張利

專業(yè)分工時(shí)代的全體論方法

張利

工業(yè)時(shí)代之前的建筑學(xué)，無論是在西方還是在東方，都被默認(rèn)以全體論的方式存在：思想與操作的連貫，學(xué)理與工法的融匯，知識與技能的共軛，自然科學(xué)、哲學(xué)、神學(xué)、文學(xué)、美術(shù)、音樂、手工藝的精通；阿爾伯蒂、帕拉第奧、丟勒、魯班……建筑師實(shí)乃全才之謂，“哲匠”之范。

工業(yè)化的不斷演進(jìn)帶來的專業(yè)分工的不斷加劇，戲劇化膨脹的浩瀚知識體系使得“全才”不再可能存在。文藝復(fù)興式的通科達(dá)人的最近閃現(xiàn)也要追溯到19世紀(jì)黃金時(shí)代的俄羅斯了。在高度信息化與全球化的今天，任何人在一個(gè)生命跨度內(nèi)實(shí)現(xiàn)對所有學(xué)科的般般通曉都是不可能的，更不用說樣樣精通了。

雖然全體論的超人不復(fù)存在，但打破學(xué)科分野、橋接理論與實(shí)踐領(lǐng)域的全體論方法仍然是可行的，特別對于建筑學(xué)這種知識邊界模糊、思維模式混雜、與當(dāng)下的專工時(shí)代格格不入的“蹩腳”學(xué)科來說，它甚至還是行之有效的、維系建筑對文明積極作用的途徑。20世紀(jì)，在歐洲城市化與戰(zhàn)后重建的最富挑戰(zhàn)性階段，曾經(jīng)出現(xiàn)了以格羅庇烏斯、塞爾特、巴奇馬、凡·艾克等為代表的現(xiàn)代全體論者，他們拒絕機(jī)械的現(xiàn)代專業(yè)分工，跨越在理論、實(shí)踐與教育、城市與建筑、人文與科技之間，堅(jiān)實(shí)地推動(dòng)了人工環(huán)境貢獻(xiàn)于普遍意義的人的提升的進(jìn)程。

莊惟敏教授是在當(dāng)代中國艱巨的城市化進(jìn)程中，堅(jiān)持采用全體論方法的本土建筑師代表。一方面，作為在文革之后接受高等教育的最早一代中國建筑師的領(lǐng)軍團(tuán)隊(duì)成員，他與幾位同儕一樣，擔(dān)負(fù)著以建筑設(shè)計(jì)帶動(dòng)社會(huì)進(jìn)程的時(shí)代責(zé)任；另一方面，作為身兼名牌建筑學(xué)院院長與重要國有設(shè)計(jì)院院長職位的極少個(gè)例之一，他又不可避免地面臨在理論、實(shí)踐與教育之間架接橋梁的義務(wù)。有趣的是，在他的家庭教育與成長背景的作用下，這種全體論方法更多呈現(xiàn)為一種無心插柳的自然結(jié)果，而不是一種有意而為的強(qiáng)制角色。

在其理論上，莊惟敏教授把目光聚焦到鮮為創(chuàng)作型建筑師所關(guān)注的實(shí)證主義問題——建筑提供有效空間服務(wù)的壽命——即建筑策劃問題上。在20余年前，莊惟敏就提出，對于公共利益的維護(hù)，建筑（特別是大型公共建筑）任務(wù)書的制定可能比建筑的形式風(fēng)格更為重要。在今天，我們在經(jīng)歷了極速城市化之后，逐漸認(rèn)清文明進(jìn)展的差異關(guān)鍵在軟件的優(yōu)劣而非硬件的有無，這確實(shí)與莊惟敏早期提出的論點(diǎn)不謀而合。莊惟敏教授的長期堅(jiān)持也使建筑策劃逐步從無人問津的“非建筑”問題，變成了受到當(dāng)今中國建筑學(xué)界關(guān)注的重要問題之一。

在其實(shí)踐上，莊惟敏教授拒絕任何建筑類型或個(gè)性化手法的標(biāo)簽——即使這在快餐式建筑文化消費(fèi)的時(shí)代，意味著職業(yè)建筑寫手與商業(yè)建筑策展人的噩夢。莊惟敏的建筑可以在華山游客中心中體現(xiàn)為俯首自然的地景化，也可以在清華科技園大廈中體現(xiàn)為超高密度開發(fā)的自我救贖，也可以在南極科考站中體現(xiàn)為非物質(zhì)化的臨時(shí)性，更可以在中國美術(shù)館加建中體現(xiàn)為息聲循形的消隱。在大多數(shù)建筑師追求個(gè)人風(fēng)格營銷的時(shí)代，莊惟敏似乎不無頑固地堅(jiān)持著“不同環(huán)境、不同課題必將引向不同建筑答案”的傳統(tǒng)的建筑因地制宜原則。

在其教育上，莊惟敏教授有意回避政論式的宏大敘事，以及驚人的教育理念措辭，而是以一種包容的開放的態(tài)度，委婉地傳遞一個(gè)事實(shí)上的鮮明立場：建筑教育從來都是，現(xiàn)在也是，未來更將是關(guān)于合格的建筑師的培養(yǎng)。道可傳，業(yè)可授，惑可解，然名不可造。是故，建筑教育乃成就建筑師之謂，非成就建筑“大師”之謂。這一腳踏實(shí)地、立足根本的務(wù)實(shí)建筑教育理念，與以成敗論英雄、以建筑為揚(yáng)名立腕之借的精英建筑教育理念針峰相對，在對中國當(dāng)代建筑教育去向何方的爭論中，扮演著關(guān)鍵的角色。

我們感興趣于莊惟敏教授的全體論方法，以及他在理論、實(shí)踐、教育上的融匯對于中國當(dāng)代建筑與建筑教育的影響。這也是我們在今年關(guān)注文革后中國建筑師個(gè)體的《世界建筑》特輯中，聚焦于莊惟敏的原因。□

Architecture used to be holistic in the pre-industrial age, both in the East and in the West. Across the world, there was continuity in architectural thinking and operation, theory and tectonics, knowledge and skills. In architects those of Alberti, Palladio, Dueller and Lu Ban, we found individuals that were masters-of-everything. They were de facto philosopher-builders.

With industrialisation there arrived specialisation, ever more of it. the dramatic expansion of the body of knowledge totally eradicates the possibility of any master-of-everything ever again. the last flash of such human individuals is as far as 19th century Russia. In a globe of high IT today, no one can even put a finger in everything, let alone master it.

Gone are the old fashioned masters. But the holistic approach is never to die. In a murky, hybrid, incompatible-to-complete-modernspecialisation profession, such as architecture, the breaking down of knowledge boundaries, the bridging of theory and practice is still a sensible way. Under most circumstances, it is even still the only sensible way to maintain the relevance of architecture in human civilisation. In the 20th century, facing the most demanding time of urbanisation and post-war reconstruction, there have been people like Gropius, Sert, Bakema and Van Eyck who took the holistic approach and led the process of making built space for the wider good of the mankind. All of them rejected imposed specialisations. All of them carried out their individual inquiry across the fields of theory, practice and education.

Professor ZHUANG Weimin is a typical example of a contemporary Chinese architect adopting the holistic approach, trying to tackle the difficult issues of modern Chinese urbanisation. On one hand, he is a key member of the current academic leadership in Chinese architecture formed by people educated in the early post-culture-revolution years. He thus has his share of the formidable responsibility of moving the society forward through architecture. On the other hand, he is one of the very few examples of being both the dean of a prestigious architecture school and the director of a large state-owned design firm. He then must connect theory, practice and education, not least for his own sake. Interestingly, from his own family background and personal development, this holistic approach seems rather more like a natural outcome than a injected one.

In his theory, ZHUANG started to focus on the positivist subject of programming from quite early on. Over twenty years ago, he proposed that for the public good, the programming of large public buildings in China was more important than the cosmetic issues, an argument hugely doubted then, but broadly accepted today. It is after twenty years of rapid, sometime ruthless, urbanisation that China comes to the understanding of what the quality of city life is really about. With most people agreeing now that the software is more important than the hardware, ZHUANG's persistent work in the last two decades is paying off.

In his practice, ZHUANG rejects all typological or stylistic taggingeven if at a time that consumes architecture fast food, this means the nightmare of professional critics and commercial curators. In Mount Huashan Visitor Center, he makes the building like landscapes. In Science & Technology Mansion of TUS Park, he presented a self-redemption of a hyper-density commercial development. In China Antarctic Station, he tries dematerialising portability. In the Renovation of the National Art Museum of China, he demonstrates striking constraint and invisibility. When most architects today seem to be enjoying self-promoting signature styles, ZHUANG sticks with the obstinacy that architecture needs to be honest representations of different situations.

In his pedagogy, ZHUANG avoids narratives of grant scales, or rhetoric of deliberate surprises. With his well-known tolerance and open-mindedness, he maintains a simple yet strong position: architecture education has been, is and will still be about professional competence. You can teach principles, you can teach knowledge, you teach skills, but you cannot teach fame. This very practical position stands on a firm ground against the success-and-fame-orientated position of elitist architecture education. No matter what, ZHUANG's position and pedagogy plays a key role in the debate of Chinese architecture education today.

It is his holistic approach that we are interested in. It is also his own continuity in theory, practice and education that we feel excited about. It is these reasons that we have chosen ZHUANG Weimin as the subject of this year's World Architecture coverage on post-culturerevolution Chinese architects. □

莊惟敏

1962年10月生于上海，1985年清華大學(xué)建筑系本科畢業(yè)， 1992年清華大學(xué)博士畢業(yè)，獲工學(xué)博士學(xué)位。

國家設(shè)計(jì)大師，國家一級注冊建筑師、注冊咨詢師。

現(xiàn)任清華大學(xué)建筑學(xué)院院長、教授、博士生導(dǎo)師，清華大學(xué)建筑設(shè)計(jì)研究院院長、總建筑師，清華大學(xué)（2014-2019年）第十屆學(xué)術(shù)委員會(huì)委員。2012年獲中國建筑學(xué)會(huì)建筑教育獎(jiǎng)，2012年獲當(dāng)代中國百名建筑師稱號。

中國建筑學(xué)會(huì)資深會(huì)員、中國建筑學(xué)會(huì)常務(wù)理事、中國建筑學(xué)會(huì)建筑師分會(huì)副理事長、中國建筑學(xué)會(huì)建筑師分會(huì)理論與創(chuàng)作專業(yè)委員會(huì)副主任委員、中國勘查設(shè)計(jì)協(xié)會(huì)高等院?？辈煸O(shè)計(jì)分會(huì)常務(wù)理事及副會(huì)長、全國高等學(xué)校建筑學(xué)專業(yè)家教育評估委員會(huì)委員、國際建協(xié)（UIA）理事、國際建協(xié)職業(yè)實(shí)踐委員會(huì)（UIA-PPC）聯(lián)席主席、APEC建筑師中國監(jiān)督委員會(huì)委員。

著有《建筑策劃導(dǎo)論》《建筑設(shè)計(jì)的生態(tài)策略》《建筑設(shè)計(jì)與經(jīng)濟(jì)》《2009中國城市住宅發(fā)展報(bào)告》《國際建協(xié)建筑師職業(yè)實(shí)踐政策推薦導(dǎo)則》《筑·記》《環(huán)境生態(tài)導(dǎo)向建筑復(fù)合表皮設(shè)計(jì)要點(diǎn)及工程實(shí)踐》《雪域宗山》等專著，已發(fā)表學(xué)術(shù)論文100余篇。曾主持中國美術(shù)館改造工程、世界大學(xué)生運(yùn)動(dòng)會(huì)游泳跳水館、2008年奧運(yùn)會(huì)國家射擊館、飛碟靶場和柔道跆拳道館、華山游客中心、北川抗震紀(jì)念園幸福園展覽館、釣魚臺國賓館3號樓及網(wǎng)球館工程、中國國際博覽中心等重大工程的設(shè)計(jì)工作。華山游客中心曾獲得亞建協(xié)2014榮譽(yù)獎(jiǎng)，金沙遺址博物館獲2014年FIDIC工程項(xiàng)目獎(jiǎng)提名，2004年獲英國皇家建筑師協(xié)會(huì)“多樣的城市”設(shè)計(jì)競賽大獎(jiǎng)。設(shè)計(jì)作品多次獲國家金、銀、銅獎(jiǎng)及省部級優(yōu)秀設(shè)計(jì)獎(jiǎng)，學(xué)會(huì)建筑創(chuàng)作金、銀獎(jiǎng)。

ZHUANG Weimin

Born in Shanghai, October 1962

B. E., School of Architecture, Tsinghua University, 1985

D. E., School of Architecture, Tsinghua University, 1992

National Design Master, National First-Class Registered Architect and Registered Consultant of China

Dean, professor and doctoral supervisor of School of Architecture, Tsinghua University; Director and chief architect of the Architectural Design & Research Institute of Tsinghua University; Member of the 10th (2014-2019) Academic Committee of Tsinghua University. In 2012, he was awarded the Architectural Education Prize by the Architectural Society of China and with the title of the Top 100 Chinese Contemporary Architects.

He is a senior member and executive councilor of the Architectural Society of China (ASC), vice chairman of the Architect Branch, ASC, vice director of the theory and Creative Work Committee of the Architect Branch , ASC, vice chairman and executive councilor of the China Exploration & Design Association, member of the National Architecture Education Evaluation Committee, councilor of International Union of Architects (UIA), president of Professional Practice Committee of UIA, and member of APEC China's Architect Project Monitoring Committee.

His work of publications include Introduction on Architecture Programming, Ecological Strategies of Architectural Design, Architectural Design and Economy, Annual Report on Urban Housing Development Report in China 2009, UIA Accord on Recommended International Standards of Professionalism in Architectural Practice, Zhu. Ji (Building and Documentation), Environmental and Ecological-Oriented Architectural Composite Envelope Design Essentials and Project Record, Dzongs in Snow Land, etc., as well as more than a hundred published academic papers. He was the chief architect of the National Art Museum of China renovation project, Swimming and Diving Center for the World Universiade, Shooting Venue, Flying Saucer Shooting Range and Judo and Taekwondo Venue of 2008 Beijing Olympic Games, Mt. Huashan Tourist Center, Happiness Hall of the Beichuan Earthquake Memorial Park, Tennis Hall of Villa 3 in Diaoyutai State Guest House, China International Exhibition Center and other major projects. Among his projects, the Mt. Huashan Tourist Center was given Honorable Mention by ARCASIA Awards of AAA 2014. And Jinsha Site Museum was shortlisted in the FIDIC Project Award 2014 in Rio, Brazil. In 2004, he was given the RIBA Diverse City Competition Prize in Beijing, China. Many of his works were given gold, silver and bronze medals of national level, distinctive prize of provincial and departmental levels, creativity prize and silver medal by the Architectural Society of China.

A Holistic Approach at a Time of Specialisation

ZHANG Li

清華大學(xué)建筑學(xué)院/《世界建筑》

2015-10-09