创意领域中,刻意而为的奇怪手法为越来越多的人所采用。这其中的来龙去脉几乎无迹可寻,有些可能是在美学上的探索,有些是对社会可能性的尝试。这些创作总会令人不安或者困惑,这恰好就是这种手法的特质所在,并非偶然而成的。这些奇怪的创作手法没有传统那般的正式雅致,也不像批评界那样冲突重重,在文化形式与社会架构层面,它们几乎完美切合,这也就是它们为什么独特而又难以捉摸的原因。这并不是说,文艺怪象是时代精神的一个部分,时代精神是瞬息万变的,但是不可否认它的存在。或许说这是一种难以察觉的现象倒更为恰到好处,虽难以察觉但细细回味又确有所感。由于文艺怪象的文化敏锐度逐渐明显,也许在新式建筑的研究课题中,它或有助益。不过我们却又遇上了长久以来就存在的两难境地:一方面大家追求精益求精,另一方面传统技艺却又难以维系。也许文艺怪象并非常规思路所能看透,它可能就是某种我们忽视了的专门技术,为传统的建筑功能注入新的活力。 In the creative field, deliberately weird ways are used by more and more people. There are almost no traces of the ins and outs of this, some of them may be in the aesthetic exploration, some are attempts to social possibilities. It is no coincidence that these creations are disturbing or perplexing, and this is precisely the character of this technique. These weird ways of creating work are not as formally traditional as they are formally traditional, nor do they have as much conflict as the critics, and they are almost perfectly matched at the cultural and social formations, which is why they are unique and elusive. This is not to say that the cultural monster is a part of the spirit of the times. The spirit of the times is rapidly changing, but its existence is undeniable. Perhaps this is a phenomenon that is difficult to detect but rather just perfect, though hard to detect but savory and really feel. Due to the gradual obvious cultural sensitivity of literary and cultural monsters, it may be helpful in the research of new architecture. However, we have met with the dilemma that has existed for a long time: on the one hand, we seek for excellence; on the other hand, traditional arts are hard to sustain. Perhaps the cultural clumsiness can not be seen through the conventional thinking. It may be some kind of expertise that we neglected to inject new vitality into the traditional architectural functions.