工業建筑：一種關于生產效率的美學

張利/ZHANG Li

作者單位：清華大學建筑學院/《世界建筑》

工業建筑的美學經常被人們當做一種現代主義運動之初的偏執而有意無意地忘卻。建筑學在20世紀后期至21 世紀初期經歷了情境主義者的過剩放縱、后現代哲學的虛無自洽和自由主義者的偽善說教后，似乎正在與工業建筑所代表的清晰可循的理性漸行漸遠。

但今日世界的發展正在走上另一個方向：不論我們喜歡與否，建筑與城市曾經的那些令人唏噓的復雜與混沌正越來越多地被理性認知與刻畫。一方面，以大數據為代表的新信息方法使關于城市、建筑與環境曾不可知的內容逐漸變得可測可擬；另一方面，對人的認知系統的研究突破使美學體驗與空間感知逐漸變得可解可循。此外，助推建筑與城市的爭論回歸理性的，當然還有不期而至的撼動全人類的危機：環境枯竭與氣候變化，貧困差距與極端沖突，以及突如其來、遲遲不去的COVID-19 疫情。

重新以尊重的心態審視工業建筑或許是我們嘗試回歸理性的一種方式。雖然在技術完全滲入生活方式的今天，再從制造業空間中去尋找關于未來的直接暗示可能是滑稽的，但從我們每個人的文明生活中都不可或缺的一個屬性——秩序——的角度講，工業建筑的啟示是一如既往的，這源于工業建筑的幾個基本特征。

首先，工業建筑的空間邏輯具有高度的自明性。很多其他建筑類型需要建筑師或業主用晦澀的語言解釋空間形態的來由，工業建筑不需要。以最直白的方法服務于生產效率，落實生產活動，這就是工業建筑的空間邏輯。PULTS 與中國電子工程設計研究院在張家口的迦南葡萄酒廠沿用了工業建筑的經典平面原型，即二維正交坐標的魚骨平面。這種平面把基本生產動線的時間性置于主坐標軸，把生產過程節點上的類型性置于次坐標軸。開放的參觀與體驗活動也許是個新的話題，不過當這些活動同樣依附在生產的邏輯上進行時，其對整體空間組織的影響是微乎其微的。酒廠略帶夸張的仿木構邏輯的屋頂成了建筑中唯一不具自明性的元素——在此，對地方形式表層語匯的追求更像是一種負擔而非自然的呈現。

其次，工業建筑設計與建造的思維方式是實證主義的，其效率與性能基于可量化指標的控制。中國電子工程設計院在武漢的華星光電第六代顯示面板生產線項目實現了當今多層電子廠房的一系列技術理念：柔性生產工藝、潔凈空間控制和整個建筑的能耗控制。下置技術夾層與生產空間高度的定義來自于合理的對現行和未來工藝的把握和預測；雙層主廠房空間的長寬比來自于對可能的柔性生產線排布方式的幾何分析；金屬夾芯板窗下墻與帶型窗的交替比例來自于對自然采光與建筑保溫的折中計算等等。誠然，讓建筑的每一個構件都來自于機械或物理性能的計算，從而從實證的角度說明其形狀與材料的選擇，可能是乏味的、反建筑藝術的。但在資源與環境問題如此突出的今天，在建筑本體的微觀層面上多一點“物盡其用”的實證方法，顯然是有益的。

最后，在優秀的工業建筑中，空間與人的關系體現的是一門體系完備的科學——人因工程學的原理與法則。好的工業建筑不僅是關于物的，更是關于人的。福斯特及合伙人建筑事務所在韓國大田的韓泰輪胎研發中心是其代表性的“同一屋頂”語匯在近期的一個最有說服力的運用。建筑的平面仍然是二維的魚骨式，核心的研發空間（需隔離的實驗室以及需要大凈高的實驗室）都組織在“脊椎”兩側的指狀空間里。巨大的近橢圓形屋面籠罩整個建筑群，不僅在心理上營造“同一屋檐下”的社區感，更在橢圓形與魚骨形的幾何差異部分形成各種過渡型的公共空間。最具特點的當然是對“脊椎”本身的處理，這一明亮的空間內有很多形狀各異的近體尺度交流空間，從平面的布置到家具界面的形狀都鼓勵員工們舒展自己的身體姿態，其療愈優先的設計與實驗室空間內的效率優先設計形成了明顯的互補。

可以肯定的是，工業建筑的效率美學與理性精神在我們當代建筑討論中的意義是被低估了的。這也是本期《世界建筑》關注工業建筑的原因。感謝黃星元大師和他的團隊，是他們使本期《世界建筑》成為可能。

People nowadays tend to choose to forget about the aesthetics of industrial buildings, binding them with the long-subsided paranoia of early modernists. After the excessive self-indulgent from the situationists, the nihilistic self-referencing from the post-modern philosophies, and the didactic hypocrisy of the extreme liberalists,architecture today seems to be getting further and further away from the pin-sharp rationality industrial buildings represent.

But the world is changing in another direction. Like it or not, thanks to the dramatic developments in technology, a significant amount of architecture complexities and contradictions are getting more and more fathomable and demonstrable. There are new means of informatics, e.g.big data, that are measuring and simulating our cities and environmental systems in sensible fashions. There are breakthroughs in neuro science leading to much better understanding of our cognitive and aesthetical processes. Besides all the scientific and technological advancements there are always crises, equally powerful, if not more powerful, in driving a new return to rationality in world architecture today: climate change and the depletion of resources, poverty and conflicts of the extremes,and the shocking and lingering COVID-19 pandemic.

One possible path of this return to rationality starts from a reexamination of industrial buildings. Given how technology has ubiquitously infiltrated our daily life, it might be foolhardy to look for hints of future life from factories and plants. But let us not forget that one indispensable property of our life, throughout the story of civilisation, is order. And one thing that industrial buildings can shed light on, is indeed, order.

Firstly, the spatial logic of industrial buildings is self-evident. Unlike many buildings, for which architects and owners need to give meticulous explanations on where the forms come from, industrial buildings need little explaining. Using the most straight-forward pattern to promote productivity, to accommodate production is the underlying logic of industrial buildings. In their Canaan Winery in Zhangjiakou, PULTS and CEEDI adopted the classic spine plan, which organises everything into a 2D, orthographic coordinate system. Along the main axis, there are the time nodes of production. Along the auxiliary axis, there are types. Modern factory tour and experiencing might be a new topic, but as long as they are organised along with the sequence of production, few changes need to be made to the plan. The only element in the building that is not self-evident is the roof. A lot of effort has been made to make it look like traditional wooden roofs, albeit in a totally different scale.This is something that needs explanation.

Secondly, the design thinking of industrial buildings is more of a positivist approach, in which proficiency and performance are accurately measured and controlled. It is clear that when CEEDI designed the CSOT 6th Generation Display Panel Plant in Wuhan, they were aiming at higher proficiency, higher performance, and lower energy consumption.Clearances in service levels and production levels are carefully calculated to reach optimal efficiency. The aspect ratio of the main factory building is achieved through overlaying all the possible layouts of the flexible production line. The proportion between the thermal claddings and the window strips is a result of a compromise between required daylighting,ventilation and thermal insulation. It might be boring to require all the materials and shapes of all the building components to be results of scientific calculations. But, at this time of global resource depletion,some calculations on the microcosm scale to raise resource efficiency are certainly helpful.

Lastly, great industrial buildings are never about materials only.They are also about humans. In their definition of the relation between man and space, they embody a well developed science: ergonomics.Foster + Partners' Hankook Technodome in Daejeon is one of the better examples of the Fosterian Canopy idea recently. Again adopting the 2D spine plan, all the work spaces (laboratories and lofts) are within the wings flanking the central spine. The huge elliptical canopy covers the entire complex, giving a sense of community, and creating multiple corners shaped by the difference between the ellipse and the orthographic spine. The best feature is in the central spine, where a variety of intimate scale spaces are made for casual meetings and mingling, where everything, from the floor plan to the shape of furniture, is used to encourage relaxation and healing. It is simply great to see the contrast between the ergonomics of working in the laboratories and the ergonomics of relaxing in the central spine.

It is fair to say that the rational aesthetics of industrial buildings and its significance to the designs in our daily life are currently underrated. That is why we are focusing this special number of World Architecture on industrial buildings. Our special thanks to Mr. HUANG Xingyuan and his team, who have made this special number possible.