社会调查访谈提纲

社会调查访谈提纲（通用8篇）

篇1：社会调查访谈提纲

1、家庭基本情况：人口、各自从事的职业。

2、被开发为旅游景点的时间？在当地被开发为红色旅游景点之前所从事的职业、收入

状况；开发之后所从事的职业、收入；现在与以前有哪些不同、收入的变化情况及其幅度，受旅游开发的影响有多大。被开发前后村容景观的变化（照相馆、树、旅游景点等）

3、从事旅游副产品销售的村民的的年龄构成（是否是老年人、妇女等劳动能力不强的人员）；当地被开发旅游景点之后，主要青壮年劳动力的就业选择。（是外出打工还是本地依靠旅游资源从事商业）。

4、旅游的淡旺季时间。不同季节的客流量。

5、您觉得红色旅游资源收入的流向，收入都流入了谁的腰包。（旅游景点前期收费期间

和后期免费期间的不同）

6、红色旅游景点的开发对不同商业形式的影响程度。（餐饮业、纪念品销售、私人景点、旅游服务）

7、收入的变化趋势。（逐年增长、基本不变、减少、变化不大？变化的幅度？原因？）

8、纪念馆等红色旅游景点的建设成本。前期收费期间带来多少收入？

9、认为当地红色资源是否得到了有效开发？宣传做的是否到位？政府有没有发展计

划？吸引游客，扩大影响？

10、村民对红色旅游资源开发的看法（应不应该开发？是否得到有效开发？）和建

议，对红色旅游景点的经营运作方式的看法。对革命遗址了解多少？

11、政府开发或者保护红色旅游资源是否给生活带来不便？具体表现在哪些方

面？

12、乡镇、村的基层领导是否想过促进当地红色旅游发展。增加村民收入？具体政

策？

13、是否满足现在的生活状况、对未来发展有何设想？是否想过利用本地红色资源

增加收入？

14、认为当地红色旅游没有发展好的主要原因是什么？您认为制约当地经济发展

最重要的因素是什么？

15、您认为红色旅游资源带来的最大收益是什么？（精神方面or经济方面）

篇2：社会调查访谈提纲

您好，我们是华侨大学06级行政管理专业的学生。为了探讨城市的扩张给农村的环境带来的利与弊，提供科学的分析与研究，为政府制定社区环境方面的有关政策，提供科学的依据和合理化建议。我们进行了社区环境状况方面的调查。

本调查以不记名方式进行，希望您在填卷时不要有所顾虑，怎么想的，就怎么填。问卷的质量取决于您的态度,希望您能如实填写。

衷心感谢您的合作！

填表说明

① 请在符合您的情况的想法的问题答案号码上划上“√”号

② 如果所列问题答案项不适合您的情况，请在问题下的空白处填写您的具体情况

调查问卷

1.您对政府或者居委会对社区管理的总体满意度

A、很满意 B、比较满意 C、不太满意 D、不满意

2.与以前相比，你对你目前生活的环境满意程度如何？ Ａ．满意

Ｂ．比较满意 Ｃ．不太满意

Ｂ．不满意

3对社区生活居住环境的满意程度

A、十分满意 B、较满意 C、不太满意 D、十分不满意

4.对于引起社区环境变化的因素，你赞成下列哪种说法 Ａ．外地人口的不断涌入 Ｂ．社区居民个人素质因素 Ｃ．政府有关部门的管理问题 D.城市的不断扩张

E．其他（请说明）＿＿＿＿＿

5.对泉州市政府实施的一些占用田地的重大工程是否满意

A、都满意 B、多数满意 C、少数满意 D、不满意 E、不了解

6.对于政府对社区管理的措施，你持什么样的态度？

Ａ．赞成 Ｂ．比较赞成Ｃ．不太赞成 Ｄ．不赞成

7.外来人口出现后，你觉得对你们村的影响

A 有利 B 有害 C 有利也有害 D 不知道

8.在目前存在的种种环境问题中,你意见最大的是(多选)A.．水污染问题 B.噪音问题 C.废气物问题 D． 交通设施问题 E.安全问题

F． 混杂的公共停车场和文化娱乐设施 G． 其他(请说明)_______

9.和以前相比较你居住的社区治安状况 A有改善 B没变化 C 变差

10.你对你所居住的社区，安全感程度如何 A．很强 B．较强 C．凑合 D．不满意

11.你认为社区治安秩序出现状况，原因归咎于 A．社区保安不尽职责，玩忽职守

B．外来人员流动量大，成分复杂，素质低下 C．政府不重视，管理制度不健全 D．其他________

12.你怎样看待外来人员对社区环境的影响 Ａ．承担全部责任 Ｂ．承担部分责任 Ｃ．承担一部分责任 Ｄ．其他（请说明）＿＿＿＿

13.认为社区绿化面积缩小的原因在于 A．外来人口的进入,从而减少了绿化面积

B．城市的扩张,在原有的绿地上兴建工厂厂房，与树争地 C．人们随意乱丢乱弃垃圾废物导致植物生存环境遭破坏 D．政府对绿化方面管理的力度不够

14.据你所知，在你所处的社区中居民在茶余饭后的活动主要有 A.到邻居家串门

B．与家人呆在家中看电视，休息，不出家门 C．到平常邻里常聚集的地方活动 D．散步

E．其他(请说明)____________.随着外来人口的剧增，和过去相比，现在与邻里相处最大的变化是 A．文化交融，凝聚力更强

B．语言和生活习惯存在障碍。难于沟通，互动频率低 C．为保持地方特色而对外来人口排斥

16.在你现在所处的社区,居民是否经常串门? Ａ．频繁

Ｂ．基本正常

Ｃ．不太正常

Ｄ．不正常．

17．在你所处的社区中居民的主要文化活动有 A．阅读书，刊，报，杂志等

B．观看社区播发的电影，电视，录像等

C．参加一些由社区举行的文体活动，如安全知识宣传。体育项目竞赛等 D．其他(请说明)____________ 18.你认为在你所处的社区内在，在生活基础设施状况方面存在的问题有 A．无停车场或停车场小 B．邮政不便

C．医疗卫生状况不佳

D．电，气，水，暖等生活资源供给不足 E．其他(请说明)__________

19.你认为社区治安秩序出现状况，原因归咎于 A．社区保安不尽职责，玩忽职守

B．外来人员流动量大，成分复杂，素质低下 C．政府不重视，管理制度不健全 D．其他_________.您对社区及周围空间在下列问题的严重性进行打分。（最高5分）

河水的污染 ＿＿＿＿＿＿

工厂噪音的污染＿＿＿＿＿＿＿

工厂废弃物的污染＿＿＿＿＿＿＿＿

大片绿地 树木的流失＿＿＿＿＿＿＿＿

空气质量的下降＿＿＿＿＿＿＿＿＿＿.随着外来人口的剧增，和过去相比，现在与邻里相处最大的变化是 A．文化交融，凝聚力更强

B．语言和生活习惯存在障碍。难于沟通，互动频率低 C．为保持地方特色而对外来人口排斥

22.您对下列问题的看法？

非常满意 满意 无所谓 不满意 非常不满意 社区治安 社区医疗 社区娱乐 社区教育 社区文化活 23.你对以下设施的满意度是？

满意

一般

不满意 图书室 ＿＿＿＿＿＿＿＿＿＿＿＿

活动中心＿＿＿＿＿＿＿＿＿＿＿＿

体育设施＿＿＿＿＿＿＿＿＿＿＿＿ 超市＿＿＿＿＿＿＿＿＿＿＿＿＿＿

邮＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿ 银行＿＿＿＿＿＿＿＿＿＿＿＿＿＿ 24.对所居住的社区的综合印象

A、很好 B、较好 C、一般 E、较差 E、差

访谈提纲

1.田地消失了，随着而来的是一排排的高楼大厦，你的心情是怎样的? 2.面对这不断变化的环境,您认为给您带来了什么? 3.您对社区总体生存环境的评价?

4.现在生活条件改善了,您有没有感觉到越来越幸福?如果没有,为什么? 5.您认您所处的社区内存在着哪些不足?依您看应该如何解决? 6.您认为政府搞开发区建设对自己及周边居民的最主要影响是什么? 7.您对政府相关部门处理社区事务的方法有何看法? 8.您认为当地过去的环境问题有： 9.您认为当地目前的环境问题有： 10.您认为当地将来的环境问题有：

篇3：社会调查访谈提纲

关键词：高职,学生宿舍,微社会环境,个案访谈

随着我国教育体系的不断完善, 高职学生及其心理健康状况越来越受到社会的广泛关注。高职院校学生与本科院校的学生一样都处于一生中最重要的发展时期, 他们的心理发展处在从不成熟向成熟逐步过渡的黄金时期。但是, 高职院校学生比本科生面临着更多的学习、就业压力, 也更容易造成一些心理问题。造成高职学生心理健康隐患的原因有很多, 诸如学习压力、就业压力、交际压力等等。笔者拟从学生日常生活重要载体———宿舍的微社会环境入手, 探讨其对高职学生心理健康产生的影响。

宿舍是学生生活学习的主要场所。宿舍构成了一个相对密集的人际空间, 在这个空间中, 更多地体现出宿舍人际关系自发的共建的特点。在一般的课堂环境中, 大家倾向于遵循集体规范性要求;在其他公共场合, 个体的表现也会有各种限制。而宿舍是一种自由放松的场所, 这会使个人的性格品质、生活习惯等各方面更加彰显。因此, 在宿舍中人际关系所形成的微社会环境对高职学生各方面的影响和作用更有力、更宽泛。

研究方法

为了更好地研究对象, 本文采用了无结构式的个案访谈法。无结构访谈又称作深度访谈或自由访谈, 其并不依据事先设计的问卷和固定程序, 而是只有一个访谈的主题或范围, 由访谈员与被访者围绕这个主题或范围进行比较自由的交谈。无结构访谈适合于实地研究, 它的优势在于通过深入细致的访谈, 获得丰富生动的定性资料, 从而通过研究者主观的、洞察性的分析, 从中归纳和概括出某种结论。

访谈者:刘立国, 记录整理者:曹瀛琰。访谈对象:王某。访谈时间地点:2012年10月16日, 学院办公室。王某为天津职业技术师范大学附属技校应用电子专业2011级学生, 男, 来自河北, 独生子女, 父亲为公务员, 母亲为自由职业者, 家庭收入中等。之所以选择王某, 是由于对访谈对象平时就有基本的了解和沟通, 在进行访谈时更容易相互信任, 了解到被访对象的真实想法和情感, 而且了解到他在宿舍中相对孤立, 人际关系较差, 符合研究要求。在访谈过程中, 通过观察、体会来认识被访者的情感态度和认知, 了解关键事件对他的影响, 分析其心理隐患的原因及其作用机制。本着学术中立的态度对他的情况尽可能地做出客观介绍, 以减少主观情感上的影响。

访谈过程

我们与王某约定5点半在办公室见面。超过预定时间十多分钟后, 我们才听到他敲门的声音。他打开门后直接向我们走来, 没有关门, 他也没有一点因为迟到而愧疚的意思。拉了把椅子坐下后, 曹同学给他倒了杯水, 然后关上了门。

起初他颇为拘谨, 闲聊几句后, 他渐渐放松了下来, 我们也进入了正题:“你平常有什么课余爱好?玩电脑游戏吗?还是打篮球、踢足球?”“玩游戏吧, 地下城与勇士。”说起游戏他似乎特别兴奋:“我在里面可厉害了, 数得上区里前二十的。”“是网游吧?那你们寝室的同学会和你一起玩吗?你这么厉害肯定会特别照顾他们吧。”访谈者问。他的神色黯然了一下, 说:“没有, 我不和他们玩。大一时有两个同学想让我带他们玩, 我不干。他们玩得太差了。”我进一步发问:“为什么不呢?仅仅是因为他们玩得差吗?”他想了想, 说:“我不喜欢他们。他们来了肯定要跟我要这要那的。其实, 给他们没关系, 可是他们的态度太让人受不了, 自己不努力, 而我给他们又好像是天经地义的, 都没有想过即使是我现在用不上的装备也是费尽心思才赚来, 甚至是用人民币买来的。他们一点也不尊重我。”访谈者从他的口气中察觉到他对室友的不满, 于是问道:“他们在现实生活中也是这样吗?宿舍其他人呢?”他斩钉截铁地说:“是。”“看来你很不喜欢你寝室的同学了。”访谈者说。“现在还好, 毕竟在一起这么久, 不像刚开始那么容易发生矛盾了。现在大家都客客气气的, 像客人。”他总结说。

接着访谈者问了他一些生活习惯上的问题:“你们宿舍有人抽烟吗?”他摇摇头:“只有我一个。”并露出尴尬而不满的神色, “平时都得到宿舍外面抽烟的。”访谈者接着说:“那你还是认为宿舍内的人际关系很重要?”他眉毛一扬:“那当然。谁也不想天天生气吵架吧, 至少像现在这样也落个清静。”访谈者继续发问:“那你认为人际关系会影响到心理健康吗?”他略微沉思了一下:“肯定会的。我跟他们关系都不好, 所以在宿舍有时候就会觉得寂寞, 他们不了解我, 这时候就特别容易和他们发脾气, 甚至动手。”访谈者吃了一惊:“你是说你和他们打过架?能详细谈谈吗?”他犹豫了一下, 答应了:“先是前天晚上我在打电话, 他们都休息了, 有一个同学就说了我。我当时想想理亏, 心理虽然不爽, 但没说什么就把电话挂了。第二天我休息的时候刚好那个同学也在打电话, 我就说了他一句, 他竟然骂我, 我就跳起来和他打了。”“难道寝室长没有制止你们吗?”访谈者问。他简简单单地说:“我从来不认可寝室长。”“为什么?他年龄比你小?还是有其他的什么原因?”他很无所谓地说:“就是不认可他们, 也不认可这个制度。而且在宿舍从来不会根据年龄来排大小的。”“那你事后有没有找老师或者学校的心理辅导老师帮助解决这些矛盾呢?”他很自然地回答:“怎么可能。这种事情不好意思跟老师说的。”访谈者接着对他提出问题:“那你有没有想过是什么造成了你们之间的隔阂呢?生活习惯、价值观念、地域、学习成绩或者是家庭背景?”他想了一会, 说:“更多的是生活习惯和价值观念吧。地域会有一定影响, 但一般都是在外地生与本地生之间, 我们宿舍都是外地生源, 这一点的影响很小。至于成绩和家庭背景我们很少去关注的。”访谈者问了他最后一个问题:“你是否认可学校对宿舍的分配制和整体环境呢?”他轻轻地笑了, 答道:“像我这样在宿舍人际关系不好的同学对宿舍的分配制度肯定是有意见的。至于宿舍环境, 虽然离期望的差距很大, 但是想想比上不足比下有余, 也就知足了吧。”

材料分析

从访谈中可知, 王某之所以被宿舍群体孤立, 与其自身原因是分不开的。从他访谈迟到、进门起, 可以看出他并不十分关注别人感受, 表现得自我;生活习惯上的摩擦往往是引起冲突的导火索, 像谈到的抽烟、作息时间、个人卫生的保持都引起了或大或小的直接冲突;不同的价值观是产生隔阂的根源, 使得他们在待人处事上有着根本性的差别。通过关键事件我们分析出, 打架事件使得宿舍群体对王某孤立得更严重了。利益关系是游离于被访者王某之外的另一个重要因素。从被访者的讲述中了解到, 因为利益而引起纠葛在同学中还是颇为常见的。这利益也许是学生职位的竞争, 也可能是助学金、奖学金的竞争, 更有许多其他我们想象不到的, 如工作、兼职岗位甚至是恋爱竞争等等。

从外部来讲, 宿舍群体的态度和做法也有不成熟之处, 而整个寝室安排和整体环境同样对王某宿舍内的人际关系起到了负面作用。首先, 过于死板的宿舍分配方式不能很好地起到预防作用, 使宿舍在最初就埋下了矛盾爆发的隐患。其次, 面对宿舍人际关系紧张, 学校应对不足, 没有很好地发挥调整的作用, 而且心理咨询疏导工作僵化, 不能及时对有心理问题的学生做好工作。最后, 宿舍硬件环境无法给住宿学生提供舒适的学习、生活环境, 在学生的潜意识中没有留下归属感觉。

总之, 在宿舍中各种关系构成的微社会环境俨然对学生个体产生了直接且非常重要的影响。

研究讨论

宿舍微社会环境中的交往关系与心理健康息息相关, 构建良好的宿舍人际关系对高职学生的心理健康起到重要作用。在此基础上, 本文根据调查所得提出相关建议, 以期促进宿舍生活环境在高职学生心理健康培养中的积极功能。

提供良好的心理健康教育和心理咨询工作高职学生心理健康教育是一个社会系统工程, 需要学校、家庭和社会密切配合。在学校, 班主任或辅导员可以实行责任包干, 要及时了解自己所负责宿舍的动态, 及时发现问题并妥善处理, 引导学生与心理咨询教师进行沟通。另外, 学校可以与个别学生的家长取得联系, 了解学生的成长经历、家庭背景, 与学生家长达成一致, 学校教育与家庭教育双管齐下, 达到事半功倍的效果。

积极培育宿舍文化, 营造良好氛围作为宿舍管理工作者, 可以定期举办形式多样的小型活动, 内容以娱乐为主, 鼓励学生积极参与, 增强团结性。宿舍管理制度应当鼓励创造宿舍文化, 从整体上帮助各个宿舍营造良好健康的人际关系, 促进学生之间的和谐相处和健康的人际交往。

开设社交礼仪课程, 推广正确的社交理念和方式改善学生的人际关系, 就要教会他们如何以正确的观念和方式与人交往。开设相关课程是一种重要的教育模式, 课堂上时间充裕, 学生可以系统地学习到技能和知识。此外, 还可以通过多种形式进行推广, 如进行广告式的宣传、开展相关的比赛或者邀请名家开讲座。

重视宿舍环境和生活质量, 完善硬件设施破窗理论指出:当人置身于脏乱的环境中时, 就会逐渐丧失积极上进的动力, 心理健康问题就容易暴露出来。学校有责任美化学生的生活环境, 帮助其保持相对稳定的心理健康状态和愉悦的学习心情。如英国剑桥普林斯顿学院, 学生宿舍用地紧张, 紧邻街道, 为避免城市道路的喧闹和汽车噪声的干扰, 学生宿舍楼采用阶梯式扇形平面, 将校区与街道隔离, 宿舍前的大平台成为休息的场地, 层层宿舍阳光充足, 通风良好, 环境安静, 视野开阔。总之, 应有效地使学生宿舍营造出“家”的温馨感和舒适感, 帮助学生获得心理慰藉, 保持健康、平稳的学习心态和交往心态。

参考文献

[1]陈军科.高职院校学生宿舍沟通方式的调查和分析[J].浙江工商职业技术学院学报, 2011 (1) .

[2]风笑天.社会学研究方法[M].北京:中国人民大学出版社, 2009.

[3]韩如芳.宿舍在高职学生心理危机干预中的作用探析[J].新西部, 2011 (9) .

[4]黄志红.高职学生宿舍内部人际交往矛盾探析及其应对策略[J].内蒙古农业大学学报 (社会科学版) , 2007 (6) .

篇4：初中生厌学的访谈调查研究

摘 要：以自编的初中生厌学访谈提纲为测试工具，以初中学生为访谈对象，对初中生厌学进行了心理的调查与分析。结果表明，初中生受家庭、学校、个人以及社会等四个方面因素的影响，包括父母对孩子的学习不关心、教师的教学方法不当、学生的学习动力不足以及自身意志力薄弱、社会不良风气的影响等等，导致厌学心理。

关键词：初中学生；厌学心理；调查分析

中图分类号：G40 文献标识码：A 文章编号：1009-010X（2015）36-0061-04

一、问题提出

厌学[1]是指学生对学习否定的内在反应倾向，包括厌学情绪、厌学态度和厌学行为，其主要特征是对学习厌恶反感，甚至感到痛苦，因而经常逃学或旷课。如今，厌学已成为一个十分普遍并极具危害的现实问题，尤其在中学，厌学现象已相当严重。有调查表明，438名中学生中，26%的学生对学习不感兴趣，43%的学生认为学习内容枯燥无味，19%的学生回答不愿意上学[2]。以往的研究表明，初中生厌学的影响因素主要集中在家庭因素、学校因素、个人因素以及社会因素等四个方面[3]。因此，笔者选取了南宁市的部分初中学生，分别从家庭因素、学校因素、个人因素以及社会因素等四个方面进行了访谈调查并进行分析，为解决中学生厌学问题以及为厌学的学生提供学习与心理辅导提供参考依据。

二、研究方法

（一）调查对象

本研究以南宁市友衡学校的22名七年级至九年级学生作为访谈对象，年龄分布在13～16岁之间。其中七年级7名，八年级7名，九年级8名。

（二）研究工具

本研究采用自编的初中生厌学访谈提纲，由6道题组成，从家庭、学校、个人、社会等四个方面的因素探究学生的厌学原因，访谈问题参考了蔡桂芬的硕士毕业论文《初中生厌学原因的分析及矫治对策研究》中的调查问卷的部分题目[4]，并根据实际需要设计编制，经证明有良好的信度和效度。访谈提纲见附录A。

三、研究结果的数据分析

笔者对22名访谈对象的访谈结果进行数据整理，对所选访谈对象的共性特征以表格方式进行了统计，统计结果见表1。通过访谈，我们发现：22名受访者全部是走读生，同时和父母住一起，大部分家长对孩子学习不关心或者是有点关心。如表1的数据显示，有11位家长对孩子的学习有点关心，6位家长对孩子的学习不关心，共占总人数的77.3%。

表1 访谈对象共性问题总结表

表1的数据显示，22名厌学的学生都表示对学习不感兴趣，缺乏学习动力。

表2的数据显示，有13名学生表示没有最不喜欢的科目，占总人数的59.1%。部分学生表示只喜欢体育和信息课或者一些文科的科目，共计有16名学生，占总人数的72.7%；对于理科的科目，大部分学生表示听不懂，太难。还有部分学生只喜欢听自己喜欢的老师的课。如表3的数据显示，学生最喜欢的老师与最不喜欢哪个科目的sig值为0.131，大于0.05；学生最喜欢的老师与最喜欢哪个科目的sig值为0.01，小于0.05； 学生最喜欢的老师与最不喜欢哪个科目 * 最喜欢哪个科目的sig值为0.095，大于0.05。说明只有学生最喜欢的老师与最喜欢的科目之间存在线性关系。

表2 主体间因子

表3 主体间效应的检验

大部分学生都表示对目前的成绩不满意，但是只有三分之一的学生打算作出改变，提高成绩。（有的参加补习班，有的决定认真听课。）表1中的数据显示，有15名学生对目前的成绩不满意，占总人数的68.2%；而只有5名学生打算作出改变，占不满意学生人数的33.3%。大部分学生都认为现在学习的知识对将来有用，只是自己不愿学，缺乏学习动力或者是无法坚持。如表1中数据显示有18名学生认为现在所学的知识对将来有用，占总人数的81.8%；18名学生没有想过来学校学习是为了什么，也占总人数的81.8%。

大部分学生对自己的人生没有规划，表1的数据显示有15名学生对自己的人生没有规划，占总人数的68.2%，22名学生的父母全都没有给孩子安排好以后的出路。有一半学生没有想过以后想过怎样的生活。3名学生表示以后想过有钱的生活，占总人数的13.6%。

四、研究结论

家庭因素方面，父母对孩子学习的漠不关心是导致孩子厌学的一个重要原因。其次，父母对孩子的溺爱导致孩子过分地依赖父母，学习上遇到障碍不想自己解决，从而导致厌学心理。

学校因素方面，首先，学校未能将新课改落到实处，学生的学习压力过大是导致学生厌学的一个重要原因。其次，理科相对于文科更为抽象，有的老师不讲究科学的教学方法，教材处理上又忽视后进生与厌学学生，导致他们上课觉得太难、听不懂，自然而然产生厌学情绪。最后，教师对厌学学生的不公平对待，也会导致学生从不喜欢这科的老师转移到所教的这门课程。

个人因素方面，学生学习动力不足以及意志力薄弱是导致厌学的重要原因。大部分厌学学生没有明确的学习目的，导致学习动力明显不足，学习上遇到困难便退缩不前，缺乏坚强的意志力。

社会因素方面，社会的不良风气充斥在学生的周围，享乐主义、读书无用论无时无刻不侵蚀着学生的思想。与此同时，网吧、游戏厅、酒吧等娱乐产业的兴起也给学生带来了越来越多的诱惑。

五、对策与建议

家长要提高对厌学学生学习的重视。作为父母不能为了自己的工作而忽视对子女的教育，应该多多关心孩子的学习情况。孩子产生厌学情绪之后，应及时找出原因，并采取切实可行的解决办法。

学校的课程设置应切实落实新课改的要求，教师的课堂教学应以学生为中心，引导学生乐于探究，勤于动手，进而培养学生的学习兴趣。教师对待学生应一视同仁，不能因成绩优劣而区别对待，多关注厌学学生的需求，必要时给予他们学习上的辅导与帮助。

个人方面，厌学学生首先应树立崇高的理想，用理想来激励自己。其次，制定学习目标。厌学学生对自己的能力与知识水平应当有一个全面正确的认识，制定的目标不能过高。再次，厌学学生应主动培养学习兴趣，以自己喜（下转第66页）（上接第63页）欢的科目为突破口，努力提高成绩后给予自己足够的信心，进而将学习兴趣拓展到其它科目上。最后，厌学学生应多多借鉴老师以及学优生的学习方法，并根据自己的实际情况，总结出适合自己的学习方法。

社会方面，首先，社会媒体应以宣传健康积极向上的舆论为导向，尽量避免来自国外以及港澳台的不良思想对青少年思想的侵蚀。其次，政府应加强对文化市场的管理。加大对网吧、游戏厅、酒吧等娱乐场所的整治力度。最后，招工招干或招聘其他服务人员的公司企业，应规范招收办法，严肃招聘纪律，实行公开、公平竞争，既重文凭，更重水平，从而减少青少年走向社会时的侥幸心理。[5]

参考文献：

[1]傅安球.中学生厌学心理及其干预与学习效率的相关研究[J].心理科学，2002，（1）：22～23.

[2]周瑛.学校心理辅导与教育[M].北京：警官教育出版社，1999.97.

[3]喻兴波.初中生厌学现状调查[D].东北师范大学，2010：4.

[4]蔡桂芬.初中生厌学原因的分析及矫治对策研究[D].辽宁师范大学，2007：46～47.

[5]侯芳.高中生厌学的表现[D].内蒙古师范大学，2013：30.

篇5：尽职调查访谈提纲-采购

1、请简单介绍您个人的基本情况。

2、采购部门的职责主要是什么？岗位是如何设置的？目前有多少人？

3、公司的采购模式包括哪些（直接、间接；运输；供应商甄选等）？

4、每年是否编制采购计划？是如何编制的？如何执行的？

5、采购合同的签订过程是如何控制的？（涉及哪些部门？谁签字？谁审批？）

6、采购价格是如何确定的？采购如何了解市场价格？

7、物资验收入库有哪些手续？

8、对不合格的物资是如何退货的？

9、是否发生质量纠纷及处理措施？是否发生过大额的退/换货情形？

10、对现金采购的情况是如何控制的？

11、近两年采购计划或采购任务及完成情况？

12、前五名供应商情况？

13、对供应商付款期如何确定？

14、采购付款是如何与财务部门衔接的？财务部门对付款需做哪些审查？

15、公司从关联方的采购情况（交易对象、内容、价格、交易量、审批）？

16、近三年主要材料采购价格的变化及未来趋势？

17、公司经营管理有哪些地方可以进一步完善？

致同会计师事务所（特殊普通合伙）

篇6：景观水调查访谈提纲[推荐]

1、目前水景情况如何？是否在运行？（最好提供照片）

2、水体面积？

3、水体深度大概是多少米？

4、饰面形式是什么？（饰面有卵石、马赛克等形式）

5、水质控制措施是什么？（曝气、循环过滤、水生植物、定期换水、少量补充自来水、生

物过滤池等方式）

6、能见度如何？（清澈、浑浊，有无沉淀物等情况）

7、运行费用包含哪些？成本？

小资料：各种典型的水处理方法均在被改进后应用于景观水体的水质控制工程，包括过滤、沉淀、气浮等物理方法，投加杀藻药剂、除磷药剂等化学方法，投加菌种、生物过滤等微生物方法，生物浮岛、人工湿地、人工种植等生态方法，以及这些方法的组合应用等。

换水法：最原始的方法，依靠水中微粒杂质的自身重量下沉来达到分离目的。需要大量干净的清水以备交换。一次性换水费用相当大。含水费和人工清理费用。过滤法：通过滤料机械拦截分离水和颗粒物。

化学法：向水中投加各类化学灭藻剂，杀死藻类，但对环境的污染不断增加，潜在危险比较大。

曝气法：主要在水系中设置曝气装置，向水中补充氧气，以保证水生物生命活动及微生物分解和水质变黑臭现象。净化效率低且相对运行费用高。

生态法：种植水生植物，建立生物链，保持生态平衡。

篇7：大学生上网情况访谈调查提纲

一.访谈目的及意义：

1、目的：（1）了解大学生对上网的态度与价值取向。

（2）了解大学生上网的目的。

（3）了解大学生上网的一般情况和网络对大学生的影响。

2、意义：增强大学生网络的认识，能够正确使用网络学习，丰富大学生活。

二.访谈方式：

1、类型：面对面访谈。

2、方法：随机抽样法。

三.访谈对象、时间及地点。

1、对象：宁夏师范在校大学生。

2、时间：2013-5-1。

3、地点：宁夏师范学院校园内。

四.访谈内容：

（一）.访谈开场白：

您好！我是宁夏师范化学与化学工程系应用化学班的一名学生，我正在进行大学生上网情况的调查，希望通过这次调查了解同学们对上网的态度与价值取向和上网的目的以及影响。为此，我需要您的帮助和参与，以共同完成此次调查。本人向你承诺，今天调查涉及的内容只作为参考，您声明不宜公开的资料和观点，我将严格为您保守，非常感谢您的帮助！

（二）对话内容：

（1.）被调查者的信息：

1、被访者姓名；

2、被访者所在系与班级；

3、被访者的性别年龄。

（2.）访谈对话涉及的信息：

1、大学生上网花费的金钱；

2、大学生上网时间的长久；

3、大学生上网期间一般做什么；

4、现代网络对在校大学生的影响情况；

5、大学生能否正确对待上网

（三）访谈结束语：

篇8：社会调查访谈提纲

从业以来, �balos的作品中既有投资充裕的也有捉襟见肘的, 既有高技术也有低技术的解决办法 (甚至会同时出现) , 既有大规模的也有小规模的, 但总是致力于将自上而下和自下而上两种建筑设计方法联系起来, 渗透到项目设计和施工建造的每一个细节中。他的实践以其不断发展的理论为支撑, 同时也受到其他学科的影响, 比如社会科学、能源研究, 尤其是艺术。他作为理论家的声誉同他的作品一样有着巨大影响, 并将他带入一条超越现代主义的独特之路。

他的建筑作品是他们自己进行的建构实验, 是某种形式的建造研究。他多样的建筑风格不是某种形式的折中主义, 而是某种类型的实用主义。热力学建筑, 连同其他的政治性的或基于社会的构想, 已逐渐成为建筑学和社会生产气候变化、信息网络和全球化日益需要的空间的完美平台。

B :您的作品模糊了不同现实之间的界限, 艺术与建筑之间, 景观与建筑之间, 或者还有最近的, 技术与社会之间……

I :我更倾向于用“技术与文化”来表达。在建筑学中使用政治性的语言总是有点儿可疑的……

B:工作于界限之缘, 是出于创作的直觉, 还是源于对学科定位的深思熟虑?

I:是有几个原因。虽然工作于界限之缘, 但我们仍以建筑师的方式做事。“在学科内工作”被等同于“在学科核心内工作”广为流传, 然而确切地说, 所有的交互发生在学科界限内。毋庸置疑, 历史证明了核心内确实存在巨大潜力, 但创新的所有可能性都存在于学科方法的外延部分。就像变形虫, 所有的交换都发生在穿过细胞膜的边缘处。建筑学科确实有公认的两张面孔, 一是隐匿于所有这些与诸多对城市化和建造有所贡献的其他领域的不断的互动中, 另一个是纯粹的同系繁殖的方法。我们总是试图将这两个面孔融合。但是, 由于我们作为坚守纯粹的建筑学科和建筑学历史的核心的一代建筑师, 所以总想知道在学科的边缘处发生着什么。这是第一个原因, 是策略方面的原因, 我们甚至可以称其为对我们被教授内容的一种反应姿态。另外一个原因是我们正面临着技术、社会和组织流程的深刻变化, 不再可能无视那些领域的边界。这些边界不是静止的, 也不是循序渐进的, 它们正以令人难以置信的速度飞快改变着……

B :它们甚至渗透进了学科的核心部分……

I :确实如此, 它们已抵达核心并改变了它。从表现手法到建造过程中的技术和进度管理, 从看似不重要的方面到结构性问题, 都发生了改变。这些变化现在已是质变, 不只是量变。总之, 我们的目标是收紧学科但不要走出它, 要对面对的现实做出反应。

B :当谈论到建造技巧时, 你们很显然是绝对专业的。无疑你们继续了Alejandro de la Sota或Rafael de Hoz发起的建造的精确性和纯粹性。你们的建筑作品如实地反映了它们的生成过程和建筑生产、连接、层次、遮蔽的重要问题。它们没有以视觉陷阱的方式被呈现出来, 而是表现了结构和材料的真实。

I:诚如我所言, 我们从未远离建筑学科。Renata的学位是土木工程, 我学的是技术, 与任何在西班牙求学的人一样。但是, 这不仅与一个人所受的教育有关, 也与其崇拜的人有关。我本人受Alejandro de la Sota和Sáenz de Oíza的影响很深, 也受到加泰罗尼亚大师Coderch和Sostres的影响, 尽管我没有与他们有过个人交往。通过观察这些人, 他们是怎样的, 他们如何生活, 我培养了对建筑的兴趣。他们对学科的热爱、他们从当代的角度对待历史的高超技艺、他们的智慧, 都是我学习的一部分。

B :从De la Sota那里, 您吸取了他通过各部分的精准组合来创造空间的理念, 从Coderch和Oíza那里, 您学到了与地中海传统的交融。

I :确实是这样, 尽管最近我们也逐渐将我们称为热力学的内容加入其中, 不再只考虑建构、组合相关的实现建筑的方法, 我们现在越来越多地思考材料的性能, 以及建筑如何呼吸。从热力学性能角度, 体量与形式之间牢固持久的关系使我们与体量和重量的建筑更接近, 而远离De la Sota所认为的“实体组合的建筑”。所以, 我们现在经常使用重的材料, 比如我们曾很长一段时间避免使用的混凝土。

B :当你们使用“热力学建筑”的术语时, 你们指的是“能量交换”的明确含义, 但也是广泛、象征意义的社会互动、信息流动、程序混合……从某种意义上讲, 任何事物都是一种交换。

I :热力学支配着每一个交换过程, 无论有机还是无机的, 微观还是宇宙的, 当然它也驱动着人际之间的交互。我们最深层的本质是新陈代谢, 即一种交换的形式。我们属于系统的生态循环, 这是真正的能量转移过程。令人惊奇的是, 在最近的20~25 年以来, 能量分析被简化为红、蓝箭头图表, 并且用“可持续性”这一非常肤浅的语言来表达, 而这个词语着实代表了深深的平庸。当我们重新思考这些事情, 试图远离红、蓝箭头分析、LEED铂金排行榜及诸如此类的事情时, 我们终于明白不只是技术规程可以从能量交换的角度被研究, 社会进程同样可以从个体到社会, 从我们自身到与其他人和世界的互动方式来进行研究。正是热力学的这一二元本质最吸引我们, 因为它被视作既科学又文化的一种方式。热力学属于当代文化, 正如经验主义属于18世纪。

B :您谈及的二元性或许集中于建筑的形式中。抛开形式主义、特定的形式不谈, 它是空间的配置, 是层次与渗透的特殊序列, 从技术与社会的角度实现了特定的能量转移, 而非其他。

I :确实如此, 这的确是提出热力学的方式来代替可持续性分析后, 人们首先得出的结论之一。形式和物质决定物体的能量行为, 无论何种物体。忽然间, 它正好凸显了建筑学一直以来的基本问题—形式和物质。因而, 热力学不仅是对于我们在现代传统影响下的当前创作进行审视的一种方式, 也是回顾过去所做的新工具。比如, 类型学的概念通常被看作纯粹的图示图解, 一个几何问题, 然而我现在认为它是多样化的、纯粹的能量转移管理的操作。举一个典型的例子, 在你们家乡塞维利亚, 庭院式住宅就是对于可用资源最佳级别的能量的经济控制和能量转移。我们在讨论的不只是几何图解, 因为它有很多与物质背景、生活方式、与他人的相互作用方式等相关, 蕴含了许多社会和文化的寓意。所有一切最令我着迷的是我们正以一种稍有不同的方式看待事物, 对学科形成了一个更复杂的新理解。

B :尤其在西班牙, 每个项目似乎都是一个新的原型、一个新开始, 其中所有一切都需要彻底改变。以类型学的方法, 至少会有一定的重复, 假如我们考虑这些方法最终会对标准化思想产生多大程度的曲解, 或许不是特别有把握, 但是当学科逐渐摆脱基于类型的附属时, 序列的优化也正在消失。依循热力学概念, 您引入了“原型类型学”的新术语, 它所表述的不是重复精确的布局设计, 而是将过程、有趣的关系和概念进行重复, 以便在不损失弹性能力的前提下优化资源。

I :“原型类型学”是一个故意模棱两可的词, 交叠了两种截然不同的因袭:基于分析和类型学研究的法国学派;更科学、更经验论的基于“试错”法的英国学派。但我们确实没有试图助长模棱两可的想法, 该词的矛盾性恰恰反映出了当前现实。我们有传统, 但在某种程度上, 我们也是孤儿。由于尺度、材料、“技术应用的过程”和程序已经完全改变, 所以传统对于解决现实中的大多数问题已不再适用。我们的类型学传统当然是一种参考, 尽管认为我们能够在其中寻找所有问题的答案是无意义的。在罗马时代砖的运用方法对现在金属和聚氨酯夹芯板的使用已经没有多少借鉴意义了, 它们以完全不同的方式被运用。在原型与类型之间的“原型类型学”概念, 完美匹配不断变化的环境。宣称某种理念放之四海而皆准可能太天真了, 同样, 认为一个固定的类型可以被无限地复制, 好像世界不会改变一样, 也是无用的。世界确实改变了。

B :回想2006 年, 我在塞维利亚参加硕士课程学习, 当时您的一系列关于现代景观的课程十分有趣。我想回顾您阐述的一些观点, 并将它们与您近期的作品联系起来。让我们从一个大的话题—自然和人工—开始吧, 是自然不再存在, 还是从没有什么是人工的?

I :这本身要一分为二看待, 自然与人工的对抗也许从来都没存在过。实际上, 任何人工现实都属于自然的范畴, 因为它是利用自然中的原材料制作的。尽管这些事实改变了之前的环境, 但正如遗传学证实的那样, 自然本身也是不断地拿自身做实验。从文化的角度讲, 我们可以说这种分歧的产生在于是否有人类参与, 但最终人类活动与自然过程本身的改变和适应没有多大区别。只是人类介入自然的目的不是仅仅为了保持生态平衡, 而更多地出于人类的兴趣。我们的作品尝试遵循这样的原则:任何自然的解决方法总是比人工或加工的解决方法更有效、更经济。这完全是地中海式的解决方式。我从来不支持城市中一味建造那些奇形怪状的巨大凉亭, 其实一个简单的遮阳棚或一棵树 (比如蔷薇木带来的阴凉) 便可以提供同样舒适的环境。树木可以生产氧气, 它们气味更好闻, 而且也很美。尤其在气候炎热的地区, 无论干热还是湿热, “自然”都应被作为建筑建造材料的首选。从19 世纪中叶开始, 主要的经济力量在北方 (也就是寒冷) 国家, 那里对自然的态度主要是防御。但最近, 人口和地缘经济的变化为热带地区带来了相应的地位, 这里与环境互动的范围也随之扩大。这个基本的二元性非常重要。在那些如果人类没有人工物保护将无法生存或至少生活得很不舒服的纬度地区, 建筑倾向于高科技的解决方法, 网格状穹顶、高性能玻璃等旨在将建筑与环境的能量交换降到最低并形成居住“泡泡”属于这的传统。与此相反, 在温暖地区, 建筑趋向于利用自然的被动方式 (如遮阳和自然通风等) 降低温度峰值, 这意味着与环境更紧密的关系, 在此我们可以说景观比科学数据更重要。从文化分析视角, 高技术趋势来自于寒冷地区与基于景观的理论来自温暖地区是完全一致的。

B :文化与自然相互靠拢。就我们具体的情况而言, 在地中海地区, 我们基于受穆斯林文化的影响的希腊—罗马的地域认知, 事实上与自然环境密不可分。即便当某些演变终止于失效的景观时, 最小程度的介入通常能够将分离的现实重新结合。以您的横向主要研究之一的如画景观 (Picturesque) 的视角来看, 历史与自然的粗暴连接也许会变得和谐而美丽。18世纪某些风景如画的理想可能存在于19世纪现代城市的基本理念中。

I :完全正确。尽管如画景观出现于18世纪经济最繁荣的时期, 但是在地中海地区, 伴随着“大游学”使其得以发展并达到了理想的程度。葡萄园中央那些意大利式的游廊和废墟是当时受过高等教育的社会阶层的幻想。现代性将这些浪漫的理想根除。如画景观是看待我们自己景观的一种方式。比如, 西班牙南部的农田景观从完全经过处理的地域中呈现:石墙、灌溉沟渠、种植图案……

B :整个区域都处于人类的文化介入……作为与自然环境完美叠加的生产性土地, “dehesa”系统也是一个极好的例子 (dehesa是农业和畜牧业生产相结合的一种方式, 在地中海地区, 自然森林并没有被完全砍伐殆尽, 因而自然界的动植物与伊比利亚猪饲养业和软木制造业彼此兼容) 。

I :是的!dehesa是西班牙的奇迹之一。关于它, 几乎感觉不到人类的介入, 但又没有任何完全自然的事物。如画景观的观点使我们发现农田和其他人类介入的景观可以作为高品质的设计作品。我不会称之为“建筑实体”, 因为它们显然是多学科的, 但建筑师正怀着极大的兴趣从如画景观的角度看待这个问题。我们正在探索阐释人工和自然的关系的方式, 以及如何应用这种方式处理建筑学科问题的潜力。

B :景观是建立于步行观赏者的视角还是其他视角?

I :这是一个辩证的过程, 尽管从农民和建筑师的视角来看, 景观可能完全不同。如画景观提出了一个理解自然过程的新视角, 我用了“自然过程”一词而非“自然”, 是为了让我们从美学的角度来理解它们。结果表明如画景观是非常行之有效的, 并且将必要的距离和平衡纳入视野。忽然之间自然变得不再可怕、野蛮和难以接近, 它开始展现其内在秩序。

B:就像那些带有如画景观研究的双层版画中的一派风光都是经过处理的……

I:是的, 在那些绘画中, 只有景观的结构性要素被保留在两层风光中。他们开始领悟自然中细微的美丽, 甚至是偶尔出现的或者残缺的元素:一棵被雷劈断的树木、横在地上的原木。他们首先发现至少在自然中美丽包含着丑陋的元素, 这种反差不是那么明显, 实际上是一种梯度变化。事实上, 如画景观曾提出一个十分有启发性的总结, 认为任何美的创新观点都需要在某种程度上结合一定量的之前被视为丑陋的元素。它能够引起人类的视觉反应。

B :这个观点低调地存在了几个世纪, 就艺术审美理论而言, 人们花了大约150年的时间才再度全面考虑这个观点……

I:丑陋对于当代美学的萌发非常重要。毕加索也用丑陋来创作……

B:唯有时间令他的作品看起来“美丽”。

I :《亚威农少女》是无法精确看出的五位漂亮的少女!

B :让我们聊一聊您的作品。当我还是一名学生的时候, 您早期的两个作品就对我产生了很大影响。第一个是与Juan Herreros合作的科尔梅纳雷霍主广场 (Colmenarejo Main Square) , 它带有一种浪漫的气息, 与位于Sienna的西班牙广场 (Piazza di Spagna) 相似。但与此同时, 我对项目中“公共和私密”构想的当代性很着迷, 公共空间占据了原本的室内空间。就像罗马的Nolli地图, 其中公共空间目标 (街道和广场) 和公共设施为白色, 私人建筑为黑色;街道进入了公共建筑。这种旨在打破界限的目标也是您的作品始终坚持的。

I:非常高兴你特别提到这座建筑。很多人将这个项目视为小众的作品, 但我们对它倾注了很多关注, 我认为它是一个非常成功的项目。公共空间 (室外) 与公共设施之间的交互或许是社会生活成功的关键问题, 幸运的是, 那时一所私立大学入驻该城镇。不久, 学生们将我们在设计阶段想象的该建筑的社会潜力通过多种方式挖掘出来, 这比我们预计的时间早得多。

B:时间对建筑及其设计理念起到何种作用?

I :这个项目的预算非常低。我们尽量减少建造元素, 利用相邻建筑的侧墙, 在其上覆盖芦苇, 而没有重新砌墙。结构构件也不得不非常纤薄 (我们有一个非常棒的结构助手) 。

B :高技术与低技术并用!

I :是的!这个项目帮助我们最终强化了个性化的材料风格—结合了人造材料与原始的自然材料的材料二元性理念。当它们并置在一起的时候就构成了一个混合体, 我们自身生活的混合体。在科尔梅纳雷霍主广场项目中, 这个设计策略效果很好, 既解决了一个非常复杂的经济窘况, 与此同时也创造出了非常有建设性的空间配置。这个项目使我们明白了材料的二元性对我们的重要性。

B :第二个我想和您聊聊的早期项目是回收和堆肥厂 (Recycling and Composting Plant) 。一方面, 项目中有一种隐含的元语言, 因为你们为了可持续性而建造一个可持续的空间。但是, 尽管巨大的绿化屋面将建筑与景观融为一体, 它也可以被理解为将令人反感的生产过程掩藏在美丽的草坪之下的一种理念……

I :我们一直在寻找能应用我们今天谈话中所有理念的非传统程式的项目和竞赛。尽管该项目是一个工业建筑, 但它正是我们寻找的, 因而我们为之付出了大量的努力并在方案实施过程中承担了巨大的风险。建筑110 m宽, 110 m长, 是一个绝对的正方形。这意味着它最开始给人的感觉比较抽象。我们一直将该项目视作山冈上三个相互作用的层次。第一层是有着某些单纯地壳运动的地质层。中间层被我们称作机械层或工业层, 这一层首先使用电磁铁而后通过密度组织应用重力对废弃物进行处理和分类。最后一层的大屋面可防止辐射和灰尘并为室内空间提供自然采光。我们的目标是通过实体连接将建筑融入其周边环境, 但与此同时我们又不希望建筑失去高度的抽象性。景观层好像被展开、抬升以形成一个于其间的新的中间层。这个构思的最大成功或许在于创造了宜居的绿化屋面, 并且也恰好在其下设置了300 m2的小博物馆。在那里, 参观者 (大部分为学校学生) 可以了解回收利用在我们日常生活中越来越重要的作用, 我们的日用品会被多次利用至何种程度。在绿化屋面上, 参观者可以凝视优美的自然风光, 可以俯瞰马德里城慢慢地向东部扩展, 就像美国西部电影中的印第安人一般。

项目管理情况很复杂。由于业主迫切要求工厂尽快运转开始盈利, 所以我们的时间表很紧张。业主获得开办回收工厂的权利只有合同规定的那些年, 合同到期后, 建筑会被拆卸 (所有材料都可回收利用) 或者转换为自然保护区的一个公共设施。这真的将要发生。

这个项目证明我们不仅有在大尺度上的清晰理念, 而且还能真正将其实现。除非当真的面对一个大尺度项目, 否则很难知道是否有能力处理好它。这是我们第一次在大型建筑中运用我们的混合材料风格。绿化屋面的实现利用了多孔陶瓷材料、主要的无水泥可回收砖块, 以及建筑内生产的生物堆肥。该工厂首个通过堆肥检测的产品被用在了屋面上。两个月没有人工灌溉, 因此阻止了外来寄生植物的生长。在与周遭环境相同的干旱条件下, 只有当地植被可以生长。现在, 屋面几乎成为了周围自然肌理的精确延伸。

B :从社会热力学的观点出发, 相似的解题方法 (如果从纯粹的能量交换角度来看, 几乎是同样的方法) 通过完全不同的社会交换形式用于彼此迥异的环境中。回到现在, 你们最近又在西班牙的洛格罗尼奥 (Logro�o) 设计了一个大型绿色屋面, 尽管没有采用回收工厂的景观操作, 但这一次创造了连接整个操作的大型公共空间。在回收工厂中, 您抬升了自然草坪以便将垃圾掩盖其下, 而在洛格罗尼奥交通枢纽 (Logro�o Transportation Hub) 中, 你们设计了一个晶体状的、像矿藏一样的现代洞穴, 并在其上设计了公园。

I :这个项目持续了很长时间。我们现在正在设计汽车站项目。无论在�balos & Herreros还是在�balos+Sentzkiewitz时期, 我们总是“寻找问题”, 寻求处于多学科之间的项目。洛格罗尼奥的项目是一项基础设施, 但是它有景观、城市、工程等维度。如果说在回收工厂中我们检验了自己设计大尺度项目的能力, 那么洛格罗尼奥交通枢纽项目使我们有了在城市中心场地设计的机会, 得以提出城市转型的建议。在这个项目之前, 我们已经参与并赢得许多竞赛, 并在其中提出城市运营的建议, 尽管最终我们只建造了几个单体。我们没有把交通枢纽设计成标志性建筑, 而是提议将它融入城市绿地系统, 这样它对城市起到的是连接而非分割作用。直到近期仍将城市分割并隔离出一个低收入区域的轨道线路被设计为从地下穿行, 为新的公园腾出空间。这条绿带作为一种连接, 将城市缝合。

竞赛的水准非常高, OMA、West 8、MVRDV都参与了。或许我们中标的原因在于主要构想并非设计一个标志性建筑, 而是建一个绿环公园。从政治的角度来看, 这是一个更伟大的进步, 所以说服当地政府并不难, 但说服那些为他们头顶花园付钱的人 (国家铁路公司) 就很困难。从马德里的Moneo's Atocha火车站中我们认识到没有必要设计少柱、通透的大厅。由于40~50 m净跨度的火车站与支承屋顶公共绿色花园荷载的15~18 m跨度空间的建造成本相同, 所以我们可以大幅度地削减成本。三角形结构体系将荷载自然地集中到柱子上。

事实上就在城市面前为它辩护的意义而言, 了解政治和经济因素对方案过程的持续具有决定性是很重要的。设计理念要足够清晰、简洁以便各阶层的人能够正面接受。政治家、工程师、项目经理和园丁的语言必须汇集在一起。这也是热力学!

B :您的热力学方法贯穿在您的很多作品中。结果表明不论项目规模大小, 设计过程都遵循着自身的内在逻辑。在您的职业生涯中, 您已经将一些理念成功地移位使用。例如, 莫拉住宅 (Mora House) 平面设计的强大概念几乎被原封不动地应用在马德里阿苏克卡德埃纳雷斯休闲中心 (Leisure Center in Azuqueca de Henares) 中。从当代的视角来看, 基于本地规则的一系列空间关系可以从住宅尺度的项目中移植到公共设施上, 而且依然适用。两个项目都采用了条状的平面设计, 创造了一个确定而又不确定的空间。以条状形式的严格秩序组织空间, 但同时自由交叉的连接为建筑赋予了各向同性的属性……

I : 这是一个可以自由使用的多功能空间。您提到的第一个项目莫拉住宅与传统伊斯兰建筑相似。莫拉是业主的姓, 在西班牙语中也有“穆斯林”的含义。我们用一种常用的模式组织一系列室内外空间。偶尔项目是从自己施加的条件中生成。或许因为我们也像教授一样工作, 但从某种程度上我们也是在做练习:“设计一个既没有19 世纪带廊房间的结构, 也不遵循现代主义运动中主要/ 次要、服务/ 被服务空间体系的房子”。所以我们实际上是受当地传统“庄园”建筑类型的影响, 设计了类似五角星形的平面, 以便通过增加新的连接中厅来组织、扩建建筑。在这些并行的空间序列中, 有些空间更开放因而存在更多的能量交换, 而另一些空间更私密因而与环境的能量交换更少。莫拉住宅的业主是艺术品收藏家, 所以布局不仅要达到热力学角度的最优, 而且也要与方案完美契合。不幸的是, 复杂的城市法规和地区的自然保护使项目进展过程变得异常困难, 业主最终不得不放弃。

当我们遇到阿苏克卡日间护理中心 (The Day-care Center in Azuqueca) 的全国竞赛时, 我记起了那个没有建成的、我非常喜爱的项目。日间护理中心以前被我们称为“俱乐部”, 是喝啤酒、玩多米诺骨牌、参加兴趣班、读报纸、看足球比赛的地方, 而这些可能会发生变化的非常无规律的活动只需要多功能的房间, 有着或多或少的阳光和通风……日间护理中心就是一座大房子, 我们需要做的只是改变一下比例。我们也引入了一个大的典型空间, 其中呈现平行的房间和天井系列。大的房间也是基于同样的类型学原则, 实际上它是由厚度相同的梁建造的, 这也使得它们看起来像是桁架。这一宽敞的空间由此成为了全村的公共设施。

因为预算很少, 所以我们采用了简单柱廊式的工业建造技术。建筑内的功能布局考虑了太阳辐射梯度, 运动大厅朝北, 咖啡厅朝南, 而且连接着遮阳伞覆盖的室外空间。我们委托一个能源工程顾问公司研究该建筑的热力学情况, 最终以窗户尺寸的最小调整获得了极高的被动式节能成效。这个大体量的建筑对西班牙中部的极端气候条件 (夏季炎热、冬季寒冷, 但主要是晴天) 做出积极应对, 达到了能源平衡。实际上我们设计了空调系统, 但由于预算问题, 空调从来没有使用过, 即便如此, 建筑室内也非常舒适。该建筑一年中99%的时间都是只通过自然通风或遮阳篷等基本遮阳设施进行被动式运转。

B :将日间护理中心设计成一个家庭化的空间、一个放大的住宅确实是一个美好的想法, 老年人由此可以快速了解各个空间。他们非常习惯于天井周边的房间而非与建筑中公共或交流区域相连的房间。与其他的空间创新相比, 他们更适合这种空间之间的私密交流。更追求标志性的设计 (未必更具现代性) 可能会对使用者产生一些误导。

I :老人知道如何根据自己的需求使用它。因为他们真的需要这个设施, 所以该项目成功并不难。政府也有他们的顾虑:“这个建筑是不是太现代了?”“但它该是什么样子呢, 他们就是喜欢当地房子中的房间!”建筑的确很受欢迎, 到目前为止我们没听到任何关于它的抱怨。

B :基于条状空间秩序的各向同性的空间设计手法也被应用在其他项目中。比如两位艺术家Gordillo Atelier和Atelier Albert Oehlen的工作室。在这两个项目中, 传统工业建筑中采光天窗被缩小比例以适应小小的工作室。建成后的空间既均质又遵从条状采光窗形成的强大且微妙的秩序。

I :再一次的拼合!如果说有什么是我们在执业最初学到的, 那就是在设计水净化厂或回收工厂的时候所学到的—工业建筑有与之完美契合的结构体系, 有明显的可识别性, 造价非常有节制, 有令人印象深刻的多样性和不可抗拒的美。从那时起, 当我们遇到低造价项目时 (这种情况经常遇到) , 我们就会回想起在工业建筑上学到的解决办法。我们经常会被问到关于建筑的几何形式的问题, 比如“为什么使用这个造型?”事实上答案很简单—矩形是最经济的几何形式。如果项目预算比较充裕, 我们会设计复杂的造型, 否则我们根本不会考虑。比如, 我们从来不会将社会住宅的房间设计成五角形平面, 因为8 m2的不规则平面的房间连一张单人床都放不下, 这样设计完全没道理!

工业建筑微妙的技术秩序同样有着空间意蕴。建筑要素间建立起的等级、自然光入射的方式等创造了一种节奏、一种空间秩序, 即一种建筑模式。我们总是用建构的表达方式来解读工业体系, 理解表象的逻辑, 并且从来没有忘记它们的空间意蕴、它们创造建筑模式的方式。事实上, 我们的大多数作品终究还是基于比例、模型、体系等内部秩序, 而不仅仅是面积的堆砌。建筑是一个单元与整体一致的系统。我们项目中有一些遵循条状模式, 也有一些受制于更复杂的几何秩序, 比如三角形甚至扭曲的曲面。

我们热爱“几何形式”, 而不是“一种几何形式”。它为我们提供了很大的设计自由度。

B :从某种意义上讲, 项目和方案与它们自身的几何形式相互作用。一旦建筑师强加给项目一种几何形式……

I :……项目会给你答案。它会给我们反馈。比如, 在洛格罗尼奥交通枢纽项目中, 经济因素 (集中结构荷载且成本最低的三角形造型) 最终使我们确定了顶部花园装饰的几何形式。

项目会告诉我们哪种方式会达至一种更协调的解决方法, 我们也许会迷失其中。就像节奏之于音乐, 模式决定了空间。我们需要倾听节拍。我们一直关注从能源和技术两方面入手解决造型和专业问题的循环式思维方法。

Energy, people fluxes, feelings, knowledge, human evolution, money, spatial transitions, light... everything is based on an exchange and so it can be apprehended in terms of permeabilities, tolerances, enthalpy or entropy. With this thermodynamical perspective, Iñaki Ábalos and Renata Sentkiewicz have developed one of the most operative, transversal approaches to contemporary architecture in the last few years. Rather than a manner of producing, it is indeed a form of knowledge organization, a new disciplinal tool. It enabled Iñaki Ábalos not only to sharpen their new proposals at Abalos & Sentkiewicz, but also to revisit, under a new light, all his previous works, including those developed together with Juan Herreros.

Under a permanent evolution, Abalos's work deals both with great and ridiculous budgets, with high and low-tech solutions (even simultaneously) , with small and big scales; but always aiming at a top-down and down-top architectural coherence, linking the program and the construction details. His practice is invariably supported by theories in progress, as it is contaminated by other disciplines: social sciences, energy studies and, specially, fine arts. His reputation as a theorist had as great influence as his works and took him to a very particular way of overcoming modernity.

His buildings are architectonic experiments by themselves, a form of built research. His apparent ly diverse sty le is not a form of eclecticism, but rather a type of pragmatism. Thermodynamic architecture, together with some other politica l or socia l-based proposa ls, has arisen as a perfect platform for architecture and society to produce the spaces which climatic change, information nets or globalization are increasingly requiring.

B: Your work blurs the boundaries between different rea lities: art and architecture, landscape and architecture or, recently, between technology and society...

I: I'd rather say "technology and culture". A political language in architecture is always a little suspicious...

B: You work in the limit. Is this a matter of creative intuition? Or, does it come from a deliberate positioning within the discipline?

I: There are severa l reasons. We work in the limits but we a lways do it as architects. There is a wide-spread idea of "working within the discipline" as "working within the core of the discipline", while it is precisely in the perimeter of the discipline where all the interchanges take place.Undoubtedly, history has shown there is a great potential inside the core, but it is in the outskirts of the disciplinal approach, where all the possibilities of renovation lie. Just like in an amoeba, all the exchanges happen in the boundaries, through the membranes. The discipline of architecture has indeed two recognizable faces, one is mined with all these constant interferences with many other fields that have something to contribute to urbanization and construction, and the other is a pure endogamous approach. We always try to combine both of them. But, since we grew as architects under a generation that kept insisting in the hard core of pure architecture discipline and history of architecture, we always wanted to know what was happening in the limits. That would be the first reason, a tactical one, we could even say it is a reactive position to what we were taught. The other reason would be that we are facing such deep changes in technology, society, organization processes, that it is not possible anymore to be unaware of those boundaries. The frontiers are not static, nor progressively evolving, but they are moving incredibly quick...

B: They are even penetrating up to the hard core of discipline...

I: Exactly, they reach it and alter it. The transformations go from representation techniques, to technologies or timing organization in construction processes; from apparent ly non-significant aspects to structura l matters. The changes are now qualitative changes, not only quantitative ones. Summing up, we aim at stressing the discipline without stepping out of it, we react to the reality we come across.

B: It is clear that you are extremely disciplinal when it comes to construction science. No doubt you carry on with the construction accuracy and purity launched by Alejandro de la Sota or Rafael de Hoz. Your buildings are honest regarding their generation process and the great questions of architecture production, joints, layers, sheltering... They are presented with no trompe l'oeil, rendering their structures and materials as they really are.

I: As I said we are never far from architecture. Renata's [Sentkiewicz] degree is in Civil Engineering and my education is technical, as it is for any person that studied in Spain. It is not only is a matter of self education but also related to the people one admires. I have a great influence of Alejandro de la Sota or Sáenz de Oíza and I could even include as well the Catalan masters: Coderch and Sostres, although I had no personal contact with them. It was by watching those people, how they were, how they lived, that I developed my interest in architecture. Their love for the discipline, their great skills to deal with history from the contemporariness, their intelligence... It is all part of me.

B: From De la Sota you probab ly took his concept of creating spaces through the precise assembly of pieces, and from Coderch or Oíza the hybridization with Mediterranean tradition.

I: Yes, indeed, although lately we are progressively including what we call thermodynamic aspects. Instead of considering just a tectonic, assemblyrelated approach to architecture, we are now increasingly reflecting on the materials' performance, on how architecture breaths. And thus, the indissoluble relation between mass and shape in terms of thermodynamic performance brought closer us to architectures of mass and weight, distancing ourselves from what De la Sota would name as "architecture of the physical assembly". So we are now working with weighty materials, like concrete, that we had for a long time avoided.

B: As you use the terms "Thermodynamic Architecture", you are referring to its explicit meaning of "energy interchange", but also, in a wide, figurative sense, to social interactions, information movement, program hybridization. . Somehow, everything is an exchange.

I: Thermodynamics rules every single exchange process, both organic and inorganic, microscopic and cosmic, and of course it drives human interactions. Our deepest nature is metabolic, a form of exchange. We belong to systemic ecological cycles, which are indeed processes of energy transferences. It is surprising that in the last 20-25 years the energetic analysis was simplified to red and blue arrows diagrams and expressed in a very shallow language of sustainability, which is indeed a word of a deep mediocrity. As we reconsidered these matters, trying to put some distance with red-and-blue-arrows-ana lysis, LEED Platinum charts and this kind of things, we eventua lly understood that not only technica l procedures were ab le to be studied from the point of view of energy exchange, but also social ones, from the individual to the society, from our own body to the way we interact with others and with the world.It is precisely this dual nature of the thermodynamics, what interests us the most, for it can be considered both as a scientific and a cultural approach. Thermodynamics belongs to our contemporary culture, just as empiricism belonged to 18th century's.

B: That duality you talk about probably comes together in architectonic shape. Without ta lking of forma lism, specific shapes, that is a spatia l configuration, a particular sequence of layers and permeabilities, enable some specific energy transferences and not others, both technically and socially speaking.

I: Exactly, that is indeed one of the first conclusions that one may reach once the thermodynamic approach is assumed, instead of sustainability ana lysis. Shape and matter determine the energetic behavior of bodies, whichever they are. All of a sudden, it is precisely highlighting those which always were the essential questions in architecture: form and matter. Thus, thermodynamics emerge not as a way to review what we are currently producing, under the influence of modern tradition, but also as new tool to revisit what was done in history. For instance, the notion of typology was always seen as purely graphic diagram, a geometrical prob lem, however, I now see it as diverse, pure exercises of energy transference management. A Patio house, just to mention a good example typical from your hometown (Seville) , is energetic economy control and energy transference taken to supreme levels of excellence, with the available resources. We are not only talking about a geometrical schema, since it has a lot to do with a materiality background, a way of living, a way of interaction with the others… there are many social and cultural implications. What fascinates me of a ll this is that we are looking to things in a slightly different way, which enables a new much more complex comprehension of the discipline.

B: Specially in Spain, each project seems to be a new prototype, a new beginning, in which everything needs to be reinvented. With typologica l approaches at least there was a certain repetition, maybe not particularly positive if we consider how they fina lly distorted the idea of standardization. But as discipline is progressively overcoming type-based attachments, the optimization of serialization is also vanishing. Following thermodynamic concepts, you have introduced a new term "proto-typology", in which rather than repeating exact layouts, processes, interesting relationships and concepts are recycled in order to optimize resources without losing the capacity of resilience.

I: "Proto-typology" is a deliberately ambiguous word, which overlaps two very different traditions: the academic French school based in an analytical, typological study and the more scientific, empiricist one, the English School, based in "trial and error" method. But we are indeed not trying to foster the idea of ambiguity, the ambivalence of the term is just mirroring contemporary reality. We have a tradition, but we are also, to a certain extent, orphans. That tradition is not functioning anymore to solve most of the problems of our reality, since scales, materials, "technification processes" and programs changed completely. Our typologica l tradition is of course a reference, although it is meaningless to believe that we can find all the answers in it. Using a brick in Roman times has not much to do with the use of an iron and polyurethane sandwich board nowadays, they perform in a very different manner. The idea of prototypology, in between a prototype and a type, fits perfectly in this mutating environment. It is probably naive to pretend that any idea can work anywhere, but it is pointless as well to think that a i xed type is able to be reproduced indefinitely as if the world was not changing. The world does change.

B: Back in 2006, I was attending to a pre-Ph D course in Seville in which you gave a series of very interesting master classes about contemporary landscaping. I would like to bring back some of the ideas you explained, in order to link them to some of your recent works. Let's begin with an enormous topic: nature and artifice. Is nature not existing anymore, or is it rather that there was never anything artii cial?

I: It is that dichotomy itself, nature Vs artifice, what probably never existed completely. Any artificial reality belongs, in fact, to the natural realm, since it was produced with raw materials. And although these facts imply an alteration of the previous situation, the nature itself is also constantly experimenting with its own self, as genetics has shown. In cultural terms, we could say that the divergence could lie in whether there is an actual agency of human beings or not, but ultimately human actions are not that different from those transformations and adaptations that natural processes generate by their own selves. It is just that human interventions are more oriented to people interests, instead of exclusively aiming at ecological balance. We try to follow this principle for our work: any-thing able to be solved with natural means is always more efficient and cheaper than any artificial or manufactured solution. It is indeed something quite Mediterranean. I could never support the wide-spread paranoia of popping huge urban pergolas with strange shapes, when a simple awning or a tree, a tipuana tipu, for instance, with its wonderful shade, we could reach the same comfort conditions. They produce oxygen, they smell better and they are more beautiful. Specially, in hot weather areas, hot and dry or hot and humid, "nature" should be considered as the first construction material for architecture. Since mid 19th century, the main economica l powers were northern (and that means cold) countries, in which the attitude towards nature is basica lly defensive. But recent ly demographic and geo-economic changes gave the most relevant position to warmer areas, where there is a greater range for interaction with the environment. This basic duality is very important. In those latitudes in which human beings cannot inhabit without an artificial protection or at least they would be far from comfortable conditions, architecture tends to highly technical solutions. Geodesic domes, high performance glass, etc belong to this tradition, which aims for minimizing interchanges and inhabiting "bubbles". On the contrary, in warmer areas, the tendency is trying to soften the peaks of temperature using natural passive means:shades, natural ventilation, etc. It means a closer relation with the environment, in which we could say that landscape is more important than scientific data. From a cultura l ana lysis, it is completely coherent that high-tech tendencies come from cold areas and landscaping-based theories are rather from warm geographies.

B: Culture and nature converge. In our specific case, in the Mediterranean, we are under the Greco-Roman understanding of territory, with Muslim influences, and it is, in fact, indivisible from the natural environment.Even though when certain evolutions end up in ma lfunctioning land-scapes, minimum interventions are usually able to give coherence back to disjunctive realities. Violent adjacencies between history and nature might become harmonious and beautiful under the view of Picturesque, one of your transversal main researches. Some of the picturesque ideals, reached in the 18th century, were probably among the foundational concepts for the modern city in the 19th century.

I: Absolutely. Although Picturesque emerged in the 18th wealthiest economies, it was in the Mediterrean, with "The Grand Tour", where it grew and achieved the ideal level. Those Italian verandas or the ruins in the middle of vine yards became the high educated society's fantasy of the time. Modernity roots up to these romantic ideals. Picturesque is a way of looking at our own landscapes. For instance, the agrarian landscape of the South section of Spain emerge from a totally manipulated territory:stone walls, irrigation ditches, plantation patterns...

B: The whole territory is under human cultural intervention... "dehesa"system is also a great example, as a productive land perfectly imbricated with natura l environment. [Dehesa is a form of agrarian and livestock production, in which natural endemic Mediterranean forest is cleared but not completely, so that natural fauna and flora are compatible with Iberian pork raising and cork production].

I: Yes! Dehesa is one of Spanish wonders. Human intervention is almost imperceptible, but there is nothing completely natural about it. Picturesque point of view enabled us to discover agrarian territories and many other intervened landscapes as high designed realities. I would not say"architectural realities", since they are clearly multi-disciplinal, but it is looking at things from Picturesque is of the greatest interest for architects. We are exploring the potentialities of this way of interpreting the relation between artii cial and natural and how we are able to apply them to disciplinal matters.

B: Is landscape constructed in the eyes of the wanderer or is it rather the other way around?

I: It is a dialectical process, although landscape would probably not be the same in the eyes of the peasant, as in the architect's. Picturesque brought a new understanding of natura l processes, and I say "natura l processes" rather than "nature", in order to let us apprehend them in aesthetic terms. It turned out to be very operative and it put the necessary distance and the balance in the vision. Nature was suddenly not anymore something frightening, wild, impenetrable, but it was beginning to reveal an inner order.

B: Like in those double engravings with picturesque landscape studies, in which one scenery was manipulated...

I: Yes, in those drawings, only the structural elements of landscape remained in both sceneries. They were beginning to understand a subtle beauty in nature, even in the accidental or deformed elements: a broken tree by a thunder, logs lying on the ground. They were the first to discover that beauty, at least in nature, has a component of ugliness, that the dif erence was not that clear, that it was actually a gradient. This was, in fact, a very suggestive conclusion of picturesque: they concluded that any kind of innovative idea of beauty needs somehow to integrate a certain amount of what was previously considered ugly. That is what makes the human vision react.

B: Although it had been timidly surrounded for centuries, in terms of art aesthetics theory, it took almost 150 years for this idea to be fully considered again...

I: The idea of ugliness was something very important in the arousing of modern aesthetics. Picasso used to work with ugliness...

B: Only time made his works look "beautiful".

I: "Les demoiselles d'Avignon" were no precisely a trio of beautiful graces!

B: Let's ta lk about your projects. A couple of old project of yours had a great impact on me when I was student. The first would be the "Colmenarejo Main Square", developed with Juan Herreros. It was a project with a romantic scent, resembling, for instance, the "Piazza di Spagna" in Sienna. But at the same time I was fascinated by the contemporariness of its proposal for "public and private", with that public space conquering what was supposed to be an interior space. Just like in Nolli's Map of Rome, in which both public spaces (streets and squares) and public facilities were represented in white and private buildings in black. The street was entering the public buildings. This aim for boundaries breaking is still a constant in your work.

I: I am glad that you bring in this building in particular. It is a project that many saw as a minor one, but we dedicated a lot of attention to it, quite successfully, I guess. The interaction between public space (outdoor) and public facilities is probably the key question for social life success and, luckily, at the time a new private university was being launched in that town. Sooner than we had ever though, students activated the socia l potentialities of the building in as many ways as we had imagined during the design period.

B: How did time treat the building and its concept?

I: It was a project with a very low budget. We reduced to the minimum the built elements. We used the neighbor's side walls, covering them with reed mats instead of erecting new ones. The structure was also forced to very slim elements (we had a great structure assistant) ...

B: It was simultaneously High-tech and Low-Tech!

I: Exactly! That project helped us to eventually consolidate a personal material palette: the idea of a material duality, combining some clearly synthetic elements and some raw natural materials. When they operate together they talk about a hybrid reality, the hybrid reality of our own lives. In Colmenarejo, this strategy worked very well, solving a very complicated economic situation and, at the same time, creating very suggestive spatial configurations. It was with that project that we understood how important this was for us.

B: The second old project I would like to talk about is the Recycling and Composting Plant. On the one hand, there was an implicit meta-speech, since you were building a sustainable space for sustainability. But, a lthough the great green roof integrated the building in the landscape, it also could be understood as an idea of hiding an unpleasant procedure under a beautiful carpet...

I: We always sought projects and competitions with non traditional programs, in which we could apply all the concepts we have been talking about in this conversation. This project, even though it was an industrial building, was what we were looking for, so we put a lot of effort and took a great risk to implement the proposal. The building is 110 m wide per 110 m long: a perfect square. That means it was very abstract from the very beginning. We always saw the project as three layers interacting in the hill. The first being a topographic layer, with some simple earth movement. The intermediate layer, which we called a machinic or industrial strata, In this layer, waste is processed and sorted, first using electro magnets and then, using gravity, by organizing them by density.Fina lly, a great roof protecting from radiation and dust provides the space with natura l sunlight. We were aiming at integrating the object in its immediate context, by proposing a physical continuity, but at the same time we did not want it to lose its high level of abstraction. It was as if a landscape sheet had been unfolded, lifted, in order to locate a new intermediate layer in between. One of the greatest achievements of the proposal is probably that the green roof is habitable and also that right underneath we located a 300 m2little museum. There, the visitors, mainly school students, get to understand the increasing importance of recycling in our everyday. They get to know to what extent our quotidian objects may have severa l lives. From the green roof one can contemplate the wonderful natural view and the city of Madrid over the horizon, getting closer and closer, in its growth to the East, just like the Indians in the Far West movies.

The project management conditions were complicated. We had a very tight schedule, since the developer was eager to make the plant run and to start getting some profits. For a certain number of years the owner would have the exploitation rights on the recycling plant, but right after the contract expired, the building could be disassembled (everything is recyclable) or transformed into a public facility for the natural reserve.This is actually about to happen.

That project proofed to ourselves that it was not only that we had clear ideas on the big scale, but that we were really able to make them happen. Till the moment one actua lly confronts a rea l big-sca led project, it is difficult to know if one is rea lly going to be capable of solving it.We were using our hybrid material palette in a big building for the first time. The green roof was solved using porous ceramic material, basically cement-free recycled brick pieces, and bio compost produced in the building. The first acceptable compost tests produced in the plant were used for the roof. For two months there was not irrigation, and so we prevented the parasitic a lien plants to grow. Under the same drought conditions as the surroundings, only endemic species grew. Now the roof is almost an exact extension of the natural texture around.

B: From a social thermodynamic point of view, similar solutions (almost equal if seen in terms of pure energetic exchange) may produce very different use circumstances with completely diverse social exchanges. Back to the present, you have recently designed another sizeable green roof in Logroño (Spain) , although instead of a landscape operation like the Recycling Plant, this time it creates a great public space that articulates the whole operation. While in the recycling plant you lifted the natural carpet to brush the garbage underneath, in Logroño Transportation Hub you built a contemporary cave, crystallized, almost mineral, with a park upon.

I: It was a long process that keeps going on. We are now working in the bus station project. Both in Ábalos & Herreros and Ábalos+Sentzkiewitz we always "looked for problems", projects in between many disciplines.Logroño's project is an infrastructure, but it has a landscape dimension, an urban dimension, an engineering dimension, etc. If in the Recycling Plant we tested ourselves in the big scale, for the Transportation Hub we had also the chance of a site in the center of the city, where we could propose an urban transformation. We had, to the date, developed and won a number of competitions in which we were proposing an urban operation, although eventually we had only built single elements. Rather than designing an iconic object, we proposed the station to belong to a green urban system, linking instead of splitting apart. The track lines, till recently dividing the city and segregating a low-income area, went underground to give room for a new park. The green stripe works like a hinge, sewing the city.

The competition took place at a very high level: OMA, West 8, MVRDV and probably our key proposal was thinking about a green ring park, instead of designing an icon. Politically it was a greatly move, so it was not difficult to convince the local authorities. But yes it was hard to convince those who were going to pay for park upon their heads [the Nationa l Railway Company]. Learning from Moneo's Atocha Station in Madrid, we realized that it was not necessary to design a diaphanous pillar-less nave.We could so reduce significantly the cost, since it costs the same a station with a clear span of 40-50 meters, as a 15-18 meters-spanned space with the loads of the public green park on top. The triangulated structure system helped to naturally concentrate the ef orts in the pillars.

It was very important to understand that political and financial circumstances are crucial for the sustainability of a design process, in the sense of actua lly defending it in front of the city. Ideas need to be clear and simple enough to be understood as positive by very diverse people. The language of the politicians, the engineers, the project managers or the gardeners have to come together. This is also thermodynamics!

B: Your thermodynamic approach enables a great transversality in your work. It turns out that processes may keep some of their inner logic regardless of the size of the proposal. In your career you have successfully dislocated some ideas. For instance, the powerful concept for Mora House floor plan was, a lmost litera lly, reused for the Leisure Center in Azuqueca de Henares, Madrid. A system of spatia l relations, based on vernacu lar ru les seen from a contemporar y point of view, migrated from a domestic scale project to a public facility. And they still work. The stripe-based layout creates, in both projects, a simultaneously determined and undetermined space. A very strict order of bands organizes the space, but at the same time the free across connections provide the building with a certain isotropic nature...

I: It is a space able to be freely occupied and used in many diverse ways.The first project you mentioned, the Mora House, resembles the traditional Islamic architecture. "Mora" was the owner's surname, but it also means "Muslim" in Spanish. A sequence of indoor and outdoor spaces get organized under a common pattern. Occasionally projects come out of self-imposed conditions. Maybe it is because we also work as professors, but somehow we were proposing an exercise to ourselves: "designing a house without a 19th corridor-room structure, nor following a system of main/secondary, serving/served spaces, like in the modern movement". So we came up with that pentagram-like layout, in fact influenced by a traditional type for local "haciendas", which are also usually organized and successively extended by adding new attached naves. In those parallel sequences, some of the spaces are more exposed and therefore have a greater energetic exchange, and some others are more protected and have fewer exchanges with the context. "Mora House" was a house for an art collector, so the layout was not only thermodynamically optimum, but it also fitted perfectly the program. Unfortunately some complications with the urban regulations and the natural protection of the area made the process so hard for the developer that she finally gave up on it.

When we came across the national competition for the day-care center in Azuqueca, I remembered that unbuilt project I had a lways loved. A day-care center is what we traditionally called a "casino", a place for having a beer, playing domino, attending a class, reading the newspaper, watching a football match. They are all quite unregulated activities that may change and that only require versatile rooms, with more or less sunlight, more or less ventilation... A day-care center is a big house. All we had to do was a change of scale. We also introduced a big representative space, from which the parallel series of rooms and patios emerged.The big room is based on the same typological principle. It was actually built with same beam's thickness, although turning them into pretensed trusses. The generous space turned into a public facility for the whole village.

Budget was very sma ll, so we used industria l construction techniques based on simple porticos. The uses were located in the building considering a gradient of solar radiation: the sports ha ll faces North and the cafeteria looks to the South and it is linked to the awning-protected exterior spaces. We commissioned an energy engineering consulting to study the building thermodynamically. It turned out that with minimum adjustments of window sizes, we achieved a great energetic passive performance. The big volume enabled an energetic balance that responded very well to the extreme weather of central Spain: hot in Summer and cold in Winter, but mainly sunny. Actually we designed an air conditioning system, but due to budget prob lems they never run it and even though the building is perfectly comfortable. 99% of the year the building works passively, just by ventilation or by basic sun protection like awnings.

B: It is indeed a beautiful idea to design a day care center as a domestic space, as a scaled house. The elderly people are, so, able to instantly understand the spaces. They are perfectly used to rooms attached to a patio, not connected to the public or communication areas of the building.They belong to this kind of intimate interactions between spaces, rather than to some other spatial inventions. Aiming at a more iconic solution (not necessarily more contemporary) might have produced some disorientation in the users.

I: They know how to use it naturally. Although it was not that difficult to be successful since they really needed this facility. The authorities had their concerns: "Would it be too modern?" "But how could it be. They are just like rooms in a local house!" And it was indeed very well received.We had no single complaint so far.

B: You h ave app lied this idea of stripe-based orders upon isotropic spaces in some other projects. For instance two artist's ateliers: Gordillo Atelier and Atelier Albert Oehlen. In those projects a traditional industrial use of light is reduced in scale to fit a small working place. The resulting space is both isotropic and determined by a strong subtle order of light bands.

I: Again hybridization! If there is something we learnt at our beginnings, when designing Water Depuration or Recycling plants, is that industry has perfectly adjusted construction systems, easily identifiable, at very controlled costs, with an impressive versatility and undeniably aesthetical.Since then, whenever we face low-budgeted projects, which is the usual situation, we come back to what we learnt from industrial solutions. We are often asked about the form of our buildings, their geometry: "why did you use this shape?" and there is in fact a very simple answer: rectangular geometries are the most economic ones. In those cases we have more money, we can aim at more complex solutions, otherwise they are simply out of question. For instance, we would never propose a socia l housing building with pentagonal rooms, since in a 8 m2irregular room not even a single bed would i t. It would be a non sense!

The subtle technical order of industrial construction has also spatial implications. The established hierarchies among the construction elements, the way light comes in. . create a rhythm, a spatial order: an architectural pattern. We always interpreted industrial systems in architectonic terms, understanding their performance logic and never forgetting their spatial implications, the way they create architectural patterns. Most of our works, in fact, any architecture with an aim of being something else than a collection of square meters, are based in an inner order of proportion, patterns... systems, after all. Architecture is about systems giving coherence both to the cell and the whole. Some of our projects follow striped patterns and some are ruled by more complex geometric orders: triangulated or even composed by twisted curved surfaces.

We love "geometry", not "one geometry". This provides us with a great design freedom.

B: Somehow, projects and programs interact with their own geometry.Once one has imposed a geometry on the project...

I: ... The project gives you answers. It reacts back to us. For instance, in Logroño, an economic reason (the triangular pattern for concentrating the structural efforts at the cheapest cost) eventually gave us the ornamental geometric pattern for the garden above.