環(huán)境、激進(jìn)主義與設(shè)計(jì)：黎巴嫩的新興實(shí)踐

卡拉·阿拉莫尼/Carla Aramouny

龐凌波 譯/Translatedy by PANG Lingbo

“建筑學(xué)與所有設(shè)計(jì)行業(yè)正在發(fā)生一場(chǎng)既主動(dòng)又被動(dòng)的重大變革：主動(dòng)尋求發(fā)揮更重要的作用，被動(dòng)響應(yīng)世界正面臨的人道主義與環(huán)境危機(jī)?！盵1]8

2019 年10 月，這是非比尋常的一個(gè)月，黎巴嫩爆發(fā)大規(guī)模示威活動(dòng)，以反對(duì)近幾十年來(lái)的腐敗和公共資金管理不善。迫在眉睫的經(jīng)濟(jì)崩盤、大規(guī)模具毀滅性的森林大火，以及新一輪征稅，是刺激這場(chǎng)大規(guī)模抗議的主要原因[2]。在這場(chǎng)民眾示威中，藝術(shù)家、設(shè)計(jì)師、建筑師、城市規(guī)劃師和教育工作者等紛紛呼吁國(guó)家進(jìn)行必要的改革，他們對(duì)由于腐敗而導(dǎo)致的對(duì)自然和建設(shè)環(huán)境產(chǎn)生直接改變的體制感到憤怒。不過(guò)在設(shè)計(jì)領(lǐng)域里，這樣的激進(jìn)主義并非這場(chǎng)沖突的產(chǎn)物。近些年來(lái)，在這樣一個(gè)經(jīng)濟(jì)停滯、社會(huì)與環(huán)境惡劣到達(dá)前所未有的程度的國(guó)家，激進(jìn)主義設(shè)計(jì)一直位于當(dāng)?shù)卦O(shè)計(jì)學(xué)科中心，設(shè)計(jì)師與建筑師將創(chuàng)造改變的可能性寄托在倡議這樣一種必要的機(jī)制上。無(wú)論是個(gè)人層面、實(shí)踐層面或是學(xué)術(shù)層面，幾項(xiàng)舉措在近期已經(jīng)強(qiáng)有力地將設(shè)計(jì)師轉(zhuǎn)變?yōu)榛钴S的中間人，將他們所扮演的角色擴(kuò)展到了直接學(xué)科之外，以在更廣泛的社會(huì)和環(huán)境層面發(fā)揮干預(yù)作用。

全球建筑話語(yǔ)的轉(zhuǎn)變

橫覽全球，當(dāng)前建筑修辭和話語(yǔ)的轉(zhuǎn)變，已然清晰地將環(huán)境與地球的未來(lái)與日益嚴(yán)重的氣候危機(jī)置于緊迫的辯論議題和設(shè)計(jì)構(gòu)想中心。人們對(duì)建筑及其對(duì)環(huán)境影響的關(guān)注日益強(qiáng)烈，尤其是對(duì)建筑環(huán)境對(duì)自然資源的巨大影響的關(guān)注，早已超越建筑本身的范圍，擴(kuò)大到更大的城市和版圖范疇。

從2019 米蘭三年展[3]、2020 威尼斯雙年展1）到2019 沙迦三年展2）[4]，建筑領(lǐng)域究竟對(duì)我們的環(huán)境，以及對(duì)未來(lái)幾代人的前景帶來(lái)怎樣的影響，這樣的問(wèn)題在這些近期重要的建筑大會(huì)與平臺(tái)上成為了核心關(guān)注點(diǎn)。借助2019 年沙迦建筑三年展“未來(lái)世代的權(quán)利”，阿德里安·拉胡德3）探索了建筑對(duì)于人類和自然環(huán)境的擴(kuò)展含義，將未來(lái)幾代人的權(quán)益延伸到更大的自然與環(huán)境權(quán)利框架上，而不僅拘泥于遮蔽物這一限定。通過(guò)三年展，拉胡德動(dòng)員建筑師、表演者、社會(huì)活動(dòng)家以及其他人參與到對(duì)人類和自然環(huán)境各種未知的交叉點(diǎn)的思考當(dāng)中，激發(fā)可能的未來(lái)。眼下2020 威尼斯建筑雙年展即將啟動(dòng)，策展人哈希姆·薩爾基斯4）提出“我們將如何共同生活？”這一問(wèn)題，將其置于對(duì)人類未來(lái)重要的重新評(píng)估框架之中，置于拋卻多年來(lái)對(duì)地球的忽視與社會(huì)的冷漠的集體訴求之中。威尼斯雙年展重新將社會(huì)公平與環(huán)境保護(hù)的緊迫性問(wèn)題視為建筑學(xué)領(lǐng)域迫切關(guān)切的問(wèn)題核心，推動(dòng)建筑師的角色發(fā)生有效變化。

幾十年來(lái)，另一種獨(dú)特的全球激進(jìn)主義設(shè)計(jì)形式則是通過(guò)直接的社區(qū)參與和設(shè)計(jì)-建造項(xiàng)目實(shí)現(xiàn)的。托馬斯·費(fèi)舍爾在他2008 年出版的《擴(kuò)展建筑：作為激進(jìn)主義的設(shè)計(jì)》一書的前言中對(duì)建筑師的角色進(jìn)行了必要的重新定位，在人道主義危機(jī)、氣候變化、難民洶涌和全球人口激增的情況下，建筑師應(yīng)當(dāng)更多地介入社區(qū)[1]9-13。他強(qiáng)調(diào)，建筑師必須從為少數(shù)人服務(wù)向普遍為社區(qū)和環(huán)境解決所面臨的必要和關(guān)鍵問(wèn)題轉(zhuǎn)變。這一方法早在1999 年就被“為人的建筑”5）[5]采用，近期的代表則是Mass Design Group6），它憑借非盈利實(shí)踐將建筑置于以人為中心的框架中，以滿足災(zāi)后和武裝沖突地區(qū)迫切的社會(huì)需求。

除國(guó)際論壇和直接的社區(qū)參與之外，新興的調(diào)研式設(shè)計(jì)的研究和倡導(dǎo)透過(guò)“法證建筑”7）[6]和“在地研究”8）等的實(shí)踐，帶來(lái)了建筑師作為重要調(diào)查員的可能性，通過(guò)設(shè)計(jì)與研究探詢必要的政治和環(huán)境公平。法證建筑利用建筑和可視化作為工具爭(zhēng)取社會(huì)與環(huán)境公平，以探究性研究方法和對(duì)環(huán)境的取證，揭示數(shù)據(jù)和調(diào)查結(jié)果。建筑師作為活動(dòng)家的這種以實(shí)踐為基礎(chǔ)的角色，進(jìn)一步地拓寬了建筑和城市運(yùn)作的框架，使其向空間沖突和司法公正的方向發(fā)展。

激進(jìn)主義與環(huán)境的地方形式

在黎巴嫩一個(gè)更局部的層面上，設(shè)計(jì)、建筑以及城市媒介的激進(jìn)主義一直以來(lái)都持續(xù)地對(duì)更大的社會(huì)政治和環(huán)境問(wèn)題產(chǎn)生影響，這是由無(wú)能的政權(quán)體系和其對(duì)環(huán)境缺乏可行的可持續(xù)愿景所導(dǎo)致的必然。莫娜·哈爾卜[7]指出了在黎巴嫩的近代史上兩代主要的城市活動(dòng)家的崛起，在這段歷史中，抹殺了貝魯特公共空間的戰(zhàn)后重建策略，以及在一些大學(xué)中新興的城市項(xiàng)目共同促成了這一趨勢(shì)。年輕一代利用他們的設(shè)計(jì)和城市背景來(lái)建立聯(lián)盟、進(jìn)行非盈利行動(dòng)，直接帶來(lái)了近期的變化。

2016 年在貝魯特，一些獨(dú)立學(xué)者、建筑師、工程師、社會(huì)活動(dòng)家成立了一個(gè)名為“我的城市貝魯特”的聯(lián)盟[8]，參與市政選舉。他們提出了一個(gè)恢復(fù)市政職責(zé)、采取全市發(fā)展策略的計(jì)劃，獲得了前所未有的支持。他們對(duì)貝魯特的愿景超越了領(lǐng)土政治和黨派分歧，而是集中在這一以人民為中心的市政項(xiàng)目上，促成包容、可持續(xù)的生活和健康的環(huán)境。盡管他們?cè)谂c老牌政黨的競(jìng)爭(zhēng)中以微弱的劣勢(shì)落敗，但他們所創(chuàng)造的變革的運(yùn)動(dòng)和精神直到今天仍能夠體現(xiàn)在幾位當(dāng)?shù)氐慕ㄖ熀统鞘袑＜摇扔袑?shí)踐者，也有教育家——的工作中。這次競(jìng)選所帶來(lái)的結(jié)果是對(duì)建筑師/城市規(guī)劃專家/工程師作為活動(dòng)家——作為一種有能力對(duì)變革產(chǎn)生直接影響且積極參與對(duì)建成和自然環(huán)境產(chǎn)生影響的決策的專業(yè)人士的驗(yàn)證。

1 創(chuàng)造性共享平臺(tái)Platau，SBAU 2019/Platau, Creative Collectives, SBAU 2019（繪圖/Visual: Platau）

Architecture and all the design professions are undergoing a major transformation that is both proactive and reactive: proactive as a search for roles with greater relevance, and reactive as a response to the humanitarian and environmental crises facing the world[1]8.

The month of October 2019 was no ordinary month.Mass demonstrations rose in Lebanon against decades of corruption and mismanagement of public funds.A looming economic crash, large-scale devastating forest fires, and new imposed taxations, were at the heart of the instigation of this massive revolt[2].In this popular uprising, artists, designers, architects,urbanists, and educators, were among the crowd calling for a needed change in the country, exasperated by a system that has directly altered the natural and built environments through corrupt strategies.However,such activism within the design spheres was hardly an outcome of this revolt.In recent years, design activism has been at the heart of the local discipline, where designers and architects have resorted to advocacy as the necessary agency to create change, in a country where the unprecedented level of economic stagnation, social and environmental deterioration, has reached its worst.Several initiatives whether at a personal level, a practice level, or an academic level, have lately grown strongly turning designers into active agents, expanding their roles beyond the bounds of their immediate disciplines to intervene at wider social and environmental levels.

Global Shifts in Architectural Discourse

On a global scale, current shifts in architecture rhetoric and discourse have clearly placed the future of the environment and planet at large with its multiplying climate crisis, at the heart of urgent debates and design speculation.The concern for architecture and its impact on the environment has been increasingly gaining momentum, especially concerning the greater impact of the built environment on our natural resources, going beyond the limits of the building itself to the larger urban and territorial scales.

In recent key architecture conferences and platforms from the 2019 Milano Triennale[3], 2020 Venice Biennale1）,and the 2019 Sharjah Triennale2）[4], the question of the architecture field's impact on our environment and the future prospects for coming generations have been proposed as essential concerns.Through the 2019 Sharjah Architecture Triennale "Rights of Future Generations", Adrian Lahoud3）explores the expanded implication of architecture on the human and natural environments, extending the claims of the coming generations beyond the bounds of shelter to the larger frame of natural and environmental rights.Through the Triennale, he engages architects,performers, activists, and others, in reflections on the various uncharted intersections of human and natural environments, provoking possible alternate futures.Today as the Venice 2020 Architecture Biennale is underway, curator Hashim Sarkis4）poses the question of "How Will We Live Together", framing it within a crucial re-evaluation of the future of humanity and the collective desire to retract years of planetary neglect and social indifference.The biennale re-centres the question of social equality and environmental urgency at the heart of the field's urgent calling, pushing the role of the architect towards effective change.

Another distinctive global form of activism in design has been, for several decades, happening through direct community engagement and design-build projects.In his foreword to the 2008 book Expanding Architecture: Design as Activism, Thomas Fisher[1]9-13frames a necessary repositioning of the role of the architect towards more community engagement amidst growing humanitarian crises, climate change, refugee influx,and rising global population.He stresses that architects must shift from serving the minority to engage with necessary and critical problems facing the community and the environment at large.This approach, adopted by practices like Architecture for Humanity5）[5]from as early as 1999, and more recently by Mass Design Group6）,places architecture in a human-centred framework through non-profit practices that address urgent social needs in post-disaster and conflict areas.

Further to global forums and direct community engagement, the emergence of investigative design research and advocacy,through practices like Forensic Architecture7）[6]and Situ Research8）, has created the possibility of the architect as critical investigator, probing necessary political and environmental justices through design and research.Forensic Architecture uses architecture and visualisation as tools to fight for social and environmental justice, revealing data and findings through their inquisitive research methods and the forensics of context.This type of practice-based role of the architect as activist has expanded further the frame of architectural and urban operations towards spatial conflicts and judicial justice.

Local Forms of Activism and the Environment

On a more local level in Lebanon, activism through design, architecture, and urban mediums,has been consistently growing to impact larger sociopolitical and environmental problematics, necessitated by the inept political system and its lack of a viable sustainable vision for the environment.Mona Harb[7]notes the rise of two main generations of urban activists in the country's recent history, exacerbated by post-war reconstruction strategies that effaced the public domain of Beirut, and fueled by emerging urban programmes in several universities.The younger generation utilised their design and urban backgrounds to establish coalitions and non-profit initiatives that have directly impacted recent change.

In 2016 in Beirut, a group of independent academics, architects, engineers, and activists,formed a coalition[8]running for municipal elections by the name of Beirut Madinati, gathering around them unprecedented support with a programme to rejuvenate municipal duties and adopt city-wide development strategies.Their vision for Beirut transcended territorial politics and sectarian divides to focus instead on a people-centred municipal programme that promotes inclusion, sustainable living, and a healthy environment.Despite their loss by a relatively small margin against established political parties, the movement and spirit for change they created has resounded till today in the work of several local architects and urbanists, both practitioners and educators.What emerged as a result of this campaign is the validation of the role of the architect/urbanist/engineer as activist, as an engaged professional capable of directly impacting change and actively participating in decisions affecting the built and natural environments.

2 黎巴嫩館，哈拉·尤恩斯/Hala Younes, Lebanese Pavilion（攝影/Photo: @Venice Documentation Project 2018）

3.4 催化行動(dòng)，包容性公共空間/Catalytic Action, Inclusive public spaces（攝影/Photos: Catalytic Action）

在建筑和城市設(shè)計(jì)圈內(nèi)同樣也興起了激進(jìn)主義運(yùn)動(dòng)，他們反對(duì)有爭(zhēng)議和有破壞性的項(xiàng)目。諸如保護(hù)達(dá)莉亞沿海地區(qū)9）、反對(duì)阿什拉菲耶興建福阿德·布特羅斯高速路10），以及近期拯救比斯里峽谷11）等運(yùn)動(dòng)，成功地引發(fā)了公眾關(guān)注，阻止或延遲了項(xiàng)目計(jì)劃，而且更重要的是，積極地介入了討論和提議更加可行、合理的選擇。隨后還舉辦了幾場(chǎng)設(shè)計(jì)競(jìng)賽，邀請(qǐng)當(dāng)?shù)卦O(shè)計(jì)師參與重新設(shè)計(jì)這些有爭(zhēng)議的內(nèi)容，以實(shí)現(xiàn)更具包容性和更可持續(xù)的目標(biāo)。

新興設(shè)計(jì)實(shí)踐

在與全球設(shè)計(jì)話語(yǔ)轉(zhuǎn)變的對(duì)話中，這些不同的舉措已然為黎巴嫩的設(shè)計(jì)激進(jìn)主義做好了鋪墊，使其進(jìn)一步趨近設(shè)計(jì)學(xué)科與實(shí)踐的核心地位。這使設(shè)計(jì)師能夠通過(guò)一系列新興的設(shè)計(jì)倡導(dǎo)模式，諸如推測(cè)性提案、直接的社區(qū)介入、批判性研究與調(diào)查等，積極地參與變革，能夠利用他們的工具、技能和權(quán)力。他們倡導(dǎo)圍繞著自然與建筑環(huán)境為中心的多種事業(yè)，例如遺產(chǎn)保護(hù)、建筑法改革、為城市與清潔環(huán)境的權(quán)利而斗爭(zhēng)。這些努力推動(dòng)者建筑師與城市學(xué)家承擔(dān)更大的責(zé)任，以影響社會(huì)與環(huán)境變革。

盡管不是直接的激進(jìn)主義運(yùn)動(dòng)，一些建筑師訴諸預(yù)測(cè)未來(lái)的倡議與全球平臺(tái)的參與，以闡明關(guān)鍵的地方城市或環(huán)境問(wèn)題，提出其他的可能性。由桑德拉·弗雷姆和布洛斯·杜埃希創(chuàng)立的Platau 平臺(tái)12），通過(guò)重新激活現(xiàn)有的開放空間作為新興區(qū)域周邊的節(jié)點(diǎn)，對(duì)貝魯特新興的創(chuàng)造性共享平臺(tái)的潛能進(jìn)行了仔細(xì)考察（圖1）。他們的工作在貝魯特參加2019 首爾建筑與城市雙年展（SBAU）的城市展覽板塊時(shí)的研究與視覺化過(guò)程中得到了發(fā)展。他們的方案強(qiáng)調(diào)城市策略與建筑干預(yù)，通過(guò)激活可用的開放空間來(lái)加強(qiáng)這種集體平臺(tái)的發(fā)展。

另一全球論壇上，哈拉·尤恩斯批判性地展現(xiàn)了黎巴嫩自然地形的遺存，將其作為一種必要的、有價(jià)值的、對(duì)建筑環(huán)境的戰(zhàn)略性重新設(shè)計(jì)有需求的資源[9]14-15。這一策展作品在2018 威尼斯國(guó)際建筑雙年展期間為黎巴嫩館所設(shè)計(jì)，它強(qiáng)調(diào)了剩余土地的脆弱和可能資源的稀缺，意圖識(shí)別潛在空間，以重新思考土地的未來(lái)。這個(gè)藝術(shù)裝置（圖2）包含了貝魯特河盆地的中心物理模型，以及展示其隨時(shí)間形態(tài)變遷的投影視覺效果。這個(gè)廣為流傳的作品在雙年展這一全球平臺(tái)上使當(dāng)?shù)赝恋亓魇У奈C(jī)得到了集中討論。

更直接的倡導(dǎo)模式包括設(shè)計(jì)師采用非盈利組織的框架，直接參與社區(qū)，并為重要的社會(huì)問(wèn)題開發(fā)具有影響力的項(xiàng)目。Warchee 工作營(yíng)這一由建筑師阿納斯塔西婭·魯斯與米歇爾·拉魯-查理成立的非盈利組織，其使命即通過(guò)培訓(xùn)不同建筑技能和專業(yè)方向的女性，加強(qiáng)建筑行業(yè)的性別平等13）。作為魯斯建筑實(shí)踐的平行實(shí)體，Warchee 致力于為黎巴嫩的女性賦能，通過(guò)實(shí)地訓(xùn)練基地和可變制造中心，使她們成為建筑行業(yè)的有效參與者。

“催化行動(dòng)”，由喬安娜·達(dá)巴杰和里卡多·盧卡·孔蒂成立的往返于倫敦和貝魯特兩地的非盈利組織，聚焦在高危和高需求地區(qū)提高生活環(huán)境品質(zhì)。他們介入黎巴嫩境內(nèi)外一些難民營(yíng)，為它們?cè)O(shè)計(jì)和建造教育與游樂(lè)設(shè)施。他們?cè)诶璋湍鄄煌貐^(qū)的游樂(lè)園項(xiàng)目（圖3、4）為貧困社區(qū)的孩子們提供重要的社交和娛樂(lè)空間。通過(guò)他們的努力，催化行動(dòng)將設(shè)計(jì)作為一種賦權(quán)和參與的工具，超越了他們作為建筑師的角色，走向直接的行動(dòng)主義，帶有必要的社會(huì)影響力。

依托于調(diào)查研究與視覺化，“公共工程”14）著手于國(guó)內(nèi)緊迫的城市與環(huán)境領(lǐng)域，將其作為直接行動(dòng)的模式，試圖揭示未知和關(guān)鍵的事實(shí)來(lái)引發(fā)關(guān)注、傳播知識(shí)。他們對(duì)切卡高原和水泥廠的調(diào)查，對(duì)祖克·莫斯比發(fā)電廠對(duì)社區(qū)健康影響的調(diào)查，以及對(duì)近期住宅空間不平等的調(diào)查，引發(fā)了人們對(duì)這些問(wèn)題的廣泛關(guān)注。他們的工作還引入了設(shè)計(jì)競(jìng)賽（圖5），讓更廣泛的建筑與城市社區(qū)向有彈性的、靈敏的方向發(fā)展，例如他們的“Think Housing”競(jìng)賽，推動(dòng)了黎巴嫩經(jīng)濟(jì)適用房這一重要戰(zhàn)略的出現(xiàn)。

5 Public Works的Beyond Cement競(jìng)賽/Public Works, Beyond Cement competition（攝影/Photo: Public Works）

Activist campaigns have also emerged from within the architecture and urban circles, rising against controversial and devastating projects.Campaigns such as the protection of the coastal area of Dalieh9）,the campaign against the Fouad Boutros highway in Achrafieh10）and more recently the Save the Bisri Valley11）, among many others, succeeded in raising public awareness, halting or delaying the planned projects, and more importantly, actively engaging in debates and proposals for more viable and equitable alternatives.Several design competitions were also subsequently launched inviting local designers to take part in reimagining these controversial contexts towards more inclusive and sustainable goals.

Emerging Design Practices

In dialogue with the global shifts in design discourse, these different initiatives have been paving the way for design activism in Lebanon to become further situated in core design disciplines and practice-based endeavors.They are allowing designers to actively engage in change and to utilise their tools, skills, and powers through a range of emerging design advocacy modes, from speculative proposals, direct community interventions, to critical research and investigation.They advocate different causes centred around the natural and built environments, such as heritage preservation,reforming the building law, fighting for rights to the city and to a clean environment.These endeavors are pushing architects and urbanists to take up more substantial responsibilities to impact social and environmental change through their agency.

Although not direct acts of activism, some architects have resorted to speculative advocacy and engagement in global platforms to shed light on key local urban or environmental issues and to propose alternate possibilities.Platau12）, founded by Sandra Frem and Boulos Douaihy, reflected on the potential of creative collective hubs to emerge in Beirut, through re-activating available open spaces as nodes around currently emerging areas(Fig.1).Their work was developed through research and visualisation for the Beirut participation in the 2019 Seoul Biennale for Architecture and Urbanism (SBAU) within its Cities Exhibition component.Their proposal emphasised on urban strategies and architectural interventions that can be adopted to augment the development of such collective hubs by activating available public lots.

In another global forum, Hala Younes[9]14-15critically exposed the remains of the Lebanese natural terrain, framing it as a necessarily valuable resource requiring a strategic reimagining of the built environment.The curatorial work was developed for the Lebanese Pavilion during the 2018 Venice Architecture Biennale and highlighted the fragility of the remaining territory and the scarcity of possible resources, attempting to identify potential spaces to rethink the future of the terrain.The installation(Fig.2) included a central physical model of the Beirut river basin, with projected visuals displaying its morphosis through time.The highly published work centred the debate on the criticality of the local terrain from the Biennale's global platform.

A more direct mode of advocacy includes designers adopting the framework of non-profit organisations to directly engage with the community and develop impactful projects for crucial social causes.The mission of Warchee13）, a non-profit founded by architect Anastasia el Rouss with Michelle Larue-Charlue, is to enforce gender equity in the construction field, by training women in different construction skill sets and trades.As a parallel entity to El Rouss's architecture practice, Warchee works on enabling Lebanese women to be effective participants in the construction industry through on site-training stations and mobile fabrication hubs.

Catalytic Action, a non-profit founded by Joana Dabaj and Riccardo Luca Conti between London and Beirut, focuses on impacting the quality of the living environment in areas of high risk and need.Their interventions have been developed for several refugee camps in Lebanon and beyond, through designing and building educational and playground facilities.Their playground projects (Fig.3,4) in different areas in Lebanon provide children in underprivileged communities with vital social and recreational spaces.Through their work, Catalytic Action uses design as an empowering and participatory tool, transcending their role as architects towards direct activism and necessary social impact.

Embedded in investigative research and visualisation as modes of direct activism, Public Works14）tackles urgent urban and environmental areas in the country, shedding light on uncharted and critical realities to raise awareness and disseminate infor med knowledge.T heir investigations of the Chekka plateau and cement plants, the Zouk Mosbeh powerplant's impact on the community's health, and more recently spatial inequalities in residential spaces, have initiated key awareness on these issues.Their work also introduced design competitions (Fig.5) to engage the larger architecture and urban community towards the development of resilient and sensitive proposals, such as their 'Think Housing' competition that pushed for critical strategies to affordable housing in Lebanon.

Equally, the work of Antoine Atallah, architect and urbanist, utilises research and mapping as means to highlight profound changes affecting urban spaces in Beirut and the larger Lebanese territory.His critical analysis of Beirut's spatial transformation from the early 20th century till today, through aerials, cadastral maps, and panoramic imagery,has created a powerful visual interpretation of the radical changes that have drastically reshaped the urban fabric (Fig.6).Atallah has also played a crucial role as member in the Save Beirut Heritage NGO and the campaign to stop the aforementioned Fouad Boutros Highway, through his research and mappings of the neighbourhood's characteristics,the highway's expected devastating impact on local heritage, and of possible alternatives.

Practice-Based Engagement: The Case of AUB

Intersecting design research and activism have embedded into academic institutions, and prominently so at the American University of Beirut(AUB).Initiatives such as BePublic and Di-Lab at the Department of Architecture and Design15）have transposed into academic circles different approaches to community-based and public interest design.Physical interventions, sometimes in the form of reflective installations and more often as operative built structures, allow faculty and students to engage actively in their local context and in areas of critical need.

BePublic, initiated by Rana Haddad, uses the design studio as a platform to intervene with students on various urban conditions and reflect on public space and civic rights in Beirut.Through temporary design installations, BePublic's work provokes the city dweller to engage with the designer and to look beyond the obvious, raising awareness on socio-political issues impacting their environment.In "Radio Silence" (Fig.7,8) the project inserts a see-saw installation on a previously closed-off public park's gate, challenging the imposed division between two user communities.

Founded by Karim Najjar, Di-Lab works on turning public interest design into an action-based process, working with students, municipalities,and the community at large to identify and build needed sustainable structures.The focus is towards emergency and post- disaster interventions that use a participatory design-build process and integrate sustainable materials and local know-how.The Bar Elias playground and canopy (Fig.9,10) shown here,help provide a needed space and shaded area in a school for Syrian refugees in the Bekaa valley, while integrating local recycled materials.

7.8Radio Silence 的BePublic作品，2016/BePublic, Radio Silence, 2016（供圖/Courtesy of BePublic lab, 攝影/Photos:Mario Khoury）

同樣，建筑師與城市學(xué)家安托萬(wàn)·阿塔拉的作品，利用研究和制圖手段，突出了對(duì)貝魯特甚至更大范圍的黎巴嫩領(lǐng)土內(nèi)影響城市空間的深刻變化。他通過(guò)鳥瞰圖、地籍圖和全景圖，對(duì)貝魯特自20世紀(jì)早期至今的空間轉(zhuǎn)型進(jìn)行了批判性分析，對(duì)徹底重塑城市結(jié)構(gòu)的根本性變化進(jìn)行了強(qiáng)有力的視覺闡釋（圖6）。阿塔拉作為成員還在“保護(hù)貝魯特遺產(chǎn)”這一非政府組織中起到了重要作用。他參與了上文曾提及的福阿德·布特羅斯高速公路停工運(yùn)動(dòng)，研究并針對(duì)周邊地區(qū)性質(zhì)、高速公路預(yù)計(jì)將會(huì)給當(dāng)?shù)氐倪z產(chǎn)帶來(lái)的毀滅性影響以及可能的其他選擇進(jìn)行了制圖。

基于實(shí)踐的參與：貝魯特美國(guó)大學(xué)案例

交叉學(xué)科的設(shè)計(jì)研究與激進(jìn)主義也已深入學(xué)術(shù)機(jī)構(gòu)，在貝魯特美國(guó)大學(xué)尤為突出。諸如建筑設(shè)計(jì)系的BePublic 和Di-Lab 等項(xiàng)目已進(jìn)入學(xué)術(shù)領(lǐng)域15），通過(guò)不同方法進(jìn)行基于社區(qū)和公共權(quán)益的設(shè)計(jì)。物理介入——有時(shí)是反思性裝置設(shè)計(jì)的形式，更經(jīng)常的則是可操控的建構(gòu)的形式——使得教師與學(xué)生能夠積極地參與到他們所處的環(huán)境中和那些有緊迫需求的區(qū)域里。

BePublic 由拉娜·哈達(dá)德發(fā)起，借助設(shè)計(jì)工作室為平臺(tái)與學(xué)生就貝魯特的多種城市現(xiàn)狀進(jìn)行交流，并反思公共空間和公民權(quán)利。通過(guò)一些臨時(shí)性的裝置設(shè)計(jì)，BePublic 的作品激發(fā)城市居民加入設(shè)計(jì)師行列，突破表面現(xiàn)象，引發(fā)人們對(duì)影響他們環(huán)境的社會(huì)政治問(wèn)題的關(guān)注。在“無(wú)線電靜默”（圖7、8）項(xiàng)目中，它在關(guān)閉的公園大門上插入了一個(gè)蹺蹺板裝置，挑戰(zhàn)了兩個(gè)社區(qū)之間強(qiáng)加的分隔。

Di-Lab 由卡里姆·納杰爾創(chuàng)立，致力于將公共利益設(shè)計(jì)變?yōu)橐环N以行動(dòng)為基礎(chǔ)的過(guò)程，在此過(guò)程中，學(xué)生、市政當(dāng)局以及整個(gè)社區(qū)共同合作，識(shí)別并建設(shè)必須的、可持續(xù)的構(gòu)筑物。Di-Lab 關(guān)注緊急事件與災(zāi)難之后的介入，采用參與式設(shè)計(jì)-建造過(guò)程，并整合可持續(xù)材料與地方工藝。這里展示的是巴爾·伊利亞斯風(fēng)雨操場(chǎng)（圖9、10），為位于貝卡谷的一所敘利亞難民學(xué)校提供了必需的空間和蔭蔽的場(chǎng)地，并利用了當(dāng)?shù)氐幕厥詹牧稀?/p>

此外，由莫娜·法瓦茲、莫娜·哈伯、豪伊達(dá)·哈爾西與阿哈默德·加比幾位教授共同創(chuàng)立的貝魯特城市實(shí)驗(yàn)室，一個(gè)新成立的研究中心，利用城市調(diào)查、策略設(shè)計(jì)、政策倡議為更大范圍的研究和實(shí)踐領(lǐng)域提供信息。該實(shí)驗(yàn)室的目標(biāo)始于城市活動(dòng)家、設(shè)計(jì)師、變革者們的生態(tài)系統(tǒng)建立聯(lián)系，提供重要的城市信息的開放資源，來(lái)更廣泛地影響當(dāng)?shù)氐倪@些領(lǐng)域。他們的合作拓寬到了多種專題，從城市政治、城市治理、強(qiáng)制搬遷到公共領(lǐng)域私有化，強(qiáng)化了對(duì)地圖和視覺化作為知識(shí)生產(chǎn)的實(shí)驗(yàn)與分析工具的使用（圖11）。

結(jié)語(yǔ)

通過(guò)以上這些倡議行動(dòng)、宣傳平臺(tái)和設(shè)計(jì)方法，黎巴嫩的建筑和城市領(lǐng)域已經(jīng)轉(zhuǎn)向了積極的努力，創(chuàng)造了有意義和有成效的行動(dòng)，以改善建筑和自然環(huán)境惡化的現(xiàn)實(shí)。設(shè)計(jì)師們已經(jīng)承擔(dān)起責(zé)任，來(lái)喚起人們的關(guān)注，并為那些正在威脅城市、村鎮(zhèn)以及更大范圍的政策提供重要的替代方案。在一個(gè)人類不斷面臨著人道主義和環(huán)境危機(jī)的世界，黎巴嫩的情形映射出的是正處于變革的全球話語(yǔ)，越來(lái)越多的建筑師和設(shè)計(jì)師正在從服務(wù)少數(shù)特權(quán)階層，轉(zhuǎn)向去影響可能的全球轉(zhuǎn)型。□

9.10 巴爾·伊利亞斯風(fēng)雨操場(chǎng), Di-Lab/Bar Elias Playground,Di-Lab（攝影/Photos: Di-Lab / Karim Najjar）

11 建造許可分布圖，Beirut Urban Lab / Mapping building permits, Beirut Urban Lab（繪圖/Visual: Beirut Urban Lab）

Furthermore, the Beirut Urban Lab, a newly established research hub, co-founded by professors Mona Fawaz, Mona Harb, Howayda al Harithy and Ahmad Gharbieh, uses urban investigations,strategic design proposals, and policy advocacy,to inform the larger research and practice fields.The aim of the lab is to engage with the ecosystem of urban activists, designers, and change makers,and to provide open-source critical urban knowledge that can widely impact the local fields.Their collaborative work expands across multiple thematics ranging from urban politics, governance,forced displacement, and privatisation of public domain, and reinforces the use of mapping and visualisation as experimental and analytical tools for knowledge production (Fig.11).

Conclusion

As seen from these initiatives, advocacy platforms, and design approaches, both the architecture and urban fields in Lebanon have turned towards activist endeavors to create meaningful and effective actions to help improve the deteriorated realities of the built and natural environments.Designers have taken it upon themselves to raise awareness and provide critical alternatives to strategies that are endangering cities, towns, and the larger territory.In a world continuously confronting humanitarian and environmental crises, the local scene reflects a changing global discourse, where an increasing number of architects and designers are shifting away from serving the privileged few to affect a possible planetary transformation.□

注釋/Notes

1）詳見/2020 Venice Architecture Biennale: How Will We Live Together?, curated by Hashim Sarkis, https://www.labiennale.org/en/news/biennale-architettura-2020-how-will-we-live-together

2） 詳見/2019 Sharjah Architecture Triennale, Rights of Future Generations, curated by Adrian Lahoud,https://rfgen.net/en/page/theme.

3）生于黎巴嫩的建筑師和研究員阿德里安·拉胡德，目前擔(dān)任英國(guó)皇家藝術(shù)學(xué)院建筑學(xué)院的院長(zhǎng)。/Adrian Lahoud, architect and researcher of Lebanese origin,currently serving as Dean of the School of Architecture at the Royal College of Art, UK.

4）哈希姆·薩爾基斯，黎巴嫩建筑師和教育家，目前擔(dān)任麻省理工學(xué)院建筑與規(guī)劃學(xué)院的院長(zhǎng)。/Hashim Sarkis, Lebanese architect and educator,currently serving as Dean of the School of Architecture and Planning at the Massachusetts Institute of Technology (MIT).

5）最具影響力的非盈利建筑實(shí)踐之一，成立于1999年，創(chuàng)始人卡梅隆·辛克萊和凱特·斯托爾。他們的工作方式和作品當(dāng)時(shí)在Design Like You Give a Damn 發(fā)表，詳見參考文獻(xiàn)[5]。/One of the more influential non-profit architecture practices, founded in 1999 by Cameron Sinclair and Kate Stohr.Their approach and work were later published in Design Like You Give a Damn, see Reference [5].

6）由邁克爾·墨菲創(chuàng)立于美國(guó)波士頓，MASS Design Group 致力于幫助促進(jìn)平等和社會(huì)公正的人道主義建筑項(xiàng)目。/Founded by Michael Murphy in Boston, USA,MASS Design Group works on humanitarian projects helping to promote equality and social justice through architecture.https://massdesigngroup.org/about

7）Forensic Architecture 是一個(gè)設(shè)立在倫敦大學(xué)的研究機(jī)構(gòu)，由埃亞·魏茲曼創(chuàng)立。其作品關(guān)注“侵犯人權(quán)案件的進(jìn)階空間和媒體調(diào)查，涉及并代表受到政治暴力、人權(quán)組織、國(guó)際起訴主體、環(huán)境公正團(tuán)體及媒體組織影響的社區(qū)群體” /Forensic Architecture is a research agency based in the University of London and founded by Eyal Weizman.The work focuses on "advanced spatial and media investigations into cases of human rights violations,with and on behalf of communities affected by political violence, human rights organisations, international prosecutors, environmental justice groups, and media organisations." https://forensic-architecture.org/

8） Situ Research 是設(shè)立于紐約的實(shí)踐機(jī)構(gòu)，與Situ Studio 為平行機(jī)構(gòu)，是一家“致力于建筑、城市、政治和人權(quán)的交叉領(lǐng)域的跨領(lǐng)域應(yīng)用研究分支機(jī)構(gòu)”。/Situ Research, New York based practice, and a parallel entity to Situ Studio, is an "interdisciplinary applied-research division working at the intersection of architecture, urbanism, policy and human rights."https://situ.nyc/research

9） 保護(hù)達(dá)利亞的公民運(yùn)動(dòng)，導(dǎo)致一個(gè)私人高端開發(fā)項(xiàng)目的終止以及后續(xù)達(dá)利亞自然地被列入世界歷史遺跡觀察名單。/The Civil Campaign to Protect Dalieh, led to the halting of a private highend development project and the subsequent listing of the Dalieh natural site in Beirut under the World Monument Watch list https://dalieh.org/&https://www.wmf.org/project/dalieh-raouche

10）反對(duì)福阿德·布特羅斯高速路運(yùn)動(dòng)和替換提案/Stop Fouad Boutros Highway campaign and proposed alternatives, https://stopthehighway.wordpress.com/

11）拯救比斯里峽谷運(yùn)動(dòng)/Save the Bisri Valley campaign alternatives, https://en.annahar.com/article/1098856-bisri-dam-an-ongoing-controversy

12）詳見/Platau: Platform for Architecture and Urbanism, http://www.platau.info/

13）詳見/Warchee, NGO, http://www.warchee.org/

14）Public Works ，一個(gè)多學(xué)科設(shè)計(jì)及研究工作室，由阿比爾·薩克蘇克和納丁·別克達(dá)切創(chuàng)立/Public Works, a multidisciplinary design and research studio, founded by Abir Saksouk and Nadine Bekdache,https://publicworksstudio.com/en/about

15）關(guān)于貝魯特美國(guó)大學(xué)建筑與設(shè)計(jì)學(xué)系的倡議詳情詳見/Further information on initiatives by the Department of Architecture and Design at AUB: Di-Lab, BePublic, and the Beirut Urban Lab https://www.aub.edu.lb/msfea/ard/Pages/default.aspx

參考文獻(xiàn)/References

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[2] SULLIVAN H.The Making of Lebanon's October Revolution [J/OL].The New Yorker, October 29, 2019.https://www.newyorker.com/news/dispatch/themaking-of-lebanons-october-revolution.

[3] ANTONELLI P, TANNIR A.Broken Nature :Triennale Di Milano [M].Verona: Elcograf, 2019.

[4] LAHOUD A, BAGNATO A.Rights of Future Generations: Conditions[M].Hatje Cantz, Arab Institute for Research and Publishing, 2019.

[5] SINCLAIR C, STOHR K.Design Like You Give a Damn: Architectural Responses to Humanitarian Crises[M].London: Thames and Hudson, 2006.

[6] WEIZMAN E.Forensic Architecture, Violence at theThreshold of Detectability[M].New York: Zone Books, 2018.

[7] HARB M.Cities and Political Change: How Young Activists in Beirut Bred an Urban Social Movement[D].Power to Youth, Paper No.20, September 2016, ISSN 2283-5792.

[8] FAWAZ M.Beirut Madinati and the Prospects of Urban Citizenship [EB/OL].The Centur y Foundation online, April 16, 2019.https://tcf.org/content/report/beirut-madinati-prospects-urbancitizenship/?session=1

[9] YOUNES H.The Exhibition[M]// The Place That Remains: Recounting the Unbuilt Territory, YOUNES H (ed.).Skira, 2018: 14-15.

[10] BELL B.Expanding Design Towards Greater Relevance [M]// BELL B, WAKEFORD K.(ed.)Expanding Architecture: Design as Activism.Bellerophon Publications, 2008: 14-17.