低频发生器 楼上:中国，国际建筑的游乐场（组图）

The Indian Pavilion and Saudi Arabia Pavilion at the Shanghai World Expo 2010, image via Meiguoxing.

图为2010上海世博会印度馆和沙特阿拉伯馆。摄像：梅国兴（Meiguoxing）。

A few days ago, China Daily editor Liu Yujie brought attention to the budding sentiments of the Chinese against the use of their country as a “playground for international architects.” In a piece entitled “Bad boy architects & China’s new face,” Liu criticized some of the most publicized new buildings to transform China’s cityscapes. Offending culprits include Rem Koolhaas’ CCTV Headquarters, the asymmetrical steel “underpants” that many now view as a humiliating blemish in Beijing’s central business district, and Raimund Abraham’s Jingya Restaurant, an imprudent tribute to the “awesome power of the ocean” that shamelessly clashes with the nearby Forbidden City. Click to read more.

The facade of Raimund Abraham’s Jingya Restaurant, image via super.heavy’s flickr.

While China’s raging economic success has attracted throngs of first-class architects and spurred what is arguably the largest urban construction movement in human history, many Chinese are now reevaluating the burst of shiny new buildings designed by reckless Pritzker Prize winners and the like, many of whom view China as “a perfect blank canvas,” in the words of Zaha Hadid.

　　中国经济的蓬勃发展吸引了许多世界一流的建筑师，促进了可以说是人类历史上规模最大的城市建设运动。如今，不少中国人都在重新评价如雨后春笋般建起，由那些有勇无谋的普利策得奖者们设计的闪闪发光的建筑大楼。很多获胜者都视中国为一张完美，可进行挥洒的空白画布，扎哈.哈迪德 （Zaha Hadid）如是说。

The Jin Mao Tower and the Shanghai World Financial Tower under construction in Shanghai’s Pudong district, image via yohanes budiyanto’s flickr.

After events like the 2008 Beijing Olympics and the 2010 World Expo in Shanghai, the world seems to have grown accustomed to seeing outcrops of eccentric new projects upon China’s wildly shifting cityscapes. Many welcome these emblems of the cutting-edge with open arms. But Peng Peikeng, a senior commentator at Tsinghua University, sees his country as an abused testing ground. While historic hutongs are demolished without an afterthought, foreign architects have enjoyed creative and financial free reign to execute their projects in China. Largely unconcerned with visual or historical continuity, architects like Norman Foster and Herzog and de Meuron have had an open stage to realize designs that would never have been accepted back home due to site-specific restrictions and tighter budgets.

　　在一些国际大事件如2008年北京奥运会和2010年上海世博会结束后，整个世界似乎越来越习惯看到中国有稀奇古怪的项目崭露头角，为城市风光再添一笔。众多中国人都张开双臂欢迎这些象征着时代前沿的建筑。但是清华大学评论家彭培根却说中国其实是一个饱受虐待的测试者。当外国建筑师在中国畅所欲为的实现他们项目时，本国极具历史韵味的胡同却在消失而不引人省思。建筑师们在很大程度上没有考虑到视觉或历史的连续性，如Norman Foster ，Herzog and ，Meuron一直想有广大的舞台来实现自己的设计理念，但是却受制于本国的地理位置和紧缩的财政政策。

Rem Koolhaas’s CCTV Headquarters under construction, image via anyongfu’s flickr.

图为正在建设中的瑞姆.库哈斯（Rem Koolhaas）设计的CCTV总部。摄像anyongfu

Liu remarked that while architectural design has existed as a profession in the Western world for more than 500 years, it has only existed in China for a mere 30 years. Influenced by the Soviet Union, China had long suppressed the pursuit for architectural innovation and individual design, says Wu Liangyong, senior architect and member of the Chinese Academy of Engineering. Wu believes that this historical trajectory has now whiplashed into a grossly excessive demand for the chic, the new, and not to mention the expensive aesthetic of contemporary, avant-garde design.

　　Liu指出在西方世界，建筑设计被作为专业研究已经有500多年历史了，而在中国仅存在30多年。中国工程院高级建筑师吴良镛说受前苏联影响，中国有很长一段时间禁止追求建筑设计的创新和个人风格。吴相信这种历史轨道如今已被迫进入一个极具需求新兴时髦的时代，不再提及当代的金钱至上和先锋设计。

The crown of SOM’s 88-story Jin Mao Tower in Shanghai, image via Frank Schacht’s flickr.

“China is not so rich that we do not need to count the cost. We need real and practical solutions,” says Wu. Native Chinese are beginning to appreciate projects that consider the country’s historical and geographical context instead of exalting foreign aesthetic values. For instance, the article finds praise for SOM’s Jin Mao skyscraper in Shanghai, which is celebrated for its functionality and its elegant allusion to an ancient tower in Suzhou.

　　吴说“中国并非富裕大国，也得考虑成本，我们需要的是实用的建筑设计。”中国人已经开始从本国的历史及地理角度来欣赏建筑本身，而不是盲目的追随外国的审美观。比如，文章赞美了SOM建筑事务所设计的金茂大厦，因其实用性和优雅如苏州古城楼而出名。

Ningbo Historic Museum, architect: Wang Shu

宁波美术馆，建筑师：Wang Shu

A number of large commissions, such as the design for the Ningbo Museum, are for the first time being awarded to Chinese architects. Liu’s article specifically commended Urbanus Architects for their urban tolou (earth fortress) project in Guangzhou, a low income housing complex that mimics 17th century Hakka houses with its curving, fortress-like walls.

　　许多大型建筑委员会第一次授奖给中国建筑师，如宁波美术馆。Liu的文章特别推荐都市建筑师在广州的都市土楼建筑（泥土堡垒），适合低收入着的房屋，模仿了17世纪客家建筑圆形土墙的风格。

Urban Tolou by Urbanus Architects, images via Aga Khan Development Network

In an uncharacteristic turn, the author suggests that China learn from Japan, a country that managed to preserve its culture in the midst of rampant Westernization during the nineteenth-century Meiji Restoration. The article ends in an optimistic tone with a call for architects to learn from their more experienced Western counterparts while turning attention to China’s rich artistic and historical past. Chinese architect Wang Shu implores his country to educate its youth on Chinese as well as Western aesthetic values, open up equal opportunities for domestic and foreign design firms, and, importantly, stop shining the public spotlight on odd-looking buildings.

　　在一个不甚典型的圆形土楼里，作者建议中国可以向日本学习。日本在19世纪明治维新时期，处在西方文化蔓延的氛围里仍努力保护本国文化。文章以甚为乐观的语调结尾呼吁中国建筑师在把目光集中在本国艺术气息和历史文化的同时应该要向西方建筑师多学习点经验。国内建筑师恳求中国在教育年轻一代时，中国与西方审美价值观应并重。对国内和国外建筑机构应公平对待，值得一提的是，不要在奇形怪状的建筑表面追加闪光点来吸引眼球。