设计教学空间的立场

张利/ZHANG Li

设计教学空间的立场

Pedagogical Positions of Design Teaching Spaces

张利/ZHANG Li

绝大部分建筑人的建筑教育开始于建筑学院的设计教学空间。颇具怀旧色彩的“专教”一词在某种程度上传达了这类特殊教学空间的识别性。我们不想声称自己是环境决定论者，但不可否认的是，设计教室——或“专教”——对我们建筑价值观的最初树立有着至关重要的影响。我们在此启动建筑学的行程，浸染建筑师的习性。我们在此以无知者的天真，毫无抵抗地接受这一空间传递给我们的立场。

设计教室从来不是，也不可能是一种中性的透明存在，虽然不止一个当代的前卫建筑学院声称要彻底去除设计教室的价值观引导。设计教室一定是其所属教育机构的建筑教育立场的真实物化，我们可以从3个方面识别一个设计教室所携带的教育立场。

第一方面是设计教室的社会结构立场。任何一个设计教室都容纳着由设计教师与设计学生所组成的群体，而其中隐含的组织结构与行为结构是非常令人感兴趣的。其一，在教师与学生之间，传统的基于逐桌辅导机制的垂直师生关系正被时下的基于围合式研讨空间的水平师生关系所取代。其二，在学生与学生之间，传统的单打独斗的个人空间也越来越多地与共享桌面的群组头脑风暴空间相结合。事实上，如何取得设计教学的个人空间与共享空间之间的平衡已经是困扰建筑学院决策者们的常见问题，各学院的创造性策略也是层出不穷。哈尔滨工业大学建筑学院充分利用了苏式建筑中的方形环廊，使渗透式的设计教学空间在旧的规则边界网格中灵活地蔓延，使历史韵味浓厚的空间历久弥新。天津大学建筑学院很早就在建筑学院中引入多层次的社区化的凝聚感，随着学院建筑的改造与扩建，这种社区性不断得到增强。东南大学建筑学院使用了完整的可移动构件体系，在相当局限的空间中把局部空间组合的多样性最大化，实现了以变应变的有限中的无穷。香港中文大学建筑学院使用了高可视度的边庭空间，强调非正式交往中的叙事性与正式活动中的流动性。

第二方面是设计教室的技术立场。既然是技术，就总会默认地存在演化进程中的新与旧，也总难免在不同院校之间形成一种技术更新此起彼伏的“蛙跳”效应。清华大学建筑学院在旧建筑的方院之中加入通透的新楼，不仅在新楼的围护结构中实现了一系列的节能技术措施，更通过新旧建筑体量组合，戏剧性地改善了局部室外气候。香港大学建筑学院纽鲁诗楼在其40余年的使用中，不停地融入高密度环境下的可持续性策略，从对气候的适应到对空间使用要求的适应，从热环境到光环境，以基本的建造解决方案来维持建筑空间的高性能。新近建成的西交利物浦大学的设计楼则是在各种空间环境技术的基础之上，赋予了最新的建造实验室以建筑学院的中心地位，让建造技术的过程与结果同时为设计教学服务。

第三方面是设计教室的美学立场。每个建筑学院的决策者都明白，设计教学空间的形式美是自己的学院所坚信的建筑美学的无声宣言。因而像每个内心强大的建筑师在面对形式泥沼时都会坚持走自己的路一样，每个自信的学院在此也都会毫不遮掩地把自己认定的形式干预纳入到设计教学空间之中。内蒙古工业大学建筑学院延续其校园早期工业建筑改造所定义的直线与浑厚语汇。重庆大学建筑学院通过其色彩和向心型中庭空间的使用强调创建者的初衷。华南理工大学建筑学院基于热带气候，把其庭院的环境友好性、空间适应性与界面通透性发挥到极致。同济大学建筑与城市规划学院在逐渐迭加的建筑群组之中，清晰地贯彻国际现代都市的材料与几何表达。中国美术学院则是在教学空间的内外勿庸质疑地传递其灵魂式信息，即对中国园林空间诗学的钟爱。

本期杂志是《世界建筑》对建筑教育空间话题关注的第一部分，我们将在后续专辑中呈现其他精彩案例。

感谢本期所涉及的建筑学院的相关作者，是他们使本期杂志的出版成为可能。

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.

清华大学建筑学院/《世界建筑》

2017-07-11