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编辑 | P.S
听译 | 明子
一个建筑可以从 细部 入手吗？
Can a building start with a detail?
一个项目是否能从 细部 开始？
Can a project start from the idea of a detail？
由“细部”开始，2015年，我们做了一次“众筹形式的出版尝试。当作者Christoph a.Kumpusch（匡孔明）将1000多页的书籍原稿摆在我们面前时，无疑为之一振。书中的经典案例如同被解剖般一一呈现，“细部”之上，被赋予了更为详尽的剖析。一本典籍，经得起时间的考验，经得起读者的评判。出版2年来，赞誉无数，严苛的“细节”考量着这本巨著，这部——《细部文化》。
零下15度的北京，鼓楼旁的胡同里，我们有幸再次与本书作者Christoph a.Kumpusch（匡孔明）会面，与其聊了聊《细部文化》，以及书以外的“细部”文化。初见孔明，难以想象如此“厚重”的一本著作竟出自这样一位英郎才俊之手。正如同这精细的装帧之下，蕴藏着的宏大结构和丰满细节。抛开它（他）的容颜，才发现竟是如此震撼人心。
本文截选了访谈内容的8个片段，重谱来自于创作者的“细部”序言。
*以下内容来源于 UEDx匡孔明 专访
相比于其它的建筑书，《细部文化》从研究规模上既不遵从建筑学大框架入手的传统模式，也不依赖从小到大的建筑叙述模式，而是一种游离于不同规模之间的研究方法。这本书所主要探讨的是建筑细部，以其为支撑来构建出当今急需被理解和解决的问题。
Starting from the largest kit of parts, but also not just relying on building in that from smallest to the largest scale, but something that very much like moves in between scales. So details became very much a kind of a scaffolding in order to construct what yet needs to be sort out.
我并不想把这本书做成一本线性叙述的书，我也不愿意仅仅做一个索引书，我也绝不想做成一本专题著作或者项目书。这本书并不是按照一个个的项目编排的，而是依照“透镜”顺序讲述，将诸如墙角、房顶、门面模式、窗户和开孔等建筑细部的注解一一道来。
One of things that drives me very much is that I didn’t want it to be a kind of a linear book and I also didn’t want to be only index and I certainly didn’t want to be monograph or project book. How is it organized, it is organized not project wise but lens organized, so there is different lenses, like the corner, the roof, the facade, windows, fenestration if you wish so.
“透镜”注解
这本书甄选了13个建筑项目，它们并不以某种风格、语言或者造型方式作为论点，而是基于他们的建设地点，驱使项目的动力，以及他们的功能，去探讨背后的不同意识形态。
the book started with a series of buildings. In fact, 13, if you wish so. And all of these 13 buildings, don’t try to make a point in terms of style, or language,or kind of formal approach, but a very much a start to look at different ideologies in terms of where they were built with what background and with what drive in terms of also the program of some of them.
13个项目
简单地说，我们就是想要创立一个像百科全书那样的建筑知识索引，但你看到的不是抽象的思想而是具体的细部。
And then what we are trying in very simple terms, is like start to create acatalogue, like encyclopedia of ideas that you could instead of looking up a word, or an etymology, you look up a detail.
扎哈采访
这本书里除了为了让读者更好地理解建筑设计背景的示意图之外没有任何完整建筑的照片或效果图。
there is no photographs or renderings of complete buildings in there other than diagrams of it in order to allow you understand the context.
细部照片
12+1经典案例，或者第13个“工程之中的工程”之所以放在这本书里是因为它们都非常具有地域性，是某个特定时空境况下我的亲身实践观察。所以《细部文化》这本书大部分都是我亲自摄影了照片的，有的是我曾经住在那遍布于四个大洲不同项目的所在的不同城市，在那边工作，或者亲自参与了工作，又或者是事后取得了现场实况及工程图纸的项目。
the reason that 12+1 project are in there and with the 13 really being the project within the project was because they are very much site-specific to the place and time that I was able to visit those projects in person. So the book itself for detail culture at large has mostly original photographs that I took and then drawings and became available as I was either living in some of those cities across four continents or working within the context of those projects.
内页
从空间上、造型上和材质上来说每个设计项目都不相同。但是当你翻到这本书中的细部，比如时光阁、查尔斯伦夫洛和布罗德美术馆又或彼得库克和科林傅尼耶的格拉兹艺术中心，它们的设计细部和原材料又惊人地相似。在这个意义上，建筑的物质性和细部环境就变得相对统一了。因此可以这样说，这本书中包含的13个经典项目拥有相当一致的DNA，但通过不同建筑形体表现出来。
Every single project is so different, But then you look at the book, you look at details of light pavilion or like Charles Renfro The Broador Peter Cook and Colin Fournier’s project in Graz and allthe details and materials are strikingly similar, so the materiality or the context of details becomes relatively unified. So there is 13 architecturally different projects but extremely unified in terms of understanding the DNA of it.
总之这本书想要读者用比较特别的方式阅读，以此来撇开线性阅读的传统。比如说当你在研读墙角设计的时候，你就会接触来到广州大剧院、或者时光阁、Carme Pinós 的立方体塔、妹岛的项目等等。就建筑形式来说，它们都全然不同。
it is very much a book that you read not in a linear way, but in special one.So corners, for example, just because we mentioned Guangzhou, the opera house or the light pavilion, or like Torre Cube by Carme Pinós, or Sejima and her project. They are all like extremely different the way they are looking, speaking of also its architecture forms.
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· 建筑细部可以成为一个建筑设计师的设想开端吗？ / Could architecture detail be one’s starting point?
一个建筑可以从细节入手吗？或者一个项目是否能从细节开始？我的答案是肯定的。这个过程就像你可能被你看到的某些数据或者某个令你惊叹的绘画和雕塑作品所启迪，也像是因某一顿特别好吃或者难吃的食物而产生反应。我认为很多事情都是我们人类的反应，它们多发生在具有公民责任感的人们所投入的事情之中，而建筑可以被看作是让我们发现生活中以各种形式存在的有趣时刻。
Can a building start with a detail? Or can a project start from the idea of a detail? Absolutely. Just as you can start with you being inspired by a catalogue like data or the most incredible painting or sculpture that you saw, or the most amazing meal, or the most disgusting meal that you may have been eating. I do think like many things are responses, and they are also driven by what we engage with, simply citizens that are responsible,and architecture very much is part of that incredibly interesting moment of opening up questions, like living, using, engaging with what are surrounded usin different ways.
· 有没有一个特殊时刻或项目让你发现建筑细部和环境之间的关系的重要性？ /is there an importance in the relationship between details and larger environment?
如果你想问的是有没有具体某一个项目让我有这样的发现，我的答案是既无又有。因为我觉得确实有那么一个时刻我开始认识到人们渐渐开始重新思考对建造的痴迷，重新被其所吸引，重新关注工艺。那可能就是那个‘重要时刻’之一。
因为这些细节所展示的是设计或者建造过程中的产品或想法，而不是最终呈现的那个结果。相较于从一个旁观者的角度外部审视某个成型的建筑，理解到某个建筑设计过程中的深思才是精髓。这样的时刻我认为就是很关键的。
If you asked for, a single project, I thinkis no and yes. I think there was a moment that I started to realize at that time we kind of start to like rethink the obsession with fabrication and become more re-engage and interested in making. That probably was one of them.
But they are not very much looking at the finished product but a product or an ideain progress, so the question is how do you get to a building in understanding series of ideas that drive you verses looking at the kind of completion of it from outside-in is probably what one could considered as a key moment.
*感谢《细部文化》中文编译，建筑师周士甯
对本文的整理与校对
作者简介
Author Introduction
Christoph a.Kumpusch（匡孔明），多领域事务所（Forward-slash）的联合创始人、曾被授予“莱奥纳多·达·芬奇”荣誉学者、鲁道夫·M·辛德勒学者、USAA学者荣誉称号。曾经任教于库柏联盟学院建筑系、康奈尔大学建筑学院、俄亥俄州立大学、Pratt艺术学院、南加州建筑学院以及哥伦比亚大学建筑设计规划与遗产保护学院。在建筑细部领域的研究，当世鲜有人能出其右。
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