为建筑印刷媒体而辩

张利/ZHANG Li



为建筑印刷媒体而辩

张利/ZHANG Li

作者单位：清华大学建筑学院 /《世界建筑》

In Defence of Architecture Print Media

在不远的未来，建筑还需要借助印刷媒体传播么？今天有很多人会回答“不”。对他们来说，无处不在的因特网与移动终端正让越来越多的杂志类报刊永久地封存在包装袋里，同时也使以文本为主的学报型报刊愈发成为怀旧者的物质安慰以及功利主义学者的积分账簿。简而言之，在他们看来，不仅在建筑，也在其他行业，印刷媒体的日子屈指可数了。

笔者在此要为印刷媒体，至少是在建筑学领域的印刷媒体而辩——虽然这里无法回避的是与印刷媒体相关的身份，但更重要的却是与建筑学相关的身份——印刷媒体在这一学科所起到的作用中，有一些是不可替代的。这些不可替代的作用，可以从情（体验）、知（信息）、智（思想）3个方面来讨论。

于情，阅读从来都是主体与媒体之间的交互，信息从媒体的客观物理形式被提取、转译成大脑的神经化学形式的理性过程从来都伴有相关的感性体验。纸草、古代纸张、现代纸张这类如同皮肤般柔软触感的、带有特定的芬芳气味的材料表面，以及把它们订装在一起形成便携实体所具备的亲切感，甚至是翻动页面时所产生的声音，都是长久以来阅读体验的一部分，也是使人获得阅读的温暖满足感的辅助来源。建筑师难道不是应该在空间中实现诗意的情怀么？如谈到建筑师自己能够享受的情怀，在睡前的灯下翻阅一本书难道不是很好的一种么？

于知，建筑的阅读既是文本的阅读，也是图像的阅读，还是图形的阅读。细腻的线条在二维的画面上勾勒出富于尺度感和空气感的空间，在经过训练的眼睛前实现瞬时的三维化与浸入化——不论对于建筑单体的平、立、剖面图，还是对于城市设计的平面图都是如此。这种对图形的瞬时性阅读要求人眼在图形的全局与局部之间不停地、无缝地切换，而印刷媒体与人眼匹配的分辨率及基于反射光的低疲劳视觉信息恰恰在此有明显的优势。如果说建筑影集的网络化呈现已经有了广泛接受的形式，那么建筑图集的数字化呈现还有着巨大的提升空间。

于智，慢速的深阅读仍然是唯一能够提供容纳思想的时间的阅读方式，而印刷媒体目前仍是这一阅读方式的最佳介质。学术思想的研讨必需以信息来源的可靠、信息本身的精确及逻辑推理方式的严整为基础。在启蒙运动以来数百年时间内积淀而成的对学术印刷物的规范，包括参考文献的使用、学术修辞的方法、学术文本的撰写方法，以及多费周章的编辑程序，都为此提供了坚实的保证。有趣的是，在这方面，印刷媒体的强项恰是网络媒体的软肋。由于存在时间尚短，相应学术规范尚缺乏，网络更适合在第一时间传播未经验证的、非深思熟虑的信息与观点，更适合于快速的浅阅读。在短时间内，我们无法指望在移动终端或其他数字界面上实现质疑与联想的彻底自由跳跃——当前最好的文字处理软件与文本阅读软件中的批注模式充其量尚处在婴儿期。

这便是为什么当我们试图寻找建筑思想的线索时，我们过去、现在与可见的将来都会把目光聚焦到建筑的印刷媒体。反过来，如果聚焦于建筑的印刷媒体，我们似乎也可以得到某种关于建筑思想群体轨迹的暗示，这确实是非常令人好奇的。

本期的《世界建筑》正是出于这种好奇。在此我们不妨随机摘录一下刊载于现代中国建筑媒体中的一些文章题目：1954，梁思成，《中国建筑发展的历史阶段》；1954，王鹰，《继承和发展民族建筑的优秀传统》；1956，张开济，《反对建筑八股 拥护百家征鸣》；1957，周卜颐，《从北京几座新建筑的分析谈我国的建筑创作》； 1959，大勤，《关于西方的建筑理论问题》；1959，刘秀峰，《创造中国的社会主义的建筑新风格》；1974，荆圭华，《不准丑化我国首都北京的光辉形象》；1975，荆建轩，《劳动人民是建筑发展的动力》；1978，柯明，《关于加速实现建筑工业化的几点看法》；1980，汪坦，《现代建筑设计方法论》；1981，齐康，《法国建筑教育的发展与现状》；1982，吴焕加，《近代建筑革命》；1983，布正伟，《国外现代建筑创作趋向及其启示》；1983，罗小未，《当代建筑中的所谓后现代主义》；1984，石威廉，《试谈建筑师的作用和地位》；1986，戴念慈，《论建筑的风格、内容、形式及其他》；1992，李行，《关于建筑究竟是不是艺术》；1993，张钦楠，《芝加哥宣言：为争取持久未来的相互依赖》；1999，吴良镛，《世纪之交展望建筑学的未来》；2000，鲍家声，《建筑教育发展与改革》；2001，王建国，《城市产业类历史建筑及其地段的改造再利用》；2002，邹德侬，《中国地域性建筑的成就》；2002，李路明，《国外绿色建筑评价体系略览》；2004，周畅，《见证中国建筑50年》；2006，李兆坚，《我国广义建筑能耗状况的分析与思考》；等。

感谢接受采访的中国建筑媒体人与为专辑撰稿的学者，他们使本期的《世界建筑》成为可能。他们同时也告诉我们，中国建筑印刷媒体所能讲述的关于中国建筑的故事，比我们想象得还多。□

Will print media still be needed for architecture？Many would answer "no". To them, the ubiquitous internet and mobile terminals are making more and more magazines staying permanently wrapped in bags, and leaving more and more journals to be souvenirs to nostalgic readers or scoring sheets to utilitarian academics. In one word, in the minds of nay-sayers, the days of print media are numbered.

This essay is written in defence of print media, at least in architecture. It might be unavoidable that the author is someone from print media, but it is more important that the author is also someone from architecture. Many functions of print media in architecture are irreplaceable. They may be categorised in three groups: those related to the experience of reading, those related to the quality of information, and those related to the process of thinking.

The experience of reading has been an interaction between the subject and the media from the very beginning. In parallel to the key process of information being extracted from the physical media to the neurons, other sensual processes take place. The skin-like touch of paper （or papyrus）, the soothing smell, the intimacy of the bound volume, the sound of turning pages, all become parts of the traditional experience of reading. They constitute a substantial source of warmth and pleasure in reading. Aren't architects people who bring warmth and pleasure to spaces？When it comes to architects' own warmth and pleasures in spaces, isn't the browsing of a book by reading light in bed an invincible one？

Architecture reading is notoriously complicated. It includes raw information in all forms: text, images and drawings. Drawings matter. The fine lines depict a lofty space before the trained eyes, and all of a sudden a 3D, immersive environment presents in the brain. Line drawings of plans and sections, either for a building or for a city, all bear this same unique potential. The simultaneous reading of the line drawings requires the reader's eyes to move constantly in the whole extent, zooming in and out seamlessly. The ultimate high resolution of the print media and the non-oppressive visual stimuli consisting of re fl ected lights fi t into this purpose very well. If the digital presentation of architecture images has been widely accepted, the digital presentation of drawings still has a long way to go.

When it comes to thinking, only the slow-deep reading can provide enough time for thinking to follow. Print media is without doubt the best platform for slow-deep reading. With a formidable collection of codes, rules and protocols, print media offers solid support to credibility, precision and reasoning structure, which are fundamental to the process of thinking. Internet platforms fall short in this regard. It has been known to be a source of unveri fi ed information and undeliberated arguments. Most of the internet platforms are suitable to fast-shallow reading. Moreover, we can't expect the free-flow of comments, notes and questions, typical in slowdeep reading, can be provided in computer interface anytime soon. The comment function in the best word processors and document reading apps are still in its infancy.

That is why we must come to print media if we want to trace the evolution of architecture thinking. Actually, a fair research in architecture print media may leads to the identification of certain causes taken by architecture, a big curiosity.

It is with this curiosity that we make this issue of World Architecture. Our thanks to all those who have contributed to this issue, particularly those who themselves work in architecture media and have taken our interviews. It is fair to say that Chinese architecture print media tell a big story of Chinese architecture, bigger than you may think. □

收稿日期：2016-01-11