顶层上是餐厅。屋顶在这里跨到了住宅有防火墙的较小一侧。

格奥尔·尼克逊和塞琳娜·瓦尔德更感兴趣的是项目的理念。弗利姆斯的雷普格斯度假屋项目彻底拆除了原有的谷仓，但仓房的每块木料都在混凝土上留下了永久的印记。木材被转移到混凝土材料上，建筑的功能也随之改变。这种变化恰如希腊古典建筑从木结构演变为更坚固的石建筑的过程（本刊P38）。

维亚马拉峡谷是一处壮观的山丘地貌。难怪100多年前旅游业要将山谷的底部打通。建筑师伊凡诺·伊塞皮和斯蒂芬·库拉斯在这里建造了一座游客中心（2014），作为这个壮美景观的入口。他们是顺向思维的建筑师，所以也是合适的建筑师，能让人在山谷入口的要冲之地品味咖啡（本刊P44）。

设计理念的概念性方法

拉斐尔·祖博尔和建筑师安杰拉·多伊贝尔利用视觉结构来控制建筑，并实现大跨度，形成清晰的特质。建筑师瓦勒里欧·奥加提被认为是建立这种方法的重要人物。构成这个理念的已不再是支撑项目的文脉和文化或形式关系，而更多的是项目的内在理念。那么筱原一男成为路易·康之外的一个主要灵感来源便无足为奇了。

建筑师拉斐尔·祖博尔在阿尔卑斯山南侧的意大利语区格罗诺建造了他的学校和幼儿园（2011）。这个当代学校建筑的宣言与安德烈亚·帕拉迪奥及其他意大利建筑师的作品是一脉相承的。这座建筑是与结构工程师帕特里克·加特曼共同设计的，在打开建筑空间之后符合了抗震的规范（本刊 P52）。

“颠倒住宅”是一个绝好的例子，它表明建筑不需要针对某个特定地区，而是一种通行的手法。抽象的设计方法不再以图形、建筑类型或当地建造方法为中心，转而关注材料的使用、建造和空间。它们与场地和建筑所在的文化有关。这完全不是一种形式化的手法，而是综合了方方面面的和谐整体（本刊P56）。

塔尔校舍及幼儿园项目（2014），建筑师安杰拉·多伊贝尔设计了内部和外部的结构，而它们构成了建筑的空间界限。这就像一个框架，其中的每个元素都相互依赖。在这里，建筑没有模仿周围的坡屋顶，而是给小镇创造了一个中心，就像路易·康用他的建筑营造出来的效果（本刊P60）。

3 拉蒙·卡保罗和戈迪安·布卢门塔尔设计的希尔普拉茨电影院，2009-2010。该电影院作为一个社会空间，具有放映电影、举办音乐会和演讲的功能。建筑师在外向性的环境中创造了一个极为重要的交流中心。/Cinema Sil Plaz, Ilanz, 2009-2010, architects Ramun Capaul and Gordian Blumenthal. The cinema functions as a social space and shows movies, concerts and lectures. The project was initiated by the architects and creates an important centre for exchange in a peripheral situation.（摄影/Photo: Laura Egger）

地方性与建筑类型的方法

拉蒙·卡保罗与戈迪安·布卢门塔尔和米夏埃尔·海米的复原工程和新建筑表明，他们关注的是偏远地区的地方性问题和特定的建筑条件。当地建筑类型的运用、材料和精确的空间构成是关键内容。他们在伊兰茨完成了自己的电影院和大型超市等项目，从而推动他们所在的社会进一步发展。当然，他们以此赢得了新的项目，并坚信建筑会给社会带来重大影响。扬·贝尔尼和耶奥格·克朗恩布尔在本文最年轻的建筑师之列。他们的方法很接地气，因此对社会是有影响的。他们体现出彼得·卒姆托和吉翁·卡米纳达的设计手法，但没有那么教条。伊索·于翁德尔的态度不同于此，因为他更关注建筑形式在视觉和氛围方面的潜力。

伊兰茨的希尔普拉茨电影院（2010）是建筑师拉蒙·卡保罗和戈迪安·布卢门塔尔用夯土墙设计的简洁的隔声电影院。这个形体原来就有，但对于各种活动来说，这座电影院的基础设施不足，而且考虑到周围的住宅就需要吸声处理。利用当地的粘土，他们请本地工人建造了一座简洁的建筑。这是一个完美的项目实例，体现出事务所保持项目控制和组织项目的方法。

在瓦伦达斯的特雷胡斯的全面翻新中（2015），这两位建筑师挑战了业主出租建筑用于度假的旧观念。这座房子已经闲置了大约70年，成了群山中消亡村落的墓碑。建筑师为它增加了今天生活所需的条件，然后进行了清洁，保留了原状。由于资金不足只能进行基本风格的翻新，而事实证明效果不错，满足了周末度假的基本需要（本刊P70）。

位于达沃斯山脚下“有小餐厅的游泳屋”（2015）以诗意的方式给原有的池塘注入了新的活力。建筑师卡保罗和布卢门塔尔以现代的思路重新诠释了传统的木建筑。它是将抽象设计手法与乡村建造方法合二为一的杰作。他们籍此为当代建筑赋予了建筑文化富有活力的新意义（本刊P76）。

伦布赖恩的毛斯住宅改造（2010）对于度假的功能来说是简单而直接的。建筑师米夏埃尔·海米决定不把基础设施提升到当代水平，而是根据需要进行调整。例如，在寒冷的天气，窗户关闭时会增加窗帘，从而形成额外的保温层。

The Viamala gorge is an impressive mountain formation. No wonder more than 100 years ago tourism made the basement of the gorge accessible.The architects Ivano Iseppi and Stefan Kurath were able to construct a visiting centre (2014) as the entrance of the spectacular site. They are straightforward thinking architects and therefore the right architects for a solution that gives the possibility to have a coffee at a great place, which gives access as the entrance of the gorge (page44).

Conceptual approach of the idea

Raphael Zuber and the architect Angela Deuber use visual structure to control building, and to open large spanning, to be able to create a clear essence. The architect Valerio Olgiati can be seen as an important figure in the formation of this approach. It is not anymore the context and its cultural or formal relations which frame the project, it is much more the inner idea of a project, which forms the idea. No wonder Kazuo Shinohara is beside Louis Kahn a leading inspiration.

The architect Raphael Zuber built with his schoolhouse and kindergarten in Grono, which is on the southern, Italian speaking side of the Alps (2011)a manifesto of a contemporary school building, which is in direct relation with the architecture of Andrea Palladio and other Italian architects. The structure itself was developed together with the structural engineer Patrick Gartmann to open up the building,thus be able react to earthquake regulations (page52).

The "Inverted House" is a perfect example where the architecture is not focused to a specific area but a possible approach. The abstract design approach does not focus anymore on images, typologies or local construction methods but on the use of material,construction and space, which stands in relation to the site and the culture the building is built. It is not at all a formal approach but a virtuous integration of all aspects (page56).

In the schoolhouse and kindergarten at BuchenThal (2014) the architect Angela Deuber developed an inner and an outer structure, which form the spatial limits of the building. It is like a skeleton and each element depends on the other. Here the building does not want to imitate the pitched roof surrounding but gives the town a centre, as Luis Kahn was able to give with his buildings (page60).

Locality and typological approach

The restorations and new buildings done by Ramun Capaul & Gordian Blumenthal and Michael Hemmi show that they occupy themselves with local questions in remote locations and its specific building conditions. The use of the local typologies,material and the precise formulation of space are key themes.They create some of their own projects like the cinema or a large supermarket in Ilanz to further develop the society where they live. Of course they get new projects that way but have an important belief in a strong impact that architecture can have for a society, Jan Berni and Georg Krähenbühl are one of the youngest architects presented here. Their approach is very down to earth and consequent to have an impact in society. They reflect the design approaches of Peter Zumthor and Gion A. Caminada but are less dogmatic. Iso Huonder has a different attitude because he is more interested in the visual and atmospheric potential of architecture forms.

In the Cinema Sil Plaz, Ilanz (2010) the architects Ramun Capaul and Gordian Blumenthal designed a simple, soundproof cinema space with rammed earth walls. The volume already existed, but for events the cinema lacked infrastructure and the neighbour in the house needed sound absorption. By using local clay they were able to build a simple construction with local workers. That's a perfect example of a project, which is a method to keep the control of a project and to organise projects for their office.

In the radical renovation of the Türalihuus in Valendas (2015) the two architects challenged the way architecture still is accepted by clients to rent for holidays. The house stood empty for about 70 years.It stood there as a monument of the dying village in the middle of the mountains. The architects added to the building what was needed for today's quality of living and just cleaned and conserved what was there. The lack of money helped to do a basic style renovation, which proved effective – as the essential basics needed for weekend stay (page70).

The swimming house with small restaurant in Davos Munts Vattiz, (2015) are a poetical reactivation of the existing pond. The architects Capaul &Blumenthal were able to rethink the traditional timber construction in a modern way. It is a masterful way of bringing together an abstract design approach with the rural construction methods. So they give building culture a vividly new meaning for architecture today (page76).

The remodelling of the house Chesa Maus at Lumbrein (2010) is simple and direct for holiday purpose. The architect Michael Hemmi decided not to bring the infrastructure to contemporary standard but to adjust, what is needed. For example, when it is cold one closes the windows with extra curtains to get an extra layer of insulation.

The communal work place for the two villages Räzüns and Bonaduz (2009-10) which Hemmi designed together with Michele Vasella, and Norbert Mathis is a traditional wood construction called Strickbau but not horizontal but vertical. The poetry of the structure lies in the consequent thinking and the reduction of the design elements. That's why it seems to be a very modern architecture and still as much to do with the local history (page80).

The Raiffeisen Arena "Crap Gries" in Schluein(2015) by Jan Berni and Georg Krähenbühl show not just the poetry of architecture but also the possibilities, which a construction can have, when it opens new economical and social possibilities for the town. It is not just a building to play football - it is a motor for society (page92).

In addition to the modernisation of the camping Ogna in Trun (2016), the architect Iso Huonder shows his fascination for the visual aspects of architecture and the intellectual poetical relation architecture and a site can have. His camping buildings are very fictional but still work as a sign.The buildings are clear and very specific in their construction and expression (page86).

雷钦斯和博纳杜茨这两个村庄的公共工作空间（2009-2010）是海米与米歇尔·瓦塞拉和诺贝特·马蒂斯共同设计的。它是对传统“井干”木建筑的一种演绎，但不是水平向的，而是竖直向的。结构的诗意蕴含在生成的思想和设计元素的简化之中。这就是为什么它看上去很像现代建筑，又与当地的历史有莫大的渊源（本刊P80）。

扬·贝尔尼和耶奥格·克朗恩布尔在斯鲁恩设计的赖夫艾森“灰石”体育场（2015）在为小镇带来新的经济社会机遇时，不仅展现出建筑的诗意，还有建造带来的多重可能。它不只是踢足球的地方，更是社会的一架引擎（本刊P92）。

在特伦的乌那营地现代化改造（2016）之外，建筑师伊索·于翁德尔表现出他对建筑视觉因素的痴迷，以及建筑和场地能够具备的诗意关联。他的营地建筑颇具幻想性，同时也是一种符号。这些建筑的建造和表达清晰而明确（本刊P86）。

4.5 文化之家是卡保罗及布卢门塔尔在2017年设计的项目。建筑师将两个历史地块与新的用途连接起来，形成一个集展览与就餐为一体的空间——包含了公共演讲及活动。对建筑师来说，通过在历史结构中创造出全新的空间品质，从而谨慎地改变现有建筑材料是很重要的事情。在先前的改造项目中，其改造手法是精细地恢复历史遗迹，而其后的项目，建筑师通过拆除建筑固有的旧地面和屋顶结构，创造了一个适合展览的全新空间，这种干预更为激进/Project for a house of Culture "Obere Stube", Stein am Rhein (2017), Capaul & Blumenthal Architects. The house of culture is a complex project where the architects connect two historical plots with new uses: public lecture and event space, a space for exhibitions and restaurant.Important for the architects is the careful transformation of the existing building substance by creating new spatial qualities within the historical structures. In the front building the intervention is more subtle by restoring the historical substance while in the back building the intervention is more radical by removing the old floor and roof construction and creating a new space suitable for the new exhibition function.

作为本质的结构

结构工程是各个事务所设计过程中举足轻重的因素之一。工程师帕特里克·加特曼、瓦尔特·比勒、洛伦茨·科赫、安德利亚·佩德拉奇尼目前都是格劳宾登州推动空间建筑结构发展的关键人物。他们赋予了结构工程一种特殊的意义和明确的态度。

可持续性

可持续性对于这些建筑师既不是目标也不是时尚。它是处理社会、经济和生态问题，并将建筑置于社会中心的直接方案。这些建筑师运用几乎过时的设计手法将他们的建筑与今天的需求联系起来。

拉蒙·卡保罗和戈迪安·布卢门塔尔通过利用当地材料、建筑类型和本地社会参与，有效地推动了关于可持续性的讨论。对手工艺和天然建筑材料的信任是创造明确而可持续的建筑的一大动力。这种建筑能够在当地建造，维持乡村地区的经济，并无需提供短期方案的建筑专家支持。

建筑师伊凡诺·伊塞皮和斯蒂芬·库拉斯用高速公路站（2008）创造出远离品牌形象的特殊建筑。他们在这里出售当地产品，并清楚这不是从别处来经营的大公司，故而让当地人来参与。这种匠心给了这座高速公路站一种土生土长的味道。

在图西斯的维亚马拉峡谷游客中心项目（2014）上，建筑师更进一步，设计了一座颇为低调的建筑，并帮助投资人使这座建筑成为现实。这些建筑师在很大程度上参与了建筑的策划和投资。

所有建筑师都参与了很多原有建筑的改造。我们可以看到像梅恩·杜里·阿尔昆特设计的阿尔德茨的诺特比塔尔府（2013）那样壮观的老建筑改造。它表明这些领域具备富有革新性和诗意的可能。原建筑主体的再利用和深入开发是更有意义的。

前世传承下来的深厚积淀

所有这些思路都不是从天而降的。建筑师鲁道夫·奥加提（1910-1995）在现代与传统建筑之间架起了一座桥梁。彼得·卒姆托等其他建筑师在1970年代推崇本地建筑。在对弗林和维科索普拉诺的建筑研究中，他形成了关于当地空间特性的具体认识，并清楚建筑和城市规划能够实现的效果。

像吉翁·卡米纳达这样的建筑师有力地证明了社会参与能够改变一个村庄，并使它适应当代的需要。他的目标是突出每个村镇的差异，让它们独一无二的特色更加鲜明。为了培养这种特别的思维，他走入乡村社会，从这种共同发展中形成了自己的设计方案。

核心因素

对于这些建筑师，核心是将建筑提炼到真正的需求上；同时保持不失为有特定方案的突出设计。他们形成的核心理念是远离风格化设计的态度的。这不是前人的教条，而是准确、鲜明的方案，由结构和材料特性构成的建筑。

Structure as essence

Structural engineering is an essential aspect in the design process for all offices. The engineers Patrick Gartmann, Walter Bieler, Lorenz Kocheror, Andrea Pedrazzini are at present key figures in the development of spatial building structures in Graubünden. They give structural engineering a meaning and a clear attitude.

Sustainability

Sustainability is for these architects neither an aim nor a fashion. It is a direct solution dealing with social, economical and ecological questions to fit the architecture in the middle of the society. The architects use almost old-fashioned design approaches to connect their buildings with the demands of today.

Through their use of local material, typologies and local social involvement, Ramun Capaul and Gordian Blumenthal especially, are very much involved in a sustainability discussion. The trust in handcraft and natural building material is a driving force for a clear and sustainable architecture that can be locally produced, keeps the economy in such rural areas and does not need any support from building specialists with short time approaches.

The architects Ivano Iseppi and Stefan Kurath built with the motorway stop (2008) a specific building far away from branded images. Selling local products and taking care that it is not a big company from somewhere running the place but that locals are involved gives this motorway stop a specific,local touch.

In the Viamala Visiting centre project in Thus is(2014) the architects even go further by designing a very modest building and help the investors to able the building to actually be built. The architects were very much involved in the defining the programme and the financing structure.

All architects are very much involved in remodelling existing building structures. Because one can find such impressive and old architecture structures, remodelling buildings like the Fundaziun Not Vital by Men Duri Arquint in Ardez (2013) show that there areas well radical and poetic possibilities.The reuse and further development of existing building substance makes more sense.

建筑师梅恩·杜里·阿尔昆特在阿尔德茨主持设计的诺特比塔尔府修复项目，对格劳宾登的建筑师和城市规划师来说，房屋更新和旧有建筑材料的复兴及明确现有的城市状况是一项重要的任务。/Renovation of the Fundaziun Not Vital in Ardez by the architect Men Duri Arquint, 2013. Renovations and revitalisations of old building substance and existing urban situations is an important task for architects and urban planners in Grisons.（摄影/Photo: Ralph Feiner）6

A strong basis by previous generations

All these strategies have not just fallen from heaven. The architect Rudolf Olgiati (1910-1995)bridged modern and traditional architecture. Other architects like or Peter Zumthor were in the 1970 extremely involved to develop a local architecture. In his architectural researches such as his study in Vrin or Vicosoprano he prepared a specific consciousness of the local spatial qualities and what one can achieve with architecture and urban planning.

Architects like Gion A. Caminada are important proof that with social involvement a village can change and adapt to today's needs. He aims to strengthen the differences of each town and village to make them even more unique. To develop such specific thinking,he involves the village society and from this mutual development he builds design solutions.

Essential

Essential for these architects is that the building

/Reference

[1] Zumthor, Peter. Vicosoprano. Entwicklung eines gestalterischen Grundgerüstes für eine Bauzone mit privaten Einfamilienhäusern am Dorfrand, Chur:Bündner Vereinigung für Raumplanung, 1980.

[2] Zumthor, Peter. Siedlungsinventar Graubünden.Vrin. Lugnez, Kantonale Denkmalpflege Graubünden,Chur, 1976.

[3] Zumthor, Peter. Siedlungs-Inventarisation in Graubünden. Aufgabenstellung und Methode des Bündner Siedlungsinventares mit Inventar Castasegna,Chur: Kantonale Denkmalpflege Graubünden, 1981.is reduced to what was really needed; yet a strong design with specific solutions remains. They develop an essence far away from stylish design attitudes. Not dogmatic as previous generations but precise and sharp with their solutions. Architecture formed by structure and materiality.