維羅妮卡·吳，牛顏秀 徐知蘭

事實是：每一種文化都不可能支持和承受世界文明的沖擊。這就是矛盾：如何在進行現(xiàn)代化的同時，保存自己的根基？如何在喚起沉睡的古老文化的同時，進入世界文明？——保羅·利科[1]

保羅·利科在《歷史與真理》（1961）中指出“本土化”與“全球化”的概念都具有獨一無二的地位，它們在尋求民族國家身份的過程中逐漸發(fā)展。建筑學(xué)中有關(guān)身份認同的問題一直以來采用修辭隱喻的話語模式。自希臘和羅馬時代以來，建筑學(xué)的語言一直以風(fēng)格和潮流來劃分類別，如希臘建筑、羅曼建筑、巴洛克建筑、洛可可建筑、哥特建筑、新古典主義建筑、現(xiàn)代建筑、后現(xiàn)代建筑與解構(gòu)主義等。在西方學(xué)術(shù)背景中，這些風(fēng)格術(shù)語一直為人們廣泛使用，并常用于描述某一特定時代的主導(dǎo)風(fēng)格。由于殖民地化、全球化和其他零散的經(jīng)濟、政治、社會、文化和技術(shù)對建筑產(chǎn)生的迥然不同的影響，這些西方建筑的風(fēng)格在像馬來西亞這樣的亞洲國家建成環(huán)境的背景中顯得尤為突出。

最近10年，馬來西亞作為一個帶有強烈后殖民地文明烙印的國家正在經(jīng)歷建筑表現(xiàn)手法的范式轉(zhuǎn)變。除了全球關(guān)注的可持續(xù)發(fā)展之外，尋求身份認同也仍是建筑學(xué)的推動因素。與所有其他的建筑學(xué)手法一起產(chǎn)生的，還有一種地域性的獨特設(shè)計方法，它更傾向于體現(xiàn)馬來西亞本土的身份認同感。地域性的設(shè)計思想不僅沒有拋棄現(xiàn)代主義和歷史設(shè)計的思想，并且還關(guān)注能在地理、歷史、社會和文化層面、在任何特定地點產(chǎn)生影響的建筑學(xué)探索。

在迅速全球化的世界里，任何有關(guān)建筑學(xué)的調(diào)查研究都將不可避免地走向?qū)Ρ就廖幕铜h(huán)境的思考。在字面意義上，“地域”一詞通常用于形容從自身場所產(chǎn)生出來的建筑。1980年代，西方建筑歷史學(xué)家肯尼斯·弗蘭姆普頓在與此稍有不同的層面上定義了地域的含義。弗蘭姆普頓將“地域”的概念置于全球化背景下進行考量。通過引述阿爾瓦·阿爾托等建筑師的思想，弗蘭姆普頓使亞歷山大·楚尼斯和利恩·勒費夫爾的“批判性地域主義”觀念大為流行。這種方法是指，在對建筑本土環(huán)境的前提作出回應(yīng)的同時，依然采用最先鋒派的現(xiàn)代主義設(shè)計手法。它以建筑學(xué)的方式，力求在全球化的建成環(huán)境中對“場所感”[2]和“身份認同”的問題做出回答。

這便導(dǎo)致了對包括“本土”的含義，以及它如何確立一種表現(xiàn)地域或場所特征的建筑學(xué)方法的反思?！叭虮就粱盵3]這一術(shù)語回避了關(guān)于將全球和本土作為兩個本質(zhì)上迥然不同的概念的爭論，這個術(shù)語的產(chǎn)生（在社會學(xué)的意義上）限定了全球化趨勢與本土化趨勢之間復(fù)雜的相互影響。本土與全球之間的矛盾產(chǎn)生了另一種建筑學(xué)的語言，它既未拋棄現(xiàn)代主義的觀念，也未陷入字面意義上對歷史的回歸。相反，由此產(chǎn)生了能夠表現(xiàn)出弗蘭姆普頓所謂“具有場所意識的詩意”[4]建筑的多種形式。這一概念推動了與感官相關(guān)、思想深刻的作品，包含并表達了本土文化的變化過程，推動環(huán)境的可持續(xù)發(fā)展，也加深了人們對周圍世界的認識。在亞洲地區(qū)即可見到這種回歸場所的思想。

在馬來西亞，出現(xiàn)了一些有關(guān)全球－本土的辯證關(guān)系的線索，作為另一股建筑學(xué)思潮。本文試圖簡短回顧這些全球－本土（“全球本土化”）的建筑，正是它們產(chǎn)生了目前具有場所意識的另一種設(shè)計方法。這種方法使本土建筑與西方建筑設(shè)計思想及理論并行無礙，并且暗示了設(shè)計思想和當代建筑思想的根基在于，在突出強調(diào)本土場所意識的同時，仍包含西方現(xiàn)代建筑的理論與思想。

本土特征作為靈感來源

語境的重要性，尤其是本土語境的重要性，已經(jīng)成為西方建筑學(xué)話語模式中的隱喻。建筑理論家諾貝格－舒爾茨將“語境”一詞形容為“地方特色”與日常生活中發(fā)生的現(xiàn)象，同時也指景觀和城市所在的社會環(huán)境。通過引用蘇珊·朗格（美國符號論美學(xué)家）的思想，諾貝格－舒爾茨提出“建筑學(xué)屬于詩歌的范疇，其目的是幫助人們詩意地棲居”。然而建筑學(xué)是一門艱難的藝術(shù)。建造實用的城鎮(zhèn)和建筑仍不足以構(gòu)成建筑。只有當“全部環(huán)境變得清晰可見”[5]時，建筑才得以誕生?？ㄋ跪v·哈利斯也提出過與之類似的思想，他強調(diào)需要“發(fā)現(xiàn)鄰里社區(qū)和地域的重要性……它們將明確展現(xiàn)出自身特點”[6]。

這些思想突出了通過營造特定場所來賦予環(huán)境以意義的重要性。只有圍繞地段的物質(zhì)和文化環(huán)境、精心設(shè)計建筑，才能產(chǎn)生真正度身定制的作品，讓現(xiàn)有的建筑環(huán)境更為完善。如吳石山（Ng Sek San）設(shè)計的雙文丹玻璃屋就得到了彼得·斯達伯利在澳洲新南威爾士天堂海灘設(shè)計的以色列住宅的啟發(fā)。其靈感也同樣來自附近的旗魚海番村，只是村舍中的房屋不如玻璃屋的永久穩(wěn)固。盡管選用不同材料，功能極簡的設(shè)計思想也仍可使人聯(lián)想起臨時棚屋的本質(zhì)。建筑設(shè)計有意使玻璃屋和土著居民的房屋一樣能夠輕易拆除和重建。

“誠實的”建筑

為了增強人人平等的觀念，建筑強調(diào)造價應(yīng)在人們可承受的范圍之內(nèi)。為了使建筑造價可以承受，它們必須是“誠實的”。然而，什么是“誠實的”建筑？有關(guān)馬來西亞建筑誠實態(tài)度的主題，貫徹了阿道夫·路斯在20世紀宣布的現(xiàn)代主義思想“裝飾即罪惡”，正是這一宣言響應(yīng)了以使用材料的誠實原則為基礎(chǔ)的建筑學(xué)基本道德標準。籠統(tǒng)地說，這一信條意味著兩點：（1）不應(yīng)以其他材料掩蓋建筑結(jié)構(gòu)；或者（2）建筑設(shè)計必須與當代精神一致。與之類似的誠實態(tài)度也反映在了馬來西亞的建筑中，然而其方式卻體現(xiàn)在建筑造價的可承受程度及建筑設(shè)計對當?shù)丨h(huán)境材料的敏銳度方面。

這種誠實的原則之一就是以一種真實的方式利用當?shù)刭Y源，從而反映因地制宜的建筑設(shè)計。例如，使用當?shù)啬軌蛘业降牟牧希怪蔀樵谑┕み^程中可以使用的原料。這在C'Arch建筑事務(wù)所、Khoo Boon Siew、Juteras設(shè)計事務(wù)所合作的貝隆雨林度假村中就得到了體現(xiàn)。度假村以用從地段原有建筑中拯救下來的廢磚砌成的“亂”墻為特色。并且，作為酒店室外設(shè)計主要特征的“小樹”屏也用當?shù)赜欣诳沙掷m(xù)發(fā)展的快速生長的竹子制成[7]。

在地段上保留過去自然環(huán)境的思想也同樣反映在了位于金馬倫高原、由ZLG設(shè)計事務(wù)所設(shè)計的Boh茶園中：在大片的茶葉種植園景觀上方，是茶園直線延伸的建筑形式，可謂密斯·凡·德·羅現(xiàn)代主義方形建筑的典范。為了利用地段周圍涼爽的氣候條件，鋼框架的主入口立面以圓木間隔填充，而這些木材正是地段上原有的樹木。設(shè)計者因為預(yù)算和地段位置所限而使用簡單樸實且易于獲得的材料，這一決策也讓設(shè)計項目擁有了自己的特征和設(shè)計精髓[8]。

建構(gòu)

使用材料的誠實態(tài)度產(chǎn)生了體現(xiàn)美感的建筑建構(gòu)學(xué)：這種美感存在于材料組合之中，也存在于細節(jié)之中。這一理念在以弗蘭姆普頓所述“建構(gòu)”概念為基礎(chǔ)的建筑中得到了體現(xiàn)，它關(guān)注建筑學(xué)作為建造技術(shù)和手藝的層面。設(shè)計策略的核心是將建造形式與材料特征視為不斷深入發(fā)展的形式與空間表現(xiàn)手法中不可分割的一部分[9]。建筑作為手工業(yè)的思想又通過探索廢舊材料和隨手拾得的物件如何能夠成為建筑原料的方式得到了進一步拓展，如Building Bloc建筑事務(wù)所在蘭卡威設(shè)計的電線桿住宅。Building Bloc建筑事務(wù)所和Wen Hsia等建筑設(shè)計師，從吉打州、吉蘭丹州和丁加奴州（馬來西亞的東北部）的木料場回收到了那些電線桿。主結(jié)構(gòu)框架和屋頂構(gòu)架也都是從吉打州的一個木料場收集來的5×5見方的電線桿。舊木桿歷經(jīng)時間洗禮后呈現(xiàn)出美麗的色澤，在白蟻侵襲和風(fēng)雨侵蝕的威脅下仍保持了一定的堅固程度。地板、墻板和屋瓦也都是從其他拆毀的建筑中搶救回來的。這座住宅的建構(gòu)方式響應(yīng)了密斯·凡·德·羅“上帝存在于細節(jié)之中”的格言。每根柱子都由固定在鋼節(jié)點柱礎(chǔ)上的4根5×5見方的木桿組成。柱礎(chǔ)也能夠起到隔絕白蟻的作用。住宅的主梁則由3根5×5的方木桿組成。它們有不同的截面，以墩接/嵌接方式連接。

對材料的敏銳感受也同樣反映在建筑的地段特征方面。沿著檳榔嶼的峇都丁宜沙灘的濱海地區(qū)坐落著由GDP建筑師事務(wù)所設(shè)計的龍柏酒店，其立面設(shè)計表現(xiàn)了各種石材的肌理與質(zhì)感，并形成有呼吸感的建筑表皮。除了有助于自然通風(fēng)之外，單體建筑的不同形式與它們的分布秩序在某種程度上也清晰地展現(xiàn)出建筑材料豐富多樣的紋樣圖案，也沒有對任何裝修進行掩飾。這種方法重新肯定了原酒店的精神，即在60多年的時間內(nèi)，這里建造了3組不同的建筑，形成了目前各種風(fēng)格混雜的結(jié)果[10]。

鄉(xiāng)土設(shè)計思想的當代闡釋

馬來西亞建筑將鄉(xiāng)土設(shè)計原則融入設(shè)計之中。廣義上說，鄉(xiāng)土建筑指原始棚屋。在馬來西亞，它通常指傳統(tǒng)的馬來屋。在凱文·羅設(shè)計的百葉窗盒住宅中，他將建筑抬升至與地面有些距離的柱樁上，以此處理有些設(shè)計難度的地形，從而無需進行土地平整。他由傳統(tǒng)的Kampong村屋獲得啟發(fā)，讓出建筑下方的地面作為景觀使用。這塊開敞的底層地面則為住宅提供了通風(fēng)條件。雙文丹的建筑也與此類似，建筑抬升離地，保護房屋免受打擾和其他因素的危害。傳統(tǒng)馬來屋的另一個本質(zhì)特征是“會客空間”，即一種有遮蔽的單側(cè)長廊，用于歡迎客人或與鄰居閑聊。在石山建筑事務(wù)所設(shè)計的淡濱尼一道住宅中，住宅入口便引向一處有低矮木板平臺的庭院。

同樣，洛克－Wooi建筑事務(wù)所設(shè)計的建筑師Wooi自宅，則通過嘗試重獲建筑師本人在吉打州笨筒地區(qū)度過童年時光的核心精神，重新闡釋了傳統(tǒng)的馬來屋。Wooi的自宅借用村屋的斜屋頂形式，安裝了顯眼的鋅板傘狀屋頂。墻面則由垂直放置的木條構(gòu)成，以形成與通透可呼吸的村屋類似的空氣流動效果[11]。

內(nèi)外翻轉(zhuǎn)：四墻之外的建筑

空間圍合與建筑和自然的關(guān)系也是當代馬來西亞建筑探索的主題。空間應(yīng)該封閉在四墻一戶之中嗎？由于衛(wèi)生觀念的變化和新建筑材料（鋼筋混凝土）技術(shù)的發(fā)明所定義的建筑空間，20世紀現(xiàn)代建筑因此瓦解了四墻一戶的空間概念。將建筑空間打開，模糊室內(nèi)外邊界，這促進了自然與建筑之間的象征性關(guān)系。并且，西方關(guān)于建筑與自然辯證關(guān)系的思想在18和19世紀關(guān)于花園與鄉(xiāng)村住宅的強調(diào)中也得到了描繪。源于阿卡迪亞景觀透視法的建筑理想在藝術(shù)、建筑和文學(xué)中都有所體現(xiàn)。

在馬來西亞的本土化語境中，建筑學(xué)探索了翻轉(zhuǎn)建筑室內(nèi)外特征的設(shè)計思想。在建筑室內(nèi)外使用樹木的方式，也使建筑得以生長。

在八打靈貿(mào)易中心（由來自小型項目事務(wù)所的凱文·馬克·羅與作為當?shù)卦O(shè)計協(xié)助單位的Yellil建筑事務(wù)所完成），盡管這是一處商業(yè)辦公樓開發(fā)項目，墻面、地面和天花板也幾乎都具有自然要素。

……優(yōu)秀的建筑始于花園?！獎P文·馬克·羅[12]

穿過更為堅固厚重的混凝土通風(fēng)砌塊立面后，貿(mào)易中心出現(xiàn)一座花園庭院，人們能透過一個個辦公室隔間的透明內(nèi)墻看見這座花園。似乎，首先出現(xiàn)在這里的是樹木，其次才產(chǎn)生了圍合它們的墻體。層層挑空的平臺突出了與通風(fēng)砌塊墻面相連的區(qū)域，諸多辦公室在更高的樓層也擁有了花園空間。樹木從地下車庫向上生長，經(jīng)過的每層樓面都呼應(yīng)了大自然的力量[13]。羅相信，建筑應(yīng)該與空間的開敞和建筑結(jié)構(gòu)的非建筑化有關(guān)。他強調(diào)花園不僅僅是優(yōu)秀建筑作品的點綴，并且，建筑中的非建筑元素也能夠產(chǎn)生美感。

全球－本土的辯證關(guān)系為馬來西亞產(chǎn)生另一種哲學(xué)思想和建筑實踐鋪平了道路。在反駁風(fēng)格問題的過程中產(chǎn)生了馬來西亞當代建筑的新方法，這種方法熱情擁抱全球化的設(shè)計、傳統(tǒng)的設(shè)計和本土的設(shè)計，并毫無芥蒂地同時接受所有這些觀念。而當代建筑思潮和設(shè)計理念也并不是空穴來風(fēng)。它們形成于某些哲學(xué)、經(jīng)濟、歷史和社會文化影響的共同匯聚之處。盡管建筑的物質(zhì)空間表現(xiàn)有所不同，其哲學(xué)核心仍植根于對因地制宜的建筑思想的關(guān)注，回歸有關(guān)建筑經(jīng)濟、人文和場所的最本質(zhì)基礎(chǔ)。

建筑學(xué)關(guān)于身份認同的定義爭論激烈。何謂身份？又是何者之身份？建筑學(xué)的話語模式經(jīng)常需要面對有關(guān)身份認同的問題，就是因為身份認同是轉(zhuǎn)瞬即逝的。因為身份認同由地點和時間所轄，而后兩者從未保持不變。為了響應(yīng)對“此地”與“此時”進行界定的獨一無二的地位，全球語境與本土語境的意識也將繼續(xù)在馬來西亞當代建筑身份認同的定義與再定義中漫漫求索。然而，在這些當代建筑手法中，“全球本土化”必然占有一席之地。□

It is a fact: every culture cannot sustain and absorb the shock of modern civilisation. There is the paradox: how to become modern and to return to the sources; how to revive an old,dormant civilisation and take part in universal civilisation.——Paul Ricouer[1]

Paul Ricouer's words inthe History and Truth(1961) point out the unique position of both concepts of 'localness' and 'globalisation' has played out in seeking a national identity. The question of identity in architecture has been a rhetorical discourse. Since the Greek and Romans, the language of architecture has been classified based on styles and trends, for example Greek, Roman,Baroque, Rococo, Gothic, Neo-Classical, Modern,Post-modern and Deconstructivism amongst others.In the Western context, these styles have been widely used and often portrayed as the predominant style used for a specific era of time. Due to the disparate influence of colonialisation, globalisation and other discursive economical, political, social, cultural and technological influences on architecture, these Western styles are eminent amidst the backdrop of built environment in Asian countries such as Malaysia.

In the recent decade, Malaysia being a nation with a strong post-colonial culture is witnessing a paradigm shift in its architectural expressions. In addition to the global concerns of sustainability,the search for identity is still an impetus task for architecture. Amidst other architectural approaches,an alternative approach that is regionally specific emerges which has the propensity to portray a sense of Malaysian identity. While not rejecting modern and historical ideas, the regional ideas focus on architectural explorations that play out the effects of geography, history, society and culture in any one particular place.

In the rapidly globalising world, any investigation of architecture inevitably leads to considerations of local culture and environments. Taken literally, the term 'region' typically denotes architecture derived from its locale. In the 1980s, the architectural historian Kenneth Frampton in the West defined region in a slightly different perspective. Frampton viewed 'region' in a globalised context. Quoting architects such as Alvar Aalto, Frampton popularised Alexander Tzonis and Liane Lefaivre's concept of 'critical regionalism'. This approach refers to architecture that responds to its local premise yet in an avant-gardist, modernist approach. It is an approach to architecture that aims to respond to issues of 'placelessness'[2]and 'identity' within the globalised built environment.

This led to a rethink of what it means to be'local' and how it defines an architectural approach that portray the region or place. Avoiding the debates on the concepts of global and local as disparate ideas, the term 'glocalisation'[3]emerges(in sociology) defining a complex interaction between globalising and localising tendencies. The paradox between the local and the global defines an alternative language of architecture that does not reject modern ideas or lapsing into a literal return to history. Rather, a heterogeneous form of architecture that portrays what was termed by Frampton as 'a place-conscious poetic'[4]emerges.The concept fosters thoughtful works that engage the senses, embody and express local cultural processes, promote environmental sustainability,and enhance people's awareness of the world around them. Such returning to place ideas can be seen in the Asian region.

In Malaysia, traces of the global-local dialectic emerge as an alternative strand of thinking about architecture. This essay attempts to offer glimpses

of the character of the global-local ('glocal')architecture that produces the current alternative approach for place-conscious design. It draws parallels between local architecture and Western architectural ideas and theories, and suggests that the fundamental basis of contemporary architectural thinking emphasizes on the local sense of place while embracing theories and ideas of Western modernity.

Local character as inspirations

The importance of context, particularly local context, has been a rhetorical concern in the Western architectural discourse. This notion was described by the architectural theorist Christian Norberg-Schulz as'local character' and the phenomenon of everyday life as well as referring to landscapes and urban milieu.Quoting from Suzanne Langer, Norberg-Schulz argued that 'architecture belongs to poetry, and its purpose is to help man to dwell. But architecture is a difficult art. To make practical towns and buildings is not enough. Architecture comes into being when a 'total environment is made visible'[5]. Similar concerns were raised by Karsten Harries who stressed the need to 'discover the importance of neighborhoods and regions…which will articulate their character '[6].

These ideas emphasized the importance in making the environment meaningful through the creation of specific places. Architecture is carefully planned around the site's physical and cultural context to produce genuinely tailored made work that complements the existing context. For example, Ng Sek San's Sekeping Serendah Glass House is inspired by the small Peter Stuchbury designed Israel house in Paradise Beach, New South Wales. It is also inspired by the nearby Orang Asli village where their architecture is less permanent.Despite the difference in material, the essence of a temporary shelter is evoked as it is designed with only pure necessity in mind. The Glass House is intended to be demolished and rebuilt at ease similar to the aboriginal homes.

'Honest' Architecture

Reinforcing the idea that everyone is equal,architecture emphasizes on affordability. For architecture to be affordable, it has to be'honest'. But what does it mean for architecture to be 'honest'? The theme of honesty in Malaysian architecture carries through the 20th century modernist proclamation of Adolf Loos 'ornament is crime' echoing the basic moral values of architecture based on the principle of honesty of materials. Generally the term is used to mean one of two things: (1) the building does not cover up its structure and pretend to be something it is not;or, (2) the design of the building is coherent with the spirit of the modern age. Similar honesty is portrayed in Malaysian architecture but in a manner which reflects affordability and sensitivity of materials to its local context.

One principle of such honesty is the utilisation of local sources in a truthful manner to reflect a place-specific architecture. For example, the use of locally available materials that may have been made available during the construction works.This is demonstrated in Belum Rainforest Resort by C'Arch Architecture in collaboration with Khoo Boon Siew and Juteras which features the 'huruhara' wallsthat are constructed out of recycled bricks that were salvaged from the existing buildings on site. In addition, the 'sapling' screens that gives the resort its outdoor character is made of fast growing local timbers that are sustainable.[7]

1 文丹旗魚海番村的典型村舍/Typical Orang Asli house found in Serendah

2 雙文丹的玻璃屋/The Glass Shed of Sekeping Serendah

The idea of retaining the nature that once stood on site is also reflected in ZLG Design Boh Tea Centre,Cameron Highlands: the elongated rectilinear form of the Tea Center perch above the landscape of tea plantation exemplifying Mies van der Rohe's modern box architecture. Taking advantage of the cooling climate of the site, its front entrance facade is made of steel frames that are filled with timber logs of trees that once stood on site. The decision to utilize simple, humble and accessible materials due to budget and location constraint has given the project its signature and essence[8].

Tectonics

The honesty of materials results in architectural tectonic that portrays beauty: beauty in composition of materials and beauty in details. Such conception is manifested in architecture based on the notion of 'tectonics' as employed by Frampton which focused on architecture as a constructional craft[9].Design strategies centered on the philosophies of constructional form and material character as integral to an evolving architectural expression of form and space. The idea of architecture as a craft was stretched further by the exploration of used materials and found objects as constructional materials, for example the Telegraph Pole House in Langkawi by Building Bloc. The architects, BC and Wen Hsia, sourced recycled poles in the timber yards of Kedah, Kelantan and Trengganu (the north eastern part of Malaysia). The main structural frame and roof trusses were all 5x5 telegraph poles sourced from a timber yard in Kedah. The old poles are very beautiful found structures that have gone through the patina of time, and have maintained their soundness from impending termite attacks and weathering. The floorboards, wallboards, roof shingles were all salvaged from other buildings that were taken down. The tectonic of this dwelling echoes Mies van der Rohe's dictum of 'God is in the details'. Every column is a composite of 4 numbers of 5x5 poles connected to a steel pin base. The base also acts as a termite shield. The main beams of the house are made from 3 numbers of 5x5 poles.They are connected with scarf joints and multiple sections.

3 由回收石料建成的貝隆雨林度假村酒店入口/The entrance of Belum Resort made of recycled masonry

4 貝隆雨林度假村酒店的“亂”樹苗墻/The 'huruhara' tree sapling walls of Belum

5 Boh茶園的圓木立面/The timber log facade of Boh Tea Centre

6 電線桿住宅的結(jié)構(gòu)/The structure of Telegraph Pole House

Sensitivity of materials also reflects the character of the site. Set along the beachfront of Batu Ferringhi in Penang, the Lone Pine Resort by GDP Architects establishes the texture and tactility of various masonry types in its facade design to create a breathable skin. Whilst allowing ventilation, the variety of the single units and the order that it is assembled somehow forms a diversity of textured patterns which are clearly displayed without any finishes to disguise it. This approach reaffirms the spirit of the original hotel that was a jumble of sorts, a result of three sets of buildings in all, constructed over a period of sixty years.[10]

Contemporary interpretations of vernacular ideas

Malaysian architecture incorporates vernacular principles into their designs. Broadly defined,vernacular architecture refers to primitive shelter.In Malaysia, it commonly refers to the traditional Malay House. In Kevin Low's Louvrebox House,he raised the building on stilts to counter the challenging terrain without flattening the land.Inspired by the traditionalkampung house, he liberates the ground below for landscaping. This open lower ground allows for ventilation through the house. It is similar for Sekeping Serendah which is raised off the ground as protection from intruders and the elements. Another traditional Malay House essence is the 'Serambi' or the shaded open-sided verandah that is for greeting visitors or chatting with a neighbour. In Sek San's Jalan Tempinis Satu home, the entrance leads into a courtyard with a low timber deck.

7 龍柏酒店：通風(fēng)砌塊立面/Lone Pine Hotel: Vent block facade

8 龍柏酒店使用的各種通風(fēng)砌塊與砌磚工藝/The variety of ventilation blocks and brickwork used throughout the Lone Pine

In the same line, the Wooi House by Loke Wooi Architect reinterprets the traditional Malay House in attempt to recapture the soul of his childhood experiences of growing up in Pendang, Kedah. The Wooi House lends the idea of the kampong house's slanted roof by fitting a prominent umbrella roof made of zinc. The walls are constructed of timber strips that are placed vertically to allow air flow similar to that of a kampong house which is porous and breathable.[11]

Inside-out, Outside-in: Architecture beyond the four walls

The issue of enclosure and the relationship with nature were questions that contemporary Malaysian architecture explored.Should space be enclosed in four walls and a door? Unlike the 20th century modern architecture tore apart the concept of four walls and a door in defining architectural space due to influences of the concept of hygiene, the invention new construction material(reinforced concrete) and technology. The opening up of architecture to blur boundaries of inside and outside seeks to promote the symbiotic relationship between nature and architecture. Furthermore,Western ideas of the dialectic between architecture and nature were portrayed in the 18th and 19th centuries' emphases on gardens and the country houses. The idealisation of architecture from the perspective of the Arcadian landscapes was evident in art, architecture and literature.

In the local context, architecture explores the idea of turning architecture inside-out and outside-in. The use of trees outside and inside of architecture also allows architecture to grow.

In the PJ Trade Centre (designed by Kevin Mark Low of Small Projects, with Yellil Architect as the Architect of record), there is a natural element onalmost all four walls, floor and ceiling despite being a commercial office development.

9 一幢傳統(tǒng)村屋的室外元素/The external elements of a traditional kampong house

10 百葉窗盒住宅正立面/Front elevation of the Louvrebox House

11 村屋的會客空間/The serambi of a kampong house

12 淡賓尼一道的入口庭院/The entrance courtyard of Jalan Tempinis Satu

…good architecture begins with the garden.——Kevin Mark Low[12]

After the more solid concrete ventilation block facade, the Centre reveals a garden courtyard which is visible through the more transparent inner walls of the offices. It seems as if the trees were put in place first and the walls came up around them.The sky terraces punctuate the area bridging the ventilation block screen and the offices provide a garden space at higher levels. This is empowerment of nature is echoed by trees growing out from the basement car park floors through each level.[13]Low believes that architecture should be about unclosure of space and the unarchitecture of buildings. He stresses that the garden is not merely designed around good architecture and beauty can come from non-architectural components of a building.

The global-local dialectic has paved way for alternative philosophical concern and practice of architecture in Malaysia. Rebutting the questions on style, there emerges an alternative approach to contemporary Malaysian architecture that embraces the global, the traditional and the local and perceives such concepts as not mutually exclusive. Contemporary architectural thoughts and ideas do not emerge from a vacuum. Rather,they are formed by a convergence of philosophical,economical, historical and socio-cultural influences.Despite the different physical manifestations of architecture, the core philosophy stems from the concerns of place-specific architecture that returns to the fundamental basis of architecture economy,humanity and place.

The definition of identity in architecture is a polemic issue. What identity? Whose identity?The architectural discourse is constantly faced with the problem of identity because identity is transient. Identity is governed by place and time which are never static. In order to respond to the unique position of defining the 'here' and 'now',the awareness of the global context and the local context will continue to forge path in defining and re-defining the identity of contemporary Malaysian architecture. One of the contemporary approaches to architecture is indeed 'glocal'.□

注釋/Notes:

[1] RICOUER, P. (1961) 'Universal Civilization and National Cultures'. In History and Truth, trans. Chas.A. Kelbley. Evanston: Northwestern University Press,1965: 276-277.

[2] In the book Place & Placelessness (1976), Edward Relph defined placelessness as environments that lack a sense of identity.

13 洛克住宅的斜屋頂/The slanted roof of Loke Residence

14 木條墻面/The timber strip walls

15 八打靈再也貿(mào)易中心的挑空平臺/The sky terraces of PJ Trade Centre

16 從地下車庫生長出來的樹木/The trees growing through the basement car park levels

17 玻璃墻面使門廳向庭院花園敞開空間/The glass walls opening up the lobby to the courtyard garden

[3] GIDDENS, A. 1990, The consequences of modernity, Oxford: Polity Press.盡管很難追蹤到“全球本土化”術(shù)語在原日語中的首位使用者，英語中的首位使用者是羅蘭·羅伯森教授。他是一位英美社會學(xué)家，從英國移居美國，并在美國賓夕法尼亞州的匹茲堡大學(xué)度過了大部分學(xué)術(shù)生涯。羅伯森原來在社會學(xué)中的研究方向是宗教社會學(xué)、社會學(xué)理論和文化社會學(xué)，其研究也涉獵比較社會學(xué)和現(xiàn)代化研究領(lǐng)域。/Although it would be difficult to trace the first user of the term 'glocalisation' in its original Japanese usage, the first time the term was used in English can be attributed to Professor Roland Robertson, a British/American sociologist,who migrated from United Kingdom to the United States where he spent most of his academic career at the University of Pittsburgh, Pennsylvania, USA.Robertson's original interests in sociology were in the areas of sociology of religion, sociological theories and cultural sociology. He also ventured into areas of comparative sociology and modernization studies.

[4] FRAMPTON, K. 1995. Studies in Tectonic Culture:The Poetics of Construction in Nineteenth and Twentieth Century Architecture. New York: The MIT Press: 27.

[5] NORBERG-SCHULZ, C. 1996. 'The Phenomenon of Place (1976)'. In Theorizing A New Agenda For Architecture: An Anthology of Architectural Theory 1965-1995. Nesbitt, K. (ed). Princeton Architectural Press: 426.

[6] HARRIES, K. 1996. 'The Ethical Function of Architecture (1975)'. In Theorizing A New Agenda For Architecture: An Anthology of Architectural Theory 1965-1995. Nesbitt, K. (ed). Princeton Architectural Press: 396.

[7] OOI, Lina. C'Arch Architects: Belum Rainforest Resort.

[8] BALSUTO, David. 2008. Boh Tea Centre/ZLG Design.

[9] FRAMPTON, K. 1995. Studies in Tectonic Culture:The Poetics of Construction in Nineteenth and Twentieth Century Architecture. New York: The MIT Press.

[10] GDP Architects on Lone Pine Resort. http://www.gdparchitects.com/projects/category/hotel/lone-pine-hotel.html

[11] YOONG, Yvonne. 2005. 'Wooi's Wow Factor'. In New Straits Times, February 19.

[12] LOW, Kevin Mark. Small projects, http://www.small-projects.com/#

[13] TONG, Ching Thing. 'The Bare Mark' Space Out Magazine.