© José Tomás Franco

奇迹的扎哈•哈迪德：帕特里克•舒马赫的致敬
The Miraculous Zaha Hadid: A Tribute by Patrik Schumacher

由专筑网缕夕，杨帆编译

在1988年，伦敦的泰特美术馆在解构主义大会期间举行了MoMA的同名展览，在那我首次遇到了扎哈•哈迪德。她与六位和她联合参展的建筑师一起演讲：彼得•艾森曼，雷姆•库哈斯，弗兰克•盖里，Wolf Prix，伯纳德•屈米和丹尼尔•李博斯金。几年前，我还是一名年轻的建筑学生（斯图加特大学）的时候，参与过她的工作，并因为她的工作中前所未有的自由度，多功能性和活力而感到震惊和激动。直到那时，我才对建筑业对我来说是一个不错的职业选择如此肯定。我被建筑学的腻味和无聊淹没，但通过与扎哈特殊的工作相遇，建筑设计意外地变成了一场冒险。建筑可能性的界限已经转移。三十年后，这种冒险精神继续下去。扎哈改变了我们的领域，也改变了我的一切。

在1988年的会议上，与我和扎哈的真正开放性相比，其他（男性！）主角的自负态度也相当激烈。他们衷于炫耀，而她只是显示了她正在做的事情。反正这是我的印象。很明显，这些建筑师代表了当时最重要的建筑新趋势，而扎哈似乎是这个群体中最有力和最平易近人的，她也是他们中最年轻的。那时候我是在伦敦学习的交换生，预计当年回到斯图加特继续学习。后来我改变了我的计划，加入了扎哈的工作室。当我被雇用时，我们只有四五个人在一个单独的房间工作：9号工作室位于保龄绿巷10号，她在三年前设立了她的第一个正式工作室。

她聘请了一些她以前的学生，工作室会暂时性人数超额，还有额外的学生，他们将在比赛截止日期前来帮助我们。那时候我们的工作大多是竞赛和展览，也曾做过柏林IBA项目和两个小的东京项目。

扎哈革新了前所未有的工作制度，为设计师提供了新的自由度。作为她的合作者，我们很快适应并运行着她新出现的大胆举动。扎哈总是给我们很多的创作自由空间。设计是一个集体和内部竞争的创意搜索过程。在她拒绝我们的尝试时，她对新颖的美丽和野蛮的要求是激烈的。她通过非常抽象的草图探索了一个未知形式的宇宙，没有尝试接近设计解决方案，而只是发现新的形式表达或新的空间概念。将这些抽象的大气和概念提示'转化为更具体的设计草图是我们的任务。她从事二维正式结构工作，我们则从事正式探索的三维作品。我们可以在这种尝试中采用的组合工作，是基于她以前的巨大突破，提供新的组合自由。

It was in 1988, at London’s Tate Gallery during the Deconstructivism conference held in anticipation of MoMA’s eponymous exhibition that I first encountered Zaha Hadid in person. She was lecturing among her six co-exhibitors: Peter Eisenman, Rem Koolhaas, Frank Gehry, Wolf Prix, Bernard Tschumi, and Daniel Libeskind. I had encountered her work a few years earlier as a young architecture student (at Stuttgart University) and was stunned and thrilled by the unprecedented degrees of compositional freedom, versatility and dynamism in her work. Up until then I had not been so sure if architecture was such a good career choice for me. I was rather underwhelmed and bored by architecture but, through my encounter with Zaha’s incredible work, architectural design unexpectedly transformed into an adventure. The bounds of architectural possibilities had shifted. Thirty years later, this sense of adventure continues. Zaha changed our field and changed everything for me.
At the 1988 conference I was also struck by Zaha’s genuine openness in comparison to the pretentious demeanor of the other (male!) protagonists. They were showing off, whereas she showed what she was trying to do. This was my impression, anyway. It was clear to me that these architects represented the most significant new tendency within architecture at the time, and Zaha seemed the most forceful and the most approachable of this group. She was also the youngest of them. At that time I was an exchange student studying in London and expected to return to Stuttgart that year to continue my studies. I changed my plans and joined Zaha’s studio instead. When I was hired we were only four or five people working in a single room: Studio 9 at No. 10 Bowling Green Lane, where she had set up her first proper office three years earlier.
She had hired some of her former students and the office would temporarily swell with additional ex-students who would come in to help us during competition deadlines. At that time our work was mostly competitions and exhibitions, although we also worked on the Berlin IBA project and two small Tokyo projects in a stop and go fashion.
Zaha delivered an unprecedented expansion of the discipline’s repertoire, offering new degrees of freedom to the designer. As her collaborators, we were quick to appropriate and run with the audacious moves she made newly available. Zaha was always giving us plenty of creative freedom. Design was a collective and an internally competitive creative search process in the studio. She was fierce in her demand for novel forms of beauty and brutal in her rejection of our attempts. She explored an uncharted universe of form via very abstract sketches that did not attempt to approach design solutions but only to discover new formal expressions or new spatial concepts. It was our task to ‘translate’ those abstract atmospheric and conceptual hints into more concrete design sketches. She was working with two-dimensional formal structures and we were working on three-dimensional compositions inspired by her formal explorations. The compositional moves we could employ in this attempt were based on her prior, repertoire-expanding breakthroughs, delivering new compositional freedom.

2014年扎哈•哈迪德和帕特里克•舒马赫／Zaha Hadid and Patrik Schumacher in 2004. Image © Martin Url

当时我们还没有把握——而且我怀疑扎哈本人或其他任何人完全理解这一点——这是给我们新的选择和创作自由，为解决问题者的表现赋予权力。扎哈已经扩展了建筑的可能性，即设计师的搜索空间，寻求解决方案，并且可以找到前所未有的解决方案。从扩展的解决方案空间的角度来看，前限制空间的约束看起来像是武断的教条。

扎哈的主要扩张行动是什么？当然，放弃了正确的角度，换来了可以利用的数百个新角度。然而，这是当时被称为“解构主义”的一般性（而不是她独特的）特征，所以我宁愿更多地关注扎哈给我们的三个完全原创和授权的“发现”。这些举动起初似乎是超现实或荒谬的。我想这也是为什么没有其他人这么做的原因。

首先，将快速书法素描的动态曲线性翻译成一个建筑图形，然后被读取为要构建的几何形状，而不是将快速草图的曲率作为粗略的指示完成理想的几何形状，这意味着要合理化成直线和弧。扎哈的线条显示不断变化的曲率，从而提供更多的多功能性。此外，随着手和笔的快速加速和减速的离心力的变化，曲线和曲线的组合显示出我们可以被认为是连贯和可读的数字的动态轨迹，每个都具有自己的平衡、活力和流动度。诞生了一种新的建筑语言，在解决问题方面具有广泛的多功能性，而且具有更丰富，更具表现力和更多交际性的组织和表达能力。通过采用这些草图曲线，超现实的举动得到了挽救和帮助，强化了使用“法国曲线”或“船舶曲线”的广阔范围，从而把它们作为解决方案的要素。

第二，同样超现实的一个举动，同样令人惊讶的表现。我们建立了多个透视结构融合成无缝动态纹理的图形空间。了解这些图像的一种方法是尝试模仿通过建筑作品的体验，揭示不同观点的连续性。而另一种更激进的方法是将它们从隐含的观点中抽象出来，并将自己的特征形式，组成规律和空间效应本身作为独特的建筑世界来看待。这些大型的惊人特征之一是它们强烈的一致性——尽管其中包含的形式丰富多彩。从来没有单调的重复的顺序;这个领域不断地改变了它们之间的关系。

梯度过渡介于大的安静区域和非常密集和密集的区域之间。通常，这些组合物是多中心的和多方向的。所有这些功能都是使用多个互穿透视投影的结果。通常，通过使用弯曲（而不是直的）投影线来增加整个场的动态强度。投影几何使我们能够在其缩减和扭曲的协调规律下带来任意大量和多样化的元素。所得到的图形空间是非常值得期待的，仍然是很多的领域和群体的概念。最终实现的效果非常类似于目前使用曲线线性网格变形和数字模拟的“引力场”所追求的效果，该“引力场”在数字模型中抓住，对准，定向并因此使一组元素或颗粒相互粘合。这就是第三个举措，将梯度引入到建筑的所有体系结构中。

所有这三个举动都集中在扎哈事务所作为指导灵感的有力景观类比中。景观类比不是通过墙壁解剖和空间排序，而是建立一个持续流动的空间，区域间相互渗透，过渡是柔软的，地形是平滑的，而不是硬质的构造空间关系。

实际上，扎哈•哈迪德征服和改造了自己的领域，这意味深长地产生了奇迹般的生产力和有说服力的设计思想和策略，赋予了它一个新的魔法。

What we did not yet grasp at the time—and I doubt that Zaha herself or anybody else fully understood this then—was the performative empowerment that these new options and degrees of freedom delivered to us as problem solvers. Zaha had expanded architecture’s universe of possibilities, i.e. the designers’ search space in which they seek solutions, and in which unprecedented solutions might be found. From the perspective of an expanded solution space, the constraints of former restricted spaces look like arbitrary dogmas.
What were Zaha’s major expansionary moves? Of course there is the abandonment of the right angle in exchange for hundreds of new angles that could be utilized. However, this was a general (rather than her unique) feature of what was by that time christened “deconstructivism.” I would therefore rather prefer to focus on three wholly original and empowering ‘discoveries’ that Zaha gifted to our discipline. These moves seemed utterly surreal or absurd at first. I guess that’s why nobody else had ever hit upon them.
There is, first of all, the move of translating the dynamic curvelinearity of rapid calligraphic sketching literally into an architectural drawing that was then read as an intended geometry to be built, as opposed to treating the curvature of a rapid sketch as a rough accidental indication of an ideal geometric form, which was then meant to be rationalized into straight lines and arcs. Zaha’s lines display continuously changing curvature and thus offer more versatility. Further, as a function of the changing centrifugal force of the rapid acceleration and deceleration of the hand and pen, the curves and curvelinear compositions display dynamic trajectories that we can recognize as coherent and legible figures, each with its own poise, dynamism and degree of fluidity. A new language of architecture with much-increased versatility when it comes to problem-solving, and with a much richer, more expressive and more communicative repertoire of organization and articulation, was born. The surreal move was redeemed and instrumentalized by taking these sketched curves, hardlining them with the use of an expansive range of “French curves” or “ship curves,” and thus taking them seriously as the elements with which to solve the plan.
There was a second, equally surreal a move, with equally as surprising performative fertility. We built up pictorial spaces within which multiple perspective constructions were fused into a seamless dynamic texture. One way to understand these images is as attempts to emulate the experience of moving through an architectural composition, revealing a succession of different points of view. Another, more radical way of reading these canvasses is to abstract them from the implied views and to read the swarms of distorted forms as a peculiar architectural world in its own right, with its own characteristic forms, compositional laws and spatial effects. One of the striking features of these large canvasses is their strong sense of coherence – despite the richness and diversity of forms contained within them. There is never the order of monotonous repetition; the field continuously changes its grain of articulation. Gradient transitions mediate between large quiet areas and very dense and intense zones. Usually, these compositions are poly-central and multi-directional. All these features are the result of the use of multiple, interpenetrating perspective projections. Often the dynamic intensity of the overall field is increased by using curved (instead of straight) projection lines. The projective geometry allowed us to bring an arbitrarily large and diverse set of elements under its cohering law of diminution and distortion. The resultant graphic space very much anticipates the later—and still very much current—concepts of field and swarm. The effect ultimately achieved is very much like the effects currently pursued with curve-linear mesh-deformations and digitally simulated “gravitational fields” that grip, align, orient and thus cohere a set of elements or particles within the digital model. The third move was the introduction of gradients into the repertoire of architecture.
All three of these moves came together in the potent landscape analogy which Zaha had posited as a guiding inspiration. Instead of dissecting and ordering space by walls, the landscape analogy suggests a continuously flowing space where zones bleed into each other, where transitions are soft, where a smooth topographic ground relief, rather than hard edges, structures spatial relations.
It was through these unexpectedly and, indeed, miraculously productive and persuasive design moves and strategies that Zaha Hadid conquered and transformed her field, giving it a new magic.


出处：本文译自www.archdaily.com/，转载请注明出处。