La Panificadora centro desarrollo y de producción rural / Natura Futura. Image © JAG Studio

慢食与慢建筑：材料与建造系统分析
Slow Food and Slow Architecture: An Analysis of Materials and Construction Systems

由专筑网Zia，小R编译

由彼得·卒姆托设计的Bruder Klaus田园教堂，其建造过程由瑞士小村庄梅谢尼希（Mechernich）的居民参与，使用由垂直放置的原木制成的模板，小批量配制混凝土，并手工浇筑，日复一日，形成了混合并带有细微变化的面层。整个过程结束后，木结构化为灰烬，使教堂内部浸染了火的痕迹，并显露出可触摸的深色表面。从而形成了宁静而深远的空间，在这里，一起制造的过程、经历的时间和材料的变化成为了建筑本身的一部分。这种建造方法以当地可用资源和手工技术为核心，突显了材料选择和建造系统对于空间体验的塑造，揭示所投入的时间，并将地方文化嵌入建筑的实体之中。它提供了范例，说明建造行为本身可以成为一种再生性行为，恢复意义、连接社区并尊重物质循环。

At the Bruder Klaus Field Chapel, designed by Peter Zumthor, the construction process involved the direct participation of residents from the small Swiss village of Mechernich. Using an internal formwork made of vertically placed wooden logs, concrete was prepared in small batches and poured manually, day after day, forming layers marked by subtle variations in the mix and application. At the end of the process, the wooden structure was reduced to ashes, leaving the chapel's interior impregnated with traces of fire and revealing a dark, tactile surface. The result was a quiet and deeply meaningful space, where collective action, time, and material transformation became part of the architecture. Centered on locally available resources and manual techniques, this construction method highlights how the choice of materials and building system can shape the experience of a space, reveal the time invested, and embed the culture of a place into the very matter of architecture. In doing so, it offers an example of how construction itself can become a regenerative act, restoring meaning, connecting communities, and honoring material cycles.

Bruder Klaus Field Chapel / Peter Zumthor. Image © Samuel Ludwig www.samueltludwig.com

这个例子诗意而精准地阐释了当我们谈论“慢建筑”（Slow Architecture）时所涉及的关键问题，“慢建筑”是一个在建筑界逐渐兴起的理念。它并非指像圣家堂那样耗时漫长的项目，而是一种将时间视为建筑实践中不可或缺要素的方法。正如作为快餐（Fast Food）对立面而兴起、并激发了对加速消费（如快时尚Fast Fashion）更广泛批判的“慢食”（Slow Food）运动一样，“慢建筑”提出基于一种时间伦理，对指导材料和建造选择的准则进行深刻的反思。它并非对缓慢的浪漫呼吁或对过去的怀旧，而是一种应对环境危机、劳动力不稳定以及当今建筑行业文化标准化的伦理立场。它将焦点转向材料的来源、其生产和应用所需的时间、其供应链的社会影响以及它们地域的耐久性。正如慢食依赖于季节性食材、传统制备方法和传承的知识一样，慢建筑通过尊重材料的时间性、其来源以及与之相关的技艺的建造决策得以体现。

The example poetically and precisely illustrates what is at stake when we talk about Slow Architecture, a concept that has been emerging in the world of architecture. It is not about projects that take a long time, like the Sagrada Família, but rather an approach that values time as an essential ingredient in architectural practice. Much like the Slow Food movement, which emerged as a counterpoint to Fast Food and inspired broader critiques of accelerated consumption (such as Fast Fashion), Slow Architecture proposes a deep revision of the criteria that guide material and construction choices, based on an ethic of time. Rather than a romantic call for slowness or nostalgia for the past, it is an ethical stance in response to the environmental crisis, the precarization of labor, and the cultural standardization of today's building industry. It shifts the focus to the origin of materials, the time required for their production and application, the social impacts of their supply chain, and their longevity in the territory. Just as slow food relies on seasonal ingredients, traditional preparation methods, and inherited knowledge, slow architecture manifests through construction decisions that respect the temporality of materials, their origins, and the know-how associated with them.

Bruder Klaus Field Chapel / Peter Zumthor. Image © Samuel Ludwig www.samueltludwig.com

借鉴Mike Louw的学术文章《Slow Architecture and its links with Slow Food》，我们可以通过与烹饪的类比，进一步探索这种伦理和物质的方法。文章的核心观点之一是认识到食物和建筑都始于复杂生产周期的原材料，从它们在地球上的起源，经过转化阶段，直至被消费或居住。Louw认为，建造系统如同烹饪食谱，根据材料被转化和应用的方式，可以保存或抹去文化联系。如同有机农业一样，慢建筑珍视加工程度较低的技术、天然和本地材料，以及保持与土地的联系，他认为这有助于在建成物中保留一个地方的“灵魂”。

Drawing on the academic article *Slow Architecture and its links with Slow Food*, by Mike Louw, we can further explore this ethical and material approach through its parallels with cooking. One of the central points of the text is the recognition that both food and architecture start from raw materials involving complex production cycles, from their origin in the earth, through stages of transformation, to consumption or habitation. Louw argues that building systems, like culinary recipes, can preserve or erase cultural ties depending on how materials are transformed and applied. As in organic farming, slow architecture values less processed techniques, natural and local materials, and the preservation of a connection with the land, which, according to him, helps retain the "soul" of a place in built objects.

Piedra Tosca Park / RCR Arquitectes. Image Courtesy of RCR Arquitectes

Louw还指出，这种对物质性与身份认同之间联系的强调，呼应了像尤哈尼·帕拉斯马（Juhani Pallasmaa）等作者的批判，帕拉斯马认为触觉、时间和记忆是建筑体验的基本维度。同样地，肯尼思·弗兰普顿（Kenneth Frampton）在他关于批判性地域主义（critical regionalism）的著名论文中，提出了一种抵抗全球化所强加的文化同质化的建筑，强调每个地方的地理、历史和建造背景。卢通过强调工艺（craftsmanship）作为文化和生态抵抗形式的重要性来探讨这些观点。他认为，高度工业化和标准化的材料往往丧失其身份认同和与起源地的联系，从而削弱了建筑在感官和象征层面的体验。需要直接身体参与的建造系统，如土坯（adobe）、篱笆抹灰（wattle and daub）或夯土（rammed earth），在建造行为中重新评估了身体和姿态的作用，使得物质性不仅可以通过视觉感知，还可以通过触觉、声音甚至嗅觉来感受。从这个意义上说，像王澍那样采用回收利用拆除材料的技术，或者运用传统系统与当代技术对话，成为了一种保存材料记忆、维护工艺尊严以及保障建造可持续性的途径。

Louw also notes that this emphasis on the connection between materiality and identity echoes the critique of authors like Juhani Pallasmaa, who argues that touch, time, and memory are fundamental dimensions of architectural experience. Similarly, Kenneth Frampton, in his renowned essay on critical regionalism, proposes an architecture that resists the cultural homogenization imposed by globalization, emphasizing the geographic, historical, and constructive context of each place. Louw engages with these ideas by highlighting the importance of craftsmanship as a form of cultural and ecological resistance. Highly industrialized and standardized materials, he argues, tend to lose their identity and connection to their place of origin, impoverishing the sensory and symbolic experience of architecture. Construction systems that require direct physical engagement, such as adobe, wattle and daub, or rammed earth, revalue the body and gesture in the act of building, allowing materiality to be perceived not only visually, but also through touch, sound, and even smell. In this sense, using techniques such as reusing demolition materials, as Wang Shu does, or employing traditional systems in dialogue with current technologies, emerges as a way to preserve material memory and the dignity of craft and the sustainability of construction.

Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio

然而，慢建筑的原则并不仅限于本土化或低技术方法。它们可以指导通过模块化、预制化和本地取材来重新诠释这些价值观的当代项目。将这种方法应用于大型社会住房的一个典范案例是由加泰罗尼亚事务所Peris + Toral Arquitectes设计的位于科尔内利亚-德略夫雷加特（Cornellà de Llobregat）的85套社会住房项目，该项目是2024年RIBA国际奖的得主。建筑采用了本地采购的木结构，组织成3.6 x 3.6米的居住模块，其框架确保了随时间推移的适应性，尊重了居住形式的多样性。所有单元围绕一个中央庭院布置，拥有穿堂风和充足的自然光，促进了气候舒适度和社区生活。选择木材建造，辅以石笼墙和轻质、合理化的系统，体现了对可持续性和持久性的承诺。该项目远不止是一个技术高效的解决方案，它体现了对地域、材料以及居民生活方式的关怀伦理。这是一种随时间演变的建筑，对适应性开放，并证明缓慢也可以是一种以更有尊严、更智慧、更具延续性的方式进行建造的策略。

However, the principles of Slow Architecture are not restricted to vernacular or low-tech approaches. They can guide contemporary projects that reinterpret these values through modularity, prefabrication, and locally sourced materials. A paradigmatic example of this approach applied to large-scale social housing is the 85 Social Housing project in Cornellà de Llobregat, designed by the Catalan office Peris + Toral Arquitectes, winner of the 2024 RIBA International Prize. The project adopts a locally sourced wooden structure, organized into 3.6 x 3.6 meter housing modules, with a framework that ensures adaptability over time, respecting the persity of dwelling forms. All units are arranged around a central courtyard, with cross-ventilation and abundant natural light, fostering climate comfort and community living. The decision to build in wood, with gabion stone walls and lightweight, rationalized systems, reveals a commitment to sustainability and permanence. Much more than a technically efficient response, the project embodies an ethic of care for the territory, the materials, and the inhabitants' ways of life. It is an architecture that transforms over time, open to adaptation, and demonstrates that slowness can also be a strategy for building with more dignity, intelligence, and continuity.

85 Social Dwellings in Cornellà / Peris+Toral.arquitectes

85 Social Dwellings in Cornellà / Peris+Toral.arquitectes

一个同样引人注目、根植于乡村生态的例子是“La Panificadora”——由厄瓜多尔事务所未来自然建筑事务所（Natura Futura Arquitectura）在巴巴奥约（Babahoyo）设计的乡村发展与生产中心。该项目是一个培训、烘焙和农业交流的空间，旨在满足在不平等和采掘主义经济背景下的小规模农民的需求。建筑使用当地木材建造，采用了社区自身可以复制的简易建造系统。开放式的结构促进了通风、遮荫和渗透性，同时支持粮食生产和社会聚集的自主性。该中心并非一个孤立的建筑对象，而是作为社会空间基础设施运作，在土地、劳动力和集体知识之间进行调解，在这里，建筑成为乡村地区生态关怀、经济韧性和文化延续的平台。

An equally compelling example, rooted in rural ecologies, is La Panificadora — a Rural Development and Production Center designed by Natura Futura Arquitectura in Babahoyo, Ecuador. Conceived as a space for training, baking, and agricultural exchange, the project responds to the needs of small-scale farmers in a context marked by inequality and extractivist economies. Built with local timber, it employs accessible construction systems that can be replicated by the community itself. The open structure fosters ventilation, shade, and permeability, while supporting autonomy in food production and social gathering. Rather than an isolated architectural object, the center operates as a socio-spatial infrastructure, mediating between land, labor, and collective knowledge, where architecture becomes a platform for ecological care, economic resilience, and cultural continuity in rural territories.

La Panificadora centro desarrollo y de producción rural / Natura Futura. Image © JAG Studio

这种焦点的转变为新的设计标准开辟了空间。从这个意义上说，慢食运动的三大支柱——“优质、洁净、公平”（good, clean, and fair）——为在危机世界中重新思考建筑生产方式提供了一个强大的视角。这促使我们重新审视所采用的建造系统、其能源需求、其与劳动力的关系以及其创造健康持久空间的能力。与其将“优质”局限于视觉愉悦或技术高效，我们可以将其扩展到包含空间的多感官体验：有益于身体、响应气候、并促进舒适度而不完全依赖机械或人工解决方案的建筑。“洁净”，反过来，也不仅仅是在最严格意义上使用低环境影响材料。要评估这点，必须考虑材料的全生命周期（从开采到废弃，包括拆解和再利用），寻求可回收、可再利用或可再生的替代品。一堵生土墙可能比尖端的玻璃幕墙更“洁净”，正如在非原生地使用竹子可能造成重大影响一样。最后，“公平”要求我们面对生产链中的结构性不平等，不压制或忽视地方知识，确保公平补偿，并摆脱基于剥削人民和地域的模式。真正的慢建筑是随时间建成的，但也需关怀那些设计者、建造者和居住者。

当然，在实践中应用慢的原则既不简单也存在矛盾。慢食运动本身也因其可能的精英主义倾向而受到批评，常常与大多数人的经济现实脱节。在建筑领域，这种批评同样有效：在一个全球化、充满连续危机且对住房、基础设施和新开发项目有迫切需求的世界中，我们如何能采用更慢的建筑？慢建筑可以，也应该融入当代工具，如人工智能、工程木材（CLT）等材料、BIM的使用、预制化和模块化，只要这些工具由深刻的可持续性、社会正义和地域联系等价值观引导。例如，BIM可以帮助追踪环境影响并支持更负责任的选择。当这些工具与慢原则相一致时，它们允许对建造系统本身进行重构，以数字精度优化天然材料的使用，或实现可拆卸、可适应和可再生的结构。使用木材或低蕴含能（embodied energy）回收材料的预制系统提供了高效且低影响的解决方案。模块化组件拥有易维护、拆卸和再利用的特征，灵活地响应现实生活的变化。

传统与技术之间的这种结合在当代建筑中找到了新的表达方式。一个很好的例子是BIG建筑事务所在2025年威尼斯建筑双年展上展出的“古老的未来”（Ancient Future）装置。在那里，古老的石雕技术与机器人制造工艺相结合，指明了一条将古老知识与先进技术相融合的可能路径。这个实验远非仅仅是形式上的姿态，它暗示了生产兼具历史深度和当代精度的建筑的可能性，即使在技术先进的背景下，也能保持材料的感官和记忆特性。

换言之，致力于未来的建筑不需要在过去与创新、在手工艺与数字技术之间做出选择。在一个常常优先考虑增长、效率和性能的世界里，其价值并非由速度定义，而是由其整合知识、尊重时间并与环境建立联系的能力所定义。的确，建造即是承担责任，而材料承载着历史、地理、知识和影响。每一个设计决策都承载着伦理、时间和文化的价值，而慢建筑邀请我们认识这些层面，并以关怀、专注和承诺的态度去设计。

This shift in focus opens space for new design criteria. In this sense, the three pillars of the Slow Food movement—good, clean, and fair—offer a powerful lens for rethinking the means of producing architecture in a world in crisis. This compels us to reconsider the construction systems we adopt, their energy demands, their relationship to labor, and their ability to create healthy and lasting spaces. Instead of limiting "good" to what is visually pleasing or technically efficient, we can expand it to include the sensory experience of space: architecture that is good for the body, that responds to climate, and promotes comfort without solely relying on mechanical or artificial solutions. "Clean," in turn, is not just about using low-impact materials in the strictest sense. To assess this, one must consider the full life cycle of materials (from extraction to disposal, including disassembly and reuse), seeking recyclable, reusable, or regenerative alternatives. A wall of raw earth can be cleaner than a cutting-edge glass façade, just as using bamboo in places where it is not native can cause significant impacts. Lastly, "fair" challenges us to face structural inequalities in the production chain, not to override or invisibilize local knowledge, to ensure fair compensation, and to break away from models based on the exploitation of people and territories. A truly slow architecture is built with time, but with care for those who design, those who build, and those who inhabit.
Of course, applying the principles of slowness in practice is neither simple nor free of contradictions. The Slow Food movement itself has been criticized for possible elitism, often disconnected from the economic realities of most people. In the field of construction, this critique is also valid: how can we adopt a slower architecture in a globalized world, marked by successive crises and urgent demands for housing, infrastructure, and new developments? Slow Architecture can (and should) incorporate contemporary tools such as artificial intelligence, materials like engineered timber (CLT), the use of BIM, prefabrication, and modularity, as long as they are guided by values of deep sustainability, social justice, and territorial connection. BIM, for instance, can help trace environmental impacts and support more responsible choices. These tools, when aligned with slow principles, allow for the reconfiguration of construction systems themselves, optimizing the use of natural materials with digital precision or enabling dismountable, adaptable, and regenerative structures. Prefabricated systems using wood or recycled materials with low embodied energy offer efficient and low-impact solutions. Modular components can be designed to allow maintenance, disassembly, and reuse, responding flexibly to real-life changes.
This articulation between tradition and technology has found new expressions in contemporary architecture. A remarkable example is the Ancient Future installation presented by the office BIG at the 2025 Venice Architecture Biennale. There, ancestral stone carving techniques were combined with robotic manufacturing processes, pointing to a possible path for integrating ancient knowledge with advanced technologies. Far from being merely a formal gesture, the experiment suggests the possibility of producing architecture with historical depth and contemporary precision, keeping alive the sensorial and mnemonic qualities of materials even in technologically advanced contexts.
In other words, an architecture committed to the future does not need to choose between the past and innovation, between craft and digital. In a world that often privileges growth, efficiency, and performance, even when devoid of purpose, its value is not defined by speed but by its ability to integrate knowledge, respect time, and build connections with context. Indeed, to build is to take responsibility, and materials carry histories, geographies, knowledge, and impacts. Every design decision is charged with ethical, temporal, and cultural values, and Slow Architecture invites us to recognize these layers and to design with care, attention, and commitment.

Volante Social Housing / MONADNOCK. Image © Stijn Bollaert

Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio

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