THE CHALLENGE OF SUSTAINABILITY IN DEVELOPING COUNTRIES AND THE ADAPTATION OF HERITAGE-INSPIRED ARCHITECTURE IN CONTEXT.

Wael A. Yousuf

Abstract

Despite the considerable contributions in the developing world relevant to the development of sustainable environments, the concept of sustainable architecture is yet not widely considered within most of the developing communities whose priority lies with the immediate resolutions of many existing problems. This paper aims to analyze the challenges and applicability of sustainable architecture concepts in developing countries in order to develop a strategy to create a more sustainable built environment. It represents a pragmatic approach to investigate the role that indigenous practices and heritage-inspired architectural solutions as key elements in this respect. The study suggests that utilization of scientific studies conducted on these traditional features and solutions in the early design stages and a computer-aided adaptation using the available software can introduce a much progressive and environmentally-aware architecture. As well, the study supposes that rational and pragmatic practices should be executed through an integrative approach to produce a synthesis of both pre-industrial and high tech-based design. This approach may confer a new dimension of hybridism to a distinct regional architecture. It might result in a much more ecologically-aware built environment as well as maintain a high level of self-consciousness.

Keywords

Sustainable architecture; challenges; heritage inspiration; computational adaptation.

Introduction

Many historical practices and indigenous architectural solutions have reflected a great sense of environmental and social sustainability, with respect to the technical advancement, economic and socio-political aspects. Nevertheless, in most of the post-modern revivalist movements, emphasis was placed on the stylistic approach and typologies of historical architecture, and analysis was focused on the cultural and stylistic authenticity. Little emphasis was placed upon functional, climatic and socio-spatial aspects. On the contrary, the functionally-oriented contributions have, to an extent, reflected a limited fundamentalist approach to the role which vernacular architecture can play, through a continuous process of straight revivalism. As illustrated in fig. 1, the limited conservative approach towards heritage contextualization and symbolic meanings of regression are the major challenges facing indigenous architecture.

The scope of this paper hence is limited to review the challenges and applicability of sustainable architecture in developing countries and the relevance of indigenous solutions in this respect. This would be accomplished through a major two-step process as expanded within the next few pages. The first step involves an overview of the architectural situation in the developing world, the generic perception of sustainability in context, and both economic and cultural challenges. However, the second step is dedicated to review examples of the potentially sustainable qualities in the indigenous features in relation to both climatic and cultural aspects. The last part of this paper suggests a conceptual framework for adaptation of these inherited features through conducting deliberate scientific researches and employment of the available computer-aided design tools.

This paper introduces three major hypotheses. First of all is that architecture should be conceptually influenced by its heritage along with the available technology. Combining both strategies would optimize the advantages of each. Secondly, passive environmental systems require considerations in the early design stages, initial decisions about orientation, form, and materiality, which cost nothing, yet lead to increased sustainability. The third hypothesis targets the human element. Such a functional approach will add a new evolutionary dimension to the stylistic aspects, which can change the ingrained perception of these features asimages from the past. The result might be an emphasis on cultural authenticity and increased self-consciousness. The assumed influence over the holistic approach of sustainability could be concluded through fig. 2.

Generic Architectural Situation in the Developing World and Sustainable Architecture in Response

The situation of contemporary architecture, in the majority of developing countries, exists between two extremes: an unconscious adoption of advanced international designs on one side and the stylistic revitalization of classical forms of architecture on the other. Most significant are those attempts which try to create a contemporary synthesis of the two. However, the architectural situation in developing countries is almost characterized by both decline in innovation and break down of traditions. This has led to a continuous process of copying, whether temporally from the past or geographically from the West regardless of both regional and cultural identities. Most of the recent projects are governed by this collective consciousness. The overall results hence were un-functional stylistic transplants and strange hybrids.

The boom in construction technology led to increased consumption of energy and resources that exceeded all expectations. Consequently, this necessitates investigation of alternative methods of design in order to achieve better management of natural resources and reduce the damage caused to the environment. Today, as at no other time, there is a critical need tore-evaluate the architectural situation and to maintain a sustainable development policy which demonstrates aspects of economical, ecological, and socio-political dimensions. However, the initial cost of the new technology associated with concepts of sustainability is comparatively high and the economic feasibility of adopting such method remains unclear to real estate investors in developing countries. A sustainable built environment, however, could be more derivative and related to the regional heritage and the social collective memory.

Perception of Sustainability and Challenges Within

The concept of architectural sustainability attracted some architects since it represents a new trend that addresses the desire for excellence. Many developers pursue to adopt principles of sustainable architecture mostly citing the experiences of industrialized countries. However, in spite of many contributions in this  field, the practices remain limited and theoretically un-integrated. The problem of the applicability of these ideas lies in how the architects perceive them, and the adoption of such method without adequate assessments of regional convenience. The methodology of adopting these concepts recalls what was followed with the international style that emerged with the ascendancy of modernism. Internationalism dominated the stylistic consciousness of most architects, and therefore, a breakdown of traditions and lack of identity were evident and a strong apprehension was imposed regarding regionalism and self-consciousness.

The techniques that were developed in Europe and the United States might not be commensurate with the natural conditions of different regions, and more importantly, they might contradict what was authentically understood as principles of sustainability. These methods and techniques require adaptation to achieve the desired convenience. Also they may require different environmental solutions due to the different climatic conditions. Such adaptation might lead, in terms of both style and materials, to significantly different practices, or even the opposite of what was originally adopted.

In terms of morphology, many local architects adopt the method as forms and expressions, not as content and principles. In many cases they follow a systematic approach of adopting nonregional imported architectural ideas without taking into account the direct relationship to their environment and its natural and cultural context. Hence, what began in the West as an alternative to save energy and an attempt to create a built environment that respects the ecological and environmental aspects, may be turned into a mere imported architectural style that ultimately lacks local peculiarities. However, challenges of sustainability, as shown in fig. 1, could be discussed mainly on economic and cultural levels.

Economic Challenges

The boom in urban and architectural development and increased investments in the real estate industry in many developing countries, such as in the Middle East, were both associated with high consumption of relatively cheap energy. However, the initial cost of the new technology associated with the progressive sustainable designs is comparativelyhigh and the economic feasibility of adoptingsuch methods remains unclear to real estateinvestors. This resulted in the investors ignoringthe possibility of alternative energy sources, aswell as a lack of serious consideration of the useand development of construction techniquesthat would significantly reduce the wasting ofenergy, unless through the imposed domesticregulations. In addition to the high initial cost,the projects in which these technologies areemployed usually encounter maintenanceand operating problems due to the lack ofsupporting industries and local expertise,resulting in a necessity to rely on foreign expertsand outsourcing, which contradicts the basicprinciples of sustainability.

Cultural Challenges

In addition to the previously mentionedfinancial constraints, sustainable design is notyet a culturally accepted concept within thedeveloping communities whose priority lieswith the immediate resolutions of the society’smany existing problems. The concepts ofsustainability then are not seriously adoptedas essential design requirements of manyowners and stakeholders. “Many buildings areoccupied by a succession of temporary ownersor renters, each unwilling to make long-termimprovements that would mostly benefit futureoccupants” (Brown, Southworth& Stovall, 2005p. 4). Furthermore, the architects themselvesare not encouraged to acquaint themselveswith such an approach due to the lack ofenvironmental orientation, regulations, andrelevant building codes.

發(fā)展中國(guó)家面臨的持續(xù)能力的挑戰(zhàn)以及在此背景下對(duì)傳統(tǒng)建筑的調(diào)整

威爾 A 約瑟夫

概要

盡管發(fā)展中國(guó)家在宣傳可持續(xù)發(fā)展環(huán)境方面做了諸多努力，但可持續(xù)發(fā)展的建筑理念還沒有被廣泛采用，大部分發(fā)展中國(guó)家依然將工作重心放在如何快速解決現(xiàn)有問題上。本文旨在分析發(fā)展中國(guó)家推廣可持續(xù)發(fā)展建筑理念中可能遇到的挑戰(zhàn)，從而提出可行策略幫助創(chuàng)造可持續(xù)發(fā)展的建筑環(huán)境。這其中實(shí)效的方法是研究發(fā)展中國(guó)家的實(shí)際做法，并將仿遺建筑作為解決問題的中心。報(bào)告建議，利用科學(xué)手段研究早期建筑設(shè)計(jì)特點(diǎn)，通過計(jì)算機(jī)輔助軟件來對(duì)早期建筑進(jìn)行改變從而設(shè)計(jì)出更現(xiàn)代更環(huán)保的建筑。同時(shí)，報(bào)告也指出了應(yīng)通過綜合方法，將工業(yè)化以前的設(shè)計(jì)理念和現(xiàn)代高科技結(jié)合起來，設(shè)計(jì)出合理可行的建筑方案。此方法可能會(huì)賦予區(qū)域獨(dú)特建筑以雜糅的新理念。通過此方法，我們可以創(chuàng)造一個(gè)更環(huán)保的建筑環(huán)境，同時(shí)也能保持高度清醒的自我意識(shí)。

關(guān)鍵詞

可持續(xù)發(fā)展建筑；挑戰(zhàn)；遺產(chǎn)靈感；計(jì)算機(jī)輔助改編

引言

很多早期的當(dāng)?shù)亟ㄖ�都反映出了�?dāng)時(shí)的設(shè)計(jì)者對(duì)環(huán)境和社會(huì)可持續(xù)發(fā)展的關(guān)注度，同時(shí)，他們也考慮到了技術(shù)發(fā)展、經(jīng)濟(jì)和社會(huì)政治等要素。然而，在很多后現(xiàn)代的復(fù)舊運(yùn)動(dòng)中，關(guān)注的重點(diǎn)在早期建筑的形態(tài)設(shè)計(jì)理念和類型，分析的重點(diǎn)也放在文化和設(shè)計(jì)的原真性上。卻很少有人關(guān)注早期建筑的功能性，氣候和空間限制因素。而相反的是，在直接復(fù)古主義浪潮的過程中，注重功能性的建筑則在某種程度上反映出了設(shè)計(jì)者們用的是局限的基要主義方法看待本土建筑作用。如下所列：1. 本土建筑面臨的主要挑戰(zhàn)來自于對(duì)傳統(tǒng)情景化和復(fù)古現(xiàn)象的象征意義局限而保守的看法。

本文將回顧在發(fā)展中國(guó)家可持續(xù)發(fā)展建筑理念的實(shí)施和遇到的挑戰(zhàn)，以及相關(guān)的解決方法。解決辦法主要是兩步法，將在以下幾頁中詳細(xì)闡述。第一部包括發(fā)展中國(guó)家建筑現(xiàn)狀綜述，在此背景下對(duì)可持續(xù)發(fā)展理念的普遍看法，以及經(jīng)濟(jì)和文化上面臨的挑戰(zhàn)。而第二步是要回顧實(shí)例，找出在氣候和文化方面本土建筑中可能存在的可持續(xù)發(fā)展特點(diǎn)。本文的最后一個(gè)部分將闡述利用精細(xì)的科學(xué)研究和計(jì)算機(jī)輔助設(shè)計(jì)工具提出一個(gè)概念框架用于指導(dǎo)對(duì)傳統(tǒng)設(shè)計(jì)特點(diǎn)的改進(jìn)。

本文主要提出3中假設(shè)。第一種是現(xiàn)代建筑的設(shè)計(jì)理念必須融合早期建筑特點(diǎn)和現(xiàn)代科技手段。結(jié)合兩種方案可以優(yōu)勢(shì)互補(bǔ)，相互提升。第二點(diǎn)，被動(dòng)控制系統(tǒng)中應(yīng)在設(shè)計(jì)初期就決定設(shè)計(jì)側(cè)重點(diǎn)，外觀和建筑材料等，這不會(huì)花費(fèi)一分一毫，而且會(huì)提高穩(wěn)固性。第三點(diǎn)是考慮人為因素。這種功能法帶來了一種新的設(shè)計(jì)風(fēng)格，從而能改變?cè)缙谘匾u下的根深蒂固的舊設(shè)計(jì)理念。帶來的改變就是建筑更有傳統(tǒng)文化氣息和個(gè)人特性�？赡軐�(duì)可持續(xù)性帶來的改變?nèi)鐖D所示。 2.

發(fā)展中國(guó)家的一般建筑和可持續(xù)發(fā)展建筑現(xiàn)狀

大部分的發(fā)展中國(guó)家現(xiàn)代建筑的發(fā)展現(xiàn)狀介于兩個(gè)極端之間：一端是完全采用現(xiàn)代國(guó)際設(shè)計(jì)，一端是推行復(fù)古主義，完全沿襲早期建筑模式。而實(shí)際上融合兩種設(shè)計(jì)理念創(chuàng)造出的當(dāng)代建筑才是有意義的。但目前發(fā)展中國(guó)家的建筑都在摧毀傳統(tǒng)而且越來越缺乏新意。這就導(dǎo)致了他們一直在抄襲西方的建筑設(shè)計(jì)，不顧自身地域和文化特點(diǎn)，不顧西方設(shè)計(jì)新舊和建筑區(qū)域。最近大多的項(xiàng)目都遵從集體主義的理念。結(jié)果就是都是沒有功能性和詭異的雜糅理念建筑。

建筑技術(shù)上興起的發(fā)展風(fēng)潮導(dǎo)致了精力和建筑材料上的巨大消耗，超過了所有的預(yù)期。結(jié)果就是，必須探索可行的替代方法，合理利用自然資源，減少對(duì)環(huán)境的危害�，F(xiàn)在，我們面臨前所未有的危機(jī)，必須要仔細(xì)研究建筑現(xiàn)狀，保障可持續(xù)發(fā)展政策，綜合考慮經(jīng)濟(jì)，生態(tài)和社會(huì)政治因素。然而，發(fā)展可持續(xù)性理念的新技術(shù)花費(fèi)的資金較高，所以在發(fā)展中國(guó)家，房地產(chǎn)開發(fā)商是否會(huì)采用還未可知�？沙掷m(xù)的建筑環(huán)境可能會(huì)設(shè)計(jì)到更多方面，例如地域傳統(tǒng)和社會(huì)集體回憶。

對(duì)持續(xù)性的理解和所遇的挑戰(zhàn)

建筑可持續(xù)性理念吸引了很多建筑學(xué)家的注意，因?yàn)檫@種理念代表著一種追求優(yōu)秀的新發(fā)展方向。很多建筑學(xué)家跟隨工業(yè)化國(guó)家，吸取他們的經(jīng)驗(yàn)，采取可了持續(xù)發(fā)展建筑理念。然而，盡管在這方面有很多發(fā)展，但實(shí)際操作還很有限，理論也不完善。施行這些理念的主要問題在于建筑學(xué)家是如何理解這個(gè)理念，還有很多在操作的過程中沒有對(duì)個(gè)體區(qū)域特點(diǎn)進(jìn)行合理分析。而吸收了這些理念的方法論讓人想起了國(guó)際風(fēng)格風(fēng)靡全球使得現(xiàn)代建筑取得了主流地位之后的情況。很多建筑家遵從國(guó)際主義的設(shè)計(jì)理念，所以，出現(xiàn)的建筑大多打破了傳統(tǒng)卻又缺乏獨(dú)立性，出現(xiàn)了對(duì)地方主義和個(gè)人主義強(qiáng)烈恐懼感。

歐洲和美國(guó)發(fā)展出的建筑技術(shù)無法順從不同地區(qū)的自然條件，更重要的是，他們違背了可持續(xù)發(fā)展的真實(shí)理念。這些建筑手法和技術(shù)必須進(jìn)行改進(jìn)，才能達(dá)到預(yù)期要求。當(dāng)然，也要根據(jù)當(dāng)?shù)夭煌�的氣候條件施行不同的環(huán)保辦法。根據(jù)不同建筑，在風(fēng)格和建筑材料上的調(diào)整，可能使得最后的結(jié)果與最初的設(shè)計(jì)方案截然不同。

從形態(tài)學(xué)上考慮，很多當(dāng)?shù)氐慕ㄖ�家采用的是形式和表達(dá)理念，而不是內(nèi)容和原則理念。大多時(shí)候，他們遵從系統(tǒng)方法，采用外國(guó)設(shè)計(jì)理念，毫不考慮建筑與環(huán)境關(guān)系以及當(dāng)?shù)刈匀缓臀幕�背景。所以結(jié)果就是，西方發(fā)展出的所謂節(jié)能環(huán)保的建筑理念變成了統(tǒng)一的建筑風(fēng)格，使得建筑缺乏當(dāng)?shù)靥厣�。可持續(xù)性方面所遇的挑戰(zhàn)如圖所示。1，主要在經(jīng)濟(jì)和文化層次討論。

經(jīng)濟(jì)挑戰(zhàn)

發(fā)展中國(guó)家，例如中東地區(qū)國(guó)家，城市和建筑蓬勃發(fā)展，房地產(chǎn)投資的不斷增加，都導(dǎo)致相對(duì)便宜的資源巨大消耗。然而，發(fā)展可持續(xù)性理念的新技術(shù)花費(fèi)的資金較高，所以在發(fā)展中國(guó)家，房地產(chǎn)開發(fā)商是否會(huì)采用還未可知。這會(huì)導(dǎo)致投資商忽略利用替代原料的可能性，除非當(dāng)?shù)卣�府出臺(tái)相關(guān)政策，否則他們也不會(huì)認(rèn)真考慮發(fā)展和利用新的建筑手段，即使新建筑方法可以節(jié)省很多原料。除了新技術(shù)可能花費(fèi)較高以外，由于缺乏輔助工業(yè)和專家，新技術(shù)的操作過程中也會(huì)遇到很多問題。這就不得不不依賴外國(guó)專家和相關(guān)信息資源，而這又違背了可持續(xù)發(fā)展的基本原則。

文化挑戰(zhàn)

出了上述的經(jīng)濟(jì)上的挑戰(zhàn)，可持續(xù)發(fā)展的建筑理念還沒有被廣泛采用，大部分發(fā)展中國(guó)家依然將工作重心放在如何快速解決現(xiàn)有問題上。很多業(yè)主和利益相關(guān)者并沒有認(rèn)真考慮將可持續(xù)性發(fā)展理念作為設(shè)計(jì)要求的重點(diǎn)。”很多房子都是被臨時(shí)租住的，臨時(shí)住戶們都不愿意做一些永久性的改善，因?yàn)樗麄冋J(rèn)為這些改善最大的收益者可能是以后的住戶。“（布朗，索斯沃斯和斯托瓦，2005刊）4）. 另外，因?yàn)槿狈ο嚓P(guān)環(huán)境保護(hù)法規(guī)和建筑法規(guī)，建筑家們自己也不愿學(xué)習(xí)這種方法。

選用遺產(chǎn)靈感作為關(guān)鍵元素

新興可持續(xù)架構(gòu)模型中使用的技術(shù)有其功用價(jià)值和道德價(jià)值，進(jìn)而在整個(gè)建筑形態(tài)中體現(xiàn)出來。這些價(jià)值體現(xiàn)了一種誠(chéng)實(shí)的和功能上的功利主義，而不是追求審美表現(xiàn)或從外部技術(shù)和功能因素關(guān)注其建筑風(fēng)格。但是，可持續(xù)元素和區(qū)域傳統(tǒng)以及社會(huì)的集體記憶有著更多的聯(lián)系。以年代久遠(yuǎn)的伊斯蘭建筑為例，可以在其中找到許多這類特征，如集風(fēng)口、建筑的陰影部分、自然采光的控制、保溫隔熱和方法的使用、具有地方特色的建筑材料和用于散熱的自然技術(shù)。

例如，一個(gè)出色的門窗布局，可以滿足居住人隱私要求，同時(shí)沒有妨礙采光，我們介紹過mashrabiya系統(tǒng)（見圖2）。而解決的辦法就是簡(jiǎn)單地通過一個(gè)循序漸進(jìn)穿孔，用來控制氣流和視覺接觸，另外還布置有一塊從上面懸掛出來屋檐遮陰。此外，根據(jù)物理的基本規(guī)則，當(dāng)熱空氣上升時(shí)，冷氣流下降。熱能從溫暖的物質(zhì)輻射到冷卻物質(zhì)上，妥善的解決方式是通過控制集風(fēng)口和屋檐突處的交叉通風(fēng)和氣流實(shí)現(xiàn)（見圖3）。

以一個(gè)內(nèi)部庭院集中布局為例，可顯著提高建筑物的潛在功率。它有助于溫和極端氣候帶來的不便，避免陽光直射，提供對(duì)流通風(fēng)和氣流。此外，它提供了隱私和舒適的戶外空間享受溫和的小氣候（見圖4）。“許多文學(xué)作品中的庭院建筑形式能夠回應(yīng)炎熱干燥氣候環(huán)境帶來的變化，盡管有很多明顯的邏輯，大部分這類說法都比較模糊，并且主要來源于傳聞、定性觀察和常識(shí)。“（Ratti，Raydan & Steamer，2003， 第54頁）。例如，庭院建筑的高度和地面之間的相互關(guān)系要準(zhǔn)確量化。因此，目前可用的科學(xué)技術(shù)、預(yù)算、觀察以及遠(yuǎn)遠(yuǎn)不夠了。通過實(shí)驗(yàn)科研科學(xué)量化意義重大，可以將該問題進(jìn)一步闡釋清楚。

隨著地理及地形建筑工地的考慮，許多本土和被動(dòng)的解決方案可能有助于降低建筑成本。例如，連續(xù)包塊可以提供陰影區(qū)，從而降低了暴露在太陽的地區(qū)，除了使用氣流形式，集風(fēng)口和噴泉水也可以作為自然冷卻的元素�？梢赃x用CMU預(yù)制保溫作為替換方式，在大多數(shù)情況下，建筑材料都在白天吸收熱量，晚上將吸收的熱量釋放，而不穿透墻壁傳到室內(nèi)。此外，使用雙層墻壁和天花板可使空氣自由流動(dòng)，將太陽光造成的影響降到最低。為了減少太陽造成的影響，門窗布局的數(shù)量和面積可能會(huì)降到最低，除了使用水平和垂直的百葉窗和凸窗，也可以在室內(nèi)和室外添加適當(dāng)?shù)姆N植面積。

最近在發(fā)展中國(guó)家的可持續(xù)建筑的研究主要致力于討論兩類問題：進(jìn)步與保守二種方法。這個(gè)領(lǐng)域的大多數(shù)貢獻(xiàn)是通過保守工作完成的，在某種程度上反映了一個(gè)有限的原教旨主義的方法來確定本地建筑所扮演的角色。這導(dǎo)致對(duì)傳統(tǒng)實(shí)踐的評(píng)估有些夸大，這種直接的復(fù)古主義的做法對(duì)建筑類型、建筑規(guī)模和客戶都造成某種程度的限制。原始建筑實(shí)踐的可持續(xù)性，可以說完全以本土主義為基礎(chǔ)的，完全是一種后退的行為。大部分的可持續(xù)發(fā)展的措施都采用傳統(tǒng)和本土小型建筑解決方案，主要是小型建筑由一個(gè)或兩個(gè)層構(gòu)成，完全選用直接的復(fù)舊方法。這種方法對(duì)顧客和建筑類型都造成限制。但從實(shí)用角度來說，大部分住宅、商業(yè)、教育和醫(yī)療設(shè)施的建筑類型需要更大的尺度，平均為四層或五層建筑。此外，多層建筑更實(shí)際的考慮客戶的文化、混合用地類型和土地價(jià)格等方面的因素。

本土主義感知
“鄉(xiāng)土建筑應(yīng)該遺棄，居住這些建筑相當(dāng)不舒適。“（Karaosman，1996，第9頁）。在這里，問題是對(duì)重新評(píng)價(jià)對(duì)本土主義的堅(jiān)持。這些問題主要包括鄉(xiāng)土建筑的本質(zhì)，被動(dòng)環(huán)境反應(yīng)和人類行為的關(guān)系。“鄉(xiāng)土建筑和人類行為之間的關(guān)系是什么？理解建筑的基本性質(zhì)是否要拋開建筑環(huán)境中關(guān)于被動(dòng)環(huán)境反應(yīng)的分析?“（Turan，1988，第135頁）。然而， 以Fathy哈桑為例，F(xiàn)athy是埃及在這個(gè)領(lǐng)域的先鋒人物，取得的成績(jī)無疑是顯著的。他試圖引進(jìn)一個(gè)理性的并且為地區(qū)接受的環(huán)境體系結(jié)構(gòu)，同時(shí)能夠感知對(duì)經(jīng)濟(jì)環(huán)境和區(qū)域傳統(tǒng)。以最低的成本和最可利用材料、泥磚、使用繼承傳統(tǒng)特色創(chuàng)建出來的環(huán)保建筑（見圖5）。“鄉(xiāng)土建筑的經(jīng)濟(jì)性依賴于原材料和能源。它的優(yōu)點(diǎn)是用當(dāng)?shù)氐牟牧吓c技術(shù)，而且是人類和某個(gè)時(shí)代的長(zhǎng)期試驗(yàn)過程。“（Gulmez，2007第三頁）。不過，他的可持續(xù)發(fā)展觀點(diǎn)并沒有得到文化上得認(rèn)可，其原因是他的觀點(diǎn)帶有貧困的象征意義，同時(shí)缺乏官方的支持和推廣。

重新考慮地域性建筑的基本原則非常有必要。地域主義總是關(guān)心維護(hù)建筑物可持續(xù)發(fā)展的功能性，對(duì)環(huán)境的反應(yīng)，以此來表達(dá)一個(gè)明顯的區(qū)域性身份。地域性建筑的基本原理是在外來的風(fēng)格和影響下保持高度的自我意識(shí)。“通過一般定義我們可以說，相對(duì)于更普遍和更抽象的概念，地域性建筑維護(hù)了其個(gè)體建筑物和地方建筑的特點(diǎn)。“（Frampton，2002，第81頁）�？夏崴筜eang寫道，如果討論地方主義者設(shè)計(jì)意圖:“地方主義者的建筑概念是以一種不言自明的方式回應(yīng)當(dāng)?shù)氐臈l件。它應(yīng)該涉及到更深的感情和有形的現(xiàn)實(shí)居住地，而不是有關(guān)國(guó)際建筑的影響和主要趨勢(shì)。“（Yeang，1997，第146頁）。

發(fā)展中國(guó)家在這一領(lǐng)域最大的貢獻(xiàn)在僅局限于個(gè)體建筑的研究和實(shí)踐，無論是采用單一途徑，或者是采用進(jìn)步或保守方式。毫無疑問，應(yīng)該采用理性、務(wù)實(shí)的做法，通過一個(gè)綜合方案將上述兩種方法合成在一起。但是，高科技設(shè)計(jì)受到各種經(jīng)濟(jì)方面的制約，包括政府補(bǔ)貼等條件的制約。然而，在過去幾十年計(jì)算設(shè)計(jì)繁榮的時(shí)期，我們可以選擇“改善，現(xiàn)代化和傳統(tǒng)建筑技術(shù)，建筑設(shè)計(jì)和定居模式”這種方式（Plessis 1999，第6頁）。因此，本土實(shí)踐和受傳統(tǒng)文化啟發(fā)的解決方案能有意識(shí)地介入到當(dāng)代建筑設(shè)計(jì)中。“現(xiàn)在我們面臨讓一種新的建筑理念繼續(xù)成長(zhǎng)的困難，但我們必須意識(shí)到。在過去，這種在過去存在的建筑理念，必須有意識(shí)地創(chuàng)造出來。”（Doxiadis，1963，第136頁）。這個(gè)過程可以在早期設(shè)計(jì)階段，在短時(shí)間內(nèi)通過運(yùn)用適用的計(jì)算實(shí)驗(yàn)工具實(shí)現(xiàn)，如各種能源仿真程序和氣流預(yù)測(cè)方法。

有意識(shí)的適應(yīng)本土特征
“全球需求更多的可持續(xù)發(fā)展，已導(dǎo)致越來越多的新技術(shù)和設(shè)計(jì)策略，旨在改善建筑物各項(xiàng)性能方面的考慮，如能源、舒適、成本、美學(xué)、環(huán)境影響等。”（Holst，2003，第507頁）。其目的是建立一個(gè)方法論工作框架來創(chuàng)建一個(gè)先進(jìn)理念的帶有傳統(tǒng)文化色彩的可持續(xù)發(fā)展建筑。本文因此建議選用科學(xué)的進(jìn)化程序，目的選編建筑物的歷史特點(diǎn)，這些歷史特點(diǎn)要求具有可持續(xù)潛力，可以精確且連續(xù)通過兩個(gè)步驟流程實(shí)施。流程的主要目的是如何運(yùn)用現(xiàn)有的技術(shù)和設(shè)計(jì)工具，在早期設(shè)計(jì)階段對(duì)這些特征進(jìn)行甄別，如能源模擬程序和氣流預(yù)測(cè)方法。

流程的第一個(gè)步驟可以對(duì)包括有各種上述特征的歷史建筑累計(jì)性氣候設(shè)計(jì)經(jīng)驗(yàn)進(jìn)行廣泛的區(qū)域性研究。在該步驟中，可以討論各個(gè)建筑范例反映的高水平的氣候和區(qū)域意識(shí)特征。如圖6所示，這項(xiàng)研究應(yīng)該關(guān)心可持續(xù)發(fā)展的基本原則與該案例有關(guān)歷史和社會(huì)環(huán)境范圍，可以選用如下方式：整體建筑分析（功能、定位和材料）；計(jì)劃分析、建筑物正面、建筑圍護(hù)結(jié)構(gòu)和氣候控制、送風(fēng)模式的研究和通風(fēng)照明方法。

“在過去的五十年里，已經(jīng)有數(shù)以百計(jì)的建筑物能源計(jì)劃得到發(fā)展，提高和使用”（Crawley,Hand, Kummert& Griffith, 2005, 2005，第231頁）。通過序列計(jì)算實(shí)驗(yàn)可以量化建筑物許多方面的潛在能力，因此可以更實(shí)際的準(zhǔn)確提出評(píng)估特點(diǎn)的優(yōu)點(diǎn)。這樣一個(gè)科學(xué)的流程，可以提出建筑物更多的精確評(píng)估，如耐用性、阻燃、節(jié)能和保溫。從而提高建筑設(shè)計(jì)的解決方案。最后可以思考下列事項(xiàng)：建筑維護(hù)結(jié)構(gòu)的優(yōu)化，建筑定位，建筑材料和模式，最大化的采光，被動(dòng)冷卻和空氣對(duì)流。

結(jié)論
本地方案是一項(xiàng)可持續(xù)設(shè)計(jì)相關(guān)資源的解決方案，具有極大的經(jīng)濟(jì)性和環(huán)保要求。然而，這些復(fù)古主義思想遭遇到一些挑戰(zhàn)，基本上無非是貧窮的象征意義、倒退思想的顧慮、自卑情結(jié)反對(duì)新興和進(jìn)口設(shè)計(jì)方法、以及對(duì)待建筑遺產(chǎn)有限的保守方法。今天我們有選擇的把這些特性進(jìn)行改善，找出潛在能力，在早期設(shè)計(jì)階段通過利用現(xiàn)有計(jì)算設(shè)計(jì)工具，對(duì)這些特征進(jìn)行梳理。

可持續(xù)發(fā)展，根據(jù)布倫特蘭委員會(huì)的定義；跨越三個(gè)互動(dòng)領(lǐng)域：經(jīng)濟(jì)、環(huán)保、文化的可持續(xù)發(fā)展。可以預(yù)期，上述建議的方法會(huì)影響到許多領(lǐng)域。在環(huán)境方面，能源性能有顯著改善，提高建筑物中使用碳元素的比例。在經(jīng)濟(jì)方面，建筑物的運(yùn)行成本將會(huì)有顯著提高，主要是因?yàn)榻档土私ㄖ�物的能耗。同時(shí)，相對(duì)低成本的軟件、能源仿真程序，訓(xùn)練有素的專業(yè)知識(shí)也可以降低成本。對(duì)社會(huì)和文化持續(xù)性的影響可能更加明顯。這樣一個(gè)功能性德方式將會(huì)在設(shè)計(jì)風(fēng)格方面，增加一個(gè)新的進(jìn)化維度，可以改變過去這些特征給人們根深蒂固的感知形象。其結(jié)果可強(qiáng)調(diào)文化的真實(shí)性和提高自我意識(shí)和對(duì)地域文化的親近。一個(gè)先進(jìn)的帶有傳統(tǒng)文化色彩的建筑物，可以是一個(gè)結(jié)合可用的技術(shù)和現(xiàn)代的全球建筑風(fēng)格趨勢(shì)，帶有獨(dú)特的地域文化和區(qū)域行要求，從而創(chuàng)建一個(gè)具有建筑物功用特征，同時(shí)有著自我沉思型特征的建筑物。

譯路通武漢翻譯公司

2012.10.17