独家专访 | 永恒的建筑设计是否会泯灭于模块化结构的工业生产之中？

DESIGN WAREHOUSE

What's Next in Wood Design and Sustainability

 ©Nicholas Kielbasa

在建筑领域里，对于“预制化”，人们听到的更多的或许是“模块化”。在建筑建造中，模块化指的是预制化的后半部分流程，即指建筑部件在工厂生产完成之后，再运到现场对部件进行标准化的拼装。

“模块化”的适用范围相比“预制化”或许更广泛，但在建筑领域，模块化会扮演什么角色？是会因为机械化的过程而限制建筑师对创意表达的追求，还是会因为高效的建造简化建筑师完成创意的步骤？

作为世界顶级建筑事务所的 gmp 近年来关注于模块化木结构建筑设计，这对整个行业都是一个未来发展风向标，Design Warehouse 相信这必将给我们的读者带来重要的启发。

#01 

    gmp 及其项目介绍

gmp·冯·格康，玛格及合伙人建筑师事务所（后简称“gmp”）是一家来自德国的国际化建筑事务所，在全球多个国家与地区设立了分部。

五十多年来，他们依循一个共通的设计理念，与业主和各方合作团队建立起对话式关系，在世界各地不同的文化背景下从事不同规模的设计建造。在建造新建筑和改造历史建筑时，不随波逐流，旨在保持建筑整体的持久生命力，同时兼顾全球化的挑战以及城市化、数字化和流动性等课题。

gmp 设计的慕尼黑加斯泰格汉普8号伊萨尔爱乐音乐厅（Gasteig HP8 Isarphilharmonie, München，简称慕尼黑爱乐音乐厅） 由全木制插件系统组成，并配以钢结构，构件预制过程与钢结构的搭建同时进行，缩短了建造时间，也方便日后拆卸和重组，将高效和可持续的建筑方式与建筑美学相结合，获得了极高的评价。

▲慕尼黑爱乐音乐厅  ©HGEsch

法兰克福西区模块式校园建筑（Westend Modular School Campus, Frankfurt ）的设计使用预制木模块作为临时结构，依靠模块化建筑提出了一种快速、高质量的解决方案，该方案与传统建筑方案相比，施工时间缩短了近60%。法兰克福学校虽为临时搭建，设计师却仍然以最高能源节约标准要求设计：其消耗量比现行节能条例（EnEV）规定的值低30%。

Design Warehouse 有幸采访了gmp 建筑事务所合伙人兼执行总裁施特凡·胥茨（Stephan Schütz）先生，为大家分享更多 gmp 项目背后与木结构、模块化设计建造密切相关的经历与经验。

#02

    建筑设计与模块化的碰撞——施特凡·胥茨先生专访

代表作品有慕尼黑爱乐音乐厅

德累斯顿文化宫改建及修缮

中国国家博物馆改扩建

中国工艺美术馆中国非物质文化遗产馆

亚洲金融大厦暨亚投行总部、顺丰总部大厦

杭州南站、深圳大运中心

D|W：在当今全球化挑战下，作为世界领先的设计公司，贵公司在可持续发展方面有哪些创新？Considering the global challenges today, as world-leading design firm what have been your firm's innovations when it comes to sustainability?

 S.S ：可持续发展往往与创新、主要是技术产品联系在一起。我认为这只说对了一部分。对我来说，可持续发展就是要尽可能谨慎地处理我们现在拥有并可以继续使用的东西。因此，我们今年在威尼斯举办了一场名为“UMBAU·改建，不间断转变（UMBAU.Nonstop Transformation）”的展览，旨在反对建筑中的任何浪费行为。It happens very often that sustainability is associated with innovative, mostly technical products. I think that is only partially correct. For me, sustainability consists of dealing as carefully as possible with what we have today and can continue to use. That's why we have organised an exhibition on the occasion of this year's Architecture Biennale called UMBAU.Nonstop Transformation, which is directed against any throwaway mentality in building.

▲

©Marcus Bredt

D|W：许多中国设计爱好者可能没有注意到，gmp 在设计中对木材的使用已有40多年的历史，生物基材料（如木材）对 gmp 设计意味着什么？Many Chinese design fans may not noticed that gmp has a history design with timber for already over 40 years, what bio-based material e.g. timber means to gmp design?

 S.S ：事实上，作为一家在中国设立分部的事务所，我们很难被视为木结构建筑方面的专家。这当然是由于中国相关的建筑规范并不真正支持木结构或木质外墙覆层，而我们迄今为止的项目规模正受限于此。对我来说，木材作为一种建筑材料，传达了一种与自然的切实亲近，一种建筑与景观的和谐。In fact, as an office in China, we are hardly perceived as experts for timber constructions. This is certainly due to the fact that the building laws in China do not really support timber constructions or timber cladding of facades for the scale of our projects to date. For me, wood as a building material conveys a tangible closeness to nature, a harmony between architecture and landscape.

▲德国格拉斯瓦尔德自然保护区鸟类观察站 ©Heiner Leiska

D|W：gmp 在法兰克福设计了世界上最大的木结构学校之一，为什么选择用木结构和模块化建筑方式来设计这个项目？gmp has designed one of world’s largest timber school in Frankfurt, why did you choose to design this project with timber and in a modular construction way? 

 S.S ：法兰克福的这所学校被设计为临时建筑，必须在短短 24 个月的规划和施工时间内完工。在这里，共 350 个模块采用了预制方式，使用期满后可拆卸并在另一地点重新组装。The school in Frankfurt is designed as a temporary structure that had to be completed in just 24 months of planning and construction. Here, the prefabrication of a total of 350 modules presented itself, which can be dismantled after the period of use and reassembled at another location.

▲法兰克福西区模块式校园建筑  ©Marcus Bredt

D|W：木材对学校来说是一种健康的材料，但在防火和建筑规范方面也有许多限制，您的设计面临的最大挑战是什么，您是如何克服的？Timber is a healthy material for schools, but it also has many constraints when dealing with fire protection and building codes. What were the biggest challenges in your design and how did you overcome them? 

 S.S ：由于学校只有三层楼，消防安全问题相对较少。在一楼需要跨度超过 8 米的区域，我们采用了混凝土柱和梁的结构，因为纯木结构的跨度相对有限。Since the school has only three floors, there were relatively few fire safety issues. In areas of the first floor where spans of more than 8 meters were required, we used a construction of concrete columns and beams, since the spans of pure timber structures are relatively limited.

D|W：慕尼黑爱乐音乐厅是永恒设计与工业模块化木结构的完美结合，您是如何在有限的预算和时间内实现这一目标的？Munich Music Hall Isarphilharmonie is a perfect combination of timeless design and industrial modular timber construction. What efforts did you make to realize this, especially under limited budget and time? 

 S.S ：在这个项目中，从第一份草图到音乐厅落成，我们用了三年的时间。慕尼黑爱乐音乐厅的预算低于同类音乐厅的五倍。因此，一开始我们就考虑了在这些限制条件下我们能建造什么。最后，我们决定将音乐会的音质和观众的舒适度放在首位。For this project, we had exactly three years from the first sketch to the opening of the concert hall. The budget for the Isarphilharmonie was about five times lower than for comparable concert halls. That's why, at the beginning, we considered what we could build given these conditions. In the end, we decided that the quality of the concert as in terms of acoustics and the comfort of the visitors had the highest priority.

▲慕尼黑爱乐音乐厅鸟瞰图  ©HGEsch

D|W：gmp 专注于翻新建筑，而慕尼黑爱乐音乐厅也是一个翻新项目，这个项目有什么特点，尤其是在木材方面？gmp focuses on refurbished architecture and the Munich Music hall Isarphilharmonie is also a refurbished project. What are the special features of this project. especially with regard to timber? 

 S.S ：慕尼黑爱乐音乐厅由两座建筑组成，中间有楼梯和长廊相连。原有建筑的前身是上世纪二十年代的变电所。音乐厅的门厅、餐饮设施和其他服务用房都在这里。The Isarphilharmonie consists of two buildings connected by a glazed joint, which contains galleries and the access steps to the concert hall. The existing building is a former transformer hall from the 1920s. It houses the foyer, the catering facilities and other service rooms for the concert hall.

爱乐大厅本身是一座新建筑，设计成一个简洁的工业大厅。实际音乐厅的一部分由木质构件制成，作为 “厅中厅”与音乐厅融为一体。The philharmonic hall itself is a new building, designed as a simple industrial hall. A volume of the actual concert hall, made of wooden elements, is integrated into this hall as a “House within a House“.

▲慕尼黑爱乐音乐厅内部  ©HGEsch

D|W：学校和音乐厅项目都是临时性的，你们在设计之初是否考虑了回收利用的问题？在拆除和回收方面有哪些考虑？Both the school and musical hall project are for temporary use. Did your design consider the recycling at the beginning of design? What are the considerations regarding dismantling and recycling? 

 S.S ：这两座建筑都是临时使用的，这促使我们提出了我认为具有前瞻性的概念：这两座建筑都可以完全拆除，建筑构件可以按类型分开，从而进入未来的材料循环。目前，建筑垃圾约占全球产生的废弃物的 40%-50%，而通过这样的手段，我们避免了建筑垃圾的产生。The fact that both buildings are used temporarily led to what I consider to be forward-looking concepts: both buildings can be completely dismantled, the construction elements can be separated by type and thus fed into the material cycle of the future. In this way, we avoid waste in the form of construction rubble, which currently accounts for around 40-50 percent of the global waste volume.

D|W：未来 gmp 是否有计划扩大参与木结构项目，并将模块化木结构设计引入中国市场？Does gmp have plans to expand its involvement in timber projects and bring modular timber construction designs to the market in China in the future? 

 S.S ：在气候变化和资源匮乏的时代，木材作为唯一的可再生建筑材料，将在建筑领域发挥决定性作用。因此，我们将在这一领域进一步创新。在中国，我认为使用竹子作为木质材料尤其是一个巨大的机遇。中国没有足够的传统木材资源，但竹子是一种生长迅速、用途广泛的建筑材料。As the only renewable building material, wood will play a decisive role in construction in times of climate change and resource scarcity. We will therefore develop further innovations in this field. With regard to China, I see the use of bamboo as a wood material in particular as a great opportunity. China does not have sufficient traditional wood resources, but bamboo is a fast-growing and very versatile building material.

▲慕尼黑爱乐音乐厅 ©HGEsch

#03

    模块化结构或是建筑师的速写笔

慕尼黑爱乐音乐厅以及法兰克福西区模块式校园建筑是 gmp 尝试将建筑美学与建造工业化结合的优秀案例。在这两个案例中，建筑思想并不会泯灭于模块化工业生产的机械建造过程中，反而是在简化的步骤中得以快速地表达。

在采访中 gmp 告诉我们，在可持续建筑材料的探索中，他们还将面对纯木结构的跨度设计挑战，以及中国建筑领域里竹材适用的创新机遇。

或许在未来，模块化结构会作为高效建造的有力支撑，犹如建筑师忠实的速写笔，记录伴随 gmp 乃至更多的建筑团队在挑战与机遇下的灵感迸发。

■https://www.archdaily.com/922587/modular-timber-school-by-gmp-architects-

■https://www.stylepark.com/en/news/gmp-architects-architecture-biennale-

venice-conversion-building-task-future-stylepark-magazine