城市灰度

文/圖：朱翌友 Zhu Yiyou

城市是什么顏色？五彩斑斕或是黑白分明？

在新中國歷史上相當(dāng)長一段時間里，中國的城市是黑白分明的，秩序井然，活力不足；在步入21 世紀(jì)后的20年，中國的城市在豐富的商業(yè)開發(fā)項(xiàng)目中開始追逐霓虹華彩，與大尺度上基于數(shù)十年前“黑白”原型的底圖，形成了彼此矛盾的對比。本文提出一個不斷疊加的“灰度”狀態(tài)，去反思我們的城市設(shè)計(jì)中所需要調(diào)和的諸多矛盾，在對立而統(tǒng)一的哲學(xué)觀念中，追尋具備復(fù)雜適應(yīng)性的設(shè)計(jì)解決方案。

中國城市高速度、高密度的發(fā)展，對公共空間提出了彈性、品質(zhì)、活力的訴求。如果把城市化初期的一些公共空間的特質(zhì)——“一次成型、邊界清晰、功用明確”——定義為“黑白”分明，那么在城市化成熟期，城市將不斷增加她的“灰度”。

以下四方面利于我們理解城市灰度。

一. “秩序”與“混亂”

對城市混亂的抱怨自城市出現(xiàn)以來就一直存在。城市發(fā)展總是趨向混亂，需要施加秩序以使其適合居住與發(fā)展的概念使規(guī)劃活動被賦予正當(dāng)性及意義。另一方面，按規(guī)劃藍(lán)圖快速呈現(xiàn)的新城區(qū)，以及一些老城區(qū)秩序化更新的嘗試，讓人認(rèn)識到“秩序”似乎是試圖使內(nèi)在的混亂看起來規(guī)范整齊的表象與幻覺，是不一致使城市成為城市，“混亂”是城市自身生長必然的產(chǎn)出。既然“混亂”是城市”熵增“必然產(chǎn)物，那需要城市規(guī)劃做些什么？在“秩序”與“混亂”之間有沒有一種兼容狀態(tài)？城市的“灰度“更傾向于這種狀態(tài)。她充許鼓勵局部的松動、無序，而這些無序建立在一個總體強(qiáng)大的秩序中，這些總體秩序強(qiáng)大到可以包容意料之外的變化與添加物。

二.“紅線“與“界面”

這里的“紅線”既指現(xiàn)行規(guī)劃條款中的用地邊界，也指設(shè)計(jì)師對工作范疇的理念認(rèn)知：“紅線”內(nèi)與外劃分著職責(zé)歸屬。條款上，以“紅線”為重要標(biāo)的，配以容積率、覆蓋率等系列指標(biāo)的規(guī)劃體系，主旨為“明確邊界”、“固化體量”；理念上“紅線”更像是對設(shè)計(jì)師責(zé)權(quán)邊界的約定與管束。在高密度城市的規(guī)劃管控中，我們更希望以“界面”來弱化“紅線”概念。在條款約定上，“界面”更體現(xiàn)“三維”與“交互“，工作責(zé)權(quán)上，“界面”易于推演出“拓展”與“合作”。只有以城市視野審視每一個項(xiàng)目的價值，拓展上、下位規(guī)劃設(shè)計(jì)中參與者的責(zé)權(quán)與合作，有效突破傳統(tǒng)“紅線”束縛的一面，才能創(chuàng)造邊界模糊、面向城市互動、開放、共享的多元化空間?？梢哉f，城市灰度的增加，常對應(yīng)著“紅線”概念的削減。

三.“錨固”與“自由”

探討城市灰度離不開建筑形式的語言。自從沙利文提出“形式追隨功能”口號，形式與功能的關(guān)系一直倍受關(guān)注，當(dāng)涉及到城市灰度話題，這對“先有雞還是先有蛋”的關(guān)系有了更多詮釋。如果說“錨固”意味著使用方式對場地的反作用，大部分情況下，開發(fā)項(xiàng)目中城市級的開放空間的“自由”在“錨固”產(chǎn)生前是缺失的。要深入探討這些空間的“錨固”與“自由”，“靈活性”成為一個重要概念。“靈活性”是城市灰度特質(zhì)的一個必要特性。為實(shí)現(xiàn)靈活，建筑形式應(yīng)有尺度的冗余、劃分（界定）的自由；功能不再是預(yù)設(shè)的，而是一種通過付諸使用才獲取的意義，在一個灰度特質(zhì)明顯的城市語境下，建筑的形式將（在局部）突破已有的產(chǎn)權(quán)關(guān)系和功能劃分，空間的意義將由于新的、動態(tài)呈現(xiàn)的功能而得到升華。

四.“用戶”與“體驗(yàn)”

即使在城市層面，“用戶”與“體驗(yàn)”也是設(shè)計(jì)師研究、實(shí)踐的關(guān)鍵詞，雖然在宏大的（城市）背景下，它們?nèi)菀卓辗夯Ｅc居民之于居住區(qū)、白領(lǐng)之于辦公樓、乘客之于站場不同，對于城市，“用戶”是沒有具本身份、個性的抽象。同時，“公共空間”——這個對城市灰度舉足輕重的要素——是非物質(zhì)、無重量、僅以幾何界定的另一個抽象。正是“體驗(yàn)”——把“用戶”置于“公共空間”里，讓“用戶”以人的本性對空間產(chǎn)生具體的感知——把“用戶”與“公共空間”關(guān)聯(lián)起來，并在關(guān)聯(lián)中獲得意義。要刻畫城市灰度，必須關(guān)注“用戶”的普世性、關(guān)注“體驗(yàn)”的價值。對于設(shè)計(jì)師而言，這能維護(hù)他們的信仰體系，即他們在為政府工作的同時也為非特權(quán)階級服務(wù)。通過對體驗(yàn)的強(qiáng)調(diào)，灰度城市的“用戶”不是她被動去滿足的人，而是她應(yīng)該成就的人。對城市灰度的理解一直與我們的實(shí)踐相輔相行。在對城市灰度的認(rèn)知上，我們正經(jīng)歷著由自發(fā)到自覺、由偶發(fā)到原則的沉淀。濃縮時間跨度、我們展開不同類型維度下的實(shí)踐梳理。

最貼近城市灰度空間特質(zhì)的當(dāng)屬商業(yè)建筑空間，它們有相似的特性訴求：開放、彈性、活力、多樣……早期的商業(yè)建筑還未有定式可尋，自發(fā)生長，雖偏于”混亂“卻不失生機(jī)。當(dāng)商業(yè)建筑的市場價值被認(rèn)可與重視，開始出現(xiàn)”模式化““教條化“，這與城市化中期的規(guī)劃發(fā)展亦步亦趨。商業(yè)活力被裝進(jìn)盒子里，每一處空間、每一條動線都被精確設(shè)計(jì)，強(qiáng)秩序的表像下常常是生機(jī)的消退。市場高速發(fā)展帶來的益處之一是實(shí)驗(yàn)、反思、迭代進(jìn)程的加快，城市、建筑實(shí)踐亦如此。近期的商業(yè)空間開始對”強(qiáng)秩序”的反思、肯定并接納變化、兼容、甚至隨機(jī)性。像深圳萬象天地這樣的商業(yè)綜合體開始采用多動線、多中心、多事件、全方位開放的格局，模糊場地的公益屬性與商業(yè)屬性，增加場所對人的黏度。它們在向真實(shí)的城市生活學(xué)習(xí)，也真實(shí)地調(diào)和出城市的灰度。

處于商業(yè)建筑這類最“入世“建筑類型另一端的，是最常“出世”的文化建筑。曾經(jīng)文化建筑是精神、形式上的”高地保壘“。社會發(fā)展帶來的思想認(rèn)識的發(fā)展，以及城市發(fā)展帶來的公共資源調(diào)配變化，都影響了文化建筑的演化：立項(xiàng)由”單體”轉(zhuǎn)向“群體”、 功能定位由“單純”轉(zhuǎn)向“復(fù)合”、場所定義由“儀式化”傾向“日常化”。傳統(tǒng)城市里最孤立化的建筑、場所類型，開始演變得更易與環(huán)境交互、共融，文化建筑的形式語言也得到了極大豐富。深圳寶安工人文化館的設(shè)計(jì)方案，提出了多重活力平臺、模塊化功能置入、全開敞界面等概念，把文化建筑的開放性、日常性、適應(yīng)性等特質(zhì)推演到一個新的極致，會不會成為灰度化城市里文化建筑的新常態(tài)？

城市發(fā)展市場化的一個常見結(jié)果，是城區(qū)土地規(guī)整化，表現(xiàn)為開發(fā)用地呈現(xiàn)棋盤式的陣列格局。為避免僵化、增加人性尺度，地塊劃分有越劃越密、尺度變小的趨勢，“紅線”劃分上的作為似乎到此為止。進(jìn)一步的突破，來自對“界面”的再認(rèn)識：認(rèn)識到空間“界面”的三維性、認(rèn)識到權(quán)利“界面”的互惠性。空中、地下跨“紅線”規(guī)劃、跨地塊開發(fā)漸漸成為被各相關(guān)方認(rèn)可的嘗試。深圳南山軟件園是一個整合多地塊的規(guī)劃實(shí)踐，當(dāng)傳統(tǒng)的“豆腐塊”體量被一體化考慮，設(shè)計(jì)師得以用立體的方式重新界定“體塊”與“場地”，整個軟件園區(qū)域呈現(xiàn)為有界無邊、混然一體的開放場所，容納、激發(fā)出遠(yuǎn)超辦公園區(qū)能內(nèi)生的功能與事件。城市灰度需要、也能夠有效突破陳規(guī)舊律。

最直接改變城市發(fā)展格局的大型（基礎(chǔ)設(shè)施類）綜合開發(fā)項(xiàng)目，在高密度城市發(fā)展的基建更迭中迎來爆發(fā)期，且明顯地由各功能、空間簡單迭加向綜合一體發(fā)展。其中大尺度、高復(fù)合度的公共空間，有如強(qiáng)關(guān)節(jié)的潤滑劑，平衡著整個機(jī)體的效率、品質(zhì)、生機(jī)、容錯等方方面面。青島游輪母港客運(yùn)中心這個主體功能使用率低的交通設(shè)施黑匣子，被我們包裹了一層大尺度全開放空間，由此創(chuàng)造出一個高品質(zhì)、多功能、充滿生機(jī)的日常性市民活動場所。三亞機(jī)場停車綜合樓集中了交通、換乘、酒店、商業(yè)、辦公等功能，一個應(yīng)當(dāng)?shù)貧夂疃O(shè)的灰空間構(gòu)造體系完成了對多功能體的遮覆，在秩序與活力間創(chuàng)造一個平衡。對于這一類型的開發(fā)，TOD 更是極致的體現(xiàn)，眼下各TOD 類項(xiàng)目的規(guī)劃概念正詮釋著城市灰度的內(nèi)涵。

城市灰度是可以意會的理念，本文所列各類型案例所謂窺豹一斑，我們期待更多的實(shí)踐改良我們的城市。

對城市灰度的認(rèn)識是個持續(xù)的過程。二十世紀(jì)的很多城市灰度是憑借“時間”生成的，日積月累的城市空間在自上而下的規(guī)劃、自下而上的民意之間，不斷調(diào)色，是為一種縱向協(xié)調(diào)的體系；如今，二十一世紀(jì)是一個快速迭代演化的時代，此時的城市灰度不能依賴與個別的自發(fā)條件，也很難取決于整體的、統(tǒng)一的設(shè)計(jì)原則，此時，橫向迭代的作用力就會變得非常明顯，恰如互聯(lián)網(wǎng)的社區(qū)，彼此鏈接，交織生長。

筆者寫此文期間，正值新冠狀肺炎肆虐全球，疫情以人們始料不及的方式考驗(yàn)著城市機(jī)能：方艙醫(yī)院、社區(qū)隔離、行業(yè)停擺、城市關(guān)閉……全球各類型城市的表現(xiàn)將給人們豐富的題材、極大的動力去重審、反思包括城市發(fā)展在內(nèi)的人類社會發(fā)展問題。答案交由歷史。結(jié)合對城市灰度的思考，筆者認(rèn)為有兩點(diǎn)應(yīng)成基本共識：一.自閉終將自損、共享才能共贏。二.橫向的可塑性將取代縱向的上下位協(xié)調(diào)，成為未來城市空間重要的行為特質(zhì)，在這一點(diǎn)上，互聯(lián)網(wǎng)社區(qū)的“虛擬城市社群”已經(jīng)給出了足夠多的參考和驗(yàn)證。

The following four aspects can shed light on the grey scale of cities.

1. Order & Mes s

There have been complaints about chaotic and messy urban developments since the very origin of cities. Urban development always tends to be sprawling. Therefore, the need to impose order to make cities more suitable for living and development justifies and endows planning activities with great significance. On the other hand, new urban areas created in a rapid speed in accordance with the planning blueprint, as well as efforts to reorganize and renew the old urban sections, have made people realize that “order”seems to be an illusion as what has been done so far only covers the innate chaos with a seemingly organized and standardized surface. It’s such inconsistencies that make cities what they are now. In other words, “mess”is an inborn feature of city development. Now that we accept the fact that“disorder” is an inevitable result of urban growth, what should we do for city planning? Is there a possibility to maintain a balance between order and disorder? The grey scale of cities is such a state. It encourages loosely organized and disorderly parts in cities, and incorporates them into an overall order that is powerful enou gh to tolerate unexpected changes and additions.

2. Red Line & Interface

The “red line” here refers to both the land boundary in the current planning terms and architects’ conceptual understanding of their scope of work. A red line defines what’s within and what’s without the scope of responsibilities. In planning terms, the red line can be used as an important mark to support the planning system using indicators such as plot ratio and coverage rate, with the main objective to clarify boundaries and fix volumes.Conceptually, the red line is an agreement and constraint on the architect’s responsibilities and rights. In planning high-density cities, we want to use interfaces to downplay red lines. While interfaces highlight three dimensions and interfacing in planning terms, they emphasize expansion and cooperation in terms of work responsibilities and rights. Only when we view the value of each project from the urban perspective can we expand the responsibilities and rights of participants in the design process and facilitate collaboration to effectively break through the confines of the traditional red lines to create diversified spaces that blur boundaries and enable interaction, openness and sharing. Thus, the increase in the grey scale of cities often comes hand in hand with a reduction of focus on the concept of red lines.

深圳萬象天地

3. Anchored & Flexible

Any discussion of the gray scale of cities is inseparable from the language of the architectural form. Since Louis Sullivan coined the phrase that “form ever follows function”, the relationship between form and function has been under the limelight. When it comes to the grey scale of cities, the correlation, which reminds people of the famous question about “which came first, the chicken or the egg”, has a deeper meaning. If “anchorage”means an adverse effect of the form of use on the site, the freedom of open urban spaces in development projects is absent before the very existence of “anchorage”. Therefore, “flexibility”, a necessary feature of the grey scale of cities, becomes an important concept to refer to before a closer look into the anchorage and freedom of spaces. To achieve flexibility, construction forms should allow well-proportioned redundancies and appropriate freedom for definition of boundaries. Instead of pre-setting functions, we should seek meanings through practical use. In an urban context characterized by a distinctive grey scale, architectural forms will be able to partially transcend the existing definitions of property ownership and functionality, and realize and enhance the meaning of spaces through the presentation of new and dynamic functions.

4. Consumer & Experience

Even at the city level, user and experience are the keywords for architects’research and practice, though in the grand (urban) context, they are prone to be over-generalized. Unlike residents in residential areas, white-collar workers in office buildings, and passengers at station yards, users in cities are an abstract concept without any specific identity or personality. In the meanwhile, public spaces, a vital factor for the grey scale of a city, is another intangible, weightless abstraction defined only by geometry. It’s experience that puts users in public spaces and enables them to develop specific feelings as humans about spaces. Such experience connects users and public spaces,and gains their own value through such connection. To depict the grey scale of a city, it’s imperative to pay attention to the universalism of users and focus on the value of experience. For architects, it’s an effective way to help maintain their belief that they are working for the non-privileged while they are working for the government. Through an emphasis on experience, users in cities with the grey scale are not people that the architects feel forced to satisfy but people they should help to accomplish things.

寶安區(qū)工人文化宮（國際競賽第一名方案），建筑與城市公園的橫向折疊映射