20 10 Architect: Paper Description of Post-New Dada Architecture

Abstract: American novelist Norman. Mailer's masterpiece The Naked and the Dead juxtaposes the naked and fragile with the fearless and heroic dead to explore the loss and establishment of human nature in a war. If Mailer completed his thesis description of the bloody and cruel World War II with adjectives * and death, then I will continue (or borrow) Mailer's double discussion philosophy here and briefly summarize the post-New Dadaism architecture; At the same time, it is also the memory of an era.

Keywords: architectural design, classical architecture, modern architecture

* Lu: The zero-degree classical architecture of the building has always been full of metaphors, allusions and myths and legends. The builders deliberately pursued the symbolic meaning of the stone. On the wall, they almost stubbornly and tirelessly carved mythical figures and complex patterns, sometimes with some gorgeous decorations. Modernist revolutionaries hate this, and their slogan against decoration is: less is more. The revolutionaries stripped the beautiful clothes on the building and exposed them. Its skin is smooth or rough, but it is true and should be praised in their view.

1958 Paris on April 28th is destined to pay tribute and cheer to a bold and avant-garde artist. When the existentialist master Albert. Camus visited Yves, the leader of New Dadaism. Yves klein is in Ellis. After the exhibition of experimental devices in Claire Gallery: "Empty Exhibition", he conveniently wrote a famous saying that he would read for some time in the future: "Only its emptiness is the most powerful." This Zen-style poem is used to comment on Klein's "nothing". His installation art is not so much a creation as an extreme exposure, dissolution and demolition. All the furniture in an exhibition hall was removed and the walls were painted with white paint. Thousands of viewers can't see anything except inner silence and inexplicable emptiness.

Klein's exhibition embodies Roland. Barthes' assertion in Zero Degree Writing: "Blank writing" is a kind of neutral and straightforward writing, which is shocking because it only presents without judgment and summary. The word "blank" means openness, silence and reservation. Open the hidden beauty and let the public space reappear in front of people; Silence is "a homogeneous poetic time", "a light" and "a vacuum" (writing and silence). Its task is to add the coordinates of time to the dimension of space, so that the space is not only "empty", but also silent and can listen to the passage of time. Finally, stay open and stay in the world for a period of time, keeping it unnecessary or unable to move forward or backward. Just like a refrigerator, it keeps fresh at low temperature. Its purpose is that food can be eaten the next day or longer.

The architects after Klein all followed the guidance of their former teachers, and their works without exception retained the inheritance of "blank writing". No matter toyo ito, Mishima Kazuo, Herzog, or Zhang Yonghe, Dong Yugan, Wang Shu and other China architects, they all show their fascination with the words "bright, clean, empty and even". In their eyes, the ultimate meaning of building a house or office building is to think about the building itself, and the criterion for judging whether an architect is excellent is whether he can dig out more in the concrete implementation of the term building. Therefore, I name this group of architects with the same or similar interests after Klein as "Post-New Dada".

Toyo ito's masterpiece The Silver House (Tokyo, 1982- 1984. This work won the Japanese Architectural Society Award 1986) and is a typical Klein-style work. The arched ceiling can be opened and closed, allowing air and light to enter freely. Even if it is turned off, the transparent material can't block the sunlight. The whole building is like a dream, and it is the residence of the future world. The interior of the hut is completely painted white, which is strikingly similar to Klein's practice. As can be seen from the topic of "silver hut", the author tried to take silver as the most striking feature of the building, and he did it. Silver has expanded the open space. In essence, white is synonymous with true colors and dew. With the passage of indoor time, the light will change. On the roof, the lights kept reflecting and flashing, as if to announce its identity to the onlookers-a hazy, translucent and dazzling evening dress. Once the light enters the main body of the building unimpeded, onlookers can easily witness the indoor activities. Of course, the premise is that you must be in the air (because there are walls blocking the line of sight from a normal angle). This also shows that for indoor residents, transparent and exposed materials are not in danger of losing privacy. On the contrary, it is the external space that contributes wealth to the residents-sunshine and air. In other words, the blank is its own opening to the "silver hut", and it is also a trap that the external space falls into, and the building itself has not paid. Another of his extreme works, Architecture Wrapped with Wind (1986), can be regarded as the result of the author's abstraction of the "Silver House" and a reaction to it. This time, toyo ito wrapped the furniture in a huge cloth, and the wind (air) could no longer be continuously supplied from the outside, but was confined inside the wall variant (cloth). As a result, the wind, which is invisible and intangible, has a relatively three-dimensional shape-that is, the shape of cloth. Soft cloth can be changed into various shapes, which breaks the closed business monopolized by concrete walls and begins to establish a temporary enclosure space of yurt type. Obviously, cloth, a lightweight material, can only define a vague range, but can't determine an area. It's just a simple cover, and it's the acme of arc ceiling. The house built for the air shows us the unique cold temperament of toyo ito. Everything in the building itself is static, but when the external conditions change (such as the direction of light and the direction of wind), the building may be in a changing state. Therefore, he is designing this building with an ancient philosophy of "keeping constant while changing". At the same time, his works always show femininity and lightness after losing weight. Small concrete columns, curved ceilings and charming fabrics are filled with warmth, lightness and elegance.

His disciple Kazuyo Sejima was deeply influenced by the teacher, and the concept of * Lu was further transformed into the establishment of pure illusion here. Sister island and the world confuse doors and cabinets, and have a special fascination with human vision. When these door boxes hanging on the wall are opened, the external scenery will be displayed as indoor movies, so the doors also have the function of windows; When they are closed, a stranger here is likely to get lost in the empty circular corridor because he can't find the door to go out and enter. The sister island and the world's "forest villa" (1992) are the perfect combination of emptiness and illusion. She can always successfully externalize the furniture such as desks, wardrobes and beds into the building itself. This process is very shocking, which not only produces ambiguous visual effects, but also makes a person who opens the door expose the building himself, because before that, it was static and closed. After that, Sister Dao continued to deepen the concept of * dew. "Clifford County Apartment" (1994) completely exposes public transportation (external stairs) to public view, while the multimedia studio designed in Oogaki (1995- 1996) does the opposite, burying the main building underground, leaving only the curved upturned roof on the ground. On the one hand, due to the sinking of the building, the sight of tourists will not be blocked, that is to say, the buildings and scenery hidden behind the studio have been deliberately betrayed; On the other hand, the multimedia studio itself is a "negative exposure", that is, its concealment is a reaction to the appearance, and of course it also strengthens its own attention. From this work, Sister Island finally completed her understanding of space-being exposed in an empty space. Although it is also in Japan, it is still an adventure to put the architect Tadao Ando under the name of "Post-New Dada". However, if we compare the genetics of "blank words" with Ando's "Children" (architectural works), we can easily find that the fear of "adventure" is actually unnecessary. In Ando's works, it may be more the inheritance and development of the architectural spirit of the modernist master Corbusier. Plain (clear water) concrete and the way to open windows on the wall can be found in the Langxiang Church in Corbusier. For these two architects, who also grew up as carpenters, their interests have a lot in common, such as their enthusiasm for fair-faced concrete, their mastery of geometric shapes and, of course, the most important thing is the treatment of space. The church of light (1987- 1988) directly opened a cross-shaped window on the wall, which caused a shocking effect in the dark. This work reminds us of the design essence of Corbusier in his later years. The holy light shines from the front of the prayer, as if it were exposed from the wall, just like God's hand splitting a complete concrete into a cross. Just like the miracle of God's live performance, it is also like the wind that makes people cry on their faces. The water bath hall (1988- 1993) of the Benfu Temple in Yanzhen Pai is a "negative exposure" building similar to the sister island and the world multimedia studio. As a Japanese tantric temple, Ando completely abandoned the traditional big roof for the first time and replaced it with metaphysical philosophical thinking. Lotus, which has always been valued by Buddhism, stands out as a symbol of the Water Palace. The temple is placed under the pool (at the same time under the elevation of the terrace), and the pool is full of lotus flowers, which is a sacred and mysterious spiritual place. Unlike Mao Yigang, another Japanese architect obsessed with Datura, Tadao Ando is always very quiet, more like a Zen wise man than a tantric King Kong. The significance of Shuiyutang's dew is not only a formal innovation, but also an illusory and mysterious Tantric altar, which was cleverly designed by Ando and appeared in an extraordinary and vivid situation, which greatly surprised Tantric believers. Obviously, it is the zero-degree water that makes their hearts tremble. When Ando asked tourists to stand high, they couldn't see anything and could do nothing but sigh at a mirror-like pool of water. However, almost all Buddhists who come to pay homage claim that they have never felt the call of the Buddha so strongly, which may just be the architectural implication and embodiment of dew, a mysterious Buddhist doctrine.

Openness is an extreme exposure, while the other extreme was created by Italian architect piano and British architect Rogers. Their cooperation project was completed by the famous Pompidou Art and Culture Center in Paris (1972- 1977). Pompidou Art and Culture Center, which has been reviled by public opinion, has unreservedly hit the bones (independent structural frame), stomach (oversized glass window) and intestines (metal tube) on the retina of pilgrims. These strange experiences frightened the audience who first came into contact with this monster. They think this is a desecration of beautiful Paris, so they strongly demand that it be demolished. It is puzzling that people are impulsive and obedient. Soon, they didn't have any opinions on the organs exposed by Pompidou Art and Culture Center. On the contrary, they are even afraid of losing it, the symbol of new Paris. If "Pompidou" is regarded as further exposure, then the historical narrative of another kind of architecture will gradually become clear: a modern architectural history is the history of architecture. From miss. Truck. Dro's homogeneous space and the experiment of demolishing buildings went to avant-garde artist Mike. Emgreen ingmar Derlager Side's performance art named Occupy (Breaking the Wall) has never stopped the liberation movement of architecture. "Pompidou" was renamed and renovated, and the non-functional decoration was endowed with functional significance (pipes actually work, such as blue air conditioning equipment pipes and green water supply pipes. ). At the same time, decoration is the externalization of the internal secret space, which is an extreme exposure that runs counter to toyo ito. It is famous for its complex structure and dazzling facade impact, but we also found Roland in it. The "zero degree" defined by Barthes-the cold mechanical appearance. Barthes believes that there is "any changeable layout, and the basic ambiguity of this layout is that change must get the image it wants from what it wants to destroy." (Utopia of speech activities) "Pompidou" is such a huge exhibition hall of meta-architecture, which only speaks to its own body, but not to the current social reality. Like a myth, it stands deep in the memory of Paris citizens, exaggerating its mechanical charm and making people all over the world flock to it.

Nirvana: the thrill of death1June 6, 962, Yves was only 34 years old. Klein eventually died in Paris because of several heart attacks. In fact, if the heart disease didn't kill him, his own radical experiment wouldn't let him stay in this world for a few more days. 1On October 27th, a daily newspaper named Sunday published Harry. On Monday's photography "People in Space! The space painter threw himself into the void! The protagonist in the work is Klein, who jumps into the air from the second floor of a house at all costs, trying to hide his inner fear and making a gesture of flying happily. This experiment is related to drug addicts: temporary excitement and the pain of falling into hell. It can be said that Klein has a nihilistic attitude towards death, as he said when painting the human body: "I don't care about the shape of the human body, its lines and the color between life and death." "What he cares about is the concepts of lightness, emptiness and emptiness. These concepts can only be put into physical practice, and it is to pin my happiness on an air world with nowhere to land. At the same time, the meaning of Zen is getting stronger and stronger in Klein's works.

Another group of equally radical architects found their favorite cultural feelings from Klein's art warehouse. Mao, Leeb. The works of Woods, Khazhak and Abraham can all be called religious lyricism. They are architects, poets and painters. These idealists' hobbies are strong identification with each other. They never seem to expect too much from their life in this world, but they show their willingness to get involved in a free and real sky and a territory where they can imagine flying. If the obligation of * is to build a new value system based on self-opening for a society lacking authority, then the right of the deceased is to break the inherent power base, replace the simple and casual lazy atmosphere with a utopian revolution full of ecstasy, and provide possible space and place for later writers.

On September 2nd, 20001,Japanese experimental architect Kiko Mozuna died of liver disease at the age of 60. But I noticed that the photos in the obituary were still smiling (even with a kind of lightness and serenity like final conversion), as if death was also happy, and it was beyond death: nirvana. Following the famous work Anti-Life Device (1972), Mao Gang started another attempt of "Post-New Dada Architecture", and his later work series "Datura Series" was full of unforgettable strangeness. Sanskrit transliteration of mandala Buddhism in Tancheng. "Datura" originally refers to the Buddhist portrait on the platform, but it is gradually symbolized and becomes a practice place for tantric practitioners. Japanese tantric Buddhism divides Datura into thirteen small parts according to King Kong Ding Jing, and each part is made up of the instruments held by the gods and the seeds of the gods (because the meaning of Datura is too difficult and complicated, I won't discuss it here, please refer to Jinsong tantric and other tantric classics).

On the basis of the Tantric tradition, Mao Gang redraws the model of the universe in his mind-a grand system including four elements (earth, water, fire and wind), which together constitute the architect's soul field. It is with this seemingly impossible paper architectural manifesto that Mao Gang provides a habitat for itself and everyone's spirit. So whether it can be built in the end has nothing to do with the overall situation. What is important is that the Buddhist paradise described by Mao Gang is a poetic secret space. It makes homeless modern people see the fireworks on the other side from despair-the spiritual destination, so death is no longer terrible, but transformed into happy nirvana (as claimed by Buddhist teachings). Mao Gang's heart is full of frustration and despair about the present situation of human beings, so he has to settle for second best and turn to the unspeakable transcendental world. For a designer, what he faces is not a group of wealthy investors, but the weak who can't control their own destiny. Their values are based on the established customs preset by the rich, that is to say, from the beginning, their tragic ending is to face the pressure of survival as painful as death. Mao Gang realized that architecture was becoming more and more alienated into the grave of the rich, so he decided to quit and fight for the dignity of architecture all his life. His famous work "Anti-Dwelling Houses" (also known as "Mother's House") is a private residence built for his mother, and the non-utility of the building has been fully revealed. Mao Gang believes that architecture can't give up the elitist position and become melodramatic and pseudo-poetic. It must be based on the burning of passion, such as nirvana in fire, and flowers will rise from the quagmire of suffering. It must go out of the land of materialistic desires and continue to play the role of the watcher of spiritual home.

The leader of architectural utopia. The paper design of Mao Gang's early Tomb of Einstein (1980) expressed similar philosophical thinking. The tomb was mysteriously placed in the universe, and Woods tried to superimpose the universe schema of Einstein's theory of relativity with the ancient universe schema, thus reviving the ancient universe in Einstein's theory. Woods imagined a beam of light starting from Einstein's Tomb and traveling several light years back to the starting point. This cycle is obviously covered with the cloak of Buddhist reincarnation. Repetition and circulation cancel linear development and ensure the impossibility of death, because everything must turn around and start its journey again. Moving the cemetery into space to make it look like a space station may be not only because Einstein was an outstanding physicist and a staunch supporter of time travel, but also because the time seems to have stopped in the cemetery in vacuum and the building floats weightlessly in the universe. It seems to be out of the earth, not belonging to this world, but another kind of static flight on the other side of the world. Woods has always maintained the belief that "when we are faced with new, strange and unfamiliar things, we will feel shocked, surprised and uneasy." Because of the fanatical pursuit of utopian free space, he always looks at the soaring sky and the eternal underground unrealistically. In Paris in the Air (1988), he built the whole Paris to the top of the Eiffel Tower without considering the difficulty of realization. They relied on a false magnetic levitation force in the air to keep flying like a big bird. They even sway with the wind, but there is no danger of falling. This is in line with Klein's experiment of jumping from upstairs. In a sense, Woods got almost divine inspiration from Klein.

If the other side is a perfect kingdom coming out of suffering, then the real world is much uglier. Post-neo-Dadaism architects are under strong external pressure, which finally inspires their will to resist. For them, only by destroying the norms, rituals, prejudices and customs of the central world, even corrupt buildings, can they gain real freedom. Thus, the concept of "ruins" came into being. What is a "ruin"? Ruins are the death of buildings, the return of buildings to their original shape, and the exhaustion and decline of entities. The Ruins by architect T Mellon (1980) is the most direct visual interpreter of this proposition. The Langxiang Church in the picture has been ruined, and its charming roof has been fatally hit, with the bricks peeling off and the steel skeleton exposed. Langxiang Church is undoubtedly a masterpiece of architecture, but the problem is that Corbusier exiled a perfect church in a land that lost its spiritual dimension and was polluted by sin, which is ridiculous. Therefore, Mellon's approach is to destroy it and let the church return to the place where it should go-heaven, a warm and balanced living space. Of course, such destruction cannot be suffering, on the contrary, it is a strong resistance to suffering; As a result, dead buildings produce pleasure. In terms of spiritual quality, architecture plays the role of savior, which can expand the fragile poetry in daily life into illusory and unfamiliar scenes, thus supporting people's more fragile psychological axis.

The relationship between architects and religion seems to be inseparable. From the acoustic design of Christian churches in classical times to the erratic and dazzling performance elements in post-Neo-Dadaism architecture, as long as we pay a little attention (even inadvertently browse), we will be moved by those fantastic or eccentric buildings (some are more accurately paintings). Post-neo-Dadaism architects are pure idealists, whose job is to rebuild miracles, beliefs and longing for the unknown world in an increasingly flashy and secular world.

It is a thankless thing to describe the post-New Dada architecture. Obscure, unconstrained imagination and religious piety may be the driving force for most architects born after 1940. Although they did not form a small art group, they worked together to re-create the architectural language order and made remarkable achievements.

When I tried to put Yves, the leader of the new Dadaism. When Klein (who had an important influence on the later avant-garde art) was the spiritual pillar of the post-New Dada, I found that I got a direct cut-in angle. This great and talented master of art opened a new era. His exploration of human beings and deep understanding of human situation deeply influenced the latecomers, and their every move was closely related to Klein. I can't find a shorter phrase to define this group. Now this sentence may be suspected of being unconventional, but it is very sharp. This left the architect no choice, but it also stung me. Did it hurt you? -physics "* and the dead".