龍山教堂是一個(gè)很重要的項(xiàng)目。教堂陡峭的45度坡屋頂從灰色石墻整體長(zhǎng)度的一半處開(kāi)始升起，瞬間閃過(guò)的印象旋即反映出這座身處歐洲小鎮(zhèn)景觀中的樸素建筑選址的敏感性。然而，經(jīng)過(guò)進(jìn)一步仔細(xì)觀察，飾面材料充滿挑戰(zhàn)性的選擇，卓越的細(xì)部設(shè)計(jì)，微觀尺度的連接方式，以及用不熟悉的比例來(lái)處理復(fù)雜的室內(nèi)空間，更精彩的設(shè)計(jì)一一呈現(xiàn)在眼前。上述不凡的設(shè)計(jì)也許要?dú)w因于設(shè)計(jì)師潛意識(shí)里對(duì)早期現(xiàn)代主義建筑先鋒作品集大成的記憶，當(dāng)然還有她的中國(guó)情結(jié)。鐘塔遠(yuǎn)離教堂主體建筑，位于基地一側(cè)，處在不對(duì)稱的位置上，這種布局為閱讀建筑的水平性和垂直性提供了清晰的劃分。這意味著什么呢？是否在某處潛意識(shí)里結(jié)合了相關(guān)的中國(guó)文化？這些地方尚無(wú)從知曉。在這種語(yǔ)境下，我們應(yīng)該通過(guò)多鏡頭文化研究、多元現(xiàn)代性與當(dāng)代性來(lái)解讀這個(gè)作品。

Longshan Church is an important project.? A quick image of the Church with 450 steep roof rising above half the long grey stone wall reflects momentarily a sensitive setting of the modest building located on the European landscape. ?However, a more careful observation will show a challenging selection of material finishes, excellent detailing and micro-scale articulation as well as the complex interior treatment with unfamiliar proportions. Much of this could possibly be attributed to her subconscious collective memories of works by the early modernist pioneers, and her Chineseness. The asymmetrical location of the clock tower and on the edge of the site away from the church building has provided a clear separation in the reading of the horizontal and the vertical. What does this mean?? Is there a Chinese cultural relevance subconsciously incorporated somewhere yet to be uncovered?? It is in this context that we should examine this project through the lens of Cultural Studies, multi-modernities and contemporariness.

中國(guó)現(xiàn)狀

China now

近30年來(lái)，中國(guó)東部地區(qū)很多重要城市都在經(jīng)歷著空前的大跨步新建，以及對(duì)老建筑的大規(guī)模毀壞。為了彌補(bǔ)過(guò)去幾十年在藝術(shù)審美以及建筑理論與實(shí)踐上的缺失，將時(shí)間壓縮進(jìn)行的現(xiàn)代化建設(shè)和迅速的城市化進(jìn)程導(dǎo)致了盲目模仿行為遍地皆是，這樣做的確很有效率，但是卻失去了思想上最具創(chuàng)造性的自由革新。理論家已經(jīng)在抱怨這種現(xiàn)狀“正在喪失機(jī)遇”。與此同時(shí)，像張永和、吳鋼等年輕一代的中國(guó)建筑師正在爭(zhēng)取恢復(fù)更寬泛的現(xiàn)代建筑的視覺(jué)和審美原則。他們?cè)O(shè)計(jì)的一些樸素的建筑也開(kāi)始在建筑品質(zhì)上具有視覺(jué)影響力，也因此帶動(dòng)了當(dāng)?shù)氐母咝?，并且為中?guó)建筑界帶來(lái)先進(jìn)的創(chuàng)新元素。

In the last three decades, major cities in China’s Eastern region have experienced unprecedented pace of new construction and massive destruction of the old.? To catch up with the lost decades of aesthetic and architectural theories and practices, the time-compression of modernization and rapid urbanization have resulted in indiscriminate act of imitation everywhere and even with efficiencies but without freedom of mind to innovate creatively. Theorists have lamented this “l(fā)ost opportunity”.? In the meantime, the younger generation of Chinese architects like Chang Yung-Ho, Wu Gang and others are battling to reinstate the broader aesthetic and visual principles of Modern Architecture. Their modest projects are beginning to have visible impact in the quality of architectural design in the leading local universities, and the progressive creative elements in the Chinese architectural fraternity.?

奧林匹克

Olympics

在此期間，2008年奧運(yùn)會(huì)為北京以及中國(guó)其他地方設(shè)計(jì)建造大型體育與娛樂(lè)項(xiàng)目提供了很多機(jī)遇。兩位國(guó)際“超級(jí)巨星”，赫爾佐格和德梅隆合伙公司，以及雷姆·庫(kù)哈斯都分別參與設(shè)計(jì)了位于北京的奧林匹克體育場(chǎng)和中央電視臺(tái)新臺(tái)大廈（CCTV）。在亞洲，這是為尋求創(chuàng)造瞬時(shí)效應(yīng)的兩個(gè)例證，只為帶來(lái)旅游收入和世界級(jí)地位的印象。這兩個(gè)項(xiàng)目都是最尖端的，而且是很重要的建筑表達(dá)方式，挑戰(zhàn)已經(jīng)建立的主流建筑規(guī)范。盡管中國(guó)提供了這樣的機(jī)會(huì)，但他們根植于西方的飽受爭(zhēng)議的設(shè)計(jì)理念正經(jīng)歷著有關(guān)建筑臨界性的爭(zhēng)論。此外，我們必須認(rèn)識(shí)到，即使最杰出的國(guó)外建筑師創(chuàng)作出的優(yōu)秀的作品，但那也不是標(biāo)志性建筑。標(biāo)志性的地位只能通過(guò)時(shí)間的磨礪、人的使用和集體的記憶而最終得到，它才會(huì)被當(dāng)?shù)毓J(rèn)為具有標(biāo)志性和象征性。這兩個(gè)項(xiàng)目對(duì)中國(guó)建筑理論著述的意義和貢獻(xiàn)尚無(wú)從定論。

In the meantime, the coming Olympics in year 2008 have given many opportunities to design and build major projects for sports and recreation in Beijing and elsewhere in China. Two international super-stars, Herzog & de Meuron and Rem Koolhaas are involved in conceptualizing the design of the Olympic Stadium and Central Chinese Television (CCTV) respectively in Beijing.? These two are examples in Asian quest to create instant icons in order to generate tourist revenues and imagery world-class status. Both projects are cutting-edge and important architectural statements, challenging the mainstream established norm. Notwithstanding China has provided the opportunity, their controversial ideas are sited in the West ctivity to include numerous critical contemporary issues such as contesting the universalizing model of Eurocentric modernity.? Presently, we are moving towards the concept of multiple modernities, adopting a pluralistic approach of mutual respect as opposed to the arrogant hierarchical stance of yesteryear.? An inclusive global theory of modernities would take into account the rich diverse cultural essences and varied stages in the development of the non-West.

文化研究與多元現(xiàn)代性

近幾十年來(lái)，文化研究經(jīng)歷著大幅度的范圍擴(kuò)大，源于它自身的多學(xué)科連接性，涵蓋了眾多當(dāng)代重要話題，比如像對(duì)歐洲現(xiàn)代性的普遍化模式的爭(zhēng)論。目前，我們正朝著多樣現(xiàn)代性這一概念邁進(jìn)，應(yīng)該尋求相互尊重的多元化途徑，而不是昔日傲慢的、劃分等級(jí)的立場(chǎng)。一個(gè)具有包容性的全球現(xiàn)代性理論會(huì)考慮到在非西方發(fā)展中國(guó)家文化的本質(zhì)及其在不同階段變化的豐富多樣性。

現(xiàn)在人們普遍接受歷史多元化這一觀點(diǎn)。每個(gè)社會(huì)的現(xiàn)代化進(jìn)程必須源于自身的傳統(tǒng)和文化。這樣，才會(huì)產(chǎn)生多樣現(xiàn)代性，每一個(gè)較之其他都極大的不同。也因此會(huì)擴(kuò)大我們的知識(shí)和分析框架。作為每個(gè)社會(huì)現(xiàn)代性的話語(yǔ)和應(yīng)用體現(xiàn)，設(shè)計(jì)必須考慮到當(dāng)?shù)氐奈拿}傳承，并由其自身的文化氛圍一步步演進(jìn)而來(lái)。借用泰勒的話，“未來(lái)，我們的世界將會(huì)變成這樣：所有的社會(huì)都在經(jīng)歷變化，無(wú)論是制度還是景觀，有些變化可能是相互平行的，但是絕不會(huì)相似，因?yàn)樾碌姆制鐣?huì)產(chǎn)生自舊有的一切?！盵1]

A pluralistic perception of history is now generally accepted. The modernity of each society must evolve from within its own traditions and culture. In this way, multiple modernities will arise, each one profoundly different from the other. It could consequently broaden our intellectual and analytical framework, as the discourse and applications of modernity in each society must take into account the local contexts and evolve from within its own cultural environment. To quote Taylor, “The future of our world will be one in which all societies will undergo change, in institutions and outlook, and some of these changes may be parallel, but they will not converge, because new differences will emerge from the old”. [1]

當(dāng)今藝術(shù)

Art today

當(dāng)今中國(guó)藝術(shù)界迸發(fā)的創(chuàng)造力已達(dá)到令人難以置信的程度，專業(yè)的委托進(jìn)一步受到雙方批判性分析和論述的強(qiáng)迫實(shí)施。近20年來(lái)，中國(guó)流行文化中的影視作品、藝術(shù)作品在質(zhì)量、深度和廣度上有明顯的飛躍。這些都牢牢地根植于藝術(shù)家的華人情結(jié)。近些年來(lái)，他們中的很多人得到了國(guó)際認(rèn)可。類似的藝術(shù)繁榮景象也發(fā)生在其他亞洲國(guó)家和地區(qū)。

The art community in China today is generating incredible level of creative energy and professional commitments which are further enforced by mutual critical analysis and discourses.? During the last two decades, there is a clear leap in the quality, depth and range of Chinese art productions from fine arts and films to popular culture.? They are firmly anchored in their Chineseness. ?Many have received international recognition in recent years. ?Similar blossoming of the arts is also happening in other Asian countries and territories.

當(dāng)代性

當(dāng)代性包含和吸納了多元化、異質(zhì)性以及多樣傳統(tǒng)和文化。這些伴隨著迅速發(fā)展的信息和通信技術(shù)全球化、迅速擴(kuò)張的知識(shí)以及當(dāng)前多學(xué)科文化研究而產(chǎn)生的連接性應(yīng)運(yùn)而生。當(dāng)今的生活步伐是忙亂的，而其中唯一不變的就是：變化、創(chuàng)造力、適應(yīng)和應(yīng)對(duì)，這些也是至關(guān)重要的。加深對(duì)交叉文化和多元傳統(tǒng)的理解將會(huì)有助于提高我們對(duì)日常世界的重要本質(zhì)的理解。

Contemporariness embraces and celebrates the plurality, heterogeneity and multiplicity of cultures and traditions that have been brought about by the rapid development in ICT, globalization and the rapidly broadening knowledge and connectivity generated by the current multi-disciplinary Cultural Studies. In today’s frenetic pace of life, where the only constant is change, creative adaptation and response are essential. A better appreciation of cross-cultural and pluralistic traditions would heighten our understanding of the vital essences of the everyday world.

亞洲A+U

Asian A+U

然而，對(duì)于亞洲來(lái)說(shuō)，根據(jù)我們的現(xiàn)代化進(jìn)程演進(jìn)建立我們自己的建筑和城市設(shè)計(jì)體系有很大的困難，這種困難同樣存在于界定我們行為的是非功過(guò)上。為什么會(huì)這樣呢？

Yet, Asia has great difficulties in establishing our own architecture and urbanism based on our evolving modernity and in defining criticality and celebrating our achievements. Why is this so?

目前對(duì)所有的學(xué)生來(lái)說(shuō)，文化研究已經(jīng)成為一個(gè)基本學(xué)科，包括那些對(duì)建筑設(shè)計(jì)、城市規(guī)劃的理論研究?，F(xiàn)代化的概念需要被明確地理解，對(duì)歐洲現(xiàn)代性的依附已經(jīng)窮途末路。然而不幸的是，文化研究并沒(méi)有涵蓋或者認(rèn)真考慮到有關(guān)亞洲的建筑和城市設(shè)計(jì)的教育問(wèn)題。此外，這個(gè)問(wèn)題也很少在專業(yè)的會(huì)議和討論中得到足夠的公開(kāi)重視。

Cultural Studies has now become an essential subject for all students, including those studying architecture and urbanism.? The concept of multiple modernities needs to be clearly understood, and the dependency on Euro-centric modernity discontinued.? Unfortunately, Cultural Studies has not yet been included or taken seriously in the teaching of architecture and urbanism in Asia.?? Furthermore, the subject has seldom been given adequate exposure during professional conferences and discourses.

在中國(guó)，快速和前所未有的城市增長(zhǎng)帶來(lái)的無(wú)法控制的動(dòng)蕩狀況已經(jīng)對(duì)專業(yè)實(shí)踐產(chǎn)生巨大壓力，當(dāng)然也有機(jī)遇。人們卻不肯把時(shí)間和經(jīng)歷花費(fèi)在發(fā)展至關(guān)重要的理論研究上。這將帶來(lái)嚴(yán)重的長(zhǎng)期影響。為了避免艱難而痛苦的創(chuàng)作過(guò)程，同時(shí)也作為一條捷徑，西方學(xué)院派和明星建筑師常常被邀請(qǐng)闡述他們的想法。在很多與建筑和城市設(shè)計(jì)有關(guān)的，以及涉及近些年來(lái)亞洲自身關(guān)鍵性發(fā)展方向的眾多會(huì)議上，以歐洲為中心的依賴心態(tài)被反復(fù)說(shuō)明。

The turbulent conditions of rapid and unprecedented urban growth in China have generated great pressure as well as opportunities for professional practice. Very little time and energy has been allocated to develop critical theories.? This has serious long term implications. To avoid the difficult and painful creative process themselves and as a convenient way out, Western academic and star architects are often invited to present their ideas. This Eurocentric dependency mindset can be illustrated repeatedly in numerous conferences relating to architecture and urbanism as well as the developing directions of Asia’s own criticality in recent years.?

與此同時(shí)，我們沒(méi)有承認(rèn)通過(guò)多鏡頭文化研究得來(lái)的眾多關(guān)鍵性的城市規(guī)劃理論，而在這些理論中，當(dāng)前現(xiàn)代主義的規(guī)劃理論的相關(guān)性被完全揭穿。Leonie Sandercock[2]，Edward Soja[3]等其他學(xué)者的著作就是其中一例。我們應(yīng)該慶祝亞洲充滿活力和令人興奮的新城市主義[4]，復(fù)雜和混亂就是我們的城市環(huán)境質(zhì)量。實(shí)例包括上海[5]、曼谷[6]以及其他亞洲城市，還包括后城市規(guī)劃模型理論和挑戰(zhàn)[7]。

In the meantime, we have failed to acknowledge numerous critical theoretical studies on urbanism through the lens of Cultural Studies, where the relevance of the current Modernist planning theories is totally debunked.? Examples include the writing of Leonie Sandercock,[2]? Edward Soja[3]?and many others.? We should celebrate the dynamic and exciting Asian new urbanism[4], where chaos and complexity are qualities of our urban conditions. Examples include Shanghai[5], Bangkok[6]and other Asian cities as well as the theories and challenges of the post-planning model[7].

為了發(fā)展我們自身至關(guān)重要的能力，我們需要對(duì)創(chuàng)作這一艱難過(guò)程有更好的理解、創(chuàng)意——包括那些學(xué)生的，被拆建的項(xiàng)目，需要被迅速查明、分析和確認(rèn)。他們共同形成了為以后工作所用的知識(shí)和靈感源泉。創(chuàng)意就像蠟燭，有時(shí)只出現(xiàn)在短暫一刻。他們不會(huì)持續(xù)很久，特別是尚未被確認(rèn)時(shí)。龍山教堂恰恰是這樣一個(gè)項(xiàng)目。它就好像曹敏碩在韓國(guó)設(shè)計(jì)的草莓妹妹主題公園[8]（Heyri Dalki Theme Park），以及廖偉立在中國(guó)臺(tái)灣的王公漁港景觀橋[9]（Wang Gong Footbridge）,好的創(chuàng)意常常被遺忘，漸漸消失。在我們進(jìn)行建筑設(shè)計(jì)和城市規(guī)劃的關(guān)鍵性發(fā)展階段，我們必須灌輸嵌入當(dāng)?shù)匚幕蛡鹘y(tǒng)的核心價(jià)值觀的積極精神，并接受歐洲中心論的模式將出現(xiàn)新分歧的事實(shí)。認(rèn)真開(kāi)始我們亞洲當(dāng)前工作的關(guān)鍵時(shí)刻正是此時(shí)。

To develop our own critical capability, we need a better understanding of the difficult process of creativity.? Creative ideas, including those by students and unbuild projects, need to be quickly identified, analyzed and acknowledged.?? Together, they form a pool of knowledge and inspiration for subsequent efforts. Creative ideas are like candles and sometimes appear only in fleeting moments. They do not last long, especially if they are unacknowledged.? The Longshan Church is one such project. There are others in Asia like Minsuk Cho’s Heyri Dalki Theme Park[8]in South Korea and Liao Weili’s Wang Gong Footbridge[9]? in Taiwan. Good ideas often fade away and are forgotten. In the development of criticality in our architecture and urbanism, we must infuse the positive spirits of the core values embedded with local cultures and traditions, and accept that new differences from the Eurocentric formula will emerge. The time to start seriously working on our own Asia contemporary criticality is now.

注釋

Notes

[1].查爾斯泰勒·蒂利普，Parameshwar Gaonkar（主編）另類現(xiàn)代性的“兩大理論的現(xiàn)代性”。（達(dá)勒姆：杜克大學(xué)出版社，2001）。

[2].詳見(jiàn)Leonie Sandercock，走向國(guó)際都市，多元文化的城市規(guī)劃。（Chicester：約翰威利父子，1998年）國(guó)際都市II：21世紀(jì)的城市。（倫敦，連續(xù)，2003年）。

[3].Edward W. Soja，Postmetropolis：城市和地區(qū)的批判性研究。 （牛津：布萊克威爾出版社，2000）。

[4].見(jiàn) William S W Lim，亞洲新城市。 （新加坡：選擇書(shū)籍，1998年）。

[5].見(jiàn) William S W Lim，你到過(guò)上海么？上海的文化和城市。（新加坡：亞洲城市實(shí)驗(yàn)室，2004年）。

[6].見(jiàn)Kevin S K Lim， William S W Lim的“Learning from Bangkok”，亞洲的道德城市化：一個(gè)激進(jìn)的后現(xiàn)代透視。 （新加坡：世界科技出版公司，2005年）。頁(yè)52-59。

[7].William S W Lim，亞洲城市化“Post-Planning as a Credible Instrument for Asian Ethical Urbanism”：一個(gè)激進(jìn)的后現(xiàn)代視角。 （新加坡：世界科技出版公司，2005年）。頁(yè)29-36。

[8].詳見(jiàn)Ga.a建筑師網(wǎng)站：http://www.gaa-arch.com或電郵massstudies@hotmail.com 聯(lián)系Minsuk Cho 。

[9].詳見(jiàn)“Technology as Art II”2005年對(duì)話雜志，頁(yè)48-55?；蚵?lián)系welly668@ms39.hinet.net。

[1]. Charles Taylor, “Two Theories of Modernity” in Dilip Parameshwar Gaonkar (ed.) Alternative Modernities. (Durham: Duke University Press, 2001).

[2]. See Leonie Sandercock, Towards Cosmopolis: Planning for Multicultural Cities. (Chicester: John Wiley & Sons, 1998) and? Cosmopolis II: Mongrel Cities in the 21st Century. (London, Continuum, 2003).

[3].See Edward W. Soja, Postmetropolis: Critical Studies of Cities and Regions. (Oxford: Blackwell Publishers, 2000).

[4]. See William S W Lim, Asian New Urbanism. (Singapore: Select Books, 1998).

[5].See Willliam S. W. Lim.? Have you been Shanghaied? Culture and Urbanism in Glocalized Shanghai.? (Singapore: Asian Urban Lab, 2004).

[6].See Kevin S K Lim, “Learning from Bangkok” in William S W Lim, Asian Ethical Urbanism: A Radical Postmodern Perspective. (Singapore: World Scientific Publishing Co, 2005). pp. 52-59.

[7]. William S W Lim, “Post-Planning as a Credible Instrument for Asian Ethical Urbanism” in Asian Ethical Urbanism: A Radical Postmodern Perspective. (Singapore: World Scientific Publishing Co, 2005). pp. 29-36.

[8]. More information can be found on the Ga.a Architects website: < http://www.gaa-arch.com/> or please contact Minsuk Cho at massstudies@hotmail.com.

[9]. More information can be found on Dialogue Magazine 2005, “Technology as Art II”. pp. 48-55.or please contact Weili Liao at welly668@ms39.hinet.net .

林少瑋?教授 亞洲建筑師協(xié)會(huì)主席

畢業(yè)于倫敦AA建筑學(xué)院和哈佛大學(xué)? 專業(yè)工作涉及建筑、規(guī)劃和發(fā)展經(jīng)濟(jì)學(xué)

Professor? William S.W Lim ?President of AA Asia.

William S W Lim graduated from the Architectural Association (AA) London and Harvard University.

His professional work involved architecture, planning and development economics.