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德国的现代建筑是一部批判的历史，充满矛盾性与复杂性。现代建筑面临几大困境：现代化的同质化力量与民族特性的矛盾，也就是现代化的普适价值与民族传统的矛盾；大规模工业时代国家机器的权力扩张与欧洲城市传统的矛盾；工业化与高度理性化组织所导致的城市生活方式，引起人们对农业、田园生活方式的强烈怀旧；开放社会差异性和多元化跟社会主义平等理想和集体主义的矛盾。和其他的欧洲国家一样，德国政治精英不断地试图发明新的民族与国家传统来解决这些矛盾和实现意识形态的控制。 柏林就是一个很好的空间范本。从1870年成为统一的德意志民族国家的首都，开始现代化的加速进程，到两次工业化的大规模世界大战，再到战后东西柏林的分裂，柏林的空间也随之变化。 1789年法国大革命以后，新古典主义的演变很大程度上与适应资产阶级社会对新机构与民族国家的需要紧密相关，代表了新兴共和国的崛起，在资产阶级帝国风格的形成中发挥了重要作用。在德国，这种趋势首先体现在卡尔·哥特哈德·朗汉斯(Carl Gotthard Langhans)的勃兰登堡门和弗里德里希·吉利(Friedrich Gilly)在1797年设计建立的弗里德里希大帝纪念碑。他们模仿严谨的陶立克风格，这与德国文学上"狂飙突进"运动的"古朴"文风相对应。同时代的弗里德里希·崴恩布莱纳(Friedrich Weinbrenner)设计了一种斯巴达式的，有高度道德观的建筑，以此来歌颂理想普鲁士国家的信念。他设想在莱比锡广场上建一座纪念性的"人造卫城"。这一圣地从波茨坦方向通向一座矮胖的、饰有双轮战车的凯旋门走进来。 普鲁士最有影响力的浪漫古典主义建筑师是卡尔·弗里德里希·申克尔。浪漫古典主义致力于形式本身的外貌特点，以使建筑更有表现力，主要体现在博物馆、图书馆、宫殿等建筑类型上。1815年拿破仑战败以后，这种浪漫主义被表现普鲁士民族主义凯旋的需要大大冲淡。政治上的理想主义和军功武威结合在一起，导致古典主义的再现。申克尔以这种风格创作了柏林的新警卫局（1816年），宫廷剧院(Opera)（1821年）和老博物馆(Altes Museum)。老博物馆取材于《演讲集》中的博物馆原型平面，将其劈为两半，改动中保留了中间的穹顶、柱廊和内院，取消了侧翼。博物馆采用了宽台阶、柱廊和屋顶上象征普鲁士国家文化影响的鹰和狄俄斯库里(Dioscuri),创立了一种精致而有力的空间组合，宽大的列柱围廊形成通向窄门廊的通道，门廊中有一座对称的入口楼梯和夹层。 新古典主义兴起的同时，欧洲的城市空间也发生了巨大的变化。18-19世纪被工业革命席卷的欧洲城市发展呈现两个特点。第一，大规模工业生产、人口增长与新型交通工具的发展，使城市人口高度集中。随之而来的是城市居住环境的恶化。贫民窟、廉价的庇护所出现；卫生设施与排水排污系统的落后导致疾病肆虐，首先是肺结核，然后是霍乱。第二，政府对大城市的整体管理与控制力大大加强，权力的集中促使了国家行政官僚体系的建立。在卫生工作改革中，政府当局通过一系列法规，包括英国1848年的《公共健康法》与豪斯曼(Haussmann)1853年至1870年巴黎改建期间的一系列条款，从法律上规定了地方当局对污水排放、垃圾堆集、供水道路、屠宰厂检查等负责。政府行政权力的加强也体现在城市规划上，特别是通过街道规划切割划分现有的城市结构。1806年建成的李沃利大街采纳了摄政街建筑模式，成为第二帝国时代巴黎布景式街道立面。艺术家规划提出了林荫大道(Allee)的规划方针，成为拿破仑三世时代巴黎改建的主要措施。 建于1831年的柏林老博物馆，二战中被毁 柏林的土地所有权在1840年至1990年经历了持续不断的公有化或国有化。1830年之前，柏林是一个选帝侯的都城。从19世纪30年代起，普鲁士开始强大，并希望把普鲁士的首都变为一个"世界城市"。但是与同一时期的其他欧洲城市相比，由于普鲁士政府没有通过交通规划、纪念性建筑以及城市卫生、居住条件的现代化等方式介入到城市中，因此国家政权在首都城市的建设上困难重重。1846年，旧柏林1,100块地产中，仅有45块属于公有。直至1875年，占据市中心，权限最大的仍然是地方政府管理机构。1875年至1914年，普鲁士统一德国后，虽然有了大量的金融机构，但是要建设一个高度艺术性的首都城市中心，仍然必须由国家参与才可能解决经费问题。当时的柏林仍然掌握在市政府中，因此对城市的改建产生了负面的影响。城市规划者既难以采取能够满足车流量需求的交通建设措施，也没能修建足够的购物街与城市广场。纵观当时欧洲的大都会，随着城市人口增长，拓宽街道、大规模拆毁建筑、城市居住条件的现代化，无一不与国家及早的介入有关。 在柏林，这种空间的变化也极为明显。一战与二战的大规模破坏为国家的介入与柏林的新建提供了条件。1874年至1922年，德国颁布了一系列没收私有财产的法律。第三帝国时期，已有196块地产属于公有。格鲁那街(Grunerstraße)和墨尔肯市场(Molkenmarkt)被联结起来；卡尔-李布克内西大街(Karl-Liebknecht-Straße)被打通，与普伦兹劳尔林荫大道(Prenzlauer Allee)相接；威森桥(Waisenbrücke)被拆除，铺设了电车轨道，改建了穆伦大街(Mühlendamm)，仿建了尼古拉历史区(Nikolaiviertel)。至此，柏林确立了国家(Staat)-州(Land)-市(Stadt)-区（Kommune)的三层权力空间。1949年10月，盟军占领时期的柏林有2/3被公有化。1949年民主德国成立后，以前市政府的规划权转移到中央政府手中。民主德国时期的东柏林有162块地产被收归国有，仅占总面积的1/3。因此，事实上并不存在东德政府"激进的"产权转变。二战后东柏林的市中心建设是柏林历史的延续，是120年城市现代化进程的继续。 现代化所引起的文化与精神危机在建筑中也得到了充分的体现。未来派对机械速度的激情赞美，对爱国主义的歌颂，对几何学和数字理性的崇拜，以及对战争的爱好，在建筑纲领上体现为要求毁灭各种学院机制，"吸取科学和技术的每一种成就把建筑结构提高到一个理性的水平上"。与此同时，也出现了对工业文明的批判。这不仅体现在英国田园城市所表现出的对宁静乡村生活的怀念，也出现了梦想回归到前工业时代的社会理想。 工业化和城市化以来，城市工人阶级的住宅问题一直是欧洲建筑师和各种社会学、规划学、建筑学理论关注的核心为题。包豪斯具有深刻的社会主义理想。正如在1919年魏玛包豪斯宣言中所说，"让我们建立一个崭新的行会，其中工匠和艺术家互不相轻，亦无等级隔阂"，包豪斯是建立在社会主义式大教堂的理想之上的，其车间则是建造大教堂的工匠之家。面对战后经济的萧条，包豪斯的任务是找到简朴的形式以满足生活的要求，同时做到高雅和真实。 20年代，包豪斯的左倾使其与新客观派的立场越来越接近。新客观派强调"最低限度的生存"。一方面摒弃装饰，刻意打破舒适的感觉；另一方面以极简的设计和极省的空间来降低造价。最具有代表性的人物是瓦尔特·格鲁皮乌斯(Walter Gropius)。1927年，格鲁皮乌斯从包豪斯辞职之后，更加置身于对住宅问题的研究。他除了在德骚、卡尔斯鲁尔和柏林设计并亲自督建大量低造价住宅之外，还在理论上关心住宅标准的改善及社区居民点中无等级体系的住宅街坊的发展。1920年后期，他的观点处于社会民主立场。这一点在1929年的论文《最低限度住宅的社会学基础》中表露得最清楚。文章中他提出了以国家干预来提供住房的社会主义观点："因为工艺学的实现受工业与财政羁绊，也因为任何降低成本的措施首先要能为私人企业的盈利所利用，因此在住宅建筑中，只有在政府通过增加福利措施从而提高私人企业对住宅建造的兴趣之后，才可能提供较便宜多样的住宅。 1933年，国家社会主义工人党（纳粹党）攫取政权之后，现代运动的理性主义路线立即消逝。功能主义手法的现代建筑被否定为世界主义的和堕落的，除非是为了满足高效率工业生产和工厂福利的需要。纳粹党在试图把国家社会主义表现为体现德国命运的英雄的同时，还希望满足公众对心理安全的希望，并对一个遭受工业化战争、通货膨胀和政治骚乱后，传统社会分崩离析的世界提供安抚。这种二重性反映了渗透在现代运动历史中的意识形态分歧--存在于工业生产中功利主义的、普适性的标准与基督教的、回复到农业手工业经济的根深蒂固价值观之间的对立。对于前者，纳粹党转向黑格尔哲学和申克尔建筑中的极权国家与开明普鲁士文化；对于后者，他们回复到有关德意志民众的神话，也就是普鲁士爱国者F.L.杨(F.L.Jahn)在1806年提出的反西方迷信。 在《农民是北欧种族的生命渊源》一书中，理查·沃特·达雷(Richard Walter Darre)提出了"血和土壤"(soil and blood)的文化，鼓吹回复到土地去。他扮演了发展国家社会主义的反城市的、种族主义的思想意识的重要角色。这成为1933年在纳粹党赞助下建造故乡风格(Heimatstil)或乡土住宅的理论基础。国家资助的住宅从魏玛共和国的立方形平顶屋突然转变为第三帝国的坡屋顶形式。当时的艾尔弗雷德罗森堡(Alfred Rosenberg)的文化战线--"为德意志文化战斗联盟"，通过批判工业城市化及农业经济的毁灭，明确了对现代文化发动总攻击的战场。在联盟看来，农业聚居点不仅是爱国主义的据点，而且是纯洁的北欧种族的理想生活环境。 "血与土"的住宅建筑虽然是适用于成批建造，但是很难代表千年帝国的神话。为此，纳粹党利用了申克尔的古典主义遗产。1933年至20世纪40年代希特勒的私人建筑师阿尔贝特斯佩尔(Albert Speer)有效地把简化的申克尔式传统版本作为国家的代表风格。从保罗·路德维希·特鲁斯特(Paul Ludwig Troost)把慕尼黑打扮成"党的首都"，到斯佩尔在纳粹党鼎盛时期的布景式作品--纽伦堡泽泼林菲尔德体育场，占统治地位的都是古典主义。只有当那些巨大的布景式作品被用于群众的大型集会时，才会产生对浪漫古典主义的净化。 为了体现豪华壮丽的风格，斯佩尔在他自称为"冰制大教堂"中专门为1935年柏林举行的滕博尔豪夫(Tempelhof，位于柏林市西)设计了由旗杆和探照灯组成的假柱。在戈培尔的指示下，这种露天剧场成了灌输纳粹意识的场地：第一次，"作为艺术作品的国家"可以输送到无线电和电影这些群众宣传介质中去。勒尼·里芬施塔尔(Leni Riefenstahl)关于1934年纽伦堡示威的纪录片《意志的胜利》，第一次使布景式建筑成为电影宣传的一种服务手段。泽泼林菲尔德的建筑则使用承重砖石结构，以保证它能够成为一个"伟大的废墟"，这种"废墟法则"不允许采用任何金属配件。 二战结束后，柏林分裂。东柏林的斯大林大街修建于1949年至1961年间，历时12年。它穿过亚历山大广场，直至波兰登堡门90米宽的中轴线。市中心位于施潘道(Spandauer)大街和施普雷河（Spree）之间的建筑统一采取了"人民的房子"的风格。刚成立不久的东德政府在柏林弗里德里希海恩(Friedrichshain)与市中心(Mitte)间修建了这条纪念性的社会主义大街，是战后重建东德的旗舰工程。大街近2公里长，89米宽，由六位建筑师设计，包括给工人的宽敞豪华的公寓，以及商店、咖啡馆、宾馆、巨大的电影院与体育馆。建筑一律8层高，接受了苏联社会主义建筑的风格。建筑立面也运用了申克尔(Karl Friedrich Schinkel)的柏林传统古典风格。1953年6月17日，建筑工人聚集在斯大林大街，游行抗议东德政府，很快蔓延为全国的运动。苏联派出坦克与军队镇压了抗议运动，至少125人丧生。这条街后来成为东德每年5月阅兵式的场所，迈着正步的军队与坦克驶过广场，成为展示东德政府光荣与强大的橱窗。建筑师菲利普·约翰逊(Philip Johnson)称赞它为"真正意义上的大规模城市规划"，阿尔多·罗西(Aldo Rossi)称其为"欧洲最后一条伟大的街道"。 1949年12月7日，随着民主德国的建立，在建设上急需大规模地改变城市结构，因此必须和原有的"总体建设方案"有所区别。德国统一社会党总书记瓦尔特·乌布利希(Walter Ulbricht)对建筑有浓厚的兴趣。1949年斯大林70岁生日之际，乌布利希和市长艾伯特去莫斯科详细了解了苏联的城市建设和建筑政策。他们受到启发，要在这个领域贯彻权力的诉求。乌尔布里希特因此力荐在苏联工作过的建筑师库尔特·李布克内希(Kurt Liebknecht)。在苏联工作期间，他作为建设部城市建设与高层建筑机构的带头人，对德国建筑产生了极大的影响。在很多场合与磋商会议上，中央政府向柏林市政府清楚地声明，柏林的重建不应该只是市、区政府的任务，而应该由中央政府来负责。1950年4月至5月，建设部部长洛塔尔·波尔茨, 德国国家民主党率领一个"学习代表团"赴苏联莫斯科考察。在苏联建筑师的帮助下，形成了1950年9月6日的《德意志民主共和国城市与德国的首都柏林城市建设法》，以及同年9月15日颁布的十六点基本原则。这些原则构成1950年8月23日《柏林新设计的基本原则》的基础。在这些原则上，同年9月26日颁布《民主德国城市和德国首都（柏林）建设法》。民主德国建立后，德国社会统一党成为执政党。这是柏林作为德国首都建设的政治基础。同时，东德国内必须抵制对俄罗斯形式主义和世界主义的指责。 1950年8月27日，在市政府与国务院的联席会议上，确定了柏林设计方案，并通过了建设图草案。在这一草案中，斯大林大街是主干道的一部分，穿越亚历山大广场到达勃兰登堡门。历史上终止于宫殿的东西轴和发端于菩提树下大街的西-东走向的轴线平行。这个方案早在20世纪20年代就提出过。时任德国建筑学院院长的李布克内希(Liebknecht)着手负责"为新的德国建筑而奋斗"的工作。他反对包豪斯风格和一战后的"新客观性"，要求回归建筑艺术的古典遗产。 1950年秋，统一社会党的政治局决定举办一次斯大林大街斯特劳斯伯格(Strausberger)至华沙街(Warschauer Straße)路段的城市规划概念竞赛，裁判团建议由所有的获奖者合作设计一种新的建设方案。合作的结果是1951年9月的"松脂树方案"，集体设计的方案出台后，由六位建筑师分段负责实施，短短两年内，这个大约容纳3000所住户的巨大建筑工程主体已经完成。1953年，就华沙街十字路口的设计举行了一次内部竞赛，亨赛尔曼以其巴别尔塔的设计方案获奖。1956年，法兰克福门广场和霍普设计的普洛斯考尔(Proskauer)大街完工。完工的斯大林大街具有鲜明的社会主义现实主义的特点。 斯大林逝世后，赫鲁晓夫公开批评斯大林主义。在1954年社会主义阵营建筑大会上，他表达了尖锐的建筑批评。这对当时已经陷入经济困境的东德产生了极大的影响。1955年4月举行的第一次建筑大会提出了建筑方式工业化的目标，也就是综合运用类型工程（大规模的预制板工业生产方式），以降低建筑成本和缩短施工时间。东德建筑由此转向"更好、更快、更经济"的工业建筑。1953年，亨赛尔曼就任总建筑师和副市长，他所面临的工作重点是向亚历山大广场扩建斯大林大街，最初他采用的是相同的形式语言。由于缺乏相应的建筑技术在多层预制工程上实现原先建筑的风格与尺度，斯大林大街的扩建工程被一再拖延。1957年12月30日，大柏林社会统一党第十一次代表会议决定，1958年必须实现斯大林大街的扩建，亨赛尔曼必须尽快拿出解决方案。 1958年4月，亚历山大广场周边的建设方案展示出严格的几何式的、开放城市的结构。路两边对称有序地分布八层高的板楼。斯大林大街把该区分为两个独立的居住区，其中有四层高的学校、幼儿园和购物中心。经市长与统一社会党区长同意，这一设计概念发表在1958年6月7日的《新德国》日报上。在电台广播中，弗里德里希艾伯特评论道："如此大规模的居住区建设，使用的是统一的技术和工业建筑方式，根据类型预制，这还是第一次。"德国建筑学院、建设部和德国统一社会党中央委员会认为这种建筑是对他们统治要求的威胁。那些信奉斯大林主义的人批评它为："斯大林大街的中断，无政府主义的居住区，苟同于汉萨区。"技术上的局限性，使得所有的设计草图都采用相同的矩形公式化建筑体块。街道空间被八至十层的住房或者商场填满。由于使用了大板房的桁架技术，先前被禁止的"开放城市结构"得到了贯彻，城市不得不重新回到现代性。 1959年至1965年间，东柏林紧随苏联之后建成了"社会主义"的居住区。1961年斯大林大街更名为卡尔·马克思大街。事实上，经过五十年代以来不断变更的规划，现代性在60年代又不得不在东德首都复燃。现代性在东柏林的巅峰是1967年的亚历山大广场，广场的设计高度同质化。空旷的广场虽然满足了市民对宽敞空间的要求，却无法满足城市规划师与建筑师疏散堵塞的交通的愿望，也达不到政府的意图。首都的中心充满了各种符号--民族建筑，现代性以及渗透在尼古拉区和根达门市场(Gendarmenmarkt)中的后现代性。 今天的马克思大街 东德存在的历史只有40年。在这40年中，它始终在"创新"和"传统"之间钟摆似的反复变动。第二次世界大战结束后，刚成立不久的东德政府转向"民族传统的建筑"，以历史上形成的高密度城市为指导。这一概念的提出，强调地区性和民族性的符号。"莫斯科之旅"后形成的《城市建设的十六点基本原则》废除了《雅典宪章》中提出的城市"绿地"的概念。这意味着以城市景观而不是花园景观为导向，以汽车交通为扩建的主要考虑因素的规划思想得到确立。这一概念深受苏联专家的影响，从经济、文化、社会心理以及政治等多个角度，试图回复到着重历史保护的城市去，要求建筑师和规划师必须尊重历史上形成的城市脉络，把空间-社会条件作为城市轮廓的基础。在建筑上，力求延续地区性的传统。然而，几乎是在同一时间段，东德出现了完全相反的审美取向。这一过程在20世纪60年代与西方阵营在文化与价值观的较量中得以强化，也包括发展生产力的较量和消费的竞争。尽管菩提树下大街西段和整个亚历山大广场都贯彻了大城市的规划思想，但是场所的传统却完全没有在功能上得以体现。通过新的、异域的、异己的元素，含蓄地表达了"文雅"的语汇。 在新经济制度社会改革工程的背景下，建筑的语言转向工业-客观性。通过中央集权、官僚体制的宏观调控和理性化，新的制度完全实现了现代化。然而这个时候，文化层面的解释系统出现了特殊问题：追求纯数量上的增长，最终不就会导致道统一的"世界工业社会"吗？如果是这样，共产主义解放人类、建立大同世界的目标不是陷入困境了吗？这个问题在东德社会中引起了广泛的讨论，产生了爆炸式的影响。为了与其他宣扬减少社会差异的不同理论流派相区别，为了与单纯通过技术发展而促进社会进步的理论相抗衡，从60年代开始，人的自我实现，也就是每个人通过合理地占有自然资源以获得个人自由发展的讨论，成为东德知识分子的话题。 20世纪60年代后期，话语体系中出现的解释危机促使城市社会学作为独立的学科迅速兴起。而直到50年代，城市社会学还被视为"资产阶级的科学"。社会学家必须调查研究人们为什么对自由和美有迫切地要求，而这些似乎是通过建立在私有产权基础上的物质消费和财产得以实现的。社会学家面临的困境，是当下人们迫切需求的财富与纯粹理性目标之间的矛盾。他们很快得出结论，实现人类解放不可能通过自上而下地分配商品和服务来实现，而必须通过使人们实实在在地参与到和他们的生活场所紧密相关的生活中来实现。在后资本主义城市中，要把主观性重新容纳进社会中，促进身体之间与空间之间的交流。在这个意义上，城镇显然是比国家更好的场所。 巴洛克式的透视结构以数学线把空间组织起来，契合了新资本主义通过领土与市场扩张追逐金钱与权力的利益。新古典主义的普鲁士民族主义适应了新兴资产阶级建立统一民族国家的要求。急速的城市化进程，以交通为导向的街道规划，公共卫生系统的建立等，都使得国家与官僚行政的权力扩张到社会与城市空间中，并加速了城市土地公有化的进程。同时，大规模工业化、同质化的现代化进程，促使民族国家在意识形态和文化领域创造发明新的传统。反对西方普适价值观（以个人主义为出发点的城市价值观）的新传统一度与系统化的强力国家、社会主义理想和机器崇拜相结合的，产生了纳粹德国。当这一套逻辑上具有一致性的意识形态瓦解后，民主德国再度面临重建德意志民族国家的任务。 东德政府建立之初面临的首要问题，是在重塑民族国家的同时，表明社会主义国家的政治立场。因此，在意识形态上摒弃现代国际主义的和受苏维埃影响的包豪斯建筑。与此同时，斯大林统治时期的苏联对东德从制度到文化上都产生了巨大的影响。德国国内对"民族传统"的强调，在一定程度上是对这一影响的回应。50年代后期至60年代初，斯大林逝世和赫鲁晓夫对他的批判，以及东德经济建设的困难和社会矛盾的激化，使得东德不得不重新回到工业化的现代化进程上去。60年代后期，现代化以来工业社会根深蒂固的矛盾爆发。高度现代化、理性化的强大国家机器，以及工业化生产所导致的同质化与社会个体多元性之间的冲突，现代化进程与传统文化认同的矛盾，国家与社会空间的冲突，都在建筑纲领的左右摇摆与最终的多元化风格上得以体现。这种矛盾并非是东德一国所面临的矛盾，而是所有工业化民族国家从现代化以来就一直面临的矛盾。 东德政府建设的充满后现代风格的根达门市场 与以往的一般认识不同，东德时期柏林的建筑并非是单调划一的，柏林的建筑体现出超乎想象的多元化。国家空间在柏林逐渐退却，城市空间复兴。在意识形态和文化层面上，民主德国的失败在于它始终未能建立起自恰的抽象话语体系来应对自现代化工业社会内部的矛盾。在走向后现代的过程中，伴随着社会中个人对系统性强大秩序的反叛，它的国家意识形态也随之消解。德意志的城市传统再度复兴，压缩和瓦解了靠高压维持的国家空间。高度工业化的社会主义东德与发展中国家建设社会主义所面临的问题并不完全相同。第二次世界大战后东德的政治进程并不是民主化或者权威主义衰弱的进程，而是个人主义对严格的、理性化的秩序的反叛与秩序的消解。  

（选自《聋子的耳朵》河南文艺出版社 2007年出版）作者序：这本集子不知为什么使我牵扯了许多心思，好像它在我的书架上是个不足月的婴儿。或者是因为有一种认为大街上匪患滚滚的心理，所以本来是流水茶饭，我却敏感而警觉，好像随时准备拔出匕首，刺入无影之中的敌腹。
　　在一个失聪的年代，一切判断的根据，只是“内在的听力”。也就是说，拒绝强制灌输塞入耳朵的喧嚣声响，用人的另一种本能，去听取茫茫沉默中的哑语本音。我暗暗下了决意，从此侧耳倾听，不仅调动体内的潜在听觉，而且调动各样的异色语言。从底层到空间，从民众到邻人，按照听到的世界真实的指引，决定一介作家之落笔。 ————张承志

李伯斯金，设计了柏林的犹太博物馆，纽约的ground zero，最近设计德累斯顿的军事历史博物馆（将于2011年10月14日开幕）。建筑与历史记忆的关系是怎样在他的作品中体现出来的？他又怎样理解德累斯顿这个在二战中被盟军炸弹摧毁的城市？

60年代，日本的城市环境十分恶劣，有明显的污染和噪声。当时，城市是为经济而存在，而不是为人而存在的。所以，当时的闭合、封闭的自我天地成为我体现自我存在意义的方式，当然，这是一种简化的比喻。而之后，日本的城市有了变化，越来越多的花园、美术馆，城市变得越来越宜人。所以在建筑上，也有了开放的可能。

作者从“建筑艺术”的文化性和中外文化的不同，论述了中国建筑应立足于本国文化土壤之上，慎言与西方的“接轨”；从建筑的双重性和建筑艺术的层级性、公众性，论述了“建筑艺术”只是指称建筑中的“艺术性”。“建筑”作为整体，不可能是纯艺术，仍应以满足包括功能在内的物质性为其首要的追求，慎言“艺术”。

The world's tallest skyscraper will open soon in Dubai, even as the emirate continues to be battered by the financial crisis. Is Burj Dubai an expression of failed megalomania or proof of Dubai leader Mohammed bin Rashid Al Maktoum's stunning vision?The view is clear, the air is soft and silky, and only a thick strip of red separates the sky and the sea at sundown. The boundary between grandeur and kitsch becomes blurred here, halfway up the Burj Dubai, the world's tallest tower.It smells of paint, varnish and new leather, and the steps of female visitors on parquet and marble produce an elegant-sounding echo that suddenly disappears when they step onto soft carpets. An artificial island in the shape of a palm tree is visible to the southwest, and farther to the north is a man-made archipelago that looks like a map of the world.But only the furniture, the carpets, the smells and the sounds are real. The rest is an illusion. The visitor isn't gazing out at the Persian Gulf from 400 meters (1,312 feet) up in the air; in fact, he or she is standing at ground level -- in a model apartment with an enormous mural stretched outside its floor-to-ceiling windows -- at the foot of a hermetically sealed building.The model apartment is located at the recently closed sales office of Emaar Properties, the real estate development company behind the Burj Dubai, which has over-extended itself -- with projects from India to Morocco -- and is now selling some of its condominiums at half the list price. After falling by 32 percent in last two weeks, Emaar's stock price gained 15 percentage points again last Thursday. Emaar, like the entire city, is on the brink of ruin, and yet it behaves as if nothing has happened.Dubai, like no other place in the world, epitomizes globalization, "innovation" and "astonishing progress," as US President Barack Obama said admiringly in his speech to the Muslim world in Cairo in June. But it also stands for mind-boggling excess. In Dubai, utopias almost feel real sometimes, and reality is sometimes nothing but a mirage.The tower, at any rate, is real. With its 160 habitable stories, it juts 818 meters (2,683 feet) into the sky. Tourists have to kneel down on the sidewalk to photograph the building in its entirety, from base to tip.The Burj Dubai is so tall that Bedouins can see it from their oases 100 kilometers (63 miles) inland and sailors can see it from their supertankers, 50 nautical miles out in the Gulf -- at least on the few winter days when the air is as clear as it's portrayed on the mural in front of the model apartment window.The tower is so enormous that the air temperature at the top is up to 8 degrees Celsius (14 degrees Fahrenheit) lower than at the base. If anyone ever hit upon the idea of opening a door at the top and a door at the bottom, as well as the airlocks in between, a storm would rush through the air-conditioned building that would destroy most everything in its wake, except perhaps the heavy marble tiles in the luxury apartments. The phenomenon is called the "chimney effect."AN ARMY OF IMMIGRANT WORKERSAn army of immigrant workers from India, Pakistan and Bangladesh, who make up about two-thirds of Dubai's residents, built the Burj. Only one in five residents is considered a "local" entitled to a United Arab Emirates passport. Scores of marketing strategists take steps to ensure that no one scrapes away at the silver varnish of this architectural marvel.Security guards quickly remind anyone who comes too close to the construction site of the meaning of the word "unauthorized." Those who are invited to tour the building, or even just the grounds, are required to sign a non-disclosure agreement, the terms of which are to be obey "finally, irrevocably and unconditionally." Anyone who violates the terms can expect to face a judge in Dubai.All of this will apply for only a little more than two weeks, until Jan. 4, 2010, the official opening date -- already rescheduled several times -- when the developers hope that the tower will begin serving its purpose as a magnet for a two-square-kilometer new development zone, where the wind was still blowing empty plastic bags across the desert sand only five years ago. And when the Burj Dubai opens, it will likely be one of the last major projects for some time in a city that has risen to dizzying heights and now faces the prospect of a precipitous fall.On a single day, Tuesday of last week, prices on Dubai's stock exchange fell by an average of 6 percent. The Islamic bond issued by real estate developer Nakheel fell to 52 cents a share, at a face value of $1 per share. The rating agency Moody's downgraded six other government-related firms to junk status. Hardly anyone believes that Dubai World, the largest of these companies, will be able to refinance its $26 billion debt within six months, as originally scheduled. The US bank Morgan Stanley predicts another drastic increase in the debt restructuring needs of Dubai's government-related firms to double the current level, or about $47 billion."Within a year, Dubai went from being the best-performing real estate market to one of the world's worst," writes the International Herald Tribune. Has the Persian Gulf emirate, once praised for its seemingly dazzling future, bitten off more than it can chew? Is the role model for a future-oriented Arabian Peninsula, with aspirations to become a hub of globalization between the East and the West, nothing less than a model for the future -- a failure?Ironically, it was the Wall Street Journal, standard-bearer of the West's brand of conservative capitalism, that warned against American and European arrogance and the tendency to write off the upstarts in the Gulf region and in the Third World in general. "The old centers ... view the Dubais, the Shanghais and the Rios with suspicion and with errant conviction that their models are built on foundations of sand, ready to collapse, when it was their own foundations that have proved to be weak," the paper writes. "Judging from the misguided reaction to Dubai's challenges, the past year hasn't changed those attitudes. That should make us worried, very worried, but not about Dubai."It is too early to sound the death bell for Dubai. That, at least, is the impression the sheikhs will try to make when they open the Burj Dubai in early January.A SUPREMELY ELEGANT EDIFICEStill, it would be condescending to dispute that the tower is an impressive, supremely elegant edifice, or that it is nothing less than graceful compared with the plain, cuboids from the age of functionalism or the gaudy, modern towers in places like Kuala Lumpur and Taipei.According to the tower's US architect, Adrian Smith, the floor plan, a central core surrounded by three lobes, is patterned on the blossom structure of the Hymenocallis flower, a shape that simultaneously creates more visible surface area and reduces the wind pressure acting on buildings this tall. As it tapers upward, one of the three lobes is shifted slightly backward about every eight floors, an effect that is reminiscent of an Islamic spiral minaret and provides the tower with 26 terraces. There will be an outdoor pool on one of the terraces, on the 78th floor, and the 124th floor (at 442 meters, or 1,450 feet, above sea level) will feature the world's third-highest observation deck.Uwe Hinrichs, 68, a native of the northern German city of Bremen, had already been involved in the construction of another Dubai landmark, the sail-shaped Burj-al-Arab Hotel, when he arrived on the construction site of his life in late 2004. The concrete foundation had already been poured, on top of 850 piles, driven up to 55 meters into the desert floor to support a load of 230,000 cubic meters of concrete and 31,000 tons of steel."From a construction standpoint," says Hinrichs, "the Burj Dubai is a relatively simple structure." One of the biggest challenges, according to Hinrichs, was the logistics of the project, an around-the-clock effort that lasted five years -- five years during which people, machines and material always had to be in the right place at the right time, 24 hours a day. Coordinating the whole thing was Hinrichs' job. His levelheaded northern German disposition proved advantageous in his position as chief coordinator, as did the fact that the people he reported to had no objection to the fact that he occassionally leaves Dubai to attend a concert in Vienna or a Rembrandt exhibition in Muscat in the neighboring country of Oman.PART 2: BAILOUTS FROM ABU DHABIIn 2004, a crew of about 2,000 people began building one floor at a time, completing an average of one per week. When interior construction entered its final phase in the fall of 2009, there were 14,000 people working on the project, people from 45 nations, speaking 35 different languages -- engineers in white helmets, security personnel in red helmets and laborers in blue helmets -- and yet there was no Babylonian linguistic confusion on the site. The workers completed a total of 95 million working hours, many at starvation wages. A skilled carpenter earned no more than €12 a day, while ordinary laborers made even less.Façade components were shipped from China, marble panels from Italy and veneers from Brazil. German companies were also involved in Burj Dubai's construction: Lopark, from the western state of North Rhine-Westphalia, supplied parquet flooring, entire football fields of it. The German branch of the US firm Guardian, based in the eastern state of Saxony-Anhalt, provided 174,000 square meters (1.8 million square feet) of solar glass. Dorma, from Ennepetal in North Rhine-Westphalia, supplied hinges and fittings. Duravit provided approximately 4,000 bidets and toilets. And Miele delivered 7,650 household appliances -- the biggest single order in the company's history. Designer Giorgio Armani bought 15,200 plates and cups from Bavarian porcelain maker Rosenthal for his hotel on the first eight floors of the building.German companies also played important roles in the development and processing of the basic core material of the Burj Dubai: concrete. Because concrete dries too quickly at daytime temperatures above 40 degrees Celsius (104 degrees Fahrenheit), the concrete was poured at night. German chemical giant BASF developed a special chemical to make the concrete more malleable initially and later rigid. Putzmeister, a maker of concrete pumps near Stuttgart, provided special high-performance pumps to pump the concrete up to the 160th floor.Quietly and uneventfully, which was entirely to Hinrichs' liking, the tower grew, floor after floor -- until June 6, 2007, when the weather service at the airport e-mailed Hinrichs a satellite image showing a cyclone that had developed over the Indian Ocean, the biggest storm ever recorded in the region, which was heading directly for the Strait of Hormuz. "That was the only day in five years," says Hinrichs, "when we had to close the construction site."The Dubai tower had already surpassed all superlatives in building history. It had overtaken the 509-meter Taipei 101 Tower as the tallest inhabited building in the world, as well as Toronto's 553-meter CN Tower as the tallest freestanding structure. Dubai had arrived at what had become the most ambitious of its goals. The city, a village of pearl divers only a generation earlier, had brought a world record back to the Middle East. For almost four millennia, the Great Pyramid of Giza (138.8 meters) was the world's tallest man-made structure, before it was overtaken by Lincoln Cathedral in England (160 meters, at the time) in 1311.TREMORSWhat could now unhinge this economic miracle on the Gulf? A terrorist attack? A new Gulf war, this time against Iran? Another earthquake, even stronger than the one that hit the region on Sept. 10, 2008?On the day of the cyclone on Sept. 10, 2008, a crane operator working 700 meters above the ground had called Hinrichs to report that it was "shaking" where he was standing. Tremors had shaken the Iranian port city of Bandar Abbas, but in Dubai, few (other than the crane operator) had even noticed.Five days later, Dubai was struck by another sort of tremor, but this one had its epicenter in New York, another city of skyscrapers. On Sept. 15, 2008, Lehman Brothers, the world's fourth-largest investment bank, filed for bankruptcy.Not just Dubai, but the West, too, had been building a tower in the years of the real estate boom, a tower of debt, which now came crashing down. But despite the vast sums of money involved in the crisis in the West, it was and largely remains a strangely abstract phenomenon. Not so in Dubai, however, which reflects the financial debacle more vividly than any other city in the world."Classic megalomania seems to have migrated from people's minds to the system itself. Nowadays the system is crazier than the people," says German philosopher Peter Sloterdijk. "That's why we, as human beings, are terribly disappointed by the course of the crisis. There was not a single colorful individual (in Europe) to make the crisis more interesting. I've never seen such an enormous conspiracy of petty bourgeoise people than at the moment."Sloterdijk may be right when it comes to the bankers, analysts and finance ministers of the West. But he apparently has never heard of Sheikh Mohammed Bin Rashid Al Maktoum, 60, a horse breeder and poet, a lover of fast powerful cars, an avid falconer and a juggler of billions. Maktoum is the ruler of Dubai and the prime minister of the United Arab Emirates. "Many leaders make promises," he said in February 2008, when the Free University of Berlin awarded him its medal of honor, "but we deliver."Maktoum had artificial islands built in the waters off his city, with names like The Palm, The World and The Universe. Not just the Free University, but the entire West was fascinated by his energy and optimism. Like the thoroughbred horses in his racing stable, he sent the most capable of his lieutenants into the orbit of globalization, and along the way they built new towers, bought ports and sent airliners out into the world.'CRISIS? WHAT CRISIS?'One real estate company after the next was founded -- Dubai Holding, Dubai Properties, Tatweer, Meraas, Sama -- and it soon became difficult to keep track of who was building what and with whose money. Apparently not even the sheikh himself was always in the know.Only about a year ago, investors were still crowding into the "CityScape Dubai" real estate convention. Former race-car driver Michael Schumacher was there, touting a skyscraper with a covered yacht berth. Nakheel, which is now in very dire financial straits, was seriously talking about the possibility of building a 1,000-meter tower. And, on the palm-shaped Jumeirah island, Dubai spent $20 million on fireworks to celebrate the opening of the fairytale Atlantis Hotel. "Crisis?" the city seemed to ask, "what crisis?"A year few weeks later, one of Sheikh Mohammed's officials presented the bill: Dubai had amassed $80 billion in debt, $50 billion of which, or about two-thirds of its gross domestic product, was scheduled to mature by 2013.For a few days, the sheikh suddenly disappeared from the scene. Rumors emerged he was ill and that he was "melancholy." Then he reappeared and began to whitewash the situation, claiming that the crisis had not affected Dubai, that Dubai had actually overcome the crisis, and that Dubai and its wealthy neighbor, Abu Dhabi, were as close and inseparable as brothers.But the "brothers" from the neighboring sheikdom, with whom the Dubaians form the bulk of the United Arab Emirates, no longer wanted any part of Dubai's excesses. Abu Dhabi has 7 percent of worldwide oil reserves, and its 64-year-old emir, Sheikh Khalifa bin Zayed Al-Nahyan, is the president of the UAE, while Dubai's Sheikh Mohammed is only its premier -- and Abu Dhabi now views the prestigious activities of his relative in the neighboring emirate with growing mistrust, and probably some envy.At the beginning of the year, Abu Dhabi rescued Dubai from the worst of its problems with a $20 billion cash injection. The emirate stepped in again earlier this week, providing Dubai with an additional $10 billion in financial aid. The emirate may have abundant assets in its $500 billion sovereign wealth fund, but how much longer will it be willing to bailout its neighbor? The sheikhs of Abu Dhabi seem to prefer to spend their money on sounder, more sustainable projects, such as an emissions-free eco-city called Masdar, where the emirate plans to conduct research on projects for the post-petroleum age.In the last four weeks, the sheikh has revealed -- not always voluntarily -- how serious the crisis is and how deeply it affects him. At first, the normally restrained sheikh lost his composure and told the critical Western media to "shut up," and then he dismissed three of his closest advisers on the emirate's central financial council. A short time later, he waxed poetic when he described the crisis as "the fruit-bearing tree that becomes the target of stone-throwers."PART 3: A SYMBOL OF EARTHLY TEMPTATIONIn truth, Sheikh Mohammed, the poet-prince, has good reasons to look forward to the day when the Burj Dubai opens its doors. With one snip of the red ribbon, he will be taking up the thread of a great epic, a saga of humanity that goes well beyond the financial problems of a debt-ridden Gulf emirate. Once before, the Eastern World is said to have been the home another groundbreaking tower, in Babylon, the legendary Mesopotamian city between the Tigris and the Euphrates.Archeologists have confirmed that the Tower of Babel did indeed exist in the 3rd century B.C. They estimate that the skyscraper of antiquity was 90 meters tall, a marvel of the day, and was constructed on a platform that was 90 meters square. If this were true, the tower would have been one-ninth as tall as the latest wonder of the modern world. According to the Bible, the Tower of Babel was much more than a building, but rather a symbol of earthly temptation. "Come, let us build ourselves a city, and a tower with its top in the heavens, and let us make a name for ourselves." These words, which sound strikingly like a motto of today's rulers of Dubai, are in fact from the Book of Genesis in the Old Testament. Even today, many of the faithful believe that endeavoring to be like God is a presumption that must invariably lead to punishment.MEGALOMANIA OR A GRAND ACHIEVEMENT?Nevertheless, the excessive building of cities and towers seems to be a cross-cultural constant, a dream and nightmare alike for mankind, from the Babylonians to the heroes and villains of the present. The ruler of Dubai isn't the only one who has carried out his plans in reinforced concrete and gleaming facades.President Nursultan Nazarbayev of Kazakhstan had Astana, an entire city of monumental avenues, triumphal arches and pyramids built as his new capital, where marble contrasts with granite, buildings are topped by gigantic glass domes and, on the Bayterek Tower, every subject can place his or her hand in a golden imprint of the president's hand.In the Burmese jungle, dictatorial generals had an absurd new capital, Naypyidaw, or "Seat of the Kings," conjured up out of nothing. Yamoussoukro, the capital of Côte d'Ivoire and a memorial to the country's now-deceased first president, Félix Houphouët-Boigny, is even a step closer to the brink. The city is filled with grandiose buildings, but there are hardly any people to be seen. The Basilica of Notre Dame de la Paix is a piece of lunacy inspired by the Basilica of St. Peter in the Vatican, but the African church is even bigger than St. Peter's. Indeed, it is the world's largest Catholic church.It is easy to ridicule the megalomaniacs and their hubris and to rail against the record-breaking mania reflected in their ostentatious buildings, phallic symbols of the rise to power of nouveau-riche potentates.And yet, aren't Brasilia and Canberra, the South American and Australian versions of the man-made model city, remarkable successes? Hasn't history proven at least a few visionaries right, people whose achievements we continue to marvel at today: the creators of Giza on the Nile, Machu Picchu in the Andes and Angkor in Cambodia, or the planners of St. Petersburg?Today, the pyramids of the pharaohs, the mountain fortress of the Incas and the sacral ruins of the Khmer are admired as part of the world's cultural heritage, places that attest to man's greatness. They are the great and magnificent achievements of past eras. Nowadays, the center of St. Petersburg -- designed on the drawing board, like Dubai today, more than 300 years ago -- is still considered an ideal city and an example of successful urban planning.Where the emirates are built on sand, the banks of the Neva River were once swampland. At the behest of the czar, St. Petersburg was not just created as Russia's window to the West, but as a reflection of what the modernists of the day defined as utopian. "Now, city of Peter, stand thou fast, Foursquare, like Russia; vaunt thy splendor! The very element shall surrender And make her peace with thee at last," Alexander Pushkin, the congenial poetic counterpart to Peter the Great, wrote in his poem "The Bronze Horseman." It was pure hubris, cast in the form of magnificent verse.What happens today in Dubai -- or in Shanghai or Astana -- generally happens under the conditions of an authoritarian form of government. In democracies, people cannot be dispossessed and driven off their property but, instead, can hire attorneys to assert their rights. In democracies, more or less reasonable building codes and ordinances, as well as licensed appraisers, ensure that uncontrolled growth and injustices are kept in check. But this limiting effect also applies to creativity, spontaneity and "positive" megalomania, resulting in a general leveling of things.THE VIRTUE OF TAKING THE PLUNGE"This society is mediocre," the poet and sharp-tongued contemporary critic Hans Magnus Enzensberger once wrote about German reality. "Its political leaders and its works of art are mediocre, as are its representatives and its taste, its joys, its opinions, its architecture, its media, its fears, vices and afflictions." And then, in his essay "Mediocrity and Delusion," Enzensberger writes: "There is something cathartic about this realization."Somewhere between Western suburbs and Yamoussoukro lies Dubai. Whether its Burj, its tower, will ever become a part of the world's cultural heritage is still open, as is the question of how long it will remain the world's tallest structure. China, Saudi Arabia and Kuwait are already planning towers that will be much taller than the Burj Dubai, reaching more than 1,000 meters into the sky.In the Book of Isaiah, the Bible describes the fall of Babel as follows: "And suddenly your downfall will come, and it will come unexpectedly." If the words of the Old Testament are to be believed, the megalomaniacal tower builders of today cannot expect external support: "Thus shall they be unto thee with whom thou hast labored, even thy merchants, from thy youth: They shall wander every one to his quarter; none shall save thee."The Burj Dubai was not cheap, and perhaps it was even unaffordable. But at least the sheikhs of Dubai have taught their contemporaries one virtue: the virtue of taking the plunge.

王澍，1963年生，1997年，他在杭州创立了业余建筑工作室，2000年获上海同济大学建筑城规学院建筑学博士。现任杭州中国美术学院教授，博士生导师，中国美术学院建筑艺术学院院长。

爲二十一世纪的生活和工作怎样创建基础设施和城市环境，对於关乎此的所有争论，定位的问题都是一个基础性问题。

平江路已经是古城中最后的保存着原样的街区，也已经是最后的仅存的能够印证我们关于古城记忆的街区了。

张开济是建设部于１９９０年第一批公布的国家级建筑大师，也是获得首届“梁思成建筑奖”的建筑大师之一。他主持设计了革命历史博士物馆、钓鱼台国宾馆、北京天文馆、北京科普展览馆四大馆，还有天安门观礼台等。张开济以天地为背景，以砖瓦、水泥、石头、土木为材料，完成了一件件宏伟的作品。这些作品将延续着他的思想，他的情感，他的智慧，他的灵魂，乃至他的生命。面对已年近９０的张开济也许你不由会问，在这些建筑设计中，您最满意的是哪一个呢？

2009年3月17日，蔡国强来到欧洲另外一个航海强国西班牙的著名港口城市毕尔堡，那个远远驶来的东方人的身影，现在已经成为毕尔堡古根海姆博物馆（Guggenheim Bilbao）盛大回顾展的主角。这是他的全球回顾展在纽约、北京之后的第三站，也是最后一站的展览。

比尔堡(Bilbao，毕尔巴鄂)曾是西班牙北部巴斯克地区一个衰败了的工业港口，除了足球队以外无可称道。1990年代，巴斯克地区的自治权使得15亿美元的投资成为可能，Gehry, Foster, Pelli, Sterling, Wildford, Pei, Soriano, Palacio 和 Calatrava等著名建筑师在此对城市进行改造。其中Gehry的古根海姆博物馆设计最为著名，值得注意的是，建造古根海姆的经费只是100万美元。－－人文与社会

曾留学日本的李大钊，目睹近代日本城市化的进程，对日本城市的繁华与弊病有真切的观感与思考。在此基础上，他思考了近代中国城市建设的诸多问题，提出了推进中国城市建设的具体构想。

日前，深圳中心区ShenZhen 4 Tower in 1项目已确定由美国著名建筑师斯蒂芬•霍尔(Steven Holl)担任总设计。ShenZhen 4 Tower in 1将围绕着OMA07年设计的深圳证券交易所设计四栋大楼。最终确定设计名单中大牌云集：Morphosis（普立兹克奖得主）、Coop Himmelblau、Hans Hollein Atelier和张永和，还有一位大牌MVRDV则出现在落选名单中。这个超豪华阵容让人不禁要问：这个不算太大的商业区有必要出现这么多的顶级设计师吗？

本文简要介绍了江苏小城镇的发展对土地利用的积极意义，具体分析了小城镇发展过程中土地利用方面存在的问题，最后针对问题提出相应的对策和建议。

环保不应该沦为名牌的昂贵表皮。

这一点对现在的大陆特别重要。今天大家都要离开乡村，农村的价值崩解了；在都市中产阶级的生活里，对农村的印象只有“农家乐”。如何以农村为基地来重建新价值、重建城乡的平衡关系？让灾区的农村可以保有自主性与社区意识？这些问题也是台湾9·21灾后重建的一个重点，但不见得都成功。

07年1月发布的《意见》指出，今后，国内大型公共建筑尤其是政府投资的大型公共建筑，将鼓励建筑设计方案国内招标，避免盲目搞国际招标。来自各地的情况表明，当前国内一些大型公共建筑工程，特别是政府投资为主的工程建设中暴露出诸多亟待解决的问题，包括：不顾国情和财力、片面追求外形、忽视城市地方特色和历史文化等。《意见》明确鼓励建筑设计方案国内招标，提出“政府投资的大型公共建筑，建设单位应立足国内组织设计方案招标，避免盲目搞国际招标”。组织国际招标的，必须“给予国内外设计单位同等待遇”。“大型公共建筑”一般指建筑面积2万平方米以上的办公建筑、商业建筑、旅游建筑、科教文卫建筑、通信建筑以及交通运输用房。

“应建立一个本民族的建筑学，借鉴中国传统的建筑理念回顾梁思成等营造学社先贤们的学术生涯，他们不仅仅是建筑历史学科的奠基人，而且是文物保护事业的先驱。他们把古代建筑纳入文物保护的大视野，确立了整旧如旧、整体性保护历史面貌等文物工作原则，更留下了一个严谨的治学方法，即:“不避艰辛的田野调查、耐心细致的文献考据、跨越学科界限的开阔视野，并在此基础上有一个具备前瞻性的逻辑演绎”。展望未来，这一学术传统是建筑历史学界、文物界后辈学人仍需奉为圭臬的。”

“从100米高空拍下杭州，只见毫无规划、杂乱的建筑，水泥丛林，到处都是覆盖物，看不到一块完整的土地。哪里能看出是杭州？哪里还像人间天堂，简直像地狱！”