怪象

AWKWARD POSITION

创意领域中,刻意而为的奇怪手法为越来越多的人所采用。这其中的来龙去脉几乎无迹可寻,有些可能是在美学上的探索,有些是对社会可能性的尝试。这些创作总会令人不安或者困惑,这恰好就是这种手法的特质所在,并非偶然而成的。这些奇怪的创作手法没有传统那般的正式雅致,也不像批评界那样冲突重重,在文化形式与社会架构层面,它们几乎完美切合,这也就是它们为什么独特而又难以捉摸的原因。这并不是说,文艺怪象是时代精神的一个部分,时代精神是瞬息万变的,但是不可否认它的存在。或许说这是一种难以察觉的现象倒更为恰到好处,虽难以察觉但细细回味又确有所感。由于文艺怪象的文化敏锐度逐渐明显,也许在新式建筑的研究课题中,它或有助益。不过我们却又遇上了长久以来就存在的两难境地:一方面大家追求精益求精,另一方面传统技艺却又难以维系。也许文艺怪象并非常规思路所能看透,它可能就是某种我们忽视了的专门技术,为传统的建筑功能注入新的活力。

One of Andrew Zago's strengths is using two-dimensional ways of seeing in order to re-envision the three-dimensional city. In this study of the awkward, Zago tracks the emergence of a fi rm like Herzog & de Meuron. He walks us through Paris three times, and each time we see it a new way. First we see the blurred edges of impressionistic Paris, then those same streets reworked through Parkour, and finally through the awkward positions that a contortionist like Pierre- Antoine Dussouillez assumes. In these otherwise disconnected images we see Paris otherwise. Paris emerges not as an unchanging place, but a place that is shaped through relationship and intervention. At that moment the design ethos of Herzog & de Meuron comes into focus—the awkward, unexpected bend that forces us to see not just a building, but the human relationships and decisions that have informed both the building and its surrounding environment.