五十嵐太郎/Taro Igarashi

司馬蕾 日譯中/Translated from Japanese by SIMA Lei

錢(qián)芳 中譯英/Translated from Chinese by QIAN Fang

許懋彥 校/Chinese proofread by XU Maoyan

論坂茂：用合理的思考開(kāi)拓建筑的可能性

五十嵐太郎/Taro Igarashi

司馬蕾 日譯中/Translated from Japanese by SIMA Lei

錢(qián)芳 中譯英/Translated from Chinese by QIAN Fang

許懋彥 校/Chinese proofread by XU Maoyan

筆者根據(jù)自己作為策展人參與了一個(gè)展覽會(huì)的經(jīng)驗(yàn)，把坂茂建筑師的特點(diǎn)視為跨越建筑的兩個(gè)領(lǐng)域，即“社會(huì)性”與“設(shè)計(jì)性”。實(shí)際上，坂茂至今既追求建筑結(jié)構(gòu)及建筑材料的可能性，又作為支持活動(dòng)把自己設(shè)計(jì)的臨時(shí)住宅等提供給自然災(zāi)害的受災(zāi)區(qū)。本文通過(guò)逐一分析幾個(gè)建筑作品，而試圖明確坂茂作為建筑師的特殊性。

坂茂，設(shè)計(jì)，材料，自然災(zāi)害，支持活動(dòng)，普利茨克建筑獎(jiǎng)

社會(huì)性與設(shè)計(jì)感的貫通

最近，筆者作為特邀策展人正在籌劃將在金澤21世紀(jì)美術(shù)館舉辦的“日本建筑師專(zhuān)題展”（展覽時(shí)間為2014年11月1日—2015年5月10日）。該展覽也籌劃將在法國(guó)的蓬皮杜藝術(shù)中心同時(shí)舉辦。在展覽的第二部分——“3.11之后的建筑師”專(zhuān)題中，將有坂茂的作品展出；而在展覽的第一部分——“日本建筑師1945-2010”專(zhuān)題中，也將呈現(xiàn)其作品。在這個(gè)新世紀(jì)之后、日本國(guó)內(nèi)規(guī)模最大的建筑展中，他是為數(shù)不多的在展覽的第一和第二部分中都有作品展出的建筑師之一，因此更突顯出坂茂在建筑界的重要地位。這兩部分展覽不僅僅是在展出的對(duì)象和時(shí)代劃分上有所不同，同時(shí)，第一部分展覽的視角更著重于設(shè)計(jì)的造型方面，第二部分的展覽則更側(cè)重設(shè)計(jì)與社會(huì)的關(guān)系。而在談到追求形式感的設(shè)計(jì)與社會(huì)公益性這兩個(gè)方面時(shí)，坂茂的確都在世界范圍內(nèi)飽受贊譽(yù)。一般來(lái)說(shuō)，重視造型趣味的建筑師，其作品的社會(huì)性通常較為薄弱；相反，強(qiáng)調(diào)社會(huì)性的建筑師，其作品在形式上往往較為普通。但坂茂并不屬于這兩種分類(lèi)中的一類(lèi)，而是驚人地成功兼具了這兩種品質(zhì)。

首先，坂茂作品的特點(diǎn)無(wú)疑體現(xiàn)在各種獨(dú)特的結(jié)構(gòu)與建造上——由彎曲的合成木材和膜結(jié)構(gòu)組建成屋頂?shù)呐钇ざ琶匪怪行模▓D1）、位于瑞士的木構(gòu)造建筑，以及靈活使用了獨(dú)特紙管結(jié)構(gòu)的各種構(gòu)筑物都體現(xiàn)了這一特質(zhì)。此外，在1995年的日本阪神大地震、盧旺達(dá)大屠殺、中國(guó)四川大地震、美國(guó)的卡特里娜颶風(fēng)等災(zāi)害發(fā)生之后，他都第一時(shí)間趕赴世界各地的這些災(zāi)區(qū)，支援受災(zāi)民眾和難民們。災(zāi)區(qū)需要建設(shè)具有社會(huì)意義的臨時(shí)住宅，同時(shí)也需要與之開(kāi)發(fā)建設(shè)相匹配的建造方式和建筑材料。坂茂將這兩種需求很好地融合在一起，在災(zāi)區(qū)開(kāi)展了許多具有實(shí)驗(yàn)性的項(xiàng)目——例如，盧旺達(dá)的紙質(zhì)避難所、阪神大地震后建造的紙質(zhì)小屋（圖2）、四川大地震后在成都建造的紙管臨時(shí)學(xué)校，以及東日本大地震后為遭受海嘯襲擊的女川地區(qū)設(shè)計(jì)的由集裝箱堆疊起來(lái)的臨時(shí)住宅（圖3）等等。這些建筑如同博覽會(huì)上的展館建筑，正因?yàn)槎疾皇怯谰眯越ㄖ謶?yīng)對(duì)著緊急性的需求，才能讓建筑師有機(jī)會(huì)嘗試這些實(shí)驗(yàn)性的結(jié)構(gòu)和建造做法。

1 蓬皮杜梅斯中心/Centre Pompidou - Metz

Connection between Social Significance and Sense of Design

As the invited curator, the author is planning a theme exhibition on Japanese architects that will be held at the 21st Century Museum of Contemporary Art, Kanazawa, from November 1, 2014 to May 10, 2015. The exhibition is planned to be held at Center Pompidou in France during the same period of time.The works of Shigeru Ban will be exhibited both in the second section of the exhibition - "Architects after the 3.11 Earthquake" and in the first section -"Japanese Architects 1945 - 2010". He is one of the few architects whose works are presented in both sections of this biggest architecture exhibition in Japan since the beginning of the new century, by which his unique position in the field is reflected. In fact, besides the differences in targets and time between the two sections of the exhibition, the first section highlights the form of designs while the second section lays more emphasis on the relationship between design and society. And Shigeru Ban has been widely recognized in the world for both his formal designs and concerns on social welfare. Generally speaking, architects who emphasize visual effects are weak in social considerations. On the contrary, those who focus on social values tend to create forms that are plain and uninteresting. Shigeru Ban belongs to neither group. He is surprisingly competent in both aspects.

First of all, when we talk about the features of Ban's works, the unique structure and way of construction will undoubtedly come into our mind. These features are also emphasized by Centre Pompidou-Metz (fig.1), a wooden structure located in Switzerland, whose roof is formed by curved laminated wood and membrane, as well as by other architectures of flexible paper-tube structure. What's more, Ban would respond immediately and go to help victims and refugees in areas stricken by natural or social disaster such as the Hanshin earthquake in 1995, the Rwanda massacre, the Sichuan earthquake in China, and the Hurricane Katrina in the US. Temporary residential housing of social significance is always needed in disaster stricken areas, so is the development of corresponding construction method and materials. Ban achieved a balance between these demands. He carried out many experimental projects in these disaster areas, including the paper emergency shelters in Rwanda, the paper houses constructed after the Hanshin earthquake (fig.2), temporary paper-tube school in Chengdu after the Sichuan earthquake, the temporary houses formed by shipping containers in Onagawa after the earthquake and tsunami (fig.3), etc. Like the exhibited buildings in an expo, these architectures, temporary and responding to emergency, provide architects with opportunities to experiment with new structures and construction methods.

2 阪神震災(zāi)區(qū)紙管臨時(shí)住宅/Paper Log Houses - Kobe

3 東日本震災(zāi)區(qū)女川臨時(shí)住宅/Container Temporary Housing, Onagawa, Japan

4 游牧美術(shù)館/Nomadic Museum Tokyo

普利茲克獎(jiǎng)被稱(chēng)為建筑界的諾貝爾獎(jiǎng)，自創(chuàng)設(shè)以來(lái)一直以歐美為中心開(kāi)展評(píng)審。雖然有著這樣的歷史，近年來(lái)，亞洲勢(shì)力卻開(kāi)始在其中獨(dú)占鰲頭。繼2010年的SANAA、2012年的王澍、2013年的伊東豐雄之后，坂茂在2014年獲此殊榮。在這幾位建筑師中，坂茂是唯一一位在美國(guó)的大學(xué)接受過(guò)專(zhuān)業(yè)教育的。他在那里學(xué)會(huì)了結(jié)構(gòu)、建構(gòu)的方法、考慮材料的可回收性能、設(shè)計(jì)可以被清楚解釋的造型，以及不被情緒左右、理性的建筑思考等技能，因此從開(kāi)始就具有了國(guó)際視野，并據(jù)此開(kāi)展工作。他現(xiàn)在也總在世界各國(guó)間奔走著——翻看他的作品集中2012年之后的作品，就會(huì)發(fā)現(xiàn)幾乎全是國(guó)外的項(xiàng)目。他在日本的建筑師中也顯得非常獨(dú)特。輕質(zhì)明亮的“紙質(zhì)建筑”總會(huì)讓人想起，特別是外國(guó)人尤感獨(dú)特的、充滿(mǎn)日本風(fēng)尚的木結(jié)構(gòu)古建筑。采用了革命性木結(jié)構(gòu)的7層高的瑞士Tamedia新總部大廈也是如此。坂茂對(duì)紙和木材的執(zhí)著，以及對(duì)可移動(dòng)的隔斷、內(nèi)部與外部空間之間連續(xù)性等問(wèn)題的思考，都讓人想起日本傳統(tǒng)建筑體現(xiàn)的品位。但他同時(shí)又在其中加入了現(xiàn)代科技的成果，并由此開(kāi)拓出建筑的全新可能性。

突破常規(guī)之明快創(chuàng)意的實(shí)現(xiàn)

讓我們來(lái)分析幾座坂茂設(shè)計(jì)的建筑。

游牧美術(shù)館（2007）以象征游牧民族的游牧為名，展示葛雷哥里·柯北(Gregory Colbert)的攝影作品。美術(shù)館作為臨時(shí)建筑，在紐約和圣莫妮卡搭建之后，第三站則來(lái)到了東京的臺(tái)場(chǎng)（圖4）。152個(gè)五彩繽紛的貨運(yùn)集裝箱呈棋盤(pán)狀堆疊在一起，形成凹凸相間的墻體，坡屋頂則以鋁制框架為結(jié)構(gòu)，上面包裹著pvc膜。建筑的內(nèi)部空間中排列著高10m、直徑74cm的紙管，形成連續(xù)的柱廊?？梢哉f(shuō)，這座美術(shù)館是由出租的集裝箱及坂茂擅長(zhǎng)運(yùn)用的紙管等可回收材料建造而成的。然而，它雖然是座僅僅使用了些工業(yè)部件的簡(jiǎn)單建筑，卻因?yàn)槠鋬?nèi)部幽暗的柱廊而形成了神殿般的空間，加之墻上展示的以謳歌壯美自然與人類(lèi)之間的共鳴為主題的柯北的攝影作品，更突顯出莊嚴(yán)的宗教感和空間的趣味性。

同一年，坂茂設(shè)計(jì)的位于銀座的尼可拉斯·海耶克中心（Nicolas G. Hayek Center，2007），則是一座突破常規(guī)的商業(yè)設(shè)施。通常，為了增加營(yíng)業(yè)面積，商場(chǎng)中都會(huì)按最小需求設(shè)置電梯。然而，坂茂卻設(shè)置了直接聯(lián)系各個(gè)店鋪的7臺(tái)電梯。此處的電梯空間并不只是為了上下樓層，而是成為商店的一部分——同時(shí)被用作陳列商品的展示空間。有趣的電梯設(shè)計(jì)也成就了嶄新的商業(yè)空間?？梢哉f(shuō)，通過(guò)對(duì)集裝箱、電梯等既有要素的重新詮釋?zhuān)嗝竽懙馗镄铝藢?duì)“建筑”的定義。

2010年，蓬皮杜藝術(shù)中心分館在法國(guó)的梅斯市落成。從上空俯視，可以看到其屋頂呈六角形，由網(wǎng)狀的復(fù)合木條編織而成。而建筑大幅扭曲的造型也讓其成為令人印象深刻的城市新地標(biāo)。這一設(shè)計(jì)應(yīng)該是從坂茂過(guò)去參與的漢諾威世博會(huì)（2000）日本館的屋頂設(shè)計(jì)發(fā)展而來(lái)的。如帽子般的大屋頂之下，被稱(chēng)為“展管”的高15m、長(zhǎng)90m的3條長(zhǎng)方形體塊交錯(cuò)、層疊在一起；中央則設(shè)有一座六角形的電梯塔，將功能空間聯(lián)系起來(lái)。建筑明快的交通流線(xiàn)讓人想起坂茂設(shè)計(jì)的位于銀座的大樓?！罢构堋钡亩祟^是玻璃面的大開(kāi)口，面向著不同方位，將大教堂、中央火車(chē)站等城市地標(biāo)的景致如同畫(huà)作一般捕捉下來(lái)，讓人在美術(shù)館內(nèi)部也能觀(guān)賞到城市美景。這一讓人感慨“原來(lái)如此”的明快創(chuàng)意取得了競(jìng)賽的優(yōu)勝，也是坂茂的建筑中集大成的作品。

在世界各受災(zāi)地區(qū)的工作

因?yàn)橛辛嗽谮嫔翊蟮卣鸬葹?zāi)后工作的經(jīng)驗(yàn)，在東日本大地震發(fā)生之后，坂茂迅速地開(kāi)展行動(dòng)，在50個(gè)以上的避難所中設(shè)置了1800多個(gè)（尺寸2m×2m）隔斷單元，來(lái)保護(hù)各個(gè)家庭間的基本隱私。在這個(gè)過(guò)程中，位于崎嶇海岸線(xiàn)上的女川町的町長(zhǎng)向他訴說(shuō)了當(dāng)?shù)氐膯?wèn)題，因?yàn)槠降睾苌伲缃ㄔO(shè)傳統(tǒng)的一層臨時(shí)住宅，則數(shù)量不夠。坂茂在聽(tīng)說(shuō)之后，采用將海上運(yùn)輸用的集裝箱堆疊在一起的做法，建成了189套3層臨時(shí)住宅（其中的一部分為2層）。這種多層集裝箱建筑的優(yōu)點(diǎn)在于所需工期短，同時(shí)能夠在有限的基地上建設(shè)大量住房。同時(shí)，由于將集裝箱采用棋盤(pán)狀的方式堆疊，其使用量也比預(yù)期減半。在狹窄的集裝箱中設(shè)置兒童房和一體化衛(wèi)浴空間，而在相鄰集裝箱間形成的開(kāi)放空間的外側(cè)裝上通高的玻璃，構(gòu)成開(kāi)放的起居空間。雖然借鑒了游牧美術(shù)館的設(shè)計(jì)手法，但此建筑卻可以作為供人長(zhǎng)期居住的公寓來(lái)使用。

此后，坂茂還被指定為在女川當(dāng)?shù)氐恼麄€(gè)復(fù)興計(jì)劃中非常重要的女川車(chē)站的設(shè)計(jì)師。另外，2011年還發(fā)生了新西蘭大地震，基督城大教堂在地震中受災(zāi)，坂茂為此設(shè)計(jì)了以紙管和集裝箱為材料的臨時(shí)教堂。這一設(shè)計(jì)考慮了原有教堂的比例等要素，形成了對(duì)原有教堂記憶有所繼承的新建筑設(shè)計(jì)。最近，坂茂還在2013年的菲律賓臺(tái)風(fēng)災(zāi)害發(fā)生后，在當(dāng)?shù)亟ㄔO(shè)了紙質(zhì)的小屋和臨時(shí)教堂。而在2014年8月的廣島泥石流發(fā)生之后，他也立刻行動(dòng)，趕往現(xiàn)場(chǎng)。建筑工程總是牽扯到莫大的費(fèi)用問(wèn)題，因此，建筑師也常常成為了專(zhuān)門(mén)侍奉有錢(qián)人的職業(yè)。但是坂茂卻總是愿意自發(fā)地行動(dòng)起來(lái)，為失去家園的人建造庇護(hù)所，而不是建造豪宅。然而，這些建造于極端條件下的建筑原型化的小屋，可能才是所謂的建筑的原點(diǎn)，同時(shí)也賦予了我們?cè)诋?dāng)代重新思考建筑的新的可能性的契機(jī)。

Regarded as the Nobel Prize in architecture, Pritzker Architecture Prize has been focusing on the works of Western designers since its establishment. But in recent years, Asian architects started to rise in the competition. After SANAA in 2010, Toyo Ito in 2013, and WANG Shu in 2012, Shigeru Ban won the prize in 2014. Among them, Shigeru Ban is the only one who has received professional training in the United States, where he learned how to construct with consideration to the recycling quality of materials, how to make designs that can be interpreted, and how to develop rational thinking that is unaffected by emotions. His education has given him an international perspective, a good starting point for his career. Ban is now working on a world basis - all his works after 2012 are almost foreign projects. He is also very distinctive among Japanese architects. His light and bright "paper structure" easily reminds people, especially foreigners, of the ancient wooden architectures of Japanese flavor, as is the case of the new 7-storey headquarter of Tamedia in Switzerland. Ban's obsession with paper and wood, and his thinking on issues like movable partitions and continuity between interior and exterior space reminds us of the taste displayed in traditional Japanese architectures. At the same time, Ban adds modern technology into his works and hence explores new possible utilization of architecture.

bright Creation That breaks Through Conventions

Now let us analyze several works by Shigeru Ban.

Named after the nomad, the Nomadic Museum in Tokyo (2007) exhibited photographs by Gregory Colbert. As a temporary building, the museum chose Tokyo Odaiba as its third stop (fig.4), after its first two stops in New York and Santa Monica. The architecture is constituted by 152 colorful containers piled one above the other in a checkerboard pattern, which result in walls of concave and convex, and a pitched roof of aluminum framework with PVC membrane cover. In the interior space, the 10m-tall and 74cmdiameter paper tubes form an unbroken colonnade. It can be said that the whole museum is composed of rented containers and recyclable materials, such as paper tubes, the favorite of Shigeru Ban. However, in this plain architecture with limited industrial components, a temple-like space is created by the gloomy interior of the colonnade. In addition, the photographs by Colbert that are well known for exploring the connections between nature and human further enhance the solemn religious atmosphere in the museum and make the space more profoundly interesting.

The other piece of work by Shigeru Ban in the same year, i.e., the Nicolas G. Hayek Center at Ginza, is a non-conventional commercial facility. Normally architects will make a minimal space for lifts in order to increase the shopping area. But Ban designed seven lifts that are directly connected to each store in the center. These lifts, besides their conventional functions, are also used for commodity exhibitions, thus become part of the stores. An innovative commercial space is created through the delightful lift design. It can be said that Shigeru Ban has bravely carried out a revolution on the definition of "architecture" by his new interpretations of the existing architectural elements such as containers and lifts.

In 2010, Centre Pompidou-Metz was established in Metz, France. Viewed from the sky, its roof is formed by laminated wood in a hexagonal woven pattern. The twisted shape of the building has made it an impressive new landmark of the city. The design is probably developed from the roof of the Japan Pavilion that Ban conducted for the Hanover Expo in 2000. Under the huge hat-shaped roof, three "gallery tubes" of intersected cuboids of 90m×15m are stacked one above the other. In the center of the building is a hexagonal lift tower that connects different functional spaces. The succinct lines of passages in the building remind people of Ban's building at Ginza. At the ends of the "gallery tubes" are glass windows facing different directions, so that visitors are able to have good views of the famous landmarks of the city, such as the Cathedral and the Central Station etc. The enlightening design excelled in the competition. It is also regarded as the representative work of Ban.

Works in Disaster-Stricken Areas in the World

With his post-disaster working experiences after the Hanshin Earthquake, Ban immediately responded after the happening of the great earthquake in Eastern Japan. He set up over 1800 (size 2m×2m) isolated units in more than 50 shelters to protect the basic privacy for families. At that time he learned that due to the insufficient amount of flat land, it would be difficult for Onagawa to provide enough temporary housing if the traditional single-story houses were to be built. He then built 189 three-story temporary buildings (some were in two stories) by stacking shipping containers together. Using containers as building units shortened the construction period and allowed more housing in limited land. Meanwhile, when stacked in a checkerboard pattern, the number of containers needed was reduced by half. Kid's rooms and bathrooms are placed in narrow containers, and full height glasses are installed on the exterior sides of neighboring containers, forming open living spaces. Though the design has borrowed something from the Nomadic Museum, the container buildings can be used as permanent apartments.

Shigeru Ban was also appointed as designer of the Onagawa Station, which was an important part of the revival plan of Onagawa. In 2011, New Zealand was hit by a big earthquake that caused damage to the Christchurch Cathedral. Accordingly Shigeru Ban designed a temporary cathedral using paper tubes and containers. By reserving the scale and some other elements of the original cathedral, he created a new cathedral that inherited a memory of the old one. In 2013, after the typhoon in Philippine, Shigeru Ban built paper log houses and temporary church for the local people. And shortly after the occurring of the debris flow in Hiroshima in the August of 2014, he went to the disaster area and took immediate actions. As architectural projects are always related to huge amounts of money, architects are usually regarded as people who serve the rich. However, instead of designing luxurious villas, Shigeru Ban always chooses to act spontaneously and build shelters for people who lost their homes. In fact, these small prototypes of architecture constructed under extreme conditions may be the so-called origin of architecture. They have given us a chance to reconsider new possible utilizations of architecture in our times.

On Shigeru Ban: Exploring the Possibility of Architecture with Rational Thinking

Based on the experience of participating in organizing an exhibition, the author considers Shigeru Ban as an architect that embraces both the "social" and the "structural" aspects of architecture. In fact, what Shigeru Ban pursues hitherto is not only the possible utilization of architectural structure and building materials, but also, as an additional contribution, his design of temporary houses for disaster areas. By analyzing several of his buildings all over the world, this article tries to illuminate the special characteristics of Shigeru Ban as an architect.

Shigeru Ban, design, material, natural disaster, support activity, Pritzker Architecture Prize

日本東北大學(xué)教授

2014-09-10