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—中国建筑 全球视野 学术思辨 文化自信—
{"ops":[{"insert":""},{"insert":{"image":"/uploads/images/upload-1558665436083.jpg"}},{"attributes":{"align":"justify"},"insert":"\n\n\n"},{"attributes":{"align":"justify","blockquote":true},"insert":"\n"},{"attributes":{"size":"14px","color":"#888888"},"insert":"10月14日，阿那亚论坛6个分论坛各自以身、皮、耳、眼、鼻、嘴为主题，受邀嘉宾抛开晦涩难懂的字句，以深入浅出的方式，回归本质，回到人，探讨人的感官知觉与空间的体验，建筑与人的奥秘。"},{"attributes":{"align":"justify","blockquote":true},"insert":"\n\n"},{"attributes":{"size":"14px","color":"#888888"},"insert":"眼睛聚焦于观看与阅读，耳朵倾听，鼻子嗅闻，嘴吐露与品尝，皮肤接触，身体置身其中、感受周遭。各个论坛中既有建筑大师，又有其他领域的专业人士，跨界观点交锋，思绪碰撞，或新奇有趣、或睿智前沿的发言在此次活动中得到了集中呈现。"},{"attributes":{"align":"justify","blockquote":true},"insert":"\n"},{"attributes":{"size":"14px"},"insert":" 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"},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":"南京瞻园初建于明代，至今几经变化。清代画家袁江绘有《瞻园图》，画中园林一分为二，中间山石如浪，左园舒展平远，右园环绕相顾。童寯于1957年补入《江南园林志》的瞻园平面图（即现在瞻园中的西园），格局基本就是袁江图的右半侧，但已有明显改变。刘敦桢于1958年开始对瞻园进行整修设计，他所主持的设计分为两期，于1960、1980年代实施。新的平面图与童寯的测绘图相比较，静妙堂南水景变化很大：西侧小山顶的六边台改成了扇形亭，东侧沿围墙的直廊变得曲折有致，尤其南侧新出现了一片抑扬收放的入口区域。刘敦桢的设计体现出对于园林的一种认知方法，其重点在于景随步异、先抑后扬之类的法则，就像彭一刚在著名的《建筑空间组合论》中对瞻园入口的经典空间视觉分析一样。"},{"attributes":{"align":"justify"},"insert":"\n\n"},{"insert":{"image":"/uploads/images/upload-1558665436483.jpg"}},{"attributes":{"align":"center"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":" "},{"attributes":{"size":"12px","color":"#888888"},"insert":"2 临袁江瞻园图局部，清代，作者佚名"},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"12px","color":"#888888"},"insert":"（图片来源：https://www.metmuseum.org/）"},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":" "},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":"与运动中的蒙太奇相比，袁江的《瞻园图》提示了存在于园林中的一种并置的时空结构。左右两边的园林空间自成一体，但又通过中间蔓延、起伏、渗透的山石粘连在一起。它不是线性时间轴上视觉场景的切换组合，而是不同时空之间既独立又相互包含的褶叠。它是物像的，是时空的，也是身体和意识的。在现在的瞻园里依然可以找到类似的空间情景。比如在园中部，有一道隔墙把游廊一分为二，中间有一处翼然亭，是墙两侧游廊的相通点。南侧的直廊沿墙下行，北侧曲廊转折而前。最后二者又在尽端横廊处相通。两侧的园景也各不相同。游经翼然亭，穿越门洞时，两侧的空间在瞬时会并置在一起。我把此处称为二分廊。"},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":" "},{"attributes":{"align":"justify"},"insert":"\n"},{"insert":{"image":"/uploads/images/upload-1558665436541.jpg"}},{"attributes":{"align":"center"},"insert":"\n"},{"attributes":{"color":"#888888","size":"12px"},"insert":"3 瞻园翼然亭局部平面图（绘制：无样建筑工作室）"},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":" "},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":"今年年初在南京大学参加建筑电影工作坊时，我选取了瞻园的二分廊作为拍摄地点。影片采用了固定镜头，邀请了两位舞者参与拍摄，希望在固定镜头中呈现二分的游廊空间，并通过舞者的身体动作来建构空间的关联性。在翼然亭的门洞两侧，分设了两个镜头。两位舞者各据一侧，在南北二廊中同步起舞同时拍摄。她们利用身体节奏的一致与错位，与二分的空间结构本身相互对话。这个编舞的概念受到了比利时舞蹈家安妮·特蕾莎（Anne Teresa De Keersmaeker） 在1982年创作的双人舞《相位》（Fase）的启发。为了达到完全同步的身体动作，立于墙两侧、相互看不见的两位舞者使用了节拍器。单一、均质、重复的节拍声音实际上建构了一种抽象的、机械的时间，它成为舞者身体动作的控制因素。另一方面，南北二廊本身的场地环境差别成为介入舞者身体动作的另一个因素。通过两位舞者身体语言所建立的同步、错位、以及同节奏下自由发挥的差异，隔墙两侧的空间被并置在一起。二者在时间和空间上相互褶叠的关系通过舞者的身体语言呈现。这一影像实验为建筑学带来了一个值得追问的问题，在我们习惯的视觉形式之外，其他感知方式如何能加入到建筑体验中，带来更丰富的空间经验？"},{"attributes":{"size":"14px","color":"#0099a1"},"insert":"□"},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":" 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"},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":"我们工作室叫氙建筑工作室。氙，山上升气，读“xīan”，是一个化学元素，好像传达出的信息和我们的工作有些吻合。"},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":" "},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":"我们做的第一个作品是个装置（图1）。大寒日那天，我们在北京郊区峡谷里的石头上立起了一个冰做的三棱柱，有3m高。正午时分，太阳刚好照到棱柱上，在大山的阴影里，光的色散清晰可见。棱柱在一天之中，不同的角度，呈现出或明亮或黑暗或斑斓的不同的状态。那年冬天，终日无雪，这个装置帮助我们找回了对于冬天的感知和记忆。"},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":" "},{"attributes":{"align":"justify"},"insert":"\n"},{"insert":{"image":"/uploads/images/upload-1558665436870.jpg"}},{"attributes":{"align":"center"},"insert":"\n"},{"attributes":{"size":"12px","color":"#888888"},"insert":"1 装置"},{"attributes":{"align":"justify"},"insert":"\n\n"},{"attributes":{"size":"14px"},"insert":"第二个项目是在深圳龙岗西浦，1920年代修建的围屋很难得地被政府保护了下来，然而周围城市飞速地开发，高楼林立，已使老围屋成为真正意义的“现代围屋”。我们被委托做其中一间的改造，用途为茶室。我们在房屋下部的墙体和地面铺设了黑色的重竹地板，光线和城市周遭的声音只从一扇狭小的高窗穿透进来。清晰的丁达尔现象反映出光线一天的运动轨迹。有意思的是日落后，静下来，在不到1lnx的光线下依然可以辨别出空间模样。在当今好像很少有机会体验幽暗的环境了，也缺少了看见不可见的机会。"},{"attributes":{"align":"justify"},"insert":"\n\n"},{"insert":{"image":"/uploads/images/upload-1558665436995.jpg"}},{"attributes":{"align":"center"},"insert":"\n"},{"attributes":{"size":"12px","color":"#888888"},"insert":"2 茶室"},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":" "},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":"第三个项目是在云南大理的下鸡邑村，离洱海不远，项目基地位于村子的一个拐角。如今洱海边的村落大致都比较混乱，既有古老的房子，也有当代白族人的民居，当然还有不少大理移民开的风格迥异的客栈。建筑师自然是外来闯入者，到底以什么的样的态度和语言介入村里的环境，可能需要有所思考。我们觉得房子周围的环境已经很好了，可能把窗户开好，把大理的风和景引到屋子里来，把自己做的“憨傻”一点就可以了（图3）。"},{"attributes":{"align":"justify"},"insert":"\n\n"},{"insert":{"image":"/uploads/images/upload-1558665438087.jpg"}},{"attributes":{"align":"center"},"insert":"\n"},{"attributes":{"size":"12px","color":"#888888"},"insert":"3 把风和景引到屋里 "},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":" "},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":"这个项目在河北张家口的张北（图4），那里海拔比较高，周围是低缓的丘陵，业主有很大一片农田，他自己种了一幅麦田画，于是想造一个100m高的像电视塔的建筑去看画。我们觉得在这么美的地方盖一个垂直的塔，对水平向的自然空间是一个极大的破坏。所以我们想造一个很通透、漂浮的、水平向的塔，攀登这个塔也成为体验的一部分。塔的顶端有几个可以感受100m高原高空的装置。"},{"attributes":{"align":"justify"},"insert":"\n\n"},{"insert":{"image":"/uploads/images/upload-1558665437099.jpg"}},{"attributes":{"align":"center"},"insert":"\n"},{"attributes":{"size":"12px","color":"#888888"},"insert":"4 水平向的塔"},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":" "},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":"最后一个项目是在北京的怀柔，是个小住宅（图5）。山区的气候和城里有些差异，气温总会比城里低几度，冬季也会更寒冷一些。所以新盖的房子是不是该具备一些山区的气候特征？我们选择村子常用的材料——砖，墙体比较厚实，出檐的距离是精确地计算了当地太阳高度角。希望盖出一个符合当地气候特征，四季白天夜晚都能享受这个房子的建筑。"},{"attributes":{"size":"14px","color":"#0099a1"},"insert":"□"},{"attributes":{"align":"justify"},"insert":"\n\n"},{"insert":{"image":"/uploads/images/upload-1558665438042.jpg"}},{"attributes":{"align":"center"},"insert":"\n"},{"attributes":{"size":"12px","color":"#888888"},"insert":"5 小住宅项目"},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":" "},{"attributes":{"align":"justify"},"insert":"\n"},{"insert":"\n\n\n"},{"attributes":{"size":"14px"},"insert":" "},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":" "},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"color":"#0099a1","size":"14px"},"insert":"范忆堂/E Tang"},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"color":"#0099a1","size":"14px"},"insert":"音乐人，表演艺术家"},{"attributes":{"align":"justify"},"insert":"\n\n"},{"insert":{"image":"/uploads/images/upload-1558665437354.jpg"}},{"attributes":{"align":"center"},"insert":"\n"},{"attributes":{"color":"#888888","size":"12px"},"insert":"论坛嘉宾：范忆堂"},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":" "},{"attributes":{"align":"justify"},"insert":"\n"},{"attributes":{"size":"14px"},"insert":"我的第一张EP叫《出色》，序曲叫《入水》（图1）。当时我和一位纸雕艺术家讨论用什么素材做平面设计，他说用“水”，我赞同。水的特别之处是在不同温度有不同状态，比如液态、冰晶、云、雾、露。"},{"attributes":{"align":"justify"},"insert":"\n\n"},{"attributes":{"align":"center"},"insert":"\n"},{"attributes":{"align":"justify"},"insert":"\n"},{"insert":{"image":"/uploads/images/upload-1558665438356.jpg"}},{"attributes":{"align":"center"},"insert":"\n"},{"attributes":{"color":"#888888","size":"12px"},"insert":"1 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