全球本土化建筑：定義當(dāng)代馬來(lái)西亞身份認(rèn)同的另一種方式

維羅妮卡·吳，牛顏秀 徐知蘭

事實(shí)是：每一種文化都不可能支持和承受世界文明的沖擊。這就是矛盾：如何在進(jìn)行現(xiàn)代化的同時(shí)，保存自己的根基？如何在喚起沉睡的古老文化的同時(shí)，進(jìn)入世界文明？——保羅·利科[1]

保羅·利科在《歷史與真理》（1961）中指出“本土化”與“全球化”的概念都具有獨(dú)一無(wú)二的地位，它們?cè)趯で竺褡鍑?guó)家身份的過(guò)程中逐漸發(fā)展。建筑學(xué)中有關(guān)身份認(rèn)同的問(wèn)題一直以來(lái)采用修辭隱喻的話語(yǔ)模式。自希臘和羅馬時(shí)代以來(lái)，建筑學(xué)的語(yǔ)言一直以風(fēng)格和潮流來(lái)劃分類(lèi)別，如希臘建筑、羅曼建筑、巴洛克建筑、洛可可建筑、哥特建筑、新古典主義建筑、現(xiàn)代建筑、后現(xiàn)代建筑與解構(gòu)主義等。在西方學(xué)術(shù)背景中，這些風(fēng)格術(shù)語(yǔ)一直為人們廣泛使用，并常用于描述某一特定時(shí)代的主導(dǎo)風(fēng)格。由于殖民地化、全球化和其他零散的經(jīng)濟(jì)、政治、社會(huì)、文化和技術(shù)對(duì)建筑產(chǎn)生的迥然不同的影響，這些西方建筑的風(fēng)格在像馬來(lái)西亞這樣的亞洲國(guó)家建成環(huán)境的背景中顯得尤為突出。

最近10年，馬來(lái)西亞作為一個(gè)帶有強(qiáng)烈后殖民地文明烙印的國(guó)家正在經(jīng)歷建筑表現(xiàn)手法的范式轉(zhuǎn)變。除了全球關(guān)注的可持續(xù)發(fā)展之外，尋求身份認(rèn)同也仍是建筑學(xué)的推動(dòng)因素。與所有其他的建筑學(xué)手法一起產(chǎn)生的，還有一種地域性的獨(dú)特設(shè)計(jì)方法，它更傾向于體現(xiàn)馬來(lái)西亞本土的身份認(rèn)同感。地域性的設(shè)計(jì)思想不僅沒(méi)有拋棄現(xiàn)代主義和歷史設(shè)計(jì)的思想，并且還關(guān)注能在地理、歷史、社會(huì)和文化層面、在任何特定地點(diǎn)產(chǎn)生影響的建筑學(xué)探索。

在迅速全球化的世界里，任何有關(guān)建筑學(xué)的調(diào)查研究都將不可避免地走向?qū)Ρ就廖幕铜h(huán)境的思考。在字面意義上，“地域”一詞通常用于形容從自身場(chǎng)所產(chǎn)生出來(lái)的建筑。1980年代，西方建筑歷史學(xué)家肯尼斯·弗蘭姆普頓在與此稍有不同的層面上定義了地域的含義。弗蘭姆普頓將“地域”的概念置于全球化背景下進(jìn)行考量。通過(guò)引述阿爾瓦·阿爾托等建筑師的思想，弗蘭姆普頓使亞歷山大·楚尼斯和利恩·勒費(fèi)夫爾的“批判性地域主義”觀念大為流行。這種方法是指，在對(duì)建筑本土環(huán)境的前提作出回應(yīng)的同時(shí)，依然采用最先鋒派的現(xiàn)代主義設(shè)計(jì)手法。它以建筑學(xué)的方式，力求在全球化的建成環(huán)境中對(duì)“場(chǎng)所感”[2]和“身份認(rèn)同”的問(wèn)題做出回答。

這便導(dǎo)致了對(duì)包括“本土”的含義，以及它如何確立一種表現(xiàn)地域或場(chǎng)所特征的建筑學(xué)方法的反思?！叭虮就粱盵3]這一術(shù)語(yǔ)回避了關(guān)于將全球和本土作為兩個(gè)本質(zhì)上迥然不同的概念的爭(zhēng)論，這個(gè)術(shù)語(yǔ)的產(chǎn)生（在社會(huì)學(xué)的意義上）限定了全球化趨勢(shì)與本土化趨勢(shì)之間復(fù)雜的相互影響。本土與全球之間的矛盾產(chǎn)生了另一種建筑學(xué)的語(yǔ)言，它既未拋棄現(xiàn)代主義的觀念，也未陷入字面意義上對(duì)歷史的回歸。相反，由此產(chǎn)生了能夠表現(xiàn)出弗蘭姆普頓所謂“具有場(chǎng)所意識(shí)的詩(shī)意”[4]建筑的多種形式。這一概念推動(dòng)了與感官相關(guān)、思想深刻的作品，包含并表達(dá)了本土文化的變化過(guò)程，推動(dòng)環(huán)境的可持續(xù)發(fā)展，也加深了人們對(duì)周?chē)澜绲恼J(rèn)識(shí)。在亞洲地區(qū)即可見(jiàn)到這種回歸場(chǎng)所的思想。

在馬來(lái)西亞，出現(xiàn)了一些有關(guān)全球－本土的辯證關(guān)系的線索，作為另一股建筑學(xué)思潮。本文試圖簡(jiǎn)短回顧這些全球－本土（“全球本土化”）的建筑，正是它們產(chǎn)生了目前具有場(chǎng)所意識(shí)的另一種設(shè)計(jì)方法。這種方法使本土建筑與西方建筑設(shè)計(jì)思想及理論并行無(wú)礙，并且暗示了設(shè)計(jì)思想和當(dāng)代建筑思想的根基在于，在突出強(qiáng)調(diào)本土場(chǎng)所意識(shí)的同時(shí)，仍包含西方現(xiàn)代建筑的理論與思想。

本土特征作為靈感來(lái)源

語(yǔ)境的重要性，尤其是本土語(yǔ)境的重要性，已經(jīng)成為西方建筑學(xué)話語(yǔ)模式中的隱喻。建筑理論家諾貝格－舒爾茨將“語(yǔ)境”一詞形容為“地方特色”與日常生活中發(fā)生的現(xiàn)象，同時(shí)也指景觀和城市所在的社會(huì)環(huán)境。通過(guò)引用蘇珊·朗格（美國(guó)符號(hào)論美學(xué)家）的思想，諾貝格－舒爾茨提出“建筑學(xué)屬于詩(shī)歌的范疇，其目的是幫助人們?cè)娨獾貤印?。然而建筑學(xué)是一門(mén)艱難的藝術(shù)。建造實(shí)用的城鎮(zhèn)和建筑仍不足以構(gòu)成建筑。只有當(dāng)“全部環(huán)境變得清晰可見(jiàn)”[5]時(shí)，建筑才得以誕生?？ㄋ跪v·哈利斯也提出過(guò)與之類(lèi)似的思想，他強(qiáng)調(diào)需要“發(fā)現(xiàn)鄰里社區(qū)和地域的重要性……它們將明確展現(xiàn)出自身特點(diǎn)”[6]。

這些思想突出了通過(guò)營(yíng)造特定場(chǎng)所來(lái)賦予環(huán)境以意義的重要性。只有圍繞地段的物質(zhì)和文化環(huán)境、精心設(shè)計(jì)建筑，才能產(chǎn)生真正度身定制的作品，讓現(xiàn)有的建筑環(huán)境更為完善。如吳石山（Ng Sek San）設(shè)計(jì)的雙文丹玻璃屋就得到了彼得·斯達(dá)伯利在澳洲新南威爾士天堂海灘設(shè)計(jì)的以色列住宅的啟發(fā)。其靈感也同樣來(lái)自附近的旗魚(yú)海番村，只是村舍中的房屋不如玻璃屋的永久穩(wěn)固。盡管選用不同材料，功能極簡(jiǎn)的設(shè)計(jì)思想也仍可使人聯(lián)想起臨時(shí)棚屋的本質(zhì)。建筑設(shè)計(jì)有意使玻璃屋和土著居民的房屋一樣能夠輕易拆除和重建。

“誠(chéng)實(shí)的”建筑

為了增強(qiáng)人人平等的觀念，建筑強(qiáng)調(diào)造價(jià)應(yīng)在人們可承受的范圍之內(nèi)。為了使建筑造價(jià)可以承受，它們必須是“誠(chéng)實(shí)的”。然而，什么是“誠(chéng)實(shí)的”建筑？有關(guān)馬來(lái)西亞建筑誠(chéng)實(shí)態(tài)度的主題，貫徹了阿道夫·路斯在20世紀(jì)宣布的現(xiàn)代主義思想“裝飾即罪惡”，正是這一宣言響應(yīng)了以使用材料的誠(chéng)實(shí)原則為基礎(chǔ)的建筑學(xué)基本道德標(biāo)準(zhǔn)。籠統(tǒng)地說(shuō)，這一信條意味著兩點(diǎn)：（1）不應(yīng)以其他材料掩蓋建筑結(jié)構(gòu)；或者（2）建筑設(shè)計(jì)必須與當(dāng)代精神一致。與之類(lèi)似的誠(chéng)實(shí)態(tài)度也反映在了馬來(lái)西亞的建筑中，然而其方式卻體現(xiàn)在建筑造價(jià)的可承受程度及建筑設(shè)計(jì)對(duì)當(dāng)?shù)丨h(huán)境材料的敏銳度方面。

這種誠(chéng)實(shí)的原則之一就是以一種真實(shí)的方式利用當(dāng)?shù)刭Y源，從而反映因地制宜的建筑設(shè)計(jì)。例如，使用當(dāng)?shù)啬軌蛘业降牟牧希怪蔀樵谑┕み^(guò)程中可以使用的原料。這在C'Arch建筑事務(wù)所、Khoo Boon Siew、Juteras設(shè)計(jì)事務(wù)所合作的貝隆雨林度假村中就得到了體現(xiàn)。度假村以用從地段原有建筑中拯救下來(lái)的廢磚砌成的“亂”墻為特色。并且，作為酒店室外設(shè)計(jì)主要特征的“小樹(shù)”屏也用當(dāng)?shù)赜欣诳沙掷m(xù)發(fā)展的快速生長(zhǎng)的竹子制成[7]。

在地段上保留過(guò)去自然環(huán)境的思想也同樣反映在了位于金馬倫高原、由ZLG設(shè)計(jì)事務(wù)所設(shè)計(jì)的Boh茶園中：在大片的茶葉種植園景觀上方，是茶園直線延伸的建筑形式，可謂密斯·凡·德·羅現(xiàn)代主義方形建筑的典范。為了利用地段周?chē)鷽鏊臍夂驐l件，鋼框架的主入口立面以圓木間隔填充，而這些木材正是地段上原有的樹(shù)木。設(shè)計(jì)者因?yàn)轭A(yù)算和地段位置所限而使用簡(jiǎn)單樸實(shí)且易于獲得的材料，這一決策也讓設(shè)計(jì)項(xiàng)目擁有了自己的特征和設(shè)計(jì)精髓[8]。

建構(gòu)

使用材料的誠(chéng)實(shí)態(tài)度產(chǎn)生了體現(xiàn)美感的建筑建構(gòu)學(xué)：這種美感存在于材料組合之中，也存在于細(xì)節(jié)之中。這一理念在以弗蘭姆普頓所述“建構(gòu)”概念為基礎(chǔ)的建筑中得到了體現(xiàn)，它關(guān)注建筑學(xué)作為建造技術(shù)和手藝的層面。設(shè)計(jì)策略的核心是將建造形式與材料特征視為不斷深入發(fā)展的形式與空間表現(xiàn)手法中不可分割的一部分[9]。建筑作為手工業(yè)的思想又通過(guò)探索廢舊材料和隨手拾得的物件如何能夠成為建筑原料的方式得到了進(jìn)一步拓展，如Building Bloc建筑事務(wù)所在蘭卡威設(shè)計(jì)的電線桿住宅。Building Bloc建筑事務(wù)所和Wen Hsia等建筑設(shè)計(jì)師，從吉打州、吉蘭丹州和丁加奴州（馬來(lái)西亞的東北部）的木料場(chǎng)回收到了那些電線桿。主結(jié)構(gòu)框架和屋頂構(gòu)架也都是從吉打州的一個(gè)木料場(chǎng)收集來(lái)的5×5見(jiàn)方的電線桿。舊木桿歷經(jīng)時(shí)間洗禮后呈現(xiàn)出美麗的色澤，在白蟻侵襲和風(fēng)雨侵蝕的威脅下仍保持了一定的堅(jiān)固程度。地板、墻板和屋瓦也都是從其他拆毀的建筑中搶救回來(lái)的。這座住宅的建構(gòu)方式響應(yīng)了密斯·凡·德·羅“上帝存在于細(xì)節(jié)之中”的格言。每根柱子都由固定在鋼節(jié)點(diǎn)柱礎(chǔ)上的4根5×5見(jiàn)方的木桿組成。柱礎(chǔ)也能夠起到隔絕白蟻的作用。住宅的主梁則由3根5×5的方木桿組成。它們有不同的截面，以墩接/嵌接方式連接。

對(duì)材料的敏銳感受也同樣反映在建筑的地段特征方面。沿著檳榔嶼的峇都丁宜沙灘的濱海地區(qū)坐落著由GDP建筑師事務(wù)所設(shè)計(jì)的龍柏酒店，其立面設(shè)計(jì)表現(xiàn)了各種石材的肌理與質(zhì)感，并形成有呼吸感的建筑表皮。除了有助于自然通風(fēng)之外，單體建筑的不同形式與它們的分布秩序在某種程度上也清晰地展現(xiàn)出建筑材料豐富多樣的紋樣圖案，也沒(méi)有對(duì)任何裝修進(jìn)行掩飾。這種方法重新肯定了原酒店的精神，即在60多年的時(shí)間內(nèi)，這里建造了3組不同的建筑，形成了目前各種風(fēng)格混雜的結(jié)果[10]。

鄉(xiāng)土設(shè)計(jì)思想的當(dāng)代闡釋

馬來(lái)西亞建筑將鄉(xiāng)土設(shè)計(jì)原則融入設(shè)計(jì)之中。廣義上說(shuō)，鄉(xiāng)土建筑指原始棚屋。在馬來(lái)西亞，它通常指?jìng)鹘y(tǒng)的馬來(lái)屋。在凱文·羅設(shè)計(jì)的百葉窗盒住宅中，他將建筑抬升至與地面有些距離的柱樁上，以此處理有些設(shè)計(jì)難度的地形，從而無(wú)需進(jìn)行土地平整。他由傳統(tǒng)的Kampong村屋獲得啟發(fā)，讓出建筑下方的地面作為景觀使用。這塊開(kāi)敞的底層地面則為住宅提供了通風(fēng)條件。雙文丹的建筑也與此類(lèi)似，建筑抬升離地，保護(hù)房屋免受打擾和其他因素的危害。傳統(tǒng)馬來(lái)屋的另一個(gè)本質(zhì)特征是“會(huì)客空間”，即一種有遮蔽的單側(cè)長(zhǎng)廊，用于歡迎客人或與鄰居閑聊。在石山建筑事務(wù)所設(shè)計(jì)的淡濱尼一道住宅中，住宅入口便引向一處有低矮木板平臺(tái)的庭院。

同樣，洛克－Wooi建筑事務(wù)所設(shè)計(jì)的建筑師Wooi自宅，則通過(guò)嘗試重獲建筑師本人在吉打州笨筒地區(qū)度過(guò)童年時(shí)光的核心精神，重新闡釋了傳統(tǒng)的馬來(lái)屋。Wooi的自宅借用村屋的斜屋頂形式，安裝了顯眼的鋅板傘狀屋頂。墻面則由垂直放置的木條構(gòu)成，以形成與通透可呼吸的村屋類(lèi)似的空氣流動(dòng)效果[11]。

內(nèi)外翻轉(zhuǎn)：四墻之外的建筑

空間圍合與建筑和自然的關(guān)系也是當(dāng)代馬來(lái)西亞建筑探索的主題?？臻g應(yīng)該封閉在四墻一戶之中嗎？由于衛(wèi)生觀念的變化和新建筑材料（鋼筋混凝土）技術(shù)的發(fā)明所定義的建筑空間，20世紀(jì)現(xiàn)代建筑因此瓦解了四墻一戶的空間概念。將建筑空間打開(kāi)，模糊室內(nèi)外邊界，這促進(jìn)了自然與建筑之間的象征性關(guān)系。并且，西方關(guān)于建筑與自然辯證關(guān)系的思想在18和19世紀(jì)關(guān)于花園與鄉(xiāng)村住宅的強(qiáng)調(diào)中也得到了描繪。源于阿卡迪亞景觀透視法的建筑理想在藝術(shù)、建筑和文學(xué)中都有所體現(xiàn)。

在馬來(lái)西亞的本土化語(yǔ)境中，建筑學(xué)探索了翻轉(zhuǎn)建筑室內(nèi)外特征的設(shè)計(jì)思想。在建筑室內(nèi)外使用樹(shù)木的方式，也使建筑得以生長(zhǎng)。

在八打靈貿(mào)易中心（由來(lái)自小型項(xiàng)目事務(wù)所的凱文·馬克·羅與作為當(dāng)?shù)卦O(shè)計(jì)協(xié)助單位的Yellil建筑事務(wù)所完成），盡管這是一處商業(yè)辦公樓開(kāi)發(fā)項(xiàng)目，墻面、地面和天花板也幾乎都具有自然要素。

……優(yōu)秀的建筑始于花園?！?jiǎng)P文·馬克·羅[12]

穿過(guò)更為堅(jiān)固厚重的混凝土通風(fēng)砌塊立面后，貿(mào)易中心出現(xiàn)一座花園庭院，人們能透過(guò)一個(gè)個(gè)辦公室隔間的透明內(nèi)墻看見(jiàn)這座花園。似乎，首先出現(xiàn)在這里的是樹(shù)木，其次才產(chǎn)生了圍合它們的墻體。層層挑空的平臺(tái)突出了與通風(fēng)砌塊墻面相連的區(qū)域，諸多辦公室在更高的樓層也擁有了花園空間。樹(shù)木從地下車(chē)庫(kù)向上生長(zhǎng)，經(jīng)過(guò)的每層樓面都呼應(yīng)了大自然的力量[13]。羅相信，建筑應(yīng)該與空間的開(kāi)敞和建筑結(jié)構(gòu)的非建筑化有關(guān)。他強(qiáng)調(diào)花園不僅僅是優(yōu)秀建筑作品的點(diǎn)綴，并且，建筑中的非建筑元素也能夠產(chǎn)生美感。

全球－本土的辯證關(guān)系為馬來(lái)西亞產(chǎn)生另一種哲學(xué)思想和建筑實(shí)踐鋪平了道路。在反駁風(fēng)格問(wèn)題的過(guò)程中產(chǎn)生了馬來(lái)西亞當(dāng)代建筑的新方法，這種方法熱情擁抱全球化的設(shè)計(jì)、傳統(tǒng)的設(shè)計(jì)和本土的設(shè)計(jì)，并毫無(wú)芥蒂地同時(shí)接受所有這些觀念。而當(dāng)代建筑思潮和設(shè)計(jì)理念也并不是空穴來(lái)風(fēng)。它們形成于某些哲學(xué)、經(jīng)濟(jì)、歷史和社會(huì)文化影響的共同匯聚之處。盡管建筑的物質(zhì)空間表現(xiàn)有所不同，其哲學(xué)核心仍植根于對(duì)因地制宜的建筑思想的關(guān)注，回歸有關(guān)建筑經(jīng)濟(jì)、人文和場(chǎng)所的最本質(zhì)基礎(chǔ)。

建筑學(xué)關(guān)于身份認(rèn)同的定義爭(zhēng)論激烈。何謂身份？又是何者之身份？建筑學(xué)的話語(yǔ)模式經(jīng)常需要面對(duì)有關(guān)身份認(rèn)同的問(wèn)題，就是因?yàn)樯矸菡J(rèn)同是轉(zhuǎn)瞬即逝的。因?yàn)樯矸菡J(rèn)同由地點(diǎn)和時(shí)間所轄，而后兩者從未保持不變。為了響應(yīng)對(duì)“此地”與“此時(shí)”進(jìn)行界定的獨(dú)一無(wú)二的地位，全球語(yǔ)境與本土語(yǔ)境的意識(shí)也將繼續(xù)在馬來(lái)西亞當(dāng)代建筑身份認(rèn)同的定義與再定義中漫漫求索。然而，在這些當(dāng)代建筑手法中，“全球本土化”必然占有一席之地?！?/p>

It is a fact: every culture cannot sustain and absorb the shock of modern civilisation. There is the paradox: how to become modern and to return to the sources; how to revive an old,dormant civilisation and take part in universal civilisation.——Paul Ricouer[1]

Paul Ricouer's words inthe History and Truth(1961) point out the unique position of both concepts of 'localness' and 'globalisation' has played out in seeking a national identity. The question of identity in architecture has been a rhetorical discourse. Since the Greek and Romans, the language of architecture has been classified based on styles and trends, for example Greek, Roman,Baroque, Rococo, Gothic, Neo-Classical, Modern,Post-modern and Deconstructivism amongst others.In the Western context, these styles have been widely used and often portrayed as the predominant style used for a specific era of time. Due to the disparate influence of colonialisation, globalisation and other discursive economical, political, social, cultural and technological influences on architecture, these Western styles are eminent amidst the backdrop of built environment in Asian countries such as Malaysia.

In the recent decade, Malaysia being a nation with a strong post-colonial culture is witnessing a paradigm shift in its architectural expressions. In addition to the global concerns of sustainability,the search for identity is still an impetus task for architecture. Amidst other architectural approaches,an alternative approach that is regionally specific emerges which has the propensity to portray a sense of Malaysian identity. While not rejecting modern and historical ideas, the regional ideas focus on architectural explorations that play out the effects of geography, history, society and culture in any one particular place.

In the rapidly globalising world, any investigation of architecture inevitably leads to considerations of local culture and environments. Taken literally, the term 'region' typically denotes architecture derived from its locale. In the 1980s, the architectural historian Kenneth Frampton in the West defined region in a slightly different perspective. Frampton viewed 'region' in a globalised context. Quoting architects such as Alvar Aalto, Frampton popularised Alexander Tzonis and Liane Lefaivre's concept of 'critical regionalism'. This approach refers to architecture that responds to its local premise yet in an avant-gardist, modernist approach. It is an approach to architecture that aims to respond to issues of 'placelessness'[2]and 'identity' within the globalised built environment.

This led to a rethink of what it means to be'local' and how it defines an architectural approach that portray the region or place. Avoiding the debates on the concepts of global and local as disparate ideas, the term 'glocalisation'[3]emerges(in sociology) defining a complex interaction between globalising and localising tendencies. The paradox between the local and the global defines an alternative language of architecture that does not reject modern ideas or lapsing into a literal return to history. Rather, a heterogeneous form of architecture that portrays what was termed by Frampton as 'a place-conscious poetic'[4]emerges.The concept fosters thoughtful works that engage the senses, embody and express local cultural processes, promote environmental sustainability,and enhance people's awareness of the world around them. Such returning to place ideas can be seen in the Asian region.

In Malaysia, traces of the global-local dialectic emerge as an alternative strand of thinking about architecture. This essay attempts to offer glimpses

of the character of the global-local ('glocal')architecture that produces the current alternative approach for place-conscious design. It draws parallels between local architecture and Western architectural ideas and theories, and suggests that the fundamental basis of contemporary architectural thinking emphasizes on the local sense of place while embracing theories and ideas of Western modernity.

Local character as inspirations

The importance of context, particularly local context, has been a rhetorical concern in the Western architectural discourse. This notion was described by the architectural theorist Christian Norberg-Schulz as'local character' and the phenomenon of everyday life as well as referring to landscapes and urban milieu.Quoting from Suzanne Langer, Norberg-Schulz argued that 'architecture belongs to poetry, and its purpose is to help man to dwell. But architecture is a difficult art. To make practical towns and buildings is not enough. Architecture comes into being when a 'total environment is made visible'[5]. Similar concerns were raised by Karsten Harries who stressed the need to 'discover the importance of neighborhoods and regions…which will articulate their character '[6].

These ideas emphasized the importance in making the environment meaningful through the creation of specific places. Architecture is carefully planned around the site's physical and cultural context to produce genuinely tailored made work that complements the existing context. For example, Ng Sek San's Sekeping Serendah Glass House is inspired by the small Peter Stuchbury designed Israel house in Paradise Beach, New South Wales. It is also inspired by the nearby Orang Asli village where their architecture is less permanent.Despite the difference in material, the essence of a temporary shelter is evoked as it is designed with only pure necessity in mind. The Glass House is intended to be demolished and rebuilt at ease similar to the aboriginal homes.

'Honest' Architecture

Reinforcing the idea that everyone is equal,architecture emphasizes on affordability. For architecture to be affordable, it has to be'honest'. But what does it mean for architecture to be 'honest'? The theme of honesty in Malaysian architecture carries through the 20th century modernist proclamation of Adolf Loos 'ornament is crime' echoing the basic moral values of architecture based on the principle of honesty of materials. Generally the term is used to mean one of two things: (1) the building does not cover up its structure and pretend to be something it is not;or, (2) the design of the building is coherent with the spirit of the modern age. Similar honesty is portrayed in Malaysian architecture but in a manner which reflects affordability and sensitivity of materials to its local context.

One principle of such honesty is the utilisation of local sources in a truthful manner to reflect a place-specific architecture. For example, the use of locally available materials that may have been made available during the construction works.This is demonstrated in Belum Rainforest Resort by C'Arch Architecture in collaboration with Khoo Boon Siew and Juteras which features the 'huruhara' wallsthat are constructed out of recycled bricks that were salvaged from the existing buildings on site. In addition, the 'sapling' screens that gives the resort its outdoor character is made of fast growing local timbers that are sustainable.[7]

1 文丹旗魚(yú)海番村的典型村舍/Typical Orang Asli house found in Serendah

2 雙文丹的玻璃屋/The Glass Shed of Sekeping Serendah

The idea of retaining the nature that once stood on site is also reflected in ZLG Design Boh Tea Centre,Cameron Highlands: the elongated rectilinear form of the Tea Center perch above the landscape of tea plantation exemplifying Mies van der Rohe's modern box architecture. Taking advantage of the cooling climate of the site, its front entrance facade is made of steel frames that are filled with timber logs of trees that once stood on site. The decision to utilize simple, humble and accessible materials due to budget and location constraint has given the project its signature and essence[8].

Tectonics

The honesty of materials results in architectural tectonic that portrays beauty: beauty in composition of materials and beauty in details. Such conception is manifested in architecture based on the notion of 'tectonics' as employed by Frampton which focused on architecture as a constructional craft[9].Design strategies centered on the philosophies of constructional form and material character as integral to an evolving architectural expression of form and space. The idea of architecture as a craft was stretched further by the exploration of used materials and found objects as constructional materials, for example the Telegraph Pole House in Langkawi by Building Bloc. The architects, BC and Wen Hsia, sourced recycled poles in the timber yards of Kedah, Kelantan and Trengganu (the north eastern part of Malaysia). The main structural frame and roof trusses were all 5x5 telegraph poles sourced from a timber yard in Kedah. The old poles are very beautiful found structures that have gone through the patina of time, and have maintained their soundness from impending termite attacks and weathering. The floorboards, wallboards, roof shingles were all salvaged from other buildings that were taken down. The tectonic of this dwelling echoes Mies van der Rohe's dictum of 'God is in the details'. Every column is a composite of 4 numbers of 5x5 poles connected to a steel pin base. The base also acts as a termite shield. The main beams of the house are made from 3 numbers of 5x5 poles.They are connected with scarf joints and multiple sections.

3 由回收石料建成的貝隆雨林度假村酒店入口/The entrance of Belum Resort made of recycled masonry

4 貝隆雨林度假村酒店的“亂”樹(shù)苗墻/The 'huruhara' tree sapling walls of Belum

5 Boh茶園的圓木立面/The timber log facade of Boh Tea Centre

6 電線桿住宅的結(jié)構(gòu)/The structure of Telegraph Pole House

Sensitivity of materials also reflects the character of the site. Set along the beachfront of Batu Ferringhi in Penang, the Lone Pine Resort by GDP Architects establishes the texture and tactility of various masonry types in its facade design to create a breathable skin. Whilst allowing ventilation, the variety of the single units and the order that it is assembled somehow forms a diversity of textured patterns which are clearly displayed without any finishes to disguise it. This approach reaffirms the spirit of the original hotel that was a jumble of sorts, a result of three sets of buildings in all, constructed over a period of sixty years.[10]

Contemporary interpretations of vernacular ideas

Malaysian architecture incorporates vernacular principles into their designs. Broadly defined,vernacular architecture refers to primitive shelter.In Malaysia, it commonly refers to the traditional Malay House. In Kevin Low's Louvrebox House,he raised the building on stilts to counter the challenging terrain without flattening the land.Inspired by the traditionalkampung house, he liberates the ground below for landscaping. This open lower ground allows for ventilation through the house. It is similar for Sekeping Serendah which is raised off the ground as protection from intruders and the elements. Another traditional Malay House essence is the 'Serambi' or the shaded open-sided verandah that is for greeting visitors or chatting with a neighbour. In Sek San's Jalan Tempinis Satu home, the entrance leads into a courtyard with a low timber deck.

7 龍柏酒店：通風(fēng)砌塊立面/Lone Pine Hotel: Vent block facade

8 龍柏酒店使用的各種通風(fēng)砌塊與砌磚工藝/The variety of ventilation blocks and brickwork used throughout the Lone Pine

In the same line, the Wooi House by Loke Wooi Architect reinterprets the traditional Malay House in attempt to recapture the soul of his childhood experiences of growing up in Pendang, Kedah. The Wooi House lends the idea of the kampong house's slanted roof by fitting a prominent umbrella roof made of zinc. The walls are constructed of timber strips that are placed vertically to allow air flow similar to that of a kampong house which is porous and breathable.[11]

Inside-out, Outside-in: Architecture beyond the four walls

The issue of enclosure and the relationship with nature were questions that contemporary Malaysian architecture explored.Should space be enclosed in four walls and a door? Unlike the 20th century modern architecture tore apart the concept of four walls and a door in defining architectural space due to influences of the concept of hygiene, the invention new construction material(reinforced concrete) and technology. The opening up of architecture to blur boundaries of inside and outside seeks to promote the symbiotic relationship between nature and architecture. Furthermore,Western ideas of the dialectic between architecture and nature were portrayed in the 18th and 19th centuries' emphases on gardens and the country houses. The idealisation of architecture from the perspective of the Arcadian landscapes was evident in art, architecture and literature.

In the local context, architecture explores the idea of turning architecture inside-out and outside-in. The use of trees outside and inside of architecture also allows architecture to grow.

In the PJ Trade Centre (designed by Kevin Mark Low of Small Projects, with Yellil Architect as the Architect of record), there is a natural element onalmost all four walls, floor and ceiling despite being a commercial office development.

9 一幢傳統(tǒng)村屋的室外元素/The external elements of a traditional kampong house

10 百葉窗盒住宅正立面/Front elevation of the Louvrebox House

11 村屋的會(huì)客空間/The serambi of a kampong house

12 淡賓尼一道的入口庭院/The entrance courtyard of Jalan Tempinis Satu

…good architecture begins with the garden.——Kevin Mark Low[12]

After the more solid concrete ventilation block facade, the Centre reveals a garden courtyard which is visible through the more transparent inner walls of the offices. It seems as if the trees were put in place first and the walls came up around them.The sky terraces punctuate the area bridging the ventilation block screen and the offices provide a garden space at higher levels. This is empowerment of nature is echoed by trees growing out from the basement car park floors through each level.[13]Low believes that architecture should be about unclosure of space and the unarchitecture of buildings. He stresses that the garden is not merely designed around good architecture and beauty can come from non-architectural components of a building.

The global-local dialectic has paved way for alternative philosophical concern and practice of architecture in Malaysia. Rebutting the questions on style, there emerges an alternative approach to contemporary Malaysian architecture that embraces the global, the traditional and the local and perceives such concepts as not mutually exclusive. Contemporary architectural thoughts and ideas do not emerge from a vacuum. Rather,they are formed by a convergence of philosophical,economical, historical and socio-cultural influences.Despite the different physical manifestations of architecture, the core philosophy stems from the concerns of place-specific architecture that returns to the fundamental basis of architecture economy,humanity and place.

The definition of identity in architecture is a polemic issue. What identity? Whose identity?The architectural discourse is constantly faced with the problem of identity because identity is transient. Identity is governed by place and time which are never static. In order to respond to the unique position of defining the 'here' and 'now',the awareness of the global context and the local context will continue to forge path in defining and re-defining the identity of contemporary Malaysian architecture. One of the contemporary approaches to architecture is indeed 'glocal'.□

注釋/Notes:

[1] RICOUER, P. (1961) 'Universal Civilization and National Cultures'. In History and Truth, trans. Chas.A. Kelbley. Evanston: Northwestern University Press,1965: 276-277.

[2] In the book Place & Placelessness (1976), Edward Relph defined placelessness as environments that lack a sense of identity.

13 洛克住宅的斜屋頂/The slanted roof of Loke Residence

14 木條墻面/The timber strip walls

15 八打靈再也貿(mào)易中心的挑空平臺(tái)/The sky terraces of PJ Trade Centre

16 從地下車(chē)庫(kù)生長(zhǎng)出來(lái)的樹(shù)木/The trees growing through the basement car park levels

17 玻璃墻面使門(mén)廳向庭院花園敞開(kāi)空間/The glass walls opening up the lobby to the courtyard garden

[3] GIDDENS, A. 1990, The consequences of modernity, Oxford: Polity Press.盡管很難追蹤到“全球本土化”術(shù)語(yǔ)在原日語(yǔ)中的首位使用者，英語(yǔ)中的首位使用者是羅蘭·羅伯森教授。他是一位英美社會(huì)學(xué)家，從英國(guó)移居美國(guó)，并在美國(guó)賓夕法尼亞州的匹茲堡大學(xué)度過(guò)了大部分學(xué)術(shù)生涯。羅伯森原來(lái)在社會(huì)學(xué)中的研究方向是宗教社會(huì)學(xué)、社會(huì)學(xué)理論和文化社會(huì)學(xué)，其研究也涉獵比較社會(huì)學(xué)和現(xiàn)代化研究領(lǐng)域。/Although it would be difficult to trace the first user of the term 'glocalisation' in its original Japanese usage, the first time the term was used in English can be attributed to Professor Roland Robertson, a British/American sociologist,who migrated from United Kingdom to the United States where he spent most of his academic career at the University of Pittsburgh, Pennsylvania, USA.Robertson's original interests in sociology were in the areas of sociology of religion, sociological theories and cultural sociology. He also ventured into areas of comparative sociology and modernization studies.

[4] FRAMPTON, K. 1995. Studies in Tectonic Culture:The Poetics of Construction in Nineteenth and Twentieth Century Architecture. New York: The MIT Press: 27.

[5] NORBERG-SCHULZ, C. 1996. 'The Phenomenon of Place (1976)'. In Theorizing A New Agenda For Architecture: An Anthology of Architectural Theory 1965-1995. Nesbitt, K. (ed). Princeton Architectural Press: 426.

[6] HARRIES, K. 1996. 'The Ethical Function of Architecture (1975)'. In Theorizing A New Agenda For Architecture: An Anthology of Architectural Theory 1965-1995. Nesbitt, K. (ed). Princeton Architectural Press: 396.

[7] OOI, Lina. C'Arch Architects: Belum Rainforest Resort.

[8] BALSUTO, David. 2008. Boh Tea Centre/ZLG Design.

[9] FRAMPTON, K. 1995. Studies in Tectonic Culture:The Poetics of Construction in Nineteenth and Twentieth Century Architecture. New York: The MIT Press.

[10] GDP Architects on Lone Pine Resort. http://www.gdparchitects.com/projects/category/hotel/lone-pine-hotel.html

[11] YOONG, Yvonne. 2005. 'Wooi's Wow Factor'. In New Straits Times, February 19.

[12] LOW, Kevin Mark. Small projects, http://www.small-projects.com/#

[13] TONG, Ching Thing. 'The Bare Mark' Space Out Magazine.