為自己設計：自在之喜與自在之憂

張利

為自己設計：自在之喜與自在之憂

張利

一個在歷史上被接受的說法是：建筑師是建筑作品的“母親”，業(yè)主是“父親”。這一說法被廣泛接受的原因是，它即反映了業(yè)主與建筑師在建筑作品產(chǎn)生過程中的密切而復雜的共生關系，又直白地指明了建筑師在其中的.相對弱勢地位（這里不含有任何性別歧視的因素）。自古以來，建筑師對所承擔的“母親”這一角色有著說不盡的委屈與埋怨，雖然這一角色客觀上也為建筑師的失誤提供了借口。所幸的是，建筑師在兩種建筑的設計上可以同時扮演“父親”與“母親”的角色，一是建筑師的自宅，二是建筑師自己的工作空間。我們很想知道當建筑師擁有了這樣的自在角色時，他（她）們能表現(xiàn)出在其他設計中看不到的哪些特點。建筑師自宅在我國尚未成為主流，因此，這一期《世界建筑》的關注就集中到了建筑師的工作空間上。

建筑師自己既然擁有了最終決策權，一切都會變簡單了么？一點兒也不。我們同時看到因此種自在而來的欣喜與焦慮。喬布斯在世時曾談及與其妻選購新家洗衣機的困擾：“我們不停地研究哪種洗衣機更能充分反映我們的價值觀?！币苍S大多數(shù)建筑師的個人價值觀不像喬氏那樣鮮明，但以自己對物的選擇來表達自己的愿望是同樣強烈的，更何況此時的“物”并不是一架簡單的機器，而是一個包被自己于其中的建成環(huán)境。任何一個建筑師在提筆設計自己的工作室之前都不能回避下列問題：工作室空間需要表現(xiàn)我的建筑價值觀么？如果不需要，我以什么來衡量、引導我的設計？而且不表現(xiàn)任何價值觀是否本身就是一種價值觀？如果需要，我的建筑價值觀是什么？我又如何在一個小的工作室空間中以令人信服的方式傳遞我的建筑價值觀，說服前來參觀我工作室的其他人，特別是那些挑剔的同行？

在本期所收錄的實例中，回答為“不需要”的僅一個（基蘭-廷伯萊克建筑師事務所）。其新的工作空間比事務所原先的工作空間更少有關于空間美學的暗示，似乎只關注效率。除去特有的大型人字背板以外，這種對表現(xiàn)的拒絕幾乎已經(jīng)成了一種自律式的拘謹。

其他的工作室案例顯然都對表現(xiàn)建筑價值觀持肯定的態(tài)度。從本質上講，絕大多數(shù)的建筑師工作室都是對現(xiàn)有空間的改造（這也許是塔里埃森長年被人津津樂道的原因之一），因而建筑師的價值觀也就必須通過增量（或減量）的形式加以表達。這種表達有兩種主要的方式：第一種，宏觀的表達方式，以對建筑空間的梳理與重構來講述一個完整的建筑敘事，改造的增減量相對較大；第二種，微觀的表達方式，以對局部建筑界面或細節(jié)的改變來形成片斷化的體驗暗示，改造的增減量相對較小。

顯然，第一種方式在表現(xiàn)建筑價值觀方面更為直接、強烈。這里面有對東方建筑的時間性與主客體相關性傳統(tǒng)的整體嘗試（何鏡堂工作室、原作設計工作室、楊瑛工作室），有對產(chǎn)業(yè)空間的文化價值植入以及戲劇性交往空間營造的系統(tǒng)研討（里卡多·波菲建筑師事務所、上海日清建筑設計有限公司），有對光、空氣與有機體共生環(huán)境的抽象研討（塞爾加斯-卡諾工作室、標準營造）。

A widely accepted notion is that when it comes to the authorship of architectural work, the architect is the mother, the client is the father. This notion clearly renders the close relationship between the architect and the client in the making of a work, while unmistakably suggesting the relative powerless role of the architect (no sexist view here). In history, this role not only has evoked more than enough complaint from the architect, but also has given the architect more than enough excuse for all mistakes. Fortunately, in two types of projects, the architect takes both the roles of the "father" and of the "mother" at the same time, enjoying a full control. the two types of projects are: the architect's own house and the architect's own work space. We have been keen to see what happens when architects have this type of full control. Since architects' own houses haven't been the mainstream yet in China, we focus on the architects' own working spaces in this issue.

The architect has the final say. Great. Will things become much simpler? Not really. Out of this design freedom, what we see is actually both of joy and anxiety. Steve Jobs talked about the anxiety he shared with his wife when trying to select a washing machine that correctly represents their values. An architect may not have values as unforgiving as Steve Jobs', yet the desire to represent oneself in something selected by oneself is not a single bit lower. Adding to this is that a work space is immersive and assimilating, therefore generates more sense of attachment. Any architect who is about to design his/her own work space has to answer these questions: Must my workspace reflect my architectural values? If not, what then may lead my design? (Or, is no value actually itself an value?) If yes, what are my values? How can I present these values in the work space in a convincing way, particularly to those picky fellow architects visiting my place?

In this issue, the only office that seems to have answered "no" to the first question is Kieran-Timberlake. The new workspace of this renowned office is even more neutral then their previous one. Only efficiency seems to have been addressed. Yet this neutrality comes at a price. Aside from the gable shaped large-size pin-up boards, the whole space is under a self-imposed constraint. Too much disciplined, you may argue.

Other offices answered "yes" to the first question. Generally speaking, nearly all architectwork-space projects are renovation projects to some degree. the architect's values have to been conveyed through the incremental operations applied to the space. there are two approaches to these incremental operations: the top-down one and the bottom-up one. The top-down approach tries to create a complete architectural narrative by resorting and reorganizing the whole space. The bottom-up approach tries to create fragmented moments through the microcosm treatment of parts and materials.

第二種方式在表現(xiàn)建筑價值觀方面更為隱晦、微妙。這里有對可達性的溫柔諷刺 （源計劃建筑師事務所），有對游戲精神的悄聲贊美（ADA研究中心現(xiàn)代建筑研究所），也有對材料工藝傳統(tǒng)的依依不舍（米拉萊斯-塔格利亞布EMBT建筑師事務所）。

無論如何，從所有案例中都可看到，建筑師工作室是承載了其建筑師最多情感的作品之一，因而，它絕對不會是建筑師最容易的作品。如果說建筑師在其他作品中不可能享受到完全的自在的話，那么在這里，他（她）享受的絕不僅是自在之喜，也同樣有自在之憂。

Obviously, the top-down approach is more explicit. In the offices published in this issue there are a number of exploration: the wholesale reinterpretation of oriental subject-object relationship (HE Jingtang, ZHANG Ming and YANG Ying); the implanting of culture into industrial/ commercial spaces (Bofill, SONG Zhaoqing); the abstract interaction between light, air and organisms (Selgascano, ZHANG Ke).

The bottom-up approach is more implicit. In this issue we see some mild satires of circulation (O-office), silent compliments of play (WANG Yun), and lingering feelings towards making and craft (Miralles Tagliabue EMBT).

No matter how different these work spaces are, we see one thing in common. The architect's work space is the project which he/she attaches him/ herself, therefore it carries the joy and the anxiety of the architect in very honest ways.

Design for Oneself: the Joy and the Anxiety of Freedom

ZHANG Li

米拉萊斯-塔格利亞布EMBT建筑師事務所平面草圖，恩里克·米拉萊斯，1997/Plan sketch of Miralles Tagliabue EMBT, by Enric Miralles, 1997

清華大學建筑學院/《世界建筑》

2015-04-06