內(nèi)容簡介
葉曉健

伊東豐雄，高松伸，山本理顯，三位當(dāng)今日本代表建筑師表現(xiàn)出了三種完全不同的風(fēng)格和發(fā)展方向，但是在追逐自由地建筑創(chuàng)作的時候，他們又是共同的。根據(jù)若干留下的記憶發(fā)展自己的想法，通過那些最純樸的創(chuàng)作激情對抗業(yè)已存在的物質(zhì)世界。這是一種存在已久但是從未被大家所了解的設(shè)計原點。它就是大家渴求卻一直封藏在資料和記憶中的變?nèi)葸^程，建筑設(shè)計的靈魂，就呈現(xiàn)在《建筑創(chuàng)作原點與過程》之中。

這本書的每一頁并不是單純的記述，也不是簡單地評論作品的好壞與得失。它力圖捕捉蘊藏在設(shè)計發(fā)展中，孕育在建筑師思想中的設(shè)計演變的片斷，來闡述分析一個思想的形成和誕生。每個作品雖然獨立存在，但是對于建筑師而言他們彼此相互連續(xù)，從構(gòu)思，深入，設(shè)計，施工到完成。我無法回避站在屹立在印度大地上的柯布西耶，路易斯康的作品前，素材的沖擊感和光影的震撼力。我同樣無法掩飾面對一個作品后面數(shù)以千計的草圖時的震驚。我依靠這種樸素而直接的感情和親身設(shè)計感受，從一名建筑師，建筑學(xué)者的角度，前后歷經(jīng)三年時間，結(jié)合千余張草圖，模型圖片，計算機表現(xiàn)圖，施工圖，記錄圖片等詳盡資料，從這本書呈現(xiàn)出來的是如何面對靈感時的沉著，發(fā)展理念的手法，當(dāng)這三位建筑師帶著這些理念來到中國的時候，這本書給我們一個機會去了解他們?nèi)绾瓮卣顾麄兊氖聵I(yè)。這本書同樣給我們提供了足夠的空間與他們共同推敲和共鳴。

序言
關(guān)肇鄴

近年來國內(nèi)出版的建筑學(xué)類圖書不少，介紹外國建筑師及其作品的大型圖冊也很多，且大都有大量巨幅精美的圖版，很令人喜愛，但不少比較表面，至多給讀者一些愉悅，或激發(fā)一些靈感，卻難以從更深層去理解一棟建筑，去認(rèn)識一位建筑師，因為它往往是靜態(tài)的結(jié)果，而非動態(tài)的過程。我們手中的這冊書，在這方面填補了國內(nèi)建筑書刊的一項空白，帶了一個頭。

近年凡建大型建筑，必然要舉辦國際競賽，請外國的著名建筑師或著名建筑設(shè)計單位來參加，而且十之八九設(shè)計任務(wù)要被他們拿去。其結(jié)果是產(chǎn)生了多方面的負(fù)面影響：一方面一些不了解中國國情的人給我們帶來了與我們的需要相差甚遠(yuǎn)的、格格不入的、極端浪費的建筑，并以我們的城鄉(xiāng)大地做他們的試驗場；另方面對中國建筑師和設(shè)計單位而言，沒有了做大項目的機會，也喪失了這方面的鍛煉，同時更逐漸喪失了信心和聲譽，流失了高額的設(shè)計費，長此以往，中國建筑人將何以自處？這種局面的形成，當(dāng)然有多方面的原因，一些業(yè)主方、領(lǐng)導(dǎo)人盲目崇尚國際投標(biāo)，以為非如此不能提高建筑的身價、建筑所屬單位的身份；以為外國建筑師的作品就必然優(yōu)于中國建筑師。這種偏見固然早已引起了人們的普遍反感，從中國建筑師自身來看，我們對人家的社會思潮、設(shè)計思想、工作方法了解不夠，自然也就不能明白什么是具有永久價值的理性思考，什么不過是短命的時尚，以及哪些是人家的強項，哪些是弱項，這就不免常常進(jìn)行不恰當(dāng)?shù)谋砻娴哪７?，以致于總是仃留在模仿階段，總是跟不上。

本書所介紹的建筑師，是日本當(dāng)前最具實力、最有影響的中年（均生于二十世紀(jì)四十年代）建筑師中的三位。他們的共同特點，是不同于那種太走極端的、現(xiàn)實主義與浪漫主義相結(jié)合趨向同時又都涉足中國建筑市場的人。他們的一些作品將在中國土地上建起（有的已完成或接近完工）。當(dāng)這些設(shè)計建成之后，結(jié)合對本書所引資料的研究，將給我們顯示一個建筑從方案構(gòu)思到建成使用的完整過程，這對中國同行來說，無疑當(dāng)有更大的參考價值。本書在這方面的意義，將更勝于對三位日本建筑師這十六項設(shè)計方案本身的介紹。推而廣之，我更希望我們的出版物能改進(jìn)一下選題的范圍，減少一些包裝精美華麗而內(nèi)容膚淺而重復(fù)的畫冊，多出一些有較深層內(nèi)容、更全面、更實惠，更有針對性的好書。這將令我國特別是青年建筑師受益非淺。

本書著者葉曉健致力于較深層的介紹外國著名建筑師已非第一次。他所著查爾斯·柯立亞就是一本內(nèi)容充實又引人入勝的好書。盼他能有更多更好的書問世。

關(guān)肇鄴
于北京清華園
2003年10月13日

Forward
Recently, there have been many publications regarding architecture in China; coffee table books with big, glossy photographs featuring the latest architectural works and their makers. Although the quality of the printing is indeed exceptional and the photographs nice to look at, their content is way too general and they give the reader no more than shallow pleasure at their content.

Indeed, it is hard to pinpoint what helps us understand a building; is it based on personal experience of the space? On the quality of photographs presented? Perhaps one way to understand such a complicated process is to begin at the roots. Masters At Work thus tries to fill the gap between the question and the answer by going in between and having a closer look at the architectural process.

In recent years, big building projects in China have tended to call for large-scale international competitions in order to decide as to whom the task of designing the project should go to. In lieu with these competitions, many foreign firms have been invited to try their luck and nine times out of ten the project almost always goes to the foreign firms. This in turn has produced mixed results within both the Chinese building community and the public.

In some cases, the foreign architect taken on to do the project have little or no knowledge about China and thus produce results that are far from what is needed and desired. In turn, the chances of local architects and design institutes of participating in big projects have become very slim as most times, foreign firms have are preferred by clients. This is the result of people currently in power blindly advocating that foreign offices are much better than local ones and that by getting a well-known architect to do the work would help put China onto the architectural map. These prejudices against local talent have raised antipathy from the public who in turn do not know anything about these foreign architects, and are wary of the furor that these architects could create owing to their possible ignorance of local laws, as well as cultural and value systems.

Masters at work tries to bridge this gap by introducing three Japanese architects who, by the projects that they have built in the area have made a name for themselves in China. They have done their best to understand local culture and to imbibe local flavor into their work. Their projects have been seen to belong not only to them, but also to the environment in which they are situated.

The projects featured in this book have already been built or are in the process of being built in China. It is the author’s hope this sneak-peek into the design process of the buildings will help bring about a new understanding of the works, and thus help people see these buildings through the architect?fs eyes.

This book helps us to experience the buildings from the point of their conception, through the ever-changing design process, up until the day we walk into them and experience them for ourselves. Only then may we be able to pierce the cloud of uncertainty that swirls around current architectural trends in China.

Furthermore, it is the author?fs hope to continue to publish books in this manner; eschewing fancy photographs, glossy covers and superficial, redundant information in lieu of substantial, comprehensive and analytical content. This in turn will benefit not only the public but also young architects aspiring to the profession.

Zhaoye GUAN
A member of the Chinese Academy of Engineering academe
Oct. 16, 2003
Professor of the University of Tsinghua
Tsinghua Yuan, Beijing, China

論建筑創(chuàng)作的原點與過程
葉曉健

從二十一世紀(jì)世紀(jì)之交開始，發(fā)生在中國的建筑活動中有很多都應(yīng)該記錄下來。更多的國際知名建筑師在中國的出現(xiàn)更加激起了無數(shù)人的關(guān)注和爭論。大家議論的焦點都圍繞著新的建筑形式上，從建筑設(shè)計本身出發(fā)的學(xué)術(shù)討論卻非常少。重要的建筑事件需要全面地進(jìn)行考察、剖析、研究，需要強調(diào)的是應(yīng)該是事件產(chǎn)生背景、產(chǎn)生機制和產(chǎn)生過程。吳良鏞先生在中國建筑學(xué)會2000年年會上呼吁應(yīng)該從學(xué)術(shù)的角度對中國歌劇院1 的設(shè)計展開更為深入的討論2 的呼聲令人深思。建筑是去創(chuàng)造和構(gòu)筑具有“新”的價值的行為，而它的過程要超越物理的、經(jīng)濟的、社會的各種各樣的障礙3 。在面向新世紀(jì)的中國重要建筑的創(chuàng)造中，中國建筑師將自己的理念反映到建筑空間上時我們究竟投入了多少？我們所依據(jù)的設(shè)計思想何在？現(xiàn)在是我們?nèi)フJ(rèn)真思考作為建筑創(chuàng)作本身的時候了。

在關(guān)注一個建筑事件的時候，特別是關(guān)于那些能夠最終建成的建筑，我們要更加注重建筑發(fā)展的過程。我們可以透過呈現(xiàn)在眾人面前的建筑空間和光影，體會到建筑師對于建筑本身的理解，它反映了建筑師對于建筑形式、社會文化、環(huán)境、可持續(xù)發(fā)展、景觀、節(jié)能、材料、技術(shù)、功能、工藝和細(xì)部等各個方面的綜合考慮。

建筑創(chuàng)作體現(xiàn)在一個相當(dāng)漫長的動態(tài)的過程中。我們往往認(rèn)為建筑發(fā)展的過程是直線性的，包括構(gòu)思、設(shè)計、施工、使用四個階段。在高度社會化的建筑活動，沒有絕對的界限限定其逐步現(xiàn)實化的過程。我們可以否定競賽任務(wù)書中的條條框框進(jìn)行創(chuàng)作，在施工階段結(jié)合使用要求修正設(shè)計階段的意圖。建筑師在進(jìn)行建筑活動的過程中，與社會各個方面發(fā)生的廣泛而深刻的接觸和沖突，反映了現(xiàn)代主義思考方式的變化。在當(dāng)前實用主義主導(dǎo)的前提下產(chǎn)生的建筑，尋求的是“時間+空間”具有高完成度的建筑景象。而建筑師試圖追求的是介于理想與現(xiàn)實、抽象與具體之間，既符合科學(xué)化的使用功能，又具有秩序化的空間體系，充滿著奇妙的矛盾，蔓延著兩元性的建筑創(chuàng)作。

這些都造成了我們在學(xué)習(xí)和思考建筑創(chuàng)作的困惑，因為在我們力所能及的范圍之內(nèi)尋找我們所追求的建筑理念，主要是通過雜志、網(wǎng)絡(luò)等媒體所介紹的建筑作品去體會，我們很難接近或者直接了解到風(fēng)云國際的建筑大師們的實際設(shè)計情況和發(fā)展過程。我們得到的更多的只是“結(jié)果”，通過這些經(jīng)過專業(yè)攝影師仔細(xì)雕琢的再創(chuàng)造的“作品”、借助別人的眼睛看建筑，如同欣賞一件完美、精致的工藝品。作為建筑創(chuàng)作本身的發(fā)展過程，卻往往由于隱藏在建筑的深層中，不為人所知，或者是不為人所重視。往往過程畢竟不一定是完美的，過程的發(fā)展表現(xiàn)出來是更多的問題，從而增加了理解“結(jié)果”的難度。

在《Masters at Work》一書中，我客觀地敘述總結(jié)建筑師在一定階段或者一個特定的區(qū)域內(nèi)進(jìn)行的建筑創(chuàng)作活動，引導(dǎo)人們理解動態(tài)的建筑創(chuàng)作過程。它與一般的建筑作品集最大的不同之處在于，它圍繞著一定的固定的主題，通過留在略帶泛黃的草圖紙上無數(shù)飛馳而過的線條，不斷修正的CG效果圖，反復(fù)堆砌的工作模型，現(xiàn)場施工中日記本式的記錄資料等不斷變化的數(shù)據(jù)，體驗建筑轉(zhuǎn)換過程中的實際變化，將抽象的、曖昧的、跳躍的、無形的建筑創(chuàng)作過程具體化、形象化、系統(tǒng)化、物質(zhì)化。它增加了我們接觸實際創(chuàng)作過程的機會，無論是對于那些渴求了解、還是深知建筑創(chuàng)作艱難性的人們而言，能夠直接用自己的雙眼，用自己的身心去感受，接受存在和展現(xiàn)在眼前的一座建筑、一個理念形成的過程中所輻射出來的能量，去享受主動交流帶來的刺激，這是一種未曾體驗過的享受。

這本書唯一關(guān)注和描述的只有過程，不是結(jié)果。“過程”（process）不是簡單地階段性的疊加和重復(fù)，也不是用文字能夠總結(jié)的，要通過模型、草圖、前后方案的比較，一步一步連續(xù)地發(fā)展。成熟的理念都與一系列的嘗試緊密相連，成功的方案往往和多次的失敗不無關(guān)系，所以我試圖在記錄一座建筑時不單純局限在作品本身，而是分析前后關(guān)聯(lián)的若干個作品，幫助人們從各個角度全面地分析一個事物，了解一個理念的由來，以及其后面的種種進(jìn)展和關(guān)系。在比較之中，理會建筑創(chuàng)作的含義，理解建筑師對于建筑的全面考慮和逐步走向成熟的過程。我稱此為“建筑的痕跡文化”。一個方案取得了勝利，隨后的設(shè)計、施工圖設(shè)計、實際施工都將繼續(xù)延伸它的痕跡；而當(dāng)方案落到失敗的結(jié)局的時候，往往隨著時間的推移，痕跡也很快地退出人們的記憶。

再現(xiàn)建筑設(shè)計的過程建立在分析大量的數(shù)據(jù)和資料，以及深入的調(diào)查和分析的基礎(chǔ)之上。我花費了一年的時間走訪建筑師，考察作品，廣泛搜集相關(guān)的記載資料。在確定分析的對象后，從方案的任務(wù)書、設(shè)計文本、相關(guān)城市發(fā)展的文件入手，到大量的草圖、工作模型、中間方案、階段性方案文本，深入事務(wù)所、工地現(xiàn)場，采訪項目負(fù)責(zé)人、事務(wù)所有關(guān)人員，到最后的采訪。所以，這本書本身也是一個積累的過程。

這本書是一本刻畫建筑的精神的書。一座大型公共建筑往往要存在于世上為社會服務(wù)幾十年、一百年以上，它的存在不僅僅占據(jù)了有限的空間，而且也充斥著人們有限的視線。當(dāng)年埃菲爾鐵塔4 突破巴黎的天際線時候，多少人驚呼它是怪物，但是它是代表了先進(jìn)的生產(chǎn)力和生產(chǎn)技術(shù)。時間證明，人們最終接受了它。雅典衛(wèi)城5 之所以偉大，不是因為它使用了多么昂貴的材料和復(fù)雜的工藝，不在于它意味著有多么偉大的歷史意義，而是在于作為建筑而言，它體現(xiàn)了建筑永恒的精神，這種精神就是建筑師、營造它的工匠，通過漫長的過程賦予它的，這是我們應(yīng)該執(zhí)著追求的建筑的本質(zhì)。它賦予了建筑生命力和感染力。相反，具有時裝效益的建筑雖然有華麗的外表，但是一旦它變得骯臟了、破舊了，它就會污染人們的視線，甚至是剛剛竣工的建筑就像一個重病的老人垂危地站立在樓群之中，由于缺少建筑的精神，它只有一個軀殼，如同一個人沒有思想一樣，它的存在僅僅停留在功能的使用上。它雖然是新生，卻同時走向死亡。

在這本書里除了實際實施的作品之外，還收錄了失敗的競賽方案。對于設(shè)計競賽方案，結(jié)果占據(jù)了絕對的上風(fēng)?，F(xiàn)在一般的大型項目的開發(fā)都采取競賽的形式，重要的項目還采取指名國際設(shè)計競賽，建筑設(shè)計競爭變得非常殘酷和激烈。對于建筑師來說往往是屢戰(zhàn)屢敗，九負(fù)一勝。媒體關(guān)注的只有勝利者的聲音，因為它代表了得到肯定的發(fā)展方向。在建筑師本人看來，成功和失敗的方案一樣都注入了大量的精力，凝聚著作為創(chuàng)作過程的積累，是創(chuàng)作思想發(fā)展的延續(xù)。比起建筑師在評審介紹時候的短短十幾分鐘而言，一般人無暇顧及其中蘊含的幾個星期、幾個月的建筑創(chuàng)作過程。其實，很多設(shè)計的精華、火花一直閃爍在這一不斷發(fā)展、變化的軌跡之中。我試圖將其作為這條軌跡之中體現(xiàn)建筑之精神所在的另一個地方。

這本書還是一本展現(xiàn)建筑師創(chuàng)作思想的書，它記錄和再現(xiàn)了建筑創(chuàng)作的“過程”。它收錄了伊東豐雄、高松伸、山本理顯三位建筑師6 的十六個作品和筆者與他們的訪談。他們都是近年來開始進(jìn)入中國或是重新回到中國的日本著名建筑師。建筑師的思想不會孤立的存在，往往體現(xiàn)在一連串的作品之中，從早期的作品就孕育著成熟作品的方向。建筑師不可能在一個作品里面自始至終完整地貫徹他的最終思想，因為他面對的是一個動態(tài)的過程，在不斷發(fā)展的建筑創(chuàng)作中，他有機會總結(jié)和分析前面的作品，在相對靜止、或者已經(jīng)停止的一段過程中總結(jié)自己的功過，再發(fā)展地運用在新的創(chuàng)作之中。本書不是去引導(dǎo)大家評判作品的是非對錯，而是客觀的，通過發(fā)展的手法構(gòu)筑一個描述每位建筑師設(shè)計發(fā)展的平臺，通過這個平臺形成大家可以與建筑師本人直接對話的場所。

另外，這本書又是一本參考書，它是學(xué)習(xí)建筑創(chuàng)作的參考書，也是捕捉當(dāng)今建筑發(fā)展國際化動向的參考書。自90年代開始，很多國外的事務(wù)所，由于本國建筑市場的萎縮，設(shè)計任務(wù)無法飽和，迫切需要開拓海外建筑市場；而國內(nèi)的建筑師們，面對國外的建筑勢力在國內(nèi)項目投標(biāo)中屢屢中標(biāo)，奪走了一個又一個重要的項目，中國建筑師的空間受到越來越多的擠壓7 。雙方都在迫切地尋找前景和出路。這是我選擇了這個時機，克服眾多阻力和壓力推出了這本《Masters at Work》一書的原因之一，它展示以中國建筑舞臺為大背景的建筑師的設(shè)計過程。通過他們的影響力和創(chuàng)作力，激發(fā)起我們的共鳴，幫助我們從中吸取別人的成功和失敗的經(jīng)驗。另外，它從一個方面展示了在中國經(jīng)濟飛速發(fā)展之機步入中國市場的國外事務(wù)所進(jìn)行的建筑設(shè)計競賽或者實際工程所面臨的問題，以及它們的解決之道。它的優(yōu)勢在于“國外”，而它的弱勢也在于“國外”。如果在方案階段，國外的建筑師們還可能閉門造羹的話，到了實際工程階段將不得不融入到中國這一具體、復(fù)雜的大環(huán)境中。對于長期在日本從事建筑設(shè)計與理論研究的我而言，也希望給那些在中國屢戰(zhàn)屢敗、或是猶豫不決的國外建筑設(shè)計事務(wù)所提供全面了解在中國進(jìn)行建筑創(chuàng)作活動的機會。所以這里的“參考”對于中外建筑師而言是雙重的意義。

一個新的概念需要反復(fù)的推敲，需要在不斷發(fā)展中逐步完善?！禡asters at Work》是我對于讀解建筑設(shè)計理論實踐活動的嘗試。正如日本著名建筑師黑川紀(jì)章先生對筆者談到的“（年輕建筑師）需要學(xué)學(xué)習(xí)的不僅僅是可以看到的設(shè)計，還有蘊藏在形式深處給予人們感動的精神文化，作為魂的強烈的意志。以此去創(chuàng)作可以經(jīng)得起歷史考驗的建筑。”我希望這本書可以成為建筑師靜下心來思考建筑設(shè)計的場所，但愿它為繁榮建筑設(shè)計和設(shè)計理論貢獻(xiàn)微薄之力。

THE ORIGIN AND PROCESS OF ARCHITECTURE DESIGN

Much of the new architecture in China since the beginning of the new millennium has generated both attention and controversy from many people, it is this commentary that I want to high like here. The focus of these discussions has been primarily concerned with the form and style of the new buildings rather than an academic discussion concerning architecture itself. Important architectural events should be evaluated, dissected, and analyzed from many perspectives with emphasis on the architectural process rather than the designer personally or the incidental successes and failures of the design.

Liangyong Wu, a famous Chinese architect and academician, made an appeal to the Architectural Society of China during its 2000 annual meeting, to engage in more serious academic analysis of the design for the China Opera House. In the creative processes of important architectural designs of the new century he asked, to what extent have Chinese Architects have been involved in this architecture and how can we infuse their architectural philosophy into the spatial organization of the architecture? What can we learn from their design ideas?

When we focus on an event in architecture, especially after its completion, we should focus more on the process of architecture than the result. The comprehension of an architect concerning the building reflects his collective consideration regarding architectural form, culture, environment, sustainable development, landscape, energy conservation, ecology, material, technology, function, craftsmanship and details. They not only exist in the spatial form with lights and shadows displayed in front of the audiences but more important were reflected in the process of architecture.

The process of making architecture is long and dynamic it is however different from those concepts and understandings we currently hold concerning the actual architecture of a building. We generally consider the process of architecture as linear involving four distinct phases, the conception of an idea, the development of these ideas into a design, the construction of this design and the finally how the building is utilized. As the design gradually evolves toward something that can be changed into actualization, there does no clear boundary exist the highly socialized activity as what architecture does? The rules and regulations of a competition can be discarded in pursuit of a unique design and then the design intentions can be changed due to site requirements during the construction phase. During the process of the design, architects will remain in consultation and conflict with a wide segment array of people. This illustrates the changes in thinking methods due to the influence of Modernism. Every building built becomes an important means to exhibit the status of the owner and the monetary value, call it “Time + Space” that can be earned from that building. However the work of an architect is an expression of duality striking a balance between ideality and reality, the abstract and materiality, along with concrete functions and a well-ordered spatial system, full of contradiction.

When we seek to capture architectural concepts we are generally restricted to architectural magazines, it is hard for us to directly approach the design process of the Master architects. We often only see the “final result” through the lens of the professional photographer, portrayed as a carefully controlled reproduction or as an exquisite piece of artwork. The process of design itself is hidden beneath the surface of the building and its images, going largely unnoticed, unseen or ignored by the viewer. Generally the process is imperfect, revealing more problems, complicating the understanding of the final result to us.

In “Masters at Work” I attempt to objectively narrate and summarized the architectural design process as it has occurred within a defined time period or specific region so as to provide a guide to understanding the dynamic process of architectural design as employed by Ito, Takamatsu and Yamamoto. For these architects from the initial lines on sketch paper to the study models, everything is worked and reworked again and again. The collection of these endeavors here creates a snap shots of an architect fieldwork displayed in diary format which will hopefully help us read and comprehend the process of design in the architect’s mind, something that is abstract, vague and intangible.

The focus of this book is the process; it primarily concerned with the “Process”, NOT the “Result.” Process is not a simple augmentation to and repetition of phases nor can it be simply summarize. Its explanation requires the study models, sketches and procedure in a step-by-step manner. Any mature design is basing on a serious of attempts and failures. A successfully completed design is preceded by numerous experiments some of which are failures but all of which pave the way to the end result.. A record of the work cannot be restricted to the final version itself and should be understood together with its associated versions in the process to completion. Understanding the relationships between the elements of the process in the work of these architects will help us perform a comprehensive analysis of the progressive evolvement of an idea from its formation to its maturity. In these comparisons, we may be able to discover the essence of the design by tracing through an architect’s design process. I like to call this “The Traces of Architecture.”, it is a kind of culture. Once a design becomes a successful, consequent designs, construction drawings and actual construction will extend its “traces”. If a design lose the competition, its traces quickly fade away from the memory with the time going.

To reveal the architectural design process involved I have spent a year interviewing the architects and their key staff, visiting their projects, stiffed through thousands of sketches culminating in a process of comprehending the accumulated data that makes up this book.

The construction is quite different from the work in design phase. The architect will have to face different problems on site. The construction site is the platform for changing the architect’s idea into reality ? the design on the paper being embodied, materialized and built up. The construction site is therefore a very important factor in the design of a building. I have tried to collect the pictures of the site, sketches and detailed drawings about the construction; I also investigated the site, interviewed the staff in site and the architect himself. The form of this book is also a accumulation in process.

This book also deals with the spirit of architecture. A large public building can serve society for scores years, its existence may not only fill skyline of the city but it will often fill a social icon roll as well.. When completed the Eiffel Tower standing on the edge of the river Seine broke the skyline of Paris whose citizens condemned it as a monster. However it represents a leap forward in construction, technology, social progress and with the passage of time people accepted the tower as a masterpiece. The Acropolis is also great, not just because of the use of costly materials or complexity in construction, or because of its historical value, It is great because it embodies the eternal spirit of architecture which the architect and craftsmen who built it endowed it with. This eternal spirit of architecture, which embodies the architecture with life and makes it impressiveness should be something that architects strive to achieve in the pursuit of architecture. A successful architecture should exist for life.

On the contrary, the modern building with a fashionable façade has the benefit of vogue, but once it turns dirty or goes out of fashion, it will without doubt crowds the street and pollutes our views. Even for a recently completed building of such kind, it will stands as an ailing elder among others. A building without spirit is just a shell similar to a man without a soul; the only reason for the existence of such buildings will be the functional value. The birth of such a building is a precursor to its own death.

I have included not only completed project in the book but have also included competitions that the three architects have completed.

In competitions the result is everything. Many large and important projects are designed and awarded based on a competition.

Most architects have repeatedly lost competitions however the media usually only focuses on the winning entry with the unsuccessful entries getting nothing more than a brief mention. For architects even a project that fails to win a useful part of the process of developing ideas, styles and themes in their personal development as architects. Competitions are unpredictable, with many factors that influence the outcome that are beyond the architect’s ability to control or influence. Generally there is very little interest in what the architect did in preparing for the competition and its final presentation. The often the actual presentation is very brief perhaps only 15 minutes but the design itself may have taken many people thousands of hour and many months work. Everyone knows that there must be a great many ideas embodied the design process that can’t be seeing in the final presentation. What I have tried to capture in this book is the effort and sprit of the submission through all the stages of its development. I attempt to present the traces of such things show the spirit of architecture, the spirit of design.

This book also represents the designing concepts of architects. I have covered 16 projects by Toyo Ito, Shin Takamatsu, and Riken Yamamoto, how had worked in China tens years ago or just has been working with their new projects. The concepts of one architect can be read from a series of works, not just in one great building; the earlier buildings indicate the direction for mature works The process being dynamic, the architect can not consistently follow through with his concept, however, in a series of work, he will have the opportunity in a relatively quiescence or pause to evaluation his previous works, and further develop his concepts for future creations. This book don’t want to guided everybody to judge the works is not to the fault, but the objective one, it is a platform to construct one that describe the process of design of each architect, through which we can talk with the architect himself directly.

This book also tries to demonstrate the problems that foreign architectural firms face in a rapidly developing China whist at the same time it also highlights some of the weaknesses of Chinese architects - they need to stay develop there own direction and establish their own rationales and refuse to blindly follow. As a member of GATT China will open-up it’s the architectural market by 2005. Since the 1990s a large number of foreign architects have been practicing in China’s architectural design market. The impact and influence that they have brought have been more far-reaching and will last longer than those of any other period in time. For some foreign firms, they are facing a withering of domestic markets, the unfulfilled design capacity and the need to open up the overseas market urgently. Domestic Chinese architects have become accustomed to foreign architectural firms repeatedly winning competitions for important projects and this is putting them under pressure. It is in the environment and at this juncture that I wrote this book ? “Masters at Work” in hope of presenting the design processes used by some prominent Japanese architects who are engaged in projects and competitions in China. It is hoped that this book will help in the analysis of the architects design processes, allowing us to learn from experiences of others and develop our own ideas. The theory and design of foreign firms have to stand the test of local regulation and verification by the local market. Their advantage lies in the fact that they come from abroad but is also their weakness. If the foreign architects can work in an enclosed room during the design phase without thinking anything about the situation, then in the construction phase, they must enter the complex environment in China. I hope this book will offer a chance to those architectural firms contemplating entry to the Chinese construction market offering an insight to understand how to implement the architectural designs in China. This book will serve as a reference to both foreign architecture firms and to local architects.

A new concept requires repeated deliberation and continuous development. “The Architecture Process Record” is an attempt that I have made to practice architectural theories. As the famous Japanese architect Kishyo Kurogawa talked with me about the process of Chinese architecture, “the youth architects need to study not only the virubal form of design, but also learn the spirit and cutural which is deeply contained within the form moved us. The soul of will is the most important of design... to create the architecture withstanding the proof of the history. ” I hope it will be a platform for the architects who will sit down and begin to think the meaning of the spirit of architecture. I hope it can make a meaningful contribution to the prospering of China’s architectural design and design theory.

Xiaojian YE
Hongo Campus, University of Tokyo, Bunkyo-ku, Tokyo, August 2003

目錄
序言(關(guān)肇鄴)
論建筑設(shè)計原點與過程(葉曉健)

伊東豐雄
論建筑創(chuàng)作之自由
仙臺媒體中心
康納克-杰醫(yī)院
中央電視臺新址
上海陸家嘴中心區(qū)規(guī)劃
紐約東岸開發(fā)規(guī)劃
巴塞羅那商品展示場

高松伸
論建筑創(chuàng)作之精神
東京企業(yè)總部大樓
天津博物館
天津泰達(dá)廣場
天津市體育場
廣州歌劇院

山本理顯
論建筑創(chuàng)作之系統(tǒng)
崎玉縣大學(xué)
公立函館未來大學(xué)
三境集合住宅
東云集合住宅
北京建外SOHO

作品相關(guān)說明和技術(shù)指標(biāo)
圖片版權(quán)和參考書目
后記
著者簡介

著 譯 者：葉曉健
出 版 社：中國建筑工業(yè)出版社
出版日期：2004-9-1
印刷日期：2004-9-1
書　　號：ISBN 7-112-06463-5
規(guī)　　格：軟精裝16開，285頁
定　　價：168 元