苏黎世动物园长颈鹿馆，一个类比的练习

House for Giraffe in Zurich Zoo, Studio Šik
苏黎世动物园长颈鹿馆，一个类比的练习酒店设计结束之后的学期，我选了 Miroslav Šik 教授的题目，在苏黎世动物园里为长颈鹿设计一座场馆。最后定稿的设计里，无数乱序的倾斜木柱
撑起来六个大小各异的蘑菇形帐篷结构，它们三个成为一组，以随意的形态置于略有坡度的场地上。（其中较小的一组为犀牛馆）观众首先进入动
物园主道路一侧的入口，沿着环状的坡道深入地下，经过一个短的通道后，视线突然打开到一个两倍大的空间，这个空间由木柱环绕，撑起一个金
属箍环，箍环上面拉伸着一圈半透明的膜结构，日光经过过滤，弥散进整个空间。在这个大空间里，内部环绕着一圈粗糙的墙，游客可以在墙内的
场地在水平方向上去接近长颈鹿，也可以沿着墙后面藏起来的楼梯绕墙一周，走到和墙等高的地方，在竖直方向上去和长颈鹿互动。为了针对长颈
鹿身高的特殊属性，这个竖向的设计算是对此作出的专门的回应。
和上次的设计一样，我仍然把这次的设计当作一次“练习”，而不是一个个人化的“创造式”的设计。在 Šik 教授的设计课里，设计初期的首要任
务是寻找一个合适的作为起点的案例。我选择的参考案例是一个曾经亲身体验参与过的设计，当时是09年在国内的一个大型的展览，我作为志愿者
去协助展亭的设计师，对其中的一个亭子印象很深刻，恰好觉得非常适合这次的题目。接下来的工作是去发展这个案例，不过这种操作乍一听起来
似乎很熟悉，像极了以前做设计的时候疯狂翻书找案例来“抄”的做法。只不过在 Šik 的“类比建筑学”里，我们更应该将这个案例理解成为一个
参照系。也就是说，首先对于在“苏黎世”的“长颈鹿馆”这两个条件，我们心里要给予一个恰当的定位，然后基于这个参照系不断地去异化，去
远离，使得初始的案例更多的去契合具体的任务要求，同时在这个原点上去发展自己具体的想法，不断逼近想要的效果。这个结果可能和参考案例
很像，也可能最后出来完全不同，但重要的是作为练习，去体会其中不断的去咬合各种元素的操作过程。
After the grand hotel semester, I picked Prof. Miroslav Šik’s studio. The task this time is to develop a giraffe house in the Zurich zoo. In the final
design, countless wood columns form six mushroom-shaped tents. They are grouped into two clusters and discretely spread on the site.(The
smaller one is for rhinoceros.) The visitors first come into the tents from the street side, and then walking down along a spiral slope, through a
short tunnel, finally to a large open space. This large space is surrounded by hundreds of column, which support a steel ring on the top. The
steel ring then stretch a translucent membrane, diffusing and transmitting the sunlight into the inner space. The ground for giraffe is surrounded
by a rough wall, which emphasizes a natural environment. The visitors could horizontally approach the giraffe, and also vertically, by walking up
along the stair behind the rough wall and interact with giraffe on their height.
Just like the previous semester, I was still taking this course not as a personal work but as a kind of exercise. In the Prof. Šik’s studio, the first
task is to find a proper reference according to your initial idea. The project I picked is a pavilion from an exhibition where I worked as volunteer
three years ago. In the concept of “analogous architecture”, students use the selected project as their reference point and differentiate it to fit
specific needs of the task. The final result could be still very similar to the original project or totally different. However, the point is not if it is
similar or not, the point is, students should try to experience the process of differentiating the reference into their own project.

我在这个题目里面主要关注两点：第一是场地的两面性，就是物理上作为苏黎世的场地，以及针对长颈鹿的作为意念中的草原，两者怎么咬合在一
起。在气候上两者显然是截然相反的，而且一个是高度人工的环境，另一个是完全自然的。第二是人和长颈鹿的关系，除了尺度和身高上的差异，
同时也是人智与野性的对立。
That is to say, specifically in this project, to develop a house for “giraffe” in “Zurich”. My idea is, first， spread the units on the site in a natural
way. Second, the columns and steel ring form together a rational structure, but at the meanwhile in a random order, as an expression of
selfconscious de-rationalization. To distant the delicateness of the wood columns and the roughness of the inner space, a rammed-earth-like
circle wall is also added in between. According to the same principle, all the detailed metallic construction is also hidden from the visitors. But
the building is of course really an artifact, thus I chose not to fully cover all of them. When you look at some certain angle, you might still be able
to see the some metallic pieces of the construction.

通过长颈鹿馆这一个建造物，我希望达到的效果是能够把这些条件都拧在一起。首先，通过分散式的布置营造出一种离散的非人工环境的气氛，而
不是作为孤立的一个客体孤零零地立在场地中间。同时在柱和钢环的结构体系中，基于力学的模型首先是一个高度理性的产物，但同时对于柱子的
非匀质处理又表达了一种自觉的去理性的倾向。然后，对于人和长颈鹿的关系，除了上面提到的水平和竖向互动设计，我也对土墙和精细木构建有
一个遮挡和拉开距离的处理。也就是说，木柱和钢环作为高度加工的人造物，在这里都要和长颈鹿保持一个距离，并且为了要符合整体的氛围，各
种精细的节点都要被尽量遮挡或藏匿起来。这些细部的设计可以在构造大样里面看到。不过，毕竟它仍然是一个高度的人造物，所以这些节点我并
没有选择完全的包裹，而是在当你非常接近的去看的时候，或者从某个特殊的角度，还是可以看到的。
在 Kollhoff 要求的大幅面渲染图以外，Šik 的要求中有一个非常重要的大比例渲染剖面并置图。我认为这张图恰恰反应了建筑师职业的核心内容：
对于视觉、功能、社会上的设计，怎么样在具体的建造和结构上去实现。如果缺了构造图，那么一个纯粹的观念或视觉图景似乎是艺术家可以完成
的工作；如果缺了精神层面的图景设计，那剩下的任务似乎也完全可以交给结构师去完成。而建筑师不可被取代的任务之一，并不是这两者本身，
而是两者间的转换工作。从这个意义上讲一句题外话，有了艺术概念的结构师和有了构造概念的艺术家，似乎都是某种意义上非常优秀的建筑师了。
Besides the A0 renderings, we also have to do a big scale section-elevation drawing. In my opinion, this drawing very exactly shows the core skill
of an architect: after designing a visional and geometric imagination of a building, but we have to know how to construct it physically. If we didn’t
have to work out construction, then the job could also be fulfilled by an artist; if we lacked the ability to create spiritual value, engineers could
complete the whole work as well. The irreplaceable skill of an architect is not these two single aspects but to translate the spiritual value by
designing proper physical construction. Or we might also say, an engineer with an good artistic taste of an artist with the knowledge of
construction, they are somehow already excellent architects.

期待更多个人作品和解析~~{:16:}