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BUREAU：2024 年夏天，亚美尼亚高加索山区发生了一件有趣的事情。一群人聚集在岩石密布的荒野环境中，建造一件看似无用的人工制品。他们每天早上 5 点半起床，顶着烈日在临时搭建的工地上工作，他们共进一日三餐，在傍晚踢足球，有时也在夜晚跳舞。他们周围总是有一些野狗，也有一些马儿，施工场地附近还有几只秃鹫，以及一些看不见的危险的蛇和奇妙的螳螂。他们看起来既快乐，又疲惫。长远来看，这种经历既荒诞又美丽。
BUREAU：During the summer of 2024, an interesting experience was carried out in the Armenian Caucasus mountains. A group of people somewhere in a very rocky and wild environment gathered to construct an undefined and seemingly useless multi-species artefact. They waked up at 5.30 am every morning, worked under an intense heating sun on an improvised construction site, prepared meals together three times a day, played football in the evening and sometimes danced at night. There were some wild dogs always around, horses as well, a couple of vultures close to where they were building, invisible and dangerous snakes, wonderful mantises. They seemed happy and tired. From far, the experience felt absurd and beautiful at the same time.
背景 A brief introduction to their activities, from inside.
一切都基于一部小说，一个根据发生在世界另一个地方（瑞士）的历史事件而虚构的故事。小说名为《Derborence》，作者 Charles Ferdinand Ramuz 写于 20 世纪初，讲述了一个村庄社区遭受山体滑坡后果的故事。小说取材于 1714 年发生的一起历史事件，该事件造成 15 人和 170 头动物死亡。值得注意的是，动物的死亡也被记录在案。
这部小说催生了由 BUREAU（Daniel Zamarbide, Carine Pimenta, Galliane Zamarbide）发起的建筑三部曲。第一件作品建在瑞士山区的一个雕塑公园里。第二件建在法国的一个艺术社区。第三件在亚美尼亚的高加索山脉。
三部曲中的最后一部作品非常特别，它不是瑞士-葡萄牙建筑师的设计成果，而是由 BUREAU、NPATAK 和 15 名亚美尼亚及国际学生共同创作的作品，该作品在埃里温一个为期三周的研习工坊中构思和完成，研习工坊的前五天在建筑图书馆，后五天则在高加索野生动物保护区——南高加索一个 3 万公顷的野生动物保护区境内。
A novel, first of all, a fictional story based on a historical event that happened in another part of the world: Switzerland. The novel is titled Derborence, written by Charles Ferdinand Ramuz in the early 20th century, and tells the story of a village community that suffered the consequences of a landslide. The novel is based on a historical event that happened in 1714 and caused the death of 15 people and 170 animals. Significantly, the death of animals was also recorded.
This novel has given birth to an architectural trilogy initiated by BUREAU (Daniel Zamarbide, Carine Pimenta, Galliane Zamarbide). One first piece was constructed in a sculpture park in the Swiss mountains. The second in an art community in France. The third one, in the Caucasus Mountains in Armenia.
This last member of the trilogy is particular as it is not the result of a design by the Swiss-Portuguese architects but is a co-authored piece from BUREAU, NPATAK and 15 Armenian and international students, conceived and realized in a three weeks workshop in Yerevan, at the Library For Architecture for the first 5 days, and in the territory of the Caucasus Wildlife Refuge, a 30’000 hectares land of protected wildlife in South Caucasus.
过程和结果都是教学方法的一部分，旨在将思考和制作作为同一任务的一部分。建筑主要是一种理论实践，具有讽刺意味的是，它与建筑的实际部分相当脱节。自文艺复兴以来，建筑师已经远离建筑工地，如今他/她的主要活动都是在电脑后面进行的。历史学家 Marvin Trachtenberg 在其著作《Building in Time》中对这一决定性的转折点进行了精彩的描述。
社会学家 Richard Sennet 从一个截然不同的角度，就这一主题撰写了他自己的三部曲——《homo faber》，他提出了一个具有启发性的观点：在创造性思维的形成过程中，工艺才是真正重要的。
The process and result are part of a pedagogical approach that intends to dissolve thinking and making as part of a same undertaking. Architecture is mostly a theoretical practice, ironically quite detached from the physical part of construction. Since the renaissance, the architect has evolved away from the construction site, his.her main activity occurring today behind a computer. Historian Marvin Trachtenberg has marvelously described this decisive turning point in his book Building in Time.
With a very different angle, sociologist Richard Sennet has made his own written trilogy – homo faber: The Craftsman, Together, Building and Dwelling – on this topic as well, developing a provocative idea that craft is really what matters when it comes to creative thinking-making.
根据 Sennet 的推理，研讨会的基本原则如下： 人们参与创造他们所生活的世界，他们通过与世界对话，在他们之间以及与他们共享环境的其他生物之间进行对话。因此，工作坊被认为是一种对话工具，是在一群自愿聚集在一起、以设计和建造某样东西为目标的人中间建立对话交流的一种方式。
这种“东西”很重要，但除了开放、多孔和适用于多物种之外，并不需要有特定的定义。一个庇护所、一个土丘、一个参照点、一个小环境，就可以为在其中或周围出现的各种生命提供某种支持。稻草和岩石的使用为这些大大小小的生物提供了庇护。
作为动词和行为的“构建”也很重要。它说明了这个临时团体必须组织起来，在一个与世隔绝的环境中共同思考、饮食、工作、玩耍、交流三个星期。
Pursuing the reasoning of Sennet, the foundational principle of the workshop was the following: People participate to the production of the world they live in, and they do so through conversing with the world, among themselves and with other living beings with who they share the environment. The workshop has been thus thought as a dialogical tool, a way to establish a dialogical exchange within a group of people who gather voluntarily together with the goal of designing and building something.
The “something” is important but does not need to have a particular definition other than the fact of being open, porous and multi-species. A shelter, a mound, a reference point, a small environment that can be of some support for a diversity of fragments of lives that will occur in, or around it. The use of straw and rock provides shelter for those living creatures of various sizes.
The “building”, as a verb and as an act, is important as well. It says something about the temporary community that have had to organize as a group to think, eat, work, play, exchange together for three weeks in a quite isolated context.
Urtsadzor 的 Séraphin 在开发和制作过程中，一直考虑到可能会有更多的人居住在这里。因此，它具有建筑文化中常说的“功能”开放性，它没有具体的用途，却可能有多种用途。该建筑可以被认为是多尺度的，因为它欢迎并考虑到了“居民”的多样性。
The consideration that a more than human population could somehow inhabit Séraphin of Urtsadzor has been very present in the development and making of the artefact. The function, or what in architectural culture is often referred as “program” is left open in this case. No specific usage but potentially a multiplicity of them. The object can be considered as multi-scalar as it welcomes and takes into account a diversity of inhabitants.
▽设计图纸 Design drawings
BUREAU和NPATAK夏令营：多物种庇护所设计
BUREAU（Daniel Zamarbide, Carine Pimenta, Galliane Zamarbide）|www.bureau.ac|@daniel_zamarbide
NPATAK | www.npatak.com | @npatakplatform
团队：Amir Halabi, Andranik Yeremyan, Ani Khachatryan, Ani Vahramyan, Arineh Keshishi (NPATAK), Arpi Hovhannisyan, Carine Pimenta (BUREAU), Daniel Zamarbide (BUREAU), Edita Arakelyan, Galliane Zamarbide (BUREAU), George Kyupelyan, Hamlet Mkhoyan, Hayk Shahinyan (NPATAK), Iker Zamarbide, Irina Martirosyan, Jeremy Morris (BUREAU), Karen Berberyan (NPATAK), Leo Yuan, Lujza Lehocká, Margarita Astvatsatryan, Pierre Musy (BUREAU), Sam Toman, Todor Rusev
图纸：Todor Rusev
背景：夏令营-集体设计和建造研习工坊
地点：亚美尼亚 埃里温和乌尔察佐尔
项目：多物种庇护所、多尺度和多用途人工制品
面积：9 平方米
状态：已完成，2024年8月
摄影：Dylan Perrenoud
视频： BUREAU (Daniel Zamarbide, Carine Pimenta, Galliane Zamarbide), Jeremy Morris, Pierre Musy
合作伙伴和赞助商
赞助商：H. Hovnanian Family Foundation, STOHA, TarberAK Studio, BUREAU
建筑材料和工具：Ket Construction
工具和机械：HILTI Armenia
模型材料：Epigraph
喷射混凝土：Eduard Karapetyan
凝灰岩墙支撑和工作室：Roman Grigoryan
接待：In Vino
旅费资助：Calouste Gulbenkian Foundation
主办合作伙伴-埃里温：Library for Architecture, LFA
主办合作伙伴-乌尔察佐尔：Caucasus Wildlife Refuge, CWR
活动受到瑞士艺术委员会 Pro Helvetia 的支持
Summer school by BUREAU and NPATAK: a collective design for a multi-species shelter
BUREAU (Daniel Zamarbide, Carine Pimenta, Galliane Zamarbide) | www.bureau.ac | @daniel_zamarbide
NPATAK | www.npatak.com | @npatakplatform
A collective design and construction by: Amir Halabi, Andranik Yeremyan, Ani Khachatryan, Ani Vahramyan, Arineh Keshishi (NPATAK), Arpi Hovhannisyan, Carine Pimenta (BUREAU), Daniel Zamarbide (BUREAU), Edita Arakelyan, Galliane Zamarbide (BUREAU), George Kyupelyan, Hamlet Mkhoyan, Hayk Shahinyan (NPATAK), Iker Zamarbide, Irina Martirosyan, Jeremy Morris (BUREAU), Karen Berberyan (NPATAK), Leo Yuan, Lujza Lehocká, Margarita Astvatsatryan, Pierre Musy (BUREAU), Sam Toman, Todor Rusev
Publication drawings: Todor Rusev
Context: Summer school: a collective design and construction workshop
Location: Yerevan and Urtsadzor, Armenia (AM)
Program: Multi-species shelter, multi-scalar and multi-usage artefact
Area: 9 m2
Status: Completed, 08-2024
Photography: Dylan Perrenoud
Video: BUREAU (Daniel Zamarbide, Carine Pimenta, Galliane Zamarbide), Jeremy Morris, Pierre Musy
Summer school by BUREAU and NPATAK: partners and sponsors
Sponsors: H. Hovnanian Family Foundation, STOHA, TarberAK Studio, BUREAU
Construction material and tools: Ket Construction
Tools and machinery: HILTI Armenia
Model materials: Epigraph
Shotcrete: Eduard Karapetyan
Tuff stone wall support and workshop: Roman Grigoryan
Reception: In Vino
Travel grant: Calouste Gulbenkian Foundation
Hosting Partner Yerevan: Library for Architecture, LFA
Hosting Partner Urtsadzor: Caucasus Wildlife Refuge, CWR
With the support of the Swiss Arts Council Pro Helvetia
“ 到实地，去建造，人们通过与参与创造他们所生活的世界，与之对话，并进一步在他们之间以及与其共享环境的其他生物之间进行对话。”
审稿编辑：SIM
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