設計教學空間的立場

張利/ZHANG Li

設計教學空間的立場

Pedagogical Positions of Design Teaching Spaces

張利/ZHANG Li

絕大部分建筑人的建筑教育開始于建筑學院的設計教學空間。頗具懷舊色彩的“專教”一詞在某種程度上傳達了這類特殊教學空間的識別性。我們不想聲稱自己是環境決定論者，但不可否認的是，設計教室——或“專教”——對我們建筑價值觀的最初樹立有著至關重要的影響。我們在此啟動建筑學的行程，浸染建筑師的習性。我們在此以無知者的天真，毫無抵抗地接受這一空間傳遞給我們的立場。

設計教室從來不是，也不可能是一種中性的透明存在，雖然不止一個當代的前衛建筑學院聲稱要徹底去除設計教室的價值觀引導。設計教室一定是其所屬教育機構的建筑教育立場的真實物化，我們可以從3個方面識別一個設計教室所攜帶的教育立場。

第一方面是設計教室的社會結構立場。任何一個設計教室都容納著由設計教師與設計學生所組成的群體，而其中隱含的組織結構與行為結構是非常令人感興趣的。其一，在教師與學生之間，傳統的基于逐桌輔導機制的垂直師生關系正被時下的基于圍合式研討空間的水平師生關系所取代。其二，在學生與學生之間，傳統的單打獨斗的個人空間也越來越多地與共享桌面的群組頭腦風暴空間相結合。事實上，如何取得設計教學的個人空間與共享空間之間的平衡已經是困擾建筑學院決策者們的常見問題，各學院的創造性策略也是層出不窮。哈爾濱工業大學建筑學院充分利用了蘇式建筑中的方形環廊，使滲透式的設計教學空間在舊的規則邊界網格中靈活地蔓延，使歷史韻味濃厚的空間歷久彌新。天津大學建筑學院很早就在建筑學院中引入多層次的社區化的凝聚感，隨著學院建筑的改造與擴建，這種社區性不斷得到增強。東南大學建筑學院使用了完整的可移動構件體系，在相當局限的空間中把局部空間組合的多樣性最大化，實現了以變應變的有限中的無窮。香港中文大學建筑學院使用了高可視度的邊庭空間，強調非正式交往中的敘事性與正式活動中的流動性。

第二方面是設計教室的技術立場。既然是技術，就總會默認地存在演化進程中的新與舊，也總難免在不同院校之間形成一種技術更新此起彼伏的“蛙跳”效應。清華大學建筑學院在舊建筑的方院之中加入通透的新樓，不僅在新樓的圍護結構中實現了一系列的節能技術措施，更通過新舊建筑體量組合，戲劇性地改善了局部室外氣候。香港大學建筑學院紐魯詩樓在其40余年的使用中，不停地融入高密度環境下的可持續性策略，從對氣候的適應到對空間使用要求的適應，從熱環境到光環境，以基本的建造解決方案來維持建筑空間的高性能。新近建成的西交利物浦大學的設計樓則是在各種空間環境技術的基礎之上，賦予了最新的建造實驗室以建筑學院的中心地位，讓建造技術的過程與結果同時為設計教學服務。

第三方面是設計教室的美學立場。每個建筑學院的決策者都明白，設計教學空間的形式美是自己的學院所堅信的建筑美學的無聲宣言。因而像每個內心強大的建筑師在面對形式泥沼時都會堅持走自己的路一樣，每個自信的學院在此也都會毫不遮掩地把自己認定的形式干預納入到設計教學空間之中。內蒙古工業大學建筑學院延續其校園早期工業建筑改造所定義的直線與渾厚語匯。重慶大學建筑學院通過其色彩和向心型中庭空間的使用強調創建者的初衷。華南理工大學建筑學院基于熱帶氣候，把其庭院的環境友好性、空間適應性與界面通透性發揮到極致。同濟大學建筑與城市規劃學院在逐漸迭加的建筑群組之中，清晰地貫徹國際現代都市的材料與幾何表達。中國美術學院則是在教學空間的內外勿庸質疑地傳遞其靈魂式信息，即對中國園林空間詩學的鐘愛。

本期雜志是《世界建筑》對建筑教育空間話題關注的第一部分，我們將在后續專輯中呈現其他精彩案例。

感謝本期所涉及的建筑學院的相關作者，是他們使本期雜志的出版成為可能。

Most of us start our architecture education in design studios. It is these spaces that give us the fi rst identity of someone working in architecture. We don't intend to promote environment determinism here, but it is true that spaces for design teaching have fundamental impacts in the setting up of our values towards architecture. We first enter these spaces when we were young and ignorant, totally defenceless to whatever in fl uence they would bring.

Therefore no design studio, or space of design teaching, is impartial. No matter how many avantgarde architecture schools claim to be impartial, they simply cannot. In a design studio we see the honest materialisation of the pedagogical positions of the institution to which it belong. We may observe these positions from three aspects.

The first is the position on social structure,to be more precise, the social structure of the people involved in the activities of a design studio,namely teachers and students. On one hand, in terms of the relationship between the teacher and the students, we see a global trend of the more horizontal structure replacing the traditional vertical one. On the other hand, in terms of the relationship among students, we see the increasing importance of shared common space as opposed to the isolated personal space. Actually, every leader of an architecture school must face the dilemma of balancing the shared and the individual working spaces in the studios. In different schools we see different yet equally clever solutions. HIT utilises the generous corridors circling the old Soviet quadrangle and results in a series of permeable teaching spaces out of a rigid grid. Tianjin U was the first to incorporate multi-layered atrium in a modern Chinese architecture school and it has been continuously enhancing the sense of community along with its expansions and renovations ever since. SEU adopts a fully-fledged mobile and rapid assemblage system in its studios and pioneers in creating in fi nite local spatial con fi gurations within very limiting perimeters. CUHK features a highly visible atrium along its entire length, adding spatial narrative and fl uidity in all learning activities.

The second is the position on technology. By default, there are newer (more advanced) and older(more dated) technologies. In reality, architecture schools leapfrog each other with technological upgrades. When doing the new addition in the centre of its old courtyard, Tsinghua not only sported a full range of energy saving technologies in the new building facade but also managed to obtain a dramatic micro climate improvement between the old and the new. During its 40 years of use, HKU has been constantly upgrading the spaces of the architecture faculty, producing a very sustainable story both environmentally and programmatically.The wonderful new design building of XJTLU demonstrates itself as an undeniable jack of all trades, from spatial flexibility to the ultimate transparency of a modern fab lab.

The third is the position on aesthetics. Every dean understands that design studios is the silent manifesto of the belief his/her school holds. That's why all architecture schools would try to do some proprietary formal intervention in their design studios, fearlessly and unapologetically. IMUT sticks to the straight-line mass it has developed in its early renovation of industrial heritages. Chongqing U maintains its colour scheme and atrium centrality as a perseverance of identity. SCUT is obsessed with its U-shaped tropical courtyard and maximises its adaptability and transparency. Tongji is keen to give its entire possession of 4 buildings an unmistakable modern metropolitan vibe, in both material and geometry. CAA embeds its sole educational purpose in its building: the life-long preoccupation with the poetics of Chinese gardens.

This issue is the Part I of WA's series on the subject of architecture teaching spaces. We would publish other institutions in the next part of the series.

Out thanks to all contributors from the institutions we are publishing in this issue. They made our publication possible.

清華大學建筑學院/《世界建筑》

2017-07-11