摘要
2000～2009这十年,是中国社会巨变的十年;教育、医疗尤其是房子成了普通人新的三座大山。户籍制度虽未大变;高校疯狂扩招后,不包分配等新人事制度却让更多年轻人突破了户籍强制蜂拥至一线城市,或二、三线城市,总之是在线上,不是农村后方。中国建筑设计市场上的设计方的体制更加多样化。WTO丰富了中国的海外关系,海外人蜂拥进海内。十年展中的三家海外成色各有代表性:表面上,马达思班成色最高,都市实践其次,最不海外的是家琨建筑。马清运身份复杂,不仅在美国为建筑学人师,还在国内大搞与建筑设计无关的多种经营,中国式功利教育远离教育精髓,即使在美国也是倒退。"父亲住宅"是马不纯粹之中的最纯粹,但给农民父亲住太矫情。中国的土地政策迥异于海外,为城乡二元体系,还使得使用者与设计者被中间的开发商或官隔离。但至少"父亲住宅"以及刘家琨建在农村的房子类似于海外方式,不符合中国土地政策主导下的主流。真正的艺术不是时尚的跟屁虫,而是能对一切说不,即艺术家拥有真正的自由;既有表达手段的自由,又能让受众也许不是所有人的精神震撼反思自己的不自由。艺术不一定创造美,有时需要超越美,这是一个更高的境界,不是马清运而是刘家琨的胡慧珊纪念馆达到了或至少接近了这一境界。都市实践总的说来是以时尚的方式在都市或即将被都市化的城中村进行了一场都市美化运动。
Great changes occurred in chinese society throughout the ten years from 2000 to 2009, in which education, medical treatment and especially housing became the new Tri-mountains ordinary Chinese. Although the household registration system was almost unchanging, while every university saw a crazy enlargement of enrollment, the new personnel system that means it would no more guarantee job assignments made more and more young people break up their bondage with homeland and rush into so called 1^st-line, 2^nd-line or 3^rd-line cities, which all were frontiers rather than backward rural areas. The institution of design side in chinese architectural design market became increasingly diversified. Wto increased the frequency at which china contacted oversea countries, from which foreign architects rushed into china. Each of the three groups at 10-years exhibition represented itself the different oversea degree; apparently, MADA s.p.a.m is fully of oversea nature, URBANUS half, and jiakun architects the little. Ma Tsing-yun acts as multi-roles, not only as a teacher of American students majoring in architecture, but also as a busy manager runs varied kinds of business irrelative with architecture. And his oversea teaching even in American includes somewhat Chinese ideas of education which would focus on utility aim rather than the true essence of education. It means really the retrogression. Father＇ s house is the purest one among Ma＇ s variegated works, but too ostentatious to house his father, a true peasant. Chinese land policies are completely different from oversea counterparts, but belong to the unique urban- or-rural binary system which furthermore separates users from designers by inserting the intermediate developers or officers. Nevertheless, Father＇ s House and those located in rural areas designed by liu jiakun were at least all realized in somewhat an oversea manner rather than in a mainstream one under chinese policies. The true artist is not the Yesman of fashion, but the one who endeavors to say no to
出处
《建筑师》
2010年第6期10-15,共6页
The Architect
关键词
建筑设计市场
户籍制度
土地政策
中国式
都市化
艺术家
人事制度
多种经营
decade
10-years exhibition
MADA s.p.a.m
URBANUS
JIAKUN ARCHITECTS
Ma Tsing-Yun
Liu Xiao-du
Meng Yan
Wang Hui
Liu Jia-kun
