為建筑印刷媒體而辯

張利/ZHANG Li

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為建筑印刷媒體而辯

張利/ZHANG Li

作者單位：清華大學建筑學院 /《世界建筑》

In Defence of Architecture Print Media

在不遠的未來，建筑還需要借助印刷媒體傳播么？今天有很多人會回答“不”。對他們來說，無處不在的因特網與移動終端正讓越來越多的雜志類報刊永久地封存在包裝袋里，同時也使以文本為主的學報型報刊愈發(fā)成為懷舊者的物質安慰以及功利主義學者的積分賬簿。簡而言之，在他們看來，不僅在建筑，也在其他行業(yè)，印刷媒體的日子屈指可數了。

筆者在此要為印刷媒體，至少是在建筑學領域的印刷媒體而辯——雖然這里無法回避的是與印刷媒體相關的身份，但更重要的卻是與建筑學相關的身份——印刷媒體在這一學科所起到的作用中，有一些是不可替代的。這些不可替代的作用，可以從情（體驗）、知（信息）、智（思想）3個方面來討論。

于情，閱讀從來都是主體與媒體之間的交互，信息從媒體的客觀物理形式被提取、轉譯成大腦的神經化學形式的理性過程從來都伴有相關的感性體驗。紙草、古代紙張、現代紙張這類如同皮膚般柔軟觸感的、帶有特定的芬芳氣味的材料表面，以及把它們訂裝在一起形成便攜實體所具備的親切感，甚至是翻動頁面時所產生的聲音，都是長久以來閱讀體驗的一部分，也是使人獲得閱讀的溫暖滿足感的輔助來源。建筑師難道不是應該在空間中實現詩意的情懷么？如談到建筑師自己能夠享受的情懷，在睡前的燈下翻閱一本書難道不是很好的一種么？

于知，建筑的閱讀既是文本的閱讀，也是圖像的閱讀，還是圖形的閱讀。細膩的線條在二維的畫面上勾勒出富于尺度感和空氣感的空間，在經過訓練的眼睛前實現瞬時的三維化與浸入化——不論對于建筑單體的平、立、剖面圖，還是對于城市設計的平面圖都是如此。這種對圖形的瞬時性閱讀要求人眼在圖形的全局與局部之間不停地、無縫地切換，而印刷媒體與人眼匹配的分辨率及基于反射光的低疲勞視覺信息恰恰在此有明顯的優(yōu)勢。如果說建筑影集的網絡化呈現已經有了廣泛接受的形式，那么建筑圖集的數字化呈現還有著巨大的提升空間。

于智，慢速的深閱讀仍然是唯一能夠提供容納思想的時間的閱讀方式，而印刷媒體目前仍是這一閱讀方式的最佳介質。學術思想的研討必需以信息來源的可靠、信息本身的精確及邏輯推理方式的嚴整為基礎。在啟蒙運動以來數百年時間內積淀而成的對學術印刷物的規(guī)范，包括參考文獻的使用、學術修辭的方法、學術文本的撰寫方法，以及多費周章的編輯程序，都為此提供了堅實的保證。有趣的是，在這方面，印刷媒體的強項恰是網絡媒體的軟肋。由于存在時間尚短，相應學術規(guī)范尚缺乏，網絡更適合在第一時間傳播未經驗證的、非深思熟慮的信息與觀點，更適合于快速的淺閱讀。在短時間內，我們無法指望在移動終端或其他數字界面上實現質疑與聯想的徹底自由跳躍——當前最好的文字處理軟件與文本閱讀軟件中的批注模式充其量尚處在嬰兒期。

這便是為什么當我們試圖尋找建筑思想的線索時，我們過去、現在與可見的將來都會把目光聚焦到建筑的印刷媒體。反過來，如果聚焦于建筑的印刷媒體，我們似乎也可以得到某種關于建筑思想群體軌跡的暗示，這確實是非常令人好奇的。

本期的《世界建筑》正是出于這種好奇。在此我們不妨隨機摘錄一下刊載于現代中國建筑媒體中的一些文章題目：1954，梁思成，《中國建筑發(fā)展的歷史階段》；1954，王鷹，《繼承和發(fā)展民族建筑的優(yōu)秀傳統》；1956，張開濟，《反對建筑八股 擁護百家征鳴》；1957，周卜頤，《從北京幾座新建筑的分析談我國的建筑創(chuàng)作》； 1959，大勤，《關于西方的建筑理論問題》；1959，劉秀峰，《創(chuàng)造中國的社會主義的建筑新風格》；1974，荊圭華，《不準丑化我國首都北京的光輝形象》；1975，荊建軒，《勞動人民是建筑發(fā)展的動力》；1978，柯明，《關于加速實現建筑工業(yè)化的幾點看法》；1980，汪坦，《現代建筑設計方法論》；1981，齊康，《法國建筑教育的發(fā)展與現狀》；1982，吳煥加，《近代建筑革命》；1983，布正偉，《國外現代建筑創(chuàng)作趨向及其啟示》；1983，羅小未，《當代建筑中的所謂后現代主義》；1984，石威廉，《試談建筑師的作用和地位》；1986，戴念慈，《論建筑的風格、內容、形式及其他》；1992，李行，《關于建筑究竟是不是藝術》；1993，張欽楠，《芝加哥宣言：為爭取持久未來的相互依賴》；1999，吳良鏞，《世紀之交展望建筑學的未來》；2000，鮑家聲，《建筑教育發(fā)展與改革》；2001，王建國，《城市產業(yè)類歷史建筑及其地段的改造再利用》；2002，鄒德儂，《中國地域性建筑的成就》；2002，李路明，《國外綠色建筑評價體系略覽》；2004，周暢，《見證中國建筑50年》；2006，李兆堅，《我國廣義建筑能耗狀況的分析與思考》；等。

感謝接受采訪的中國建筑媒體人與為專輯撰稿的學者，他們使本期的《世界建筑》成為可能。他們同時也告訴我們，中國建筑印刷媒體所能講述的關于中國建筑的故事，比我們想象得還多?！?/p>

Will print media still be needed for architecture？Many would answer "no". To them, the ubiquitous internet and mobile terminals are making more and more magazines staying permanently wrapped in bags, and leaving more and more journals to be souvenirs to nostalgic readers or scoring sheets to utilitarian academics. In one word, in the minds of nay-sayers, the days of print media are numbered.

This essay is written in defence of print media, at least in architecture. It might be unavoidable that the author is someone from print media, but it is more important that the author is also someone from architecture. Many functions of print media in architecture are irreplaceable. They may be categorised in three groups: those related to the experience of reading, those related to the quality of information, and those related to the process of thinking.

The experience of reading has been an interaction between the subject and the media from the very beginning. In parallel to the key process of information being extracted from the physical media to the neurons, other sensual processes take place. The skin-like touch of paper （or papyrus）, the soothing smell, the intimacy of the bound volume, the sound of turning pages, all become parts of the traditional experience of reading. They constitute a substantial source of warmth and pleasure in reading. Aren't architects people who bring warmth and pleasure to spaces？When it comes to architects' own warmth and pleasures in spaces, isn't the browsing of a book by reading light in bed an invincible one？

Architecture reading is notoriously complicated. It includes raw information in all forms: text, images and drawings. Drawings matter. The fine lines depict a lofty space before the trained eyes, and all of a sudden a 3D, immersive environment presents in the brain. Line drawings of plans and sections, either for a building or for a city, all bear this same unique potential. The simultaneous reading of the line drawings requires the reader's eyes to move constantly in the whole extent, zooming in and out seamlessly. The ultimate high resolution of the print media and the non-oppressive visual stimuli consisting of re fl ected lights fi t into this purpose very well. If the digital presentation of architecture images has been widely accepted, the digital presentation of drawings still has a long way to go.

When it comes to thinking, only the slow-deep reading can provide enough time for thinking to follow. Print media is without doubt the best platform for slow-deep reading. With a formidable collection of codes, rules and protocols, print media offers solid support to credibility, precision and reasoning structure, which are fundamental to the process of thinking. Internet platforms fall short in this regard. It has been known to be a source of unveri fi ed information and undeliberated arguments. Most of the internet platforms are suitable to fast-shallow reading. Moreover, we can't expect the free-flow of comments, notes and questions, typical in slowdeep reading, can be provided in computer interface anytime soon. The comment function in the best word processors and document reading apps are still in its infancy.

That is why we must come to print media if we want to trace the evolution of architecture thinking. Actually, a fair research in architecture print media may leads to the identification of certain causes taken by architecture, a big curiosity.

It is with this curiosity that we make this issue of World Architecture. Our thanks to all those who have contributed to this issue, particularly those who themselves work in architecture media and have taken our interviews. It is fair to say that Chinese architecture print media tell a big story of Chinese architecture, bigger than you may think. □

收稿日期：2016-01-11