一九九六年，在我籌劃設立建築研究所的時候，為它的定位花了些腦筋。在一個以藝術創作為主要目標的藝術學院裡，特別是在研究院的層次，是不是應該設建築研究所？如果設，應該如何與各大學工學院或技術學院中的建築所區隔？ 工學院、技術學院，甚至設計學院中的建築系，是以作育職業建築師或工程師為目標的。台灣的建築教育已經自工學院主導的工程教育，發展到設計學院主導的設計教育，可以說已與國際的制度相當了。就此看，藝術學院實在沒有必要淌這個渾水，我為甚麼還要設立這個所呢？因為我覺得新時代的潮流，建築就要突破傳統職業的牢籠，成為藝術界一個重要的成員。建築藝術不等於建築；因為建築是設計，不是表現心靈的藝術。建築藝術在未來可以擺脫「安全、適用、美觀」的規範，成為一種有表現力的藝術形式。我在定位的問題上思索了一陣子，決定了這個方向，就把這個研究所的英文名稱寫為Building Art。
這是甚麼意思呢？不用Architecture這個有長久歷史的名稱，就是想擺脫傳統。Building是建築物，但用在這裡是建造的意思，所以中文原應稱為建造藝術才對。這是重新定義建築為一種以建造為手段的藝術。如同繪畫是繪或畫成的藝術，雕塑是雕或塑成的藝術。這是還給建築這種藝術以原來的面目。
把建築視為建造的藝術，隱含著的另一個意義是，我們作育的人才不是職業建築師，是建築藝術家。世上有很多建築師，忙著為世人建屋，建造藝術家也可以建屋，但他更有一種闡釋心靈的自由，他所做的也許不是建築，而是以建築空間為素材，以建築營造為手段所創造的藝術品。在世界上這種藝術品簡直是鳳毛麟角，少之又少的。
呂理煌先生是非常適合在這樣一個研究所任教的。他到校以後就要求建一個工廠，給學生實際建造的機會。當時學校的建築經費已經用光了，因為他要的不多，我就用一般設備的經費滿足他的需要。我不確知他有甚麼想法，我當時的感覺是，他要學生去建造，這已經踏出了第一步，不動手建造，如何體會建造的過程，創造建造的藝術呢？通過親手建造的過程，而不是通過紙面圖樣的設計，由工匠或營造商去完成，正是建造的藝術的本來面目。他把這樣的創造過程稱為「建築繁殖場」。我不知道這個名詞的來源，但卻覺得是極富啟發性的名稱。建築向來被視為靜態的與完成的型態，一切繁複的過程不過是得到最後形式的手段。一旦完成，過程就消失了。可是以「繁殖」為名，予人以強烈的生命在不斷尋求表現的感覺，是生命赤裸裸的呈現。因此在台南藝術學院的一角，他帶著學生，用自己的手把空間的想像力建造出來。這群學生各有心靈的天地，他們共同經營這個工廠掩體內的空間，各展所長，使這件作品成為心靈交會的場所。
繁殖，英文為Interbreeding，有雜交的意思，是大自然演化過程中的重要的手段，它可促使新品種產生。其意義比單純的細胞分裂式的繁殖還要有生命力。可是這樣的建築如何使用？如何通過法規的檢驗？如何與一般建築並列？答案都是不能，因為它是一件藝術品。
呂教授自己對「繁殖」的解釋，是把它解析為易殖與拓殖。易殖是生命進入一個新的環境，拓殖是生命擴展其生存環境。我認為這只是生命繁殖的必然發展。具有強大生命力的生物，快速繁殖，而不得不爭取新的生存空間，因此無孔不入，不斷的面對新環境適應與自身調整的問題。他把繁殖的觀念反映在環境的締造上，確實是非常有深意的建造藝術的空間論述。
這樣的藝術與目前流行於街頭的公共藝術有何不同？它在本質上是建築物，是為人生活而建的構造物。這使我們回到原始時代，想像人類在樹上築巢的動機。也許那就是人類建築心靈的第一顆種子。他們為了生存而不斷的搭建，就是這顆種子的繁殖。築巢的方式要因樹而變，因此在生存之條件外，多了些遊戲的趣味，建造的藝術就自然產生了。
我很高興看到呂教授在台南的這幾年，帶領一群年經人開拓這樣一個有趣的，發自內心的藝術天地。在非常功利的建築職業界，這是一股清流。我相信回歸本來面目的建築教育方式，對年輕人反省生命的能力必然有極大的啟發。建築人沒有思想與匠人何異？因此我很高興看到，在建築的繁殖場，呂教授帶領出幾代的富於創意的年輕人，投身在空間構造的體驗中，產生很多新的觀念。他們都是能學、能想又能做的人。我樂於看到南藝成為建築思想觀念繁殖的搖籃。 |
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When I was preparing the establishment of the Graduate Institute of Architecture in 1996, I racked my brains to figure out its position. Should we establish a Graduate Institute of Architecture in an arts school set for artistic creations, especially at the level of its graduate schools? And if it was to be established, how would it differentiate itself from other graduate schools of architecture or Colleges of Engineering in institutes of technology?
Institutes of technology, colleges of technology, or departments of architecture in colleges of design, aim to provide vocational training and nurture engineers. In keeping with the international trend, architectural education in Taiwan has shifted from the engineering education headed by colleges of engineering, to design education led by colleges of design. From this viewpoint, it was not necessary for the Tainan National College of the Arts to follow in the steps of others. Yet, why was I determined to set up this Graduate Institute of Architecture? I feel that to play a crucial part in the world of art, architecture must break through the cage of traditional professionalism and follow the currents of our new age. The art of architecture does not necessarily equal architecture. Architecture is about design, not the art of spiritual expression. In the future, the art of architecture can emancipate from its traditional principle of "Firmness, Commodity and Delight? to become a powerful form of art expression. I pondered on the position of the Institute for quite a while and finally decided on this direction, selecting "Building Art" as the institute's English name.
What does this mean? The reason for me not to use the term "architecture" is my effort to try to break away from tradition. "Building" as a noun is a concrete construction, but in this context it means "to build" and redefines architecture as a means of construction used to achieve artistic expression, similar to painting and sculpture. Through this redefinition the true colors of architecture as an art form are restored.
Regarding architecture as a building art also means that the talents we educate and train are not professional architects, but building artists. Many architects in the world are busy building houses for people. A building artist also builds houses, however, he or she has the freedom of expressing his or her own mind. The work he or she makes perhaps is not a building, but he or she uses the building space as material and constructional techniques as means to create a piece of art. In our present world such artworks are rarities.
Mr. Lu is a perfect candidate to teach in an institute like this. When he arrived at the school, he asked us to build him a factory to provide students with practical training in construction. At that time, we had no funding for such construction anymore. Since he did not ask for much money, I appropriated equipment funding to satisfy his needs. I was not sure what he had in mind, but my feeling at that time was that his idea of including the students in the building process was the initial step. If the students were not involved in construction, how could they experience the building process and the art of creating buildings? Instead of designing on the drawing board and then have them finished by workers or building contractors, he solicited the students?personal involvement in the constructing process, which is exactly what building art is all about.
Mr. Lu named this constructive process the Interbreeding Field. I am not sure where the term comes from, but I think it is an inspiring designation. For a long time architecture has been deemed a silent and finished form in which all complicated processes are simply a means to get the ultimate facade. Once it is finished, the process disappears. However, in the name "interbreeding" we can sense a vital energy seeking for artistic expression, a representation of a life journey. In one corner of the College Mr. Lu led his students to build up the building space they imagined using their own hands. Each student had his or her own spiritual hinterland, but they have worked together to cultivate the space inside the factory to express themselves the best they could. This piece of art has become the convergence of their spirituality.
"Interbreeding" in English means "hybrid" a vital means of reproduction in the natural evolution to promote the birth of new species. The life force of interbreeding is much stronger than cleavage. But how can we utilize this kind of architecture? How can it pass the inspection of safety regulations? How does it juxtapose with general buildings? The answer is that it cannot, because it is a piece of art.
Professor Lu has his own interpretation about reproduction, which he himself translated as "nterbreeding" and "colonizing"."interbreeding" refers to a life form entering a new environment, whereas "nterfering" refers to organisms developing their own living environment. I think this is an inevitable development for the reproduction of life. Organisms with strong life forces reproduce themselves quickly, so they have to fight for new space in order to survive. They are everywhere, and they need to constantly adjust to the new environment and try to fit in. Professor Lu applied the concept of reproduction to the making of the environment, which is truly a philosophical spatial discourse of the building art.
What is the difference between this form of artistic expression and the public art that is popular on the street? In essence it is a building, a construction made for people to live in. Let us go back to the early period of human civilization and imagine what motives humans could have had to build nests in trees. Perhaps that is the first seed of human building spirituality. They constantly built shelters in order to survive and reproduce their seed. The pattern of nesting was altered to fit in trees, adding the fun of spiel to their survival conditions, and thus building art was born.
I'm delighted to see that Professor Lu has spent years in Tainan to bring a group of young people to develop this interesting artistic field that comes straight from the heart. It is something fresh in the utilitarian world of professional architects. I believe that returning the true meaning of architecture education will greatly inspire young people's ability for introspection. An architect who doesn't think is simply an artificer. In the Interbreeding Field Professor Lu leads generations of creative young people to dedicate themselves to experiencing spatial building and coming up with many new ideas. They are all willing to learn, think and practice. It is my pleasure to see that the Tainan National College of the Arts has become a cradle nurturing architecture philosophy and concepts.
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