专访美国丹·布鲁恩建筑设计事务所总负责人丹·布鲁恩
Interview with Dan Brunn, Principal of Dan Brunn Architecture
2014-12-01 09:48:10    | keywords: Dan  Brunn  建筑设计  访谈 
专访美国丹·布鲁恩建筑设计事务所总负责人丹·布鲁恩
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丹·布鲁恩,美国建筑师协会会员,一向主张建筑师的责任是创造空间、尊重场地、激发感观互动、增强用户与空间的互动。布鲁恩从小就对乐高积木玩具有着浓厚的兴趣,逐渐形成了对物理结构和建筑结构进行探索的思维方式,如今,他也时常在工作中受到乐高玩具的启发,在复杂结构与简约线条间巧妙地寻求到一种平衡。
 
布鲁恩出生在以色列,却成长在美国南加州,因此,他的设计思维相对更具国际性和创造性。 “在特拉维夫,我被包豪斯建筑风格包围着,”布鲁恩曾提到,“这些建筑的局促性和压抑感,让我深感空间和空间体验的重要性。”作为一名现年仅36岁的年轻设计师,布鲁恩已经设计出了许多不种类型的优秀项目作品,从餐厅到独幢住宅再到商务展厅,其设计屡获殊荣。在每一种类型的项目设计中,他都始终如一地坚持对项目实质的尊重,尽可能地为项目空间注入充足的自然光照,并巧妙地将各种复杂的机械构造隐于无形,以拓宽空间视野。
 
此外,布鲁恩也是一名摇滚乐的狂热爱好者,他时常自己作曲,并和他的摇滚乐队一同演奏。他认为:“好的建筑应该能够捕获客户内心的节奏感,能够推动用户的情绪随着空间的转移而变化。好建筑只能是一个相对的概念,是迎合技术变化和相应社会需求而诞生的暂时性产物。”布鲁恩早年毕业于美国南加州大学,并获建筑学学士学位。在他攻读学士学位期间,他参加过南加州大学意大利科莫校区的高选拔性相关学术课程的研习。毕业后,他还就读于哈佛大学设计研究生院,并获建筑学硕士学位。
 
Dan Brunn, AIA, believes an architect’s role is to craft spaces that respect the site, provoke sensuous interaction, and heighten the user’s interaction with the space. Drawn to Legos as a means to explore physics and building structures as a very young child, Brunn continues to play with the balance of complex structure and minimalist lines in his work.
 
Brunn, who was born in Israel and raised in Southern California, embraces an international and experimental approach to design. “In Tel Aviv, I was surrounded by Bauhaus-style architecture,” notes Brunn. “The restraint of these buildings taught me that space and how we experience that space are of paramount importance.”  As a young architect, only 36 years old, he has produced remarkably diverse projects—from award-winning restaurants to single-family residences and commercial showrooms. Consistent throughout each typology is an honoring of materiality, the ability to infuse ethereal natural light, and a tactful “hiding of mechanics.” 
 
Brunn, who also composes music and performs with his rock band, notes: “Architecture should capture the rhythm of a client’s inner being, propelling the user through the space with movement. Good architecture is temporal and evolves as needs and technology change.” Brunn received his Bachelor of Architecture degree from the University of Southern California. His studies included time in USC’s highly selective program at its campus in Como, Italy. His Master of Architecture degree was gained at Harvard University, Graduate School of Design.

 
问:作为年轻一代的有为建筑设计师,您认为当代建筑设计最值得坚持的是什么?对未来的建筑设计趋势,您又有哪些新锐而又独到的见解?
Q: As a promising young architect, what do you think is the most valuable to be insisted on contemporary architectural design? And any cutting-edge opinions about the trend of architectural design in the future?
 
答:由于我个人十分注重环境意识的设计与营造,我认为建筑空间的光照质量是最为宝贵的设计元素之一。建筑设计从本质上看,就是建筑空间的创造,而空间创造的好坏就有赖于空间的大小、材料的应用以及最为重要的光照条件的优劣。我发现现在的建筑设计行业存在着一种负面趋势:许多与我同龄或更加年轻一代的设计师,都过分依赖于电脑模式化设计和电脑生成性设计元素。我认为,强烈的建筑结构感需要最为实在的空间设计去营造,而不是一大堆复杂几何图形和现成设计元素的简单、机械的拼凑。
 
A: Since I consider environmentally conscious design mandatory, I would say the next most valuable asset would be light quality. Architecture is in essence the creation of space, which is defined by volume, materials, and, most importantly, light. A negative trend I am noticing is that a lot of designers in my generation—and even more so the younger generation—are relying too heavily on computer-driven design and computer-generated objects. I believe strong architecture is defined by simplicity of space, instead of an abundance of complex geometries and objects.
 
问:从您的履历材料中,我们了解到,您生于以色列,长于南加州,那么,对于以色列或中东建筑风格是否有所了解?您认为中东建筑与美洲建筑,它们在风格上各有哪些精髓之处?
Q: According to your bio, you were born in Israel and raised in Southern California. Can you talk about the architecture style in Israel or the Middle East? In your opinion, what are the essences of architectural styles in America and the Middle East?
 
答:我发现十分有趣的是,以色列和美国洛杉矶,有着非常相似的气候环境,都是以干旱的沙漠环境主,并伴随着相应的河流水体的地中海气候,因此,取决于当地环境的建筑设计风格也自然有所相似之处。其中一个较为显著的相似点在于:在这两个地区相似的气候条件下,我们都可以设计大型的平面屋顶,因为我们不需要考虑积雪、大风等自然因素,这就使得大面积的玻璃质建筑外观设计成为可能。
 
以色列建筑深受欧式建筑风格的影响,因此,除了我们的历史建筑之外,根本不存在纯粹典型的中东建筑风格。我的整个家庭,当然也包括我个人在内,都是在现代主义建筑氛围中生活和成长的。我奶奶就曾经居住在现代化的公寓楼内,而我爷爷则曾住在一所农场中的包豪斯风格住宅中,农场空旷而凉爽,农场中有真正的大帐篷式露台,我们可以在这个大型户外露台上度过温馨的夏夜。
 
A: Interestingly, both Israel and Los Angeles, have very similar climates and are essentially deserts facing bodies of water. So the architecture is naturally informed by the local environment. One can draw similarities: in both climates, we can design with large flat roofs since we don’t have snow to contend with and we don’t have strong winds. This makes designing with large expanses of glass possible.  
 
The architecture of Israel is deeply rooted in the International Style derived from Europe, so except for our historic structures, it’s not at all a typical Middle Eastern architectural language. I grew up among Modernist structures, even within my own family. One of my grandparents lived in a Modern apartment building, while another lived in a Bauhaus-style house on a farm. It was quite cool. My grandpa’s house had these really large covered balconies, allowing us to spend warm summer evenings outside.

问:您是一名摇滚音乐爱好者与作曲者,在您看来,音乐创作和建筑设计之间有什么样的内在联系么?二者相互之间,都会给您带来哪些独特的创作或设计灵感?其中,有什么有趣的故事可以与我们分享么?
Q: You are a rock music lover and composer, right? Are there any inner links between musical creation and architectural design? Do they interactively and especially inspire you to create and design? Any interesting stories would you like to share with us?
 
答:是的,音乐是我最钟爱的业余爱好之一。我相信音乐与建筑这二者之间存在着某种内在联系,尽管表面上看似没有任何联系。音乐的本质是数学,正如建筑的本质是几何学。然而,在编曲或演奏中,脑海中的深层结构概念却并不如在建筑设计过程中来得那么清晰。我一直想设计一把吉他,而我最近使用的是我最为喜爱的一把吉他,里肯巴克式低音吉他(就像保罗·麦卡特尼所用的那款一样),没有任何装饰,粗犷而豪迈。我一直试图在这把吉他上面漆画出各式各样的几何图案。当然,我并不是要去设计一把完整的吉他,只是想以最为恰当的方式将我的这两个爱好直观地联系在一起,仅此而已。
 
A: Yes, music is one of my deepest passions. I do believe that there are links between the two, though not literal. The essence of music is math, just as geometry is for architecture. However, when composing or playing music, the underlying structure is not as profoundly apparent as it is in architecture. I have always wanted to design a guitar, and recently I took one of my favorites, a Rickenbacker bass (just like Paul McCartney’s), and stripped off the finish. I took a stab at creating a geometric painting on top. Not quite a new body design, but I was able see how my two passions could literally combine in a nice way.
 
问:您曾提到,在以色列的特拉维夫,您被包豪斯建筑风格所包围着,可否请您具体谈谈包豪斯建筑风格?
Q: Once you said, in Tel Aviv, you were surrounded by Bauhaus-style architecture. Could you please talk about Bauhaus-style architecture with more details?
 
答:从本质上说,包豪斯风格属于国际化的建筑风格,它于1919年在德国兴起。事实上,在德国本土早已把它视为“退化”了的建筑风格,而它的大量追捧者逐渐将这种建筑风格引入以色列。如今的特拉维夫,因其随处可见的白色石灰建筑,而被称作是“白色之城”。特拉维夫拥有4 000多座包豪斯风格建筑,是世界上包豪斯建筑最多的城市。
 
A: In essence, Bauhaus-style architecture is the International Style, which was born in Germany in 1919. It was deemed “degenerate” and a large number of its proponents went to Israel to practice. Now, Tel Aviv is called “The White City” for its abundance of white plaster structures. Tel Aviv has the largest number of buildings of this style—there are about 4,000 of them.  
 
问:在您个人的众多建筑设计作品中,您最为满意的作品是什么?为什么?设计中有哪些故事可以分享么?
Q: What is your favorite among a lot of your architectural design works? Why? Any special stories during the design process?
 
答:这个问题真的很难回答,因为对于我来说,每个项目都有自身值得回味的特殊时刻。话虽如此,但我对近期设计的加州比佛利山庄Yojisan寿司餐厅项目颇为满意。当你看到人们十分享受地坐在自己所设计的餐厅中用餐的时候,就会觉得付出的一切辛劳都是值得的。
 
A: That’s really tough to answer because each project has its own special moment for me. Having said that, I recently visited Yojisan Sushi in Beverly Hills, CA, and fell in love with the ambient mood. It just felt right, especially when you see a lot of people enjoying themselves in a space you created. 

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美国加州 比佛利山庄 Yojisan寿司餐厅 丹·布鲁恩建筑设计事务所作品
Yojisan Sushi, Beverly Hills, CA, by Dan Brunn Architecture
丹·布鲁恩建筑设计事务所为加州比佛利山庄的Yojisan寿司餐厅营造出简约的超现实主义空间氛围,清新的室内装饰与明快的灯效打造,赋予空间丰富的内涵。食客们走过狭长的灯光道进入用餐区,天花板上悬垂的室内多叶植物在周边灯效的映衬中,仿佛梦境中的日本森林,为食客带去独特的日式用餐氛围。天花板的中央倒悬着两个巨型的便当盒状发光体,醒目而别具一格,既在视觉上围合出中央用餐区,又为食客们提供了充足的用餐光照。墙面上成片的特色竹笋状照明设施,从地板一直上升至天花板,照亮了餐厅的每一个角落。整个项目的设计都遵从日本的传统材料、传统文化以及传统的生活方式,呈现出简约而内涵丰富的空间体验
Dan Brunn Architecture created a surreal, minimalist space at Yojisan Sushi in Beverly Hills, CA, as a narrative of allusion and light. Diners walk under a top-lit floating carpet of leafy plants springing from the ceiling to simulate a Japanese forest dreamscape. Two giant, inverted bento box-like light volumes hang from above to highlight the central dining areas and provide an emanate glow on diners below. A dramatic array of angled, floor-to-ceiling light coves evoking dynamic bamboo shoots illuminate the walls. The result is a simple yet substantial visual array inspired by traditional Japanese materials, culture, and lifestyle.
Image by: Taiyo Watanabe
 
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美国加州 威尼斯海滩 触发器住宅 丹·布鲁恩建筑设计事务所作品
Flip Flop House, Venice, CA, by Dan Brunn Architecture
丹·布鲁恩建筑设计事务所设计的这座“触发器住宅”,充满着建筑的动态活力,既满足了住宅主人展示艺术藏品的需求,又能够体验威尼斯海滩的迷人海景。建筑顶楼的绕轴旋转式独特建筑外墙设计,可灵活展示或隐藏主人的艺术藏品。除了可观赏到珍稀的艺术藏品和迷人的海滩景致之外,这处占地5 700平方英尺(约530平方米)的简约住宅内,还有着许多巧妙运用对比手法的设计:软硬元素、哑光与强光、阴影与光照等的对比并置渗透于每一个空间的营造中。无论室内或是户外空间,都拥有宽阔的观景视野,一望无垠的大海可尽收眼底
Acting as an architectural chameleon, the Flip Flop House by Dan Brunn Architecture is malleable to the clients’ desire to both display their art collection and embrace the sweeping vistas of Venice Beach in CA. The house’s signature gesture—its top-floor pivoting walls—facilitates this by rotating to display or conceal artwork. Besides the artwork and beach duality, there are other contrasts at work in this 5,700-square-foot minimalist house. Permeating throughout each space is the play of hard and soft, matte and reflective, and shadow and light. Expansive rooms with interior and exterior vistas flow seamlessly into endless ocean views.
Image by: Brandon Shigeta
 
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美国加州 威尼斯海滩 折曲形住宅 丹·布鲁恩建筑设计事务所作品
Zig-Zag House, Venice, CA, by Dan Brunn Architecture
折曲形住宅占地4 500平方英尺(约418平方米),位于威尼斯海滩一处狭窄的滨海地块中,毗邻上述的触发器住宅(两幢住宅分属于不同的所有者)。滨海露台的特色折曲形构造、个性化的灰泥墙板,以及富有节奏感的窗户设计共同构筑出极富动态的建筑外墙。住宅内的现代经典家具是著名设计师埃罗·沙里宁和让·普鲁佛的作品,这些家具还经过查尔斯与蕾·伊默斯这对著名的艺术家夫妇的简约美学加工。高抛光度的家具,加之白织提花织物的遮护,增强了色彩的视觉对比,而水磨石地板在视觉上的向外延展,也拉近了海滨与住宅的距离。玻璃面板围合而成的楼梯间充分汲取大型天窗的采光,阳光透过一面两层楼高的玻璃外墙照射进住宅的中央区域,营造出理想的自然光照空间
Dan Brunn, AIA, designed a 4,500-square-foot, three-story house on a narrow oceanfront lot on Venice Beach in CA, literally next to the Flip Flop House (for a different owner). The zig-zag shape of the beachfront balconies, gray stucco panels, and rhythmic window patterns create dynamic façades. Modern classic furnishings designed by Eero Saarinen, Jean Prouvé, and Charles and Ray Eames complement the minimalist aesthetic. White-on-white with touches of color add contrast, while terrazzo floors further extend the fresh beach-house feeling. A glass-enclosed staircase illuminated by large skylights and a two-story glazed exterior wall allow sunlight to penetrate in the heart of the house.
Image by: Brandon Shigeta
 
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美国加州 恩西诺市 哈维赫斯特住宅修复设计 丹·布鲁恩建筑设计事务所作品
Hayvenhurst Renovation, Encino, CA, by Dan Brunn Architecture
哈维赫斯特住宅修复设计项目由丹·布鲁恩全面负责设计、费用及施工等问题,业主所提供的项目预算十分有限,要求的工期也相对短促。整座住宅总占地2 000平方英尺(约186平方米),巨型的原有壁炉式烟囱直插入住宅的室内中央。由于业主认为厨房应该是一座住宅的核心与灵魂所在,因此设计师特意对厨房空间进行延长、拓宽处理,并在餐厅与客厅之间增设了一面长长的壁橱。原先大部分的隔墙被移除,有效增强了室内光照与空气的流通
Dan Brunn, AIA, completed the design, permitting, and construction for the Hayvenhurst Renovation in Encino, CA, all within the client’s tight budget and time frame. The house’s new 2,000-square-foot open plan revolves around an existing fireplace chimney. Since the homeowners believe the kitchen is the heart and soul of a house, the architect incorporated it onto the length of the home, adding a storage wall spanning from the living room to the dining room. Most of the partition walls have been removed, allowing the free flow of light and air circulation.
Image by: Brandon Shigeta

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