核心與周邊

張永和

核心與周邊

張永和

核心

建筑設計一直是我們工作的核心。不僅由于蓋房子是我們的主業，同時也由于蓋房子最挑戰。我們之所以可能涉足其他設計領域，正因為我們總在努力地把建筑的根扎得更深些。

向后

像典型的建筑實踐，我們的工作從一開始就是圍繞著材料、建造、空間等建筑的核心問題展開，但似乎又常常帶有一種想要超越建筑的企圖：從席殊書屋的自行車輪和奧迪宅的玻璃反射性到垂直玻璃宅的生活方式和玻璃鋼宅的材料試驗。就材料和結構而言，我們的問題是：什么材料能做拱？而不是康式的問磚想做什么的探究。于是就有了本專輯研究標題下的瓦拱、玻璃磚拱以至紙拱。什么材料能做拱的思維方式是開放的，引向的是非常規。

向前

隨著實踐的時間越來越長，我越發意識到我的一個矛盾：我非常不具備動手能力，但對建造又非常感興趣。解決這個矛盾的唯一方法是：自己餓補建造的課。其結果是對蓋房子的工藝有了比較深刻的認識；近年來甚至在同濟聯合眾多建筑師開了一門名為“（手）工藝”的課。在實踐中，在材料、結構等方面，我們也在向縱深推進，即：將常規的體系進行適當的優化，如吳大羽美術館里的異型柱加無梁板，又如溫州醫科大學國際交流中心的預應力混凝土懸挑。在空間方面，我們的興趣基本穩定在（半）戶外空間上：從院落到檐下，到戶外無功能的純建筑空間，在這組進行中的項目里都有所體現。此外，我們還在經歷一個變化——更重視氣候對建筑的影響了。

周邊

周邊對我們來說有兩種，一是展覽，這常常成為非常建筑進行建造研究和實驗的契機；二是其它種類的設計。建筑使我們發現了其他設計領域和他們共同構筑的那個物質世界，同時也發現不同設計之間存在著共性。由于這些共性，我們參與到建筑之外的設計里時，考慮的仍是建筑之內的（或者說造）的問題，無非是材料、結構、工藝、使用等等。在操作層面上，由于家具、產品等設計的周期相對短，將少數幾個非建筑項目組織進建筑相對長的周期里也是可能的。□

The Core

Building design has always been the core of our work, not because we are an architectural practice to begin with but also it is the most challenging. The reason why we are able to extend into other design areas is precisely because we are constantly trying our best to root firmer in the foundation of architecture.

Backward

Similar to a typical architectural practice, our work has been addressing core issues such as material,construction, and space since the very beginning;however, it seems that we also had this intention of going beyond architecture: from the bicycle-wheeled bookshelves of Xishu Bookstore and the reflectivity of glass in Audi Haus, to the lifestyle of Vertical Glass House and the material experiments of the FPR (Fibre Reinforced Polymer) House. The question we ask is:what materials could be good for an arch? Rather than what a brick wants to be? A question Kahn asked in his architectonic explorations. Hence, we built clay tile arches, glass block arches and a paper arch, which are included in this special edition. "What materials could be good for an arch?" is open-ended,and leading us to the unconventional.

Forward

As time goes on in the practice, I became more conscious of this one contradiction: I have difficulty acquiring practical skills yet am getting more and more interested in construction. The only way to resolve this dilemma has been to catch up on knowledge of construction as much as I can. Subsequently, I have arrived at a deeper understanding in the craft of building making. In recent years, with many other architects and scholars,I launched a course at Tongji University entitled Craft. In practice, we have been focusing more on the conventional construction systems and trying to improve them however slightly; for example,the wall-columns and beam-less slabs in the Wu Dayu Art Museum and the pre-stressed concrete overhangs of the International Exchange Centre at Wenzhou Medical University. In terms of space, our main interest remains in the (semi) outdoor areas:from courtyards, to under-eaves condition, to the pure architectural non programmed outdoor spaces,demonstrated in this series of projects in progress.Furthermore, we are going through a re-orientation towards climate on architecture.

1

The Periphery

To us, there are two types of peripheral projects: one is exhibitions, which often become opportunities for Atelier FCJZ to conduct researches and experiments on constructions; the other is multidisciplinary design. Architecture has led us to discover other design fields as well as the tangible world all the people in design are building together.In the process, we discovered many commonalities among different design disciplines. Because of these shared foundations, when we engaged in some design fields other than architecture, our major concerns are still within architecture or matters of construction, such as material, structure, craft and usage. On the operational level, since the cycle of design and production for furniture and products is relatively short, it appears possible to squeeze in a few non-architectural commissions into the seemingly endless architectural projects.□

Th e Core and Periphery

Yung Ho Chang

2