手筆

張利/ZHANG Li

手筆

張利/ZHANG Li

The Freehand

“手筆”一詞經(jīng)常被用來形容一個人連貫的思考與行動，在中文語境里它還帶有一點微微的褒義。把它用到建筑師身上，其最合適的描述對象可能就是手繪的草圖了：因為“筆”對“手”的自然延伸，以電光石火般的速度映射“腦”中的每一個轉(zhuǎn)瞬即逝的念頭，所以手繪草圖能記載的建筑故事，遠比其他設(shè)計媒體要多得多。

我們可以認為，建成空間與草圖分別記錄了建筑思想的兩種平行真實。建成空間是理念在邊界條件（自然、社會、經(jīng)濟和技術(shù)的）作用下的物質(zhì)結(jié)果，如同在音樂會上被實際奏出的樂曲，是建筑思想被物化“成了什么”。草圖則是理念在無拘無束的想像空間里馳騁碰撞的痕跡，頓悟、心計、逡巡、遷躍、焦慮、狂喜并存，如同樂譜的手稿，是建筑思想在物化前的“自在”。如果說游歷建成空間是我們對建筑學的現(xiàn)象化審查的話，閱讀草圖則是我們對建筑學的存在論追問。當一個原初的草圖與最終的建筑存在各種鮮明的差異時，對它們的并置研判會呈現(xiàn)給我們平行真實之間的尖銳沖突，賦予我們啟發(fā)性與揭示性的難忘知性體驗。這正是本期《世界建筑》通過對數(shù)十組草圖與建成空間的并置展現(xiàn)，所試圖營造的經(jīng)歷。

然而，在此我們不得不表達兩個觀點，它們所針對的都是關(guān)于草圖的常見困擾。

其一，在建筑建成之后補畫的“草圖”是一種偽存在，不具備傳遞建筑無形真實的能力。無論一個建筑師以何種真誠的方式去追溯自己在建筑建成前的初衷與心路，他（她）是不能在未知成為已知之后再返回那種珍貴的“無知”的。因而，在絕大多數(shù)知性的建筑人群眼里，后補的“草圖”不僅極易辨別，而且完全冗余無用。

其二，草圖的畫面本身成為獨立的審美對象，實際上是對草圖價值的閹割。如同我們在觀察一個外形優(yōu)美的人時，如果因?qū)ζ渫獗淼倪^分注意而忽略了對其內(nèi)在品性的認知，那么實際上我們白白浪費了一次接近人性的良機。不幸的是，在視覺統(tǒng)治一切的中產(chǎn)階級社會，斬斷草圖與其所從屬的建筑人與建筑過程的所有聯(lián)系，僅把它當成一種徒手畫而欣賞把玩，已經(jīng)成為了一種司空見慣的文化消費。

讓我們通過建筑師的“手筆”——真實的草圖——來認識建筑，認識建筑人，也認識我們自己。□

The word freehand depicts a coherent, intuitive connection between the mind and the hand. When used in Architecture, the best thing it can describe is the sketches. Nothing can replace the simultaneous response of an architect's pencil to his/her brain.No other design media can register more of the lively story of architecture than an architect's sketch.

The built environment and the sketch are two parallel lines of architectural truth. The built environment is a materialisation of the building ideas, signifcantly shifted / distorted by the context(natural, social, economic and technological). It is like the music being played by an orchestra in a concert, a form of situational physicality. The sketch is the autonomously winding trace of the architect's mind, full of revelation, calculation, bewilderment, jump,anxiety and ecstasy. It is like the manuscript of a composer, an ethereal existence of the ideas themselves. If by visiting a building we carry out a phenomenological inspection of architecture, by reading a sketch we put on an ontological study of the architecture discourse. Particularly when an original sketch is in stark contrast with the respective finished building, we are faced with a direct confict between the two parallel truths and are taken to a revealing intellectual journey. Juxtaposing sketches and buildings, disclose the alignments and misalignments, exploring the architectural truths reveal by them, that is exactly the purpose of this issue of World Architecture.

Two points have to be made clear though, since there are usually two distractions when it comes to sketches.

Firstly, "sketches" drawn after the completion of design, which are not unusual practices of architects today, are forged existences.There is no way such a sketch can carry any architectural truth. No matter how an architect tries to trace back his/her heart and mind during the design process, he/she simply cannot return to the precious ignorance when so much was still unknown.

Secondly, when sketches by architects are taken solely as aesthetic entities, their true values are castrated. Unfortunately,in a middleclass society where the visual rules, it is a very common practice for architects' sketches to be regarded as merely pretty freehand drawings - forms consumed, meanings forgotten.

So here we would ask our readers to help us to restore the true identity of an architect's sketch. It is a beautiful vehicle through which know more about architecture, know more about architect the individual, and eventually, know more about ourselves.□

1 阿那亞青少年活動營草圖/Sketches of Aranya-Idea Camp

2 古家營鎮(zhèn)訪客中心草圖/Sketches of Gu Jia Ying Visitor Centre（1.2 繪圖：張利/Sketches by ZHANG Li）

清華大學建筑學院/《世界建筑》

2017-09-11