Siza: Unseen and Unknown

由专筑网李韧，王雪纯编译

位于柏林的Tchoban基金会建筑-绘画博物馆与我们分享了这篇文章，内容关于由建筑师António Choupina与h. c. Kristin Feireiss博士联合策划的展览“西扎：未见与未知”，他们认为，“这次展览就像是一次家庭展示，其中包括建筑师的私人画作，而不是广义的建筑作品。”其中展出的作品都是西扎的私人收藏，其中有知名度不同的作品的草图，以及一些建筑的构思。

阿尔瓦罗·西扎出生于1933年，也是在那一年，包豪斯关上了大门。他是那个时代的现代主义的代表，直到21世纪，西扎都在不断地践行者现代主义的内涵。

在展览“西扎：未见与未知”之中，展出了100张草图以及项目中不可避免的矛盾。这些作品大部分来自其私人珍藏，另外还有一些好友与其家人的藏品。因此，其中关注的不仅仅只是建筑本身，还关乎其家庭，Maria Antónia Siza在家庭有着重要的地位，西扎与妻子会为对方作画，将这种生活气息带到建筑与艺术之中。

The Tchoban Foundation - Museum for Architectural Drawing in Berlin shared with us this article about the exhibition Siza: Unseen and Unknown curated by architect António Choupina together with Dr. h. c. Kristin Feireiss. According to them, "this exhibition was conceived as a family show, not in the sense of an architectural dynasty but rather as a lyrical collection of drawings from the architect’s private surroundings". The selected drawings are from the Siza family’s own collection and include sketches from known and less well-known projects, as well as architectural fantasies.
álvaro Siza was born in 1933, on the same year that the Bauhaus closed its doors. He is perhaps the last living modernist or, at the very least, the most significant voice to carry out the unfinished modernist project all the way into the 21st century.
Siza: Unseen and Unknown showcases this continuity through 100 sketches, as well as its unavoidable contradictions. These drawings are from his most personal archive, in addition to small collections of close friends and family. Hence, they focus not only on the professional legacy but also on the familial one, where Maria Antónia Siza (1940-1973) takes centre stage. His wife will draw him, he will draw her and the loving embrace of the human body will be transversal to architecture, art, life.



无独有偶，Juhani Pallasmaa去年告诉西扎：“建筑是既纯粹又复杂的东西，讨论建筑就像在谈论生命。”在许多方面来说，Maria Antónia的衣服和头发就来源于西扎的墨线，此类拟人化研究在其去世后一段时间里持续地进行，当时，她只有32岁。这些个体会变得愈发抽象，就像没有手臂的维纳斯，但是希腊女神却永远存在。

在其儿子álvaro Leite Siza的作品中，这些肢体不断地重复与叠加，最终构成了建筑与几何形态。父亲与儿子在相关的主题、宗教与神话、人物个体等方面相互独立，从而也表达了家庭的重要。而现在，未来则掌握在其孙子Henrique Siza的手中，他在柏林进行建筑研究。城市中大师们的身影成为了西扎第一个国际设计方案的背景理念，那便是Schlesisches Tor住宅综合体和柏林文化广场。

Quite fittingly, Juhani Pallasmaa told álvaro Siza last year that “architecture is such an impure and complex thing, that speaking about it is like speaking about the theory of life…”. In many ways, the Bernini folds of Maria Antónia’s cloths and hair develop in Siza’s own ink lines and this anthropomorphic research goes on long after her death, at just thirty-two years old. Those bodies will grow increasingly more abstract, like the Venus de Milo, losing its arms and becoming something more – where the Hellenic sacred feminine is ever- present.
Those limbs multiply and turn back into architecture and geometry in the work of their son, álvaro Leite Siza (1962). Father and son labour independently on related themes, themes of mythology and religion, intertwining figures that reveal the importance of family. The future is now in the hands of a grandson, Henrique Siza (1992) and his architectural studies in Berlin. Looming in the city are the silhouettes of the masters [image 10] that became the backdrop of álvaro Siza’s first international proposals (1976-90), namely the Schlesisches Tor Residential Complex and the Kulturforum.



“Bonjour Tristesse”这个名字通过Poelzig's S. Adam百货商店或是Mendelsohn's Mossehaus，重新审视了柏林的现代主义，而距离不断变化的Potsdamer Platz不远的柏林文化广场，却将Scharoun与 Mies的片段光辉地组合在一起。

现在，除了Internationale Bauausstellung（IBA）之外，柏林文化广场只剩下空壳核心，而柏林的玻璃建筑却越来越多，“Glas”（玻璃的英文缩写）成为了Bruno Taut的笔名。西扎为柏林记录的墓志铭有着出乎意料的真实，即“紧绷的城市”。

The “Bonjour Tristesse”, as it was nicknamed, revisits Berlinesque modernity through the curved corners of Poelzig's S. Adam Department Store or Mendelsohn's Mossehaus, while the Kulturforum, not far from the ashes of an ever-changing Potsdamer Platz, attempts to articulate the pieces of Scharoun and Mies like a glorious puzzle.
Nowadays, beyond the Internationale Bauausstellung (IBA), the Kulturforum has an empty core while Berlin is filled with glass buildings – Glas being the pen-name of Bruno Taut. Siza’s epitaph for Berlin is unexpectedly truer in the end: “The Taut City”.





葡萄牙首都里斯本在1974年发生了一次军事政变，即康乃馨革命，在此之后，西扎受邀重新开发海牙Schilderswijk西区，并在波尔图设计了全新的建筑学院。

同龄人之间如同家人般的友情，与学生的协作互动，再加上Neues Bauen的白色渲染，这让人联想起包豪斯式先锋主义。波尔图学派证明了最后一位真实的现代主义者同样也是一位风格主义者，因为其将现代语汇的复杂性与传统的经典结合在了一起。

Trapped by an unwanted title as ‘the architect of participation’ – after the Portuguese Carnation Revolution (1974) – álvaro Siza will be invited to redevelop the Schilderswijk- West district (1983-93) in The Hague, and to design the new Faculty of Architecture (1984-96) in Porto.
The familial camaraderie of peers and collaborative interactions of students, combined with the white rendering of the Neues Bauen, are evocative of the Bauhausian carefree avant-garde. The School of Porto, as it is now known, proves that the last true modernist is also the ultimate mannerist, reconnecting the complexity of modern vocabularies with classical canons.



连续性、矛盾性、复杂性与其潜意识息息相关，1997年，意大利西西里首府巴勒莫的世界大学生运动会举办地就应用了圆形露天竞技场、体育馆、斗牛场的材质特征，而些特征是被人们所低估的城市体系，这如同西扎被低估的许多国际项目一样。

Continuity, contradiction and hybridisation play with his subconscious. The unknown Sports Complex for the 1997 Universiade in Palermo approaches the materiality of amphitheatres, coliseums and bullfighting arenas – a vastly underrated urban redevelopment, like many of Siza’s international interventions.



另一案例是在2002年，他回到荷兰，他建议重新规划鹿特丹港湾的天际线，这是一座不断发展与改造的城市，他建议建造一座双子塔，但最终只有一座建成。

Another example would be his return to the Netherlands in 2002. Reclaiming the skyline of Rotterdam’s harbour, a city in constant expansion and reinvention, he suggests twin-towers yet only one was erected.



新奥尔良塔楼由石材建造而成，并没有应用传统摩天大楼的幕墙系统或是德绍包豪斯格罗皮乌斯的典型立面。西扎在中国杭州设计的中国设计博物馆建成后不到一年的时间里，人们开始庆祝包豪斯的百年庆典，而中国设计博物馆由红色石材建造而成，同样与传统的包豪斯建筑不同。

在他右臂骨折的那一年，这座博物馆正式投入使用，同时这也是其手绘的坚定证明。

在几次的沟通过程中，我们很感兴趣的是一组名为“未确认项目”的作品。我们努力地思考它们的原型，其中有的是一些随意的想法，有的作品并未实现。一些想法在后来也确实落成了，但是这绝不只是西扎的专题展览，因为这是个规模很大的作品集，有着明确的特征，并且在不断地发展之中。但是，总体的指导思想仍然存在于作品之中，我们可以通过Longfellow的诗来总结它们，“命运的建筑师，总是小心翼翼地工作，在看不见的地方，仍然饱含热情，因为上帝所见一切。”

图片：Tchoban Foundation

The New Orleans Tower was clad in stone, unlike the curtain-wall that one normally associates with skyscrapers or the iconic Gropius façade in Dessau. It seems serendipitous that one would celebrate the Bauhaus centennial less than a year after álvaro Siza inaugurated his Chinese Design Museum clad in stone, unlike the curtain-wall that one normally associates with skyscrapers or the iconic Gropius (2012-18), in Hangzhou, built around a permanent Bauhaus collection.
Starting that museum in the same year that he fractured his right arm, it is an unwavering testament to his philosophical cornerstone – hand drawings.
Over the course of several meetings, we became increasingly interested in a group of folders labelled as ‘Unidentified Projects’. We managed to identify some of them. Others are still just loose ideas, designs that never were but could have been. A few sneaked their way into the final selection, but this was never destined to be a monographic exhibition on Siza and his family – impossible due to the sheer scale of that enterprise and because its main character is still active, in continuous production. Nonetheless, a totalising methodology is sublimated in the works, a legacy which is perfectly summed up by Longfellow’s poem The Builders: ‘architects of Fate that work the walls of Time with great care, even the unseen parts, for the Gods see everywhere’.