王澍:谈谈享受建筑背后的文化和生活
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王澍最近很忙，按他的说法，这叫“连轴转”。
虽然已经召开过媒体见面会，但依然有许许多多登门造访者：或是带着敬仰、佩服的心情要求采访；或是邀请他参加各种各样的公众活动――这显然打乱了一向低调惯了的王澍的生活。性格平易亲和的他，面对抱着善意的访客，自然放不下面子婉拒。如今，他的为人、他的生平、他的艺术价值观，也与获得“普利兹克奖”的名气一样，被越来越多的人所熟识。
其实，早在三年前，我就采访过王澍，当时他是杭州南宋御街中山路的设计者之一。采访过程中，王澍儒雅的谈吐和不凡的见解很让人折服。今天，很多人对王澍获得普利兹克奖感到意外，因为作为建筑界的“奥斯卡奖”，普利兹克奖每年只有一人获奖，设立至今，除了美籍建筑大师贝聿铭之外，此前尚没有其他华人获得此项殊荣。但我听说王澍折桂之后，心里却没有多大的波澜――他那些过人的才华，注定会有一天放射光彩。
谈生平：厚积之后是薄发
易卜生有部名剧叫《建筑大师》，讲一名天才建筑家面对中年危机的故事；今天的王澍和剧中的主人公索尔尼斯年龄相当，可非但没有“危机”，反而因今年二月末折桂国际建筑最高奖“普利兹克奖”，在不经意间推向了艺术的高峰。
在绵绵细雨中，我走进了中国美术学院象山校区，抬头就见王澍教授设计的教学楼:屋檐、高墙、长廊、合院、木窗、瓦顶……如此特别，又这样自然。
细雨如丝，远山如黛，在象山校区，对着正门口，有一块红底白字的醒目牌子，上面写着:“热烈庆祝王澍教授荣获2012年普利兹克建筑奖。”
确实，这片校园承载了王澍大量的心血、智慧以及荣誉。虽然校园设计建造过程中遇到了不少阻力，但识才的伯乐、中国美院院长许江一直给予王澍最大程度的支持。正如许江写给王澍的那首淡然、充满中国韵味和对中国建筑希冀的诗作里所写的那样：“那是一簇刚直的点墨/从大汉盛唐的汤汤长河/蕴入木入化入神的笔力/缀带气带韵带魂的琢磨/层层浸染/这如雨春光/如蓝墨色。”
在这样充满诗情画意的江南春色里，王澍谈起了他的生平。
1963年，王澍生于新疆，1988年从南京工学院（现东南大学）建筑系硕士毕业后，到当时的浙江美术学院（现中国美术学院）从事旧楼改造及相关研究。
简单的求学经历之后，就是漫长的蛰伏。1990年到2000年，王澍几乎没有进行任何建筑设计工作，而是一直与工匠们在一起体验“真实的建造”。王澍称这段岁月为“无用的岁月”，而同行更喜欢把这段时光称为王澍的“隐居岁月”，对于一个建筑师来说，十年时光就这样“荒废”了，实在是大大的浪费。可是，王澍却用一个关于弗洛伊德的故事来说明自己的态度：“这位毕生释梦的伟大医生的工作方式，是在一段漫长时间内对一位患者做不懈的对话与追踪，所以他一生看过的病人寥寥无几，他最亲近的朋友也难以理解：为什么不多看几个？弗洛伊德的回答是：每个病人在我看来都是如此重要，那是一个不容轻易对待的个人。”王澍说，弗洛伊德的这句话让他感触良深，也决定了他的建筑设计无法多产。
直到2000年，蛰伏多年的王澍完成了他第一件主要作品――苏州大学文正学院图书馆，开始用自己的设计表现“让建筑自然地存在于山水之间”的独特思考。
之后，王澍的优秀作品一个接一个，宁波美术馆、五散房、威尼斯建筑展上六万片废弃青瓦组成的“瓦园”、世博会唯一的乡村案例馆宁波滕头馆、获第十二届威尼斯建筑双年展特别荣誉奖的“衰变的穹顶”等等。
随之而来的荣誉也一项接着一项。法国建筑学院金奖、德国谢林建筑实践大奖以及刚刚颁发的普利兹克建筑奖，他都是获奖者中的“第一个中国人”。
中国美院象山校区是他真正引起国际建筑界关注的项目。他脚踩泥水从各地的拆房现场收集了700多万块不同年代的旧砖瓦，搭建起中国美术学院象山校区“漫山遍野”的建筑群，让学生们在油菜花中读书、散步。他甚至想，有一天，教授们可以骑着牛，从山坡上悠悠地走向教室。
和王澍的其他设计一样，中国美院象山校区的设计也遵循王澍执着的“让建筑自然地存在于山水之间”这一理念，他说：“我是从艺术的角度来看材料的问题。比如古董，中国人会对那种使用过的痕迹有着特殊的感情，比如包浆所具有的那种特古朴的视觉。”他又说：“而新的物件所散发出来的那种光亮则是完全不同的。现在中国有很多建筑被拆除，而那些废旧的材料经过重新使用，会找回原来的尊严，散发出复活的光辉。”
谈文化：建筑师之外是文人
作为专业建筑师，王澍为自己的工作室取名为“业余建筑工作室”。他对“业余”的解读是：“一个人因为兴趣而从事某项研究、运动或者行为，而不是因为物质利益和专业因素。”
“建筑师是业余的，那什么才是您的‘专业’呢？”
王澍并未直接回答我抛给他的问题，而是侃侃而谈他的文化理念。从他的言谈里，我找到了答案――一个“专业”的文人。
有人说他是“中国最具人文气质的建筑家”。他喜欢箫管，擅长书法和山水画，喜欢和朋友“谈论石涛，追思徐渭，菲薄毕加索，赞赏杜尚”。他会对着一张老照片而潸然泪下，照片上是1900年的北京城俯瞰；在同行纷纷到欧美镀金时，他只沉浸于自己的隐居世界，和工人一起亲手筑房子。
如今已过知天命之年，生活趋于安定和足裕，对王澍来说，赏山水画、品龙井茶、携妻游园成了生活中必不可少的一部分；他对苏州园林百看不厌，熟到可以默背的地步；他最推崇的建筑学家是童先生，童先生是中国近代造园理论研究的开拓者，他总是饱含深情地写到童先生如何如何，并常常提到“园林”二字，把中国古代“造园”的手法和方式融入现代建筑是他一直专注的事情；他说，自己最想成为宋代的建筑师，因为在当代中国做建筑，诱惑太多，而设计师不能把建筑当生意；他至今仍用铅笔画图纸，在别人都用电脑绘图的今天，他的做法显得“老土”，但他说，他不喜欢电脑软件里那种光溜溜的线条，不够敏感，也不够锐利，画不出质感。
正是受这种清平雅正的文人情怀影响，王澍的设计从不追求“高、大、全”，为了一个不足100平方米的东西，愿意花费半年、一年，甚至更长的时间去斟酌。
如普利兹克奖评委亚历桑德罗・阿拉维纳对王澍及其作品的评价：“王澍的建筑或许是才智双全的结果。才智双全让他能够在社会需要纪念碑式建筑的时候创作出杰作，在不追求纪念性的时候依然有谨慎而平静的作品。他创作的激情也许是因为他比较年轻，但他精准的手法证明了他具有超人的成熟。以宁波历史博物馆为例：这是一件多么有力，多么震撼人心的作品！它称得上是一个杰作。你甚至不需要去参观它，就能被它所打动。被建筑所打动，这在建筑领域里是非常罕见的，因为那种影响更多的属于音乐或者电影领域。”
谈家人：一半的奖励属妻子
在知悉获得“普利兹克建筑奖”时，王澍向美国媒体表示：“你们是不是颁错了，应该颁给我和我太太两人。”并说：“普利兹克奖是有这段公案的，美国建筑师文丘里获奖的时候，未将奖项同时颁给他夫人。文丘里做设计，他夫人是一位理论家，实际上对他有巨大的影响，当年就犯过一次错误，今年又犯了一次。在我们工作室，如果没有我，就没有这些方案；但如果没有她，这些方案也不可能变成现实，她就起这个作用。”
这话让人大吃一惊，他的妻子，何许人也？
有人告诉我，王澍的夫妻感情很好，当年“他曾在晨曦初露的校园，用大棉袄裹上一捧石榴花献给喜欢的女孩。”女孩名叫陆文宇，后来成了他的妻子和事业搭档。
陆文宇是他的同学，也是他的“业余建筑工作室”唯一的合伙人。建筑工作室所有涉及设计的工作，都是靠陆文宇。业内流传一个段子：说王澍画了设计草图常常激动地拿给学生们看，可是还没看几眼，他就要收起来交给陆老师藏好……
“我和太太在工作上的分工，就是如果没有我，就不会有那些设计图；而如果没有我太太，所有的设计就不会实现。”王澍这样解释，“我每次画完草图，她都是第一个看的人，如果她觉得不好，我会重画。我太太身上温润的性格，实际上对我现在设计的风格影响非常大，某种程度上说，她是我的老师。”
陆文宇曾问王澍：“为什么在你造的房子里总有一种气氛，让人说不清楚？”王澍的答案是：“那个人类观察者正隐匿在建筑看似客观的砖石梁柱间。”言毕，两人相对一笑，琴瑟协调，就在不言不语中延展。
王澍说，结婚这么多年来，他从来都没有给妻子买过什么礼物，但普利兹克奖，一定是给妻子最好的礼物。妻子是他工作和精神上最好的支柱，他们共同致力于实验中国悠久灿烂的建筑传统在现代中国的延展和创新，将建筑作为环境的一部分来看待，重读山水之所，重审建筑与中国园林在现代的意义。
Master Architect Wins International Honor
By Xiao Qi
Wang Shu has been busy since the late February 2012 when he was announced the winner of prestigious Pritzker architecture prize, seen as the Nobel Prize for architecture.
The 49-year-old architect is head of the architecture department of the China Academy of Art in Hangzhou, the capital city of east-ern China’s coastal Zhejiang Province. He is the first Chinese citi-zen to win the prize (I.M. Pei, an American, was the first Chinese-born architect to win in 1993).
Wang Shu now is very busy. He jokes that he is as busy as a spin-ning wheel. Though there has been a press conference that briefed the media on him, journalists have been trying to interview him and organizations have been trying to invite him to attend all kinds of events. The fame has aroused people’s interest in him and disturbed his low-profile laidback lifestyle. A man of even temperament, he has not yet learned how to say no to interview requests.
I had interviewed him three years before when he was one of the designers of Zhongshan Road in downtown Hangzhou, a refurbish-ment project launched to restore the avenue to its historical glory as a royal thoroughfare when Hangzhou was home to the royal house of the Southern Song Dynasty (1127-1279). During that interview, I was deeply impressed by the insights he offered and the cultured way he talked. Many people are surprised by Wang’s win of the prestigious prize. Upon learning the big news, I was not surprised. I was convinced that it is only a matter of time that brilliant talents shine. Wang Shu is one of such brilliant talents.
Unlike Halvard Solness, the master builder who experiences a mid-age crisis in the namesake drama by Norwegian playwright Henrik Ibsen, Wang in his late 40s has never had time to experience mid-age crises. The prize is a proof of his architectural accomplish-ment.
The other day, I went to the Xiangshan Cam-pus of the China Academy of Art in a suburb of Hangzhou for an interview with Wang Shu. The rainy April day offered me a special insight into the beauty of the campus he masterminded. Near the gate of the campus stood a signboard featuring white characters on a red background saying “Heart-felt congratulations to Professor Wang Shu on his winning 2012 Pritzker Prize for Architecture.”
Wang’s masterpiece on the campus now is recognized a landmark, but the original blueprint gave rise to some heated disputes. Fortunately, Xu Jiang, the president of the China Academy of Art, sided with the architect. This is how his dream translated into reality.
Born in 1963 in Xinjiang in northwestern China, Wang graduated as a major of architecture from Nanjing Institute of Technology (the pred-ecessor of today’s Southeast University) in 1988 with a master’s degree. He came to study old building refurbishing at Zhejiang Academy of Fine Arts, the pred-ecessor of today’s China Academy of Art. The most of the last dec-ade of the 20th century saw him spend time working with craftsmen to gain building experience while many of his former classmates went abroad for further studies. Wang did not do any substantial ar-chitectural design during this period. He now jokingly describes the decade as useless and some colleagues think it was a waste of time, but during the ten years, he was actually practicing what Sigmund Freud did with his patients. The master psychoanalyst treated only a few patients in his lifetime, but he examined them thoroughly. His concentration on a few patients inspired Wang Shu the architect in China. Wang wanted a thorough understanding of his subjects and made his mind up at the beginning of his career that he would not be a prolific architect.
In 2000, he came up with his breakout project: the Library of Wenzheng College of Suzhou University. The design well repre-sents his philosophy of “enabling architecture to merge naturally with a backdrop of mountains and waters.” The library received the Architecture Art Award of China in 2004. After this, his master-pieces appeared rapidly, followed by major awards.
Wang Shu is widely known for masterfully using recycled build-ing materials. He says he approaches materials artistically. Antiques provide Chinese people with a special emotion for the tangible ef-fects of a lost past. New objects emit a brand new yet completely different luster whereas using recycled materials brings back the dignity of old times and creates a shiny renaissance.
Some people think Wang Shu is the most cultured architect. As a professional architect, he names his architect studio as Amateur Ar-chitecture Studio. He definesas someone who does some-thing purely out of interest, someone who chases neither material gains nor professional glory.
Intrigued by his definition, I asked what he thought his specialty was if he believed architecture was just anjob. He did not answer directly. Instead, he talked about his understanding of cul-ture. He loves the Chinese flute and he writes calligraphy and draws landscapes masterfully. He prefers to talk about Shi Tao (1630-1724) and Xu Wei (1521-1593), two landmark landscape masters of the ancient China. He prefers Duchamp to Picasso.
Approaching the age of 50, which is considered an age of know-ing one’s destiny in life since Confucius, Wang Shu leads a life of prosperity and peace. Appreciating landscape paintings, enjoying a cup of Dragon Well Tea, and sightseeing with his wife constitute an indispensable part of his life. He loves gardens of Suzhou so much that he has visited them many times and memorized all the details of these gardens.
Tong Jun (1900-1983), a professor of architecture of Wang’s alma mater, is the very role model that Wang Shu looks up to. He reverently describes the master as the theoretical pioneer of gardens in modern China. Wang says he would like to be an architect of the Song Dynasty (960-1279) for a simple reason: an architect of today faces too much temptation and an architect should never approach design as a business. Most of his colleagues create drawings on computer, but Wang draws with a pencil, for he dislikes the compu-ter-created straight smooth lines, which he thinks are far from sensi-tive and sharp and lack a sense of quality.
Wang was in America giving lectures when the 2012 Pritzker architecture prize was announced. While interviewed, he joked that the prestigious prize should have been awarded to both his wife and him. At the studio, he creates designs and she takes care of every-thing else. His wife Lu Wenyu is a former classmate and the only other partner of the studio. Wang says that he has never bought any big gift for his wife since they got married years ago. He considers Pritzker Architecture Prize as the best gift for her.