從陽朔到紐約，改造城市生活的新世代建筑師
洛杉磯建筑事務(wù)所約翰斯頓-馬克李(Johnston Marklee)的莎朗·約翰斯頓(Sharon Johnston)和馬克·李(Mark Lee)，正奔忙在成名之路上。
On Sept. 16, they open the second edition of the Chicago Architecture Biennial as its artistic directors. Featuring work from more than 140 architects and designers around the world, the Biennial is expected to draw some 500,000 visitors. Across town that same week, Ms. Johnston and Mr. Lee, who are married, also unveil Phase 1 of their renovation of Josef Paul Kleihues’s Museum of Contemporary Art, an attempt to humanize the famously aloof building by unlocking some of its unyielding geometry and embracing the park to its east.
9月16日，他們以藝術(shù)總監(jiān)的身份為第二屆芝加哥建筑雙年展(Chicago Architecture Biennial )拉開帷幕。此次雙年展搜羅了世界各地逾140名建筑師和設(shè)計師的作品，預(yù)計將吸引約50萬名參觀者。同一周，在城市的另一邊，李和約翰斯頓夫婦展示了他們翻修約瑟夫·保羅·克萊休斯(Josef Paul Kleihues)的當(dāng)代藝術(shù)博物館(Museum of Contemporary Art)的第一階段成果——他們試圖拆解博物館的某些生硬的幾何形，并善加利用東側(cè)的公園，以便把這座以冷酷著稱的建筑變得更有人情味。
And about two months later, when their 30,000-square-foot Menil Drawing Institute finishes construction (the building will open next spring), Johnston Marklee will add a new wing to Houston’s renowned Menil Collection. (Neither the Drawing Institute nor Renzo Piano’s main building for the Menil, which opened to great fanfare in 1987, were damaged during Hurricane Harvey.) The Drawing Institute extends Mr. Piano’s restrained visual language with a cluster of pavilions that define three new courtyards. Pleated ceilings activate the interiors, and attenuate Houston’s abundant daylight.
此外，再過兩個月，等到面積為3萬平方英尺的梅尼爾畫院(Menil Drawing Institute)完工時(將于明年春天揭幕)，約翰斯頓-馬克李事務(wù)所將為休斯頓著名的梅尼爾收藏博物館(Menil Collection)增添一棟新翼樓。(不論是畫院，還是倫佐·皮亞諾[Renzo Piano]為梅尼爾設(shè)計、于1987年落成的主樓，都未在颶風(fēng)哈維肆虐期間受損)。畫院延續(xù)了皮亞諾克制的視覺語言，以一系列別館定義了三個新庭院。帶有皺褶的天花板讓內(nèi)部裝飾變得更活潑，也弱化了休斯頓充足的日光。
Ms. Johnston, 51, and Mr. Lee, 49, are part of a bumper crop of designers whose sensibilities are bringing new depth to contemporary architecture around the world.
眼下，包括現(xiàn)年51歲的約翰斯頓和49歲的李在內(nèi)，一大批設(shè)計師正以自己的感悟力為世界各地的當(dāng)代建筑帶來新的深度。
In architecture, where buildings germinate slowly and early commissions tend to be small, Ms. Johnston and Mr. Lee are still young. But after 20 years of practice, they’re seasoned enough for clients like the Menil to entrust them with significant commissions. They are in that fertile period — agewise, it typically runs from the mid-40s to mid-50s in architecture — when the profession’s next generation of leadership begins to make its mark. Mr. Piano was 50 when the Menil, his American debut, opened. It was only after the renovation of his house, at 48, that Mr. Gehry became architecture’s other important Frank. Zaha Hadid was mostly an academic architect well into her 40s.
在建筑物成形緩慢、早期委托項目往往很小的建筑圈，約翰斯頓和李都還算年輕人。但他們已從業(yè)20年，有足夠的經(jīng)驗讓梅尼爾這樣的客戶對他們委以重任。他們正處于高產(chǎn)期——就年齡而言，建筑設(shè)計師的高產(chǎn)期通常在四十多歲到五十多歲之間——也就是這一行業(yè)的下一代領(lǐng)導(dǎo)者開始嶄露頭角的時候。在美國的第一個作品梅尼爾收藏博物館落成時，皮亞諾50歲。弗蘭克·蓋瑞(Frank Gehry)在48歲那年翻修了自家的房子以后，才得以成為建筑界的另一位重要的弗蘭克。扎哈·哈迪德(Zaha Hadid)一直到四十多歲的時候基本上還是一個建筑學(xué)者。
In 2018, when they complete Rome’s Città del Sole (City of the Sun), Maria Claudia Clemente, 50, and Francesco Isidori, 47, partners of that city’s Labics studio, will have been at work on the complex for most of the time they’ve practiced together. Won in a 2007 competition, the 175,000-square-foot project comprises a library and residential, office, retail, parking and extensive public space — a critical component of Roman urban life. The sleek urban center replaces a derelict former bus depot and repair yard hidden behind fences along Rome’s eastern edge. “But our goal was not to build a collection of interesting architectural objects,” Ms. Clemente and Mr. Isidori said. “We wanted to create a coherent structural tissue for this part of the city.”
等到2018年，羅馬Labics工作室的合伙人——50歲的瑪麗亞·克勞狄婭·克萊門特(Maria Claudia Clemente)和47歲的弗朗切斯科·伊西多里(Francesco Isidori)——完成羅馬的太陽之城(City of the Sun)時，兩人已把合作后的大部分時間都花在了這座建筑綜合體上。他們在2007年打敗競爭者拿下面積17.5萬平方英尺的太陽之城項目，包含居住區(qū)、辦公區(qū)、零售場所、停車場，還有羅馬城市生活的關(guān)鍵組成部分——巨大的公共空間。這個時髦的城市中心區(qū)取代了一個廢棄的公共汽車站，以及隱身于羅馬東緣一道圍墻內(nèi)的修理場。“但我們的目標(biāo)不是修建一系列有趣的建筑物，”克萊門特和伊西多里說。“我們想要為羅馬的這一部分打造統(tǒng)一的結(jié)構(gòu)組織。”
Some 5,500 miles east of Rome, Gong Dong, the 45-year-old founder of Vector Architects in Beijing, has transformed another industrial relic into a contemporary retreat. His just-opened, 117-room Alila Yangshuo Hotel encompasses a former sugar refinery located along the banks of the Li River in Guilin. Though the refinery, a 1950s business, didn’t survive Deng Xiaoping’s economic modernization drive, its building did. Chinese investors, inspired by the picturesque location — its dramatic karst topography and lush growth have been the source of countless Chinese landscape paintings — approached the architect with the idea of a resort hotel.
在羅馬以東5500英里處，現(xiàn)年45歲的北京直向建筑(Vector Architects)創(chuàng)始人董功，已經(jīng)把另一個廢棄的工業(yè)區(qū)轉(zhuǎn)化為當(dāng)代隱居之地。開業(yè)不久的阿麗拉陽朔糖舍共有117個房間，環(huán)繞著一個坐落在桂林漓江江畔的糖廠舊址。糖廠沒能在鄧小平開啟的經(jīng)濟現(xiàn)代化建設(shè)中幸存，但它的建筑留存了下來。工廠所在之處風(fēng)景如畫——它那令人驚嘆的巖溶地貌和繁茂的草木被畫進了數(shù)不勝數(shù)的中國風(fēng)景畫中——受此吸引的投資者找到董功，想要建造一座度假酒店。
For Mr. Gong, the client’s interest in repurposing the original building reflects a renewed Chinese appreciation for cultural preservation. “Our society is rethinking what we’ve been doing over the last 20 years — this rapid urbanization at the cost of all else,” he said. “There is a new interest in quality, and in respecting the memory of what came before.”
董功認(rèn)為，這位客戶對改變原有建筑用途的興趣，折射出中國人對文化保護的重新思考。“我們的社會正重新思考我們在過去二十年間的所作所為——以犧牲其他一切為代價，快速推動城市化進程，”他說。“人們對品質(zhì)、對尊重往日的記憶有了新的興趣。”
Boca del Río, Mexico, was not an industrial center. But over time, this once important port city was eclipsed by nearby Veracruz and fell into decline. City leaders are betting the arts can reverse their fortunes, and hope that Michel Rojkind, in Mexico City, will kick-start that process this fall with his tourism-worthy Foro Boca, a jagged assemblage of striated concrete volumes that will house an 800-seat concert hall for the city’s orchestra, and other functions.
墨西哥的博卡德爾里奧以前并不是工業(yè)中心。但隨著時間的推移，這座一度很重要的港口城市被附近的韋拉克魯斯搶走了風(fēng)頭，逐漸沒落。它的領(lǐng)導(dǎo)者相信，藝術(shù)能讓其命運發(fā)生逆轉(zhuǎn)，他們希望墨西哥城的米歇爾·羅金德(Michel Rojkind)在今年秋年以其具有旅游價值的Foro Boca開啟這一進程。Foro Boca是一片起起伏伏、由帶裂縫的混凝土塊組成的建筑，將包含一個有800個座位的音樂廳，可供該市的交響樂團演出，還可發(fā)揮其他一些功用。
Atelier TAG’s 875-seat Gilles-Vigneault Theater in Saint-Jérôme, Quebec, is also a craggy affair — and opens in October with a similar mission: to recast Saint-Jérôme — known for its logging and paper industries — as an arts center that can draw visitors from nearby Montreal, and elsewhere. The theater will anchor a “festival square,” over which it reaches with a dramatically cantilevered, 10,000-square-foot canopy, intended “to encourage gathering and outdoor performance,” according to the Montreal firm’s designers, Katsuhiro Yamazaki, 45, and his partner and wife, Manon Asselin, 50, who won the Prix de Rome architecture prize in 2008.
TAG工作室(Atelier TAG)在魁北克圣熱羅姆設(shè)計的吉爾斯-維格尼奧特劇院也是一個棱角分明的作品，這座有875個座位的劇場將于10月開放，它肩負(fù)著類似的使命：將以伐木和造紙業(yè)聞名的圣熱羅姆重塑為藝術(shù)中心，從附近的蒙特利爾等地吸引游客。TAG工作室位于蒙特利爾，其設(shè)計師——45歲的山口勝弘(Katsuhiro Yamazaki)及其妻子兼合伙人、2008年羅馬建筑獎(Prix de Rome)獲得者、50歲的瑪儂·阿塞林(Manon Asselin)表示，該劇院將設(shè)立一個“節(jié)慶廣場”，用于“促進集會和戶外表演”，廣場上方有一個一萬平方英尺的懸臂式頂篷。
Ms. Asselin, like many of the leading architects of her generation, teaches as well as practices. So does Nader Tehrani, 53, dean of Cooper Union’s Chanin School of Architecture and co-founder of the Boston practice NADAAA. This fall, Mr. Tehrani will finish something highly unusual: his third building for an architecture school — this time for the Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto. The professional scrutiny that accompanies designing for each other can make an architect squirm, but Mr. Tehrani was game for another run. For Daniels, he floats an origami-like roof over a 110-foot-wide column-free room to create floodlit studio and social spaces below. A new circulation spine attempts to better link the building, which is set on a traffic roundabout, into the city.
和她這一代的許多頂級建筑師一樣，阿塞林在同時進行教學(xué)和實踐工作?，F(xiàn)年53歲的納達爾·德黑蘭尼(Nader Tehrani)也是如此，他是庫伯聯(lián)盟查寧建筑學(xué)院(Cooper Union’s Chanin School of Architecture)院長，以及波士頓建筑事務(wù)所NADAAA的聯(lián)合創(chuàng)始人。今年秋天，德黑蘭尼將完成一件極不尋常的事情：第三次為建筑學(xué)校設(shè)計建筑——這次是多倫多大學(xué)的丹尼爾斯建筑、景觀與設(shè)計學(xué)院(Daniels Faculty of Architecture, Landscape, and Design)。為業(yè)內(nèi)人士設(shè)計會引來的專業(yè)審視，可能令建筑師感到局促不安，但德黑蘭尼敢于再次接受挑戰(zhàn)。他為丹尼爾斯設(shè)計了一個110英尺寬的無柱空間，有折紙式的天花板，其下是一個以泛光照明的工作室和社交空間。該建筑坐落于城市交通樞紐，新的流通中心試圖將它更好地與城市連接起來。
The Berlin architect Jürgen Mayer H, 51, wants his Business School for FOM University in Düsseldorf, Germany, to take on an urban agenda as well. In addition to its classrooms and meeting facilities, FOM offers a series of cantilevered balconies that create gathering spaces overlooking the city and an adjacent park. The biggest of these also attaches to a neighboring viaduct, inviting pedestrians to utilize the building as a pathway down to the park.
現(xiàn)年51歲的柏林建筑師于爾根·邁爾·H(Jürgen Mayer H)希望他設(shè)計的德國杜塞爾多夫FOM大學(xué)商學(xué)院(Business School for FOM University)能參與到城市日常生活中去。除了教室和會議設(shè)施之外，F(xiàn)OM還有一系列懸臂式陽臺，可以俯瞰城市和毗鄰的公園。其中最大的陽臺連接著附近的高架橋，行人可以把這座建筑當(dāng)做去往公園的通道。
Thanks to a percolating economy and the technological revolution that swept through architecture while most of these designers were building their practices, many of them are producing work at speeds and scales that were not possible even a decade ago. Today, a five-person office like the Oyler Wu Collaborative in Los Angeles, founded in 2004, can produce a residential high-rise in a faraway place — even one with the complex, syncopated screens that encase their recently completed Monarch residential tower in Taipei. “The building code there encourages standardization,” said Jenny Wu, 42. Her husband, Dwayne Oyler, 45, added, “We wanted to show that even in a constrained environment, you can still be creative.”
得益于日漸擴散的經(jīng)濟，以及席卷建筑界的技術(shù)革命，這些設(shè)計師大多創(chuàng)辦了自己的事務(wù)所，他們中的很多人推出作品的速度和規(guī)模，就在十年前還是難以置信的?，F(xiàn)今，于2004年在洛杉磯成立的五人建筑事務(wù)所奧伊勒-吳合作事務(wù)所(Oyler Wu Collaborative)，可以遠(yuǎn)程實現(xiàn)一座高層住宅——最近在臺北落成的忠泰 M(Monarch)住宅樓，外面甚至包裹著復(fù)雜的切分式幕墻。“那里的建筑法規(guī)鼓勵標(biāo)準(zhǔn)化，”現(xiàn)年42歲的吳嘉華(Jenny Wu)說。她的丈夫、現(xiàn)年45歲的德韋恩·奧伊勒(Dwayne Oyler)補充說，“我們想要表明，即便所在的環(huán)境限制多多，你還是可以展現(xiàn)創(chuàng)造力。”
Two firms of this generation stand out for the scale and ambition of their enterprises. In New York City, SHoP Architects (whose founding partners range in age from 50 to 54) is now 200 strong, with 19 projects under construction around the world, and a dozen more in design. Two will open this fall in Manhattan. The first, in October, is Pier 17 at the South Street Seaport, reimagined as a 300,000-square-foot retail and entertainment complex. Upstream are the 48- and 43-story American Copper Buildings, sibling apartment towers that look as if they were being pulled toward each other by a 100-foot bridge at their waists (inside of which is what must be the coolest swimming pool in the city). Over time, the copper exteriors will oxidize to a Statue of Liberty green — a slow-motion art project provided by the architects, and by nature.
有兩家屬于這一世代的事務(wù)所因其規(guī)模和雄心而受到關(guān)注。在紐約市，SHoP建筑事務(wù)所(其創(chuàng)始合伙人的年紀(jì)均在50歲至54歲之間)目前有200多名員工，在世界各地有19個在建項目，另有十多個項目處于設(shè)計階段。它的兩個項目將于今秋在曼哈頓開放。第一個是位于南街海港(South Street Seaport)、將于10月開放的17號碼頭(Pier 17)，它被改造成了一個面積為30萬英尺的零售及娛樂建筑綜合體。位于上游的美國銅大廈(American Copper Buildings)由48層和43層的公寓樓構(gòu)成，這兩棟姊妹樓于攔腰處以100英尺長的橋梁相連，看上去仿佛在相互拉拽(橋梁內(nèi)有無疑是紐約城中最酷的游泳池)。隨著時間的推移，銅質(zhì)外墻將氧化為自由女神像的那種綠色——這是由建筑師和大自然共同奉上的一件緩慢成形的藝術(shù)作品。
The youngest architect in this current group also has the largest practice. Bjarke Ingels, 42, started the acronymically perfect Bjarke Ingels Group (BIG) at the ripe old age of 30 and now employs nearly 450 people, primarily in Copenhagen and New York. BIG’s projects are by turns unorthodox, clever and even hopeful. Like the German war machine it in part catalogs, the Tirpitz Museum in Blavand, Denmark, which opened this summer, is an artifact buried in the sand. The Lego House, which opens Sept. 28 in Billund, Denmark, is a hybrid museum and play center devoted to the ubiquitous toys, and is, of course, a mound of interconnected blocks with a roof-scape of primary and secondary colors. But it is the Amager Resource Center in Copenhagen that epitomizes BIG’s approach. When completed in early 2018, the massive waste-to-energy plant will feature a stack that blows harmless vapor smoke rings to indicate tons of conversion, and — yes — a ski slope on its roof.
當(dāng)前這群建筑師中最年輕的一位，運營著最大的事務(wù)所。現(xiàn)年42歲的比賈克·英格爾斯(Bjarke Ingels)在三十而立之際創(chuàng)辦了比賈克·英格爾斯集團(Bjarke Ingels Group，簡稱BIG)，目前雇用了將近450人，主要以哥本哈根和紐約為大本營。BIG的項目有的別具一格，有的巧妙靈動，有的甚至鼓舞人心。今夏在丹麥布拉旺德開幕的提爾皮茨博物館(Tirpitz Museum)，部分上是對一臺德國戰(zhàn)爭機器的記錄，而和機器一樣，博物館本身就是一件埋在沙中的制品。將于9月28日在丹麥比隆開放的樂高屋(Lego House)集博物館和游樂中心為一體，里邊到處都是玩具;它當(dāng)然是由相互連接的方塊構(gòu)成，屋頂景觀的色調(diào)為三原色和三間色。但最能體現(xiàn)BIG手法的是位于哥本哈根的阿麥格資源中心(Amager Resource Center)。等到在2018年初建成的時候，這個把廢物轉(zhuǎn)化為能源的巨型工廠將有一個大煙囪，會噴出無害的蒸汽煙霧環(huán)，以表明正在轉(zhuǎn)化數(shù)以噸計的廢物，而且——沒錯，屋頂上有一個滑雪坡道。
Mr. Ingels calls his approach ‘‘hedonistic sustainability’’: sustainability that increases the enjoyment of life.
英格爾斯形容他的手法是“帶有享樂主義色彩的可持續(xù)性”：既要可持續(xù)，又要增加生活的樂趣。
Now that’s leadership any generation can appreciate.
這才是任何一個世代的人都會欣賞的領(lǐng)導(dǎo)力。
