中国文人建筑传统现代复兴与发展之路上的王澍

将2012年普利兹克奖得主王澍的建筑设计置于中国文人建筑传统现代复兴与发展的语境考察,这一复兴与发展的轨迹以童寯、刘敦桢、郭黛姮、张锦秋、汉宝德、冯纪忠、贝聿铭以及王澍为代表,而王是将它发扬光大并在建筑学的多个方面贡献于世界现代建筑的最突出的一位代表。这一方面因为其探索规模更大、类型更广;另一方面是因为他对于中国文人建筑空间与时间传统的发掘。相对于现代主义建筑的普适性空间和现在时态时间,王澍注意表现中国传统的空间意象,他的建筑空间设计体现出对文人园林与绘画的理解;而将旧有建筑材料的再利用则创造出一种现在完成时态的时间体验,这也是中国文人艺术的一个特点。     

Xianfeng? Houfeng? Youfeng?—An analysis of selected contemporary Chinese architects,Yung Ho Chang,Liu Jiakun,and Wang Shu (1990s-2000s)

The three contemporary Chinese architects, namely Yung Ho Chang, Liu Jiakun, and Wang Shu, have often been labeled as the ‘avant-garde’ or xianfengarchitects in China. In response to the xianfeng architect label, Wang claims that he is a houfeng(rear-guard) architect because of his obsession with traditions. This paper aims to discuss the appropriateness of labeling these architects as ‘avant-garde,’ xianfeng, or houfeng. Through the theoretical analysis of western discourse, notable attributes of the western architectural avant-garde are identified, and a tentative framework is developed to test its validity and usefulness in a non-western context. The term youfeng is arguably a better phrase to describe these three Chinese architects considering the heterogeneous trajectory of modernity in China.     

Tod Williams Billie Tsien Architects

The work of the New York-based practice of Tod Williams Billie Tsien Architects is well known for producing lyrical designs that are materially rich and spatially innovative. The terms ‘humanity’ and ‘poetic quality’ have been regularly used in reviewing their numerous residential and institutional projects. The context of an Indian project provides a new opportunity for the finely crafted, tactile architecture the practice is known for. Copyright © 2007 John Wiley & Sons, Ltd.     

Urban Phenomenon: Guerilla Architecture in Taipei

Roan Ching-Yueh is a prolific author, architect and curator, and a professor in the Department of Art and Design at Yuan-Ze University in Taiwan. Here he describes two projects that he curated in and around Taipei, which explore the fast-changing nature of the city and the fluidity of the urban context through the creation of installations that extend and heighten it. ‘7-Eleven as a City’ was set up as a workshop and exhibition in 2007 and the ‘Illegal Architecture’ show of 2012 invited architects Wang Shu and Hsieh Ying-chun to specially create ‘guerilla’ structures around the theme.     

漫话王澍获奖

王澍荣获2012年度普利兹克建筑奖对中国建筑界来讲是一件非常重大的事件。作为和王澍近8年的同窗好友,对他表示祝贺!也为中国建筑界感到骄傲!普利兹克建筑奖评委会主席帕伦博勋爵解说王澍获奖的原因:"讨论过去和现在之间的适当关系是当今重要的问题,因为中国当今的城市化进程正在引发一场关于建筑应当基于传统还是只应面向未来的讨论。正如所有伟大的建筑一样,王澍的作品能够超越两者之间的矛盾,并演化成能够植根于历史并能面向未来、永不过时甚至具有世界性的建筑。"     

Transgression and Progress in China: Wang Shu and the Literati Mindset

The 2012 Pritzker Prize winner, Wang Shu, often builds in stone with a sensitivity to site and context – characteristics that are not often associated with the marginal or cutting edge. Architectural authors and researchers Edward Denison and Guangyu Ren explain how in China, where ‘mainstream mediocrity’ has become the norm, Wang Shu has set himself apart as an advocate for meaningful innovation and originality.     

四步走近王澍——对文人建筑师的一次解读

通过＂访谈初识＂、＂亲述感悟＂、＂游历象山＂、＂解读文字＂这4个步骤,对中国文人建筑师王澍的设计作品与思想进行一次全面的解读。其中着重分析了王澍在创作中国美术学院象山校区建筑设计时的灵感来源和思想方法。同时通过对王澍所撰写文章的理解来挖掘王澍的文人特质和其所想表达的建筑哲学。     

关于王澍获奖

问答王澍 AW:普利兹克先生表示:“这是具有划时代意义的一步,评委会决定将奖项授予一名中国建筑师,这标志着中国在建筑理想发展方面将要发挥的作用得到了世界的认可”.本次获奖对您个人和对整个中国建筑的意义是什么?您对当代中国建筑的发展,持什么样的看法?对未来中国建筑的发展有何建议?     

Close Up

The last two decades have brought with them unprecedented technological changes that have had a far-reaching impact on design ethos and culture. Hernan Diaz Alonso , Principal of Xefirotarch and Professor of Architecture at the Southern California Institute of Architecture (SCI-Arc), reflects on the nature of these changes: observing that as ‘criticality in architecture’ is ‘replaced by talent’ or ‘virtuosity’, there is a greater ‘focus on specific architectural or design problems’. This brings with it a shift from the design detail, reliant on technical expertise and precision, to ‘the close-up’ that is more concerned with resolution and the conceptual, bridging the gap between the intellectual and the physical.     

王澍与他的自转星球

基本上,中国当代建筑可以1993年张永和设立"非常建筑"工作室,宣布脱离设计院等大型系统,以个人声张为中心的新模式,作为阅读分水岭。这之后,个人的、实验的、另类的,甚至批判的建筑作品纷纷出现,王澍与陆文宇的"业余建筑工作室",即是这波建筑运动的重要一环。初期的整体发展路线,区划了所谓的"海归派"与"本土派",但二者间的分野,随着时间发展也逐渐模糊,尤其原本发言位置似乎居于下风的"本土派",气势与表现益发夺目,开始挑战及调整"海归派"的建筑路线,让二者间有着交迭的现象。建筑评论家朱剑飞曾经以"关注社会问题的都市现实主义",作为另一种现象与思维上的定义,避免原本纯以出身与背景作归类,而回归到对作品的观看,确实有其合理性,而王澍就是他认定对于"都市现实主义",做出回应的代表建筑师之一。     

No Frills and Bare Life: Cheapness and Democracy

Alejandro Zaera-Polo looks at the implication of ‘cheapness’ pursued by some of today's most successful companies, which deliver no-frills services and products to the biggest number of customers possible. This is a strategy perhaps best exemplified by EasyJet and IKEA. Setting aside the impact on global warming, what implications does this approach have for democratisation and urbanisation? And what can architecture, in particular, learn from it at time when it is turning its back on its aspirations for the iconic and the grand visions of the first decade of this century.     

We Will Be Making Active Form

In response to the relative redundancy of architect-designed buildings and the proliferation of commercial structures that are rolled out to a highly formulaic spatial format across the world's cities, Keller Easterling advocates a new architecture of ‘active form’. These active forms potentially perform as ‘verbs’ rather than ‘nouns’ to the city's activities, providing ‘the means by which the field changes’ and the ‘repertoire for how it plays’.     

Mathew & Ghosh Architects

The work of Mathew & Ghosh Architects (Nisha Mathew-Ghosh and Soumitro Ghosh) boldly extends an abstract Modernist language and at the same time draws from the vitality of places. While the firm's early works were small in scale, mostly residential in nature and based on a reappraisal of the early Corbusian idiom, recent projects include large-scale urban and landscape interventions with diverse conceptual and metaphorical imperatives. They have moved from a more reticent stance to the urban exuberance of their more recent projects (for example, their own office building), something akin to a ‘savage architecture’ as posited by Kazuo Shinohara in the context of the unsynchronised nature of the modern city. The architects' object of contemplation is the urban ‘box’, whether a private residence, office or part of a church. The box is first fractured and reconstructed as a bricolage of tectonic fragments, memories and events, all tenuously related as if unity in a contemporary culture is for ever denied. Like the Japanese notion of ‘ma’, the moment between fragments - a slit or an emptiness between two hovering planes - is telling. Mathew & Ghosh participate in the continuity of a historical narrative yet mark out the fissures and disjunctions; sometimes negotiations with the continuity emerge from unintended interstices. While these configurations of the contemporary urban ‘box’ are both contextual and abstract, they are also phenomenologically rich. There is a sustained dialect to the architecture of Mathew & Ghosh that includes consummate materiality and fine crafting, light as a medium, and always, as Nisha Mathew-Ghosh states, ‘good spatial possibilities’. Copyright © 2007 John Wiley & Sons, Ltd.     

Responsive Systems|Appliance Architectures

Branden Hookway and Chris Perry introduce the Responsive Systems Group (RSG), a newly formed design research collective at Cornell University's School of Architecture, Art, and Planning. Highly interdisciplinary in nature, the work here addresses questions of collective intelligence at a number of scales. In terms of practice, collaborative, group-based work is emphasised, with both the students as well as the instructors working in teams of three (Perry and Hookway are co-directors of the Responsive Systems Group along with Ezra Ardolino). The second scale addresses the technologies and methodologies of design itself, exploring problems of ‘responsivity’ in the context of artificial intelligence and the emerging fields of robotic and sensory interaction design. Finally, and by extension, the issue of scale itself becomes a site of inquiry as the RSG's work focuses less on ‘architecture’ and more on ‘design’, implicitly if not explicitly loosening general notions of disciplinarity as a means of revealing new sites for mixture and innovation. Copyright © 2006 John Wiley & Sons, Ltd.     

Strategies for ideal indoor environments towards low/zero carbon buildings through a biomimetic approach

Biomimicry is a relatively new discipline of applied science that seeks inspiration from natural systems for innovative solutions to human problems. Taking nature as ‘model, mentor and measure’ receives wide acceptance in the field of architecture but predominantly in conceptualising novel forms. The biomimicry concept is comprehensively analysed for its ability to provide more sustainable and possibly even regenerative built environments. As part of this study, first, various frameworks for approaching ‘biomimicry’ in general are discussed and then relevant examples pertaining to architecture are evaluated. Case studies are critiqued with respect to varied levels of sustainability achieved and its causative factors. In the second part, an approach model for ‘biomimetic architecture’ in the context of Mumbai is presented and applicable strategies based on climatic adaptation are suggested using local biodiversity as a library of organisms. The generic example of ‘human skin’ addressing the same adaptation is analysed and complemented by a state-of-the-art case study on similar lines. The results achieved clearly reveal that biomimicry is a successful approach to design and operate the sustainable built environments for the buildings of the future.     

Common Artefacts

With offices in Beijing, Mumbai and London, Serie Architects is an international practice that spans Asia. Here, co-founder and principal Christopher CM Lee looks beyond the superficial ‘exotic’ stereotypical image of ‘orientalism’ that was traditionally imposed on Asia by the West. With particular reference to Serie Architects' Tote, Mumbai, and Yan Zhenqing Museum in Linyi, China, he shifts the question of identity to what is common within the context of architectural production: what might imbue architecture with social and cultural validity? How might it be possible to attempt to create ‘common artefacts’ through the most typical elements – the ‘dominant types’.     

建筑师的教育与职业观 汪孝安/钱锋对谈

当代中国建筑师中,出生在新中国刚刚成立之后的50年代的这一批人,经历过中国历史上变革最为迅猛的半个世纪。如今,他们已经成为各自领域内的资深专家和学者,从各自角度出发思考并深刻影响着当代中国城市的格局与面貌。在《时代建筑》杂志编辑部的策划、组织下,钱锋和汪孝安分别作为教学育人单位和建设—用人单位的代表,就建筑院校与设计院在建筑教育方面的交流与合作进行探讨,以各自学习、创作及管理经历为建筑学子提供经验。     

重理而倾情冯纪忠先生与中国现代建筑思想的滥觞与发展

作为中国现代建筑理论、建筑教育和建筑创作的先行者.冯纪忠先生在融会中西方文化的自身背景和中国古典文化的诗意情怀的双重影响下,基于对现代主义建筑的理解、诠释和创新,合“理性的浪漫”与“诗意的现实”于一体,对现代主义建筑思想在中国的启蒙、传布和发展起到了重要的历史性作用。文章简要回顾了冯纪忠先生在建筑教育思想、设计方法、设计实践等方面的相关思想与论述。     

Artists of the Floating World: SANNA,Niedermayr and the Construction of Atmosphere

Hugh Campbell expands upon the mutually collaborative spatial qualities evoked in the photographic works of Walter Niedermayr and the architecture of Kazuyo Sejima and Ryue Nishizawa of Tokyo-based practice SANAA. Describing their relation as forming a ‘thickened presence’, he alludes to a particular atmosphere reliant on an ambiguity of scale, detail and discernible proximity that serves to liberate the architecture and the photographs from mere documentation whereby instead they figure as transparent recordings of spatial intentions. Copyright © 2008 John Wiley & Sons, Ltd.     

帮他/她改图

最近几年,在上海同济大学建筑系任教的王方戟教授一直在致力于对＂长周期设计作业＂教学的探索和反思。通过对学生表现的耐心记录与观察,王方戟对教学改进的可能有着自己的经验和心得。同时,他也是一位坚持实践的建筑师,强调设计教育与当代实践的互动互验关系。本篇访谈所记录的就是王方戟教授在面对新一代建筑学学生时,对＂长周期设计＂的个人思考。