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Shigeru Ban Architects Unveils Paper Log House at Philip Johnson's Glass House. Image © Michael Biondo
什么是低技術(shù)建筑：比較Shigeru Ban和Yasmeen Lari的方法
What is Low-Tech Architecture: Comparing Shigeru Ban and Yasmeen Lari's Approaches
由專筑網(wǎng)Zia，小R編譯
低技術(shù)建筑的概念承認碳密集型技術(shù)對建筑實踐的影響，并提出了一種替代方案：重新發(fā)現(xiàn)實用、合理、因地制宜的解決思路，依靠智慧的設(shè)計策略而不是能源設(shè)備來確保安全、舒適的生活環(huán)境。該術(shù)語絕非一種倒退的方法，而是對創(chuàng)新持開放態(tài)度，并尋求重新平衡該行業(yè)對機械的依賴。因此，它傾向于采用組件較少的結(jié)構(gòu)，盡量減少對高科技解決方案的依賴，并偏愛低碳材料。
在世界各地，建筑師們逐步接受這一概念，認識到它在社會、環(huán)境和道德方面的積極潛力。其中，有兩位建筑師因體現(xiàn)了這些原則而脫穎而出，盡管他們所處的環(huán)境不同。坂茂（Shigeru Ban）在參與大型傳統(tǒng)的項目的同時，因其在人道主義和救災(zāi)方面的努力而獲得國際認可，他在資源匱乏的情況下與處于危機中的社區(qū)合作。
The concept of low-tech architecture recognizes the impact of carbon-intensive technologies and building practices and proposes an alternative: a rediscovery of practical, rational, locally adapted solutions that count on smart design strategies instead of energy-intensive devices to ensure a safe, comfortable living environment. Far from being a regressive approach, the term remains open to innovations but seeks to rebalance the industry's reliance on mechanization. It thus favors an architecture of fewer components, minimized dependence on high-tech solutions, and a preference for low-embodied carbon materials.
Across the world, architects are embracing this concept, recognizing its positive social, environmental, and ethical potential of it. Among them, two architects stand out for embodying these principles, though in different contexts. While continuing to be engaged with larger, more conventional projects, Shigeru Ban became internationally recognized for his humanitarian and disaster relief efforts, working with communities in crisis in the face of a scarcity of resources.
Paper House Lake Yamanaka, Yamanashi, Japan, 1995. / Shigeru Ban. Image © Hiroyuki Hirai
同樣，Yasmeen Lari運用她的建筑領(lǐng)域的專業(yè)知識，為巴基斯坦各地的社區(qū)制定了方便使用、適合當?shù)厍闆r的解決方案。雖然她的首個項目也是受自然災(zāi)害（2005年的地震和隨后的洪水）的影響，但拉里主要從事社會基礎(chǔ)設(shè)施方面的工作，探究高危社區(qū)的需求，并與他們一起制定長期解決方案，通常是通過活用失傳的本土技術(shù)。
Similarly, Yasmeen Lari applies her architectural expertise to develop accessible and locally adapted solutions for communities across Pakistan. While her first interventions were also prompted by natural disasters such as the 2005 earthquake and subsequent floods in her home country, Lari works primarily with social infrastructures, probing the needs of at-risk communities and developing long-term solutions with them, often by adapting forgotten vernacular techniques.
簡單而高效的設(shè)計
Simple yet Efficient Designs
Cardboard Cathedral. - Shigeru Ban. Image © Stephen Goodenough
低技術(shù)建筑的主要原則之一是相信通過簡單的設(shè)計元素就能實現(xiàn)功能性和實用性的解決方案。不必要的復(fù)雜系統(tǒng)和結(jié)構(gòu)可能難以維護，更難以適應(yīng)不斷變化的條件。相比之下，專注于不需要先進技術(shù)或?qū)I(yè)技能的簡單設(shè)計，可以提供更適當?shù)膽?yīng)對措施。
Among the main principles of low-tech architecture is the belief that functional and practical solutions can be achieved through simple design elements. Unnecessarily complex systems and structures can be difficult to maintain, and even more difficult to adapt to changing conditions. In contrast, focusing on straightforward designs that do not require advanced technologies or specialized skills can offer more appropriate responses.
ZEN Wellness SEINEI Accommodation Facility - Shigeru Ban Architects. Image © Hiroyuki Hirai
這一點在坂茂（Shigeru Ban）的作品中得到了很好的體現(xiàn)，他經(jīng)常強調(diào)，危機并不需要新的造型或?qū)嶒灱夹g(shù)，而是需要有效且易于實施的應(yīng)對措施。在他的設(shè)計方法中，創(chuàng)新來自于找到簡單實用的解決方案，從而有效解決現(xiàn)實世界中的問題。Yasmeen Lari的建筑設(shè)計同樣以發(fā)現(xiàn)和解決問題為目標，而不是尋求獨特的建筑表現(xiàn)形式。因此，創(chuàng)新源于功能需求，而不是建筑師對新穎性或復(fù)雜性的追求。
This is well-reflected in the works of Shigeru Ban, who often emphasized that a crisis does not require new shapes or experimental techniques, but an effective and easy-to-implement response. In his approach, innovation comes from the ability to find simple and functional solutions that address real-world problems effectively. Yasmeen Lari's architecture is similarly geared towards identifying and solving problems, rather than a search for unique architectural expressions. Innovation thus derives from functional needs, rather than the architect's desire for novelty or complexity.
受鄉(xiāng)土啟發(fā)的被動策略
Vernacular-Inspired Passive Strategies
Housing by Yasmeen Lari. . Image © Al Jazeera
Yasmeen Lari的作品代表了本土技術(shù)和傳統(tǒng)材料的主流，這些技術(shù)和材料經(jīng)過重新設(shè)計，能夠更好地服務(wù)于當?shù)厣鐓^(qū)。例如，她注意到巴基斯坦各地的農(nóng)村社區(qū)經(jīng)常使用明火烹飪，使婦女面臨燒傷、火災(zāi)和呼吸道問題。拉里運用她的設(shè)計敏銳度，重新設(shè)計并推廣了巴基斯坦的“Chulah”，這是一種無煙土灶，可確保更安全的烹飪條件。自2014年以來，已經(jīng)建造了6萬多個這樣的爐灶，改善了40多萬人的生活。同樣的設(shè)計理念促使拉里建議在架空平臺上建造建筑，以防止洪水破壞并促進被動降溫；采用傳統(tǒng)的庭院設(shè)計，幫助通風和降溫；并整合當?shù)夭牧虾椭R，建造諸如馬克里零碳文化中心等建筑。
Yasmeen Lari's work represents a staple of vernacular technologies and traditional materials reimagined to better serve local communities. In one example, she notices that rural communities across Pakistan often use open-flame cooking, exposing women to burns, fires, and respiratory issues. Lari applied her design acumen to reimagine and re-popularize the Pakistani Chulah, a smokeless earthen stove that ensures much safer cooking conditions. Since 2014, over 60,000 such stoves have been built, improving the lives of over 400,000 people. The same design ethos has led Lari to suggest building structures on elevated platforms to prevent flood damage and promote passive cooling; to implement traditional courtyard designs to aid ventilation and cooling; and to integrate local materials and knowledge to create structures such as the Zero Carbon Cultural Center in Makli.
Pakistan Chulah.. Image Courtesy of Heritage Foundation of Pakistan
我花了一些時間重新學習和了解自己的情況。我看過的老城鎮(zhèn)幫助了我很多，不僅是信息，還有靈感，讓我能夠了解以前發(fā)生的事情，也許我們現(xiàn)在也可以做一些事情。- Yasmeen Lari
It took some time to relearn and to understand my own situation. My old towns that I roamed around in gave me a lot of, not only information but inspiration, to be able to see what had been happening before and maybe something that we could do now as well. – Yasmeen Lari
Self-built housing.. Image © Al Jazeera
雖然這似乎是一個極端的例子，但被動設(shè)計策略既可用于高技術(shù)項目，也可用于低技術(shù)項目，通常需要在充分了解當?shù)貤l件的基礎(chǔ)上進行低成本干預(yù)。坂茂（Shigeru Ban）的永久性和臨時性建筑通常都采用了多種被動設(shè)計策略。東京的尼古拉斯-G-哈耶克中心等項目在中心空間戰(zhàn)略性地安置了可開啟的窗戶，以實現(xiàn)自然通風，而法國的蓬皮杜-梅茲中心則通過使用半透明材料，使日光均勻地分布在內(nèi)部空間，從而最大限度地利用自然光。在臨時建筑方面，他選擇了輕質(zhì)但耐用的建筑系統(tǒng)，新西蘭的紙板大教堂就是一個很好的例子。
While this may seem like an extreme example, passive design strategies can be incorporated in both high-tech and low-tech projects, often requiring low-cost interventions informed by a good understanding of local conditions. Shigeru Ban's structures, both permanent and temporary, often incorporate several passive design strategies. Projects such as the Nicolas G. Hayek Center in Tokyo employ strategically placed operable windows throughout its central space to allow for natural ventilation, while the Centre Pompidou-Metz in France maximizes natural light through the use of translucent materials that distribute daylight evenly in the interior spaces. In the case of temporary structures, Ban opts for lightweight yet durable construction systems as is the case of the Cardboard Cathedral in New Zealand.
當?shù)乜捎觅Y源
Locally Available Resources
Shigeru Ban Architects Unveils Paper Log House at Philip Johnson's Glass House. Image © Michael Biondo
坂茂（Shigeru Ban）因創(chuàng)造性地使用不同尋常的材料而獲得國際認可。將紙張和紙板用作結(jié)構(gòu)材料常常被稱為創(chuàng)新，因為在此之前，建筑中從未使用過此類材料作為結(jié)構(gòu)元素。不過，在采訪中，坂茂（Shigeru Ban）經(jīng)常駁斥這種說法。他認為，他追求的不一定是創(chuàng)新，而是用合適的材料達到合適的目的。他的設(shè)計，如紙木屋和紙板大教堂，展示了如何使用簡單的材料來提供有效的隔熱、結(jié)構(gòu)穩(wěn)定性和美學吸引力。他的方法不僅解決了受災(zāi)地區(qū)的緊急住房需求，還通過使用易于獲取的資源和簡單的建造技術(shù)增強了在地性。
Shigeru Ban gained international recognition for his creative use of unusual materials. The use of paper and cardboard as structural materials has often been called innovative, as no such materials have been previously used as structural elements in architecture. In interviews, however, Shigeru Ban often dismisses this claim. According to him, it's not necessarily innovation that he seeks, but the appropriate material for the appropriate purpose. His designs, such as the Paper Log Houses and the Cardboard Cathedral, demonstrate how the use of simple materials can provide effective thermal insulation, structural stability, and aesthetic appeal. Ban's approach not only addresses immediate shelter needs in disaster-stricken areas but also empowers local communities by using easily accessible resources and straightforward construction techniques.
Paper Log House II Daanbantayan, Cebu, Philippines, 2014 / Shigeru Ban. Image © Voluntary Architects’ Network
人們通常認為開發(fā)新的東西是高科技，但即使是使用簡單、現(xiàn)有的材料，也可以作為一種結(jié)構(gòu)，賦予它們更多的意義和功能。因此，我所做的并不是真正意義上的新發(fā)明，我只是利用我們身邊現(xiàn)有的材料作為建筑結(jié)構(gòu)的一部分。- 坂茂
People normally think developing something new is more high-tech, but even using raw material, humble material, the existing material around us, can be used as a structure--giving them more meaning and more function. So what I'm doing is not really inventing something new, I'm just using existing material around us as part of the building structure. – Shigeru Ban
Makli Zero Carbon Training Centre Yasmeen Lari, Heritage Foundation of Pakistan, since 2016.. Image Courtesy of Heritage Foundation of Pakistan
同樣，Yasmeen Lari的項目通常使用當?shù)氐牟牧?，如泥土、竹子、石灰和茅草。這種選擇不僅減少了對環(huán)境的影響，還降低了建筑成本，使當?shù)鼐用窀菀撰@得。這些材料也非常適合她所倡導(dǎo)的鄉(xiāng)土技術(shù)，確保建筑易于建造、維修和改造，同時還能促進文化傳承。
On a similar note, Yasmeen Lari's projects often employ locally available materials such as mud, bamboo, lime, and thatch. This choice reduces not only the environmental footprint but also lowers the construction costs and makes the process more accessible for the local population. These materials also lend themselves well to the vernacular techniques she champions, ensuring that buildings are easy to construct, repair, and adapt, while also fostering cultural relevance and ownership.
適應(yīng)性和社區(qū)參與
Adaptability and Community Involvement
Hualin Temporary Elementary School. - Shigeru Ban. Image © Li Jun
通過讓當?shù)厣鐓^(qū)參與進來并與之密切合作，這些設(shè)計可以真正適應(yīng)當?shù)厝嗣竦男枨蠛彤數(shù)氐奶厥鈼l件。這種合作之所以成為可能，是因為它采用了低技術(shù)方法，讓各種技能水平的人都能學習技術(shù)并積極參與建設(shè)過程。Yasmeen Lari的 “赤腳企業(yè)家模式”就是這種參與方式的最佳范例之一。在這一模式中，當?shù)厝?，尤其是婦女，接受如何建造Chulahs、零碳庇護所和社區(qū)中心的培訓。接受過培訓的赤腳企業(yè)家隨后到其他村莊，教其他婦女建造這些房屋，并收取約2英鎊的服務(wù)費，以增強其他人的建造和自學能力。這樣就形成了一個工匠鏈，他們可以將新獲得的技能貨幣化，同時豐富其他社區(qū)。
By involving and working closely with the local community, these designs can become truly adaptable to both the needs of the people and the particular local conditions. This collaboration is made possible because of the low-tech approach, as it allows people of all skill levels to learn the techniques and actively participate in the construction process. Among the best examples of this type of involvement is Yasmeen Lari's "Barefoot Entrepreneur Model." In this system, local people, especially women, are trained in how to build chulahs, zero-carbon shelters, and community centers. The trained barefoot entrepreneurs then move to other villages, teaching other women to build them and charging about £2 for the service of empowering others to build and teach themselves. This creates a chain of artisans who can monetize their newly acquired skills while enriching other communities.
Community center - International Dialogues – Vernacular Approaches Yasmeen Lari with Razia Iqbal.. Image Courtesy of Heritage Foundation of Pakistan
正如Yasmeen Lari和坂茂（Shigeru Ban）等建筑師所展示的那樣，低技術(shù)建筑這一概念為碳密集型建筑實踐提供了一種可持續(xù)的、對社會負責的替代方案。這一概念所倡導(dǎo)的技術(shù)并不排斥創(chuàng)新，而是注重有效和實用的解決方案，充分適應(yīng)當?shù)貤l件，并與所服務(wù)的社區(qū)共同發(fā)展。這樣做的好處不僅在于對環(huán)境的影響，還在于增強了人們的能力，并創(chuàng)造了一種更具復(fù)原力和社會責任感的建筑實踐方法。
As exemplified by architects like Yasmeen Lari and Shigeru Ban, low-tech architecture is a concept that offers a sustainable and socially responsible alternative to more carbon-intensive building practices. Far from being innovation-adverse, the techniques promoted by this concept focus on effective and practical solutions, well adapted to the local conditions and developed together with the communities it serves. The benefits thus go beyond the environmental impact, empowering people and creating a more resilient and socially responsible architectural practice.
Post-Tsunami Rehabilitation Houses Kirinda, Hambantota, Sri Lanka, 2007. / Shigeru Ban. Image © Dominic Sansoni
Cardboard Cathedral. - Shigeru Ban. Image © Stephen Goodenough
Paper Partition Systems in Emergency Shelters for Ukrainian Refugees by Shigeru Ban Architects + VAN. Image © Serhii Kostianyi
Refugee Shelters in Kenya - Shigeru Ban Architects + Philippe Monteil + UN-Habitat + VAN. Image © Philippe Monteil VAN, Courtesy of Un-Habitat
Shishi-Iwa House II Karuizawa, Nagano, Japan, 2022. . Image © Hiroyuki Hirai
Prototype of a Reassembled Mosque by Yasmeen Lari.. Image © Alanood Al-Sudairi
Women centre by Yasmeen Lari. Image © Al Jazeera
Pono Colony - August 2022. Image . Image Courtesy of Heritage Foundation of Pakistan
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