贯日翻译样本－论文（出版）-中译英

Lily

【摘要】本文分析国内新建筑语言探索的现状，总结出目前建筑语言探索存在标志性的过度泛滥、参数化的本末倒置和具象化的现实反讽等三方面现象，分析了其中的积极意义以及存在问题，并进行了深刻的反思，进而提出一些改善的建议。

[Abstract] This paper studies the current situation of the domestic new architecture language and summarizes three signs existing in today’s architecture language, including the excessive use of landmarks, the wrong use of parameterization and the real irony of visualization. This paper also analyzes their positive meanings and existing problems. Through profound review, the paper puts forward some better suggestions.

【关键词】建筑语言、标志性、参数化、具象化

[Keywords] Architecture language, landmark, parameterization, visualization

随着上世纪八十年代的后现代主义和解构主义建筑思潮的消退，国内先锋建筑师转向建构学研究，并进行了小型先锋建筑实验，对国内青年建筑师产生一定的影响。然而，由于建筑师过度沉迷于个人的趣味追求，只在小型建筑中进行有限探索和自我解读，未能形成影响更广泛思潮[[1]。正是这时，迅猛的商业化浪潮席卷全国，在巨大的利益引诱下，建筑师迅速抛离各种主义和思潮之争，全身投入到中国的城市化运动。他们穷尽技法，探索新的建筑语言，以满足商业和政治对建筑的独特性的要求。在这场迅猛的新建筑语言运动中，他们具有一个共同的特征，就是通过自我的建筑理论建构和形态奇特的建筑作品，迎合整个社会的需求，尽管也不时套上各种时髦的术语，期望人们相信这些建筑的背后是具有坚实的理论基础，但是当我们深究其背后的文化特征、创作手法，就会发现其明显具有即景、拼贴的特征，难以用统一的建筑理论或思潮来描述。

With the fade-out of postmodernist and deconstructive architecture thoughts starting in the 1980s, domestic avantgarde architects have changed their focus on the studies on architecture and conducted small-scale avantgarde design experiments, which exert certain effect on domestic young architects. However, architects fail to form a thought [[2] with more extensive influence as they are obsessed with personal interest pursuit and only conduct limited exploration and self-interpretation in the small-scale architectures. At that time, the rapid commercialization wave sweeps across the whole country, architects quit the arguments of various doctrines and thoughts promptly and then dedicate themselves to the movement of urbanization in China under the temptation of huge interests. They do everything to explore new architecture languages in order to meet the requirement of business and politics in architectural uniqueness. In this rapid movement of new architecture language, they have a common characteristic, namely, to meet the needs of the whole society with self-constructed architectural theory and peculiar architectural works. They make use of various fashionable terms from time to time, expecting people to believe that these buildings have solid theoretical basis, but we, after getting to the bottom of their cultural characteristics and creating gimmick, will find out that these buildings have obvious characteristics of specific situation and collage and as a result it is difficult to describe them with unified architectural theory or thought.

当代国内新建筑语言的运动，建筑语言新奇和嘈杂，现象较为复杂，其既对现代主义美学法则的反抗，也对本土文化的挖掘，更有对现实社会的调侃。它既张扬了建筑师本身个性，也及时回应的当前建筑大跃进式发展需求。总体来说，它主要从三个方面展开探索，包括：通过追求建筑高度和奇特形态的满足标志性要求；通过参数化手段挖掘新的建筑形态；通过具象性的世俗性建筑语言迎合商业利益。这些建筑师努力从专业角度对传统建筑美学进行颠覆。无可否认，这仍然是一种学术层面的专业探索，但同时也是在巨大利益引诱下的一次堕落。它不仅反映建筑师的迷茫、势利和向现实的媚俗，更是整个急功近利的社会的一个病态剪影。但不管如何，这些新的建筑作品不约而同地主张破除旧法则，探索与众不同的建筑语言，它产生的积极意义及消极影响同样引人注目，反映出新的建筑美学特征和背后的思想根源，值得我们深入思考。

With novel and noisy architecture languages, as well as complicated phenomena, the modern domestic movement of new architecture language opposes the modernistic aesthetic principle, explores the local culture and ridicules realistic society. In the meanwhile, it not only makes the personality of architects widely known but also responds to the great-leap-forward development needs of current architecture on time. In a whole, it conducts exploration in three aspects, including to meet the landmark requirements through the pursuit for building height and peculiar form, to explore new architectural form by the means of parameterization and to cater to commercial interests with visualized common architectural language. These architects make efforts to overturn the traditional architectural aesthetics from the perspective of profession. There is no denying that it is still a professional exploration of academic level, but at the same time, it is also a fall out of the temptation of huge interests. It not only reflects the confusion, snobbishness and kitsch of reality in architects, but also is a morbid epitome of the whole society eager for quick success and instant benefits. Anyway, these new architectural works invariably advocate the break of old rules and explore different architectural languages. It generates attractive positive meaning and negative influence and reflects the aesthetic characteristics and ideological roots of new architectures. So it deserves our deep thought.

一、标志性的过度泛滥

I. Excessive Use of Landmarks

国内经历了建国前30年的标准化建设和改革开发后30年商业化的发展，国内建筑的审美已经步入了个性化和多元化的时代，在政绩工程及商业效应的影响下，追求建筑的标志性已经成为每个城市主要潮流。它的主要特征是不断追求更大的建筑规模和不断刷新的建筑高度，并赋以奇怪的形体，其目的是获得建筑标志性，以满足地方政治与商业的需求，这已经是国内城市建设普遍存在的一种社会心态。

After experiencing the thirty years of standardization since the foundation of new China and thirty years of commercialization since the implementation of reform and opening-up in China, domestic architectural aesthetics has stepped into an era of personalization and diversification. Under the influence of vanity projects and commercial effect, the pursuit for architectural landmark has become the main trend in every city. This is mainly characterized by constantly pursuing larger architectural scale and record-breaking building height and creating strange forms so as to obtain an architectural landmark and meet local political and commercial needs, which has become a common social mentality of domestic urban construction.

在国内，许多大城市新建筑物的设计采用独特的建筑造型，这些怪诞建筑型体很容易令人以为这只是人们对未来社会的乌托邦想象。然而不幸的是，这些现代建筑正不断地建造，它是将会真实地存在我们的城市。它的目的就是实现建筑的标志性。最常用手段是采用建筑高度的竞赛，比如上海、广州（见图1，广州西塔）等城市通过国际竞赛，不刷新世界建筑新高度，以便达到经营城市的目的。另外一个重要的手段是通过追求奇特怪诞的建筑形态，完全颠覆人们对建筑传统美学的形象，以便实现广告效应。这时，国外建筑师由于拥有独创的建筑语言，其产生的广告效应远比本土建筑师守旧的建筑语言来的激烈，成为国内大型公共建筑设计的主角。他们甚至通过个性化建筑语言，加剧其“明星化”的效应，进而占有这个市场重要的份额。

In China, new buildings in many large cities are mostly designed by adopting unique architectural styles. These grotesque architectural forms easily make people think that these are just the Utopian imagination of future society. However, unfortunately, these modern buildings are being constructed and will really exist in our cities. This is mainly aimed at realizing architectural landmark by adopting the most common way of conducting contests of building height. For example, in order to realize the goal of operating the cities, Shanghai and Guangzhou (refer to Picture 1, Guangzhou West Tower) constantly break the new record of building height around the world through international contests. Another important means is to overturn the image of traditional architectural aesthetics through the pursuit for grotesque architectural forms, in order to realize the advertisement effect. At this point, foreign architects become the key player for design of domestic large-scale public buildings, because they can generate more drastic advertisement effect with their unique architecture language when compared with the traditional architecture languages of domestic architects. They even intensify the “Branding” effect with personalized architectural languages to occupy the important share in the market.

在急速发展的中国，这些西方建筑大师并没有深入思考中国传统的文化，他们更加喜欢追逐标志性形式。这些建筑现象的背后，究竟是建筑师存在投机心理，还是我们对建筑标志性的需求局限它们的创作自由，这值得我们深思。国家大剧院的建筑设计是国内众多国际竞赛追求标志性的一个典型例子。设计竞赛邀请了国内外众多当红的建筑师，最终采用法国建筑师安德鲁的设计[[3]。方案完全不顾所处北京古城中心的文脉，采用对比的方式来协调新建筑和传统建筑的关系。建筑形态采用不必要的穹顶结构，实现夸张的建筑构图（见图2），以达到标志性的效应，实现了“语不惊人死不休”的效果。从建成的效果来看，这种依靠财力的堆砌，采用过度表现自我的方式，固然可以获得标志性的效果，但是这种不顾传统文化的张扬形态，和故宫中国传统建筑风明显格格不入。它是否适合建在历史悠久的紫禁城附近，相信每个在场的建筑师和艺术家都有自己的答案。

These Western architects would rather go after landmarks in China that experience rapid development than give in-depth consideration to traditional Chinese culture. Behind these architectural phenomena, such a question whether architects take the profiteering attitude or the needs of architectural landmark in China limits the freedom of creation deserves our profound consideration. The architectural design of National Center for the Performing Arts presents a typical example of various domestic international contests pursuing landmark. At the design contest, many famous architects, both domestic and foreign, were invited and the design made by the French architect Andrew was finally adopted [[4]]. His proposal does not take the cultural context of the center of the ancient Beijing into consideration but applies the method of comparison to coordinate the relationship between new architectures and traditional ones. The architectural form makes use of unnecessary dome structure to realize exaggerated architectural composition (refer to Picture 2), with an aim to achieve landmark effect and realize the result of “never giving up until an amazing poetic masterpiece is gained”. From the perspective of built-up results, based on the pile-up of financial resources and adoption of excessive self-expression, this architecture is naturally able to obtain the landmark effect, but such an assertive form without consideration of traditional culture is incompatible with the traditional architectural style of the Imperial Palace in China. It is believed that every architect and artist has their own answer to the question whether it is suitable to build it near the Forbidden City with a long history.

本质来说，无论建筑之美还是城市之美，都无法脱离周边环境而存在，标志性建筑作为区域空间的节点，其存在具有积极的意义。但并不是所有的建筑都能成标志性建筑，多数的建筑只能成为配角。然而，建筑配角并非不重要，更多时候，平静内敛的普通建筑更加容易获得更永恒的价值。即使在发达的西方国家，夸张的建筑语言也并不是普遍现象，多数的建筑大师仍是通过沉着和理性的建筑语言达到更高层次的精神境界。比如，著名建筑师巴拉干[[5]及安藤忠雄[[6]的建筑作品，都是通过小体量的自然建筑风格彰显其沉着内敛的品质，体现的文化意义远比那些粗俗的超高层建筑更具标志性。实际上，朗香教堂与纽约的世贸大相比，北京的四合院和库哈斯的CCTV办公大楼，何者更具标志性呢？显然，文化的标志性更加具有永恒的价值。

In essence, both building beauty and urban beauty must coexist with the surrounding environment. As a node of the regional space, landmark architecture has positive meaning for its existence. But not every building can become landmark and most of them just serve supportive. However, this does not mean that the supporting architectures are not important. In most time, these common architectures with the quiet and restrained quality are easier to obtain permanent value. Even in developed Western countries, exaggerated architecture language is not a common phenomenon and most architects reach a higher spiritual state with calm and reasonable architecture languages. For example, the architectural works of famous architects - Luis Barragan [[7] and Tadao Ando [[8] manifest the calm and restrained quality through the natural architecture style of small volume and embody more landmark cultural meaning than that of super high-rise vulgar buildings. In reality, Chapelle de Ronchamp and courtyard houses in Beijing are more symbolic when compared with the World Trade Center in New York and the CCTV office building designed by Koolhaas. Obviously, cultural landmark has more permanent value.

国内当代新建筑语言以高大、奇特的方式进行探索，由于缺乏良好城市设计协调机制，建筑群陷入各自为政的困境，使得整个城市整体关系产生新的混乱，丧失了整体特色。同时，这种通过耗资巨大代价得暂时的标志性，途径简单和直接，容易被更高、更怪的建筑所替代，而导致标志性的丧失。因此，新建筑语言的探索应摒弃高度竞赛，减少怪异的建筑形式，深入挖掘地域建筑文化，注重环境协调，植根本土，才可能产生真正的标志性建筑。

The exploration of domestic new modern architecture languages is conducted in a lofty and unique way. Because of absence of good urban design coordination mechanism, the architecture groups get into trouble without coordination, which makes a kind of confusion in the whole urban relationship and loses the overall feature. In the meanwhile, such a costly architecture with the temporary landmark significance will be easily replaced by another higher or weirder building, because its method is easy and direct, which will lead to the loss of its landmark. Therefore, the exploration of new architecture language should abandon height contest, reduce the weird architectural form, explore into regional architectural culture in depth, pay attention to environmental coordination, and root into local circumstances to create real landmark architecture.

二、              参数化的本末倒置

II. Wrong Use of Parameterization

在当代国内建筑新语言运动中，参数化设计是运用新最为广泛的辅助手段。参数化是由计算机辅助设计发展起来一种设计手段，其目标是把建筑师构思的复杂的建筑形体进行修正和归纳,使得建筑的形式更为数学化。它是抽象造型具象化的一种计算机工具，能令建筑获得扭曲，巨大、流畅、统一、线性等美学特征，也可以令建筑施工图表达直接明了，十分适合美工，家具及建筑等方面的造型设计，因而广泛应用于体育馆，酒店等大跨度、复杂造型的建筑物造型设计。参数化在建筑形体的生成、修改以及面对复杂的建筑平、立、剖图纸的建立等方面具有十分强大的功能。于是，部分建筑师为了突破自身的思维局限，转而寻求参数化的技术，他们希望通过参数的调整，获得意想不到的建筑形态，以祢补已枯竭的建筑语言。

In the movement of contemporary domestic new architecture language, parameterization design is the most widely used supplementary means. As a design technique developed out of computer aided design, parameterization aims to amend and induce the complicated architectural shape designed by architects to make the architectural form more “mathematic”. As a computer tool able to visualize the abstract style, it is able to make the architecture obtain aesthetic characteristics, such as distortion, giant, smoothness, unity and linearity, and also makes the architectural working drawing more direct and clear. It is applicable to art design and style design of furniture and architectures. For this reason, it is widely used in the style design of large-span and complicated buildings, e.g. stadium and hotel. Parameterization has a very strong function in such aspects as the generation and revision of architectural shape and the establishment of planar graph, vertical view and profile map of complicated architecture. As a result, in order to break the thinking box, some architects make use of parameterization techniques to obtain unexpected building shape with the adjustment of parameters, with an aim to make up for the exhausted architectural language.