手笔_参考网

手笔

2017-09-29张利ZHANGLi

世界建筑 2017年9期

张利/ZHANG Li

手笔

张利/ZHANG Li

The Freehand

“手笔”一词经常被用来形容一个人连贯的思考与行动，在中文语境里它还带有一点微微的褒义。把它用到建筑师身上，其最合适的描述对象可能就是手绘的草图了：因为“笔”对“手”的自然延伸，以电光石火般的速度映射“脑”中的每一个转瞬即逝的念头，所以手绘草图能记载的建筑故事，远比其他设计媒体要多得多。

我们可以认为，建成空间与草图分别记录了建筑思想的两种平行真实。建成空间是理念在边界条件（自然、社会、经济和技术的）作用下的物质结果，如同在音乐会上被实际奏出的乐曲，是建筑思想被物化“成了什么”。草图则是理念在无拘无束的想像空间里驰骋碰撞的痕迹，顿悟、心计、逡巡、迁跃、焦虑、狂喜并存，如同乐谱的手稿，是建筑思想在物化前的“自在”。如果说游历建成空间是我们对建筑学的现象化审查的话，阅读草图则是我们对建筑学的存在论追问。当一个原初的草图与最终的建筑存在各种鲜明的差异时，对它们的并置研判会呈现给我们平行真实之间的尖锐冲突，赋予我们启发性与揭示性的难忘知性体验。这正是本期《世界建筑》通过对数十组草图与建成空间的并置展现，所试图营造的经历。

然而，在此我们不得不表达两个观点，它们所针对的都是关于草图的常见困扰。

其一，在建筑建成之后补画的“草图”是一种伪存在，不具备传递建筑无形真实的能力。无论一个建筑师以何种真诚的方式去追溯自己在建筑建成前的初衷与心路，他（她）是不能在未知成为已知之后再返回那种珍贵的“无知”的。因而，在绝大多数知性的建筑人群眼里，后补的“草图”不仅极易辨别，而且完全冗余无用。

其二，草图的画面本身成为独立的审美对象，实际上是对草图价值的阉割。如同我们在观察一个外形优美的人时，如果因对其外表的过分注意而忽略了对其内在品性的认知，那么实际上我们白白浪费了一次接近人性的良机。不幸的是，在视觉统治一切的中产阶级社会，斩断草图与其所从属的建筑人与建筑过程的所有联系，仅把它当成一种徒手画而欣赏把玩，已经成为了一种司空见惯的文化消费。

让我们通过建筑师的“手笔”——真实的草图——来认识建筑，认识建筑人，也认识我们自己。□

The word freehand depicts a coherent, intuitive connection between the mind and the hand. When used in Architecture, the best thing it can describe is the sketches. Nothing can replace the simultaneous response of an architect's pencil to his/her brain.No other design media can register more of the lively story of architecture than an architect's sketch.

The built environment and the sketch are two parallel lines of architectural truth. The built environment is a materialisation of the building ideas, signifcantly shifted / distorted by the context(natural, social, economic and technological). It is like the music being played by an orchestra in a concert, a form of situational physicality. The sketch is the autonomously winding trace of the architect's mind, full of revelation, calculation, bewilderment, jump,anxiety and ecstasy. It is like the manuscript of a composer, an ethereal existence of the ideas themselves. If by visiting a building we carry out a phenomenological inspection of architecture, by reading a sketch we put on an ontological study of the architecture discourse. Particularly when an original sketch is in stark contrast with the respective finished building, we are faced with a direct confict between the two parallel truths and are taken to a revealing intellectual journey. Juxtaposing sketches and buildings, disclose the alignments and misalignments, exploring the architectural truths reveal by them, that is exactly the purpose of this issue of World Architecture.

Two points have to be made clear though, since there are usually two distractions when it comes to sketches.

Firstly, "sketches" drawn after the completion of design, which are not unusual practices of architects today, are forged existences.There is no way such a sketch can carry any architectural truth. No matter how an architect tries to trace back his/her heart and mind during the design process, he/she simply cannot return to the precious ignorance when so much was still unknown.

Secondly, when sketches by architects are taken solely as aesthetic entities, their true values are castrated. Unfortunately,in a middleclass society where the visual rules, it is a very common practice for architects' sketches to be regarded as merely pretty freehand drawings - forms consumed, meanings forgotten.

So here we would ask our readers to help us to restore the true identity of an architect's sketch. It is a beautiful vehicle through which know more about architecture, know more about architect the individual, and eventually, know more about ourselves.□