The Society of the Spectacle / Guy Debord

柯布宣言的重新思考：现代主义思想的6次探索
Rethinking Le Corbusier's Manifesto: 6 Explorations That Break Away From Modernist Ideals

由专筑网李韧，王帅编译

“柯布的模型给我带来了这样的印象，那便是即可自我毁灭的观点，这种形象独一无二。”- Ivan Chtcheglov

也许情境主义者的工作带有政治色彩，但是他们也许是对的。建筑系学生的崩溃也许并不是过度劳累，也可能是因为现代主义思想的不断重复。在柯布的宣言《走向新建筑（Vers une Architecture）》中，他认为可以通过现代建筑的策略来应对20世纪的全球危机，但是这种方式的使用范围更加有限。

如果学校的课程不设计巴塞罗那展馆的黑白照片亦或是包豪斯的设计作品，那么学生们也许会构思出与当前“正确的建筑理念”相违背的东西。为了摆脱一成不变的想法，下文总结了6座建筑，这些建筑都表达了这些理念：

“A model by Corbusier is the only image that brings to my mind the idea of immediate suicide.” - Ivan Chtcheglov
Despite their pranks and dirty politics, the Situationists may have been right after all. The death of architecture students will not be a result of excessive studio work, but will rather occur from the sermonizing repetition of modernist ideals that continue to be taught. In Le Corbusier's manifesto, Vers une Architecture (Toward An Architecture), he advocates for the adoption of modern architecture as the solution to 20th-century global crises, in a way that now seems rather limiting.
If the discipline doesn't move past the black-and-white photographs of the Barcelona Pavilion or the reductionist designs of the Bauhaus, students will continue to produce what may now be incorrectly associated with the “right architecture.” In order to break away from these stereotypes of what architecture should be, here are six explorations of building, curating and writing that resist these notions:


via MVRDV

“彩色的”建筑

MVRDV设计的Didden Village将亮蓝色的矮墙与现有的砖石结构相结合，这也证明了人们并不一定每次都将蓝色泡沫模型涂为白色。色彩的选择并不是一种弥补，也并非是墙纸的替代品，相反而言，这也可能代表了建筑设计的逻辑体系。

Towards A “Colorful” Architecture
MVRDV’s Didden Village, a bright blue parapet attached to an existing brick structure in the midst of other such buildings, is proof that one doesn't always need to spray paint their blue foam models white. Color doesn’t have to be an afterthought or a poor choice of wallpaper, instead, it can be a defining logic system in the way architecture is designed.


© Katerina Kamprani

“不现实的”建筑

设计师Katerina Kamprani的“不舒适”作品是一系列完全无法使用的家居用品，而且其中的形式也与功能无关。因此设计师可以将这些过度使用的策略用于新作品的设计之中，重新诠释物体的形式与形态。建筑的设计过程具有一定目的，但是并不应该过于功利，甚至完全不考虑美学。

Towards An “Impractical” Architecture
“The Uncomfortable” by designer Katerina Kamprani is a series of household objects that are completely unusable; form does not need to follow function. It's time to finally let go of these overused mantras to produce new design and reinterpret how shape and form are viewed. Architecture, though may be purposeful, shouldn't try to become utilitarian and cease the notion of beauty altogether.


Courtesy of Joanna E. Grant

“可爱的”建筑

Joanna E. Grant的理论项目标题为“Overly Attached Cute”，作者认为，日本美学“kawaii”或迷你可爱的设计作品可以与建筑学科的严肃内容相结合。从家居到时尚用品，可爱柔软的物件成为了标准化的设计元素，然而，在建筑学领域内，这种风格还尚未普及。虽然建筑师们相信，全球化是建筑的一大问题，但是工作室的项目也不需要在有限的时间内解决所有问题，因此探索可爱简单的作品也是建筑学的一个新方向。

Towards A “Cute” Architecture
Joanna E. Grant’s thesis project titled, Overly Attached Cute, argues for the development of a Japanese-aesthetic “kawaii” or the tiny, diminutive, adorable design within the seriousness of architecture discipline. From furniture to fashion, cute and soft objects are normalized design elements, however, they haven’t been explored within the field of architecture. Though architects believe every global issue is a problem of architecture, studio projects don’t need to (and most probably can’t) solve the world in the span of six weeks. Exploring cuteness and simplicity is a new take to this grave discipline.


© Plamen Petkov

“最大化的”建筑

Maurizio Cattelan与Pierpaolo Ferrari的“Toiletpaper Paradise”展览超越了庸俗，探索了奇特的空间主题，在其中你可以任意为它命名。建筑并不仅仅是建筑师脑海中空白的墙壁，人们常常根据自己的品位与经验来改变或适应那些空间。多便是一切。

Towards A “Maximalist” Architecture
The "Toiletpaper Paradise" exhibition by Maurizio Cattelan and Pierpaolo Ferrari is beyond kitsch and explores the theme of tackiness or peculiarity - whatever you wish to call it - in spatial settings. Buildings aren't just empty white walls as architects choose to believe; people inhabit and alter those spaces with individual tastes and experiences. More is more!


Courtesy of Sarah Wigglesworth Architects

“包容的”建筑

由男性建筑师设计的作品也许会更多地考虑男性。Sarah Wigglesworth的Straw Bale House就是这样一个项目，建筑师将工作室和家庭空间结合在一起，而这些空间主要针对既有事业又有家庭的女性而言。建筑师通过这个项目来表达对于物质的女性观点，其中包括建筑的背景与设计过程。也许设计需要开始考虑使用者的多样性，而不是为每个项目设定通用方案。

Towards An “Inclusive” Architecture
Buildings, designed by the plethora of male architects, are often also created for men. Sarah Wigglesworth's Straw Bale House is a built project that combines the workspace with the domestic space to design for women who have multiple identities: a working woman with a family. She uses the project as a way to redefine the feminist understandings of materiality in both the context and the process of making architecture. Perhaps design needs to start to consider the multiplicity of its users, rather than assuming the same solutions for every user.


Courtesy of TheLab-Lab

“挑衅的”建筑

如果他们不教授学生九宫格，那么他们真的有去过建筑院校吗？通过学习形式主义来理解与世界分隔的空间似乎已经成为了徒劳。TheLab-Lab的项目“Terminal 4 Jetway”通过社会评论的形式而得以表达，这种形式是拙劣的模仿，表达了机场安全的刻板印象，并且质疑美德的敏感性，而这些美德在南亚文化是优越的象征。虽然建筑并不能解决世界上的所有问题，但是这个学科却有着巨大的潜力，因为其目的不仅仅是设计一座建筑，有时它还能够表达一种理念。

Towards A “Provocative” Architecture
If they didn’t teach students about the nine-square grid, have they really gone to architecture school? Learning about formalism to understand the spatial form detached from the world has become a somewhat futile exercise. TheLab-Lab’s project “Terminal 4 Jetway” is a social commentary in form of a parody that plays on stereotypes of airport security to question the sensibility of virtues deemed to be "good" in South Asian cultures. Though architecture can’t solve all of the worlds’ problems, the discipline needs to start using its potential for more than just designing buildings - but rather for making a statement.


© Katerina Kamprani


via MVRDV


via MVRDV


Courtesy of Joanna E. Grant


© Plamen Petkov


© Plamen Petkov


Courtesy of Sarah Wigglesworth Architects


Courtesy of Joanna E. Grant


© Katerina Kamprani


Courtesy of Sarah Wigglesworth Architects


Courtesy of TheLab-Lab


Courtesy of TheLab-Lab