竞赛讲堂｜气候变化、生存危机、殖民暴力、看建筑如何构建虚拟“童话”！

TOP ENTRIES OFFER TALES OF WARNING AND HOPE DURING UNCERTAIN TIMES

此前，Blank Space公布了第七届2020年度“建筑童话”竞赛的获胜者。获奖作品来自65个国家/地区，获奖作品通过精湛的短篇小说和艺术作品探索当下时事和创作过程。

获奖者是由20多位顶尖建筑师，设计师和讲故事的评审团选出的，其中包括Alison Brooks，Marc Tsurumaki，Dwayne Oyler，Jenny Wu，Gail Carson Levine和Arthur Mamou-Mani等许多杰出的评委。

自2013年成立以来，一年一度的“FAIRY TALES”吸引了成千上万的参与者，这是一个要求参赛者 通过描绘童话故事的短篇小说方式，对当下科技、人文、自然、社会等问题进行探索并创作的设计竞赛。而且获奖者可以继续将其故事发展成成功的Kickstarter广告系列、短片、漫画书和展览。

下面就让我们来欣赏下2020年度“建筑童话”竞赛的优秀获奖作品吧！

《 THE YEAR WITHOUT A WINTER 》

没有冬季的一年

获奖者：© Tamás Fischer ， Carlotta Cominetti of Virginlemon

上下滑动查看更多图片

“没有冬季的一年”这个故事其实是在思考世界必须停下脚步，人们必须改变自己的习惯以此保护自己，避免诸如强烈而突然的恶劣气候变化之类的陌生事件影响的发生。现在，我们意识到我们的故事看起来像当今世界所处的局势：等待，无聊，孤独，遗憾，社交媒体是唯一的出路。

但是我们真正要强调的是紧急情况是如何导致真正的转折点。困难情况的发生会使人们思考得更多，并以不同的方式思考和创造。自从全球焦点事件开始以来，我们一直在谈论改变生活的事件，这也正是我们故事的主题。我们的生活将会改变，而且会变得更好。

Then on March 20th, a bolt from the blue. Wind and fresh air. As soon as the temperature had returned to the seasonal average, suddenly the buzz stopped. I thought about the cicadas again. It was Spring. It caught us unprepared. The immediate damage was considerable, flooding, loss of electricity, structural failures.

They called it “the year without a winter”.

——节选自 Tamás Fischer ， 

Carlotta Cominetti of Virginlemon

《 SYMBIOSIS 》

 共生 

获奖者：© Aleksandr Čebotariov ， Laura Kuršvietytė

上下滑动查看更多图片

我们的童话故事是一种天真的尝试，试图解决我们正在经历的各种危机的问题——不仅是生态危机，还包括社会危机和生存危机。生活在资本主义下，我们往往会迷失在工作中，自然环境与经济之间的联系， 我们忘记了我们对自然生物的感知能力和其他许多东西。

我们的灵感主要来自第16届威尼斯建筑双年展中Nomeda和Gediminas Urbonai的参展作品——立陶宛凉亭的沼泽学校。后来我们生活在布鲁塞尔的城市环境，也同样激发了我们的想法。

“More and more people claim to be indifferent to society, to their country‘s well-being or economic state. The recent study revealed that people have lost their belief in capitalistic system. It has proven to be unhumane, destructive and possesive. It has taken all of the planet‘s resources and, knowing the capitalistic values, it can be stated that it is not capable of giving them back. “The world is in stagnation,” the study states, “but there might be a hope for change. The chance of the new possible system is not excluded.” ”

——节选自 Aleksandr Čebotariov ， 

Laura Kuršvietytė

《 LLORONAS OF JUÁREZ 》

华雷斯城的哭泣者

获奖者：© Albert Orozco ， Edward Rivero

上下滑动查看更多图片

“华雷斯的哭泣者”这个故事讲述了殖民者殖民地国家通过国界对移民，特别是妇女和儿童的持续暴力行为。通过交叉分析，我们利用抗议艺术，历史叙事和景观都市主义来重新想象墨西哥/美国周围的生态环境。具体而言，我们的项目批评了种族主义的移民政策，性别意识形态和仇外逻辑，这些思想在边界和监狱的设计和建造中趋于一致。

我们通过描绘主人公的斗争和抵抗故事来引起人们关注美国囚禁移民者的拘留所，并号召废除该政策。我们希望与移民者，移民权益活动家，批判学者，艺术家，设计师以及其他社区组织者团结起来，一起抵制帝国主义，以实现无国界的未来发展。

“No Juanito. Women are always villainized in these myths created by men. Let me tell you a different story of La Llorona. Remember the maquiladoras, the factories in Juárez, where your mom used to work before we journeyed to the United States? Well, your mother and other maquiladora workers are gathering to come up with a plan to rescue you and all their children. They call themselves “Lloronas of Juárez.” They are a collective of mothers who have been separated from their children by the border patrol. When their bosses go home, they gather in these factories to work on projects that call for the abolition of detention centers and that reimagine the infrastructure along the border.”

——节选自 Albert Orozco ， 

Edward Rivero

USO-03 Unit A_Upstream Strategic Outposts 

获奖者：© Anton Markus Pasing of Remote Controlled Studio

上下滑动查看更多图片

“离开房子总是很痛苦的，所有的猪在黑暗中都是黑色的，到处都是星星。”

为了几瓶阿基维特，我们有时不得不关闭我们严密但不受天气影响的观察站，然后离开去见努卡，他是一个略显弱智但狡猾的走私者。他的脸上划着一道巨大的乌鸦状伤疤，呼吸中弥漫着大蒜和鱼的味道。他相信地下的神，他的脚步声就像是机器的敲击声。

“It´s always a pain to leave the house and all pigs are black in the dark and full of stars.“

For a few bottles of akevit we sometimes had to close our tight but weatherproof observation station and left to meet with Nuka, a slightly feeble-minded but cunning smuggler. His face was crossed by a large crow-shaped scar and his breath smelled of garlic and fish. He believed in subterranean gods and his footsteps seemed like the pounding of a machine.

——节选自 Anton Markus Pasing of 

Remote Controlled Studio

Rothiemurchus 2098

获奖者：© Marie Walker-Smith

上下滑动查看更多图片

终于，在经历了一段岁月之后，他到达了顶峰。一块岩石基座覆盖了装有Rothiemurchus AI系统的原始计算机的剩余部分。感觉到他的到来，一个驱动器在基座上打开。他喘着粗气，从口袋里取出小装置放下，然后沉到膝盖上。该设备包含删除所有限制到其当前边界的协议所需的代码。有了它，森林AI现在可以在其外围启动重新野外协议。

我已经做到了，他想着，当他沉重地坐下来，靠在基座上时，他听着呼呼，杂音回荡在他周围，闭上他沉重的眼睛，这是自由的。

Finally, after what felt like an age, he reached the top. A rocky plinth covered what was left of the original computer holding the Rothiemurchus AI system. Sensing his arrival, a drive opened in the plinth. Breathing hard, he extracted the small device from his pocket and dropped it in, before sinking to his knees. The device contained the code necessary to take down all protocols that restricted the forest to its current boundaries; with it, the forest AI could now initiate the re-wilding protocol beyond its perimeter.

I’ve done it, he thought, as he sat down heavily, leaning against the plinth, and he listened as whirring and murmurs echoed around him, closing his heavy eyes, It’s free.

——节选自 Marie Walker-Smith

Mickey's Mechanical House

获奖者：© Ioanna Sotiriou & Maria Tsilogianni of Studio Miwi

上下滑动查看更多图片

到目前为止，我已经建造了一些东西，比如带腿的桌子，照明设备，种植中心，甚至还有这个用来锻炼的东西。他们都在我的住处，我超级痴迷于他们的潜力。哦，这个挤压的纽扣…。绝对会有人喜欢这种按下的感觉。我为老式笔记本电脑做了类似键盘的东西。我需要用它来编写脚本，而不需要房子的Wall Panorama®系统的干预-在正确安装中央系统方面面临一些困难。我发现解决方案是建造我自己的PC，控制我系统的内部组件和大脑-用废金属合成这些芯片非常困难，但却成功了，我非常自豪！归根结底，初中时代的物理建模技能已经被证明是有用的。

So far I’ve built stuff like tables with legs, lighting machines, planting hubs, even this thing for exercising my booties. They are all over my place, becoming super obsessed with their potentials. And ohhh, this extruded buttons…absolutely loving the feeling of pressing those. I made something like a keyboard for an old-school laptop. I needed that one for scripting without interventions from the house’s Wall Panorama® system –was facing some difficulties with properly bugging the central system. Found the solution to be building my own pc, controlling the inner components and brain of my system –super tough synthesizing those chips from scrap metals but proudly succeeded! Physical modeling skills back from Junior High days have proven useful after all.

——节选自 Ioanna Sotiriou， 

Maria Tsilogianni of Studio Miwi

Breath

获奖者：© Therese Leick ， Wilhelm Scheruebl of Tab Collective

上下滑动查看更多图片

对于一些人来说，这是向前迈出的一步，但对于每天都必须为自己的生命而战的人来说并不是。我们的长期愿景是在这些盆栽中种植足够的能清洁空气和坚固的树木，然后在户外种植它们，希望以后能够在整个景观中重新造林。我们使用植物中剩余的种子，这些种子储存在种子库中并进行繁殖。这是整个过程中最简单的部分。在那之后，我们必须解决创造一个树木赖以生长和发展环境的困难。它们必须能够适应炎热、被污染的空气和干燥的土壤等恶劣的环境，才能被释放到“荒野”中。

A step forward for some people, but not for the entire population who has to fight for their lives every day. Our long-term vision is to raise enough clean air and strong trees in these pots, to then plant them outdoors and hopefully later be able to reforest entire landscapes. we use the remaining seeds from plants that are stored and reproduced in seed banks. That was the easiest part of the process. After that we had to deal with the difficulty of creating an environment in which the trees can grow and develop. They must be able to get used to the apocalyptic environment such as heat, polluted air and dry soil before they can be released into the “wilderness”.

——节选自Therese Leick ， 

Wilhelm Scheruebl of Tab Collective

Post-Reality Framework

获奖者：© Stefano Stecchelli, Carlo Occhipinti, Ilaria Caraffi, Francesco Bacci, and Carlo Canepa of To Nowhere Studio

上下滑动查看更多图片

城市的美学现在只被认为是表演性问题的结果，以至于所有建筑师的作品都只回应了一种单一的超技术-绿色风格。绿色无处不在。但这座城市并没有得到认可：一切都是当代的、临时的和相同的。

The aesthetic of the cities is now only conceived as the result of performative issues, to the point that all the architects’ work only respond to an univocal hypertechnological-green style. Green is everywhere. But the city is not recognised: everything is contemporary, temporary and identical.

——节选自 Stefano Stecchelli, 

Carlo Occhipinti, Ilaria Caraffi, Francesco Bacci, 

and Carlo Canepa of To Nowhere Studio

7121 Lonzo

获奖者：© Eric and Eva de Broche des Combes

上下滑动查看更多图片

自我们第一次见面以来，他的病情逐渐在恶化，如果不是这种隐秘的交流和对技术明显缺乏兴趣，我几乎会忍不住将整个事件归咎于普通人进入社交媒体世界和互联网解放世界时不得不忍受的动荡的旋风狂热。自2010年开始以来，我们已经收到了相当多的案件，都与现代技术有关，主要是智能手机，电脑，但所有这些案件都有共同的主线。

He has clearly worsened since our first rendez-vous, and if it were not for this cryptic communication and clear lack of interest in technology, I would almost be tempted to pin the entire episode on the tumultuous cyclonic frenzy an average human has to endure when they enter the world of social media and the liberating world of internet. We have had quite a number of cases since the onset of 2010, all related to modern tech, smart phones mostly, computers, but there is the common thread in all of them.

——节选自 Eric and Eva de Broche des Combes

Ghostly Presence

获奖者：© Jiawei Liang and Wei Wu

上下滑动查看更多图片

在过去的几十年里，Gomorrah被称为新兴工业国家电子废料的目的地。数十亿吨电子垃圾被非法出口到这个边境小镇。经过加工，电子材料将进入全球产业链。现代社会的一个令人着迷的错觉是垃圾在日常生活中是看不见的。Gomorrah变成了幽灵的存在，成为我们这个时代最严谨和保守的秘密。

During the previous decades, Gomorrah became known as a destination for electronic scrap from newly industrialized countries. Billions of tons of e-waste were illegally exported to this border town. After processing, the electronic materials would circulate into the global industry chain. A fascinating illusion of modern society is that garbage is invisible in daily life. The Gomorrah becomes the ghostly presence, the most rigorous and conservative secret of our time.

——节选自 Jiawei Liang and Wei Wu

Active Ornament

获奖者：© Lindsay Harkema

上下滑动查看更多图片

活跃的装饰品是由能源民主规划办公室在本世纪20年代推出的，作为私人拥有的公共空间母建筑的强制性翻新。要求将外部电枢应用于最小建筑表面积，该面积是为换取持久性有机污染物而给予的体积。这种电枢将收集和产生直接提供给公众的能源，形式包括可获得的供暖、制冷、电力、水和绿色资源。作为赋权的字面意义上的代理人，AO不仅为公众提供了能源避难所，而且成为城市表演性和审美性转变的媒介，从建筑消费转向资源生成。以前静态的、封闭的建筑变成了既支持私人利益又支持公共利益的适应性生活机器。

Active Ornaments were introduced by the Planning Office for Energy Democracy in the 2020s as mandatory retrofits to parent buildings of Privately Owned Public Spaces. It was required that an exterior armature be applied to a minimum building surface area of the volume which had been granted in exchange for the POPS. This armature would collect and generate energy provided directly to the public in the form of accessible heating, cooling, electrical, water, and green resources. As literal agents of empowerment, AOs not only provided energy refuges to the public, but they became mediums of a performative and aesthetic transformation of the city, a shift from building consumption to resource generation. Formerly static, closed buildings became adaptive living machines supportive of both private and public interests.

——节选自 Lindsay Harkema

Purgatory

获奖者：© Suada Dema

上下滑动查看更多图片

我们现在是地球的一部分了。我的家人不在我身边。就像在我的一个清醒梦里一样。我和一些我不认识的人在这里，但他们似乎甚至没有注意到我的存在。我决定不说话了。我们的住处在地下很深的地方。整个城市是昨天在通话后不久创建的，可能在几分钟内，我记不清了。我们人满为患的房子就像形状随意的地下洞穴，没有一丝阳光。不过，人们似乎是有备而来。他们把他们的东西放在他们能放的任何地方，他们试图用各种重型工具扩大他们的洞穴。有时，巨大的混凝土砖块从洞穴中央不知从哪里掉下来，这被认为是对不要再继续下去的警告。这些洞穴之间有狭窄的通道，人们开始将它们称为“街道”。我们的新城市没有重要的出入口。在特定的位置，他们创造了无定形的开口，从深处可以看到一片片的天窗。

We are part of the earth now. My family is not with me. It‘s like in one of my lucid dreams. I am here with people I don’t recognize, but they don’t even seem to notice my presence. I decided not to talk. Our dwelling is well below the surface. This whole city was created yesterday, shortly after the call, probably within a few minutes, I cannot exactly remember. Our overpopulated houses resemble carelessly shaped subterranean caves and there is not a single trace of sunlight. People seem to have come prepared though. They place their stuff wherever they can and they try to expand their caves more using all kinds of heavy tools. Sometimes big concrete bricks fall out of nowhere in the middle of the cave and that is considered a warning to not continue any further. The caves have narrow passages between them and people started referring to them as “the streets”. Our new city has no significant entrance or exit. In particular locations, they created amorphic openings from which patches of skylight become visible from the depth.

——节选自 Suada Dema

“ H.A.N.D, I DO ”

获奖者：© Diego Grisaleña Albéniz and James Mitchell

上下滑动查看更多图片

-你对你最近的选举结果满意吗？

-你们的政府“真的”代表你们吗？
-你有没有梦想过脱离欧盟有一个更光明的未来？
-当你最喜欢的真人秀明星或喜剧演员成为当选总统时，你感到沮丧吗？
-语音散布恐惧对你有影响吗？
-感觉到伏地魔系统停留在过去了吗？
-你是否被留在其他边界寻求庇护？

作为对上述情况的回应，我们衷心地同情这个结果可能会使您感到长期沮丧。然而，我们现在已经对投票系统进行了革命性的改革，请阅读下面的内容来听取我们的宣言。

– Were you pleased with the outcome of your latest elections?

– Does your government “really” represent you?

– Have you ever dreamt of a brighter future out of the Union?

– Dismayed when your favourite reality star or comedian became president elect?

– Votal fear mongering effecting you?

– Feel the votal system is stuck in the past?

– Have you been left to seek refuge on other borders?

In response to the above, we can whole heartedly sympathise that outcomes can leave you feeling chronically frustrated. However, we have now revolutionised the votal system, read below to hear our manifesto.

——节选自 Diego Grisaleña Albéniz， 

James Mitchell

Back to Eden

获奖者：© Amit Avni

上下滑动查看更多图片

很少有人因为害怕“盲点综合症”而不戴眼镜四处走动。人类的大脑不断充斥着堆积在物理世界上的图形信息，在没有它们的情况下会做出焦虑的反应。几个小时没有戴AR眼镜，人体就会被严重的戒断症状吞没，这些症状会导致许多人抑郁、偏执和精神错乱。那些不戴眼镜四处走动的人生活在社会的边缘，无法融入社会或经济。他们被称为“看不见的人”，既是因为他们生活在与城市文化生活无关的地方，也是因为他们很难通过眼镜看得见。

Very few people walk around without glasses in fear of the ‘Blind Spot Syndrome’. The human brain, constantly flooded with graphic information piled upon the physical world, reacts anxiously without them. A couple of hours without the AR glasses, and the human body is engulfed with severe symptoms of withdrawal that drive many to depression, paranoia and insanity. Those who walk around without glasses live on the fringes of society, unable to integrate socially or financially. They are called the ‘Invisible People’, both because they live with no connection to cultural urban life, and because they are hardly visible through the glasses.

——节选自 Amit Avni

获奖作品的完整赏析可前往 Blank Space官网以及参考以下主链接：https://blankspaceproject.com/fairy-tales-2019-winners-3/

往期回顾

竞赛小组队友招募

Designable为有志参与建筑/景观/室内/环艺/交互等国际设计竞赛的小伙伴们建立一个可供交流的平台，在这个平台里，大家可以：

寻找有缘人组建竞赛设计团队并肩作战

相互交流参加竞赛的心得体验加油打气

分享设计竞赛的相关学习资料共同进步

扫码添加 Designable小助手

备注【竞赛】即可进入

【设计竞赛小组】群

 Designable设计个球 

编辑：Designable小助手

排版：Designable小助手

图文来源官网，如有侵权告知即