中國建筑藝術網 >> 理論精粹 >> 理論研究
形而上學的解讀
 
http://www.enzduzqg.buzz/cn/theory 2011-5-13 10:38:57 來源: 作者:黑川紀章[注]
 


     磯崎新和我曾同在丹下研究室學習過,并在同一個時代里生活至今。因此,“磯崎新1960/1990建筑展”對我來說,有一種用另一種眼光俯瞰自己生活過來的時代的感覺。
  建筑,不管人們有意還是無意,它都是所處的時代的精神或氣氛的一種表現。因此,我的上述感覺是理所當然的。然而,在俯瞰30年來磯崎新所走過的軌跡時,還是為他的題材擴展之廣,它所展示的多元性感到驚訝。
  在建筑師中,有像阿爾瓦?阿爾托或安藤忠雄那樣,靠超越時代,超越場所性,表現作者自身的個性或是“手的痕跡”而取得成功的。他們的建筑常常由于作者的個性或者叫“手的痕跡”而失之為同質的重復。與此相反,磯崎新在作品中一直力圖排除自己的痕跡。最近,他常用作為形式的建筑,超概念的建筑,大寫的建筑等言論,表明他的內心充滿了力圖擺脫像“手的痕跡”的這種實在,追求形而上的建筑的想法。
  但是,不管怎么說,建筑,其結果總是作為物理的,用眼睛看得見的形態而存在的東西。如果談到所謂形而上的規范,與作為結果的建筑之間的聯系,當然就會眾說紛紜。
  在今天的時代,敢于談關于形而上建筑規范的建筑師為數極少。能夠將自己的言論與自己的建筑的關連加以分析和說明的建筑師也為數極少。僅就這一點而言,磯崎的存在就十分令人矚目。這是十分寶貴的。特別是,在只有印象、感想、好惡之類的所謂批評的 的評論風氣之中,他所起的作用是巨大的。
  在“磯崎新1960/1990建筑展”的第三部分,展出了群馬縣立近代美術館、筑波中心大廈、武藏野鄉村俱樂部等重要的標志性作品。磯崎新的建筑在東京、巴黎、倫敦、紐約等世界中心城市是看不到的。即使在 國內,他的代表作也都是在地方城市實現的。
  最近,在《新建筑》連載的《作為建筑的形式》一文的第一篇(見《新建筑》1990年第一期),他有一個副標題:“非都市的建筑”(或譯為“反城市的建筑”)。他寫道:“不論東洋還是西洋,那些不規則形的未經提煉的意匠,都曾多次流行,使正統的,已經完結了的作為主流的公式化的形式的東西發生質變。”這種非都市東西是什么呢?它不是指融合于自然的草庵風味的建筑。說到底,它是形而上學意義上的非都市吧,是與當今作為正統派統治著的大城市、國家、工業化社會、商業主義相對抗的非城市。換言之,他的意思是,建在城市中的建筑本應是“非城市建筑”。其結果就是,在地方上建成的磯崎的作品才是極“城市的”建筑。筑波中心大廈訴說著國家的不在,中心的不在,最近的北九州國際會議中心,訴說著孕育工業城市之死的虛構的城市,這些都如實地表現出磯崎的主張。
  展覽的第三部分中,特別有特點的是,從語言學、符號論借用來的、作為引用與集積的“手法”(這種“手法”被稱作建筑)。很早以來,在文學界就有過將形而上學意義上的文學,用語言學、符號論的方法加以解讀的“手法”,所以它并非從磯崎新開始。而對于一直力圖把個性(手的痕跡)、地域文化(場所的土地精靈)等排出的磯崎認為,只有這種“手法”才是其建筑得以實現的唯一方法。
  實際上,我感興趣的是,這種“手法”有沒有限界這個問題。
  現在人們正在重新認識和評價現代主義。之所以如此,正是其中心命題即形而上學理念的解體,理性中心主義的解體,人文中心主義的解體,西歐中心主義的解體的緣故。
  把正統的形而上學的理念用另一種形而上學的理念加以否定,是個十分危險的工作。其前途可能是無望的。在不否定形而上學的理念也不否定手的痕跡(個性)或場所的痕跡(地域性)和文化的痕跡(傳統),而是探求雙編碼(共生思想)的我看來,磯崎的武藏野鄉村俱樂部,還有巴塞羅那的圣約迪體育館,是最為有趣的。因為磯崎在這些作品中,表現了場所(實在),場所的土地的精靈,場所的力,以及時空連續體。或者是,他采用了燈籠這種歷史產生的 的形式。
  我甚至有這樣的預感,磯崎新今后很可能向“手法”與“場之力”相結合的新階段前進。當前,在醫學、物理學、宗教學、哲學、文學等廣泛領域中展開的后現代主義,其中心課題就是西歐中心主義、理性中心主義的解體。在這個潮流的先端,磯崎表現出的對 文化,手的痕跡,以及場所的力的新的關注,與我本人所走過的充滿苦澀的道路有共鳴之處,他引起了我的密切注視。
      A Decodable Metaphysics
        Kisho Kurokawa
  Arata Isozaki and I are contemporaries, and both of us studied in Tange's studio. That is why the "Arata Isozaki: Architecture, 1960-1990" exhibition gives me the feeling that I am looking back on my own times through a different pair of eyes.
  In as much as architecture is something that expresses, whether consciously or unconsciously, the spirit of the age, one expects in the thirty-year record of an architect a broad range of themes and diverse ways of addressing those themes, but the breadth and diversity revealed in Isozaki's work are still astonishing.
  There are architects like Alvar Aalto and Tadao Ando who transcend their time and place and succeed in putting their own personal stamp on all their work. They tend to repeat themselves, producing a succession of works that are made similar in character by the traces of artistic personality. Isozaki, on the other hand, has removed all traces of himself. His recent statements regarding "formalizing architecture", "architecture as a metaconcept", and "Architecture with a capital 'A'" each suggests an attempt to elude the reality of such traces of personality and to discover the norms of a metaphysical architecture.
  However, since architecture ultimately can exist only in a vi*le material form, copious statements are inevitably needed to relate those metaphysical norms to the works themselves. Very few architects today are brave enough to speak of metaphysical norms of architecture, and there are very few who have the ability to analyze and explain the relationship between such statements and their work. The fact that he is to be numbered among the few would alone suffice to make Isozaki a remarkable and much valued presence. He serves a particularly important role since the Japanese critical climate favors criticism based only on impressions, feelings, and tastes.
  The third section of the current exhibition features such landmarks as the Gumma P refectural Museum of Fine Arts, Tsukuba Center Building, and Musashikyuryo Country Clubhouse. Isozaki's works cannot be seen in major cities like Tokyo, Paris, London, or New York. All his representative works in Japan have been built in provincial cities.
  Isozaki entitled the first installment of his article "Formalizing Architecture'' serialized in Shinkenchiku, "Anti-Urban Architecture". He wrote, "In both East and West, irregular and unrefined designs have repeatedly gained currency and have transmuted the character of those orthodox, integral, formal designs that constituted the mainstream." What does Isozaki mean by "antiurban architecture"? He is not referring to things like rustic, thatched-roof retreat*ut rather to an architecture that is anti-urban in a metaphysical sense. That which is "anti-urban" resists the orthodoxy ruling the metropolis, namely the state, industrial society, and commercialism. "Anti-urban' architecture is the kind of architecture that ought to be built in the city. The works that Isozaki has realized in provincial cities are consequently very urban buildings. Thus his Tsukuba Center Building speaks of the absence of the state or the center, and his recent Kitakyushu International Conference Center speaks of the fictional city produced by the death of the industrial city.
   What is distinctive to this third section is a "manner"--employing the methods of linguistics and semiotics--for creating architecture out of the integration of quotation and rhetoric. Isozaki was not the first to do something like this. In the literary world there have been for some time attempts to develop through the methods of linguistics and semiotics a "manner" by which literature might be made decodable as metaphysics. For Isozaki, who ha*een attempting to remove traces of personality (i.e., the traces of the hand) and regional culture (i.e., the genius loci), a "manner" was the sole means available for realizing architecture.
   I am interested in knowing whether or not there is a limit to the efficacy of such a "manner". That i*ecause the main theme of today's re-examination of modernism is the dismantling of metaphysical ideas, logocentrism, anthropocentrism, and Eurocentrism.
   Refuting an orthodox metaphysical idea with another metaphysical idea is an extremely difficult, perhaps hopeless, task. For someone like me, who is trying to search for a double code (i.e., a philosophy of symbiosis) that does not deny either a metaphysics or the traces of the hand (personality), place (regionality) or culture (tradition), the Musashikyuryo Country Clubhouse and the Sant Jordi Sports Hall (appearing in the fourth section), are particularly interesting. That i*ecause with respect to such works Isozaki speaks of the genius loci, the power of place, and the (actual) place as a space-time continuum, and uses the lantern, a Japanese form which is a product of history.
   In his next phase Isozaki may try to join "manner" to "power of place". That at least is my guess.
   The central postmodern theme now being developed in many fields, from medicine, physics, comparative religion, and philosophy to literature comprises the dismantling of Eurocentrism and logocentrism. Isozaki is on the cutting edge of this movement, and the new interest he is showing in Japanese culture, the trace of the hand, and the power of place has something in common with the difficult path I myself am at present traveling. It merits close attention.



  聲明:中國建筑藝術網刊載此文不代表同意其說法或描述,也不代表推薦其學術觀點,僅為客觀提供更多信息用。凡本網注明“來源:中國建筑藝術網”字樣的所有文字、圖片和音視頻稿件,版權均屬中國建筑藝術網所有,其他媒體或個人在下載使用時必須注明"來源:中國建筑藝術網",違者本網將依法追究責任。對于未注明“來源:中國建筑藝術網”字樣的所有文字、圖片和音視頻稿件,其他媒體或個人從本網下載使用,必須保留本網注明的稿件來源,并自負版權等法律責任。本網站有部分文章是由網友自由上傳,對于此類文章本站僅提供交流平臺,不為其版權負責。如對稿件內容有疑議,或您發現本網站上有侵犯您的知識產權的文章,請您速來電或來函與中國建筑藝術網聯系。
   現有評論 0條
〖最新十條相關文章〗



公司簡介 | 關于我們 | 聯系我們 | 誠聘英才 | 留言咨詢 | 友情鏈接
中國建筑藝術網 京ICP備06036503號
地址:北京市海淀區紫竹院33號美林花園4號樓5F
站務郵箱:[email protected]
COPYRIGHT 2004-2005 AAART.COM.CN All Rights Reserved
中特一码网站 内蒙古11选五任选走势图 河南快三遗漏表 福建快3走执图 最近买什么股票好 湖北福彩快三开奖结果 秒速赛车9码平台 五分彩开奖网址 多乐彩开奖结果今天 七星彩开奖结果app 股票分析报告范文 炒股票怎么开户 湖南快乐十分彩票 中国体育彩票飞鱼游戏 河南省体彩11选5 杠杆配资 甘肃快三官网有假吗