就设计而言,“中国的”才是“世界的”,但“世界的”真真不是“中国的”。

没法否认,中国当代的设计理念及实践方法大多来自西洋。这导致了很多时候,你在感受一件国内设计作品的时候,完全搞不清背后设计师的想法。如果你是一个土生土长的中国人,在中国接受文化及美学教育,做出来的东西完全感受不到中国思维,这是不对的。就像一个山村的孩子,父母教育了很久,终于开口叫人了,可叫的是爹地and妈咪一样奇怪。

当然,什么是“中国的”得搞清楚,绝不仅仅是我们祖先留下得建造方式,那只是方式而已,是“形”。而“神”得东西才是当代中国设计师该去花功夫思考并运用在设计里得。这与宗教,文化传承,美学认知都有千丝万缕得关系。比如佛家的“禅”,这个“神”得东西怎么用在设计里,是仁者见仁得,大陆设计师,台湾设计师,日本设计师,表达方式都有区别,但都能互相理解,并认同。因为我们在地域上太接近,在文化上有关联。又比如日本设计,精细度高;略小的尺度;崇尚自然;少即使多等等,已经形成了比较明显的符号,也就形成了国家风格。设计是需要地域性的,没有一个设计可以放到哪里都好,都合适。应该由民族灵魂,从内而外的生长出来,具有独特的标示性,才有更强大的生命力。

之前有一段时间我经常和我的几个设计师同事探讨关于设计的那点事,那时候他们刚学会“你好”“再见”“真牛逼”还有“你妈比”这几个词,并整天的对中国文化及语言的庞大精深呈目瞪口呆状。我发现,我们理解设计的方式是不同的。他们更加严谨和理性,所有的做法都是有道理的,可能一个个都严格的继承了BAUHAUS的衣钵。而我则认为,设计应该留一点空间不去表达,或者说让观者自行填充,不要事事都规定好。观者不是小动物,他们有自己的方式去感受你的设计。这一点点的差异,导致我们整天扭打在一起,喋喋不休。再后来,他们教会了我严谨,我教会了他们加班。我想,这是差异,也是融合。

一天,一个消息让我非常振奋,王澍先生作为设计师,获得了普利兹克(Pritzker Architecture Prize)建筑奖。一个一直在中国,并且工作在一线的中国设计师得奖,这在之前很长一段时间是连想也不敢想的事。而现在,至少说明了,王澍先生的设计语言已经被世界主流建筑界所认同并肯定。而他的作品也丝丝的透出那么多中国思维。而这就是“中国的”才是“世界的”

In terms of design,“China’s” belongs among the “World’s”,but the “World’s” was not like “China’s” indeed.

It is no doubt that Chinese contemporary design theory and practice comes from the west world. That lead to you do not make sense of the idea of the designer when you look the works of the domestic designer.If you are native Chinese,it was wrong that there is not any Chinese thought in the work when you adopted Chinese culture transmission and aesthetics education.It was like a Chinese kid raised up in countryside,it is so strange the first word was daddy and mommy in English when he can talk.

There’s something we’ve got to get straight,Chinese design was not the ways of architecture that forefathers left.As a contemporary Chinese designer should pay more attention to the essence not the appearance.It concerns about religious,culture and aesthetics cognition.Such as “Zen” is really different people unwise.Designer from mainland China,Taiwan,Japan,all these shows different ways,but they sympathized each other because of the close region and cognate culture.But they have their own ways to express,for example,the Japanese design featured fine craftsmanship,held dear nature,less is more and so on.Design is geographical,there is never a place that all the design style comfort for it.It should grow inside-out from the soul of nation with identify nature and strong vitality.

I was always talked about design with the other designers from our office in New York ,they just learnt “Hello”,”Bye”,“Awesome”,”Mother fucker” in Chinese.They were stunned speechless to the profund Chinese language culture.I found that the cognition of design is so different between us. They carry on the BAUHAUS,all things they do was reasonable and strict,for me,in terms of design,it should leave some space for spectators to think,to fill the gap which they thought it would be,it should not be so stubbon. The spectators have their own ways to feel the design,this little tiny difference make us argued all the time,after that, they taught me how to be strict,and I taught them working overtime in exchange.I thought it was a difference but also an combination.

One day, I heard about a good news that Mr Wangshu got the Pritzker Architecture Prize as a Chinese designer that so refreshing.It was so hard to believe that a designer works in china all the time could make this.But now,at least it proves that the design style of Mr Wangshu is accepted by the main trend in the world today.And his works reveals so much Chinese thinking,this is “China’s” belongs among the “World’s”.