一個(gè)人的現(xiàn)代性之辯

張利

篇首

一個(gè)人的現(xiàn)代性之辯

張利

又到了文革后中國(guó)建筑師的個(gè)人時(shí)間——我們每年以一期《世界建筑》聚焦于一位在“文革”后接受教育的中國(guó)建筑師，期望借此一點(diǎn)一點(diǎn)地窺探當(dāng)代中國(guó)建筑的故事。本期的主角是“當(dāng)代中國(guó)獨(dú)立建筑師”一詞的最重要定義者之一——張永和，他對(duì)“現(xiàn)代性”的持續(xù)探尋——不僅在實(shí)踐，也在教育上——在某種意義上刻畫了一條當(dāng)代中國(guó)建筑師成長(zhǎng)的啟發(fā)性路徑。

張永和自文革晚期因“子承父業(yè)”而觸及建筑，其正式的建筑教育則從成為東南大學(xué)（當(dāng)時(shí)的南京工學(xué)院）的第一屆文革后學(xué)生起，歷經(jīng)美國(guó)的中部和西部不同大學(xué)的不同學(xué)位；上個(gè)世紀(jì)末回國(guó)進(jìn)行建筑實(shí)踐與教育的實(shí)驗(yàn)；其后于本世紀(jì)初再次赴美，不僅擔(dān)任重要建筑教育機(jī)構(gòu)的領(lǐng)導(dǎo)者，還成為了最重要的建筑獎(jiǎng)項(xiàng)的評(píng)委；再后，再次回到中國(guó)，在一個(gè)新的高度上繼續(xù)其未完成的建筑實(shí)踐與教育的實(shí)驗(yàn)。在這一中西交替的“正弦波”軌跡中，其影響力“振幅”隨時(shí)間積累得以戲劇性地?cái)U(kuò)大，而貫穿于其中的基本學(xué)術(shù)訴求——建筑本體所承載的現(xiàn)代性意義——始終不曾改變。

張永和的現(xiàn)代性之辯呈現(xiàn)為一種知性的好奇而非憤怒的反叛。抑或是家庭環(huán)境與父輩友人的熏陶，抑或是個(gè)人天性使然，張永和對(duì)建造的好奇如同他最喜歡的“小偵探”故事一樣，是一個(gè)內(nèi)省的、反思的和求證的過(guò)程。從早初的概念競(jìng)賽作品，到早期實(shí)踐的家具空間，到后來(lái)的原型化空間和物性化工藝，張永和避免在抽象的建筑空間之上附帶情景化或意識(shí)形態(tài)化的敘事，避免其作品流入“正確”與“錯(cuò)誤”的倫理評(píng)判之中。與20世紀(jì)之初的國(guó)際現(xiàn)代主義運(yùn)動(dòng)先鋒們和二戰(zhàn)之后平權(quán)運(yùn)動(dòng)的建筑師社會(huì)批判家們相比，張永和的建筑觀以中立的正向建構(gòu)存在，可以不依賴于對(duì)某種即定價(jià)值觀的破除而獨(dú)立成立。

張永和的現(xiàn)代性之辯得益于混雜的多元營(yíng)養(yǎng)而非純粹的單一價(jià)值。其成長(zhǎng)年代的歷史驟變及其成長(zhǎng)線索的復(fù)雜性在今天看來(lái)是一份寶貴的財(cái)富。與今天互聯(lián)網(wǎng)媒體時(shí)代的價(jià)值觀趨同相比，與今天赴海外求學(xué)者的目的地趨同相比，當(dāng)年改革之初的中國(guó)對(duì)各種外界信息的同等關(guān)注與歡迎，以及文革后到海外留學(xué)的第一代人的天真與包容，實(shí)在是一種難得的開放態(tài)度。這也決定了在張永和的建筑中我們雖然可以找到不同師承的片斷基因，卻無(wú)法找到一個(gè)被分析模仿的原型。強(qiáng)勢(shì)預(yù)判的缺席也造就了張永和對(duì)無(wú)處不在的建筑啟示的敏感，他可以放松地從觀察到的事物中獲取營(yíng)養(yǎng)，而不必?fù)?dān)心這種營(yíng)養(yǎng)是否有損于自己已有的立場(chǎng)。

張永和的現(xiàn)代性之辯更多是以東方語(yǔ)言講述的國(guó)際故事而非國(guó)際語(yǔ)言講述的中國(guó)故事。張永和曾經(jīng)表示對(duì)“東方”一詞（形容詞性）的質(zhì)疑，并說(shuō)到“南北”（指氣候）可能比“東西”（指文化）更能令人信服地定義世界建筑的性格。這一觀點(diǎn)毫不隱諱地表達(dá)了張永和在全球化和地域化之間的選擇，也幫助解釋了為什么在迄今為止的張永和建筑中，文化根源的話題不是被相對(duì)回避，就是被以隱晦的方式加以討論。這種策略在客觀上與全球化的傳播需求更為兼容，也在事實(shí)上曾助力于增加中國(guó)當(dāng)代建筑的國(guó)際關(guān)注度。有趣的是，時(shí)代的演進(jìn)也使張永和不得不面臨新的挑戰(zhàn)，其剛剛競(jìng)賽勝出的巴黎國(guó)際大學(xué)城中國(guó)之家項(xiàng)目，因其外交意義而呈現(xiàn)出不折不扣的“中國(guó)故事”需求，我們期待張永和在這一話題上的新答案。

感謝張永和老師、魯力佳老師和非常建筑團(tuán)隊(duì)對(duì)本期專輯的大力支持。□

It is time to look closely on one Chinese contemporary architect again. For years, we have been doing this once a year: to focus a full issue of World Architecture entirely on the works and thoughts of one Chinese architect educated after the"Culture Revolution".The protagonist of this issue is Yung Ho Chang. His individual quest for modernity,not only through practice but also education, draws a path of personal development that is widely regarded as inspirational in China.

Yung Ho Chang entered the field architecture long before his college education, at a time when a junior following his father's trade was still the default growing-up pattern. His architecture education started in the Southeast University(under the name Nanjing Institute of Technology back then), followed by different programmes in different parts of the United States. He came back to China in the 1990s, formed his own practice and led the experimental architecture programme in Peking University. In the early 2000s he went to the States again, this time taking the Chair of MIT and sitting on the Pritzker Jury soon after. In the second decade of the 21st century he came back to China for the second time, resuming his unfinished China experiments in both practice and education. This alternating China-US career track can be rendered in a growing sine curve. While its extent of impact amplifies drastically through time, the underlying academic interest remains unchanged: the quest for modernity through making.

Yung Ho Chang's quest for modernity is more based on intellectual curiosity than ideological overhaul. It might be his family, it might be himself,that his search in the making of things is like the Little Detective story he has cherished so much in his mind: a reflective, introspective process of finding. From his early conceptual designs, to his early furniture spaces, to his recent trials in new typologies and material crafts, Yung Ho Chang has freed his architecture of any scenographic or ideological narrative. There is no right or wrong in his architecture proposition. Compared to the Modernist pioneers of the early 20th century and the Leftist critic-architects of the late 20th century,Yung Ho Chang's architecture is a neutral construct.His works explain themselves, without the need to launch any attack on anything else.

Yung Ho Chang's quest for modernity is nourished by multiple, hybrid sources, not one single, monopolising source. The historical world change in his formation years, and the complexity in his personal development are precious advantages from today's point of view. In the 1980s, China was a country just opening up and every input from outside is equally welcomed. People testing their foot on a western ground to study bared an ignorance that can only be seen as a true open-mind today. It was through these that Yung Ho Chang experienced cross fertilisations from different schools and different people. It was also through these that Yung Ho Chang eventually developed the skill of learning the best from most. That is why we might be able to identify traces of different teachers in Yung Ho Chang's work, but we cannot find a single model that Yung Ho Chang has replicated. The absence of any pre-judgment also enabled Yung Ho Chang to freely observe and learn from the world around him, without the worry of any conflict with his own positions.

Yung Ho Chang's quest for modernity is more international than local. Yung Ho Chang has openly commented that the use of the word "east"as a cultural adjective worries him. When it comes to identity, he would rather believe in "northsouth" (climate), not "east-west" (culture). This unapologetic position clearly expresses Chang's choice between globalisation and localisation.It also helps to explain why in Yung Ho Chang's works so far, the issue of identity is either suspended or addressed in an implicit, tongue-incheek fashion. Practically, this approach is more compatible with international communication and has indeed contributed to the emerging of Chinese contemporary architecture on the global stage.Interestingly, time has put new challenges before Yung Ho Chang. Along with his winning of the China House project in Paris, given the diplomatic significance of the project, Yung Ho Chang has to be more local in it. How Yung Ho Chang will cope, we are keen to see.

Our biggest thanks to Mr. Yung Ho Chang, Ms.LU Lijia and Atelier FCJZ.□

造的現(xiàn)代性：張永和

1

張永和

美國(guó)注冊(cè)建筑師，美國(guó)建筑師學(xué)會(huì)會(huì)員

非常建筑創(chuàng)始人、主持建筑師

同濟(jì)大學(xué)教授，北京大學(xué)教授，麻省理工學(xué)院（MIT）建筑系前主任、實(shí)踐教授

張永和曾在中國(guó)和美國(guó)求學(xué)，于1984年獲得加利福尼亞大學(xué)伯克利分校建筑學(xué)碩士學(xué)位。1992年與魯力佳創(chuàng)立獨(dú)立實(shí)踐非常建筑，其作品涉及建筑、城市、景觀、室內(nèi)、家具、產(chǎn)品、服裝、首飾、舞臺(tái)、展覽及裝置等多個(gè)方面。

張永和與非常建筑曾獲諸多獎(jiǎng)項(xiàng)，如1987年日本新建筑國(guó)際住宅設(shè)計(jì)競(jìng)賽一等獎(jiǎng)第一名，美國(guó)“進(jìn)步建筑”1996年度優(yōu)秀獎(jiǎng)，2000年聯(lián)合國(guó)教科文組織藝術(shù)貢獻(xiàn)獎(jiǎng)，2006年美國(guó)藝術(shù)與文學(xué)院的學(xué)院建筑獎(jiǎng)，2016年第四屆中國(guó)建筑傳媒獎(jiǎng)實(shí)踐成就大獎(jiǎng)，2017年贏得法國(guó)巴黎大學(xué)城中國(guó)之家設(shè)計(jì)競(jìng)賽（與法國(guó)CAAU合作）。出版發(fā)表過(guò)多本書籍和專著，包括《繪本非常建筑》《圖畫本》《作文本》、中英雙語(yǔ)《小偵探》、英法雙語(yǔ)Yung Ho Chang / Atelier Feichang Jianzhu∶ A Chinese Practice及意大利語(yǔ)Yung Ho Chang∶Luce chiara，camera oscura、《平常建筑》 《非常建筑》等。曾多次參加國(guó)際建筑及藝術(shù)展，如2000-2016年先后6次參加威尼斯建筑及藝術(shù)雙年展；還曾舉辦6次個(gè)展，1999年在紐約Apex Art畫廊，2002年在哈佛大學(xué)，2005年在紐約前波畫廊，2007年在麻省理工學(xué)院，2008年在倫敦維多利亞和阿爾貝特（V&A）博物館應(yīng)邀做裝置設(shè)計(jì)“塑與茶”，2012年在北京尤倫斯當(dāng)代藝術(shù)中心“張永和+非常建筑：唯物主義”舉辦大型回顧展，2016年在上海當(dāng)代藝術(shù)博物館舉辦大型個(gè)展“建筑之名：非常建筑泛設(shè)計(jì)展”。張永和也曾擔(dān)任2005首屆深圳城市建筑雙年展的總策展人，2008年威尼斯雙年展中國(guó)館聯(lián)合策展人，以及2013首屆上海西岸建筑與當(dāng)代藝術(shù)雙年展總策展人。非常建筑的產(chǎn)品、建筑模型和裝置被倫敦V&A博物館、日本越后妻有大地藝術(shù)三年展、中國(guó)國(guó)家美術(shù)館、深圳何香凝美術(shù)館、香港M+等機(jī)構(gòu)收藏。

張永和曾在美國(guó)和中國(guó)的多所建筑學(xué)校任教，現(xiàn)任同濟(jì)大學(xué)、麻省理工學(xué)院（MIT）、北京大學(xué)教授及香港大學(xué)榮譽(yù)教授，曾于2002年任哈佛大學(xué)設(shè)計(jì)研究院丹下健三講席教授，2004年任密歇根大學(xué)伊利爾·沙里寧講席教授，1999-2005年任北京大學(xué)建筑學(xué)研究中心創(chuàng)始主任，2005-2010年擔(dān)任麻省理工學(xué)院建筑系系主任，2016年任加利福尼亞大學(xué)伯克利分校霍華德·弗里德曼教席教授。2009年被選為美國(guó)建筑師學(xué)會(huì)香港分會(huì)榮譽(yù)會(huì)員。2011-2017年任普利茲克建筑獎(jiǎng)評(píng)選委員會(huì)評(píng)委。

Yung Ho Chang

AIA

Founder, Principal Architect, Atelier Feichang Jianzhu (FCJZ)

Professor, Tongji University, Peking University

Professor of the Practice and former Head,Architecture Department, MIT

Chang and FCJZ have received a number of prizes, such as First Place in the Shinkenchiku Residential Design Competition in 1987, a Progressive Architecture Citation Award in 1996,the 2000 UNESCO Prize for the Promotion of the Arts, and the Academy Award in Architecture from American Academy of Arts and Letters in 2006, 2016 China Architectural Media Award Achievement in Practice Prize, and won the design competition for Fondation de Chine a la Cite Universitaire de Paris with CAAU. Chang has published several books and monographs,including Graphic FCJZ, Yung Ho Chang Draws,Yung Ho Chang Writes, The Little Detective in Chinese/English, Yung Ho Chang/Atelier Feichang Jianzhu: A Chinese Practice in English/French,Yung Ho Chang: Luce chiara, camera oscura in Italian, Pingchang Jianzhu, and Feichang Jianzhu,etc. They have participated in many international exhibitions of art and architecture, including six times in the Venice Biennale since 2000. FCJZ has held solo exhibitions of its work at Apex Art in New York in 1999, Harvard GSD in 2002, Chambers Gallery in New York in 2005, and MIT in 2007 and was invited to create an installation Poly & Chai in the central court at Victoria & Albert Museum in London in 2008. In 2012, FCJZ held a milestone retrospective at UCCA in Beijing entitled Yung Ho Chang + FCJZ: Material-ism. In 2016, FCJZ held a major solo exhibition at PSA in Shanghai entitled In The Name of Architecture: Pan-Design Practice of Atelier FCJZ. Chang also curated/cocurated the 1st Shenzhen Biennale of Urbanism and Architecture in 2005, the China Pavilion at Venice Biennale in 2008, and the 1st West Bund Biennale of Architecture and Contemporary Art in Shanghai in 2013. Products, architectural models,and installations by FCJZ are in the permanent collection at V&A, Echigo-Tsumari Land Art Triennale in Japan, National Art Museum of China in Beijing, He Xiangning Art Museum in Shenzhen,and M+ in Hong Kong.

Chang has taught at various architecture schools in the USA and China; he is presently a professor at Tongji, PKU, and MIT where he served as the head of Architecture Department from 2005 to 2010, as well as Honorary Professor at HKU. He founded the Peking University Graduate Center for Architecture in 1999, and held the Kenzo Tange Chair at Harvard in 2002, the Eliel Saarinen Chair at Michigan in 2004, and the Howard Friedman Chair at Berkeley in 2016. In 2009 he was bestowed the honorary membership by AIA Hong Kong. He was a Pritzker Prize Jury member from 2011 to 2017.

One Man's Quest for Modernity

ZHANG Li

a Master of Architecture degree from the University of California at Berkeley in 1984 and has been practicing as Atelier Feichang Jianzhu(FCJZ) with LU Lijia in China since 1992. FCJZ's work ranges from architecture, urbanism, landscape,interior, to furniture, product, clothing, jewelry,stage, exhibition and art installation.

清華大學(xué)建筑學(xué)院/《世界建筑》

2017-10-11