对“差错”的礼赞<br/>——银川当代美术馆

对“差错”的礼赞
——银川当代美术馆

2015-12-21柯林福涅尔ColinFournier

世界建筑 2015年9期

关键词：差错建筑设计

柯林·福涅尔/Colin Fournier

冯元玥译/Translated by FENG Yuanyue

对“差错”的礼赞
——银川当代美术馆

In Praise of The Glitch: The Yinchuan Contemporary Art Museum

柯林·福涅尔/Colin Fournier

冯元玥译/Translated by FENG Yuanyue

1 西立面/West facade

银川当代美术馆是一座无法单凭外表就对其下定论的建筑。人们最初看到的似乎就是相当熟悉的当代建筑语汇之下的形式表现，因为它夺目的线条流动性和对参数化驱动之下的建筑结构，以及玻璃纤维增强水泥（GRC）技术的应用都与扎哈·哈迪德或者MAD近期的建筑作品十分相似。但是，第一印象在某种程度上都具有欺骗性：究其本质，这座建筑是新鲜的、独特的，在某种程度上，它甚至与我们这个时代占据主流的设计思想相背离，与既成的正统相割裂，却让人倍感鼓舞。

银川当代美术馆不同于当前建筑设计的总体现状，它的这种“特异性”令人不禁想到埃德加·爱伦·坡的两本杰出的小说：《钟楼魔影》和《奇怪天使》，它们预示着一个非常重要的变化时刻，在这个时刻，一些非常吊诡的事物出乎意料地开始出现在文化版图之中，可能是一个意外的转折、一次突然的切割、一段流畅状态下的骤然断裂——一次“差错”。

为了彻底理解这座博物馆的重要性，我们必须将它置于近年来建筑学理论和实践发展的语境之中，置于全球化的大时代背景下。与此同时，我们还必须承认包括中国在内的全世界正在发生的切实变化，是一种准一体化的全面进程，是一种文化多样性和建筑复杂性史无前例般的匮乏，甚至在某种程度上，就连那些仅有的可以称得上例外的存在也流于样板，遵循着一种意料之内的范式。

现代主义甚至在其发展的巅峰时期，都从未达到过如此程度的单一主导、重复和标准化，从未将相同的设计语言不断复制生产，进而实现完美的“克隆”。少数离经叛道的建筑师站出来反对这种强权，至少这样的时代变节者可以称得上是真正的“坏孩子”。后现代主义呢？尽管持续时间不长，也在它陷入东拼西凑的拙劣模仿之前出现过孕育反叛符号的短暂时期。可是，为何我们如今身处的晚期现代主义时代却在文化系统中几乎难有“差错”？

今天全球范围内的城市化和建筑生产系统，不仅在物质资料的生产模式上，还是在概念工具以及批评话语的智力实践层面，都已经达到了一种“完美”层面的统一。为什么会产生这样的情形？一个可能的解释就是这一系统已经能够消化、融合基于其自身产生的异见。

正如保罗·维利里奥说过，“它的运作方式好比一场军事行动，包含相互关联的两部分：战略和战术。”在战略层面，它包括建筑环境的大规模生产、同质化的住宅区与商业开发项目的激增，这些都在以指数级速度使整个城市环境趋于“标准化”；在战术层面，则包括那些零星、孤立的真正的创作，这些作品散落四处，而这其中具有标志性的特异作品通常被视为品牌化、定制化的“明星建筑”。然而，这里重点需要理解的是，在基本的文化层面，标准化与明星式的特异建筑并没有显著的区别：二者互为补充，且已经变得越来越难以辨析。

This contemporary art museum is not what it seems. It appears, at first, to be a fairly familiar manifestation of the contemporary architectural discourse, and indeed the striking fluidity of its lines and its impressive mastery of parametrically enabled tectonics as well as GRC technology put it on a par with recent buildings by Zaha Hadid or MAD, but this first impression is somewhat deceptive: the building is, in fact, refreshingly unique and a radical point of departure from the dominant design ideology of our times, a significant rupture from the orthodoxy. And a very promising one.

In its bold departure from the status quo, it is reminiscent of two of Edgar Allen Poe's extraordinary tales: "the Devil in the Belfry" and "the Angel of the Bizarre": it is the symptom of a very important moment of change, the moment when something really strange unexpectedly begins to occur in the cultural landscape, a point of inflection, a sudden cut, a disturbing break in the flow, a glitch.

To fully understand its significance, one has to situate this museum within the context of recent developments in the theory and practice of architecture, in our age of globalisation. One has to acknowledge that what has actually been happening all over the world, including China, has been a quasi universal process of homogenisation, an unprecedented impoverishment of the diversity and complexity of architecture, to the point that even its rare exceptions also fall into the same mould and follow a predictable norm.

Modernism, even at the peak of its power, had never been able to achieve such a level of hegemony, repetition, standardisation, of reproduction of the same design tropes, taken to the level of perfect cloning. At least its renegades, the few rebel architects who resisted its diktats, were true "enfants terribles": Postmodernism, although it did not last long, occasionally generated, for the brief period of time before it sabotaged itself by falling into pastiche, some promising signs of deviance. Why is it that now, in late modernism, there are hardly any more glitches in the system?

One of the possible explanations of why our global system of urbanism and architectural production, which includes not only its material modes of production but also its conceptual tools and its intellectual practices of critical discourse, has reached such a "perfect" level of uniformity, is indeed that it has now managed to incorporate its own dissent.

As Paul Virilio would say, its modus operandi consists, like military warfare, of two interconnected parts: the strategic and the tactical. At the strategic level, it consists of the mass production of the built environment, the proliferation of generic residential blocks and commercial developments that are standardising the urbanised world at an exponential rate; at the tactical level, it consists of the sporadic creation, here and there, of token singularities commonly nurtured as bespoke items of branded "starchitecture". What is important to understand is that, at a fundamental cultural level, there is no significant difference between the two: the standard and the bespoke need each other and they have effectively become indistinguishable from one another.

From a political and ideological perspective, this similarity is not so hard to analyse and decode. Aesthetically, however, it is harder to identify: anyone can perceive the self-similarity of commercial architectural typologies, but it is harder to become aware of the extent to which even the outstanding acts of design heroism are themselves clones, artificially transplanted onto their sites out of nowhere, detached from both space and time.

2 功能图解/Diagram of functions

3.4 剖面/Sections

It is only the rare "glitches", like the Yinchuan museum, that can make us understand, by contrast, the nature of the orthodoxy, the codes of normal practice and their underlying motivations: their key characteristic is the persistent but partlyunconscious attempt to sublimate materiality and hallucinate the perfect pure form, to pursue the illusion of a seamless world, spotless, ageless, homogeneous, universal, consistent and predictable, with no signs of any doubt, no dialectics, no history, no complexity nor contradiction. Surprisingly, symmetry, which logically should have been an important part of this normalised repertoire of design virtues, is no longer considered to be de rigueur, having fortunately been unable to survive the repeated attacks of deconstructivism. But otherwise, the dominant aesthetic of our contemporary period of late modernism is one that does not tolerate any notable autonomy and differentiation of the parts within the whole.

从政治和意识形态角度来看，分析和破解这种相似性并不难。然而，从审美角度来看，标准化和特异性的建筑则变得难以界定：任何人都能够察觉出商业建筑类型（学）的自相似性，但是不容易意识到，在一定程度上，甚至设计英雄主义驱动之下的非凡作品也开始陷入对自我的不断复制，在一个个地点中进行着莫名其妙的生硬的移植，与建筑所处的时间和空间相脱节。

只有像银川当代美术馆这样罕有的“差错”，才能让我们反向理解那些正统建筑的本质、惯常的行事法则以及陈规背后潜藏的动机：它们的核心特征表现在坚定地、部分无意识地对建筑实体升华和完美纯粹造型设想的尝试，试图追求一个幻想中的无缝世界，一个纤尘不染、岁月无痕、同质同源、普世通达、和谐一致、意料之中的世界，一个摒弃怀疑、无关辨证、摆脱历史、拒绝复杂、没有矛盾的世界。令人意外的是，对称性，这一本应成为正统设计的优点的特质，却已经不再流行，在解构主义的反复攻击之下土崩瓦解了。但是在其他方面，在我们身处的晚期现代主义的当代社会中，主流审美却不能容忍整体中局部的任何显著自主和异化。

这看上去非常矛盾，甚至有些反直觉，因为这种普遍存在的同质化现象竟然恰恰在今天这个时代得以实现——如今诸如Rhino和Grasshopper这样具备强大数字功能和精密软件系统的工具对设计师而言可谓唾手可得。这些工具以及在背后驱动它们的人工智能程序并没有文化偏见。不同于人类，它们无法培育出任何内在的风格倾向。它们身处的是一个充满了无穷变化和无限可能的概率世界，不免盲目的同时也幸运地摆脱了任何的先验意味，或者至少不会受到哲学决定论的支配。然而，为什么当这些工具随着不断地应用逐渐发展出一套参数化设计的法则时，却陷入了“自我复制”的境遇呢？

5 出口平台/Platform

6 中庭展厅/Exhibition room in atrium

这可能是因为一种新媒介形式所带来的消极影响。而且，它在对建筑产生影响之前就已经对文学产生了影响。马歇尔·麦克卢汉最早提出了“媒介即讯息”的论断：正如古腾堡印刷机的问世将人类思想表达的多样性封装在如楔形文字一般的统一性和普遍性之中，从而易于印刷；参数化主义的工具现今所做的则是将设计表达的复杂多样性包装成一种语言，从而对其运行模式产生影响。如果这种通过媒介产生的信息篡用可以对文学产生影响——尽管文学媒介的首要目的在于传递信息，而非分析自身形式的优越性——这种介质的力量甚至更可能影响建筑，使得人们的关注点着眼于参数化这种媒介形式自身，而对其所传递的信息内容兴趣寥寥。

It appears to be quite paradoxical and somewhat counterintuitive that this phenomenon of ubiquitous homogeneity has been achieved precisely at the time when powerful digital capabilities and sophisticated software systems, such as Rhino and Grasshopper, have finally become available to designers. Such tools, together with the artificial intelligence programmes that inform them, have no cultural preconceptions. Unlike human beings, they cannot cultivate any inbuilt stylistic preferences. Theirs is a probabilistic universe of infinite variations, of limitless possibilities, blind as well as blissfully free from any apriori meaning, at least not one dictated by philosophical determinism. How come, therefore, that the evolution of these tools into the definitive dogmas of parametric design has reinstated all the bad habits of the ancien regime?

7 中庭/Atrium

It could be that this is the perverse effect of a new medium. It happened to literature before it happened to architecture. It was Marshall Mc Luhan who first understood that "the medium is the message": it could indeed also be that, in the same way that the Gutemberg press, by wrapping all the diversity of human expression within the flowing uniformity and universality of the cuneiform script, easy to print, the tools of parametricism are now wrapping the complex variety of design expressions within one language that inevitably imposes its mould. If this usurpation of the message by the medium can happen to literature, even though the literary medium is primarily intended to convey the message rather than to point out the merits of its own form, the power of the medium is even more likely to affect architecture, obsessed as it is with its own formal qualities as a medium and never more than marginally interested in the content of its message.

基于上述观察，可以看出，尽管银川当代美术馆给人的第一印象是一个不断流动的复杂几何体，但真正使得它引人注目的还是其对自身所处场地以及对独特地理历史特征的高度风格化演绎。这无疑借助了参数化的手段，却明显不是简单借由参数化算法的内在数理逻辑生成，而是源于一种精准的设计敏感度。长久以来，泥沙的沉积与河水的冲刷缓慢而持续地塑造着黄河周边的自然环境，述说着古老的历史，而这种设计的敏感度正是源自于对它们的尊重与体悟。

近距离观察建筑就会发现，这座建筑并不是追求无暇、永恒的正统设计思想的产物，而是由独特的独立的局部构成。意料之外的是，虽然考虑到双曲GRC幕墙嵌板的几何复杂性，但建筑师并没有畏惧将板与板之间的缝隙暴露出来——没有灌浆，可以解读为一种断裂、褶皱的肌理。他们同时还尽量避免以任何形式对外立面进行涂装和打底，这意味着建筑将随着时间的流逝流露出岁月经年的痕迹。

更为令人惊喜的是，这座建筑是异构、多元的，由区别显著的各个部分组合构成。尤其是建筑东侧（面向城市一侧）和西侧（面向保护湿地一侧）之间形成的巨大张力和差异，并且它们彼此的这种对比是显而易见的：西侧宛如平流沉淀层一般层层堆积，东侧是由块状巨石堆叠而成的立面，一道巨大垂直的裂缝则被开辟为洞穴般的入口。

就其外观而言，融合了相当丰富的设计语汇：反差、独特、断裂、褶皱、裂缝、拉扯、拼接、非连续性、非常规性、个体独立、差错，甚至缺陷，称得上是一种高度特定场域、精雕细作的设计手法。

在建筑内部，设计呈现出了一种强烈的对比：连接两个主入口的天窗式中庭的明晰性和简洁性；展览空间与其他组合元素的多样性。在此，我们能够从平面图和两张关键的剖面图看出，设计语言建立在营造差异化之上，与那种平滑无虞的同构连续性截然不同，强调了异质性和层次感：当人们进入建筑自上而下行走，能够感受到光线从暗到亮的逐渐过渡，与此同时，材料的质感也从粗糙向平滑转变，增强了起伏变化的游览体验。

令人欣喜的是，建筑师们寻找到了合适的方式，赋予建筑许多不同层次的感觉和意义。他们喜欢将自己的建筑称之为“化石”，认为它真正的归宿属于这片土地的地质历史，属于绵延于历史长河的悠久文明。正是这种对时间意义的执着以及其他不迎合时尚的设计初心构筑了博物馆的自身形态——多变而不重复、分裂而不连续、匠心独具而不是重复性的工业生产、突然的差错而不是连续的信号，这所有的一切使这座建筑成为了一种独特的人文和艺术主张。

一如前文所述，这座建筑之所以具有重要的意义，在于其与习惯范式的背离，而它的缔造者正是这样一家年轻而有才华的建筑事务所。让我们拭目以待这样的坚持在未来将指引他们走向何处。□

8 出口/Exit

9 概念/Concept

第一步/Stage 1

水流带走河床泥沙堆积导致河水改道

Soft layered semiment is removed by river water

第二步/Stage 2

河水改道河床受力减小产生向上“卸载”作用

Reduced pressure results in unloaded occuring

第三步/Stage 3

底部沉积岩受上下作用力产生褶皱肌理

Underlying stone pushes upwards pinching rock layers

In the light of these observations, the Yinchan museum stands out, despite its first appearance as a continuously flowing abstract geometrical form, as a highly idiosyncratic celebration of the specific characteristics of its site and of its particular geological history. Although developed, without doubt, by means of parametrics, the project clearly did not originate from the intrinsic mathematical logic of parametric algorythms, but from a design sensitivity attentive to the immemorial narrative of the slow, cumulative processes of sedimentation and erosion that created the natural environment along the Yellow River.

A closer look at the design reveals that, rather than conforming to the orthodoxy of the seamless and of the timeless, the form is made up of distinct individual segments; unexpectedly, considering the geometric sophistication of the double curved GRC façade panels, the architects were not afraid to express the joints, which are not grouted and are allowed to read as fissures; they also refrained from painting or rendering in any way the concrete outer surface of the panels, which means that they will deliberately be allowed to age and show the passage of time.

Even more surprisingly, the building is heterogeneous, clearly made of different constituent parts. In particular, there is a strong tension and differentiation between the Eastern side (the one facing the city) and the Western side (facing the protected wetland), a big contrast between the horizontal sedimentation layers of the latter and the blocky mass of the cyclopean façade in the former, with its large vertical crack forming a cave entrance.

Externally, the design language is therefore one comprising a rich vocabulary of contrasts, singularities, ruptures, folds, fissures, tears, "pinching" conditions, discontinuities, surprises, autonomous parts, glitches and even imperfections, a highly site specific, crafted design approach.

Internally, the design plays on a theatrical contrast between the clarity and simplicity of the central, top-lit atrium space linking its two main entrances, and the variety of its gallery spaces and other programmatic elements. Here again, as can be seen from the plans and particularly the two key sections, the design language is one of differentiations, stressing heterogeneity and layering as opposed to smooth isomorphic continuity, with transitions from dark to light as one goes up inside the building, as well as from rough to smooth materials, heightening the difference between the experience of rising and that of falling.

It is a pleasure to see the delight that the architects have found in endowing their building with so many different layers of sensations and meaning. They like to think of their building as a "fossil", something that belongs to the geological history of the site and also, perhaps, to the ancient civilisations that may have lived there a long time ago. This sincere commitment to the importance of time, together with the other unfashionable design motivations that have given the museum its form, in particular the emphasis on differentiation rather than sameness, on disruption rather than continuity, on craftsmanship rather than on repetitive industrial production, on the sudden glitch rather than the continuous signal, that make this building a unique intellectual and artistic proposition.

It is, as stated above, a very significant point of departure from the norm, playfully initiated by this young and very talented architectural firm. Let's see where it will lead them next! □

项目信息

客户：宁夏民生房地产有限公司

建筑/室内设计：waa 未觉建筑事务所

设计团队：张迪，Jack Young，Ruben Bergambagt，Huang Yisu

幕墙及二次钢结构设计：Buro Happold

土建施工图设计：宁夏建筑设计研究院

室内施工图设计：北京冠亚伟业

土建/室内施工：中铁建设

幕墙施工：江河幕墙+倍立达

室内 GRG 施工：恒豪国际

场地面积：13,188m2

建筑面积：15,006m2