“东西南北中”与当代中国建筑的“双十结构”

作为三家著名的民营建筑事务所的十周年回顾展，“东西南北中”在展出形式和价值表达上都呈现出某种结构特征。在宏观上，这种结构与近十年以来中国建筑生产的模式演进形成对照，并从历时性上，关联到整个新中国建筑生产的进程史。本文试图把“东西南北中”展览看成是散布在历史之河上的浮标，并籍此去梳理60年以来中国建筑生产的“力学构型”及其演化变异的过程，反过来也为三家建筑事务所的十年创作实践寻找恰当定义的脉络与基石。因此，本文认为，三家事务所的“展示结构”与近十年中国建筑在观念生产和大众传播上的变化共同指证了“文化转向”的发生学。多种“力学构型”并存的局面和象征体系的解构与重构，使得历史沉淀和象征利益全部浮出水面。在今天这个象征生产大于物质生产的时代，建筑领域的道德冒险与利益策略此起彼伏、难分胜负，不过，它们都指向了一个难以确定的未来，并为未来的观念生产者预留了巨大的空间。

＂Com-pass＂ and the ＂Double Cross Structure＂ in Contemporary Chinese Architecture

＂Corn-pass＂, a retrospective exhibition to celebrate three distinguished private architecture firms＇ tenth anniversary, has a display structure characteristic on both form and its ideology. At a macro level, it not only reflects the progress of Chinese architecture in the past 10 years, but also parallels the architectural development of the New China. In this article, the author regards ＂Com-pass＂ as one of the landmarks in the course of the ＂mechanism＂ evolution for China＇ s architectural production. In return, thus an analysis will also help to define the position the three firms. In line with the conceptual production and mass media communication in the past 10 years, the three firms＇ practice reveals a cultural transition. The construction and deconstruction of the different ＂mechanisms＂ makes historical meaning and its symbolic value appear. In an era that production of symbolism is more important than that of the materialism, the conflict between the moral adventure and commercial strategy is everlasting in the realm of architecture, and it refers to an unpredictable future which leaves tremendous rooms for the makers of concepts.