李利維/Amy Lelyveld

張思銳 譯/Translated by ZHANG Sirui

構(gòu)建“最佳”

Building the "BEST"

李利維/Amy Lelyveld

張思銳 譯/Translated by ZHANG Sirui

2002年，《世界建筑》創(chuàng)辦了兩年一度的WA中國(guó)建筑獎(jiǎng)獎(jiǎng)項(xiàng)，意圖選出最優(yōu)秀的中國(guó)建筑，并向中國(guó)乃至世界宣傳建筑本身、其中包含的觀念、建筑的設(shè)計(jì)者，以及對(duì)這個(gè)行業(yè)的思考。

由此開始，《世界建筑》將這個(gè)獎(jiǎng)項(xiàng)視為測(cè)量行業(yè)溫度的指標(biāo)，同時(shí)也試圖通過(guò)諸多來(lái)自各個(gè)領(lǐng)域的國(guó)內(nèi)外建筑學(xué)界或業(yè)界評(píng)委來(lái)引入各式各樣“最佳”的概念，并以期擴(kuò)充話語(yǔ)。

但“最佳”的概念并不牢固。以評(píng)選的方式生成的“最佳”既不穩(wěn)定，也不持久。如同世博會(huì)的場(chǎng)館（一個(gè)早期的現(xiàn)代收集佳作和能產(chǎn)生話題的物件的容器），選擇的準(zhǔn)則、最終對(duì)場(chǎng)館的認(rèn)可和發(fā)出的獎(jiǎng)項(xiàng)都是以時(shí)間為基準(zhǔn)的。這些都是對(duì)當(dāng)下模式的快照（重要但仍然是一張快照），對(duì)在這個(gè)節(jié)點(diǎn)中，什么樣的建筑在未來(lái)最受到期許的快照。它如同照片一樣是一個(gè)物化的瞬間。在《世界建筑》中沒(méi)有差別：獎(jiǎng)項(xiàng)的每個(gè)片段都對(duì)“最佳”有其獨(dú)特的思考，它是一個(gè)每?jī)赡甓家亟ㄒ淮蔚乃m。

和其他“建筑”一樣，這個(gè)“宮殿”也無(wú)法逃脫建構(gòu)的邏輯。在世博會(huì)中，溝通的單元是最初的驚鴻一瞥時(shí)對(duì)每個(gè)場(chǎng)館分別的體驗(yàn)。只有在此之后，各個(gè)場(chǎng)館的內(nèi)容才開始變得有所關(guān)聯(lián)。在《世界建筑》中，構(gòu)筑的“最佳”宮殿的磚石是照片。照片是特殊的結(jié)構(gòu)單元：它們被用來(lái)豎立在物體的“真實(shí)”和期許之間。它們用帶著強(qiáng)烈意愿的鏡頭觀察現(xiàn)實(shí)、捕捉建筑。

現(xiàn)在，考慮到以上這些，2014的“最佳”宮殿到底是怎樣的形狀？它又是如何區(qū)別于之前的宮殿并標(biāo)識(shí)出我們現(xiàn)今的方位？從2002年到2008年，WA中國(guó)建筑獎(jiǎng)褒獎(jiǎng)了一系列持續(xù)凝練的項(xiàng)目。選出的項(xiàng)目在尺度和文化價(jià)值上都屬于較為重要的類型。它們共同描繪的“宮殿”趨于向心和穩(wěn)定。從2010年到2012年，雖然獲獎(jiǎng)的建筑類型基本與前幾屆一致，但其所涵蓋的地理范圍和數(shù)量都有了很大的提升。項(xiàng)目位置和數(shù)量的增加自然而然地產(chǎn)生了變化，為這幾年的“宮殿”注入了新的響應(yīng)力。

2014年的“最佳”宮殿記錄了迄今已來(lái)最為多樣的系統(tǒng)、觀點(diǎn)和尺度?！白罴选钡奈蓓斚率占烁鞣N各樣的項(xiàng)目，包括在武漢由兒童們?cè)谡翗淞掷锝ㄔ斓臉湮?、以莫比烏斯環(huán)造型并意圖表達(dá)“經(jīng)營(yíng)理念”的北京鳳凰中心，以及陜西黃帝陵祭祀?yún)^(qū)的擴(kuò)建項(xiàng)目。這些回應(yīng)的廣度再加上2014年各種類別獎(jiǎng)項(xiàng)（每一個(gè)都是一個(gè)自我成立的小宮殿）的出現(xiàn)，暗示了一個(gè)為實(shí)驗(yàn)和可能性找尋落腳之處的結(jié)構(gòu)。這個(gè)多義的模型相比其凝練的前身來(lái)說(shuō)不那么穩(wěn)定，但是卻毫無(wú)疑問(wèn)真實(shí)有效。這不恰恰是我們從一開始就期望用來(lái)構(gòu)建這些宮殿的豐富多樣性嗎？

In 2002 WA began their bi-annual awards, identifying the best in Chinese architecture and broadcasting this－the buildings, the ideas behind them, the people who designed them and the concerns of the profession－to the nation and beyond.

From the start, the magazine situated the awards as a way to regularly take the temperature of the field. And, by including a breadth of opinion about what is best－that of foreign jurors and a spectrum of voices from China's architecture community, both academic and professional－it has hoped to broaden the discourse.

But BEST is slippery. As a designation it is neither static, nor even permanent. As with a worlds fair pavilion (an early modern container for collections of superior and conversation starting objects), the selection criteria, and ultimately the recognition bestowed as awards, are time specific. They are a snapshot (an important one but a snapshot nonetheless) of the pattern of NOW and what－and what kind of building－at this juncture, seems to hold the greatest promise for the future. It is, again like a photograph, the materialization of a moment. At WA it is no different. Each episode of awards builds a unique vision of BEST, a crystal palace that will be rebuilt in two years.

Like other "buildings," the palace built cannot escape the logics of its tectonics. At an expo, the unit of communication is first the WOW and experience of each pavilion. Only after these does what each building contains become relevant. With a BEST palace being built in a magazine, the bricks are photographs. These are special structural units: they are used to erect a position between the "fact" of a thing and its promise. They capture the built using a lens that views the object through its aspirations.

NOW, with all this in mind, what exactly is the shape described by the BEST palace of 2014? And what does how it differs from the palaces that came before tell us about where we are NOW? From 2002 through 2008 the WA Awards lauded a consistently condensed series of projects. The recognized buildings were substantial both in size and cultural value. The "palace" they described as a series was as centered and stable. From 2010 through 2012, while the types of buildings recognized were consistent with earlier years, their geographic range and number increased markedly. The variety that necessarily comes with differences in place and number introduced a new responsiveness into the "palaces" of those years.

The BEST palace of 2014 registers the widest variety of systems, attitudes and even scales yet. The projects collected under the roof of this BEST are as varied as a child-built tree house twisting through a stand of camphor trees in Wuhan, the Mobius gymnastics expressing the "operation concept" of a Beijing Phoenix Center and a the expansion of the sacrifice zone at the Yellow Emperor's Mausoleum in Shaanxi. The breadth of such responses when combined with the new categories possible for awards (each a mini-palace in their own right) suggest a building seeking to make a home for experimentation and possibility. This multi-valent model is less stable than its more condensed predecessors but there is surely real validity to it. Isn't it for the shimmering drama of such a wealth of possibility that we build these palaces in the first place?

1 組裝“最佳”的宮殿：1765年沙龍一景，紙上水彩，加布里埃爾·德圣歐班，法國(guó)巴黎盧浮宮藏/"BEST" Palace Assembly: View of the Salon of 1765, watercolor on paper, by Gabriel de Saint-Aubin, Musée du Louvre, Paris, France. （圖片來(lái)源：Erich Lessing /ART RESOURCE N. Y.）

2 WA的“最佳”，2002-2014年/WA "BESTS", 2002-2014（制圖：李利維，張思銳/Amy Lelyveld, ZHANG Sirui）

耶魯大學(xué)建筑學(xué)院

2015-03-09