王澍:談?wù)勏硎芙ㄖ澈蟮奈幕蜕?/h1>
2012-04-29 12:43:33曉棲
文化交流 2012年5期
曉棲
王澍最近很忙，按他的說法，這叫“連軸轉(zhuǎn)”。
雖然已經(jīng)召開過媒體見面會(huì)，但依然有許許多多登門造訪者：或是帶著敬仰、佩服的心情要求采訪；或是邀請他參加各種各樣的公眾活動(dòng)——這顯然打亂了一向低調(diào)慣了的王澍的生活。性格平易親和的他，面對抱著善意的訪客，自然放不下面子婉拒。如今，他的為人、他的生平、他的藝術(shù)價(jià)值觀，也與獲得“普利茲克獎(jiǎng)”的名氣一樣，被越來越多的人所熟識(shí)。
其實(shí)，早在三年前，我就采訪過王澍，當(dāng)時(shí)他是杭州南宋御街中山路的設(shè)計(jì)者之一。采訪過程中，王澍儒雅的談吐和不凡的見解很讓人折服。今天，很多人對王澍獲得普利茲克獎(jiǎng)感到意外，因?yàn)樽鳛榻ㄖ绲摹皧W斯卡獎(jiǎng)”，普利茲克獎(jiǎng)每年只有一人獲獎(jiǎng)，設(shè)立至今，除了美籍建筑大師貝聿銘之外，此前尚沒有其他華人獲得此項(xiàng)殊榮。但我聽說王澍折桂之后，心里卻沒有多大的波瀾——他那些過人的才華，注定會(huì)有一天放射光彩。
談生平：厚積之后是薄發(fā)
易卜生有部名劇叫《建筑大師》，講一名天才建筑家面對中年危機(jī)的故事；今天的王澍和劇中的主人公索爾尼斯年齡相當(dāng)，可非但沒有“危機(jī)”，反而因今年二月末折桂國際建筑最高獎(jiǎng)“普利茲克獎(jiǎng)”，在不經(jīng)意間推向了藝術(shù)的高峰。
在綿綿細(xì)雨中，我走進(jìn)了中國美術(shù)學(xué)院象山校區(qū)，抬頭就見王澍教授設(shè)計(jì)的教學(xué)樓:屋檐、高墻、長廊、合院、木窗、瓦頂……如此特別，又這樣自然。
細(xì)雨如絲，遠(yuǎn)山如黛，在象山校區(qū)，對著正門口，有一塊紅底白字的醒目牌子，上面寫著:“熱烈慶祝王澍教授榮獲2012年普利茲克建筑獎(jiǎng)?！?/p>
確實(shí)，這片校園承載了王澍大量的心血、智慧以及榮譽(yù)。雖然校園設(shè)計(jì)建造過程中遇到了不少阻力，但識(shí)才的伯樂、中國美院院長許江一直給予王澍最大程度的支持。正如許江寫給王澍的那首淡然、充滿中國韻味和對中國建筑希冀的詩作里所寫的那樣：“那是一簇剛直的點(diǎn)墨/從大漢盛唐的湯湯長河/蘊(yùn)入木入化入神的筆力/綴帶氣帶韻帶魂的琢磨/層層浸染/這如雨春光/如藍(lán)墨色?！?/p>
在這樣充滿詩情畫意的江南春色里，王澍談起了他的生平。
1963年，王澍生于新疆，1988年從南京工學(xué)院（現(xiàn)東南大學(xué)）建筑系碩士畢業(yè)后，到當(dāng)時(shí)的浙江美術(shù)學(xué)院（現(xiàn)中國美術(shù)學(xué)院）從事舊樓改造及相關(guān)研究。
簡單的求學(xué)經(jīng)歷之后，就是漫長的蟄伏。1990年到2000年，王澍幾乎沒有進(jìn)行任何建筑設(shè)計(jì)工作，而是一直與工匠們在一起體驗(yàn)“真實(shí)的建造”。王澍稱這段歲月為“無用的歲月”，而同行更喜歡把這段時(shí)光稱為王澍的“隱居歲月”，對于一個(gè)建筑師來說，十年時(shí)光就這樣“荒廢”了，實(shí)在是大大的浪費(fèi)?？墒牵蹁鴧s用一個(gè)關(guān)于弗洛伊德的故事來說明自己的態(tài)度：“這位畢生釋夢的偉大醫(yī)生的工作方式，是在一段漫長時(shí)間內(nèi)對一位患者做不懈的對話與追蹤，所以他一生看過的病人寥寥無幾，他最親近的朋友也難以理解：為什么不多看幾個(gè)？弗洛伊德的回答是：每個(gè)病人在我看來都是如此重要，那是一個(gè)不容輕易對待的個(gè)人?！蓖蹁f，弗洛伊德的這句話讓他感觸良深，也決定了他的建筑設(shè)計(jì)無法多產(chǎn)。
直到2000年，蟄伏多年的王澍完成了他第一件主要作品——蘇州大學(xué)文正學(xué)院圖書館，開始用自己的設(shè)計(jì)表現(xiàn)“讓建筑自然地存在于山水之間”的獨(dú)特思考。
之后，王澍的優(yōu)秀作品一個(gè)接一個(gè)，寧波美術(shù)館、五散房、威尼斯建筑展上六萬片廢棄青瓦組成的“瓦園”、世博會(huì)唯一的鄉(xiāng)村案例館寧波滕頭館、獲第十二屆威尼斯建筑雙年展特別榮譽(yù)獎(jiǎng)的“衰變的穹頂”等等。
隨之而來的榮譽(yù)也一項(xiàng)接著一項(xiàng)。法國建筑學(xué)院金獎(jiǎng)、德國謝林建筑實(shí)踐大獎(jiǎng)以及剛剛頒發(fā)的普利茲克建筑獎(jiǎng)，他都是獲獎(jiǎng)?wù)咧械摹暗谝粋€(gè)中國人”。
中國美院象山校區(qū)是他真正引起國際建筑界關(guān)注的項(xiàng)目。他腳踩泥水從各地的拆房現(xiàn)場收集了700多萬塊不同年代的舊磚瓦，搭建起中國美術(shù)學(xué)院象山校區(qū)“漫山遍野”的建筑群，讓學(xué)生們在油菜花中讀書、散步。他甚至想，有一天，教授們可以騎著牛，從山坡上悠悠地走向教室。
和王澍的其他設(shè)計(jì)一樣，中國美院象山校區(qū)的設(shè)計(jì)也遵循王澍執(zhí)著的“讓建筑自然地存在于山水之間”這一理念，他說：“我是從藝術(shù)的角度來看材料的問題。比如古董，中國人會(huì)對那種使用過的痕跡有著特殊的感情，比如包漿所具有的那種特古樸的視覺?！彼终f：“而新的物件所散發(fā)出來的那種光亮則是完全不同的。現(xiàn)在中國有很多建筑被拆除，而那些廢舊的材料經(jīng)過重新使用，會(huì)找回原來的尊嚴(yán)，散發(fā)出復(fù)活的光輝?！?/p>
談文化：建筑師之外是文人
作為專業(yè)建筑師，王澍為自己的工作室取名為“業(yè)余建筑工作室”。他對“業(yè)余”的解讀是：“一個(gè)人因?yàn)榕d趣而從事某項(xiàng)研究、運(yùn)動(dòng)或者行為，而不是因?yàn)槲镔|(zhì)利益和專業(yè)因素?！?/p>
“建筑師是業(yè)余的，那什么才是您的‘專業(yè)呢？”
王澍并未直接回答我拋給他的問題，而是侃侃而談他的文化理念。從他的言談里，我找到了答案——一個(gè)“專業(yè)”的文人。
有人說他是“中國最具人文氣質(zhì)的建筑家”。他喜歡簫管，擅長書法和山水畫，喜歡和朋友“談?wù)撌瘽匪夹煳?，菲薄畢加索，贊賞杜尚”。他會(huì)對著一張老照片而潸然淚下，照片上是1900年的北京城俯瞰；在同行紛紛到歐美鍍金時(shí)，他只沉浸于自己的隱居世界，和工人一起親手筑房子。
如今已過知天命之年，生活趨于安定和足裕，對王澍來說，賞山水畫、品龍井茶、攜妻游園成了生活中必不可少的一部分；他對蘇州園林百看不厭，熟到可以默背的地步；他最推崇的建筑學(xué)家是童寯先生，童先生是中國近代造園理論研究的開拓者，他總是飽含深情地寫到童先生如何如何，并常常提到“園林”二字，把中國古代“造園”的手法和方式融入現(xiàn)代建筑是他一直專注的事情；他說，自己最想成為宋代的建筑師，因?yàn)樵诋?dāng)代中國做建筑，誘惑太多，而設(shè)計(jì)師不能把建筑當(dāng)生意；他至今仍用鉛筆畫圖紙，在別人都用電腦繪圖的今天，他的做法顯得“老土”，但他說，他不喜歡電腦軟件里那種光溜溜的線條，不夠敏感，也不夠銳利，畫不出質(zhì)感。
正是受這種清平雅正的文人情懷影響，王澍的設(shè)計(jì)從不追求“高、大、全”，為了一個(gè)不足100平方米的東西，愿意花費(fèi)半年、一年，甚至更長的時(shí)間去斟酌。
如普利茲克獎(jiǎng)評委亞歷桑德羅·阿拉維納對王澍及其作品的評價(jià)：“王澍的建筑或許是才智雙全的結(jié)果。才智雙全讓他能夠在社會(huì)需要紀(jì)念碑式建筑的時(shí)候創(chuàng)作出杰作，在不追求紀(jì)念性的時(shí)候依然有謹(jǐn)慎而平靜的作品。他創(chuàng)作的激情也許是因?yàn)樗容^年輕，但他精準(zhǔn)的手法證明了他具有超人的成熟。以寧波歷史博物館為例：這是一件多么有力，多么震撼人心的作品！它稱得上是一個(gè)杰作。你甚至不需要去參觀它，就能被它所打動(dòng)。被建筑所打動(dòng)，這在建筑領(lǐng)域里是非常罕見的，因?yàn)槟欠N影響更多的屬于音樂或者電影領(lǐng)域?！?/p>
談家人：一半的獎(jiǎng)勵(lì)屬妻子
在知悉獲得“普利茲克建筑獎(jiǎng)”時(shí)，王澍向美國媒體表示：“你們是不是頒錯(cuò)了，應(yīng)該頒給我和我太太兩人?！辈⒄f：“普利茲克獎(jiǎng)是有這段公案的，美國建筑師文丘里獲獎(jiǎng)的時(shí)候，未將獎(jiǎng)項(xiàng)同時(shí)頒給他夫人。文丘里做設(shè)計(jì)，他夫人是一位理論家，實(shí)際上對他有巨大的影響，當(dāng)年就犯過一次錯(cuò)誤，今年又犯了一次。在我們工作室，如果沒有我，就沒有這些方案；但如果沒有她，這些方案也不可能變成現(xiàn)實(shí)，她就起這個(gè)作用?！?/p>
這話讓人大吃一驚，他的妻子，何許人也？
有人告訴我，王澍的夫妻感情很好，當(dāng)年“他曾在晨曦初露的校園，用大棉襖裹上一捧石榴花獻(xiàn)給喜歡的女孩?！迸⒚嘘懳挠?，后來成了他的妻子和事業(yè)搭檔。
陸文宇是他的同學(xué)，也是他的“業(yè)余建筑工作室”唯一的合伙人。建筑工作室所有涉及設(shè)計(jì)的工作，都是靠陸文宇。業(yè)內(nèi)流傳一個(gè)段子：說王澍畫了設(shè)計(jì)草圖常常激動(dòng)地拿給學(xué)生們看，可是還沒看幾眼，他就要收起來交給陸老師藏好……
“我和太太在工作上的分工，就是如果沒有我，就不會(huì)有那些設(shè)計(jì)圖；而如果沒有我太太，所有的設(shè)計(jì)就不會(huì)實(shí)現(xiàn)?！蓖蹁@樣解釋，“我每次畫完草圖，她都是第一個(gè)看的人，如果她覺得不好，我會(huì)重畫。我太太身上溫潤的性格，實(shí)際上對我現(xiàn)在設(shè)計(jì)的風(fēng)格影響非常大，某種程度上說，她是我的老師?！?/p>
陸文宇曾問王澍：“為什么在你造的房子里總有一種氣氛，讓人說不清楚？”王澍的答案是：“那個(gè)人類觀察者正隱匿在建筑看似客觀的磚石梁柱間?！毖援?，兩人相對一笑，琴瑟協(xié)調(diào)，就在不言不語中延展。
王澍說，結(jié)婚這么多年來，他從來都沒有給妻子買過什么禮物，但普利茲克獎(jiǎng)，一定是給妻子最好的禮物。妻子是他工作和精神上最好的支柱，他們共同致力于實(shí)驗(yàn)中國悠久燦爛的建筑傳統(tǒng)在現(xiàn)代中國的延展和創(chuàng)新，將建筑作為環(huán)境的一部分來看待，重讀山水之所，重審建筑與中國園林在現(xiàn)代的意義?！?/p>
Master Architect Wins International Honor
By Xiao Qi
Wang Shu has been busy since the late February 2012 when he was announced the winner of prestigious Pritzker architecture prize, seen as the Nobel Prize for architecture.
The 49-year-old architect is head of the architecture department of the China Academy of Art in Hangzhou, the capital city of east-ern Chinas coastal Zhejiang Province. He is the first Chinese citi-zen to win the prize (I.M. Pei, an American, was the first Chinese-born architect to win in 1993).
Wang Shu now is very busy. He jokes that he is as busy as a spin-ning wheel. Though there has been a press conference that briefed the media on him, journalists have been trying to interview him and organizations have been trying to invite him to attend all kinds of events. The fame has aroused peoples interest in him and disturbed his low-profile laidback lifestyle. A man of even temperament, he has not yet learned how to say no to interview requests.
I had interviewed him three years before when he was one of the designers of Zhongshan Road in downtown Hangzhou, a refurbish-ment project launched to restore the avenue to its historical glory as a royal thoroughfare when Hangzhou was home to the royal house of the Southern Song Dynasty (1127-1279). During that interview, I was deeply impressed by the insights he offered and the cultured way he talked. Many people are surprised by Wangs win of the prestigious prize. Upon learning the big news, I was not surprised. I was convinced that it is only a matter of time that brilliant talents shine. Wang Shu is one of such brilliant talents.
Unlike Halvard Solness, the master builder who experiences a mid-age crisis in the namesake drama by Norwegian playwright Henrik Ibsen, Wang in his late 40s has never had time to experience mid-age crises. The prize is a proof of his architectural accomplish-ment.
The other day, I went to the Xiangshan Cam-pus of the China Academy of Art in a suburb of Hangzhou for an interview with Wang Shu. The rainy April day offered me a special insight into the beauty of the campus he masterminded. Near the gate of the campus stood a signboard featuring white characters on a red background saying “Heart-felt congratulations to Professor Wang Shu on his winning 2012 Pritzker Prize for Architecture.”
Wangs masterpiece on the campus now is recognized a landmark, but the original blueprint gave rise to some heated disputes. Fortunately, Xu Jiang, the president of the China Academy of Art, sided with the architect. This is how his dream translated into reality.
Born in 1963 in Xinjiang in northwestern China, Wang graduated as a major of architecture from Nanjing Institute of Technology (the pred-ecessor of todays Southeast University) in 1988 with a masters degree. He came to study old building refurbishing at Zhejiang Academy of Fine Arts, the pred-ecessor of todays China Academy of Art. The most of the last dec-ade of the 20th century saw him spend time working with craftsmen to gain building experience while many of his former classmates went abroad for further studies. Wang did not do any substantial ar-chitectural design during this period. He now jokingly describes the decade as useless and some colleagues think it was a waste of time, but during the ten years, he was actually practicing what Sigmund Freud did with his patients. The master psychoanalyst treated only a few patients in his lifetime, but he examined them thoroughly. His concentration on a few patients inspired Wang Shu the architect in China. Wang wanted a thorough understanding of his subjects and made his mind up at the beginning of his career that he would not be a prolific architect.
In 2000, he came up with his breakout project: the Library of Wenzheng College of Suzhou University. The design well repre-sents his philosophy of “enabling architecture to merge naturally with a backdrop of mountains and waters.” The library received the Architecture Art Award of China in 2004. After this, his master-pieces appeared rapidly, followed by major awards.
Wang Shu is widely known for masterfully using recycled build-ing materials. He says he approaches materials artistically. Antiques provide Chinese people with a special emotion for the tangible ef-fects of a lost past. New objects emit a brand new yet completely different luster whereas using recycled materials brings back the dignity of old times and creates a shiny renaissance.
Some people think Wang Shu is the most cultured architect. As a professional architect, he names his architect studio as Amateur Ar-chitecture Studio. He defines amateur as someone who does some-thing purely out of interest, someone who chases neither material gains nor professional glory.
Intrigued by his definition, I asked what he thought his specialty was if he believed architecture was just an amateur job. He did not answer directly. Instead, he talked about his understanding of cul-ture. He loves the Chinese flute and he writes calligraphy and draws landscapes masterfully. He prefers to talk about Shi Tao (1630-1724) and Xu Wei (1521-1593), two landmark landscape masters of the ancient China. He prefers Duchamp to Picasso.
Approaching the age of 50, which is considered an age of know-ing ones destiny in life since Confucius, Wang Shu leads a life of prosperity and peace. Appreciating landscape paintings, enjoying a cup of Dragon Well Tea, and sightseeing with his wife constitute an indispensable part of his life. He loves gardens of Suzhou so much that he has visited them many times and memorized all the details of these gardens.
Tong Jun (1900-1983), a professor of architecture of Wangs alma mater, is the very role model that Wang Shu looks up to. He reverently describes the master as the theoretical pioneer of gardens in modern China. Wang says he would like to be an architect of the Song Dynasty (960-1279) for a simple reason: an architect of today faces too much temptation and an architect should never approach design as a business. Most of his colleagues create drawings on computer, but Wang draws with a pencil, for he dislikes the compu-ter-created straight smooth lines, which he thinks are far from sensi-tive and sharp and lack a sense of quality.
Wang was in America giving lectures when the 2012 Pritzker architecture prize was announced. While interviewed, he joked that the prestigious prize should have been awarded to both his wife and him. At the studio, he creates designs and she takes care of every-thing else. His wife Lu Wenyu is a former classmate and the only other partner of the studio. Wang says that he has never bought any big gift for his wife since they got married years ago. He considers Pritzker Architecture Prize as the best gift for her. □
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曉棲
王澍最近很忙，按他的說法，這叫“連軸轉(zhuǎn)”。
雖然已經(jīng)召開過媒體見面會(huì)，但依然有許許多多登門造訪者：或是帶著敬仰、佩服的心情要求采訪；或是邀請他參加各種各樣的公眾活動(dòng)——這顯然打亂了一向低調(diào)慣了的王澍的生活。性格平易親和的他，面對抱著善意的訪客，自然放不下面子婉拒。如今，他的為人、他的生平、他的藝術(shù)價(jià)值觀，也與獲得“普利茲克獎(jiǎng)”的名氣一樣，被越來越多的人所熟識(shí)。
其實(shí)，早在三年前，我就采訪過王澍，當(dāng)時(shí)他是杭州南宋御街中山路的設(shè)計(jì)者之一。采訪過程中，王澍儒雅的談吐和不凡的見解很讓人折服。今天，很多人對王澍獲得普利茲克獎(jiǎng)感到意外，因?yàn)樽鳛榻ㄖ绲摹皧W斯卡獎(jiǎng)”，普利茲克獎(jiǎng)每年只有一人獲獎(jiǎng)，設(shè)立至今，除了美籍建筑大師貝聿銘之外，此前尚沒有其他華人獲得此項(xiàng)殊榮。但我聽說王澍折桂之后，心里卻沒有多大的波瀾——他那些過人的才華，注定會(huì)有一天放射光彩。
談生平：厚積之后是薄發(fā)
易卜生有部名劇叫《建筑大師》，講一名天才建筑家面對中年危機(jī)的故事；今天的王澍和劇中的主人公索爾尼斯年齡相當(dāng)，可非但沒有“危機(jī)”，反而因今年二月末折桂國際建筑最高獎(jiǎng)“普利茲克獎(jiǎng)”，在不經(jīng)意間推向了藝術(shù)的高峰。
在綿綿細(xì)雨中，我走進(jìn)了中國美術(shù)學(xué)院象山校區(qū)，抬頭就見王澍教授設(shè)計(jì)的教學(xué)樓:屋檐、高墻、長廊、合院、木窗、瓦頂……如此特別，又這樣自然。
細(xì)雨如絲，遠(yuǎn)山如黛，在象山校區(qū)，對著正門口，有一塊紅底白字的醒目牌子，上面寫著:“熱烈慶祝王澍教授榮獲2012年普利茲克建筑獎(jiǎng)?！?/p>
確實(shí)，這片校園承載了王澍大量的心血、智慧以及榮譽(yù)。雖然校園設(shè)計(jì)建造過程中遇到了不少阻力，但識(shí)才的伯樂、中國美院院長許江一直給予王澍最大程度的支持。正如許江寫給王澍的那首淡然、充滿中國韻味和對中國建筑希冀的詩作里所寫的那樣：“那是一簇剛直的點(diǎn)墨/從大漢盛唐的湯湯長河/蘊(yùn)入木入化入神的筆力/綴帶氣帶韻帶魂的琢磨/層層浸染/這如雨春光/如藍(lán)墨色?！?/p>
在這樣充滿詩情畫意的江南春色里，王澍談起了他的生平。
1963年，王澍生于新疆，1988年從南京工學(xué)院（現(xiàn)東南大學(xué)）建筑系碩士畢業(yè)后，到當(dāng)時(shí)的浙江美術(shù)學(xué)院（現(xiàn)中國美術(shù)學(xué)院）從事舊樓改造及相關(guān)研究。
簡單的求學(xué)經(jīng)歷之后，就是漫長的蟄伏。1990年到2000年，王澍幾乎沒有進(jìn)行任何建筑設(shè)計(jì)工作，而是一直與工匠們在一起體驗(yàn)“真實(shí)的建造”。王澍稱這段歲月為“無用的歲月”，而同行更喜歡把這段時(shí)光稱為王澍的“隱居歲月”，對于一個(gè)建筑師來說，十年時(shí)光就這樣“荒廢”了，實(shí)在是大大的浪費(fèi)?？墒牵蹁鴧s用一個(gè)關(guān)于弗洛伊德的故事來說明自己的態(tài)度：“這位畢生釋夢的偉大醫(yī)生的工作方式，是在一段漫長時(shí)間內(nèi)對一位患者做不懈的對話與追蹤，所以他一生看過的病人寥寥無幾，他最親近的朋友也難以理解：為什么不多看幾個(gè)？弗洛伊德的回答是：每個(gè)病人在我看來都是如此重要，那是一個(gè)不容輕易對待的個(gè)人?！蓖蹁f，弗洛伊德的這句話讓他感觸良深，也決定了他的建筑設(shè)計(jì)無法多產(chǎn)。
直到2000年，蟄伏多年的王澍完成了他第一件主要作品——蘇州大學(xué)文正學(xué)院圖書館，開始用自己的設(shè)計(jì)表現(xiàn)“讓建筑自然地存在于山水之間”的獨(dú)特思考。
之后，王澍的優(yōu)秀作品一個(gè)接一個(gè)，寧波美術(shù)館、五散房、威尼斯建筑展上六萬片廢棄青瓦組成的“瓦園”、世博會(huì)唯一的鄉(xiāng)村案例館寧波滕頭館、獲第十二屆威尼斯建筑雙年展特別榮譽(yù)獎(jiǎng)的“衰變的穹頂”等等。
隨之而來的榮譽(yù)也一項(xiàng)接著一項(xiàng)。法國建筑學(xué)院金獎(jiǎng)、德國謝林建筑實(shí)踐大獎(jiǎng)以及剛剛頒發(fā)的普利茲克建筑獎(jiǎng)，他都是獲獎(jiǎng)?wù)咧械摹暗谝粋€(gè)中國人”。
中國美院象山校區(qū)是他真正引起國際建筑界關(guān)注的項(xiàng)目。他腳踩泥水從各地的拆房現(xiàn)場收集了700多萬塊不同年代的舊磚瓦，搭建起中國美術(shù)學(xué)院象山校區(qū)“漫山遍野”的建筑群，讓學(xué)生們在油菜花中讀書、散步。他甚至想，有一天，教授們可以騎著牛，從山坡上悠悠地走向教室。
和王澍的其他設(shè)計(jì)一樣，中國美院象山校區(qū)的設(shè)計(jì)也遵循王澍執(zhí)著的“讓建筑自然地存在于山水之間”這一理念，他說：“我是從藝術(shù)的角度來看材料的問題。比如古董，中國人會(huì)對那種使用過的痕跡有著特殊的感情，比如包漿所具有的那種特古樸的視覺?！彼终f：“而新的物件所散發(fā)出來的那種光亮則是完全不同的。現(xiàn)在中國有很多建筑被拆除，而那些廢舊的材料經(jīng)過重新使用，會(huì)找回原來的尊嚴(yán)，散發(fā)出復(fù)活的光輝?！?/p>
談文化：建筑師之外是文人
作為專業(yè)建筑師，王澍為自己的工作室取名為“業(yè)余建筑工作室”。他對“業(yè)余”的解讀是：“一個(gè)人因?yàn)榕d趣而從事某項(xiàng)研究、運(yùn)動(dòng)或者行為，而不是因?yàn)槲镔|(zhì)利益和專業(yè)因素?！?/p>
“建筑師是業(yè)余的，那什么才是您的‘專業(yè)呢？”
王澍并未直接回答我拋給他的問題，而是侃侃而談他的文化理念。從他的言談里，我找到了答案——一個(gè)“專業(yè)”的文人。
有人說他是“中國最具人文氣質(zhì)的建筑家”。他喜歡簫管，擅長書法和山水畫，喜歡和朋友“談?wù)撌瘽匪夹煳?，菲薄畢加索，贊賞杜尚”。他會(huì)對著一張老照片而潸然淚下，照片上是1900年的北京城俯瞰；在同行紛紛到歐美鍍金時(shí)，他只沉浸于自己的隱居世界，和工人一起親手筑房子。
如今已過知天命之年，生活趨于安定和足裕，對王澍來說，賞山水畫、品龍井茶、攜妻游園成了生活中必不可少的一部分；他對蘇州園林百看不厭，熟到可以默背的地步；他最推崇的建筑學(xué)家是童寯先生，童先生是中國近代造園理論研究的開拓者，他總是飽含深情地寫到童先生如何如何，并常常提到“園林”二字，把中國古代“造園”的手法和方式融入現(xiàn)代建筑是他一直專注的事情；他說，自己最想成為宋代的建筑師，因?yàn)樵诋?dāng)代中國做建筑，誘惑太多，而設(shè)計(jì)師不能把建筑當(dāng)生意；他至今仍用鉛筆畫圖紙，在別人都用電腦繪圖的今天，他的做法顯得“老土”，但他說，他不喜歡電腦軟件里那種光溜溜的線條，不夠敏感，也不夠銳利，畫不出質(zhì)感。
正是受這種清平雅正的文人情懷影響，王澍的設(shè)計(jì)從不追求“高、大、全”，為了一個(gè)不足100平方米的東西，愿意花費(fèi)半年、一年，甚至更長的時(shí)間去斟酌。
如普利茲克獎(jiǎng)評委亞歷桑德羅·阿拉維納對王澍及其作品的評價(jià)：“王澍的建筑或許是才智雙全的結(jié)果。才智雙全讓他能夠在社會(huì)需要紀(jì)念碑式建筑的時(shí)候創(chuàng)作出杰作，在不追求紀(jì)念性的時(shí)候依然有謹(jǐn)慎而平靜的作品。他創(chuàng)作的激情也許是因?yàn)樗容^年輕，但他精準(zhǔn)的手法證明了他具有超人的成熟。以寧波歷史博物館為例：這是一件多么有力，多么震撼人心的作品！它稱得上是一個(gè)杰作。你甚至不需要去參觀它，就能被它所打動(dòng)。被建筑所打動(dòng)，這在建筑領(lǐng)域里是非常罕見的，因?yàn)槟欠N影響更多的屬于音樂或者電影領(lǐng)域?！?/p>
談家人：一半的獎(jiǎng)勵(lì)屬妻子
在知悉獲得“普利茲克建筑獎(jiǎng)”時(shí)，王澍向美國媒體表示：“你們是不是頒錯(cuò)了，應(yīng)該頒給我和我太太兩人?！辈⒄f：“普利茲克獎(jiǎng)是有這段公案的，美國建筑師文丘里獲獎(jiǎng)的時(shí)候，未將獎(jiǎng)項(xiàng)同時(shí)頒給他夫人。文丘里做設(shè)計(jì)，他夫人是一位理論家，實(shí)際上對他有巨大的影響，當(dāng)年就犯過一次錯(cuò)誤，今年又犯了一次。在我們工作室，如果沒有我，就沒有這些方案；但如果沒有她，這些方案也不可能變成現(xiàn)實(shí)，她就起這個(gè)作用?！?/p>
這話讓人大吃一驚，他的妻子，何許人也？
有人告訴我，王澍的夫妻感情很好，當(dāng)年“他曾在晨曦初露的校園，用大棉襖裹上一捧石榴花獻(xiàn)給喜歡的女孩?！迸⒚嘘懳挠?，后來成了他的妻子和事業(yè)搭檔。
陸文宇是他的同學(xué)，也是他的“業(yè)余建筑工作室”唯一的合伙人。建筑工作室所有涉及設(shè)計(jì)的工作，都是靠陸文宇。業(yè)內(nèi)流傳一個(gè)段子：說王澍畫了設(shè)計(jì)草圖常常激動(dòng)地拿給學(xué)生們看，可是還沒看幾眼，他就要收起來交給陸老師藏好……
“我和太太在工作上的分工，就是如果沒有我，就不會(huì)有那些設(shè)計(jì)圖；而如果沒有我太太，所有的設(shè)計(jì)就不會(huì)實(shí)現(xiàn)?！蓖蹁@樣解釋，“我每次畫完草圖，她都是第一個(gè)看的人，如果她覺得不好，我會(huì)重畫。我太太身上溫潤的性格，實(shí)際上對我現(xiàn)在設(shè)計(jì)的風(fēng)格影響非常大，某種程度上說，她是我的老師?！?/p>
陸文宇曾問王澍：“為什么在你造的房子里總有一種氣氛，讓人說不清楚？”王澍的答案是：“那個(gè)人類觀察者正隱匿在建筑看似客觀的磚石梁柱間?！毖援?，兩人相對一笑，琴瑟協(xié)調(diào)，就在不言不語中延展。
王澍說，結(jié)婚這么多年來，他從來都沒有給妻子買過什么禮物，但普利茲克獎(jiǎng)，一定是給妻子最好的禮物。妻子是他工作和精神上最好的支柱，他們共同致力于實(shí)驗(yàn)中國悠久燦爛的建筑傳統(tǒng)在現(xiàn)代中國的延展和創(chuàng)新，將建筑作為環(huán)境的一部分來看待，重讀山水之所，重審建筑與中國園林在現(xiàn)代的意義?！?/p>
Master Architect Wins International Honor
By Xiao Qi
Wang Shu has been busy since the late February 2012 when he was announced the winner of prestigious Pritzker architecture prize, seen as the Nobel Prize for architecture.
The 49-year-old architect is head of the architecture department of the China Academy of Art in Hangzhou, the capital city of east-ern Chinas coastal Zhejiang Province. He is the first Chinese citi-zen to win the prize (I.M. Pei, an American, was the first Chinese-born architect to win in 1993).
Wang Shu now is very busy. He jokes that he is as busy as a spin-ning wheel. Though there has been a press conference that briefed the media on him, journalists have been trying to interview him and organizations have been trying to invite him to attend all kinds of events. The fame has aroused peoples interest in him and disturbed his low-profile laidback lifestyle. A man of even temperament, he has not yet learned how to say no to interview requests.
I had interviewed him three years before when he was one of the designers of Zhongshan Road in downtown Hangzhou, a refurbish-ment project launched to restore the avenue to its historical glory as a royal thoroughfare when Hangzhou was home to the royal house of the Southern Song Dynasty (1127-1279). During that interview, I was deeply impressed by the insights he offered and the cultured way he talked. Many people are surprised by Wangs win of the prestigious prize. Upon learning the big news, I was not surprised. I was convinced that it is only a matter of time that brilliant talents shine. Wang Shu is one of such brilliant talents.
Unlike Halvard Solness, the master builder who experiences a mid-age crisis in the namesake drama by Norwegian playwright Henrik Ibsen, Wang in his late 40s has never had time to experience mid-age crises. The prize is a proof of his architectural accomplish-ment.
The other day, I went to the Xiangshan Cam-pus of the China Academy of Art in a suburb of Hangzhou for an interview with Wang Shu. The rainy April day offered me a special insight into the beauty of the campus he masterminded. Near the gate of the campus stood a signboard featuring white characters on a red background saying “Heart-felt congratulations to Professor Wang Shu on his winning 2012 Pritzker Prize for Architecture.”
Wangs masterpiece on the campus now is recognized a landmark, but the original blueprint gave rise to some heated disputes. Fortunately, Xu Jiang, the president of the China Academy of Art, sided with the architect. This is how his dream translated into reality.
Born in 1963 in Xinjiang in northwestern China, Wang graduated as a major of architecture from Nanjing Institute of Technology (the pred-ecessor of todays Southeast University) in 1988 with a masters degree. He came to study old building refurbishing at Zhejiang Academy of Fine Arts, the pred-ecessor of todays China Academy of Art. The most of the last dec-ade of the 20th century saw him spend time working with craftsmen to gain building experience while many of his former classmates went abroad for further studies. Wang did not do any substantial ar-chitectural design during this period. He now jokingly describes the decade as useless and some colleagues think it was a waste of time, but during the ten years, he was actually practicing what Sigmund Freud did with his patients. The master psychoanalyst treated only a few patients in his lifetime, but he examined them thoroughly. His concentration on a few patients inspired Wang Shu the architect in China. Wang wanted a thorough understanding of his subjects and made his mind up at the beginning of his career that he would not be a prolific architect.
In 2000, he came up with his breakout project: the Library of Wenzheng College of Suzhou University. The design well repre-sents his philosophy of “enabling architecture to merge naturally with a backdrop of mountains and waters.” The library received the Architecture Art Award of China in 2004. After this, his master-pieces appeared rapidly, followed by major awards.
Wang Shu is widely known for masterfully using recycled build-ing materials. He says he approaches materials artistically. Antiques provide Chinese people with a special emotion for the tangible ef-fects of a lost past. New objects emit a brand new yet completely different luster whereas using recycled materials brings back the dignity of old times and creates a shiny renaissance.
Some people think Wang Shu is the most cultured architect. As a professional architect, he names his architect studio as Amateur Ar-chitecture Studio. He defines amateur as someone who does some-thing purely out of interest, someone who chases neither material gains nor professional glory.
Intrigued by his definition, I asked what he thought his specialty was if he believed architecture was just an amateur job. He did not answer directly. Instead, he talked about his understanding of cul-ture. He loves the Chinese flute and he writes calligraphy and draws landscapes masterfully. He prefers to talk about Shi Tao (1630-1724) and Xu Wei (1521-1593), two landmark landscape masters of the ancient China. He prefers Duchamp to Picasso.
Approaching the age of 50, which is considered an age of know-ing ones destiny in life since Confucius, Wang Shu leads a life of prosperity and peace. Appreciating landscape paintings, enjoying a cup of Dragon Well Tea, and sightseeing with his wife constitute an indispensable part of his life. He loves gardens of Suzhou so much that he has visited them many times and memorized all the details of these gardens.
Tong Jun (1900-1983), a professor of architecture of Wangs alma mater, is the very role model that Wang Shu looks up to. He reverently describes the master as the theoretical pioneer of gardens in modern China. Wang says he would like to be an architect of the Song Dynasty (960-1279) for a simple reason: an architect of today faces too much temptation and an architect should never approach design as a business. Most of his colleagues create drawings on computer, but Wang draws with a pencil, for he dislikes the compu-ter-created straight smooth lines, which he thinks are far from sensi-tive and sharp and lack a sense of quality.
Wang was in America giving lectures when the 2012 Pritzker architecture prize was announced. While interviewed, he joked that the prestigious prize should have been awarded to both his wife and him. At the studio, he creates designs and she takes care of every-thing else. His wife Lu Wenyu is a former classmate and the only other partner of the studio. Wang says that he has never bought any big gift for his wife since they got married years ago. He considers Pritzker Architecture Prize as the best gift for her. □
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