塑造未來：兒童建築設計應該考慮的要點Shaping the Future: What to Consider When Designing for Children勒•柯布西耶在其著作《走向新建築》之中說道：“人們通過眼睛觀看建築，而人眼距離地面5至6英寸。”這是一種非常具有邏輯性和理性的思維方式，同時也因此形成了許多的建築標準，當然，這些標準與人們常常所說的“規範”並不相同，尤其是設計兒童建築時，這個標準更加無法使用，因爲成年人眼中的世界與兒童並不相同，成年人所想也和兒童不同。截止到2018年，兒童（即15歲或15歲以下的人）的數量佔全球人口總量的26%，其實在有的時候，有些成年人的內心也住了一位小孩，因此這一數據應當引起人們的重視。雖然有很多因素使我們成爲了成年人，我們作爲孩子遇到的建築——無論是在圖書館裏玩捉迷藏的書架，還是踮起腳尖站在門把手上，這些都會對你的世界觀產生巨大的影響。因此，在設計兒童建築時，人們常常帶着“未來主義”的視角，所以在這個過程中，建築師應當結合同理心，設身處地地去爲兒童着想。“孩時記憶中有着我最爲深刻的建築體驗，在我後來的建築作品裏，我常常從當時的記憶中思索氛圍與意向。”——Peter Zumthor在瑞士談到其兒時記憶如果人們從字面角度來理解這個概念也可以，孩子的眼睛距離地面大約3至6英寸，因此兒童作品的優劣往往從這一角度就能看出來，因爲很多建築師會忽略這個小細節。Le Corbusier stated in his seminal text, Towards a New Architecture, that “...man looks at the creation of architecture with his eyes, which are 5 feet 6 inches from the ground.” Logical and rational codes such as this form the standard for much of architectural production - but of course, these "norms" are as constructed as architecture itself. This particular standard is especially irrelevant when designing for children, for whom the adult-centric assumptions of architecture do not and should not apply.As of 2018, children (i.e., people aged 15 years or younger) make up 26% of our global population; a statistic we should all appreciate given that a whopping 100% have, in fact, been children at some point ourselves. While there are a multitude of factors that shape the kind of adults we become, the architecture we encounter as children - be it the stacks in the library where you played hide-and-seek or the door handle you had to stand on tiptoes to reach - can have a great impact on your perspective of the world. When designing architecture for specifically for children, we are in a way molding these future perspectives, and it is therefore vital we treat the process with both rigor and empathy.“Memories like these contain the deepest architectural experience that I know. They are the reservoirs of the architectural atmospheres and images that I explore in my work as an architect”- Peter Zumthor, speaking of his childhood memories in Switzerlan”It is perhaps practical to first consider this from a literal standpoint: a young child’s eyes are, on average, about 3 feet 6 inches from the ground. Bad design for children is relatively simple to pick out as it typically ignores this fact (and often continues to fail from there.)arch-exist當諸如AIA或RIBA等建築管理機構更多地推動學校設計的標準化時，尤其是那些旨在促進安全和健康的學習環境的標準，建築師們同樣需要將一些小細節考慮在內，例如，什麼樣的空間會促進孩子們學習？什麼樣的佈局方式能夠激發競爭心態？不同年齡層的孩子如何才能和睦相處？總的來說，好設計沒有通用的法則。但是，經過幾十年來對於兒童的社會學與心理發展的研究，至少有數據表明了一些關鍵原則:促進社交互動、帶着樂趣學習，以及自然的參與性，但是這些原則該如何實現呢？Sandy Hook學校的建築師Jay Brotman在大會講話中提到了兒童建築設計，特別是學校的設計，在很大程度上取決於個人社區和環境。就這個角度而言，建築師的個人喜好，也會在這個設計過程之中表現出來。有的方案自帶一些特徵，有些項目高度依賴某些技術，所有這些都是爲了達到一個適合功能最適合的對兒童友好的空間。。通過深入研究，人們便可以找到兒童設計的成功因素，以及這些成功建築所具有的共同特徵。“我們天生都具有想象與記憶場所的能力。”——Juhani Pallasmaa, the Eyes of the Skin安全性這個要點並沒有那麼吸引人，但它最重要。這一點根本無需多加思考，例如建築師可以運用軟質材料，或者在硬邊中加上軟邊元素。另外，對於安全性的另一重理解是，這個空間裏的成年人應該不具有視覺盲點。As many architectural governing bodies (such as the AIA and RIBA) push for more localized standards for school design, particularly those aiming to promote safety and healthy learning environments, architects must still consider things such as. What spaces will encourage learning? What plans will promote play? How can we create the right level of social interaction between ages?Generally speaking, there are no universal laws for good design. But thanks to decades of research regarding the sociological and psychological development of children at universities across the world, there is data to at least suggest a number of key principles: the encouragement of social interaction, the promotion of playful learning, and the involvement of nature. How these things principles are realized can vary immensely.In his speech to congress, the new Sandy Hook School architect Jay Brotman referenced how design for children, in particular schools, depends heavily on the individual community and the context. This, with the added individuality of the architect, creates a bespoke and organic design process from the off. Certain schemes promote certain characteristics, and some projects lean heavily on certain techniques, all doing so to achieve a successful child-friendly space that suits the function best. Through delving into what makes a successful, child-centric design, we can begin to make note of the binding attributes that great schemes share.“We have an innate capacity for remembering and imagining places.”- Juhani Pallasmaa, the Eyes of the SkinSafetyWhile often not the most appealing of design influences, safety is by far the most important characteristic of any scheme for children. This need not, however, refer to the "bubble" approach to safety; an approach which lazily often results in soft edges with soft materials in soft designs. A more basic understanding of safety for children is the notion that, as an adult, you are able to see the child anywhere in the space.Courtesy of VERSTAS ArchitectsAndreas Meichsner學校和幼兒園是兒童保護的場所。VERSTAS Architects事務所在Saunalahti學校項目中便展示了這一特性，在這裏，建築師運用了線性磚石材料形成了建築邊界，然後通過場地自身具有的特徵讓孩子們聚集在空間內部，但是整個建築又沒有過於封閉的感覺。玩耍《聯合國兒童權利公約》第31條規定“每個孩子都有放鬆、玩耍、參與文化與藝術活動的權利”。建築師有責任爲兒童們設計能夠散發天性和自由玩耍的空間，並最大程度地利用它們。這些理念的實現方法有很多，但可以總結爲結構性的遊戲和抽象性的遊戲兩種。Schools and kindergartens are key proponents of using plan to protect their children. VERSTAS Architects demonstrate this in their Saunalahti School scheme, where a dominating, linear brick facade creates a border to the public, and the enclosed area uses the typology of the site to ‘herd in’ the students, without the feeling of complete enclosure.PlayArticle 31 of the UN Convention on the Rights of a Child states that “every child has the right to relax, play and take part in a wide range of cultural and artistic activities.” Architects have a responsibility to design spaces that enable the essential natural creativity and freedom of play, and nurture it. This can be achieved in several ways, but can be boiled down to structured play and abstracted play.John Donat RIBA Library Photographs Collectionarch-exist英國當代視覺藝術大獎Turner Prize在2015年合集舉辦了一場獲獎設計合集展覽，其中就有着抽象玩耍的主題展區。“布魯特利遊樂場”運用了上世紀50和60年代社會等級建築中的遊樂區，來強調其中堅固卻非描述形式的特質，從而形成了讓孩子們通過想象來填補空白的空間形式。研究表明，這些空間讓孩子們通過主觀能動性去完成自己喜歡的事。ASPECT工作室在中國合肥皖投萬科天下藝境項目中也運用了一些相同的設計策略。U.K. based Turner Prize winning design collective Assemble created an exhibition that summarized the themes of abstract play in 2015. ‘Brutalist Playground’ used the play areas of the 1950s and 1960s social estate architecture, promoting the ability of their solid and non-descript forms to create a space that encourages children to fill in the blanks with their imaginations. According to the research, these spaces gave the children the autonomy to do as they pleased, learning and growing along the way. ASPECT Studio applied many of the same principles into its colorful Wantou & Vanke Paradise Art Wonderland park in Heifei, China.Antoine Espinasseau相較於這種開放式策略，法國NP2F建築事務所所運用的結構性策略也是另一種成功。建築師運用與城市運動空間和遊樂場相關的傳統策略，將諸如“提升運動空間分解化”等方式應用在Evolution Ground Alfortville項目之中。該項目的“城市溫和”地帶在這個多樣化空間創造了適應性強的活動場所，同時也突出了這種方法的優勢。建築師在項目描述中說道“對於場地、形態、折點、邊界等細部的重視讓我們爲ZAC的孩子們創造了不僅僅是足球場的活動場所，這個空間還能用於其他會面與溝通。”釋放天性在成年人的設計世界中，一些特質只存在於兒童建築之中。讓孩子們通過獨特方式和建築產生互動，這針對玩樂而言必不可少。孩子們通過設計來找到內心真正的自我。Contrasting this open-ended approach, the work of French architects NP2F demonstrates equal success from a more structured approach. Utilizing the traditional methods associated with urban sport spaces and play areas, NP2F guided the development of their Evolution Ground Alfortville project in such a way as to “promote a decompartmentalization of sport spaces,” maintaining a known method of interaction for the children. The project, with its areas of “urban gentleness” creating an adaptable, highlights this approach in a multi-use space. “The importance given to detail (ground, morphology, folds and boundaries) allows us to offer to the young people of the ZAC, beyond a simple football ground, a “configured” space, space of encounters and exchanges,” the architects explain in the description of the project.LiberationIn a world designed for adults, sometimes one of the most important features of child-centric architecture is child-only features. Enabling children to interact or navigate with the architecture in a way that is unique to their circumstance can be essential to the idea of play, letting the children truly be independent and self supporting through the nature of the design.Courtesy of Matter Design + FR|SCHCourtesy of Matter Design + FR|SCHCourtesy of Matter Design + FR|SCHMatter Design + FR|SCH事務所設計的Five Fields遊樂場很好地展示了建築師如何將多層次玩樂空間分解成有趣的高配置活動場所，在這裏只有兒童能夠進入。“致力於想象力”和“抵制字面和單一解讀”的結構空間在設計時充分考慮了孩子們的靈動性。Five Fields遊樂場位於一片傾斜的綠色場地之中，5個區域通過細緻的規劃形成不同的活動場所，孩子們可以根據自己情況在這裏與構件進行互動，同時釋放自己的天性。Five Fields Play Structure by Matter Design + FR|SCH shows how multiple levels of space can be juxtaposed into a fun, condensed setting, that allows adults to access each part but at a hindered pace and freedom to the children. “Dedicated to imagination” and “resisting literal and singular readings”, the structure is designed with the nimble nature of its client in mind. Sitting on a green, sloping context, Five Fields uses a carefully imagined plan to create several areas where children can interact with the architecture on their own terms, “liberating the kids to fly through the spaces”.適應性與開放性Katsuhisa Kida每個孩子都是獨一無二的個體，這也就是說，孩子們之間的每次互動都各不相同，而孩子們使用不同空間的方式也存在差異。這也就是傳統矩形教室對於孩子們來說教育效率不高的部分原因。因此，兒童空間必須具有適應性，同時能夠滿足不同的狀況。另外，這些空間也必須開放，儘量與大自然相結合，因爲兒童不應該受限在成年人先入爲主的觀念空間裏。表達這種適應性和開放性，最好的例子之一就是Tezuka Architects事務所所設計並獲獎的富士幼兒園。建築平面呈橢圓形，中心設置有大型綠色空間和木製屋頂平臺，孩子們可以在這裏玩耍遊樂。因此就讀於這座幼兒園的孩子們也有着整片地區較高的運動能力，因爲這裏的孩子們每天的運動量約爲4公里。教室並沒有明顯的隔牆，這也說明了孩子們不會在這座建築之中迷路。如下是建築師Takaharu Tezuka對這座開放性建築的總結：Adaptability/OpennessThe one thing universal about children it is that no child is the same. By extension, no one interaction with a child is the same, and the day-to-day ways in which a child uses space may differ significantly. This is partly the reason why your traditional square, isolated classroom has been proven inefficient in the teaching and developing of young people. Spaces must be malleable, and must be able to adapt to any given situation. They must also be open, and have access to nature, as children are not meant to be restricted to the confines of our adult preconceptions of space.One of the greatest examples of this adaptability and openness is the award winning Fuji Kindergarten by Tezuka Architects. The distinctive oval shaped plan, which features a large green space in the center and a generous, wooden roof terrace all around promotes the natural movement of children through the space. The kindergarten, as a consequence of this plan, has one of the highest athletic abilities in the area, as children who go there move on average 4km per day. The classrooms themselves have no walls, as the continuous plan means the children can never get lost or wander far away, and this open architecture is summed up by Takaharu Tezuka when he says:Katsuhisa KidaKatsuhisa Kida“這座幼兒園幾乎完全開放，同時內外空間也沒有明顯的邊界，這也意味着這座建築大部分以屋頂的形態呈現出來，因此也不存在着隔音效果。當把孩子們放在封閉的空間中時，他們會感覺到緊張與還在，但是在這座幼兒園之中，因爲沒有邊界感，因此他們不會感到緊張。”“This kindergarten is completely open, most of the year. And there is no boundary between inside and outside.So it means basically this architecture is a roof. And also there is no boundary between classrooms. So there is no acoustic barrier at all. When you put many children in a quiet box, some of them get really nervous. But in this kindergarten, there is no reason they get nervous. Because there is no boundary.”Dorte MandrupAdam Mørk丹麥Dorte Mandrup工作室在其項目中始終保持着這種自然的開放特徵，其中有山坡形態的Råå日託中心，以及更現代一些的Kanderborggade日託中心。This openness and involvement of nature is something that Danish office Dorte Mandrup consistently shows within their work, from the hillside-like Råå Day Care Center to the more urban Kanderborggade Day Care Centre.同理心Sean Ahlquist, University of MichiganCourtesy of Luckey Climbers在近期的許多項目之中，研究和設計相互融合，這是爲了創造適應某個羣體的專屬空間。研究項目Social Sensory Architectures中，建築師通過作品爲自閉症兒童創造既舒適又有幫助的空間，另外，Spencer Luckey的抽象、起伏平臺則在操場爲孩子們創建了空白的面板，讓他們能夠在客觀的空間裏建立自己的世界觀。Catalytic Action則爲社區難民創建了遊樂構件，讓他們同樣擁有享受設計的權利，從而爲兒童社區帶來幫助，讓這些孩子能夠比其他孩子以更加快速的方式成長。UnderstandingIn many recent projects, research and design are fused together in order to create specialized spaces for certain groups of younger people. The research project Social Sensory Architectures use their work to create spaces that are both comforting and helpful to children with autism, while Spencer Luckey’s abstract, undulating platforms “form a blank canvas for the children to establish their own narrative” in a gender-neutral playground.Catalytic Action create design play structures within refugee communities, letting the children take ownership of the design to provide relief and independence to a community of children that often has to grow up faster than others.Courtesy of CatalyticAction在校園內設置諮詢與支持場所是此類設計的關鍵要素，因爲孩子們的心理健康至關重要。建築師Karina Ruiz也強調了這些空間在建築佈局中的重要作用，因爲不可以讓其中的孩子們感受到壓迫或孤立 。“我們可以通過一些簡單的方式，諸如在圖書館等公共場所附近設置活動溝通場所，然後儘量讓這些空間通透開敞。”Providing spaces for counseling and support within schools is a key issue, as the mental pressure of being a child has arguably never been more of an issue. Architect Karina Ruiz emphasizes the importance of locating these spaces in key areas, in order to avoid disenfranchisement or the feeling of isolation. “Simple things like moving a counseling wing and putting those where students are located—near commons, near libraries—and then making them transparent.”