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繁茂的遗迹·垂直自然塔丨中国佛山丨合造社建筑设计事务所

2024/12/03 13:40:02

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项目背景

Project background

“垂直自然塔”是合造社建筑事务所为南海大地艺术季设计和建造的一座微美术馆，作为 PILLS 策展的六座微美术馆单元中的一座，位于佛山市南海区渔耕粤韵艺术区的湖边。而这池湖水是由广东传统农业中桑基鱼塘演化至今，是珠三角水系生活和生产体系中的一个切片。桑基和鱼塘，农业和渔业，生物共生交织反映了典型且独特的南方状态。垂直自然塔，作为一个大地艺术节的微美术馆，也试图通过设计和建造来回应“南方性”，并融入在地的文化地理背景。

“Vertical Nature Tower” is a micro art museum designed and built by CLABArchitects for the ART FIELD NANHAI 2024. As one of the six micro art museum units curated by PILLS, it is located in the lake of Yugeng Yueyun Art Park, Nanhai District, Foshan City. The lake evolved from the mulberry base fish pond in Guangdong’s traditional agriculture, and is a slice of the life and production system of the Pearl River Delta. Mulberry and fish ponds, agriculture and fishing, symbiotic interweaving reflect a typical and unique southern state. The Vertical Nature Tower, as a micro-art gallery of the Earth Art Festival, also attempts to respond to the “southernness” through its design and construction, and to integrate into the cultural and geographical context of the place.

▼项目概览，overview of the project©徐浪

▼垂直自然塔，Vertical Nature Tower©徐浪

建筑师自述：繁茂的遗迹

Architect’s statement:LUXURIANT RELICS

“南方，热带雨林凭着过剩的生命力拒绝着个体的存有。那一团生命里，没有植物、动物或个人是独立存在、显眼夺目的。”——段义孚《我是谁》“In the South, the rainforest rejects individual existence with its excess vitality. In that mass of life, no plant, animal, or individual stands alone and stands out.”— Duan Yifu▼垂直自然塔，Vertical Nature Tower©徐浪

南方热带雨林以其旺盛的生命力，展现了一种所有生命体交织的共生状态。这里的植物、微生物、动物等生命形态繁茂至极，它们快速出现、又快速消失的方式，轮替存在，生生不息。即便是无机物建造的建筑，也不可避免的被这繁茂的生命力包裹、共存、共生。这番景象，不免让人产生错觉：建筑也是某种形式的生命体么？

The southern tropical rainforest, with its vigorous vitality, shows a symbiotic state of all life forms. Here, plants, microorganisms, animals and other life forms flourish extremely, their rapid appearance, and rapid disappearance of the way, in rotation, life and growth. Even the buildings built by inorganic materials are inevitably wrapped by this lush vitality, coexistence and symbiosis. This scene cannot help but give people the illusion: are buildings also some form of life?

▼夕阳下的垂直自然塔，Vertical Nature Tower under the sunset©徐浪

回到建筑学的经典追求——坚固与永恒——的话题，建筑在南方的繁茂中，似乎也指向了另一个意向：永恒的建筑被这繁茂的生命力包裹淹没，并在漫长的岁月中，变成文明的遗迹。这个意向也映照了电影《湮灭 ANNIHILATION》中那略显残酷的画面：在遗落的南境，人的身体最终被繁茂的植物占领，溶于自然的繁茂。

Returning to the classic pursuit of architecture – sturdiness and permanence – the lush architecture in the South seems to point to another intention: the eternal architecture is submerged by this lush vitality, and in the long years, becomes the relic of civilization. This intention also mirrors the slightly cruel image in the film ANNIHILATION: in the lost southern border, the human body is finally occupied by lush plants, dissolved in the lush nature.

▼装置与植物，installation and lush plants©徐浪

垂直自然塔的创作旨在自然中建造一座自然的纪念塔，或者是指向未来的一处遗址。在南方的繁茂中，建筑师用建筑物代替身体，去转移和消解这一残酷的不适，并理解自然。也是基于相同的观念，建筑师徐浪邀请艺术家冯瑞，为这个塔来创作自然的意向，用艺术家更温柔的语言，替代身体的痛苦，来为我们展现热带雨林中自然生命生灭往复的力量。

The creation of the Vertical Nature Tower aims to create a natural monument in nature, or a site pointing to the future. In the exuberance of the South, the architect uses the building instead of the body, to divert and dissolve this cruel discomfort, and to understand nature. Based on the same concept, architect Xu Lang invited artist Feng Rui to create a natural intention for the tower, using the artist’s more gentle language, instead of the pain of the body, to show us the power of natural life in the rainforest.

▼建造一座自然的纪念塔，create a natural monument in nature©徐浪

空间与建造

Space and construction

垂直自然塔由九片形状不一的混凝土墙体相互搭接形成主体空间，并在其内部设计了一条螺旋上升的路径通往建筑顶部的“亭子”。

The vertical natural tower consists of nine concrete walls of different shapes that overlap each other to form the main space, and inside it is designed a spiraling path to the “pavilion” at the top of the building.

▼仰视顶部的“亭子”，look up at the“pavilion”©徐浪

在创作过程中，建筑师对这九片混凝土墙体所表达的“搭接的随机性”进行了“刻意”的技术处理，尽管混凝土墙体的建造本身是“凝结”而非“搭接”逻辑。所谓“搭接”，即每一片墙体顶端的结束和另一片墙体底端的开始须位于同一标高。而实现“搭接”的视觉语言则是将一个由暗柱和暗梁组成的连续框架结构隐藏在这九片墙体中。

During the creation process, the architects took a “deliberate” technical approach to the “randomness of the lap” expressed by these nine concrete walls, even though the construction of the concrete walls itself is a “condensation” rather than a “lap” logic. The so-called “lap” means that the end of the top of each wall and the beginning of the bottom of the other wall must be at the same elevation. The visual language to achieve the “lap” is to hide a continuous frame structure composed of dark columns and dark beams in these nine walls.

▼由暗柱和暗梁组成的连续框架结构，

a continuous frame structure composed of dark columns and dark beams©徐浪

“随机性”的墙体对于施工建造是一次不小的挑战，施工方在现场制作建造模型以保证建造的准确。

The “random” wall is a big challenge for construction, and the construction team makes construction models on site to ensure the accuracy of construction.

▼“随机性”的墙体，The “random” wall ©徐浪

墙体与马赛克的自然

Wallsand mosaic of nature

垂直自然塔的九片墙体分为内外两个面。外部墙面采用拉槽模板制造突起，在未来为植物攀爬创造“台阶”。而内部则采用光面混凝土，成为艺术家当下创作的基底。

▼剖面，section©合造社建筑设计事务所

The nine walls of the Vertical Nature Tower are divided into internal and external surfaces. The exterior walls use slotted forms to create protrusions that will create “steps” for plants to climb in the future. The interior is made of polished concrete, which serves as a base for the artist’s current work.

▼马赛克”苔藓”，mosaic moss©冯瑞

▼马赛克”苔藓”，mosaic moss©冯瑞

打碎、重组、排列……用马赛克的语言来刻画自然，它以微小单元的组合构建了整体的秩序与图案。苔藓是一种生命力极强的植物，常被视为时间和荒废的象征。苔藓既是侵蚀者，又是治愈者。它以柔软的生命力重新织补墙体，将冰冷的人造物转化为自然的一部分。

▼墙体轴测+大样，wall axonometric + detail©合造社建筑设计事务所

Break, reorganize, arrange ….. The language of mosaic is used to portray nature, which builds up an overall order and pattern with the combination of tiny units. Moss is a plant with strong vitality and is often regarded as a symbol of time and desolation. Moss is both an eroder and a healer. It reweaves the wall with soft vitality, transforming the cold man-made object into a part of nature.

▼马赛克细部，mosaic detail©冯瑞

▼马赛克”苔藓”，mosaic moss©冯瑞

尾记/艺术家自述

Endnotes / Artist’s Statement

垂直的自然是建筑的物质形态，更是时间、自然和人类意志交汇的场域。墙体在此不仅是一种建筑的支撑，也是一种表意的载体。它是历史的“遗迹”，又是自然入侵与共生的见证。马赛克的制作技艺本质上是一种追求秩序的过程。然而，垂直的自然中的马赛克将传统的“秩序美学”解构，引入了“随机与自然”的力量。

Vertical nature is the material form of architecture, but also the field where time, nature and human will meet. The wall is not only an architectural support, but also a carrier of expression. It is a “relic” of history and a witness to the invasion and symbiosis of nature. The production of mosaic is essentially a process of pursuing order. However, the vertical nature of mosaic deconstructs the traditional “aesthetics of order” and introduces the power of “randomness and nature”.

▼傍晚景象，at dusk©徐浪

个人在庞大的社会结构中，往往感到被不断吸收、吞没，有时甚至完全被掩盖。这种感受与热带雨林中那些微小生命的状态相呼应，即个体在更大整体中的渺小与无力。同时，也探讨了现代社会中的身份矛盾：人们既追求个体的独立性，又无法摆脱作为集体一员的属性。我们到底是谁？是自我意志的产物，还是社会文化的产物？我们在社会群体中的那个“自我”究竟是什么？

Individuals often feel absorbed, engulfed, and sometimes even completely obscured in large social structures. This feeling echoes the state of those tiny beings in the tropical rainforest, their insignificance and powerlessness in the larger whole. At the same time, it also explores the contradiction of identity in modern society: people seek individual independence, but cannot escape the attribute of being a member of a collective. Who are we really? Are we the products of self-will or social culture? What is our “self” in the social group?