核心：向后

席殊書(shū)屋，北京，中國(guó)

Xishu Bookstore, Beijing, China, 1996

評(píng)論

周榕：本來(lái)無(wú)一物——追憶作為思想基因的席殊書(shū)屋

在任何一個(gè)學(xué)科生態(tài)中，從思想基因?qū)用嬗绊懮踔粮淖冋麄€(gè)生態(tài)系統(tǒng)演化進(jìn)程的歷史機(jī)遇都頗為罕見(jiàn)。而1996年張永和設(shè)計(jì)的席殊書(shū)屋，就歷史性地承擔(dān)了為中國(guó)當(dāng)代建筑提供“重啟型”思想基因的生態(tài)革新使命。

1990年代中期，正值中國(guó)社會(huì)被“第二次改革開(kāi)放”浪潮席卷激蕩、中國(guó)建筑界人心思變卻苦于找不到新思維與新方法工具的轉(zhuǎn)折當(dāng)口，席殊書(shū)屋這一不足200m2“違章建筑”的設(shè)計(jì)建成，立刻對(duì)中國(guó)當(dāng)代建筑產(chǎn)生了“核爆級(jí)”的觀念沖擊力。

要理解席殊書(shū)屋獨(dú)特的歷史貢獻(xiàn)，就必須將其放置回20年前中國(guó)建筑那個(gè)特定的時(shí)代語(yǔ)境中去——席殊書(shū)屋誕生之日，正值“中國(guó)式后現(xiàn)代主義”大行其道之時(shí)。所謂“中國(guó)式后現(xiàn)代主義”，實(shí)質(zhì)上是打著“后現(xiàn)代”旗號(hào)的現(xiàn)代折衷主義和庸俗手法主義。彼時(shí)耽湎于“后現(xiàn)代”淺表符號(hào)游戲的中國(guó)建筑界，長(zhǎng)期以來(lái)缺乏將建筑問(wèn)題推進(jìn)到本體層面思考與討論的內(nèi)生型原動(dòng)力。此時(shí)席殊書(shū)屋的橫空出世，無(wú)疑具有不可估量的啟蒙價(jià)值。

作為張永和第一個(gè)真正意義上的建成作品，席殊書(shū)屋堪稱是一部集中展現(xiàn)其世界觀和建筑思想的空間教科書(shū)。簡(jiǎn)要說(shuō)來(lái)，張永和的世界觀是后現(xiàn)代的——糾纏于多元、富集、矛盾、復(fù)雜的跨界欲望與混搭趣味；而他的建筑思維卻遵循苛刻到近乎原教旨的現(xiàn)代性烏托邦信條——純化的虛構(gòu)本體、一元的價(jià)值體系、抽象的視覺(jué)形式、自洽的邏輯推演、致密的整體構(gòu)造。世界觀與方法論之間的本原性結(jié)構(gòu)沖突，造成了張永和作品的“起因”部分往往頗具吸引大眾認(rèn)知的通俗趣味，富有先天的傳播力和消費(fèi)性，而其作品的“成果”部分則無(wú)一例外貫徹了精英主義的枯燥，透露出反傳播、反消費(fèi)式的傲慢。張氏設(shè)計(jì)布局于闡釋與操作之間的巨大反差空間及工作領(lǐng)地，對(duì)于1990年代思想和形式供給雙重匱乏的中國(guó)建筑界，具有致命的殺傷力和難以抗拒的吸引力。對(duì)此，席殊書(shū)屋做出了最為直觀而生動(dòng)的垂范。

今天看來(lái)，席殊書(shū)屋最大的功績(jī)，是提升了中國(guó)當(dāng)代建筑的認(rèn)知分辨率和思想復(fù)雜度：從席殊書(shū)屋中，有人學(xué)到了將建筑視為城市的分維擬態(tài)，有人學(xué)到了旋轉(zhuǎn)書(shū)車的空間可能性喚醒，有人看見(jiàn)了還原為極簡(jiǎn)抽象體量的建筑“本體”，有人看見(jiàn)了被玻璃樓板和樸拙節(jié)點(diǎn)直推到眼前的建筑“表皮”，還有人在此悟到了傳播的價(jià)值、禁欲的趣味、秩序的控制、句法的呈遞……如是種種。4年后，席殊書(shū)屋被拆除，回歸為原有的消防通道，書(shū)屋中曾被瞥見(jiàn)的“凡所有相”，一時(shí)皆成虛妄。而20年后，被席殊書(shū)屋啟發(fā)、激勵(lì)、改變的幾代建筑學(xué)人，聚集在那個(gè)通道前，為它掛上了一面原址紀(jì)念牌，在那個(gè)時(shí)刻，或許有人隱約感受到，所謂的“思想基因”，的確有一種超越時(shí)間的底層力量。

Comment

ZHOU Rong: Nothing at First - Reminiscing Xishu Bookstore as an Ideological Gene

In the life of any subject, the historical chance of influence or even changing a whole ecosystem evolution process from the level of ideological gene is quite rare. However, the Xishu Bookstore designed by Yung Ho Chang in 1996 historically undertook the eco-revolution responsibility of providing"restarting" ideological gene for Chinese modern architecture.

In the mid-1990s, when the Chinese society was being swept and agitated by the waves of "second time of reforming and opening up" and people in the Chinese architecture industry were looking for a change but couldn't find the turning point of new ideas and new methods, Xishu Bookstore,this "illegal building" less than 200m2was designed and built, and immediately produced a "nuclear explosion" impact to the ideas of Chinese modern architecture.

To understand the unique historical contribution of Xishu Bookstore, it must be placed back 20 years ago to that particular era background of Chinese architecture - the day Xishu Bookstore was born, was when Chinese post-modernism was really popular. The so-called "Chinese postmodernism", is actually modern eclecticism and vulgar mannerism in the name of "postmodernism". The Chinese architecture industry that was addicted to the meaningless symbol game of "post-modernism" at that time, had long lacked the endogenous driving force to push architecture problems to the thinking and discussion at inner depth level. At that time, the creation of Xishu Bookstore undoubtedly has the inestimable value of enlightenment.

As Yung Ho Chang's first truly completed work,Xishu Bookstore can be called a space textbook that presented all of his view of world and architectural idea. Brief l y speaking, Yung Ho Chang's view of the world was post-modernism - entangled in diverse,rich, contradictory and complicated cross-border desires and mixed interests; but his architectural idea was following the modern Utopian creeds almost as strict as fundamentalism - purified fictional body, unitary value system, abstract visual form, self-consistent logical deduction, dense integral structure. The original structural conflict between the view of world and methodology, made the results that the "causes" of Yung Ho Chang's works often have the popular interests that appeal to public awareness, and are full of congenital propagation and consumption, but the "outcome"parts of the works carried out the boring of elitism and revealed the arrogance of anti-propagation and anti-consumption without exception. The huge contrast and working space that Chang designed and placed between interpretation and operation had deadly destruction and irresistible attraction to the Chinese architecture industry in the 1990s, which lacked the supply of both ideas and forms. In this regard, Xishu Bookstore made the most intuitive and vivid example.

Looking from today, the biggest credit of Xishu Bookstore is enhancing the resolution of cognition and complexity of thinking for Chinese modern architecture: from Xishu Bookstore, some people learned to see architecture as a fractal mimicry of the city, some people learned to wake up spacial possibilities from the rotation of book carts, some people saw the "original body" of architecture which was returned to minimal abstract volumes, some people saw the architectural "skin" that was pushed in front of our eyes by the glass floor and simple details, also some people experienced the value of propagation, the interests of asceticism, the control of orders, the presentation of syntactic, etc. Four years later, Xishu Bookstore was demolished, and returned to the original fi re escape. Everything that was glimpsed from the bookstore became nothing.However, 20 years later, several generations of architects who were inspired, encouraged and changed by Xishu Bookstore, gathered in front of that fi re escape, and hang a monumental plate on its original site. At that moment, perhaps some people may faintly feel that the so-called "ideological gene"indeed has a basic power beyond time. (Translated by CHEN Yuxiao)

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基地+歷史

書(shū)店的基地是1950年代建成的某辦公建筑里一個(gè)臨街空間，原本是一個(gè)南北貫通的過(guò)道，見(jiàn)證了自行車的穿行和停放，后又曾用作書(shū)庫(kù)，經(jīng)歷了書(shū)的占領(lǐng)。能否在設(shè)計(jì)里體現(xiàn)基地功能變換的歷史？又能否將該空間中過(guò)去的使用——交通，與不久將要發(fā)生的使用——書(shū)店，重疊在一起？

觀念藝術(shù)+裝置藝術(shù)

以上述觀察為指導(dǎo)思想，又在觀念藝術(shù)和裝置藝術(shù)，特別是馬塞爾·杜尚的思想和作品的影響下，我們將書(shū)架與自行車當(dāng)作“現(xiàn)成品”進(jìn)行“拼貼”，其結(jié)果是“書(shū)車”，一個(gè)裝了自行車輪、能旋轉(zhuǎn)的書(shū)架。4組8個(gè)書(shū)車構(gòu)成了設(shè)計(jì)的核心部分。

空間+使用

我們利用空間的高度設(shè)置了夾層。書(shū)車以支撐夾層的圓截面鋼柱為軸旋轉(zhuǎn)。書(shū)車為背靠背的雙層書(shū)架，與原建筑的墻體厚度相同，因此它們又是活動(dòng)的書(shū)墻，書(shū)店工作人員可以任意轉(zhuǎn)動(dòng)它們，變換其位置以獲得店內(nèi)空間的變化。書(shū)車/墻帶來(lái)的靈活性擴(kuò)展了基地的空間局限。

材料+結(jié)構(gòu)

夾層作為一個(gè)獨(dú)立的鋼框架結(jié)構(gòu)的建筑，插入原有的承重墻結(jié)構(gòu)的建筑。書(shū)車及其他書(shū)架均為鋼制。

現(xiàn)狀

書(shū)店于2000年拆除，該空間已恢復(fù)為通道，作為交通工具的自行車重新取代了書(shū)車?！?/p>

項(xiàng)目信息/Credits and Data

客戶/Client: 席殊/XI Shu

地址/Location: 北京車公莊大街/Chegongzhuang Street,Beijing, China

建筑設(shè)計(jì)/Architets: 非常建筑/Atelier FCJZ

主持建筑師/Principal Architect: 張永和/Yung Ho Chang

設(shè)計(jì)團(tuán)隊(duì)/Project Team: 尹一木，魯力佳/YIN Yimu, LU Lijia

建筑面積/Floor Area: 133m2

設(shè)計(jì)時(shí)間/Design Period: 1996

建成時(shí)間/Completion Time: 1996

攝影/Photos: 非常建筑/Atelier FCJZ

Site + History

The site for the bookstore was a space on the street level of an office building built in the 1950s.This space used to be a passageway, where one could see bicycles in motion or parked. Later, the passageway was closed down to become a book stack room. Is it possible to reflect the history of the functional changes of a place in the design?Moreover, is it possible to overlap the previous usage of a place - circulation - with its future one -a bookstore?

Conceptual art + Installation art

Guided by the above observations as an idea and informed by conceptual art and installation art, the thoughts and works of Marcel Duchamp in particular, we combined bookshelf and bike as"ready-mades" to produce a "collage"; the result is the "book-bike", a rotating bookshelf with bicycle wheels. Eight "book-bikes" in four pairs made up the core of our design.

Space + Use

We took advantage of the height of the existing space to construct a mezzanine. The circular steel pillars supporting the mezzanine were also taxes for the rotating book-bikes. Book-bikes each had two back-to-back bookshelves, which shared the same thickness as the building's walls; as such, they are also book walls, and bookstore keepers could rotate the shelves at will to alter the space in the shop. The flexibility of the book-bikes expanded the spatial limitations of the site.

Materials + Structure

The mezzanine was an independent steel frame structure within the original load-bearing walled structure. The book-bikes and other bookshelves against the walls were all made of prof i le steel.

Project status

The bookstore was demolished in 2000; the space was restored as a passageway and bicycles replaced the book-bikes.□

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