【说理论】亚当·卡鲁索：时尚站在建筑的对立面Part 0 |

胖大米daisy

【说理论】亚当·卡鲁索：时尚站在建筑的对立面
Part 0 | 引言
在建造技术与材料技术让人应接不暇的今天，越来越多的建筑师以及学生选择将视觉刺激，抽象表达，概念设计，未来设计等作为建筑设计的核心价值，时尚与流行也成为了当下影响国内建筑业发展的重要指标，甲方的诉求与部分设计师求新求异企图脱颖而出的双向作用力使得这个趋势在未来几年甚至几十年内都将成为主流。

英籍加拿大建筑师亚当·卡鲁索（Adam Caruso）却是在如今的大环境中保持着对建筑历史的敬畏并通过实践建立当代建筑与建筑历史之间某种联系性的建筑师之一。他通过精致的砖砌立面方案，赢得了位于德国不来梅市中心的银行总部竞赛。在受邀Louisiana Channel的采访中，他详细阐述了自己对当今建筑界种种现象的思考以及自己的理念，并提出了“时尚是站在建筑的对立面”。

通过OnLand Studio老师们和自愿参与整理视频文字的同学们的共同努力，我们将此次采访的内容全部整理为文字，并翻译成中文，供大家了解和学习。希望更多的小伙伴可以从中学习到对自己有用的内容。
Part I | 公共建筑
Adam Caruso：I think public buildings are the most important things that architects do. Because public buildings are for the public, you know they are expression of that kind of the small politics of the society you are working in, so it’s always, but for me, yeah, to work in a library or a museum or school，all of those things are interesting because they are public.
我认为公共建筑是建筑师所做的最重要的事情。因为公共建筑是为大众而服务的，你知道的，它们可以体现出我们身处的社会中的一些细微的政策。因此，对于我来说，设计图书馆，博物馆或学校（这些公共建筑），所有这类项目都很有趣，因为它们是公开的。

And those buildings, you know, they are the building that need to have a longer -term life. You have to think about how they are going to develop into the future. For me, architecture is a cultural practice. So, it’s although you run a practice, you have to run a business. It’s true and you have to be professional, that quiet an important thing, because I think architecture is a profession because you have responsibilities to society et cetera.
就像你知道的，这类建筑都拥有较长的生命周期。你必须去思考未来它们将会如何发展。对于我来说，建筑学其实就是人文上的实践。然而，虽然你必须要经历（文化上的）实践和尝试，但你也必须要通过设计来赚钱。这是事实，你必须要专业化，这是非常重要的事情，因为我认为建筑师是对社会等等事情负有责任的，因此建筑（师）又是一个职业。

But my real interest in architecture is as a cultural practice, and by that, I mean, I am interested in how you can make architecture today, that is somehow connected with the history of architecture, of, for me, the history of European architecture.
但我真正对建筑学感兴趣的事情正是文化上的尝试和实践，借此，我的意思是，我非常感兴趣如何使当代将建筑以某种方式与建筑的历史相关联，对于我自己来说，就是（如何与）欧洲的建筑的历史（相关联）。
            

胖大米daisy

At the beginning of the 20th century, you had this period of modernism it’s quite short. But it was highly distorting, I think. And all of a sudden and only some architects，only some modern architects were modernists. Many, many very modern architects continue to practice in that way I described, this part of the continuity. But the modernists said, somehow, industrialization, um, the social traumas of industrial society. All of those things overturned every aspect of existence. And there has to be a completely new architecture with new forms.
在20世纪初，我们经历了非常短暂的现代主义时期。但我认为这一时期是高度扭曲的。突然之间，只有一些建筑师，只有一些现代建筑师才是现代主义者。许多许多非常现代的建筑师仍旧继续以那种我刚刚说的这种方式进行着设计实践。我阐述了这种联系性的一部分，但是现代主义者不知何故地说，工业化是（嗯……）工业社会的社会创伤。所有这些事情都推翻了已存在的事物的方方面面， 而且必须是一个具有新形式的全新的建筑。

And actually, the forms had nothing to do with those problems. The forms had to do with the new interest in abstraction that came out of painting, and it's very distorting that. And what's a bit hard to believe is that at the beginning of the 21st century, it’s still the orthodoxy.
但实际上，建筑形式与这些问题无关。这些形式与从绘画中剥离出来的，它们和对抽象本身的兴趣有关，而且这使得设计非常扭曲。令人难以置信的是，在21世纪初，这种设计方式仍然还在占主导地位。

It's not modernism anymore, neo modernism, because nobody would describe any kind of ideological content to it. But it's still actually the mainstream way of practicing a kind of abstraction, which becomes more and more a reduced of energy, and of any kind of relevance.
（主导建筑学的）虽不再是现代主义了，也不是新现代主义，因为人们不再会将建筑描述成为某种意识形态上的内容。但事实上，当前的主流方式仍然是实践着某种抽象化的内容，这（使建筑）越来越缺少能量，越来越缺少（与历史的）相关性。
            

胖大米daisy

And, it's, I think, it's highly problematic, it's a fantastic expression of like capitalism. that's why it's the mainstream. But the other way of practicing where you're an architect, you have a knowledge and an engagement with the history of your discipline. I think it's still possible, it can be an extremely fruitful way of practicing, and, but it's a kind of marginal way of practicing now.
我认为这是很有问题的，这是对资本主义的淋漓尽致的体现，这也解释了为什么这种设计方式成为了主流。但作为建筑师，还有另一种（设计的）实践方式——你熟知这个学科的知识和历史，并能够置身其中。我想这种（设计方式）仍是有可能的，这会是一种非常有效的实践方式，但就目前的情况来说，它仍是被边缘化的。

For me, the interesting thing about place is that, even with globalization, the tradition of architecture historically. But also, the way you make architecture today it's quite different in Denmark, in Germany, in Switzerland, in Britain, in France. They’re all quite different. The way you work with the clients is different, the capacity and the preferences of the industry are different.
对于我而言，即使有全球化带来的影响，但场地中最能引起我兴趣的正是建筑历史层面的传统。除此之外，当下在丹麦、德国、瑞士、法国这些国家，建筑师们设计建筑的方式也是非常不同的，截然不同。和业主合作的方式不同，行业的影响力和偏好也有所不同。

And of course, the history of architecture is different although they're connected.I think there's a real shared European architecture but they're different and those differences still exist.
当然，（在不同地区）建筑的历史是不同的，尽管它们是互相关联的。我认为存在真正可以被全欧洲共享的建筑，但它们（在不同地区）之间仍是不同的，这些差异现在仍然存在。

so, I mean, we do work across Western Europe and I think the projects are all quite different depending on where they are. So, the place is important. For me, place is an immediate site, but there is also kind of a deeper idea of the place, you know， it is the history in the culture of the place, and how you read it today.
所以，我的意思是，我们确实在整个西欧开展设计工作，在不同地区，这些项目有着很大的不同。因此场地是至关重要的。对于我来说，场地是（建筑）最直接的落脚处，但还有更深一层对场地的理解，你知道的，那就是场地所处的文化背景及历史，以及当下你如何来解读它。