从理性与情感到孵化

文/ Text ：费尔兰多·费尼斯/ Fernando Menis

可以说，我们工作的本质是通过拯救那些已经起作用并经过时间考验的方案，使我们之前已经完工的作品再次焕然一新。我们的方法分为两个方面，一方面是利用和加强自然元素；另一方面是根据每个项目和地点的具体要求，利用和增厚文化或历史遗产。我父母这一代人有回收和循环利用的习惯，不断积累东西以便以后再利用，受其影响，我也不例外，不过也有可能是因为我意识到自己生活在一个资源有限的宝地：加那利群岛。

这一群岛是我们大部分建筑作品的灵感来源和集中地，是欧洲、美洲和非洲大陆之间的一个特殊的交汇点。这一群小岛屿，位于大西洋中部，气候温和，拥有非凡的生物多样性。这里有连续火山爆发重叠而成的奇特景观，所有的自然元素——土地、水、空气、光线——共同构成了一个极其独特的环境。同样地，我们的工作成果也可以理解为各种影响重叠的结果，是对现代性以及一系列经济和建设条件的某种解读。每个方案都源自于一个漫长而复杂的过程，即靠拢主题并审查内容，在此过程中，建筑师和开发人员会根据特定的参数来调整计划需求。

在处理原始材料及其所在环境下的真实潜力时，常识是理性和情感协作的框架，这两个范畴贯穿于我们的工作和我个人的发展过程中。将情感理解为建筑的本质和非物质内容：我们所想象和研究的大地世界属于建筑存在之前的一种状态，当时建筑是由自然创造的。但光凭想象是不够的，因为建筑首先是一个具有特定位置的物体。

处理这个物体要基于添加和提取：最初的概念受到计划的影响，就好像它是一个用手建模的元素，直到结晶发生，即形式和语言的配置。通过直接、直观的橡皮泥建模，从物理接近物体及其三维立体的那一刻，情感随之呈现。由于材料要能够适应工作策略，而建筑师的工作参数又是动态的，因此材料选择非常重要。这种方法导致的结果是，不断地调整方案，但不会忘记其目的：要产生一种总会因严谨的理性而释放出来的情感。

为保持合理性，每个项目都会谨慎关注结构条件、建设性条件和经济条件，以便建筑物体能够恰当地融入整体环境当中。因此，我们的工作重点是重新激活我们工作地点的潜在力量。再利用那些因特定原因而被丢弃的物体、能量或概念，坚持在每个项目的特殊体验中寻找重读或重新阐释。有时，为挽救建筑，解决城市特色稀缺问题，进而增强社会凝聚力，我们会借此恢复那些文化和社会参照的记忆，它们曾被不公正地遗忘。有时，我们只是把那些没有得到足够重视或考虑的东西框定下来，这些东西可能会成为新的参考或资产。我们把循环利用理解为一种重新进入循环的方式，或者转换态度和概念，可以根据心境或它们所处的自然循环挖掘出新功能。这种不断的回顾可能是一种回望，但绝不是一种怀旧或天真的态度。我们会从理性和技术的角度来设计建筑，但我们是以工匠的身份来制造建筑物体，在每个细节的制作过程中都注重质量，就像手工制作一样。

由于理性和情感之间的相互作用，被建构的物体成为了一个有生命的实体，并随着时间的推移而进化。它已不再被看作是一种机械的东西，或仅仅是一些简单的自主元件的组装结果，而是一种直接从无定形物质中提取出来的模拟器官，建筑师必须学会如何评价它。还要知道如何倾听社会需求，满足每一个项目所要求的经济需求，通过核实所期望的和已建造的工程解决问题或消除问题，从而获得个人满足感。好的建筑总是能够改善现有的环境，促进社会发展，提高生活质量。

这种理性和情感的二分法在一定程度上制约了我们的建筑设计，这种二分法的研究在我们四十多年的实践中得到了体现。随着时间的推移，我们生产最初阶段仅有的直觉或关注点已经变成了研究的方向，在我们所有的项目中都可以横向发现相关性。我逐渐意识到，我们处理每个新任务和新项目的方式中，都有某些恒定的元素：某些关注点始终存在，某些有效方案得到进一步改善，把自然力量作为基本设计元素……我已经确定了这些恒定线，我最近在一个理论框架中将其构建起来，并称之为Hatching。

Hatching 在同一个思想体系中规划我们多年来在项目和工作中构思、研究和测试的假设和实验、方案和创新。这属于自然可持续人类化这一更广泛主题的一部分，基于零能源浪费“生命机器”的概念，旨在证明建筑构筑物可以通过完全利用自然的力量和操纵形式来创造生命。在20 世纪，“未来城市”等概念试图重塑人们的生活方式，为设计过程设定新的参数，并决定人们的需求。这些想法通常是为了满足人类的需要和当时舒适生活的标准。然而，回到建筑的基本原则，首个定居点是建立在气候和地理条件更有利的地方。挑战在于要始终响应人们的需求，以可持续的方式发展城市环境，并且具有演变进化的潜能。

从这个意义上说，Hatching 探索出了诸多方法，以此创造一个能够产生和维持生命的环境，回归生命的基本要素，提供地球上生命永远需要的东西。通过利用和加强自然的力量，人造世界将成为绿洲，创造一个永恒栖息地，为生命提供理想的生存条件。通过Hatching，我们从一个完全不同的角度重新审视了“理想城市”构筑物，即人造世界转变为自然世界，在那里，自然的力量被用作设计工具，在不适宜居住的地区创造一个宜居的小气候。该方案是自然发展、自然塑造而成的，因此对人类建造环境这一创造有着至关重要的影响。

It could be said that the essence of our work has been defining as a way to repeat and update what has been rightly done before us by rescuing solutions that have already worked and been successfully tested along the time.Our method is based on using and enhancing the natural elements on one hand as well as the cultural or historical assets,on the other hand,according to the specific requisites of each assignment and place.The need to retrieve and recycle may come from the mentality of a generation-my parents' but also mine- that grew accumulating things to reuse later,or perhaps it comes from my awareness of living in a limited and valuable territory:the Canary Islands.

An inspiration and the location for a large part of our architectural production,the archipelago constitutes a privileged meeting point between the European,American and African continents.It is a group of small islands with a mild climate and an extraordinary biodiversity in the middle of the Atlantic Ocean.A strange landscape arising from the overlapping of successive volcanic eruptions and in which all natural elements-land,water,air,light-configure an environment of immense singularity.In the same way,the result of our work can be understood as a consequence of an overlapping of influences,of a certain reading of Modernity and a series of economic and constructive conditions.Each scheme derives from a long and complex process of approaching and reviewing its content in which the architect,as well as the developer,adjust the programmatic needs to certain parameters.

Common sense when addressing raw material and its authentic potential in the context where it is inserted,is the framework in which reason and emotion collaborate,the two categories present throughout our work and in my own personal evolution.We understand emotion as an essential and immaterial content of architecture:the telluric worlds that we imagine and investigate belong to a state prior to the existence of architecture,at a time when this was created by nature.But it is not enough to imagine,since architecture is,above all,a physical object with a given location.

Our way of working on this object is based on addition and extraction:the initial concept suffers the erosion induced by the program as if it were an element modeled with the hands,until crystallization occurs,that is,the configuration of form and language.The emotion is present from the very moment of the physical approach to the object and its threedimensionality through direct and intuitive modeling with plasticine.Hence the importance of choosing the material because the material should be able to adapt to the work strategy,since the parameters with which the architect works are dynamic.As a consequence of this method,the scheme changes continuously,although without forgetting the purpose:to produce an emotion always decanted by the rigor of reason.

The rationality with which each project is undertaken is based on scrupulous attention to structural,constructive and economic conditions so that the architectural object is capable of being properly inserted in a context and remaining in it.Therefore,our work focuses on reactivating the latent forces in the sites we work in.We reuse those objects,energies or concepts that have been discarded for specific reasons,always looking for a rereading or reinterpretation within the special experience that each project is.Sometimes we recover the memory of unjustly forgotten cultural and social references to rectify poorly focused urban situations or revive places and increase social cohesion.Sometimes we only frame what is not enough valued or considered and may become a new reference or asset.We understand recycling as a way of putting back into circulation or transferring attitudes and concepts that can find a new function according to the spirit or the natural cycle in which they were inserted.This constant review may be a look back,but never a nostalgic or naive attitude.We envision producing architecture from a rational and technological perspective,but we manufacture architectural objects as artisans,taking care of the quality in the making of each detail as if it were handmade.

Thanks to the constant interaction between reason and emotion,the constructed object becomes a living entity,evolving over time.It is no longer conceived as a mechano,the result of the mere addition of simple autonomous elements,but as a modeledorgan,extracted directly from the amorphous matter,that the architect must learn how to assess.He must also know how to listen to social demands and meet the economic demands that each project implies,expecting the personal satisfaction that is obtained by verifying that the desired and built works,that it solves a situation or eliminates a problem.Good architecture always improves the pre-existing,enables social evolution and increases the quality of life.

The degree to which this dichotomy between reason and emotion conditions the architecture we carry out is manifested in the lines of research that have been articulating our practice for more than forty years now.What were only intuitions or concerns in the initial stages of our production,over time,have become lines of research,which are found in a transversal way in all our projects.I have progressively realized that there are certain constant elements in the way we approach each new assignment and in which we work for each new project:certain concerns are always there,certain solutions,which were efficient,evolve and are improved,the use of natural forces as essential design elements...I have identified these constant lines and,recently,I have structured them in a theoretical framework that I called Hatching.

Hatchingorganizes,within the same system of thought,those hypotheses and experiments,solutions and innovations conceived,researched and tested in our projects and works along the years.It is part of the broader theme of the sustainable anthropization of nature and it is based on the concept of a zero energy waste "life machine",aiming to demonstrate that an architectural structure can produce life through the exclusive use of the forces of nature and the manipulation of forms.

In the 20th century,concepts like "The Future City"sought to reshape people's way of life,set new parameters for the design process,and decide what people needed.These ideas often responded to human needs and the standards of a comfortable life at the time.However,going back to the fundamentals of construction,first settlements were created where the climatic and geographical conditions were more favorable.The challenge lies in responding to the needs of people at all times,developing the urban environment in a sustainable way and with the possibility of evolving.

In this sense,Hatching explores ways of creating an environment capable of generating and sustaining life,returning to the basics of life,offering what life on Earth always needs.By using and enhancing the forces of nature,the artificial world created by man,will become an oasis,generating a timeless habitat with the ideal conditions for life.WithHatching,the structure of the "ideal city" is rethought from a completely different perspective:the artificial world created by man is transformed into the natural one,where the forces of nature are used as design tools to create a livable microclimate in uninhabitable areas.The scheme evolves naturally and is shaped by nature,which thus has an essential influence on the creation of a human built environment.