Courtesy of KARL LAGERFELD, Sierra Blanca Estates and One Atelier

可持续性是新的奢侈品吗？与Andrea Boschetti就位于马贝拉的Karl Lagerfeld Villa的对话
Is Sustainability the New Luxury? In Conversation with Andrea Boschetti on Karl Lagerfeld Villas in Marbella

由专筑网邢子，小R编译

在过去的几年里，奢侈品和时尚品牌开始涉足建筑领域。一些品牌建造了博物馆、基金会和文化组织，而另一些品牌制造了住宅，涉足空间设计行业。按照同样的概念，KARL LAGERFELD与西班牙开发商Sierra Blanca Estates以及设计和品牌公司The One Atelier一起，开发了这个时尚品牌的第一个“奢华建筑项目”，位于西班牙马贝拉的Karl Lagerfeld Villas。该项目由The One Atelier设计，Andrea Boschetti是该公司的设计主管，该项目提出低碳影响，与该品牌对《时尚公约》的承诺相一致，这是一项全球可持续发展倡议，旨在通过气候、生物多样性和海洋保护方面的目标来改变时尚产业。

问及什么是“奢华建筑”，以及为什么时尚品牌能够扩展到建筑领域，ArchDaily见到了Andrea Boschetti，进一步了解这位建筑师兼城市规划师对这个问题的看法。

该项目旨在通过设计决策和系统将奢华品牌开发与可持续发展相结合的想法，设计五个不同的别墅，这些别墅由木材制成，并由合成陶瓷材料覆盖。在自然景观中，该住宅开发项目也与城市相连，自疫情开始以来，城市的人口和活动发生了变化。马贝拉，曾经被认为是一个度假胜地和度假城市，现在逐步成为一个全年的永久居住目的地。

继续阅读，了解与别墅背后的建筑师Andrea Boschetti的对话访谈。

During the past couple of years, luxury and fashion brands began venturing into architecture. Some built museums, foundations, and cultural organizations while others shaped residential structures that translated their identity into space. Following this same concept, KARL LAGERFELD, along with Spanish Developer Sierra Blanca Estates and the Design and Branding Firm The One Atelier, have developed the fashion house’s first “luxury architectural project”, the Karl Lagerfeld Villas in Marbella, Spain. Designed by The One Atelier, of which Andrea Boschetti is Head of Design, the project has low carbon impact, aligned with the brand’s commitment to the Fashion Pact - a global sustainability initiative that seeks to transform the fashion industry through objectives in climate, biodiversity, and ocean protection.
Asking what is “luxury architecture” and questioning why fashion brands are expanding into architecture, ArchDaily met with Andrea Boschetti to further understand the architect and urban planner’s take on the subject.
Focused mainly on the idea of combining luxury development with sustainability through design decisions and mechanical systems, the project puts in place five different villas, made of wood and covered by a synthetic ceramic material. Incorporated within the natural landscape, the residential development is also connected to the city, which has been seeing a shift in demographics and activities ever since the beginning of the pandemic. Marbella, which was once considered a resort and vacation town, has now shown that it is becoming a year-long destination for permanent residences.
Read on to discover the conversation with Andrea Boschetti, the architect behind the KL Villas.


Courtesy of KARL LAGERFELD, Sierra Blanca Estates and One Atelier

ArchDaily (Christele Harrouk)：这个项目背后的最初概念是什么？

Andrea Boschetti：最初的概念是将奢侈品开发与可持续发展相结合，灵感来自于Karl，他致力于创造一个更好的世界。因此，我想适应设计师的灵魂，把这些想法作为项目的目标，把两个通常没有联系的实体联系起来。事实上，我们没有使用所谓的“奢华”材料，我们的主要材料是水磨石、回收的大理石、木材，以及用陶瓷创造的外墙，这是完全天然的材料。

ArchDaily (Christele Harrouk): What was the initial concept behind this project?
Andrea Boschetti: The initial concept was to combine luxury development with sustainability, inspired by Karl’s identity, who really was committed to the creation of a better world. Therefore, I wanted to adapt to the soul of the designer, and put these ideas as the main goal of the project, and connect two entities that are not usually connected. In fact, we did not use a so-called “luxury” material, our main material is terrazzo, recycled pieces of marble, wood, and a mirror façade created out of ceramics, a completely natural material.


Courtesy of KARL LAGERFELD, Sierra Blanca Estates and One Atelier

AD：那么，可以这样说，基本上现在奢侈品世界已经为这些可持续的方法做好了准备？

AB：肯定不是所有地方。我们也必须明白，在世界的不同地方，他们还没有准备好接受这些想法。但作为建筑师，我们也有责任与世界分享，并大声宣告这些新的设计方式。尽管如此，正如这个项目，我认为这个奢华世界的一部分现在已经准备好了。我们在马贝拉设计的这个总体规划不是很大，但它仍然是一个包含5栋别墅的院落。也许我们应该在更大的范围内测试一下，情况会是怎样。现在已经不是快速跑车的时代，而是电动汽车的时代，比如说，在设计方面，客户要求的是气氛和空间，而不是奢华复杂的内饰。

AD: So, you are telling me that basically now the luxury world is ready for these sustainable approaches?
AB: Not everywhere for sure. We have also to understand that in different parts of the world, they're still not ready for these ideas. But it is also our responsibility as architects to share with the world and to speak up about these new ways of designing. Nevertheless, as this project states, I think part of this world of luxury is ready now. This Masterplan we designed in Marbella is not a large one, but still, it is a compound that encompasses 5 villas. Maybe we should test at a larger scale, how the situation will be. It’s not about fast sports cars anymore but much more about electrical cars for example. In terms of design, clients ask for atmosphere and space, rather than exuberant interiors.


Courtesy of KARL LAGERFELD, Sierra Blanca Estates and One Atelier

AD：那么在这个意义上，你如何定义奢华建筑？

AB：我是一个经常在城市工作的人，被委托从事奢华建筑的设计工作，一开始很奇怪，但在米兰的总体规划之后，我有机会接触在俄罗斯的几座别墅，然后The One Atelier邀请我与他们合作，把一些品牌的DNA转化为建筑。对我来说，重要的是不要忘记我有一个城市背景，每一次新的冒险，我都试图构筑更大的画面。

如果你想想米兰的普拉达博物馆，例如，该项目成功地在该城市的那一部分创造了某种变化。在这个意义上，我们可以利用奢侈品来为城市和生活在附近的人们带来质量。诚然，这不是每次都能做到的，但例如，在Karl Lagerfeld Villas，我们利用该项目为附近地区提供绿色基础设施，包括树木和从山上到海边的自行车道，这也与沿海城市的景观相得益彰。事实上，建筑的几何形状和自然是直接沟通的，没有抹去自己的结构或隐藏在绿色覆盖下，而是通过在自然和建筑之间创造强大的联系。

AD: In that sense, how do you define luxury architecture now?
AB: I am someone that works a lot in the city. Being commissioned to work on luxury architecture was strange at first, but after the master plan of Milano, I had the chance to imagine a couple of villas in Russia, before The One Atelier asked me to work with them, to translate the DNA of some brands into architecture. It’s always important for me not to forget that I have an urban background, and every time with every new venture, I try to tackle the bigger picture.
If you think about the museum of Prada in Milano, for example, the project managed to create a certain change in that part of the city. In that sense, we can use luxury to bring quality to the city and to the people living in proximity. It’s true that it’s not possible every time, but for instance, in the Karl Lagerfeld Villas, we are using the plot, in order to give back a green infrastructure to the area, with trees and bicycles paths from the hill to the sea. It also compliments the landscape of the coastal city. In fact, the built geometry and nature are in direct communication, without having a structure that erases itself or hides under green covers, but through the creation of a strong dialect between nature and architecture.


Courtesy of KARL LAGERFELD, Sierra Blanca Estates and One Atelier

AD：你认为时尚界和建筑界之间有什么相似之处吗？就像Karl Lagerfeld一样，很多时装公司都在向建筑领域发展，你怎样认为？

AB：说到卡尔，虽然他服务于Fendi和Chanel这样的大公司，但他自己也相信，时尚、美和创造力应该服务于每个人。对我来说，这种原则是与我的建筑理念相符的，建筑应当将质量、创造力以及美感传递给城市，我开始看到的时尚和建筑之间的平行关系。

事实上，这些品牌希望将他们的价值转移到建筑中，因为他们也想走出一个特定的学科，并进行扩展。很多品牌都向The One Atelier伸出了橄榄枝，以便能够将他们的DNA转化为结构存在。这在以前只在室内设计和家具中进行，但现在更多的是将身份和经验传递给城市领域和更广泛的受众，并在城市中创造地标设计。在我看来，这是创意品牌的正常演变，也是为了开辟新的市场分支，拥有更大的影响力。我们的文化具有视觉特征，而建筑是当今城市中最重要的视觉参考。

AD: Do you see any resemblance between the fashion world and the architecture world? Just like Karl Lagerfeld, a lot of fashion houses are moving into architecture. Why do you think so?
AB: Speaking of Karl, although he worked for powerhouses like Fendi and Chanel, he was convinced himself that fashion, beauty, and creativity should be available for everyone. This democratic principle for me is something that joins my ideas of architecture, an architecture that transfers quality, creativity, and also beauty to the city. This is also the parallelism I am starting to see between fashion and architecture.
In fact, the brands want to transfer their values into architecture, because they also want to go out of one specific discipline and expand. Actually, a lot of brands have been reaching out to The One Atelier, so that we could translate their DNA into a structure. That previously was only done in interior design and furniture, but now it’s more about transmitting the identity and the experience to the city realm and the wider audience and creating icons in cities. It’s a normal evolution of creative brands in my opinion. It’s also about opening up new market branches and having a bigger presence. Our culture is visual and architecture is the most important visual reference in the city nowadays. 


Courtesy of KARL LAGERFELD, Sierra Blanca Estates and One Atelier

AD：“奢华”建筑与普通建筑有什么不同？

AB：对我来说，它们并没有什么不同。当然，奢华的房子更大，空间更大，位置更贵，但原则是一样的，可持续发展的方法是相同的，这是我的看法。对我来说，奢侈品更多的是与你如何度过你的优质时间有关。换句话说，在我的工作中，我不想在设计中强调丰富性，但我想为住户创造高标准的质量空间。我们已经把奢侈的概念，从物质、有形的层面转移到非物质的体验，从展示到生活。

AD: How different is “luxury” architecture from architecture?
AB: For me, they are not so different. For sure the houses are larger, spaces are bigger, location is much more expensive, but the principles are the same. The sustainability approach is the same. This is my point of view on luxury. For me, luxury is much more connected to how you spend your quality time. In other words, with my work, I don’t want to highlight richness in the design but I want to create high standards qualitative spaces for the tenants. We have transferred the concept of luxury, from the material, from its tangible dimension to an immaterial experience, from show to life.


Courtesy of KARL LAGERFELD, Sierra Blanca Estates and One Atelier

AD：回到马贝拉的项目，它由五个单体组成，每个单体都有不同的住户。你能告诉我们更多关于这些别墅的设计吗？

AB：这些建筑不是特别大的房子，在660至900平方米之间，服务于私人家庭，这也是客户的要求。在设计方面，它由两个主要原因决定：首先，我们不想重复相同的形状，因为我们想要更加个性化的体验，第二，也是最重要的，我们想以不同的方式框住风景，并为周围的景观创造多样化的视角。这就是我们最终得到的形状，向外部提供不同的视角，向内部提供不同的体验，以及多种氛围和特定的生活环境。

大自然塑造了建筑，窗户的形状也是同样的逻辑，有时我们有更多的水平窗户，所以我们可以看到地平线和大海，另一些时候，垂直的开口，将风景框成一幅画，有天空、大海和植物。这种概念上的选择与Karl的创意灵魂直接相关，他曾经描述过这种框架，并将一些部分隔离出来。此外，Karl Lagerfeld是密斯凡德罗“少即是多”的忠实粉丝，这个项目试图体现这一理念，并在体积和空间之间进行对比。通过项目的景观，我们也设法创造了连续性。别墅由河流连接，重新诠释了马贝拉市丰富的河流自然环境。在一些地方，规划了游泳池，在其他一些地方设计了水体。这种水元素是可再生能源系统的一部分，也决定了房屋的几何形状。

AD: Going back to the project in Marbella, it consists of five units, each one for a different tenant. Can you tell us more about the design of these villas?
AB: The units are not super big, between 660 and 900 sqm, intended for private families. This was the brief of the client. In terms of design, it was dictated by two main reasons. First, we simply didn't want to replay the same shape because we wanted a more customized experience. Second, and most importantly, we wanted to frame differently the scenery and create a diverse point of view to the surrounding landscape. That’s how we ended up with the shapes we have, offering different perspectives to the outside and different configurations on the inside, with multiple atmospheres and specific living environments.
Nature shaped the volume. Same logic for the shape of the windows: Sometimes we have more horizontal windows, so we can look at the horizon and the sea, some other times vertical openings that frame the view as a picture, with the sky, the sea, and the greenery. This conceptual choice is directly connected to the creative soul of Karl, who used to draw these kinds of frames and isolate some parts. Moreover, Karl Lagerfeld was a great fan of Mies van der Rohe’s “Less is More”, and this project tried to embody this idea, and to contrast between volume and void. Through the landscape of the project, we also managed to create continuity. The villas are connected by a sort of river that reinterprets the natural context of the city of Marbella, abundant in rivers. In some parts, it creates swimming pools in the master plan, and in some others, water bodies. This water element, part of the renewable energy systems, also determined the geometry of the houses.


Courtesy of KARL LAGERFELD, Sierra Blanca Estates and One Atelier

AD：你有很多事情要做，从洛雷托的总体规划到热那亚的竞赛等等。你能告诉我们一些关于这些项目的情况吗？

AB：与Stefano Boeri Architetti和Inside Outside的合作在两年前赢得了热那亚的比赛，现在正在建设中。从纪念馆开始，到60公顷的公园，这是私人和公共之间的对话，但也是关于人们在这个再生项目中到底需要什么样的服务，设计都是为了倾听人们的心声。对于米兰的洛雷托项目，虽然它不是一个大的设计，但它是一个非常重要的创意，因为当开始改变广场，把它还给市民，我认为其他的广场设计也会跟着改变，它可以成为整个欧洲的一个重要参考，特别是在其可持续发展方面。

AD：说到米兰，你如何想象这座城市10年后的样子？

AB：我认为它将变得完全不同，并且更好，特别是当它涉及到空间的部分。我认为米兰最重要的目标是开始重新思考住房问题，不仅是为了米兰，同样为了欧洲，住房是城市和建筑的一个新挑战。我认为我们应该重新思考什么是私人的，什么是公共的，不仅仅是公共住房的问题，而是重新调整所有权系统的问题。

AD: You have a lot of things going on, from the Loreto master plan to the Genoa competition, etc. Can you tell us a bit about those projects?
AB: With Stefano Boeri Architetti and Inside Outside, we won the Genoa competition two years ago, and it is now under construction. We are starting with the memorial and following up with a 60 hectares park. It’s a dialogue between private and public, but also, it’s about what people exactly need in terms of services from this regeneration. It’s all about listening to the people. For the Loreto project in Milano, although it’s not a big intervention, it’s a very important one, because if we start to change one square and give it back to the citizens, I think other squares will follow and change. It can be an important reference for all of Europe, especially in terms of its sustainable approach.

AD: Speaking of Milano, how do you imagine the city in 10 years?
AB: I think it will become completely different and much better, especially when it comes to all the spaces in between. I think the most important goal for Milano is to start rethinking housing, not only for Milano but also for Europe. Housing is a new challenge for cities and architecture. I think we should rethink what is private, what is common services, not only with co-housing approaches but re-question the whole ownership system.