图板上的建筑

张利/ZHANG Li

作者单位：清华大学建筑学院/《世界建筑》

“在图板上”这一题目或许会让人误以为我们要在此宣扬“纸上谈兵”，祭起概念建筑学的大旗，通过“图板上的无拘无束”来暂时忘却“现实中的循规蹈矩”。这种可能的误解是有其背后原因的——长期以来，确实有一种观念弥漫在建筑学的空气里，认为建筑只有摆脱了重力与功能的束缚，才能翱翔到纯粹艺术的高度，完成真实的自我。

在2月早些时候一次纪念“建筑电讯派”60周年的线上活动中，几位即将步入耄耋之年的创始人一起回顾了当时的执念、理想与实验。他们当中最能言善辩且在英美建筑教育界德高望重的彼得·库克反复强调，“建筑电讯派”的活力来自于最初骨子里的离经叛道——对建成建筑的放弃（这显然不仅是主观意愿，也是客观条件所致）——不以建成为目的的“纸上建筑”使他们获得了概念开垦上的自由，使他们的建筑视野高于、亦远于其同侪。

罗伯特·哈比森的《建成的，未建成的，和不可能建成的》（1993）是意图把脱离建成需求的概念建筑系统化、历史化的尝试。在哈比森的叙事里，以超越现实的“不可建成”建筑空间来承载更深邃的文化意境不仅是现代或近代的事，更是伴随着整个建筑史存在的事。虽然让建筑师们接受在早期基督教绘画里的建筑意象比实际建成的早期基督教建筑遗产更伟大这一立场是困难的，但这并不妨碍哈比森和他的支持者们断定脱离建成的局限是园林、神坛或城堡可以用来表达更神秘意义的必要前提。

此一时也，彼一时也。库克和哈比森所提倡的脱离建成的“自由”（甚至是不可建成的“崇高”）是建立在绘画或文字叙事所表现的建筑意象基础之上的，其神秘性也更多来源于绘画和文学艺术自身的思想深度——说得世俗一点，简直就像是建筑“攀上”了“高枝”。有意思的是，当今计算技术和数字媒体的繁盛几乎是以“误伤”的方式不经意地把这一建筑的“高枝”拉下了神坛：日新月异的沉浸式电影或VR游戏反复地以各种非重力环境和非地球文明建筑刺激受众的空间认知系统，把原来对“另一空间建筑”的博物馆沉思变成了现时唾手可得的休闲和消费。神秘意义？！不就是一种摆脱地心引力与现实常理的人皆有之的欲望么，现在的技术包您满意。

所以我们今天讨论“图板上”的建筑，绝不是走到远离建成、放飞自我的旧路上，而是回归到以建成空间改变人的生活的基本目的。必须说明，不以建成为目的的“纸上建筑”不再是我们关注的对象。我们认为“图板上”的建筑是孕育中的建成实体的雏型，是即将施行的空间干预的脚本。我们对“图板上”建筑的阅读也由此展开。

首先，从问题上讲，“图板上”的建筑是设计思维过程的一个自洽式呈现。作为概念物化为建成空间过程里的一个中间阶段，“图板上”建筑的最终细节的不确定、不完整恰恰给予了我们认清主导逻辑架构的机会。如同从配器之前的交响曲稿我们能识别出作者对素材的梳理及对表达的组织，在“图板上”的建筑我们可以看到建筑师对问题的取舍和对关键设计策略的建构。在训练有素的分析图的帮助下，像巴东城市梯道设计和汕头幼师学校这样的设计方案如同环环相扣的推理演示，从开始的问题到最终的答案都遵循同样的演绎范式。当然，在现实生活中与设计主题关联度较低的“杂音”，在此是看不到的。

其次，从技术上讲，“图板上”的建筑是未来实施的工程体系的一次预览。在很多造价控制严格的、带有社会公益属性的项目中，建筑师必须像前工业社会中的全能匠人一样，在设计中即对建造的时间过程进行一次完整的预演。设计暨建造，这可以说是建筑学发展历史中长盛不衰的线索之一。外荒村旅行驿站的空间布局与建筑形式都是在极端限制条件下结构体系的函数，这条艰难而清晰的实施路径未来会得到更多的讨论。相比之下，窦店幼儿园的限制条件也许没有那么严苛，不过其成也萧何、败也萧何的折板屋顶结构和天窗体系也是必须在设计阶段就全部计划到位的。

最后，从表现上讲，“图板上”的建筑是建筑师试图在建成空间中承载的情感的最后一次“放纵式”的呈现。在“图板上”二维平面对空间的描绘，实际上是对现实中三维建成实物的一种人为的、带有主观色彩的映射，它为建筑师加入自己希望传达的情感提供了机会。如同每个人讲同样的故事会带有不同的个人语调一样，建筑师绘制的图永远是带有浓郁的个人情感色彩的。我们不能指望森林幼儿园图中那种亦真亦幻的、《超级马力欧》般的童真意境能移植到其他建筑师的图中，我们也不会认为半称心度假酒店的建筑师团队会更改他们的近乎纯粹物理学的、不放过任何材料属性的一点透视的冷静，它们都已经是相应建筑师的习性中自然而然的一部分。

感谢多位建筑师，特别是新锐建筑师，为我们提供丰富的、令人兴奋的案例，是他们使本期《世界建筑》成为可能。

The title "On Drawing Board" perhaps would make people think we are here to encourage the idea of mere paper talk, by paying a tribute to conceptual architecture in which "the conformity in reality"could be temporarily forgotten and replaced by "the freedom of drawing". There is a reason behind this possible misunderstanding - for a long time, there has been a perception that only when architecture get rid of gravity and function can it rise to the level of pure art and accomplish its true self.

Early February, during the 60th anniversary online event of Archigram, its co-founders who were going to their 80s recalled their obsessions,ambitions and experiments at that time. Peter Cook, the most eloquent of all and a respected figure in British and American architectural education,stressed repeatedly that the dynamism of Archigram was derived from the rebellion in their blood -abandoning the built architecture (apparently not only by their subjective willingness but also by objective conditions). The "paper architecture" that without the purpose to be built, gave them freedom to explore new ideas and to envision higher and further than their peers.

The Built, the Unbuilt, and the Unbuildable(1993) written by Robert Harbison is an attempt to systemise and historicise the conceptual buildings that are detached from the requirement to be built.In his narrative, it is not only a contemporary or modern event but also one that has existed throughout the history that the "unbuildable"architectural spaces beyond reality carry more cultural meanings. Although it was difficult to get architects to accept that the architectural image in early Christian paintings was greater than the actual built heritage of early Christian architecture,this did not stop Harbison and his supporters from concluding that escaping from the confines of realisation was a necessary precondition for the gardens, altars or castles to convey a more mysterious meaning.

Time has changed. The "independence"from being built (or even the "sublimity" of"unbuildability") advocated by Cook and Harbison is based on the architectural image as expressed in paintings or narratives. The mystery derives mostly from deep thinking in the art of painting or literature per se - it is almost like architecture managed to climb the social ladder and made friend with them. Interestingly, the boom of computer science and digital media today has almost inadvertently pulled architecture's "high horse" off its pedestal"by accident": The ever-changing immersive moves or VR games continuously stimulate the audience's spatial cognitive system with a variety of nongravity environments and non-Earth civilisation architecture, turning the original contemplation of museum as an "other-space architecture" into a present-day leisure activity at everyone's fingertips.Mystery? Isn't it just everyone's desire to escape from gravity and reality? Your satisfaction is guaranteed by the technology available today.

Therefore, architecture "on drawing board" we discuss today is definitely not going to walk away from being built, but to return to the fundamental need of changing people's lives with the built environment. It must be clarified that the "paper architecture" without the purpose of being built is no longer our concern. We believe that architecture "on drawing board" is the prototype of the built entity under development and the script of the spatial interventions to be implemented. This is where our reading of architecture "on drawing board" begins.

Firstly, in terms of problem definition,architecture "on drawing board" is a self-consistent presentation of the design thinking process. As an intermediate stage in the process of materialising a concept, the uncertain and incomplete details of architecture "on drawing board" allow us to recognise the main structure. Similar to identifying the composer's organisation of materials and expression in the draft of symphony before orchestration, we can recognise the architect's choice of questions and the construction of key design strategies on his/her drawing board. With the help of refined analytical diagrams, design solutions such as Urban Stairway Design in Badong County and Shantou Preschool Teachers' College are like coherent demonstrations,following the same deductive paradigm from the initial problem definition to the final answer. Of course, the hybridity in real life that is less relevant to the design theme is not included here.

Secondly, in terms of technology, architecture"on drawing board" is a preview of the real life's construction to be implemented in the future. In many limited budget and social-benefit related projects, the architects have to, like the all-round craftsmen of pre-industrial societies, carry out a complete preview of the construction in the design.Design-build is one of the enduring threads in the history of architecture. The spatial layout and architectural form of Tourists Hostel in Waihuang Village are functions of its structural system under tight restrictions, a difficult but clear path that will be discussed more in the future. In contrast,the constraint of Doudian Kindergarten is perhaps less stringent, although its make-or-break folding slate roof structure and skylight system have to be planned in details at the design stage.

Finally, in terms of expression, architecture"on drawing board" is a final indulgent display of the emotions that the architects sought to invest in the built environment. The rendering of space on the two-dimensional plane is in fact an arti ficial and subjective mapping of the reality of a threedimensional built entity, providing an opportunity for the architect to add his/her own wishes. Just as each person tells the same story with a different tone, the architects' drawings are always intensely personal and emotional. We would not expect the lively,Super Mario-like childish mood of Forest Kindergarten drawings to be transplanted to the drawings of other architects' work, nor would we think that the design team of Banchenxin Resort would alter their calm one-point perspective that is nearly pure physics and leaving no material properties untouched - they have already become part of the natural habits of the architects.

Thanks to the architects, especially emerging architects, for contributing to us such rich and exciting cases, which makes this special number ofWApossible. (Translated by PANG Lingbo)