欄目主持：葉揚(yáng)

改進(jìn)建筑60秒

Sixty Second Idea to Improve Architecture

欄目主持：葉揚(yáng)

我們仿效BBC的廣播節(jié)目“60秒改進(jìn)世界”（Sixty Second Idea to Improve the World）推出了“改進(jìn)建筑60秒”欄目，每期將在世界范圍內(nèi)采訪兩位人物，請(qǐng)他們就建筑、城市、景觀、技術(shù)等相關(guān)問題在60秒的時(shí)間里講出一個(gè)或兩個(gè)有啟發(fā)性、批判性甚至有爭(zhēng)議性的觀點(diǎn)。本欄目如實(shí)記錄了他們的話，采訪所拍攝的視頻將會(huì)出現(xiàn)在我們的相關(guān)網(wǎng)頁(yè)上。所述觀點(diǎn)只代表嘉賓本人，與本雜志立場(chǎng)無(wú)關(guān)?！?/p>

邁克爾·斯皮克斯

雪城大學(xué)建筑學(xué)院院長(zhǎng)、教授

Michael Speaks

Dean and Professor, School of Architecture, Syracuse University

米凱利·博尼諾

都靈理工大學(xué)副教授

Michele Bonino

Associate Professor, Politecnico di Torino

Today Urbanization, Climate Change and Technological Disruption have combined to create an ever more volatile and unpredictable world.

It is a world with many challenges and if architects are to play a significant role in shaping this new world, they will have to turn their attention away from managing the PRESENT towards designing FUTURE, from the known to the unknown.

Architects must embrace the FUTURE and focus on what MIGHT BE not on WHAT IS. Architects must stop relying on the quantification of the present, on technology, to solve our problems, and instead embrace DESIGN, an entirely future oriented practice.

Design, whether manifest through a process of hand drawing or 3D animations, speculates through an iterative, prototype-driven process to pose and solve problems unanticipated by the present.

Technology focuses only on the present, only on existing problems that we provide. Design focuses instead on the future and speculates about what might be, and in the process, creates new things and adds new value unanticipated by technology.

Architects will become obsolete if they are content with the present, if they become slaves to technology.

If, on the other hand, architects once again embrace design, they will help to shape the present and transform it into the future.□

In my experience as a designer, I see that good buildings seldom are generated by aesthetic and formal approaches: they are destined to collide against different interests, against economic constraints, against the pragmatism of clients. They rarely come intact until the end of the design and the construction. I propose another approach, which seems more effective and closer to the needs of real processes: I call it "problem-solving architecture".

Even for the most rigorous architects, there is at least one moment that can not be entirely objective, a moment of intuition: it is usually the design concept, the first sketches, the conceptual diagrams. However, to avoid the risk of formal complacency, it is better to move this moment even earlier in the process. The real intuition is not how the problem is solved, but how it is formulated: here interpretation, creativity, invention can be centered. Sometimes the problem is explicit in the initial conditions of the project, in the client's requests, in the difficulties of the site or program. Other times the problem is not obvious, he asks to be clarified and interpreted. Even more rarely, it does not seem to be even present: then it is necessary to provoke it, to construct it in artificial and programmatic form. Once the problem has been formulated, the project can solve it with care and coherence. The final result is interesting because it materializes the problem and its solution, often unpredictably. If applied honestly, it can be a good approach: pragmatic, not opportunistic, by its nature far from formal heroisms.□ (Thanks to Subhash Mukerjee for sharing these ideas during our joint designs.)

建筑自然環(huán)境的復(fù)蘇：空氣，舒適，氣候

The Recovery of Natural Environments in Architecture: Air, Comfort, Climate

作者：查爾斯·艾倫·肖特/C. Alan Short

出版：Routledge, 2017

Naturally responsive buildings enrich the history of vernacular architecture and show how peoples worldwide have dealt with all types of climate to ensure human comfort and health. There has been a danger that all this can get lost in the rapidly changing technological world. Alan Short is the ideal person to demonstrate how we can make "a recovery" which he demonstrates vividly in the many case studies he discusses in great detail throughout this book. Ideal because he is a research architect who has an innovative practice but also works with many leading universities via his home university at Cambridge. He is a highly cultured man who is well read in the arts, history and philosophy beyond his metier of architecture. As an example just take the first two pages of the last chapter 10 in which the names John Ruskin, M.Friedlander, Goethe, Alberti, Nietzsche, Huntington, Dr Reid, J.S Billings, Dr Pettenkofer are just a few that occur on these two pages and they span the areas of philosophy, art, architecture and ventilation. This book is a tour de force in holistic human thought in which the divisions between the arts, engineering and science dissolve before your very eyes. A lesson for education and the professional institutions lies here I think. But there is a real purpose too – to reconnect our architecture with the natural world for the benefit of people and not for this ideal to subsumed by the force of technology.

Each chapter terminates with fulsome notes which clarify issues but the author has a concentrated writing style so descriptions and explanations are already in great detail and beautifully illustrated in colour and often with accompanying drawings. There are some 290 illustrations throughout the 377 pages. This is a seductive presentation with works of art frequenting some chapters. All this stirs the imagination.

Needless to say the well-known buildings like the Queens Building at De Montfort University; the Malta Brewery; the Coventry Arts and Media Centre and many more feature. Extensive chapters concentrate on theatres and hospitals. Other chapters discuss and argue the various characteristics of the various climatic regions around the world that have driven the vernacular architecture we have and from which we can learn so much.□ (撰文 /Text: 克萊汀斯 ·柯綸 /D. J. Clements-Croome, 雷丁大學(xué)榮譽(yù)教授 /Professor Emeritus at Reading University)

建筑中的設(shè)計(jì)研究總覽

Design Research in Architecture: An Overview

編者：莫里·弗雷澤/Murray Fraser

出版：Ashgate, 2013.

康斯坦丁·梅利尼科夫的建筑1920s-1930s

作者：Frits Bath

出版：Axel Menges, 2015

1990年代中期興起的設(shè)計(jì)研究（research by design）正在全球范圍從建筑院校的新思潮進(jìn)入業(yè)界成為一種新的設(shè)計(jì)“文化”，激發(fā)新的工作形式和討論議題。在這個(gè)新浪潮中，實(shí)踐者開始通過(guò)設(shè)計(jì)教學(xué)、展覽、工作坊和集群設(shè)計(jì)等形式，經(jīng)由大眾和建筑媒體，開展自己的設(shè)計(jì)探索。傳統(tǒng)的理論與實(shí)踐之間的范式在發(fā)生顯著的變化。與這一以“研究性探索”和“反思性實(shí)驗(yàn)”為特征的熱潮相對(duì)的，是研究與實(shí)驗(yàn)背后的理論討論的缺乏。英國(guó)建筑理論家默里·弗雷澤（Murray Fraser）主編的文集《建筑學(xué)中的設(shè)計(jì)研究總覽》（2013）為任何對(duì)設(shè)計(jì)研究感興趣的建筑學(xué)生或建筑師提供了一個(gè)最好的入門讀物。作為理論家，默里·弗雷澤曾長(zhǎng)期擔(dān)任頂級(jí)期刊《建筑學(xué)報(bào)》（Journal of Architecture）的主編，同時(shí)他也是一位設(shè)計(jì)研究的實(shí)踐者，他作為主要人員參加的巴勒斯坦比爾澤特歷史中心區(qū)復(fù)興項(xiàng)目獲得了2013年的阿卡汗建筑獎(jiǎng)。這也體現(xiàn)了設(shè)計(jì)研究有別于傳統(tǒng)理論研究之處——它強(qiáng)調(diào)在實(shí)踐中思考，制圖、模型、圖解、文本分析乃至建造干預(yù)都構(gòu)成實(shí)踐與反思的常見工具。在這個(gè)循環(huán)過(guò)程中至關(guān)重要的是思維方式和工作方法，這些恰恰是本書的關(guān)注點(diǎn)。本書由12篇論文組成，作者包括了來(lái)自墨爾本皇家理工大學(xué)的理查德·布萊恩（Richard Blythe）和萊昂·斯海克（Leon van Schaik）、愛丁堡大學(xué)的理查德·科因（Richard Coyne）、UCL的喬納森·希爾（Jonathan Hill）、加州大學(xué)圣迭戈分校的迪特·克魯斯（Teddy Cruz）等一批重要的設(shè)計(jì)研究學(xué)者。此外本書結(jié)尾提供了設(shè)計(jì)研究的125本參考書目。□ （撰文：魯安東，南京大學(xué)建筑與城市規(guī)劃學(xué)院教授）

這本畫冊(cè)是2002年10月19日－12月21日，在東京的建筑畫廊GALLERY.MA舉辦的康斯坦丁·梅利尼科夫（Konstantin Melnikov）建筑展的展覽圖錄，這是日本首次舉辦全面介紹康斯坦丁·梅利尼科夫建筑的展覽，畫廊雖不大，但是展覽的影響是持久的。

梅利尼科夫在建筑上的獨(dú)創(chuàng)性，使得他在20世紀(jì)的建筑史上，特別是在俄羅斯先鋒派建筑史上享有特別的位置。至今我們還是可以在莫斯科市內(nèi)找到許多他的建筑手筆。除此之外，他留下了大量未完成的方案草圖，對(duì)后世繼續(xù)產(chǎn)生影響，可是在中國(guó)還沒有一本關(guān)于他的著作。

這本畫冊(cè)主要介紹了他在1920-1930年代之間的作品，也是前蘇聯(lián)建筑、藝術(shù)和城市建設(shè)黃金時(shí)代的成就。在眾多的建筑師中，為什么梅利尼科夫獨(dú)樹一幟，就是他的代表性建筑設(shè)計(jì)，是社會(huì)主義革命之后，對(duì)原有時(shí)代的建筑法則進(jìn)行了徹底的顛覆，他所創(chuàng)造的樣式和概念是時(shí)代的最先端。他的設(shè)計(jì)靈感如泉涌，他并沒有將這些手法系統(tǒng)化，而是不斷嘗試新的手法。梅利尼科夫所信奉的理念是，建筑體現(xiàn)了藝術(shù)的最高形態(tài)，而藝術(shù)是創(chuàng)造的源泉。他討厭在自己的設(shè)計(jì)中反復(fù)使用相同的元素，這也是他之所以能不斷推陳出新的緣由，從而也是他創(chuàng)造新樣式所信奉的信條。

梅利尼科夫在很長(zhǎng)一段時(shí)間里被冷落，他作為建筑師重返舞臺(tái)是1965年他75歲的時(shí)候舉辦了個(gè)人大型展覽之后，他所獲得的評(píng)價(jià)是俄羅斯偉大的建筑師，而他的影響早已在俄羅斯之外，他自己設(shè)計(jì)的自宅已經(jīng)是建筑學(xué)校授課的建筑模型范本。□（撰文：方振寧，獨(dú)立策展人，評(píng)論家）

在建筑中發(fā)現(xiàn)夢(mèng)想

作者：安藤忠雄

出版：中信出版社, 2014譯者：許晴舒

安藤忠雄是我所知道的最熱愛建筑的建筑師，而且是很特別的建筑師。原因在于他成為建筑師之前沒有受過(guò)正規(guī)系統(tǒng)的建筑教育。

《在建筑中發(fā)現(xiàn)夢(mèng)想》這本書幾乎是安藤忠雄重要建筑人生的告白與回顧。親切自然的文字語(yǔ)言敘述，仿佛與讀者像老朋友一樣交談。因此讀起來(lái)很親切，輕松，并被深深地感染，以至于真情難忘。安藤忠雄把建筑稱為人們的“夢(mèng)想”，這種“夢(mèng)想”深深感動(dòng)了安藤，使得他喜歡了建筑，并希望成為實(shí)現(xiàn)人們“夢(mèng)想”的建筑師。

他開始思考居住的含義，城市公共空間的意義，建筑創(chuàng)作與環(huán)境的對(duì)話，建筑的保護(hù)與重生，建筑材料與技術(shù)對(duì)建筑的重要作用。建筑的教育與建筑運(yùn)動(dòng)，建筑與地域文化、人文情感的關(guān)聯(lián)。他提出了城市、建筑、設(shè)計(jì)原點(diǎn)的主張（公共空間 、居住、設(shè)計(jì)者）。他把思考與理念，恰如其分地應(yīng)用到城市、建筑（甚至田園、鄉(xiāng)野）的創(chuàng)作的實(shí)踐中。為了人們美好的夢(mèng)想，安藤在每一個(gè)建筑設(shè)計(jì)之前，總是非常認(rèn)真地調(diào)研，然后思考、總結(jié)歸納，投入巨大的精力與熱情，努力尋找最貼切解決城市、建筑空間的方法。運(yùn)用建筑材料與技術(shù)的特性，表達(dá)建筑夢(mèng)想迷人的質(zhì)感與張力。

《在建筑中發(fā)現(xiàn)夢(mèng)想》這本書值得一讀，從中我們可以看到建筑師的建筑觀，建筑師的精神，如何成為建筑師，如何成為令人稱頌的建筑師，如何理解建筑師創(chuàng)造的夢(mèng)想?！酰ㄊY培銘，北京培銘建筑設(shè)計(jì)咨詢有限公司總建筑師）