Zaha Hadid（扎哈 哈迪德）, 作為第一位獲得建筑最高獎普利茲克獎的女性，于2016年3月31日，在美國邁阿密因心臟病突發(fā)離世，享年65歲。作為建筑界的“女魔頭”，有人說她是瘋子，有人說她是建筑大師。作為建筑界少有的幾顆巨星之一，就讓我們隨著她所設(shè)計的建筑，去探究下她為我們留下了什么樣的建筑奇跡？

Zaha Hadid Was Just Getting Started

扎哈·哈迪德：天堂啟程

BY THOMAS DE MONCHAUX

2016.04.04 

Zaha Hadid’s concept art for the Peak Club. 扎哈·哈迪德為“峰”俱樂部所創(chuàng)作的概念藝術(shù)

Architects are, as a rule, old. Architecture is the slowest art. Unlike the closely adjacent fields of mathematics and music, architecture resists prodigies. The body of knowledge required is so broad, and the pace of design and construction is so stately, that it takes a long time to find your way. Celebrated designers, from Louis Kahn to Frank Gehry, usually don’t build much until their late forties, and they—Gehry and such others before him such as I. M. Pei, Philip Johnson, and Frank Lloyd Wright—often work willfully into their ninth and tenth decades. That is why the death, at the age of sixty-five, of one of the field’s visionaries, Zaha Hadid, gives such pause: although her vision was unusually visible from early on, she may also have been, like many in her generation, just getting started.

通常來說，建筑師都需要年齡的積淀。建筑是最耗時的藝術(shù)。不同于數(shù)學(xué)和音樂這兩個建筑相近的領(lǐng)域  ，建筑學(xué)拒絕奇跡。建筑所需的知識體系是如此的廣博，而設(shè)計與建造的步伐又是如此莊嚴，找到屬于自己的路需要漫長的時間。從路易斯·康到弗蘭克·蓋里，所有這些功成名就的建筑設(shè)計師們，通常都在40歲之后才開始嶄露頭角，蓋里和他的先輩們——例如貝聿銘、菲利普·約翰遜、弗蘭克·勞埃德·賴特，經(jīng)常直到九十甚至百歲高齡仍在堅守工作。這就是為什么扎哈·哈迪德，這位在建筑界富有遠見并早年成名的設(shè)計師，在65歲時突然離世就像是在建筑之路上正準(zhǔn)備啟程時卻戛然而止一樣。

Because of that breadth of required knowledge, architects like to think of themselves as Renaissance artists: polymath artisans and courtiers and alchemists, merely disguised as modern professionals. Hadid was more of the Renaissance than some: her unusual and anachronistic distinction is that, very rarely for a contemporary designer, her most significant handmade works are paintings. And her paintings, for all the accomplishment of her Pritzker Prize-winning body of built work, from museums to stadiums, may be what travel furthest into the future.

正是因為所需的專業(yè)知識涉及廣泛，建筑師們更愿意把自己看成是偽裝于現(xiàn)代職業(yè)背后的、文藝復(fù)興時期的藝術(shù)家：博學(xué)的工匠、侍臣、煉金術(shù)師。哈迪德則比一些同行們更進一步：她最為重要的手工作品是繪畫，這在當(dāng)代設(shè)計師中非常少見，也令她更加復(fù)古和獨特。與她的建筑作品相比，不管是普利茲克獎的獲獎建筑還是博物館或體育館，她的油畫都更接近未來。

Even in our digital age, architects generally prefer drawings, which direct your attention to edges and intersections, to seemingly decisive lines and seemingly definitive points. The fluid medium of paint, with its literal and figurative depth, with its capacity for atmospherics, is something else. Hadid’s enduring project began in 1983, with paintings that arose from her student work at London’s Architectural Association, for a competition to design a health-and-leisure club, never actually built, on a hillside above Hong Kong. The paintings for the Peak Club combined something of the seeing-from-all-sides-at-once ecstasy of Analytical Cubism with the rigorous non-perspectival projective geometries—isomorphic, axonometric, paraline—that architects have long deployed to capture three dimensions in two. The building, in her moodily black-and-blue paintings, emerges in a seemingly geological process of fracture and flow, out of the dense and intense geometries of Hong Kong far below.

即使是在如今的數(shù)碼時代，建筑師們?nèi)愿敢馔ㄟ^手繪草圖，向人們展示一條條干凈利落的線條和交點。而油畫則不同，它是流動的介質(zhì)，通過文字和比喻的深度，擁有可以展現(xiàn)氛圍的能力。哈迪德的成名之路始于1983年，當(dāng)時她在倫敦建筑聯(lián)盟學(xué)院以學(xué)生的作品為原本，設(shè)計了一個以健康休閑為主題的俱樂部，并繪制了一系列油畫參加比賽。然而這個位于香港的“峰”俱樂部卻從未建成。畫作包含了分析性立體派中多維度共面的想象，和嚴謹?shù)姆峭敢曈成鋷缀误w——同構(gòu)的、軸測的、平行的——自古以來的建筑師們正是用這種方式將三維圖像轉(zhuǎn)化成二維平面。油畫中的建筑從看起來像是地質(zhì)作用產(chǎn)生的裂縫和流體中拔地而起，賦以濃烈的黑色和藍色，與下面由緊密幾何體組成的香港市區(qū)隔離開來。

The Peak Club paintings were a critical part of what may prove to have been the second most important American architectural exhibit of all time—or at least the second most important held at New York’s Museum of Modern Art (the first being the “International Style” exhibition, of 1932, which introduced midtown to Modern Architecture). That was the “Deconstructivist Architecture” exhibition, of 1988. Like punk puncturing disco, the exhibit energized what was still an insular American architectural community by offering an alternative to the Reagan-era pop neoclassicism of Postmodernism. The show noticed a group of architects with a structurally ambitious and geometrically fractious tendency that harkened back to the revolutionary Russian Constructivists of the nineteen-twenties. It applied a curatorial reading drawn from Jacques Derrida’s Deconstruction school of literary theory, about breaks and gaps in language. The over-all effect, as Philip Johnson wrote in the show’s catalogue, was to “shock the eye of an old modernist like myself [with] the contrasts between the ‘warped’ images of deconstructivist architecture and the ‘pure’ images of the old International Style.”

1988年舉辦的“解構(gòu)主義建筑展”是美國史上第二重要的建筑展覽——或者至少是由紐約現(xiàn)代藝術(shù)博物館舉辦的第二重要的建筑展覽，而“峰”俱樂部的畫作則是其中不可或缺的組成部分（第一重要的是1932年舉辦的“國際風(fēng)格”展，展覽中將市中心的概念引入了現(xiàn)代建筑學(xué)）。就如同龐克文化滲人舞廳一樣，該展覽展示了與后現(xiàn)代主義中流行于里根時代的新古典主義完全不同的東西，為當(dāng)時孤立封閉的美國建筑界注入了新活力。在這屆展覽中，一批新銳建筑師以大膽的結(jié)構(gòu)和棱角分明的幾何呼應(yīng)了起始于19~20世紀俄國革命性的構(gòu)成主義。他們的建筑作品以停頓與留白的建筑語匯，表現(xiàn)了雅克·德里達（法國學(xué)者，解構(gòu)主義或后結(jié)構(gòu)主義哲學(xué)的代表人物——譯注）關(guān)于解構(gòu)主義的文學(xué)理論。菲利普·約翰遜（美國建筑師，建筑理論家，埃森曼稱他為美國建筑界的“教父”——譯注）在展覽的目錄中評論道：“解構(gòu)主義建筑中的‘扭曲’體態(tài)與傳統(tǒng)國際風(fēng)格的‘純粹’外觀之間的對比反差，讓我這種老派現(xiàn)代主義者大開眼界?！?/p>

The zig-zag deflections and sharp edges of the Deconstructivists, notably in Peter Eisenman’s 2004 design for the Berlin Memorial to the Murdered Jews of Europe, and in Daniel Libeskind’s 2003 plan for the redevelopment of the World Trade Center site, in Lower Manhattan, suited shattering times. The show attached Hadid to the group of ever-more-famous designers that it featured—among them Eisenman, Libeskind, Gehry, Rem Koolhaas, and Bernard Tschumi—sometimes described as Architecture’s version of the Rat Pack, with Hadid, in an expression of the longtime institutional sexism of the field, as The Girl.

“之”字形折角和解構(gòu)主義的尖銳邊線與破碎的時代相吻合，這些特性充分體現(xiàn)在彼得·艾森曼（美國建筑師，因其碎片式建筑語匯而同各式其他建筑師一起被打上了解構(gòu)主義的標(biāo)簽——譯注）于2004年設(shè)計的柏林歐洲被害猶太人紀念碑中，也體現(xiàn)在丹尼爾·李伯斯金于2003年完成的曼哈頓下城區(qū)美國世貿(mào)中心遺址重建總體規(guī)劃中。

扎哈·哈迪德在她的倫敦辦公室中，1985.

The essential Hadid building is her firm’s first major work: a 1993 fire station (now a museum) in Weil am Rhein, Germany, on the campus of the furniture manufacturer Vitra, which, after a 1981 fire, rebuilt its facilities with a series of commissions to promising avant-garde designers. The fire station was made of the cast concrete and glass walls familiar to old modernists, but its form was one of forceful fracture, as if a small sample of the Peak Club paintings had been exposed to the local agricultural and industrial landscape, absorbed its patterns (and also, surely, the scintillating movement of fire and water, of flames and flows), and then been held in place. The building was a sort of frozen explosion that might seem to move around you as your eye—or mind’s eye—moved through it: perhaps like the still suspense and sudden motion of the firefighter’s life.

哈迪德最為重要的成名作是其公司于1993年所接的第一個重點項目 ：位于德國萊茵河畔威爾城一座家具廠內(nèi)的維特拉消防站（現(xiàn)在已經(jīng)改為博物館）。自1981年一場大火后，該消防站決定由先鋒派設(shè)計師來重新修建。消防站由傳統(tǒng)現(xiàn)代主義的模鑄混凝土和玻璃幕墻構(gòu)成，但建筑外形則為剛勁有力的斷面，就如同“峰”俱樂部畫作被移植到了當(dāng)?shù)毓I(yè)和農(nóng)業(yè)的地貌中，納其形態(tài)（包括水的流動和火焰的閃光），因地制宜。當(dāng)你注視它、或是用心去感受它的時候，整座建筑就如同在爆炸瞬間被凝固一般圍繞著你；這就像是一個靜止的懸念，亦像是消防員動如脫兔的職業(yè)生涯。

In the United States, Hadid’s most significant work is her 2003 design for Cincinnati’s Contemporary Arts Center. While the fire station was a freestanding sculpture, the C.A.C. is packed tightly into a dense urban block, expressed as a composition of boxy shapes, seemingly both heavyweight and weightless, up through which a silky black staircase dodges and weaves. The floor of the lobby, democratically detailed to match the cement sidewalk outside, swoops in a continuous curve to become a wall, all the way up to rooftop skylights. Some architects, perhaps not entirely kindly, called Hadid the Queen of Atriums, but the immersive visual experience of the C.A.C. lobby equals the spectacular interior panoramas that are the enduring legacy of midcentury masters such as John Portman and Eero Saarinen. And, appropriately for an art museum, the lobby mediates the visual experience between the city and the white-cube gallery.

哈迪德在美國最有影響力的代表作是她2003年為辛辛那堤當(dāng)代藝術(shù)中心所作的設(shè)計。盡管消防站過去曾是個自由聳立的雕塑，但辛辛那堤當(dāng)代藝術(shù)中心如今卻是被緊緊地夾在一個高密度的城市街區(qū)，以盒狀體結(jié)構(gòu)的形態(tài)存在，看上去體態(tài)笨重又輕盈，通過絲質(zhì)的黑色樓梯迂回之路盤旋而上。大廳的地板，十分注重細節(jié)以便能與外邊混凝土構(gòu)建的人行道相匹配，同時以連續(xù)的曲線俯沖構(gòu)成一座墻體，一直上升到屋頂頂端的天窗。一些建筑師，可能并非完全出于善意的稱哈迪德為“中庭女王”，但辛辛那堤當(dāng)代藝術(shù)中心的大廳所賦予的這一擬真視覺體驗可以與諸如約翰·波特曼以及艾里爾·沙里寧這樣中世紀大師的建筑典范相媲美，內(nèi)部景觀一樣瑰偉絕麗。而且對于藝術(shù)博物館而言，大廳是用來調(diào)和城市與白色立方畫廊之間兩相異的視覺體驗。

In today’s culture of the digitally distributed image, of feeds and boards and posts, Hadid’s inevitably photogenic and picturesque work sometimes collected the critique of looking too good, of putting appearance before substance.

And it is true that some of her visual compositions that seemed especially acute and concentrated in a miniaturized image may have become oblique and diffuse when compounded, in real life, by the fact of mere bigness. And, to be sure, Hadid attracted some patrons who were probably more interested in those high-profile effects than in the subtleties of which her buildings were also capable.

在當(dāng)今充斥著餐飲、廣告宣傳板和海報等各種數(shù)碼圖片的文化背景下，哈迪德那引人注目而且美如畫的設(shè)計作品有時不可避免地會招來批評，譬如看過去太精美，重外在而輕實用。確實她的視覺構(gòu)圖理念在比例縮小的圖紙中看起來尤其尖銳且較為集中，但當(dāng)藍圖變成真實的建筑時，加之其體積龐大，可能會顯得傾斜、彌散。不可否認地是，哈迪德吸引的投資者更看重她建筑的高調(diào)外觀所產(chǎn)生的沖擊效應(yīng)，而不只是建筑本身功能的精妙 。

But all the way back to the early nineteen-eighties, Hadid’s project was profoundly about the mutual reliance of perception and function. The breaks and bends in her buildings were not, unlike those of many of her contemporaries, the result of a self-referential geometrical exercise, a cryptic narrative, or a default setting in the aerospace and animation software that architects have increasingly adopted. Instead, her moves were attuned to an anticipated visual experience—something like the forced perspective of a raked theater stage or the optical illusion of anamorphosis. Hadid’s pictorial and painterly work was a meditation on the tension between sight and insight. A Hadid building visibly strives, like all of us, toward some image of itself.

但直接追溯到20世紀80年代早期，哈迪德的建筑言語對感觀與功能的相互依存性作出了深刻闡釋。她建筑里的一些突變與彎曲并不像她同一時期的許多建筑設(shè)計師那樣：自我指稱的幾何運用，模棱兩可的敘述，或是如今越來越多建筑師所使用的常規(guī)繪圖軟件（這些軟件也常用于航空和動畫設(shè)計）。取而代之的是，她的建筑追求預(yù)先的視覺體驗——比如傾斜的劇院臺階帶來的不自然透視感或失真的視覺幻象。哈迪德的畫作就是游走于外在與內(nèi)涵之間的沉思。像我們所有人一樣，哈迪德只是使用建筑這一可視化言語努力地追求美學(xué)本身。

One summer long ago, before I started architecture school, I went to pick up a friend of a friend at a London townhouse that proved to be, I learned along the way, where Hadid was living. It felt, especially to the grandiose kid that was me at the time, like one of those sublime serendipities in which big cities, with all their complexity and potential, specialize. That feeling is an urban vision—captured in Hadid’s paintings for the Peak Club—in which all the energies and geometries of a place, like an invisible roller coaster manifesting around you, sweep you up to a mountaintop. I waited for the friend of a friend in a low-lit anteroom, its curtains drawn. That room I remember as almost empty, but for a pair of monumental dark sofas of a kind I had never seen before, all angles and curves, sinister and dexterous, which I thrilled to deduce to be Hadid prototypes. Their shapes made you feel like they were ensorcelled living things that, as soon as you looked away, would come to life again. It was like being caged, for a moment, with tolerant wild animals. Then Hadid—inevitably, surprisingly—leaned into the room. Watching the sofas, I gave them some callow praise. “Well,” she said before withdrawing, flickering her fingertips at them in a brief sketch of appraisal, “we live with our experiments.”

很久以前的一個夏天，我在建筑學(xué)院上學(xué)之前，去倫敦的一處聯(lián)排別墅接一位朋友的朋友。一路上我才明白那便是哈迪德的住所。尤其對于當(dāng)時還有些乳臭未干的我而言，那感覺就像機緣巧合，意外的發(fā)現(xiàn)了藏在大城市中的瑰寶，是那么的復(fù)雜而又極具潛力。這是一種都市視覺體驗——哈迪德為“峰”俱樂部所作的油畫對此有所體現(xiàn)。畫里所有的能量與幾何圖組合在一起，就像一個無形的過山車在你周身呼嘯，將你推至山頂。我在前廳等著這位朋友，廳內(nèi)窗簾緊閉，燈光昏暗。猶記得那個房間幾乎是空的，除了有一組極黑的沙發(fā)，此前從未見過這般奇異的沙發(fā)。所有的轉(zhuǎn)角和曲線設(shè)計得都是如此的難以揣測而又行云流水，我興奮地猜測這一定是哈迪德建筑的原型。它們的形態(tài)極具魅惑、栩栩如生，你的視線一離開它們，它們好像就會復(fù)活一樣。這種感覺就像與溫馴的野獸共處一室。然后，哈迪德如意料之中而又充滿驚喜地側(cè)身走進房間，望著沙發(fā)，心底按捺不住對它稚嫩的溢美之詞。“不錯”她在離開之際，說道。她彈了彈指尖，簡單粗略地評價了下：“我們與我們的作品共生”。

外媒簡介

《紐約客》（The New Yorker），也譯作《紐約人》，是一份美國知識、文藝類的綜合雜志，內(nèi)容覆蓋新聞報道、文藝評論、散文、漫畫、詩歌、小說，以及紐約文化生活動向等。《紐約客》現(xiàn)由康得納斯出版公司出版?！都~約客》不是完全的新聞雜志，然而它對美國和國際政治、社會重大事件的深度報道是其特色之一。他一方面保持了輕松幽默的主題風(fēng)格，另一方面它也很快成為嚴肅新聞報道和文學(xué)創(chuàng)作的一處顯要出版窗口。

1.Prodigy ：天才；神童

E.g. He was always a Negro prodigy who played barbarously and wonderfully.

他始終是一個黑人的奇才，這種奇才彈奏起來粗野而驚人。

2. Stately ：宏大的；壯觀的；氣宇不凡的

E.g. We were much impressed by the general''s stately appearance.

這將軍堂皇的儀表時的我們印象深刻。

3. Alchemist ：煉金術(shù)士

E.g. The alchemist found that they were allergic to human hair.

煉金術(shù)士發(fā)現(xiàn)他們對人類的毛發(fā)過敏。

4. Anachronistic ：過時的；落伍的；不合時宜

E.g. But Mr Cameron''s stance is above all anachronistic.

但卡梅倫的立場首先是落伍的。

5. Pritzker Prize： 普利茲克獎

普利茲克獎是每年一次頒給建筑師個人的獎項，有建筑界的諾貝爾獎之稱。1979年由普利茲克家族的杰伊·普利茲克和他的妻子辛蒂發(fā)起，凱悅基金會所贊助的針對建筑師個人頒布的獎項。

6. Ecstasy ：陶醉；入迷

E.g. The touch of her hand had filled him with ecstasy .

摸一摸她的手都會使他欣喜若狂。

【擴展延伸】扎哈·哈迪德：

出生于伊拉克的英籍建筑師，于2004年獲得了建筑界的最高獎項：普利茲克獎，同時，她也是這個獎項的第一位女獲得者。她在這個世界上留下了許多的足跡，尤其在中國。在這片她認為 前景無限 的土地上，她創(chuàng)造了包括北京的望京SOHO，上海的凌空SOHO，廣州大劇院，成都當(dāng)代藝術(shù)中心，南京國際青年文化中心在內(nèi)的眾多建筑。其獨具個性的參數(shù)化建筑外表，也讓她獲得了”曲線女王“的美譽。

翻譯：鄧小雪 & 顏琪琳

校對：朱宵蕓 & 王丹培

策劃：楊靄琳

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