两个实验：作为情感载体的建筑抽象性
在毕业设计之前有一段时间，我强烈的感觉到了东西方建筑观上的某一点差异。在欧洲所讨论的“建筑”，更多的像是一个可以被指的客体
（object），一个与人（subject）对立起来的“他”物；但是当我们讨论中国园林的时候，这里的“建筑”更像是一个类似于物理感念的精神“场”
（field），物体本身是相对次要的，重要的是物与物、物与人之间的张力（relation），那些看不见的东西。这种差异当然不是绝对的，不过却引发
了我的一些思考。对于这种关系的思考，最终自然而然地来到对于抽象性的思考上来。一向的观点是，具体、物质的建筑引发并且承载着人类抽象
的情感。那么我想有没有可能把这个关系反转一下，抽象的建筑会不会导向某种具体的情感呢？以此为契机，我和好朋友们一起做了两个竞赛。
第一个 Velux 竞赛的设计完成后，门阁和我比较地详细记录了工作和思考的过程，贴在了豆瓣上。http://www.douban.com/note/246142836/
在此附上最初的设计说明以及后来的展览资料。
There was a time before I began my thesis project, I felt strongly that the architecture is more like an objective substance in the European
context. On the other hand, the observer or a person is, in comparison to architecture, a subjective body. But when we discuss about the
Chinese garden, the landscape architecture is more like the field concept in physics. The objects themselves aren’t important. The crucial point
is nevertheless how the relation and tension between the objects and the subject are. This difference doesn’t apply to every case, but it
certainly made me think a lot. This led to a discussion about abstraction. My conclusion was that, the concrete and material architecture always
raises and carries human’s abstract emotion. My idea was at that time, whether we could turn this relation around. Could abstract architecture
arouse a concrete emotion?
With these question, I found two good friends to participat in two competitions and experiment two similar approaches with them.
MEN Ge and I have written a thorough article and posted it on our site on douban.com.
http://www.douban.com/note/246142836/
“在这个设计里，我们假想了一个可能发生的故事：在瑞士的阿尔卑斯山脉中，有一个小村庄毁于一场泥石流
为了纪念这一场事故，还原出村子的气氛，我们将700根透明的有机玻璃柱从地面插入地下。在地面的部分，柱子通过高低的处理，还原了原来村庄
里房屋的形状。同时这些“房子”聚集在一起，重新给予了人们对于村子的感知，但是却是以一种抽象的方式达成的。与此同时，柱子将阳光收集
起来，通过内部的全反射进入地下空间。在下面的空间里，通过打磨柱子的表面，阳光在特定的位置重新折射出来。柱阵盈盈发光，塑造出房子的
体量，也形成了一个纪念性的建筑空间。
为了唤醒情感上的共鸣，每一个房子里最重要的一个房间都会被留空。这个房间可能是有着家庭集体记忆的饭厅，也可能是私密的卧室。人们可以
穿过间隔为65厘米的柱阵回到这些房间，去体验储存在这些空间的情感。
一把椅子，一张桌子，一个小盆景，在一个盈盈发光的空间里，在似曾相识的房间，以一种诗意的氛围，唤起着人们的记忆......”
The description for den Velux Award:
“
The idea of this work is based on a hypothetical mudflow, which happens to a place in the swiss alps -- a tiny village is buried by the enormous
collapsing force and huge volume of earth.
In order to regain the atmosphere of the tiny village, over 700 pieces of transparent columns are planted into the earth. Overground, thanks to
the different lengths of the material, columns generate abstract forms of different prototypes of houses from swiss rural area. People would pick
up the identical scale of the former village again, but empathized in a metaphorical way. Meanwhile, the sunlight is being transmitted through the
PMMA columns into underground. In the subterranean space, by special fabricated pmma and help of 95% transported sunlight, the columns
are illuminating and showing the volume of a memorable architectural ensemble.”
To arouse the emotional resonance, parts both above and underground, rooms are kept void. People are able to enter into this void by walking
through the matrix of the columns, allowing access to the intimacy which had once existed.
A chair, a table, a small pot plant, in this new but familiar luminant space, poetically recall the memory...”
第二个是《建筑师》杂志的竞赛，一村老师的题目恰好踩中了当时在想的这个问题。整个设计的思路是类似的，James 和我同样通过一个高度抽象
的设计，试图探索建筑在抽象性这一层面上的叙事能力。也就是，如果我们觉得一个具体的物质能够唤起情感，那么其中的诸多因素必然轻重有别，
那么如果去剥离那些不太重要的因素，只把重要的信息进行叠加，是否可以把情感的效果进一步的加强。这样操作，比如说对于一个房子，它的轮
廓已经提供了“房子”的抽象信息；对于两个空间的联系，一扇门已经足够说明大部分问题；而一个具体的情感，只要有几个关键的信息组合在一
起，就已经可以清晰的表达出来。这种表达是抽象的，或者说是艺术化的，但是它往往比包含了所有信息的原物更准确、更真实的情感，即所谓
“美比历史更真实”。
The second one is the competition held by <The Architect> magazine. The topic of the competition was asking almost the same question as I
had. The project has a similar approach like the last one. James and I wanted to develop a highly abstract design, trying to explore the narrative
ability of architecture. That is to say, if we find something that can arouse your emotion, there must be some critical factors in it. If those
unimportant factors could be subtracted and critical ones emphasized, could the effect become stronger?
For instance, the silhouette of a house could already give the information for indicating the concept of “a house”. Then we could remove its
other properties such as material and texture. To indicate the connection between two rooms, a door is also enough. This kind of expression is
abstract and artistic, but it arouses the emotion somehow more precisely than the original substance. Like it is said, “the beauty is even more
true than the history.”
“2011，新西兰基督城地震长达一年，老城中心几近全毁……
留学欧洲的 J 回到小屋的废墟。童年的记忆，都记录在此。
旁院里，幸存下两株大树，在砖瓦之上依然屹立，坚韧生长，枝叶渐渐填满了上空。
阁楼的书房，是放学后的自习室；窗外，是大教堂的远景；每晚，母亲床边也总缺不了一个入睡前的故事。
记忆， 是一步步的楼级， 是书桌上深陷的木纹，是锈钝的门把手，是母亲被褥的褶皱……
时光，伴随四季轮回，城市变更，少年成长。
鲜活的细节，枝叶的轮廓，重新勾勒出装载记忆的容器，个人和集体的记忆，再次被唤醒……”
最后回过头看，其实一开始我的这个猜想大概是可笑的，因为不完整的语言本身很具有欺骗性，“具体、物质的建筑引发并且承载着人类抽象的情
感”这句话，事实上主语不应该是“具体、物质的建筑”，而是“具体、物质的建筑所激发出来的非物质的抽象性”。得出了这么一个结论，这样
的一系列讨论对于自己也算是有所收获。
Original description for the competition:
Resonance, Memory
-- the bed, the desk and the doorknob
Here space is everything, for time ceases to quicken memory. Memory - what a strange thing it is! - does not record concrete duration, in the
Bergsonian sense of the word. We are unable to relive duration that has been de stroyed. We can only think of it, in the line of an abstract time
that is deprived of all thickness.
Gaston Bachelard in The House. From Cellar to Garret.
--------------------------------------------------
Christchurch, 2011. Two major earthquakes destroyed most of the city center, followed by a year of taunting aftershocks.
J comes back from his studies in Europe to find his family home in ruins. All his memory of childhood is stored on the site, buried under the ruin.
Two big trees from the garden have survived the earthquake. Amongst the ruin of tiles and bricks, they still grow persistently. As time passed,
their branches and leaves grew and filled the volumn/void, which the collapsed house has left.
Three items of memories are salvaged from the aftermath of the earthquake. The bed, where J’s mother used to read to him in a ever-comforting
voice leading him to his sweet dreams of childhood; the desk, where J used to study and read in his adolescence; and the door, which he used
to escape to his own world of solitude and contemplate in peace in his young adulthood.
Memory, is in every step of stairs, is in every scratch of the desk's surface, is in the rusted door knob, is in every crease of the bed cover.
Time passed, the seasons looped, the city changed, the kid had grown up.
The memories of daily life, and the profile of the leaves and branches, re-outline the house's volumn/void, the container of memory. The
individual as well as the collective memories are aroused in the atmosphere, again...
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发表于 2014-4-8 17:33:14
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