如恩个展「反思型怀旧」于2022年10月14日晚在德国柏林知名建筑机构Aedes建筑论坛（Aedes Architecture Forum）拉开帷幕。展览以 “反思型怀旧”为起点，呈现如恩多年来对于建筑及设计思考的不断演变——怀抱现代性的矛盾，多维探索想象中的过去与未来。展览将持续至11月30日。

Neri&Hu’s solo exhibition Reflective Nostalgia opened at Aedes Architecture Forum in Berlin on October 14th, 2022. Based on the concept of “reflective nostalgia”, the exhibition showcases Neri&Hu’s works that embrace the contradictions of modernity and explore multifaceted plot lines, imaginary pasts and prospective futures. Neri&Hu: Reflective Nostalgia will last until November 30th, 2022.

▼活动海报，The exhibition poster

Hans-Jürgen Commerell（Aedes 建筑论坛总监）、陈伯康（荷兰Het Nieuwe Instituut馆长及艺术总监）、郭锡恩（如恩创始合伙人）共同出席了开幕仪式并现场致辞，李翔宁（同济大学建筑与城市规划学院院长）、Manuel Aires Mateus（Aires Mateus事务所创始人）、Peter Eisenman（Eisenman Architects事务所创始人）、胡如珊（如恩创始合伙人及同济大学建筑系系主任）则远程致辞。

Hans-Jürgen Commerell (Director of Aedes Architecture Forum), Aric Chen (Artistic Director of Het Nieuwe Instituut) and Lyndon Neri (Founding Partner of Neri&Hu) speaking at the opening followed by video messages from Li Xiangning (Tongji University College of Architecture and Urban Planning), Manuel Aires Mateus (Founder of Aires Mateus), Peter Eisenman (Founder of Eisenman Architects) and Rossana Hu (Founding Partner of Neri&Hu and Chair of the Department of Architecture at Tongji University)

▼开幕现场，Opening

常年于亚洲各大城市辗转旅居，如恩逐渐发现 “大城市”正越发惊人地趋于相似。从深圳或首尔，到吉隆坡或曼谷，清一色的玻璃幕墙大厦鳞次栉比，占领了各大商业圈，几乎掩盖了原有的城市记忆。在中国，城市化和现代化的大规模快速发展更是加剧了这种现象。如恩在快速发展的中国进行设计实践，很快就发现自己陷入了“拥抱先进现代技术”与“回归历史主义怀旧”的两难窘境中。

▼入口，The entrance

In recent decades, living and traveling extensively throughout Asia, Neri&Hu observes the alarming trend of Asia’s major metropolises becoming more and more alike. From Shenzhen or Seoul to Kuala Lumpur or Bangkok, the army of glassy high rise towers marching through each of their CBDs nearly obliterates any perceivable differences between these cities. In China this phenomenon is exacerbated by the sheer scale at which its process of urbanization and modernization has occurred. Practicing in China, at this critical moment, Neri&Hu finds themselves caught between “the optimization of advanced technology and the ever-present tendency to regress into nostalgic historicism.”

▼展览现场，the exhibition scene

查尔斯·迈尔曾说：“怀旧之于渴望，就像媚俗之于艺术”。对部分人而言，“怀旧”或许是一个无意义的单词，但如恩坚信“怀旧”不只是还原历史，更具有建设性的潜力。如恩从学者斯维特兰娜·博伊姆（Svetlana Boym）提出的 “反思型怀旧”（Reflective Nostalgia）概念中发现了与历史记忆相遇的方向。

Nostalgia can be a problematic notion for some; it tends to be taken dismissively, as Charles Maier remarks: “Nostalgia is to longing as kitsch is to art.” But Neri&Hu feels strongly that there is a potential to be constructive with nostalgia, rather than merely reductive. As the firm formulates a strategy for how to operate within a historic context or lineage, Neri&Hu finds productivity in the concept of Reflective Nostalgia, a term coined by scholar Svetlana Boym.

▼展厅内的模型展示，The models

▼模型近景，Detailed view of the models

博伊姆认为， “恢复型怀旧”（Restorative Nostalgia）直白而字面化，试图“对失去的家园进行历史重建”，并自认为 “是真理和传统”。“反思型怀旧” 更注重其词根‘algia’，即渴望本身，它或惆怅、或讽刺、或绝望地延迟了对“回归”的执念。“反思型怀旧”并不是线性或单一的，而是在不断探索多维且丰富的集体记忆。“它喜欢细节，而不是符号”。简而言之，“反思型怀旧”并不像“恢复型怀旧”那样执着于过去，而是在新与旧之间维持着一段必要的距离。

According to Boym, restorative nostalgia is more literal; it attempts a “trans historical reconstruction of a lost home,” and considers itself “as truth and tradition.” In contrast, “reflective nostalgia thrives on algia (the longing itself) and delays the homecoming – wistfully, ironically, desperately. Reflective nostalgia does not follow a single plot but explores ways of inhabiting many places at once and imagining different time zones. It loves details, not symbols.” In short, reflective nostalgia offers a critical distance that is less regressive than the former restorative nostalgia.

▼模型近景，Detailed view of the models

在“反思型怀旧”主题下，此次展览展出的项目有着相似的设计策略——材料对比、构造分异、并置组合和新旧嫁接。然而，每个项目都伴随着一系列独特的问题：如何面对租界时期的历史遗产？如何在商业利益驱使下，表达对人造历史遗迹的抵制？如何体现过去与现在的辩证关系？人们可以感受到新与旧、光滑与肌理、精致与原始之间的微妙平衡。这些项目回应了层层剥离的考古方法，如同外科手术一般缜密仔细——既有对原建筑的“删除”，也有“添加”。尽管项目规模不一，如恩透过“怀旧”的视角探寻到每段历史的不同解读，并从中发掘别出心裁的设计手法。“反思型怀旧”是一盏引路灯，它引导着如恩关注并仔细揣摩平凡角落中的细节，从而更深刻地理解过去的记忆，并在其见证下将光照进当下并延续至未来。

As a genre, the exhibited projects share similar strategies – using material contrast, tectonic differentiation, formal assemblage and surgical grafting. However, each project comes with its own set of unique issues related to how one engages a tumultuous concession-era heritage, resistance to the commercialization of faux historical relics, and the role of representation in the dialectics between past and present. One can sense the delicate balance between the contrasts of new and old, smooth and textured, refined and raw. These projects also speak to an archeological approach of peeling back the layers, working with deletions as much as additions. On all scales of design, Neri&Hu embraces nostalgia as a productive lens, through which the team can consider an alternative reading of historical contexts as well as a different process of design within that context. It is a methodology that urges Neri&Hu to look closely at the details of the mundane, in hopes of achieving a deeper understanding of the heritage of those places that we want to not only participate in presently, but to extend to the future.

▼通过现场环境表露新与旧之间的微妙平衡，The delicate balance between the new and the old is revealed through the environment

如恩：反思型怀旧

开幕：2022年10月14日下午6点30分

展期：2022年10月15日至2022年11月30日

展馆：德国柏林Aedes建筑论坛

如恩设计研究室：郭锡恩，胡如珊，张堇盈，Federico Saralvo，Jan Lee，申银珠，洪明月，王吕齐眺，柳思扬，曹沈悦

Aedes建筑论坛： Julia Schlütsmeier-Hage, Hanna Düspohl

倾情赞助：阿那亚，永威置业，De La Espada, La Manufacture

Aedes合作伙伴：奥德堡, 西麦斯, 锐驰, 欧文·海默集团

摄影：Erik-Jan Ouwerkerk

Neri&Hu: Reflective Nostalgia

Opening: 6.30pm, October 14, 2022

Duration: October 15 – November 30, 2022

Location: Aedes Architecture Forum

Neri&Hu Design and Research Office: Lyndon Neri, Rossana Hu, Christine Chang, Federico Saralvo, Jan Lee, Yinzhu Shen, Luna Hong, Lyuqitiao Wang, Serein Liu, Amy Cao

Aedes Architecture Forum: Julia Schlütsmeier-Hage, Hanna Düspohl

Generously supported by: Aranya, Youwell, De La Espada, La Manufacture

Aedes cooperation partners: Zumtobel, Cemex, Camerich, Erwin Hymer Group

Photo:Erik-Jan Ouwerkerk