【建築之外Beyond Architecture｜講座詳記】誤建築 Mésarchitectures

講者 Speaker：迪迪耶・弗薩・佛斯提諾 Didier Fiúza Faustino

之外、之內與之間

今天下午的演講我想從這一句話開始：「我們現在是坐在大波羅毀滅的劇院的第一排」。這一句話其實是小說《鬥陣俱樂部》的最後一句話，對我而言，我覺得建築本身的定義就是「錯誤的建築是我們預期之外的，而且並不想要的狀況」。而我工作室的名字是「Mésarchitectures」，它的感覺就好像是人被困在兩個境界中，就像在公共和私人空間之間的感覺。但就是因為困在這兩個境界中間，本身也代表了一個介面。

當我們談到建築的時候，就好像是咖啡機，這座咖啡機本身其實就是兩個狀況的轉換，就是在咖啡豆、熱氣還有水做成咖啡的同時，帶動了一個流動。我們今天會介紹幾個專案，這是在一個在沙漠中的住宅專案，它以拼圖的概念進行組合，是利用連貫性的、適地的概念不斷地延續下去，A空間是公共空間，B空間是私人空間，其中主要有A和B兩者空間的互動。其實這個建築概念本身就是要組織起一個讓人居住的空間，而這在二十世紀開始就有這樣的概念。

建築的意義與回應

「住宅的意義是什麼?」我覺得建築很多時候不見得要解決問題，而是要討論一些當代的議題。 像是我1999年的提案， 藉由創造微建築來保障移民及移工。 在 1999年，移民或非法移民的問題較少被討論，現在可能是因為歐洲地中海的問 題才受到注目， 但這其實是一直存在的問題， 而這個計畫是想要呈現這個議題、突顯問題的存在，讓大家願意正視。這並不代表這個提案就是要建造微建築，或者一定要找出解決的方法，而是要不斷地討論，讓大家更有意識。

討論這些問題同時，也要分析一些當代現況。就像〈One square meter house〉，是個一平方米的垂直建築，很多時候建築面臨的就是不動產的問題，土地的價值便在於如何透過建築設計解決社會階級之間的問題。所以設計出的解決方案並不是真的要讓人居住，而是要呈現現在面臨不動產和社會階級差距的問題。這個是我們在巴黎的中國城唯一建構出來的原型，那邊的住宅密度非常高，這是兩種完全不同狀態的對比。就好像我剛剛引用小說裡的那一句話，這就代表了現在社會的情況，在電影的最終，恐怖組織摧毀了所有代表資本主義的高樓，這個主角也不斷地尋找平衡，他試圖抵抗資本主義的邪惡，但自己又是一個資本主義的產品。

我對於建築的期盼是，他可以是對的，也可以是錯的，也可以是一種流動性的、相反的概念。〈(G)host in the (S)hell〉是一個2008年在紐約的專案，我們的主要概念是想呈現看不到的東西，所以這些牆上的開口讓空間兩者之間互相延伸，由公共空間延伸到私人空間、私人空間延伸到公共空間。這是在小布希總統執政後期的時候，決定要把它實際體現出來在交通空間之間作為聯繫的建築物，讓轉換過程變成一種體驗。同時我們也在質疑身分認同的概念，我自己親身上陣去表現不同的身分認同，我把大概180幾顆泡泡糖嚼完之後黏在自己臉上，想呈現的就和建築一樣，我們看到的東西並不全然就是我們能得到的東西，所謂的建築就是遠遠超過建築物本身。

空間中的身體

其實我們都跟這個社會格格不入，所謂的格格不入本身是個身分，也是一種狀態。〈Explorers〉是幾年前的專案，我們幫助這些探索城市中荒廢建築的人研發保護裝置。這些工具除了幫助探索之外，也是要去抵抗建築的概念。很多時候 我們所謂的建築並不只是建築，而是結構的重組，任何的空間再組織都可以稱作建築，像是空間、人體、動線等等。

〈Love song for riots〉我們做了一百多個柵欄的重組，並拍了一些諷刺性的照片。而這個表演，我們邀請了五位鎮暴警察站在柵欄前面， 要求他們唱 :「愛情就好像籠中鳥」，因為不想讓人認為我們太天真，也不想選邊站，所以除了幫警察做了柵欄的重組之外，我們也幫示威抗議的民眾設計了〈Builthefight〉這個工具， 這些抗議的民眾若人手一支， 可以再一次重組成一個像口袋的空間，保護要被鎮暴警察打的民眾。

我們在法國大革命開始的這個歷史建築物裡嘗試做出一個最「脆弱」的空間，這主要是為了保護語言。所有的建築本身都是一個協商的空間，是力量與力量之間的、人與人之間的、性別與性別之間的協商空間。建築要保護脆弱的東西，所以，其實就等於是在保護脆弱的身體。最早開始探索這個概念的是法國藝術家伊夫 · 克萊因(Yves Klein)，他最有名的就是從樓上跳下來的照片作品，我剛好想到我幾年前參加臺北雙年展的時候做了一個裝置〈Opus incertum〉，能讓人趴上去感受這位藝術家在空中的姿態、感覺，但絕對非常的安全。

說到協商，就會想到這幾天熱門的南北韓新聞。我們在南北韓38度線上也做了一個觀景台〈Sky is the limit〉，觀景台裡其實是兩個完全一樣的空間，只是一個全部封閉，另一個全部開放。這時建築成為了一種不真實的狀態，但也成為實驗的空間，所以建築本身可以是一個體驗、表演的空間。

這一段哲學家傅柯的愛人寫給他的文章對於我在建築的概念非常重要，文中提到政府應該舉辦競賽，把大獎頒給能夠創造危險(vicious)空間的建築師。我們在北京做的的專案〈Home Palace〉，把140平方尺的高級公寓空間進行劃分，可 以看到周邊的個人空間，有廁所、公共空間的入口、房間等；而另外一半的空 間是體驗和行動的空間，這是可以偶爾奢侈一下的奢侈品，最昂貴的東西大概就是我們在裡面浪費掉的時間。

建築、身體與情感

對我們來說，設計時最曖昧的地方，大概就是國宅公寓的樓梯間，所以〈Stairway to Heaven〉就把它們轉化為藝術品，一種個人化的樓梯間，我將封閉式的樓梯間帶到公共場合，並提供大家體驗，引領了大眾進入一種比較在地的生活品質、個人化體驗。

有一位著名的法國藝術家請我做設計，希望房子成為一種公共空間，房子沒有任何窗戶，外面和裡面的界線非常模糊。這房子沒有名字，也沒有任何身分，所以當私人住宅變成公共空間，所有的狀況都統一、集中的在此發生，這些個人化體驗變成一種過渡性的實驗，這個房子唯一的界線就只是外部和內部之間的隔離而已。

當我們談到身分的時候，首先想到的當然就是膚色。我設計了一棟房子叫「脆弱的防空洞」，它真正的名字叫做〈瓷器防空洞〉。這棟房子是一個愛巢，房子裡的不同空間就像人體的不同領地，可以在此探索情感。這裡的臥室非常大，在兩個角落可以看到廁所和廚房，下方才是所謂的共享空間，它的外部全部都是跟愛情一樣脆弱的瓷器。

當我們談到愛、脆弱、動線和身體時，我想再介紹一個墨西哥的專案，是一個圖書館和中控中心，以珊瑚為概念， 再一次談到系統與系統之間的轉換和變形，以流線型的流動方式橫跨兩條街之間的空間，在建築物裡也是呈現流動的動線和當地街區的感覺，在這個空間裡沒有身體是無法存活的。很多時候身體在一個空間裡其實是不斷地在協調和協商， 最好的例子就是各位與這個空間的關係就是椅子，我們「坐」在這裡。

這把椅子叫做〈Delete Yourself〉， 視覺上大家可能不大相信它是一張非常舒服的椅子，但它真的很舒服。所以說，很多時候不見得是眼見為憑，事情的真相跟我們所看到的不太一樣。我想再重申一下，因為有很多人都說我是藝術家，但我覺得我是一位不折不扣的建築師，因為建築師對於任何的領域都一竅不通。

https://didierfaustino.com/Slideshow

“Beyond Architecture” is not an easy topic to talk about. My background is architecture, and for me architecture is “something would create unexpected situations.” Mésarchitectures meaning Misarchitecture is my interests, that is between two situations, the public and the private, the individual and the collective, and it is like a person being in-between public and private spaces, and the status itself represents an interface. It is like a coffee machine, this machine itself is the conversion between two system, it starts a flow as coffee bean, heat, and water are made into coffee.

The Meaning and Response of Architecture

“What is the meaning of housing?” I think a lot of times architecture does not necessarily need to solve problems; rather, it should discuss some contemporary issues. Like my proposal in 1999, which protected immigrants and migrant workers through creating microarchitectures. Back in 1999, immigration or illegal immigration were the issues rarely discussed, and people are only paying attention to them now probably because of what happened in Europe and the Mediterranean; but these issues have always existed, and this project wanted to present this topic, highlight the existence of the problems, so that people were willing to acknowledge them. It did not mean that the proposal had to build microarchitectures, or find a solution; it was about the continued discussion to raise people’s awareness.

When we discuss issues, we need to also analyze the current situation. Just like my work〈One Square Meter House〉, a one-square-meter vertical architecture. A lot of times, architecture faces the problem of property, and the value of land lies in how architectural design can solve the problems between social classes. This project was not meant for people to live in it, it was to present the problems of property and social differences. We constructed the only prototype in Chinatown in Paris. It was a place with the high density of buildings, and it created a contrast between two different states. My expectation for architecture is that it can be right, and it can also be wrong; it can be a kind of fluid and contrasting concepts. For my project in New York,〈(G)host in the (S)hell〉, in 2008, our concept was to present the invisible things, so we had openings on the walls so that the spaces could extend into one another; public space extended into private space, and private space also extended into the public space. In the latter part of President George W. Bush’s presidency, we decided to manifest it between traffic spaces as a connecting building, turning the process of conversion into an experience.

Body in Space

Actually, we are all misfits in this society. Misfit is itself an identity and a state. 〈Explorers〉was a project a few years back, we helped these people who explored abandoned buildings in cities to develop protective devices. These tools not only helped them with their exploration, they were also used to resist architecture. A lot of times what we call architecture is not just architecture; rather, it is reorganization of structure. Any reorganization of space can be referred to as architecture, such as space, human body, and circulation. For〈Love Song for Riots〉, we reorganized over 100 barricade fences, and shot some satirical photos. For this performance, we invited five riot policemen to stand next to the fences, and asked them to sing: “Love is like a bird in a cage.” Because we did not want people to think that we were too naïve, nor did we want to choose a side, we also designed a tool called “Builthefight” for the protesters in addition to reorganizing the fences for the police. If they all had one of these, the protesters could again reorganize a pocket-like space to protect themselves from riot police.

Inside the historic architecture where the French Revolution began, we tried to create a most “fragile” space, mainly, to protect the language. All architectures are spaces of negotiation; spaces of negotiation between powers, people, and genders. Architecture needs to protect fragile things, and therefore, it actually is protecting our fragile bodies. French artist Yves Klein was the first to explore this concept. He is most famous for the picture in which he jumps off a building. It reminds me that, a few years ago, I created an installation called〈Opus incertum〉to participate in Taipei Biennial, which allowed people get on it to get a sense of the artist’s feeling and position in the air, but was perfectly safe.

On this topic of negotiation, I am reminded of the hottest news story recently about the North and South Korea. We also built an observatory on the 38th parallel north called 〈Sky is the Limit〉. Inside the observatory were two identical spaces, just that one was entirely isolated, and the other was fully open. Here, architecture becomes a surreal state, but it also becomes an experimental space. So, architecture can be a space of experience and performance.

This paragraph written for philosopher Michel Foucault by his lover is very important to my architectural concept. It says that the government should organize competitions and award the biggest prize to the architect who can create vicious space. Our project in Beijing,〈Home Palace〉, divided up the space of a 140-square-meter luxury mansion, where people could see personal space, washroom, entrance to the public space, and rooms; the other half of the space was for experience and actions. This was an occasional luxury, and the most expensive thing was probably the time we wasted in it.

Architecture, Body, and Emotion

To us, the most ambiguous place in the design process is perhaps stairways in public housings. Therefore, we turned it into a work of art in〈Stairway to Heaven〉; a personalized stairway. I brought the enclosed stairway to a public place, and offered people an experience, guiding people towards a more localized quality of life and personalized experience.

A famous French artist asked me to design his place, hoping to turn his house into a kind of public space. The house had no window, and the border between outside and inside was very blurry. This house had no name, nor any identity, so when a private residence became a public space, all situations took place here together. These personalized experiences became a transitional experiment, and the only border of the house was the division between inside and outside.

When we talk about identity, the first thing that comes to mind is skin color. We designed a house called “Fragile Bomb Shelter,” and its real name was〈Porcelain Bomb Shelter〉. The house was a love nest, and the different spaces inside the house were like different territories of the human body, where people could explore emotions. The bedroom was very large, and you could find washroom and kitchen in two corners. The lower level was the so-called shared space, and the exterior was covered by porcelain that was equally fragile as love.

As we talk about love, fragility, circulation, and body, I want to introduce another project in Mexico. It was a library and a control center inspired by coral reefs. And once again, I discussed the conversion and transformation between systems. The space stretched fluidly across two streets, and the interior also presented flowing circulation and a feeling of local street blocks. You could not survive without a body in this space. A lot of times, our body is constantly negotiating and coordinating in a space, and the best example is the chair. It is the relationship between you and this space here, we are “sitting” here.

This chair is called〈Delete Yourself〉. Visually, you perhaps won’t believe that it is a very comfortable chair, but it truly is. Therefore, a lot of times you cannot just believe your eyes. The truth is sometimes different than what we see. I want to stress that, many people say I am an artist, but I think I am one-hundred percent architect because architects know nothing about any discipline.

https://didierfaustino.com/Slideshow