圖板上的建筑

張利/ZHANG Li

作者單位：清華大學(xué)建筑學(xué)院/《世界建筑》

“在圖板上”這一題目或許會(huì)讓人誤以為我們要在此宣揚(yáng)“紙上談兵”，祭起概念建筑學(xué)的大旗，通過(guò)“圖板上的無(wú)拘無(wú)束”來(lái)暫時(shí)忘卻“現(xiàn)實(shí)中的循規(guī)蹈矩”。這種可能的誤解是有其背后原因的——長(zhǎng)期以來(lái)，確實(shí)有一種觀念彌漫在建筑學(xué)的空氣里，認(rèn)為建筑只有擺脫了重力與功能的束縛，才能翱翔到純粹藝術(shù)的高度，完成真實(shí)的自我。

在2月早些時(shí)候一次紀(jì)念“建筑電訊派”60周年的線(xiàn)上活動(dòng)中，幾位即將步入耄耋之年的創(chuàng)始人一起回顧了當(dāng)時(shí)的執(zhí)念、理想與實(shí)驗(yàn)。他們當(dāng)中最能言善辯且在英美建筑教育界德高望重的彼得·庫(kù)克反復(fù)強(qiáng)調(diào)，“建筑電訊派”的活力來(lái)自于最初骨子里的離經(jīng)叛道——對(duì)建成建筑的放棄（這顯然不僅是主觀意愿，也是客觀條件所致）——不以建成為目的的“紙上建筑”使他們獲得了概念開(kāi)墾上的自由，使他們的建筑視野高于、亦遠(yuǎn)于其同儕。

羅伯特·哈比森的《建成的，未建成的，和不可能建成的》（1993）是意圖把脫離建成需求的概念建筑系統(tǒng)化、歷史化的嘗試。在哈比森的敘事里，以超越現(xiàn)實(shí)的“不可建成”建筑空間來(lái)承載更深邃的文化意境不僅是現(xiàn)代或近代的事，更是伴隨著整個(gè)建筑史存在的事。雖然讓建筑師們接受在早期基督教繪畫(huà)里的建筑意象比實(shí)際建成的早期基督教建筑遺產(chǎn)更偉大這一立場(chǎng)是困難的，但這并不妨礙哈比森和他的支持者們斷定脫離建成的局限是園林、神壇或城堡可以用來(lái)表達(dá)更神秘意義的必要前提。

此一時(shí)也，彼一時(shí)也。庫(kù)克和哈比森所提倡的脫離建成的“自由”（甚至是不可建成的“崇高”）是建立在繪畫(huà)或文字?jǐn)⑹滤憩F(xiàn)的建筑意象基礎(chǔ)之上的，其神秘性也更多來(lái)源于繪畫(huà)和文學(xué)藝術(shù)自身的思想深度——說(shuō)得世俗一點(diǎn)，簡(jiǎn)直就像是建筑“攀上”了“高枝”。有意思的是，當(dāng)今計(jì)算技術(shù)和數(shù)字媒體的繁盛幾乎是以“誤傷”的方式不經(jīng)意地把這一建筑的“高枝”拉下了神壇：日新月異的沉浸式電影或VR游戲反復(fù)地以各種非重力環(huán)境和非地球文明建筑刺激受眾的空間認(rèn)知系統(tǒng)，把原來(lái)對(duì)“另一空間建筑”的博物館沉思變成了現(xiàn)時(shí)唾手可得的休閑和消費(fèi)。神秘意義？！不就是一種擺脫地心引力與現(xiàn)實(shí)常理的人皆有之的欲望么，現(xiàn)在的技術(shù)包您滿(mǎn)意。

所以我們今天討論“圖板上”的建筑，絕不是走到遠(yuǎn)離建成、放飛自我的舊路上，而是回歸到以建成空間改變?nèi)说纳畹幕灸康?。必須說(shuō)明，不以建成為目的的“紙上建筑”不再是我們關(guān)注的對(duì)象。我們認(rèn)為“圖板上”的建筑是孕育中的建成實(shí)體的雛型，是即將施行的空間干預(yù)的腳本。我們對(duì)“圖板上”建筑的閱讀也由此展開(kāi)。

首先，從問(wèn)題上講，“圖板上”的建筑是設(shè)計(jì)思維過(guò)程的一個(gè)自洽式呈現(xiàn)。作為概念物化為建成空間過(guò)程里的一個(gè)中間階段，“圖板上”建筑的最終細(xì)節(jié)的不確定、不完整恰恰給予了我們認(rèn)清主導(dǎo)邏輯架構(gòu)的機(jī)會(huì)。如同從配器之前的交響曲稿我們能識(shí)別出作者對(duì)素材的梳理及對(duì)表達(dá)的組織，在“圖板上”的建筑我們可以看到建筑師對(duì)問(wèn)題的取舍和對(duì)關(guān)鍵設(shè)計(jì)策略的建構(gòu)。在訓(xùn)練有素的分析圖的幫助下，像巴東城市梯道設(shè)計(jì)和汕頭幼師學(xué)校這樣的設(shè)計(jì)方案如同環(huán)環(huán)相扣的推理演示，從開(kāi)始的問(wèn)題到最終的答案都遵循同樣的演繹范式。當(dāng)然，在現(xiàn)實(shí)生活中與設(shè)計(jì)主題關(guān)聯(lián)度較低的“雜音”，在此是看不到的。

其次，從技術(shù)上講，“圖板上”的建筑是未來(lái)實(shí)施的工程體系的一次預(yù)覽。在很多造價(jià)控制嚴(yán)格的、帶有社會(huì)公益屬性的項(xiàng)目中，建筑師必須像前工業(yè)社會(huì)中的全能匠人一樣，在設(shè)計(jì)中即對(duì)建造的時(shí)間過(guò)程進(jìn)行一次完整的預(yù)演。設(shè)計(jì)暨建造，這可以說(shuō)是建筑學(xué)發(fā)展歷史中長(zhǎng)盛不衰的線(xiàn)索之一。外荒村旅行驛站的空間布局與建筑形式都是在極端限制條件下結(jié)構(gòu)體系的函數(shù)，這條艱難而清晰的實(shí)施路徑未來(lái)會(huì)得到更多的討論。相比之下，竇店幼兒園的限制條件也許沒(méi)有那么嚴(yán)苛，不過(guò)其成也蕭何、敗也蕭何的折板屋頂結(jié)構(gòu)和天窗體系也是必須在設(shè)計(jì)階段就全部計(jì)劃到位的。

最后，從表現(xiàn)上講，“圖板上”的建筑是建筑師試圖在建成空間中承載的情感的最后一次“放縱式”的呈現(xiàn)。在“圖板上”二維平面對(duì)空間的描繪，實(shí)際上是對(duì)現(xiàn)實(shí)中三維建成實(shí)物的一種人為的、帶有主觀色彩的映射，它為建筑師加入自己希望傳達(dá)的情感提供了機(jī)會(huì)。如同每個(gè)人講同樣的故事會(huì)帶有不同的個(gè)人語(yǔ)調(diào)一樣，建筑師繪制的圖永遠(yuǎn)是帶有濃郁的個(gè)人情感色彩的。我們不能指望森林幼兒園圖中那種亦真亦幻的、《超級(jí)馬力歐》般的童真意境能移植到其他建筑師的圖中，我們也不會(huì)認(rèn)為半稱(chēng)心度假酒店的建筑師團(tuán)隊(duì)會(huì)更改他們的近乎純粹物理學(xué)的、不放過(guò)任何材料屬性的一點(diǎn)透視的冷靜，它們都已經(jīng)是相應(yīng)建筑師的習(xí)性中自然而然的一部分。

感謝多位建筑師，特別是新銳建筑師，為我們提供豐富的、令人興奮的案例，是他們使本期《世界建筑》成為可能。

The title "On Drawing Board" perhaps would make people think we are here to encourage the idea of mere paper talk, by paying a tribute to conceptual architecture in which "the conformity in reality"could be temporarily forgotten and replaced by "the freedom of drawing". There is a reason behind this possible misunderstanding - for a long time, there has been a perception that only when architecture get rid of gravity and function can it rise to the level of pure art and accomplish its true self.

Early February, during the 60th anniversary online event of Archigram, its co-founders who were going to their 80s recalled their obsessions,ambitions and experiments at that time. Peter Cook, the most eloquent of all and a respected figure in British and American architectural education,stressed repeatedly that the dynamism of Archigram was derived from the rebellion in their blood -abandoning the built architecture (apparently not only by their subjective willingness but also by objective conditions). The "paper architecture" that without the purpose to be built, gave them freedom to explore new ideas and to envision higher and further than their peers.

The Built, the Unbuilt, and the Unbuildable(1993) written by Robert Harbison is an attempt to systemise and historicise the conceptual buildings that are detached from the requirement to be built.In his narrative, it is not only a contemporary or modern event but also one that has existed throughout the history that the "unbuildable"architectural spaces beyond reality carry more cultural meanings. Although it was difficult to get architects to accept that the architectural image in early Christian paintings was greater than the actual built heritage of early Christian architecture,this did not stop Harbison and his supporters from concluding that escaping from the confines of realisation was a necessary precondition for the gardens, altars or castles to convey a more mysterious meaning.

Time has changed. The "independence"from being built (or even the "sublimity" of"unbuildability") advocated by Cook and Harbison is based on the architectural image as expressed in paintings or narratives. The mystery derives mostly from deep thinking in the art of painting or literature per se - it is almost like architecture managed to climb the social ladder and made friend with them. Interestingly, the boom of computer science and digital media today has almost inadvertently pulled architecture's "high horse" off its pedestal"by accident": The ever-changing immersive moves or VR games continuously stimulate the audience's spatial cognitive system with a variety of nongravity environments and non-Earth civilisation architecture, turning the original contemplation of museum as an "other-space architecture" into a present-day leisure activity at everyone's fingertips.Mystery? Isn't it just everyone's desire to escape from gravity and reality? Your satisfaction is guaranteed by the technology available today.

Therefore, architecture "on drawing board" we discuss today is definitely not going to walk away from being built, but to return to the fundamental need of changing people's lives with the built environment. It must be clarified that the "paper architecture" without the purpose of being built is no longer our concern. We believe that architecture "on drawing board" is the prototype of the built entity under development and the script of the spatial interventions to be implemented. This is where our reading of architecture "on drawing board" begins.

Firstly, in terms of problem definition,architecture "on drawing board" is a self-consistent presentation of the design thinking process. As an intermediate stage in the process of materialising a concept, the uncertain and incomplete details of architecture "on drawing board" allow us to recognise the main structure. Similar to identifying the composer's organisation of materials and expression in the draft of symphony before orchestration, we can recognise the architect's choice of questions and the construction of key design strategies on his/her drawing board. With the help of refined analytical diagrams, design solutions such as Urban Stairway Design in Badong County and Shantou Preschool Teachers' College are like coherent demonstrations,following the same deductive paradigm from the initial problem definition to the final answer. Of course, the hybridity in real life that is less relevant to the design theme is not included here.

Secondly, in terms of technology, architecture"on drawing board" is a preview of the real life's construction to be implemented in the future. In many limited budget and social-benefit related projects, the architects have to, like the all-round craftsmen of pre-industrial societies, carry out a complete preview of the construction in the design.Design-build is one of the enduring threads in the history of architecture. The spatial layout and architectural form of Tourists Hostel in Waihuang Village are functions of its structural system under tight restrictions, a difficult but clear path that will be discussed more in the future. In contrast,the constraint of Doudian Kindergarten is perhaps less stringent, although its make-or-break folding slate roof structure and skylight system have to be planned in details at the design stage.

Finally, in terms of expression, architecture"on drawing board" is a final indulgent display of the emotions that the architects sought to invest in the built environment. The rendering of space on the two-dimensional plane is in fact an arti ficial and subjective mapping of the reality of a threedimensional built entity, providing an opportunity for the architect to add his/her own wishes. Just as each person tells the same story with a different tone, the architects' drawings are always intensely personal and emotional. We would not expect the lively,Super Mario-like childish mood of Forest Kindergarten drawings to be transplanted to the drawings of other architects' work, nor would we think that the design team of Banchenxin Resort would alter their calm one-point perspective that is nearly pure physics and leaving no material properties untouched - they have already become part of the natural habits of the architects.

Thanks to the architects, especially emerging architects, for contributing to us such rich and exciting cases, which makes this special number ofWApossible. (Translated by PANG Lingbo)