建在別處：中國建筑師的境外實踐

《世界建筑》的讀者朋友，

《世界建筑》在傳統(tǒng)上是把國外建筑師作品介紹到中國，或說是“輸入”；本期《世界建筑》關注的是一個相反方向的問題，即“輸出”——中國建筑師的境外實踐。

在加入WTO之后，中國在建筑設計市場方面給我們的印象更多是一個“輸入”國。也許源于發(fā)達國家建筑設計的理念，也許源于興建者對外國事物的熱忱，也許源于壯大的中產(chǎn)階級永不停息的對時尚與新奇的追求，我國大中城市重要建筑的設計權(quán)超乎正常比例地被外國建筑師獲得。我們幾乎認為中國建筑師在境內(nèi)市場上戰(zhàn)穩(wěn)腳跟已屬不易，更不用說去境外實踐了。

然而事實上，中國建筑師的境外實踐從新中國建立之后不久起，一直未曾間斷過，只不過這種實踐始終沒有成為眾所周知的主流。本期專輯通過所收錄的有限的建筑作品，試圖在一定程度上呈現(xiàn)這種實踐的線索。

中國建筑師的境外實踐大致可以分為4種類型：第一種，是中國擁有的境外資產(chǎn)項目，從使館、文化中心、企業(yè)資產(chǎn)到學術機構(gòu)，投資者、建設者、所有者和使用者全部為中方的不同群體。此類項目自建國初期起就一直存在，多由國有大型設計院通過委托（或近來的競賽）獲得設計權(quán)。第二種，是中國對其他發(fā)展中國家的援助建設項目，投資者、建設者為中方，所有者、使用者為外方。這類項目自20世紀中后期起一直存在，多由國有大型設計院通過委托或競賽的方式獲得設計權(quán)。第三種，是中國的工程承包商輸出項目，投資者為外方，建設者為中方，所有者、使用者為外方。這類項目的出現(xiàn)源于近期中國大規(guī)模城市化與基礎設施建設所錘煉的中國承包商競爭力，多由國有大型設計院通過委托或競賽的方式獲得設計權(quán)。第四種，是不具備前三種特征的其他境外項目，投資者、建設者、所有者和使用者全部為外方。此類項目是伴隨著中國當代建筑師的設計競爭力的增強而出現(xiàn)的，多由中國建筑師通過國際競賽的方式獲得設計權(quán)。

不難看出，上述的第一、二種類型記錄著中國建筑師對國家外交與國際關系的貢獻，而第三、四種（特別是第四種）則是中國建筑師通過設計實力或工程技術實力積極自主地參與國際競爭的印證。

我們當然樂于在不久的將來看到中國建筑師的境外實踐能夠成為中國建筑師實踐活動的主流組成部分。

Dear Reader,

It was a tradition of World Architecture to introduce foreign architects and their works to China. In this issue, we are not doing something in the same direction, but rather the other way around, We are focusing on the practice of Chinese architects abroad.

After joining WTO, China opened up the design market to foreign architects and has become a de-facto "import" country in this regard. A recent phenomenon is that important projects in major Chinese cities are given to foreign architects disproportionately. To many, for the Chinese architects, it is already difficult to keep the ground in the domestic market, let alone competing abroad.

Yet Chinese architects have been continuously making buildings abroad. It is just that these kind of projects are usually overlooked.

There are four types of projects in which Chinese architects work on a building to be built abroad: I/ Chinese properties overseas. Usually these projects are commissioned by the government or state-owned firms to large state-owned design institutes. II/ Chinese donation projects to other developing countries. These projects too are usually commissioned by state-related entities to state-owned design institutes. III/ Projects with Chinese contractors in which state-owned design institutes are invited to having partnership with Chinese contractors. Normally engineering power is the most important factor in these projects. IV/ Other normal foreign projects in which Chinese architects compete by the international norms with design being the key to success.

Obviously, types I and II projects register Chinese architects' contribution to Chinese international relations. Types III and IV projects are evidences of Chinese architects competing more autonomously on the international stage, either by engineering power or by design.

It is interesting to see whether in the coming years, there will be a surge of Chinese architects' works abroad.