建筑作为改变的媒介——探索作为未来实验室的非洲
ARCHITECTURE AS A MEDIUM OF CHANGE
EXPLORING AFRICA AS THE LABORATORY OF THE FUTURE

作者：奥雷·伯曼
Author: Ole Bouman
荷兰-德国历史学家、作家、出版商、摄影师、策展人、讲师，建筑和设计从业者。
Dutch German historian, writer, publisher, photographer, curator, lecturer and practitioner in design and architecture.

第一部分：转向非洲
Part I: The African Turn

威尼斯建筑双年展几乎是全球最重要的新建筑理念平台。2023年，双年展将由建筑学者、教育家和小说家莱斯利·洛克（Lesley Lokko）为总策展人。她是非洲未来研究所的创始人和主任，该研究所于2020年在加纳的阿克拉成立，是一所建筑学研究学院和公共活动平台。她是有史以来第一位策展双年展的非洲人。

洛克写道：“非洲是个未来实验室，我们是世界上最年轻的大洲，人口平均年龄是欧洲和美国的一半，比亚洲年轻十年。我们也是世界上城市化速度最快的大洲，每年以近4%的速度增长。这种快速和意料之外的增长，常常以牺牲当地环境和生态系统为代价，这使我们在区域和全球层面上都处于气候变化的一线位置。”

The Venice Architecture Biennale is perhaps globally the most important platform for new ideas in architecture. In 2023, the Biennale will be curated by Lesley Lokko, architectural academic, educator and novelist. She is the founder and director of the African Futures Institute, established in Accra, Ghana, in 2020 as a postgraduate school of architecture and public events platform. She is the first ever African to curate the Biennale.

She writes: “Africa is the laboratory of the future. We are the world’s youngest continent, with an average age half that of Europe and the United States, and a decade younger than Asia. We are the world’s fastest urbanizing continent, growing at a rate of almost 4% per year. This rapid and largely unplanned growth is generally at the expense of local environment and ecosystems, which put us at the coal face of climate change at both a regional and planetary level.”

聚焦建筑作为希望的领域，洛克说：“现代、多元、包容性社会的愿景是令人神往和信服的，但只要它仍只是一幅图像，那便是虚无缥缈的海市蜃楼。我们需要的不仅仅是图像，而建筑师注定要扮演那种将图像转化为现实的关键角色。”

显然，洛克将建筑与真正的发展联系起来，与大多数人切实相关，而不只是让少数人信服。这不是将建筑作为一种艺术手法来展现，也不在于展示建筑作为规则的一种例外。而是将建筑作为社会变革的动力和综合动机。本届威尼斯建筑双年展尝试把建筑带到这个大规模转型中来，将建筑呈现为质量规则的制定者，而不是停留在1%或10%的专属领域。这是该学科在气候危机和全球日益分裂时代的迫切使命。我把这次双年展解读为，我们需要把美和目标重新结合起来，并让非洲成为它的舞台!

不过，对非洲的关注并非一次不偏不倚的尝试，而恰恰相反。

Focusing on architecture as the domain of hope, she says: “The vision of a modern, diverse, and inclusive society is seductive and persuasive, but as long as it remains an image, it is a mirage. Something more than representation is needed, and architects historically are key players in translating images into reality.

Clearly, Lokko connects architecture with real development, relevant and compelling to the many, not the few. This is not about architecture as a matter of artistic gestures, or the rare exceptions to the rule. This is about architecture as a driver and comprehensive motive of social change. This time the Biennale may drive architecture to large scale transformation, to present architecture as setting the standard and principles of quality, rather than remaining an exclusive domain for the 10 or even 1%. It is an urgent vocation for the discipline in an age of climate emergency and deepening global divides. This Biennale bridges beauty and purpose with Africa at its center point.

But focusing on Africa is not a neutral endeavor.

一言以蔽之，“非洲”是“他者”对一个大陆的投射，对许多人来说，这个大陆永远是“陌生的土地”。我们对这个名字的起源知之甚少，但所有猜测的共同点是，它不是由非洲人创造的。它是外来人赋予这块永存的大陆的一种标签，用以体现其神秘的现实。几个世纪以来，这里都代表一个可以被探索、开采和利用的地方。在那段被奴役的历史之外，非洲会被称为什么？

在中文中，非洲被称为Fei Zhou（非洲）。这个词不仅是一种客观反映，也是一种主观判断。与美洲的命名相比较（美丽的土地），在措辞中，非洲被设定为一块“无地”，或者说“无处之地”。如果有一种方法可以开始转变对非洲的看法，那就是以更加正面的态度思考它的命名。

这块与我们的星球有着崭新联系的土地，我们称之为“洲”，怎么样？

下一步或许是转变对于这个大陆形状的认识。由于西方世界在绘制地图方面的决定性影响，人们根深蒂固地认为，非洲基本上处于外部世界的挤压下。在大多数人们的心目中，非洲就是全球南方的本质诠释，蕴含着数百年对现代化浪潮的臣服。

From the beginning, Africa has been a projection. Little is known about the origin of the continent’s name, but what is common to all are speculations about it, and that the continent’s name was not coined by Africans. It’s a label to cluster a multidimensional reality, lived and inhabited by the other. For centuries the name implied a geography that could be explored, extracted, and exploited. What would Africa be called beyond that history of subjugation?

In Chinese, Africa is FeiZhou, or 非洲. This name is not only a projection. It is also an opinion. In the very wording, it supposes a “No-Land”, at best a “No-Where” land. Compare that with the Chinese characters for the Americas, 美洲 (MeiZhou), meaning beautiful land. If there is one way to start a mind shift about Africa, it is to understand connotations, and switch to positive territory.

Suppose we replace 非 by , to represent a potential of new connections with our planet.

The next step is to shift the shape of the continent, so firmly entrenched in people’s mind by the dominance of the western world map, with Africa below and circumvented by all other continents. In people’s mind, it is the symbol of Global South, carrying a legacy of subordination to the juggernaut of modernization. Let’s put it upside down, for a change.

太久以来，这种不自觉的轻蔑性叙事需要做出改变。为了现存全球权力关系的历史真相；为了追求正义和自由；为了真诚和满怀敬意地拥抱“人类之祖”。显而易见，正是由于非洲在世界舞台上持续处于尴尬的境地，这种伦理动机始终未能使这一切发生。

不过，一个新的动机已经展现出来。这个动机来自于全球变暖、土壤退化、极端天气和其他危机造成的地球困境。很明显，拥有14亿人口的非洲很容易受到气候变化的深远影响。我们同样非常清楚地懂得，它不应该重复西方几个世纪以来所追求的那种现代性，那种会造成这种地球困境的现代性。

Of course, there is much more at stake than changing representations like name and map. We rather change the projected and biased conception from within. For the sake of historical transparency of existing global power relations, for the pursuit of justice and emancipation, for the honest and respectful embrace of the “family of mankind”, this, still largely unconscious pejorative narrative needs challenge. However, given Africa’s continued predicament on the world stage, these ethical motivations, whatever obvious and blatantly urgent, have apparently never been enough to make that happen.

However, alongside the ethical, a biological motivation has come to the fore. It’s the motive that is forged by a planetary doom of global heating, mass extinctions, soil depletion, extreme weather, pandemics, and other emergencies. It has become clear that Africa, with its 1.4 billion people, exactly because of its legacy of exploitation, will suffer profound consequences. At the same time, it is crystal clear that it better not repeat the kind of modernity that the west has pursued over centuries, and China has pursued over decades, and that has been causing this change in the first place.

尽管如此，非洲也不应拒绝自己的现代性。它有权获得其应有的进步。那它如何才能实现这一点，而不落入同样的陷阱，即快车道增长、快速的城市化、人员和货物的过度运输、自然资源的加速枯竭，以及少数富人和多数穷人之间越来越深的鸿沟呢？

让我们重新认识非洲，从“无名之地”到“有待重新发现的土地”。这片土地体现了整个世界需要的系统变革。一个可以自我再生的大陆，没有我们所知的碳排放、塑料污染、不可持续的开采和人类造成的物种灭绝。一个充满创意的大陆，从他人利益的牺牲品，跃升为以真知灼见自我引导。

正如洛克所说：“建筑师一直注定要扮演将图像转化为现实的关键角色。”

That said, it neither can be denied its own modernity. So how can it achieve that, without falling into the same trap of fast lane growth, rapid urbanization, excessive transport of people and goods, the accelerated exhaustion of natural resources, and an ever deeper divide between the few rich and the many poor? How can it become a regenerating force, beyond the carbon emissions, plastic pollutions, unsustainable extractions and human caused species extinctions as we know it.

A continent that brims with ideas to leapfrog from being victimized to the interest of others, to its own enlightened leadership, and exemplary value to the Global North.

This potential has been pondered by African intellectuals and some political leaders for some time now. But has it been by architects? Architects, who, as Lesley Lokko says: “historically are key players in translating images into reality”.

实际上，我认为建筑可以做得更多。与其从图像和浮夸或高尚的意图开始，建筑本身可以成为一种变革的媒介，同大多数而不是少数人建立关联。与其简单地移植，不如创造一个超越小型个人项目、个人风格和声誉范畴的学科。好的设计指明了方向，可以引导我们走向一个至关必要的另一种空间修复，使非洲人民和全人类从中获益。

让我们把建筑的力量带到重要的舞台上，让建筑展现其巨大的力量，成为非洲进步的一部分。

对于中国的读者来说，现在的问题是：中国的建筑能发挥什么作用呢？

Actually, I think architecture can do much more. Rather than starting with images, with rhetoric and noble intentions, it can be a medium of change itself, relevant for the many, not the few. Rather than translating, it’s about creating a new kind of discipline beyond the scale of small individual projects, individual signatures and reputations. Beyond such format as a Venice Biennale, that is. Good design provides direction, can lead us on the road towards a highly necessary alternative spatial fix, which is both good for the African people and for humanity.

Let’s bring the power of architecture to the stage that counts, and let architecture show its great strengths to be part of Africa’s progress.

For a Chinese readership, now the question is: what can be the role of Chinese architecture?

第二部分：这一切与中国何关？
Part II: What’s China got to do with it?

1. 一个广阔的工作领域
A giant work scope

除了重塑非洲的人类生存动机，可以成为所有人学习的榜样，以及承认建筑作为首选工具的能力之外，还有一个非常直接和具体的角度，可以由此探索中国在这一尝试中的作用。

这并不难理解。在过去的60年里，中国在非洲建设发展中发挥了重要作用。始于“南南合作”，进而扩展到市场引导参与重大建设和工程项目，如基础设施、住房、海事设施和许多其他项目，到如今已经发展成为整个非洲大陆的全面外交、经济和政治框架。中非合作论坛第八届会议中强调了这一点，《2035年中非合作愿景》中提出了在未来三年九个主要领域的倡议，以加强中国对非洲大陆发展的支持。这些倡议是: 医疗保健、农业减贫、贸易促进、投资政策、数字创新、绿色发展、能力建设、文化交流、和平与安全。（FOCAC，2021年11月，http://www.focac.org.cn/eng/）

Alongside exploring the existential human motive to reinvent Africa as a model to all learn from, and acknowledging the competence of architecture as a preferred vehicle of choice, there is also a very direct and specific reason to explore the role of China in this endeavor.

The reason is not difficult to grasp. Over the last 70 years, China has already developed an important role in Africa. What once began as “South-South Cooperation“，then extended to often market driven participations in major construction and engineering projects, such as infrastructure, housing, maritime facilities, and numerous others, has now grown into a comprehensive diplomatic, economic, political framework on continental level, recently being highlighted by the Forum on China African Cooperation (FOCAC, November 2021, http://www.focac.org.cn/eng/). For the next three years, as the pictured, it announced 9 major sectoral initiatives to intensify the Chinese support of the African continental development. These sectors are: healthcare, poverty reduction by agriculture, trade promotion, investment-policies, digital innovation, green development, capacity-building, cultural exchange, peace & security.

这些倡议如果没有经过实地检验，就只能停留在良好的意图阶段。因此，假设我们将其转化为一个实际的设计工作范围，毫无疑问，一系列的项目就会随之而来。其中一些甚至已经宣布了，而其他项目作为这些倡议的合理后续行动，可以预期很快发生：

在医疗保健方面，这可能意味着设计疫苗接种活动、设计疫苗接种室和设施、设计疫苗分配策略、设计和/或升级当地的卫生中心。在大型医院和其他医疗机构之外，还有许多轻量级干预的机会，关注于预防性医疗方面。

在通过农业减贫方面，它可能意味着设计培训中心和示范村，为这些中心设计课程，特别是在热带作物、水产养殖、生物质能、旱作农业等领域。除了象征性的援助计划和重型农工业试点之外，还有许多机会可以扩大非洲农民的代理权。

These initiatives remain in the realm of good intentions, if not tested on the ground. Hence, what happens if we translate this into a practical design work scope? No doubt, a whole range of projects could follow. Some of them are even already announced. Others are only the logical follow up to the initiatives and can be expected shortly:

For healthcare, it could mean the design of a vaccination campaign, design of vaccination booths and facilities, design of vaccination distribution strategies, design and/or upgrade of local health centers. Beyond large hospitals and other medical institutions, there are numerous opportunities for lightweight interventions, focusing on preventive healthcare.

For poverty reduction by agriculture, it could mean design of training centers and demonstration villages, design courses for these centres, especially in the fields of tropical crops, aquaculture, biomass energy, dry farming, and others. Beyond symbolical aid programs and heavy agro-industrial pilots, there are numerous opportunities for the expansion of agency of the African farmers.

在贸易促进方面，这可能意味着在价值链中设计各种增值机制，以及设计一个“设计-情报”共享机制，用于中国帮助非洲企业以负责任和非榨取的方式实施铁路、公路、港口、机场、发电厂和其他项目的建设。除了大型工业园区和久负盛名的基础设施项目之外，还有许多设计机会，不仅仅是为贸易，而是为公平贸易。

在数字创新方面，这可能意味着设计一个后都市的现代性。这是一个不预先要求大型建筑的难题，不是大规模消耗自然资源，同时增加全球热量的设计，而是一个依靠自我维持的通信网络、数据中心和智能村而实现的现代性。除了简单的大规模技术推广外，还有许多机会可以将技术与生态文明真正结合起来。

在绿色发展方面，这不仅意味着设计低碳示范区和气候变化适应示范区，而且可能更意味着引进中国（古代）的经验来避免荒漠化，增强灌溉工具，加强重新造林计划等等。除了对绿色技术的依赖，还有绿色智慧，它与尊重土地这一非洲永恒的传统紧密相连。

For trade promotion, it could mean designing all kinds of value adding mechanisms in the value chain, as well as to design a design-intelligence sharing mechanism for China to support African enterprises to implement railway, roads, ports, airports, electricity plants, and other projects in a responsible and non-extractive manner. Beyond large industrial parks and prestigious infrastructure projects, there are numerous opportunities for not just trade, but Fair Trade.

For digital innovation, it could mean the design of a post urban modernity, one that does not pre-require large conundrums of buildings, consuming natural resources at an enormous scale, while exacerbating global heating, but one that relies on self-sustained communication networks, data centers and smart villages. Beyond a simple massive roll out of technology, there are numerous opportunities to truly integrate technology with an ecological civilization

For green development, it could mean the design not only of low-carbon demonstration zones and climate change adaptation demonstration zones, but also, and maybe even more so, the introduction of Chinese (ancient) experience to avert desertification, to amplify tools for irrigation, to enhance programs of re-forestation, and more. Beyond the reliance on green technology, there is green wisdom that connects strongly with timeless African traditions of respecting the land.

在能力建设方面，它可能意味着无论是通过硬件、软件或组织软件，任何对非洲社区进行支持的设计项目。有时他们需要学校，但有时他们也可能需要学习材料，以及训练有素的辅导员。通过教育进行能力建设是改善生计和促进友谊的最有效方法。

在文化交流方面，这可能意味着中国和非洲建筑师在特定项目上设计配对方案，为创意者提供相互学习的机会，以及学生间的交流项目。除了文化推广活动和投资旅游目的地之外，长期发展主要是通过两边的创意灵感来实现。

即使在和平与安全方面，设计也是非常有价值的。一旦武器被压制，真正的工作就开始了。为维持和平行动设计建筑政策，包括可重复使用的营房、最佳地理位置的选择、当地供货、当地采购、当地合伙、为当地居民提供培训机会。设计时要考虑到遗留问题。总而言之：设计基本信任策略。这是最根本的机会，一贯如此。

For capacity-building, it could mean design of any support, by hardware, software or orgware, of African communities. Sometimes they need schools, but sometimes they may also need learning materials, and well-trained tutors. Capacity building by education is the most productive methodology to improve livelihoods and foster friendship.

For cultural exchange, this could mean the design of match making programs between Chinese and African architects on specific projects, mutual learning programs for creatives, and exchange programs for students. Beyond cultural promotion campaigns and investing in tourist destinations, the long-term development is mostly served by two-sided creative inspiration.

Even for peace & security, design can be highly valuable. As soon as arms are silenced, the real work begins. Design an architectural policy for peace keeping operations, including re-usable barracks, best choice of locations, local sourcing, local procurement, local partnerships, training opportunities for local population. Design with a legacy in mind. In sum: design general strategies of trust. This is the ultimate opportunity, as always.

2. 非洲建筑的新使命
A new purpose of architecture in Africa

让我澄清一下：这些部门的倡议当然属于政策制定的范畴，其具体的实施往往是工程师、技术专家和其他专家的工作。但如果它们之间有一个共同点，那就是建筑与设计。几乎每一项倡议都有建筑或设计方面的含义，大部分项目都是关于建筑和工程的，我们可以在建设和施工中思考如何展现更高质量。所有具有直接物质影响的项目，都可以从建筑的角度和质量标准进行评估和重新考虑。设计为此时此地的努力打开了产生深远影响的大门。

然而现实情况并不乐观，目前中国建筑师在非洲的作用还很薄弱。很少有中国建筑师参与其中，更不用说担任领导角色了。其实我们可以，也应该发挥更大的作用。以我们所拥有的技能来传递品质，建筑师是鼓舞人心的公民社会的守护者。但是，即使公民文化的建设是中国参与非洲发展的一个明确目标，这些守护者也被排除在外。

Let me be clear: of course, the sectoral initiatives belong to the world of policy making, and their implementation often as a job for engineers, technical experts, and other specialists. However, if there is one common denominator, it could be called architecture and design. Almost each of these initiatives literally has an architectural and/or design implication. As much they are about building and construction, it could be built and constructed with high quality in mind. All projects with an immediate material and spatial effect, may be assessed and reconsidered from an architectural angle and quality standard. Design opens the door to the long-term impact of efforts in the here and now.

However, this seldom is the case. Currently the role of Chinese architecture in Africa is weak. Rarely, Chinese architects are involved, let alone being in leadership roles. But it could, and I believe should be much stronger. Architects, with all their skills to articulate qualities, are guardians of an inspiring civic society. But even if the construction of a civic culture is an explicit aim of the Chinese involvement in Africa’s development, these guardians are left out of the equation.

因此，在即将到来的新投资和倡议下，在全球范围内呼吁并召集最好的建筑人才，来加入这个巨大的工作领域恰逢其时。

除了建筑领域巨大的潜在工作范畴，为了应对作为社会需求和政策举措的直接后果，我们也可以发现建筑在非洲新时代前沿的历史机遇。因此，建筑不仅仅是中国对非洲未来投资的物质输出，也是中非合作的典范媒介，探索和扩大建筑的边界并在非洲发展中提出自己的质量标准。要做到这一点，仅仅将建筑视为执行政治意图的物质学科是不够的。为此，我们需要把建筑看作是变革的驱动力，从非洲深层的文化、地质甚至物理现实中寻找潜力来展示其设定新视野的力量。

不仅仅是有工作要做。还有很多事情需要改变!

Therefore, in the wake of the forthcoming new investments and initiatives, it’s high time for a call to participate in this enormous work challenge, and rally the best architectural minds to join.

Beyond the giant potential work scope of architecture, as a direct consequence of social needs and the policy initiatives, to cope with them, we can also identify an historical chance for a decarbonized and postcolonial architecture to be at the forefront of a new era for Africa. Therefore, this is not just about the material output of Chinese investments in Africa’s future. It is about proposing architecture as exemplary medium of the China-Africa Cooperation, exploring and expanding the boundaries of architecture, and to set and fight for its own standard of quality in the African development. For this to happen, it is not enough to consider architecture as a material discipline to execute client’s intentions. For this we need to see architecture as a driver for change itself, presenting its power to set new horizons and retrieving potentials from the deep cultural, geological, and even physical realities of Africa.

There is more than just work to do. There is work to change!

翻译：蔡惟文
Chinese text by Vivian Cai

关于奥雷· 伯曼 | Ole Bouman

伯曼自2015年出任深圳创新文化聚合力平台设计互联馆长，由设计互联运营的海上世界文化艺术中心已于2017年12月开幕，被纽约《时代周刊》评为全球百佳目的地。
伯曼曾任《Volume》杂志主编（2005-2007，由OMA建筑事务所与哥伦比亚大学联合创办），荷兰建筑学会馆长（NAi，2006-2013）。
伯曼曾参与策划第三届欧洲宣言展（2000，联合策展人），以及深圳、圣保罗与威尼斯建筑双年展的国家馆，并担纲第五届深港城市/建筑双城双年展创意总监（UABB 2013-2014）。
伯曼著有《建筑中的不可见》（合著，1994），《无所不在的中国》（2006），《责任建筑》（2009），以及《设计互联：成为创新聚合力平台》（合著，2017）。
伯曼曾为美国麻省理工学院（MIT）与香港大学讲授建筑与设计课程。他被评为2018深圳商报十大年度创意影响力人物。

Ole Bouman is a Dutch-German cultural historian, art historian and archeologist. He is the Founding Director Emeritus of Design Society, the new design museum and platform in Shenzhen, now in the sixth year of its full operation and listed by Time Magazine among the World Top 100 Greatest Places. Past roles include editor-in-chief of Volume (2005-2007, a magazine he co-founded with OMA and Columbia University) and director of the national Netherlands Architecture Institute (NAi) (2006-2013). He worked as a curator for Manifesta 3 (2000), and curated national pavilions at the Biennales of Shenzhen, São Paulo and Venice. He was Creative Director of the Urbanism/Architecture Bi-City Biennale Shenzhen (UABB) in 2013-14. His publications include The Invisible in Architecture (co-author, 1994), Ubiquitous China (2006), Architecture of Consequence (2009) and (co-editor, 2017) Design Society: the Making of a New Creative Platform. Bouman taught architecture and design at the Massachusetts Institute of Technology and the University of Hong Kong. In 2018 he received the Shenzhen Creative Influencer Award.

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