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木頭會記憶，泥土?xí)粑哌M(jìn)能“長大”的建筑

發(fā)布于：2025-10-20 12:49:04

首頁/技術(shù)分享/建筑賞析

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木頭會記憶，泥土?xí)粑哌M(jìn)能“長大”的建筑第1張圖片

La Panificadora centro desarrollo y de producción rural / Natura Futura. Image © JAG Studio

慢食與慢建筑：材料與建造系統(tǒng)分析
Slow Food and Slow Architecture: An Analysis of Materials and Construction Systems

由專筑網(wǎng)Zia，小R編譯

由彼得·卒姆托設(shè)計(jì)的Bruder Klaus田園教堂，其建造過程由瑞士小村莊梅謝尼希（Mechernich）的居民參與，使用由垂直放置的原木制成的模板，小批量配制混凝土，并手工澆筑，日復(fù)一日，形成了混合并帶有細(xì)微變化的面層。整個過程結(jié)束后，木結(jié)構(gòu)化為灰燼，使教堂內(nèi)部浸染了火的痕跡，并顯露出可觸摸的深色表面。從而形成了寧靜而深遠(yuǎn)的空間，在這里，一起制造的過程、經(jīng)歷的時間和材料的變化成為了建筑本身的一部分。這種建造方法以當(dāng)?shù)乜捎觅Y源和手工技術(shù)為核心，突顯了材料選擇和建造系統(tǒng)對于空間體驗(yàn)的塑造，揭示所投入的時間，并將地方文化嵌入建筑的實(shí)體之中。它提供了范例，說明建造行為本身可以成為一種再生性行為，恢復(fù)意義、連接社區(qū)并尊重物質(zhì)循環(huán)。

At the Bruder Klaus Field Chapel, designed by Peter Zumthor, the construction process involved the direct participation of residents from the small Swiss village of Mechernich. Using an internal formwork made of vertically placed wooden logs, concrete was prepared in small batches and poured manually, day after day, forming layers marked by subtle variations in the mix and application. At the end of the process, the wooden structure was reduced to ashes, leaving the chapel's interior impregnated with traces of fire and revealing a dark, tactile surface. The result was a quiet and deeply meaningful space, where collective action, time, and material transformation became part of the architecture. Centered on locally available resources and manual techniques, this construction method highlights how the choice of materials and building system can shape the experience of a space, reveal the time invested, and embed the culture of a place into the very matter of architecture. In doing so, it offers an example of how construction itself can become a regenerative act, restoring meaning, connecting communities, and honoring material cycles.

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Bruder Klaus Field Chapel / Peter Zumthor. Image © Samuel Ludwig www.samueltludwig.com

這個例子詩意而精準(zhǔn)地闡釋了當(dāng)我們談?wù)摗奥ㄖ保⊿low Architecture）時所涉及的關(guān)鍵問題，“慢建筑”是一個在建筑界逐漸興起的理念。它并非指像圣家堂那樣耗時漫長的項(xiàng)目，而是一種將時間視為建筑實(shí)踐中不可或缺要素的方法。正如作為快餐（Fast Food）對立面而興起、并激發(fā)了對加速消費(fèi)（如快時尚Fast Fashion）更廣泛批判的“慢食”（Slow Food）運(yùn)動一樣，“慢建筑”提出基于一種時間倫理，對指導(dǎo)材料和建造選擇的準(zhǔn)則進(jìn)行深刻的反思。它并非對緩慢的浪漫呼吁或?qū)^去的懷舊，而是一種應(yīng)對環(huán)境危機(jī)、勞動力不穩(wěn)定以及當(dāng)今建筑行業(yè)文化標(biāo)準(zhǔn)化的倫理立場。它將焦點(diǎn)轉(zhuǎn)向材料的來源、其生產(chǎn)和應(yīng)用所需的時間、其供應(yīng)鏈的社會影響以及它們地域的耐久性。正如慢食依賴于季節(jié)性食材、傳統(tǒng)制備方法和傳承的知識一樣，慢建筑通過尊重材料的時間性、其來源以及與之相關(guān)的技藝的建造決策得以體現(xiàn)。

The example poetically and precisely illustrates what is at stake when we talk about Slow Architecture, a concept that has been emerging in the world of architecture. It is not about projects that take a long time, like the Sagrada Família, but rather an approach that values time as an essential ingredient in architectural practice. Much like the Slow Food movement, which emerged as a counterpoint to Fast Food and inspired broader critiques of accelerated consumption (such as Fast Fashion), Slow Architecture proposes a deep revision of the criteria that guide material and construction choices, based on an ethic of time. Rather than a romantic call for slowness or nostalgia for the past, it is an ethical stance in response to the environmental crisis, the precarization of labor, and the cultural standardization of today's building industry. It shifts the focus to the origin of materials, the time required for their production and application, the social impacts of their supply chain, and their longevity in the territory. Just as slow food relies on seasonal ingredients, traditional preparation methods, and inherited knowledge, slow architecture manifests through construction decisions that respect the temporality of materials, their origins, and the know-how associated with them.

木頭會記憶，泥土?xí)粑哌M(jìn)能“長大”的建筑第3張圖片

Bruder Klaus Field Chapel / Peter Zumthor. Image © Samuel Ludwig www.samueltludwig.com

借鑒Mike Louw的學(xué)術(shù)文章《Slow Architecture and its links with Slow Food》，我們可以通過與烹飪的類比，進(jìn)一步探索這種倫理和物質(zhì)的方法。文章的核心觀點(diǎn)之一是認(rèn)識到食物和建筑都始于復(fù)雜生產(chǎn)周期的原材料，從它們在地球上的起源，經(jīng)過轉(zhuǎn)化階段，直至被消費(fèi)或居住。Louw認(rèn)為，建造系統(tǒng)如同烹飪食譜，根據(jù)材料被轉(zhuǎn)化和應(yīng)用的方式，可以保存或抹去文化聯(lián)系。如同有機(jī)農(nóng)業(yè)一樣，慢建筑珍視加工程度較低的技術(shù)、天然和本地材料，以及保持與土地的聯(lián)系，他認(rèn)為這有助于在建成物中保留一個地方的“靈魂”。

Drawing on the academic article *Slow Architecture and its links with Slow Food*, by Mike Louw, we can further explore this ethical and material approach through its parallels with cooking. One of the central points of the text is the recognition that both food and architecture start from raw materials involving complex production cycles, from their origin in the earth, through stages of transformation, to consumption or habitation. Louw argues that building systems, like culinary recipes, can preserve or erase cultural ties depending on how materials are transformed and applied. As in organic farming, slow architecture values less processed techniques, natural and local materials, and the preservation of a connection with the land, which, according to him, helps retain the "soul" of a place in built objects.

木頭會記憶，泥土?xí)粑哌M(jìn)能“長大”的建筑第4張圖片

Piedra Tosca Park / RCR Arquitectes. Image Courtesy of RCR Arquitectes

Louw還指出，這種對物質(zhì)性與身份認(rèn)同之間聯(lián)系的強(qiáng)調(diào)，呼應(yīng)了像尤哈尼·帕拉斯馬（Juhani Pallasmaa）等作者的批判，帕拉斯馬認(rèn)為觸覺、時間和記憶是建筑體驗(yàn)的基本維度。同樣地，肯尼思·弗蘭普頓（Kenneth Frampton）在他關(guān)于批判性地域主義（critical regionalism）的著名論文中，提出了一種抵抗全球化所強(qiáng)加的文化同質(zhì)化的建筑，強(qiáng)調(diào)每個地方的地理、歷史和建造背景。盧通過強(qiáng)調(diào)工藝（craftsmanship）作為文化和生態(tài)抵抗形式的重要性來探討這些觀點(diǎn)。他認(rèn)為，高度工業(yè)化和標(biāo)準(zhǔn)化的材料往往喪失其身份認(rèn)同和與起源地的聯(lián)系，從而削弱了建筑在感官和象征層面的體驗(yàn)。需要直接身體參與的建造系統(tǒng)，如土坯（adobe）、籬笆抹灰（wattle and daub）或夯土（rammed earth），在建造行為中重新評估了身體和姿態(tài)的作用，使得物質(zhì)性不僅可以通過視覺感知，還可以通過觸覺、聲音甚至嗅覺來感受。從這個意義上說，像王澍那樣采用回收利用拆除材料的技術(shù)，或者運(yùn)用傳統(tǒng)系統(tǒng)與當(dāng)代技術(shù)對話，成為了一種保存材料記憶、維護(hù)工藝尊嚴(yán)以及保障建造可持續(xù)性的途徑。

Louw also notes that this emphasis on the connection between materiality and identity echoes the critique of authors like Juhani Pallasmaa, who argues that touch, time, and memory are fundamental dimensions of architectural experience. Similarly, Kenneth Frampton, in his renowned essay on critical regionalism, proposes an architecture that resists the cultural homogenization imposed by globalization, emphasizing the geographic, historical, and constructive context of each place. Louw engages with these ideas by highlighting the importance of craftsmanship as a form of cultural and ecological resistance. Highly industrialized and standardized materials, he argues, tend to lose their identity and connection to their place of origin, impoverishing the sensory and symbolic experience of architecture. Construction systems that require direct physical engagement, such as adobe, wattle and daub, or rammed earth, revalue the body and gesture in the act of building, allowing materiality to be perceived not only visually, but also through touch, sound, and even smell. In this sense, using techniques such as reusing demolition materials, as Wang Shu does, or employing traditional systems in dialogue with current technologies, emerges as a way to preserve material memory and the dignity of craft and the sustainability of construction.

木頭會記憶，泥土?xí)粑哌M(jìn)能“長大”的建筑第5張圖片

Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio

然而，慢建筑的原則并不僅限于本土化或低技術(shù)方法。它們可以指導(dǎo)通過模塊化、預(yù)制化和本地取材來重新詮釋這些價(jià)值觀的當(dāng)代項(xiàng)目。將這種方法應(yīng)用于大型社會住房的一個典范案例是由加泰羅尼亞事務(wù)所Peris + Toral Arquitectes設(shè)計(jì)的位于科爾內(nèi)利亞-德略夫雷加特（Cornellà de Llobregat）的85套社會住房項(xiàng)目，該項(xiàng)目是2024年RIBA國際獎的得主。建筑采用了本地采購的木結(jié)構(gòu)，組織成3.6 x 3.6米的居住模塊，其框架確保了隨時間推移的適應(yīng)性，尊重了居住形式的多樣性。所有單元圍繞一個中央庭院布置，擁有穿堂風(fēng)和充足的自然光，促進(jìn)了氣候舒適度和社區(qū)生活。選擇木材建造，輔以石籠墻和輕質(zhì)、合理化的系統(tǒng)，體現(xiàn)了對可持續(xù)性和持久性的承諾。該項(xiàng)目遠(yuǎn)不止是一個技術(shù)高效的解決方案，它體現(xiàn)了對地域、材料以及居民生活方式的關(guān)懷倫理。這是一種隨時間演變的建筑，對適應(yīng)性開放，并證明緩慢也可以是一種以更有尊嚴(yán)、更智慧、更具延續(xù)性的方式進(jìn)行建造的策略。

However, the principles of Slow Architecture are not restricted to vernacular or low-tech approaches. They can guide contemporary projects that reinterpret these values through modularity, prefabrication, and locally sourced materials. A paradigmatic example of this approach applied to large-scale social housing is the 85 Social Housing project in Cornellà de Llobregat, designed by the Catalan office Peris + Toral Arquitectes, winner of the 2024 RIBA International Prize. The project adopts a locally sourced wooden structure, organized into 3.6 x 3.6 meter housing modules, with a framework that ensures adaptability over time, respecting the persity of dwelling forms. All units are arranged around a central courtyard, with cross-ventilation and abundant natural light, fostering climate comfort and community living. The decision to build in wood, with gabion stone walls and lightweight, rationalized systems, reveals a commitment to sustainability and permanence. Much more than a technically efficient response, the project embodies an ethic of care for the territory, the materials, and the inhabitants' ways of life. It is an architecture that transforms over time, open to adaptation, and demonstrates that slowness can also be a strategy for building with more dignity, intelligence, and continuity.

木頭會記憶，泥土?xí)粑哌M(jìn)能“長大”的建筑第6張圖片

85 Social Dwellings in Cornellà / Peris+Toral.arquitectes

85 Social Dwellings in Cornellà / Peris+Toral.arquitectes

一個同樣引人注目、根植于鄉(xiāng)村生態(tài)的例子是“La Panificadora”——由厄瓜多爾事務(wù)所未來自然建筑事務(wù)所（Natura Futura Arquitectura）在巴巴奧約（Babahoyo）設(shè)計(jì)的鄉(xiāng)村發(fā)展與生產(chǎn)中心。該項(xiàng)目是一個培訓(xùn)、烘焙和農(nóng)業(yè)交流的空間，旨在滿足在不平等和采掘主義經(jīng)濟(jì)背景下的小規(guī)模農(nóng)民的需求。建筑使用當(dāng)?shù)啬静慕ㄔ欤捎昧松鐓^(qū)自身可以復(fù)制的簡易建造系統(tǒng)。開放式的結(jié)構(gòu)促進(jìn)了通風(fēng)、遮蔭和滲透性，同時支持糧食生產(chǎn)和社會聚集的自主性。該中心并非一個孤立的建筑對象，而是作為社會空間基礎(chǔ)設(shè)施運(yùn)作，在土地、勞動力和集體知識之間進(jìn)行調(diào)解，在這里，建筑成為鄉(xiāng)村地區(qū)生態(tài)關(guān)懷、經(jīng)濟(jì)韌性和文化延續(xù)的平臺。

An equally compelling example, rooted in rural ecologies, is La Panificadora — a Rural Development and Production Center designed by Natura Futura Arquitectura in Babahoyo, Ecuador. Conceived as a space for training, baking, and agricultural exchange, the project responds to the needs of small-scale farmers in a context marked by inequality and extractivist economies. Built with local timber, it employs accessible construction systems that can be replicated by the community itself. The open structure fosters ventilation, shade, and permeability, while supporting autonomy in food production and social gathering. Rather than an isolated architectural object, the center operates as a socio-spatial infrastructure, mediating between land, labor, and collective knowledge, where architecture becomes a platform for ecological care, economic resilience, and cultural continuity in rural territories.

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La Panificadora centro desarrollo y de producción rural / Natura Futura. Image © JAG Studio

這種焦點(diǎn)的轉(zhuǎn)變?yōu)樾碌脑O(shè)計(jì)標(biāo)準(zhǔn)開辟了空間。從這個意義上說，慢食運(yùn)動的三大支柱——“優(yōu)質(zhì)、潔凈、公平”（good, clean, and fair）——為在危機(jī)世界中重新思考建筑生產(chǎn)方式提供了一個強(qiáng)大的視角。這促使我們重新審視所采用的建造系統(tǒng)、其能源需求、其與勞動力的關(guān)系以及其創(chuàng)造健康持久空間的能力。與其將“優(yōu)質(zhì)”局限于視覺愉悅或技術(shù)高效，我們可以將其擴(kuò)展到包含空間的多感官體驗(yàn)：有益于身體、響應(yīng)氣候、并促進(jìn)舒適度而不完全依賴機(jī)械或人工解決方案的建筑。“潔凈”，反過來，也不僅僅是在最嚴(yán)格意義上使用低環(huán)境影響材料。要評估這點(diǎn)，必須考慮材料的全生命周期（從開采到廢棄，包括拆解和再利用），尋求可回收、可再利用或可再生的替代品。一堵生土墻可能比尖端的玻璃幕墻更“潔凈”，正如在非原生地使用竹子可能造成重大影響一樣。最后，“公平”要求我們面對生產(chǎn)鏈中的結(jié)構(gòu)性不平等，不壓制或忽視地方知識，確保公平補(bǔ)償，并擺脫基于剝削人民和地域的模式。真正的慢建筑是隨時間建成的，但也需關(guān)懷那些設(shè)計(jì)者、建造者和居住者。

當(dāng)然，在實(shí)踐中應(yīng)用慢的原則既不簡單也存在矛盾。慢食運(yùn)動本身也因其可能的精英主義傾向而受到批評，常常與大多數(shù)人的經(jīng)濟(jì)現(xiàn)實(shí)脫節(jié)。在建筑領(lǐng)域，這種批評同樣有效：在一個全球化、充滿連續(xù)危機(jī)且對住房、基礎(chǔ)設(shè)施和新開發(fā)項(xiàng)目有迫切需求的世界中，我們?nèi)绾文懿捎酶慕ㄖ柯ㄖ梢裕矐?yīng)該融入當(dāng)代工具，如人工智能、工程木材（CLT）等材料、BIM的使用、預(yù)制化和模塊化，只要這些工具由深刻的可持續(xù)性、社會正義和地域聯(lián)系等價(jià)值觀引導(dǎo)。例如，BIM可以幫助追蹤環(huán)境影響并支持更負(fù)責(zé)任的選擇。當(dāng)這些工具與慢原則相一致時，它們允許對建造系統(tǒng)本身進(jìn)行重構(gòu)，以數(shù)字精度優(yōu)化天然材料的使用，或?qū)崿F(xiàn)可拆卸、可適應(yīng)和可再生的結(jié)構(gòu)。使用木材或低蘊(yùn)含能（embodied energy）回收材料的預(yù)制系統(tǒng)提供了高效且低影響的解決方案。模塊化組件擁有易維護(hù)、拆卸和再利用的特征，靈活地響應(yīng)現(xiàn)實(shí)生活的變化。

傳統(tǒng)與技術(shù)之間的這種結(jié)合在當(dāng)代建筑中找到了新的表達(dá)方式。一個很好的例子是BIG建筑事務(wù)所在2025年威尼斯建筑雙年展上展出的“古老的未來”（Ancient Future）裝置。在那里，古老的石雕技術(shù)與機(jī)器人制造工藝相結(jié)合，指明了一條將古老知識與先進(jìn)技術(shù)相融合的可能路徑。這個實(shí)驗(yàn)遠(yuǎn)非僅僅是形式上的姿態(tài)，它暗示了生產(chǎn)兼具歷史深度和當(dāng)代精度的建筑的可能性，即使在技術(shù)先進(jìn)的背景下，也能保持材料的感官和記憶特性。

換言之，致力于未來的建筑不需要在過去與創(chuàng)新、在手工藝與數(shù)字技術(shù)之間做出選擇。在一個常常優(yōu)先考慮增長、效率和性能的世界里，其價(jià)值并非由速度定義，而是由其整合知識、尊重時間并與環(huán)境建立聯(lián)系的能力所定義。的確，建造即是承擔(dān)責(zé)任，而材料承載著歷史、地理、知識和影響。每一個設(shè)計(jì)決策都承載著倫理、時間和文化的價(jià)值，而慢建筑邀請我們認(rèn)識這些層面，并以關(guān)懷、專注和承諾的態(tài)度去設(shè)計(jì)。

This shift in focus opens space for new design criteria. In this sense, the three pillars of the Slow Food movement—good, clean, and fair—offer a powerful lens for rethinking the means of producing architecture in a world in crisis. This compels us to reconsider the construction systems we adopt, their energy demands, their relationship to labor, and their ability to create healthy and lasting spaces. Instead of limiting "good" to what is visually pleasing or technically efficient, we can expand it to include the sensory experience of space: architecture that is good for the body, that responds to climate, and promotes comfort without solely relying on mechanical or artificial solutions. "Clean," in turn, is not just about using low-impact materials in the strictest sense. To assess this, one must consider the full life cycle of materials (from extraction to disposal, including disassembly and reuse), seeking recyclable, reusable, or regenerative alternatives. A wall of raw earth can be cleaner than a cutting-edge glass façade, just as using bamboo in places where it is not native can cause significant impacts. Lastly, "fair" challenges us to face structural inequalities in the production chain, not to override or invisibilize local knowledge, to ensure fair compensation, and to break away from models based on the exploitation of people and territories. A truly slow architecture is built with time, but with care for those who design, those who build, and those who inhabit.
Of course, applying the principles of slowness in practice is neither simple nor free of contradictions. The Slow Food movement itself has been criticized for possible elitism, often disconnected from the economic realities of most people. In the field of construction, this critique is also valid: how can we adopt a slower architecture in a globalized world, marked by successive crises and urgent demands for housing, infrastructure, and new developments? Slow Architecture can (and should) incorporate contemporary tools such as artificial intelligence, materials like engineered timber (CLT), the use of BIM, prefabrication, and modularity, as long as they are guided by values of deep sustainability, social justice, and territorial connection. BIM, for instance, can help trace environmental impacts and support more responsible choices. These tools, when aligned with slow principles, allow for the reconfiguration of construction systems themselves, optimizing the use of natural materials with digital precision or enabling dismountable, adaptable, and regenerative structures. Prefabricated systems using wood or recycled materials with low embodied energy offer efficient and low-impact solutions. Modular components can be designed to allow maintenance, disassembly, and reuse, responding flexibly to real-life changes.
This articulation between tradition and technology has found new expressions in contemporary architecture. A remarkable example is the Ancient Future installation presented by the office BIG at the 2025 Venice Architecture Biennale. There, ancestral stone carving techniques were combined with robotic manufacturing processes, pointing to a possible path for integrating ancient knowledge with advanced technologies. Far from being merely a formal gesture, the experiment suggests the possibility of producing architecture with historical depth and contemporary precision, keeping alive the sensorial and mnemonic qualities of materials even in technologically advanced contexts.
In other words, an architecture committed to the future does not need to choose between the past and innovation, between craft and digital. In a world that often privileges growth, efficiency, and performance, even when devoid of purpose, its value is not defined by speed but by its ability to integrate knowledge, respect time, and build connections with context. Indeed, to build is to take responsibility, and materials carry histories, geographies, knowledge, and impacts. Every design decision is charged with ethical, temporal, and cultural values, and Slow Architecture invites us to recognize these layers and to design with care, attention, and commitment.

木頭會記憶，泥土?xí)粑哌M(jìn)能“長大”的建筑第9張圖片