一个人的现代性之辩

张利

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一个人的现代性之辩

张利

又到了文革后中国建筑师的个人时间——我们每年以一期《世界建筑》聚焦于一位在“文革”后接受教育的中国建筑师，期望借此一点一点地窥探当代中国建筑的故事。本期的主角是“当代中国独立建筑师”一词的最重要定义者之一——张永和，他对“现代性”的持续探寻——不仅在实践，也在教育上——在某种意义上刻画了一条当代中国建筑师成长的启发性路径。

张永和自文革晚期因“子承父业”而触及建筑，其正式的建筑教育则从成为东南大学（当时的南京工学院）的第一届文革后学生起，历经美国的中部和西部不同大学的不同学位；上个世纪末回国进行建筑实践与教育的实验；其后于本世纪初再次赴美，不仅担任重要建筑教育机构的领导者，还成为了最重要的建筑奖项的评委；再后，再次回到中国，在一个新的高度上继续其未完成的建筑实践与教育的实验。在这一中西交替的“正弦波”轨迹中，其影响力“振幅”随时间积累得以戏剧性地扩大，而贯穿于其中的基本学术诉求——建筑本体所承载的现代性意义——始终不曾改变。

张永和的现代性之辩呈现为一种知性的好奇而非愤怒的反叛。抑或是家庭环境与父辈友人的熏陶，抑或是个人天性使然，张永和对建造的好奇如同他最喜欢的“小侦探”故事一样，是一个内省的、反思的和求证的过程。从早初的概念竞赛作品，到早期实践的家具空间，到后来的原型化空间和物性化工艺，张永和避免在抽象的建筑空间之上附带情景化或意识形态化的叙事，避免其作品流入“正确”与“错误”的伦理评判之中。与20世纪之初的国际现代主义运动先锋们和二战之后平权运动的建筑师社会批判家们相比，张永和的建筑观以中立的正向建构存在，可以不依赖于对某种即定价值观的破除而独立成立。

张永和的现代性之辩得益于混杂的多元营养而非纯粹的单一价值。其成长年代的历史骤变及其成长线索的复杂性在今天看来是一份宝贵的财富。与今天互联网媒体时代的价值观趋同相比，与今天赴海外求学者的目的地趋同相比，当年改革之初的中国对各种外界信息的同等关注与欢迎，以及文革后到海外留学的第一代人的天真与包容，实在是一种难得的开放态度。这也决定了在张永和的建筑中我们虽然可以找到不同师承的片断基因，却无法找到一个被分析模仿的原型。强势预判的缺席也造就了张永和对无处不在的建筑启示的敏感，他可以放松地从观察到的事物中获取营养，而不必担心这种营养是否有损于自己已有的立场。

张永和的现代性之辩更多是以东方语言讲述的国际故事而非国际语言讲述的中国故事。张永和曾经表示对“东方”一词（形容词性）的质疑，并说到“南北”（指气候）可能比“东西”（指文化）更能令人信服地定义世界建筑的性格。这一观点毫不隐讳地表达了张永和在全球化和地域化之间的选择，也帮助解释了为什么在迄今为止的张永和建筑中，文化根源的话题不是被相对回避，就是被以隐晦的方式加以讨论。这种策略在客观上与全球化的传播需求更为兼容，也在事实上曾助力于增加中国当代建筑的国际关注度。有趣的是，时代的演进也使张永和不得不面临新的挑战，其刚刚竞赛胜出的巴黎国际大学城中国之家项目，因其外交意义而呈现出不折不扣的“中国故事”需求，我们期待张永和在这一话题上的新答案。

感谢张永和老师、鲁力佳老师和非常建筑团队对本期专辑的大力支持。□

It is time to look closely on one Chinese contemporary architect again. For years, we have been doing this once a year: to focus a full issue of World Architecture entirely on the works and thoughts of one Chinese architect educated after the"Culture Revolution".The protagonist of this issue is Yung Ho Chang. His individual quest for modernity,not only through practice but also education, draws a path of personal development that is widely regarded as inspirational in China.

Yung Ho Chang entered the field architecture long before his college education, at a time when a junior following his father's trade was still the default growing-up pattern. His architecture education started in the Southeast University(under the name Nanjing Institute of Technology back then), followed by different programmes in different parts of the United States. He came back to China in the 1990s, formed his own practice and led the experimental architecture programme in Peking University. In the early 2000s he went to the States again, this time taking the Chair of MIT and sitting on the Pritzker Jury soon after. In the second decade of the 21st century he came back to China for the second time, resuming his unfinished China experiments in both practice and education. This alternating China-US career track can be rendered in a growing sine curve. While its extent of impact amplifies drastically through time, the underlying academic interest remains unchanged: the quest for modernity through making.

Yung Ho Chang's quest for modernity is more based on intellectual curiosity than ideological overhaul. It might be his family, it might be himself,that his search in the making of things is like the Little Detective story he has cherished so much in his mind: a reflective, introspective process of finding. From his early conceptual designs, to his early furniture spaces, to his recent trials in new typologies and material crafts, Yung Ho Chang has freed his architecture of any scenographic or ideological narrative. There is no right or wrong in his architecture proposition. Compared to the Modernist pioneers of the early 20th century and the Leftist critic-architects of the late 20th century,Yung Ho Chang's architecture is a neutral construct.His works explain themselves, without the need to launch any attack on anything else.

Yung Ho Chang's quest for modernity is nourished by multiple, hybrid sources, not one single, monopolising source. The historical world change in his formation years, and the complexity in his personal development are precious advantages from today's point of view. In the 1980s, China was a country just opening up and every input from outside is equally welcomed. People testing their foot on a western ground to study bared an ignorance that can only be seen as a true open-mind today. It was through these that Yung Ho Chang experienced cross fertilisations from different schools and different people. It was also through these that Yung Ho Chang eventually developed the skill of learning the best from most. That is why we might be able to identify traces of different teachers in Yung Ho Chang's work, but we cannot find a single model that Yung Ho Chang has replicated. The absence of any pre-judgment also enabled Yung Ho Chang to freely observe and learn from the world around him, without the worry of any conflict with his own positions.

Yung Ho Chang's quest for modernity is more international than local. Yung Ho Chang has openly commented that the use of the word "east"as a cultural adjective worries him. When it comes to identity, he would rather believe in "northsouth" (climate), not "east-west" (culture). This unapologetic position clearly expresses Chang's choice between globalisation and localisation.It also helps to explain why in Yung Ho Chang's works so far, the issue of identity is either suspended or addressed in an implicit, tongue-incheek fashion. Practically, this approach is more compatible with international communication and has indeed contributed to the emerging of Chinese contemporary architecture on the global stage.Interestingly, time has put new challenges before Yung Ho Chang. Along with his winning of the China House project in Paris, given the diplomatic significance of the project, Yung Ho Chang has to be more local in it. How Yung Ho Chang will cope, we are keen to see.

Our biggest thanks to Mr. Yung Ho Chang, Ms.LU Lijia and Atelier FCJZ.□

造的现代性：张永和

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张永和

美国注册建筑师，美国建筑师学会会员

非常建筑创始人、主持建筑师

同济大学教授，北京大学教授，麻省理工学院（MIT）建筑系前主任、实践教授

张永和曾在中国和美国求学，于1984年获得加利福尼亚大学伯克利分校建筑学硕士学位。1992年与鲁力佳创立独立实践非常建筑，其作品涉及建筑、城市、景观、室内、家具、产品、服装、首饰、舞台、展览及装置等多个方面。

张永和与非常建筑曾获诸多奖项，如1987年日本新建筑国际住宅设计竞赛一等奖第一名，美国“进步建筑”1996年度优秀奖，2000年联合国教科文组织艺术贡献奖，2006年美国艺术与文学院的学院建筑奖，2016年第四届中国建筑传媒奖实践成就大奖，2017年赢得法国巴黎大学城中国之家设计竞赛（与法国CAAU合作）。出版发表过多本书籍和专著，包括《绘本非常建筑》《图画本》《作文本》、中英双语《小侦探》、英法双语Yung Ho Chang / Atelier Feichang Jianzhu∶ A Chinese Practice及意大利语Yung Ho Chang∶Luce chiara，camera oscura、《平常建筑》 《非常建筑》等。曾多次参加国际建筑及艺术展，如2000-2016年先后6次参加威尼斯建筑及艺术双年展；还曾举办6次个展，1999年在纽约Apex Art画廊，2002年在哈佛大学，2005年在纽约前波画廊，2007年在麻省理工学院，2008年在伦敦维多利亚和阿尔贝特（V&A）博物馆应邀做装置设计“塑与茶”，2012年在北京尤伦斯当代艺术中心“张永和+非常建筑：唯物主义”举办大型回顾展，2016年在上海当代艺术博物馆举办大型个展“建筑之名：非常建筑泛设计展”。张永和也曾担任2005首届深圳城市建筑双年展的总策展人，2008年威尼斯双年展中国馆联合策展人，以及2013首届上海西岸建筑与当代艺术双年展总策展人。非常建筑的产品、建筑模型和装置被伦敦V&A博物馆、日本越后妻有大地艺术三年展、中国国家美术馆、深圳何香凝美术馆、香港M+等机构收藏。

张永和曾在美国和中国的多所建筑学校任教，现任同济大学、麻省理工学院（MIT）、北京大学教授及香港大学荣誉教授，曾于2002年任哈佛大学设计研究院丹下健三讲席教授，2004年任密歇根大学伊利尔·沙里宁讲席教授，1999-2005年任北京大学建筑学研究中心创始主任，2005-2010年担任麻省理工学院建筑系系主任，2016年任加利福尼亚大学伯克利分校霍华德·弗里德曼教席教授。2009年被选为美国建筑师学会香港分会荣誉会员。2011-2017年任普利兹克建筑奖评选委员会评委。

Yung Ho Chang

AIA

Founder, Principal Architect, Atelier Feichang Jianzhu (FCJZ)

Professor, Tongji University, Peking University

Professor of the Practice and former Head,Architecture Department, MIT

Chang and FCJZ have received a number of prizes, such as First Place in the Shinkenchiku Residential Design Competition in 1987, a Progressive Architecture Citation Award in 1996,the 2000 UNESCO Prize for the Promotion of the Arts, and the Academy Award in Architecture from American Academy of Arts and Letters in 2006, 2016 China Architectural Media Award Achievement in Practice Prize, and won the design competition for Fondation de Chine a la Cite Universitaire de Paris with CAAU. Chang has published several books and monographs,including Graphic FCJZ, Yung Ho Chang Draws,Yung Ho Chang Writes, The Little Detective in Chinese/English, Yung Ho Chang/Atelier Feichang Jianzhu: A Chinese Practice in English/French,Yung Ho Chang: Luce chiara, camera oscura in Italian, Pingchang Jianzhu, and Feichang Jianzhu,etc. They have participated in many international exhibitions of art and architecture, including six times in the Venice Biennale since 2000. FCJZ has held solo exhibitions of its work at Apex Art in New York in 1999, Harvard GSD in 2002, Chambers Gallery in New York in 2005, and MIT in 2007 and was invited to create an installation Poly & Chai in the central court at Victoria & Albert Museum in London in 2008. In 2012, FCJZ held a milestone retrospective at UCCA in Beijing entitled Yung Ho Chang + FCJZ: Material-ism. In 2016, FCJZ held a major solo exhibition at PSA in Shanghai entitled In The Name of Architecture: Pan-Design Practice of Atelier FCJZ. Chang also curated/cocurated the 1st Shenzhen Biennale of Urbanism and Architecture in 2005, the China Pavilion at Venice Biennale in 2008, and the 1st West Bund Biennale of Architecture and Contemporary Art in Shanghai in 2013. Products, architectural models,and installations by FCJZ are in the permanent collection at V&A, Echigo-Tsumari Land Art Triennale in Japan, National Art Museum of China in Beijing, He Xiangning Art Museum in Shenzhen,and M+ in Hong Kong.

Chang has taught at various architecture schools in the USA and China; he is presently a professor at Tongji, PKU, and MIT where he served as the head of Architecture Department from 2005 to 2010, as well as Honorary Professor at HKU. He founded the Peking University Graduate Center for Architecture in 1999, and held the Kenzo Tange Chair at Harvard in 2002, the Eliel Saarinen Chair at Michigan in 2004, and the Howard Friedman Chair at Berkeley in 2016. In 2009 he was bestowed the honorary membership by AIA Hong Kong. He was a Pritzker Prize Jury member from 2011 to 2017.

One Man's Quest for Modernity

ZHANG Li

a Master of Architecture degree from the University of California at Berkeley in 1984 and has been practicing as Atelier Feichang Jianzhu(FCJZ) with LU Lijia in China since 1992. FCJZ's work ranges from architecture, urbanism, landscape,interior, to furniture, product, clothing, jewelry,stage, exhibition and art installation.

清华大学建筑学院/《世界建筑》

2017-10-11