中国的建筑输出 EXPORTING CHINESE ARCHITECTURE

As a kind of mutual-cooperation between countries, foreign aid has become one of the most important international activities ever since its origin. After the United States and the Soviet Union, China began to send aid to developing countries in Asia and Africa in the 1950s, and has gradually emerged as one of the major foreign aid providers. By 2019, over 2,000 projects had been delivered to more than 160 countries and over 1,000 buildings constructed, including parliament houses, convention centers, stadiums, gymnasiums, theaters, schools, hospitals, libraries, railways, and stations. These buildings often become local landmarks and are closely related to social, political and daily life, and being frequently used by and exposed to the public.

作为国际合作的一种方式，对外援助是最重要的国际性活动之一。1950年代，中国开始向亚洲和非洲的发展中国家提供援助并逐渐成为主要的援助提供国之一。截止2019年，中国已经向160多个发展中国家援助了2000余项成套项目，包括国会大厦、会展中心、体育馆、剧院、学校、医院、图书馆、铁路和火车站等，其中有1000多个建筑已经建成。它们大多已经成为了地标性建筑，与当地的社会、政治以及日常生活产生了密切关联，被频繁地使用并展现在公众的视野中。

On June 5th, 2021, an online seminar “Belt and road initiative: Exporting Chinese Architecture“ was held, which focused on the process and issues of exporting Chinese architecture in developing countries. The seminar was open to the public through platforms of Zoom, Tencent Meeting and Bilibili, and approximately 300 people were in attendance.

Moderated by Charlie Q.L. Xue (City University of Hong Kong) and Guanghui Ding (Beijing University of Civil Engineering), the seminar included eight keynote presenters from academia and industry: Ye Liu (New School for Social Research, New York), Sohrab Ahmed Marri (Politecnico di Torino, Turin), Shan Tang (on behalf of Tianjie Zhang, Tianjin University), Wei Chang (Tangshan University), Xia Ai (CCDI), Lujia Zhang (City University of Hong Kong), Lloyd Amoah (University of Ghan) and Ke Song (HIT Shenzhen).

2021年6月5日，由香港城市大学薛求理、北京建筑大学丁光辉两位学者联合主持的“一带一路倡议与中国的建筑输出”论坛以网络形式召开，集中关注中国在发展中国家的建筑输出过程及相关议题，并通过Zoom、Bilibili、腾讯会议等三大平台对外直播，吸引了近300名观众参与。此次论坛由来自实践和学术领域的8名专家学者作了主旨报告，他们是：纽约社会研究新学院刘烨、米兰理工大学苏赫拉布·阿赫麦德·马力、代表导师张天洁的天津大学唐山、唐山大学常威、悉地国际艾侠、香港城市大学张璐嘉，加纳大学劳埃德·阿莫、哈尔滨工业大学（深圳）宋科。

图 1 中国援外建设的三个代表性阶段（图片来自：薛求理） Three Representative Periods of China’s Foreign Aid Construction

Charlie Q.L. Xue began the plenary by referencing what he termed “Exporting Chinese Architecture” as a part of the cross-border design. In the opening address, Xue divided China’s foreign aid in construction into three representative periods – 1950s, 1970s, and 21st century, which would be covered and further exemplified by the following presenters.、

在开场辞中，薛求理将“中国建筑输出”阐释为跨国界设计的一部分，并认为中国的援外建设可以分为三个代表性阶段——起始于1950年代，1970年代和21世纪，这几个阶段在后面的各主旨报告中得到了更详尽的例证。

As the first to speak, Ye Liu reflected on his three-lined research “Style, type and geography: three clues of early Chinese foreign-aid constructions“ to understand the architectural design of China’s foreign-aid construction projects during the 1950s to 1970s. Through a series of cases, Liu explained that China’s foreign-aid construction is not merely about a simple exportation of Chinese industry or technology, but also about how China experiences and interacts with the outside world through design. On the one hand, modernism design techniques, which was banned or somehow depressed domestically, were widely quoted due to the demand of the recipient countries and the competition with the Western world. On the other hand, socialist features were retained and adjusted to adapt to local conditions and serve to community needs. Liu emphasized in conclusion that when we talk about China’s foreign construction or aid work today, we have to understand that it is not a work out of clue, not a work just for market expansion, but one with complex historical bases that requests a comprehensive understanding of the story from both reality and history.

刘烨是第一位发言的学者，他的主旨报告“风格、类型和地理：早期中国援外建设的三条线索”提出以“风格、类型和地理”等三条线索来理解从1950年代到1970年代的中国援外项目的建筑设计。通过一系列的例证，他认为，中国的援外建设不只是简单的关于中国产业或技术如何输出，更是关于中国如何通过设计来经历与接触外部世界。一方面，现代主义的设计方法虽然在国内处于被压制的境况，但却在受援国以及与西方世界的竞争中被频繁使用。另一方面，其社会主义特征被保留并被调整以适应当地的具体情形和社会需求。刘烨在其结论中强调，当我们今天讨论中国的对外建设或援助工作时，我们必须要知道，这些项目不是凭空而来、也不仅是为了市场扩张，而是要站在现实和历史的角度全面地理解它复杂的历史脉络。

图 2 非洲建筑墙上的社会主义标语（图片来自：刘烨） Socialist Slogan on the Wall of Buildings in Africa (From: Ye Liu)

Similar with Ye Liu, the speech of Sohrab Ahmed Marri, Wei Chang, Lujia Zhang and Xia Ai also looked at the cross-cultural architecture exchange through multiple cases. Taking “Eclecticism of Chinese architecture in Pakistan“ as example, Marri talked about the realization of the unique cross-cultural cooperation under the framework of the Belt and Road Initiative (BRI) through the case study of Pak-China Friendship Center and Gwadar Free Zone Business Center; Chang’s study on “China’s foreign-aided stadiums from the 1950s to the 21st century“ gave a brief overview of the historical development of modernist architectural design in China’s foreign-aided stadiums and how Chinese architects designed these cross-cultural projects in various historical periods under complex influences; Zhang agreed with the previous speakers’ argument that China's foreign-aid construction should be studied from a comprehensive understanding of the historical and local contexts, supplemented with analysis of eight different types of architectural projects in her research “Supporting and stitching: Chinese aid-projects and the urbanization in the horn of Africa – taking Djibouti and Ethiopia as examples”; as the only representative from the design industry, Xia Ai introduced “18 years of overseas design practice of CCDI Group as a complex journey”, shared both a clear procedure of how a private design firm bid, gained, processed and managed overseas projects and the meaning and challenges they were facing to meet the needs of the overseas clients and compete with peers from the western world.

与刘烨观点相近，苏赫拉布·阿赫麦德·马力、常威、张璐嘉和艾侠也都在多个案例中关注到了建筑的跨文化问题。比如，马力在他的报告“中国在巴基斯坦的折衷主义建筑”中，基于中巴友谊中心和瓜达尔免税区商务中心两个案例，讨论了在一带一路的框架下实现独特的跨文化合作的问题；常威的报告“1950年代到21世纪的中国援外体育馆”简要回顾了中国援外体育馆中现代主义设计的历史发展，同时也谈到了中国建筑师如何在不同的历史阶段和复杂情形的影响下设计了这些跨文化项目；张璐嘉赞同上述报告的基本观点，即中国的援外建设应该在历史和当地双重语境中进行综合理解，同时在她的报告“支撑与缝合：中国援外项目和非洲之角的城市化——以吉布提和埃塞俄比亚为例”中，也通过对八个不同建筑类型的分析进行了佐证；艾侠介绍了“悉地国际海外实践的18年复杂历程”，他向大家分享了悉地国际这家私营设计机构投标、中标、推进并管理这些海外项目的过程、经营方法和意义，此外他还谈到了他们所面对的来自满足海外客户需求以及与西方世界同行竞争所产生的压力。

图 3 援外医疗建筑社会影响评估的四个方面（图片来自：唐山、张天洁） Four Aspects of Social Impact Evaluation of China’s Aid Medical Architecture (From: Shan Tang & Tia

In addition to the design itself, researchers were also concerned about the impact of architecture. Shan Tang, on behalf of her supervisor Tianjie Zhang, presented “Social impact evaluation of China’s aid medical architecture projects in Africa“ through a case study of Mahusekwa hospital in Zimbabwe. As a prime example, Tang described the transformation of Social Impact Assessment (SIA), a policy research method, into a tool that could be used in architecture social impact evaluation. The systematic review of the impact on economic development, social services, interaction with society and the natural environment had resulted in recommendations of strengthening local policy support and project cooperative management services to give full play to the positive influence and promote sustainable development of China’s aid projects in Africa, culturally, socially, economically and environmental-friendly.

除了设计本身，学者们也关注建筑对社会的影响。唐山以津巴布韦的马修夸医院为例，代表她的导师张天洁汇报了“中国对非援外医疗建筑的社会影响评估”。她先阐述了社会影响评估这种研究方法从进行政策研究转变到建筑学研究的演进历程，然后系统地回顾了援外建筑对经济发展、社会服务、社会互动和自然环境的影响。以此为基础，建议当地政府加强相应政策支持、优化项目合作管理服务，进而充分发挥中国对非援外项目在文化、社会、经济和环境方面的积极影响。

图 4 加纳艺术家Ibrahim以黄麻布包裹国家剧院来表达其观点（图片来自：劳埃德） Local Artist Ibrahim Hung Jute Sacks on the National Theatre Expressing His Idea (From: Am

From the perspective of aid recipients, the voice of Lloyd G. Adu Amoah from the University of Ghana was of great significance. With a background of political science, his presentation, entitled “Diplomacy of architecture: Ghana, China, and 60 years of spatial engagement”, expanded the question from the architectural realm to the level of international relations. Particularly from the perspective of spatial dimension, he examined the political and economic implications of architectural manifestations of diplomacy by incorporating them into the social constitutive process of molding and melding space. To be specific, the key question was on the role of foreign architects on shaping the cityscape of capital cities. Amoah expressed his concern about what the Chinese scholars claimed the presence of China’s architecture in Africa, “Transformational Modernism”, which he thought was more properly to be called “Deformational Modernism” because it seems the construction reinforces power asymmetries and deepens dependence on China financially and technologically. In closing, Amoah raised a question worthy of in-depth exploration and consideration - the intersection of form, knowledge transfer, and politics regarding Africa-China relations seems far more complex than currently understood, how does this intersection play out its infrastructure connectivity rationale in Africa?

立足于受援国的视角，加纳大学劳埃德的声音发人深省。他的报告“建筑外交：加纳、中国和60年的空间介入”立足政治学的背景，将讨论从建筑学领域延伸到国际关系领域。他从空间视角切入，检视了建筑表征的政治和经济内涵以及这样的建筑外交如何将他们整合进入一种能融合并建构空间的社会过程。他认识到，关键的问题是中方建筑师在形构首都城市景观方面的角色。劳埃德表达了他对中国学者丁光辉和薛求理提出的“革新的现代主义（Transformational Modernism）”一词的看法，他认为叫做“变形的现代主义（Deformational Modernism）”更合适。因为这种“现代主义”建设强化了权力的不均衡性以及受援国对中国的经济和技术依赖。在报告尾声，劳埃德提出了一个值得深思的问题——在考虑中非关系的基础上，对空间形态、知识转移和政治三者的接合进行研究似乎比现在所理解到的复杂的多，而这个接合点如何才能使得基础设施建设更合乎非洲的基本情形呢？

The next and last speaker, Ke Song, partially responded to Amoah’s question in his presentation “Aesthetics and politics of China’s foreign-aid architecture in the 1950s-19702: a perspective of knowledge history”. Song further enriched the discussion by pointing out the interrelation between aesthetics and politics is about the distribution of the sensible, about what can or cannot be seen, be heard or be said. Chineseness in foreign-aid architecture has always been a controversial topic. Is there a Chinese version of modernism? How to analyze its Chineseness? To answer these questions, Song particularly highlighted the influence of global modernism, especially American formalism and tropical modernism, which he defined as a multidirectional knowledge flow between China, the West and the recipient countries.

最后的主旨报告来自宋科，他的报告“1950-1970年代中国援外建筑的美学与政治：一个知识史的视角”部分地回应了劳埃德的提问。他指出政治和美学的关联是关于感知分配的问题，是关于什么可以或不可以被看见、听见和言说的，这进一步深化了前面的讨论。援外建筑的中国性是一个颇具争议的议题。是否存在一种中国版的现代主义？如何分析它的中国性？为了回应这些问题，宋科特别强调现代主义全球化的影响，尤其是美国的形式主义（American formalism）和热带现代主义（Tropical modernism）。他将这些定义为一种在中国、西方和受援国之间多线、多方向的知识流动。

The free discussion followed the presentation was more intense. Experts from academia and industry as well as the audience enthusiastically spoke on the issue of exploring new approaches to create modern, Chinese and local architecture. Providing international aid to developing countries offers the opportunity not only to address those countries’ needs and assist in their development, but also to have an impact at the cultural and architectural levels. Xue concluded by noting that although this seminar might not yield an optimal solution, a new strategic and collaborative way should be our primary concern to bring about collective success, prosperity, and enhanced standard of living across the world.

随后的自由讨论环节交锋激烈，来自实践和学术领域的专家学者以及与会观众之间就如何创造现代的、中国的、当地的建筑这一议题进行了频繁互动。向发展中国家提供国际援助不仅解决了这些国家的需求、帮助了他们的发展，同时也在文化和建筑层面产生了影响。薛求理最后总结时认为，虽然并不期望这样的讨论能产生出一个最理想的方案，但是创新性的策略与合作性的方式应该成为我们致力世界性繁荣共赢和营造美好人居环境的首选。

（陈颖婷、刘新宇撰稿 ）

B站视频：https://www.bilibili.com/video/BV1Lo4y1279L/