阿道夫·克利尚尼茲 徐知蘭

1 阿道夫·克利尚尼茲/Adolf Krischanitz（攝影/Photo: Elfie Semotan）

阿道夫·克利尚尼茲，1946年出生于奧地利的施瓦察赫/蓬高。1970年，他在維也納工業(yè)大學(xué)求學(xué)的最后階段，同安格拉·哈雷特和奧托·卡普芬格爾共同創(chuàng)建了建筑師聯(lián)盟“迷失的聯(lián)系”。1979年，他作為創(chuàng)始人之一，創(chuàng)辦了奧地利建筑師協(xié)會(huì)的會(huì)刊《改建》，1982年擔(dān)任該協(xié)會(huì)會(huì)長(zhǎng)。作為維也納分離派的成員和會(huì)長(zhǎng)（1991年－1995年），他曾負(fù)責(zé)多個(gè)當(dāng)代藝術(shù)展覽的設(shè)計(jì)和組織工作。1989年，克利尚尼茲被慕尼黑工業(yè)大學(xué)聘請(qǐng)為客座教授，并曾先后在卡爾斯魯厄（1990年）、那不勒斯（1994年－1995年）和維也納（1996年）講學(xué)。1992年，他開始擔(dān)任柏林藝術(shù)大學(xué)城市更新與設(shè)計(jì)學(xué)院教授。1979年至今，克利尚尼茲一直作為自由執(zhí)業(yè)建筑師，在維也納、柏林和蘇黎世設(shè)有工作室?！?/p>

建筑不僅是思考、感受或運(yùn)用。建筑更是通過行動(dòng)建立意識(shí)的過程。建筑是為創(chuàng)造榜樣所進(jìn)行的不懈嘗試。

建筑是這樣一種活動(dòng)，他的特征可以用“修補(bǔ)術(shù)”（拼貼）一詞來概括?！靶扪a(bǔ)術(shù)”一詞來自于對(duì)完成精確但并不按程序開展的活動(dòng)的嘗試。

“動(dòng)詞‘bricoler’在舊的詞義上指球戲、玩臺(tái)球、狩獵和騎馬，然而它總是涉及到某種附帶的運(yùn)動(dòng)時(shí)使用：球的彈跳，狗的游蕩或馬的繞避障礙?！窦夹g(shù)平面上的‘修補(bǔ)術(shù)’一樣，神話思考可以在理智平面上獲得出色的、意想不到的結(jié)果。反過來說，所謂‘粗糙的’或‘樸實(shí)的’藝術(shù)平面上的‘修補(bǔ)術(shù)’所具有的神話詩(shī)意性，常常引起人們的注意?！保藙诘隆ち芯S－斯特勞斯，《野性的思維》，譯者注——譯文引自：克勞德·列維－斯特勞斯.野性的思維. 李幼蒸譯. 北京：商務(wù)印書館，1987：22-23.）

建筑學(xué)是一個(gè)邊界模糊的體系，其中之人嘗試借助外界的力量不斷重新界定該體系的核心。隨著時(shí)間的推移，人們對(duì)建筑的理解逐漸成形，進(jìn)而改變我們看待事物的方式。正是通過時(shí)間的這種力量，先鋒派那些鮮明而面向未來的立場(chǎng)最終都成為曇花一現(xiàn)。

變化與延續(xù)、內(nèi)部反思與外部觀察、藝術(shù)與日常用語(yǔ)之間的張力所呈現(xiàn)出的差異性，為我們上了豐富的一課。新建筑總是既有建筑的某種變體。哪個(gè)權(quán)威可以決定我們?nèi)绾瓮ㄟ^對(duì)比找出差異？在互有差異的體系間，不存在終極的權(quán)威。我們既沒有興趣、也毫無必要去將建筑定義為某種“絕對(duì)”的存在。重要的是對(duì)一致性以及由此而生的差異性的感知，或如保羅·瓦萊里在其《筆記》中所述：“時(shí)間也是一種尺度，衡量能量如何經(jīng)過身體……。我由此得出結(jié)論，對(duì)一致性的感知是最重要的。我之為我，是由過去與未來、及兩者之間的間隔所定義的?！?/p>

建筑是建筑之間的差異性?！?/p>

Adolf Krischanitz (born in 1946 in Schwarzach/Pongau) co-founded the architects' group"Missing Link" toward the end of his studies at the Technische Universit?t (Technical University) in Vienna 1970, together with Angela Hareiter and Otto Kapfinger. In 1979 he was a co-founder of the magazineUmBauof the ?sterreichische Gesellschaft für Architektur (Austrian Society for Architecture)and in 1982 assumed the chair of that organization. As a member and then president of the Vienna Secession (1991－1995) he was responsible for the design and organization of many exhibitions of contemporary art. He was active as a visiting professor in 1989 at the Technische Universit?t (Technical University)in Munich as well as at the Sommerakademie(Summer Academy) in Karlsruhe (1990), Naples(1994－1995), and Vienna (1996). Since 1992 he is Professor for Urban Renewal and Design at the Universit?t der Künste (University of the Arts) in Berlin. Krischanitz has worked since 1979 as a free-lance architect with studios in Vienna, Berlin, and Zurich. □

Architecture is not only thinking, feeling, or use. It is much more the establishment of a consciousness by means of doing. It is an extended rehearsal put to the test.

Architecture is an activity, which can be characterized by the expression "bricolage" (handicraft). The meaning of the word the term bricolage is derived from processes and activities which perform a precise,but not prescribed movement.

"In its original sense, the verbbricolercan be applied to billiards and ball games, or hunting and riding,but never in the sense of emphasizing a prescribed movement: that of the ball that bounces back, the dog that makes a detour, or the horse that diverges from the straight path in order to avoid an obstacle. Just like the mythical thinking on the intellectual level, handicraft work can bring about dazzling and unforeseen results on the technical field. Conversely one often notices the mythopoetic character of the bricolage." (Claude Lévi-Strauss,The Savage Mind)

Architecture is a system within movable boundaries, with a quiet searching for an external structural authority, which keeps watch over the unity (middle). The coagulating of the architectonic consciousness by the time factor changes the point of view. The directed, future bearing principle of the avant-gardistic is then transposed into the ephemeral.

The interplay of change and continuity, introspection and extrospection, art and every day speech as unlimited play of the differences is a pluralistic lesson. Architecture is always transformation of other architectures. Which authority determines the free play of relations? In differential systems there is no ultimate authority. The definition of absolute architecture is neither necessary nor interesting. What is decisive is the perception of the sameness and thereby the difference, or as Paul Valéry formulated it in theCahiers: "Time is also measurement of energy through the body…I conclude from that, that the perception of equality is fundamental. There is something in me, that the before and after, as well as the interval defines."

Architecture is the difference between architecture. □ （本文首次出版于/This text was first published in: "Adolf Krischanitz: Architecture is the difference between Architecture", edited by Uta Graff, published by Hatje Cantz, Ostfildern, Germany, 2009）