凱特·古德溫/Kate Goodwin

路培 譯/Translated by LU Pei

李曉東工作室

凱特·古德溫/Kate Goodwin

路培 譯/Translated by LU Pei

凱特·古德溫?cái)⑹隽似浒菰L籬苑書屋的體驗(yàn)，并揭示出李曉東以中國(guó)式的對(duì)自然、靜物和人物不設(shè)層次的表現(xiàn)方式，表達(dá)了建筑與山及其周邊環(huán)境的關(guān)系。李曉東超越傳統(tǒng)二元對(duì)立的手法，在他的建筑中創(chuàng)造了一系列步移景異式的空間，真實(shí)地再現(xiàn)了中國(guó)哲學(xué)家老子重“用”輕“器”的思想。借用萊瑟巴羅的理論來(lái)分析，李曉東建筑中令人迷失的入口空間可以與賴特的羅比住宅相比較，二者都創(chuàng)造了一種強(qiáng)烈的內(nèi)向性，并使人最終獲得類似于赫爾諾特·博梅所說(shuō)的身心體驗(yàn)。

空間復(fù)雜性，內(nèi)向性，定向，存在，籬苑書屋

李曉東的建筑第一次引起我注意是源于一本國(guó)際期刊所報(bào)道的麗江玉湖完小，以及之后的福建橋上書屋和北京郊外的籬苑書屋。令人欣喜的是，這幾個(gè)項(xiàng)目與當(dāng)代中國(guó)的主流建筑之間存在著鮮明的反差。李曉東無(wú)疑是正在崛起的中國(guó)年輕一代建筑實(shí)踐者中的先鋒人物，與他的同輩人一樣，他對(duì)中國(guó)建筑抱以批判和反思的態(tài)度。對(duì)一個(gè)正在經(jīng)歷迅速變革并以西方馬首是瞻的國(guó)家，如何塑造屬于中國(guó)自己的與眾不同的當(dāng)代建筑語(yǔ)言實(shí)為一個(gè)重要命題。李曉東以他對(duì)場(chǎng)地、地方傳統(tǒng)和材料的敏銳嗅覺(jué)和出色的空間把控能力，對(duì)這一命題做出了自己的回答。

直到我親自參觀他的建筑，才對(duì)其作品有了更加全面的了解。通過(guò)在實(shí)際建成環(huán)境中的切身體驗(yàn)，人們發(fā)現(xiàn)，一系列的展開(kāi)空間存在于由室外到室內(nèi)的轉(zhuǎn)換過(guò)程中。其建筑所呈現(xiàn)的空間的復(fù)雜性，在平面和剖面上反映得尤為明顯；然而，若僅憑圖紙想要完全理解真實(shí)的建成空間及其對(duì)感官的影響，就并非易事了。李曉東帶我們踏上了一段旅程；這是一段預(yù)設(shè)好的空間之旅，意圖表達(dá)清晰謹(jǐn)慎，給人以身體和心靈上的強(qiáng)烈沖擊。盡管他為參觀者所編制的是一次非常私人的旅程，卻最終被賦予了更加寬泛的社會(huì)和文化內(nèi)涵。

我的這種體驗(yàn)最早來(lái)源于我與李曉東的一次旅行。從北京市驅(qū)車一個(gè)小時(shí)，我們輾轉(zhuǎn)駛?cè)霊讶峥h山區(qū)，來(lái)到一個(gè)名為交界河的小村莊，參觀籬苑書屋。李曉東將車停在路邊，示意我們下車。呈現(xiàn)在眼前的只有一條小河和一條泥土路，以及四周的青山。當(dāng)我們沿路折彎前行，圖書館便躍然于眼前。它跨水而棲，坐落于谷底；其簡(jiǎn)潔的幾何形體易于辨認(rèn)，卻也不妨礙它融于山景之中。我們?cè)竭^(guò)小橋，走近圖書館，再遍覽山腳下一圈長(zhǎng)長(zhǎng)的立面之前，我們先來(lái)到其中的一側(cè)。建筑立面的細(xì)節(jié)清晰可讀：一個(gè)玻璃盒子被3層柴火棍包裹著。圖書館有幾個(gè)入口，但主入口并不明顯。順著通往寬闊的地下室的臺(tái)階向下，可來(lái)到水岸邊。當(dāng)微風(fēng)掠過(guò)水面，身處在水池近旁的人會(huì)感到氣溫的自然下降。打開(kāi)右手邊的一扇門，可進(jìn)入圖書館前廳。自然光透過(guò)邊側(cè)樓梯的上方，照亮整個(gè)空間。地下室的混凝土圍擋與館內(nèi)的木條裝飾構(gòu)成對(duì)比，后者可使人即刻感受到溫暖。拾階而上，進(jìn)入圖書館的中廳，你會(huì)置身于一個(gè)階梯式的空間中。玻璃盒子的四壁和屋頂被3層的柴火棍一排排地包裹起來(lái)，身處其中，令人感到安全，仿佛與周遭風(fēng)景融為一體。隨著云彩的移動(dòng)和光線的變化，建筑空間也隨之發(fā)生著細(xì)微的改變。

直到后來(lái)，當(dāng)我坐在附近一所房子的庭院中，被群山環(huán)抱，才真正領(lǐng)悟到李曉東之前對(duì)我所說(shuō)的“置身于山中的同時(shí)使山空間化”的含義。他曾提到自己身處黃山的一段經(jīng)歷和東方文化中軸測(cè)表現(xiàn)技法的獨(dú)特運(yùn)用。在中國(guó)山水畫卷中，自然、靜物與人物以不設(shè)層次的方式再現(xiàn)于同一幅畫面中，可使觀者感覺(jué)如同置身于所繪山水之中，而非簡(jiǎn)單地欣賞。我環(huán)顧四周群山，體會(huì)到山的肌理比其形體更富于力量。此刻，書屋又浮現(xiàn)于腦海，一番新的感受隨之油然而生。

中國(guó)的文化和空間觀對(duì)李曉東而言是一個(gè)重要的參考要素。在我與他較早之前的一次談話中，他就曾引用中國(guó)哲學(xué)家老子的話，認(rèn)為“用”比“器”本身更重要。在親歷了李曉東的建筑之后，他“鑿戶牖以為室”的造詣?dòng)l(fā)顯現(xiàn)出來(lái)。他放大、縮小空間，時(shí)而實(shí)打?qū)嵉亟档吞旎ǖ母叨然蚴雇ǖ雷冋?，時(shí)而通過(guò)添設(shè)一面鏡子或改變照度來(lái)影響人的感知。在他的建筑中，內(nèi)與外、公與私、明與暗、開(kāi)與合、靜默與喧囂、自然與人工的二元對(duì)立統(tǒng)統(tǒng)被打破。

這一點(diǎn)在麗江淼廬中體現(xiàn)得尤為明顯。一系列相互連通的院落帶你走進(jìn)一段逐漸展開(kāi)的旅程，仿佛深入到另一個(gè)世界。庭院中，幾堵石墻佇立在鏡面般的水池旁，外面的自然風(fēng)光得以收納進(jìn)來(lái)。盡管淼廬向天空敞開(kāi)，其空間在諸多其他層面上卻是內(nèi)向性的。這里所創(chuàng)造的是歸隱和沉思之地，它所圍合的空間使觀者體會(huì)到一種存在感。

戴維·萊瑟巴羅i的“迷失與揭露”一文或許可以從另一個(gè)側(cè)面幫助解讀李曉東的建筑。對(duì)于萊瑟巴羅而言，定位與迷失是獲得空間感和強(qiáng)烈內(nèi)向性的一種手段。萊瑟巴羅認(rèn)為，“定位指的不僅是我們?cè)谔囟ōh(huán)境中找到自己所處的方位，更是當(dāng)了解其隱含的空間、歷史和文化深意之后，見(jiàn)證一個(gè)更加豐富的世界的形成?！眰鹘y(tǒng)意義中的建筑定位常被用于描述建筑在環(huán)境中的位置，但“定位”一詞還意味著找尋自身與事物、地點(diǎn)與他人之間的關(guān)系。萊瑟巴羅認(rèn)為，通過(guò)“定位”，建筑的雙重視域，即建筑的內(nèi)在性格和氛圍與其更廣闊的外部景觀之間達(dá)成了調(diào)解。定位不僅是空間上的導(dǎo)向，也是時(shí)間上的，它預(yù)示著已經(jīng)發(fā)生的和將要發(fā)生的。萊瑟巴羅援引約瑟夫·康納斯ii對(duì)賴特芝加哥羅比住宅的描述：

“羅比住宅擾亂了人們對(duì)住宅既有形式的預(yù)期。沒(méi)有沿街立面，沒(méi)有明顯的入口……想要進(jìn)去談何容易。既然住宅的戶門位于不尋常之處……參觀者在入戶之前必須深入到屋頂之下……不得不與厚重的磚墻來(lái)個(gè)近距離的接觸，以至于這一簡(jiǎn)單的登堂入室的行為有如攀巖崖壁，令人感受強(qiáng)烈?！?/p>

賴特在許多住宅中設(shè)計(jì)了迷宮式的入口空間，這一“迷失”的手法，使得人們?cè)谧罱K進(jìn)入室內(nèi)之時(shí)獲得一種前所未有的強(qiáng)烈感受。李曉東在他迄今為止所有的建筑中均使用了“定位”和“迷失”的手法，以至于使人在物質(zhì)環(huán)境和社會(huì)語(yǔ)境中可以找到一個(gè)全新的定位。比如，橋上書屋所創(chuàng)造的遠(yuǎn)不止是一個(gè)物質(zhì)上的聯(lián)系，而是一種社會(huì)意義和心理意義上的溝通，它重新定位了書屋所在的小鎮(zhèn)以及我們與它之間的關(guān)系。同樣地，淼廬則重新定位了人與山之間的關(guān)系，或者說(shuō)凸顯了我們與山之間的關(guān)系，這種關(guān)系從而成為了淼廬空間品質(zhì)的內(nèi)在成因。當(dāng)你走近籬苑書屋并探究其內(nèi)部空間，你會(huì)發(fā)現(xiàn)，它好比是被帶入取景框卻又不在焦點(diǎn)上的一抹風(fēng)景。

身處在籬苑書屋之中，令人感到更為驚訝的是它開(kāi)敞的空間，完全一覽無(wú)余。站在書屋中央，我可以看到它完整的內(nèi)部空間，盡管我知道換一個(gè)觀察角度可以帶來(lái)截然不同的體驗(yàn)。我試圖在屋內(nèi)變換著位置，或坐或站，向外探探，再向內(nèi)看看，一度想要發(fā)覺(jué)一些全新的空間感受。我本可以一連待上幾個(gè)小時(shí)，觀察光影的移動(dòng)以及光的顏色、強(qiáng)度和方向的變化，體會(huì)時(shí)間的流逝，觀察自己對(duì)這一切的反應(yīng)。我深信，我的這種體會(huì)與赫爾諾特·博梅iii在“氛圍作為空間中的意念性實(shí)體存在”一文中所描述的感受是非常接近的。在博梅看來(lái)，用身體親歷的空間與那些以身心感知的空間是截然不同；一種有深度的、慢節(jié)奏的建筑體驗(yàn)源于的是體驗(yàn)者自身感受力、個(gè)人經(jīng)歷與空間品質(zhì)之間的相互作用。

在李曉東為英國(guó)皇家藝術(shù)學(xué)院的展覽“感知空間”所做裝置的策展過(guò)程中，我見(jiàn)證了他過(guò)人的感受力。他對(duì)參觀者在他創(chuàng)造的空間中所可能產(chǎn)生的生理、感官和心理體驗(yàn)有著敏銳的嗅覺(jué)。作為一個(gè)經(jīng)常出沒(méi)于展覽會(huì)場(chǎng)的人，每當(dāng)我親臨他的裝置作品，都會(huì)發(fā)覺(jué)李曉東所創(chuàng)造的一個(gè)與眾不同的時(shí)刻，令人愉悅、歡喜、舒服或充滿好奇。這些由聲音、氣味、質(zhì)地、光和運(yùn)動(dòng)所構(gòu)成的不同層次的空間體驗(yàn)，時(shí)常會(huì)對(duì)我展露出全新的一面，對(duì)整個(gè)展覽而言又何嘗不是如此。

譯注：

i 賓夕法尼亞大學(xué)設(shè)計(jì)學(xué)院建筑系教授、著名建筑理論家

ii 美國(guó)藝術(shù)史學(xué)家，1945-

iii 德國(guó)當(dāng)代哲學(xué)家，1937-

LI Xiaodong is one of the pioneers in an emerging generation of young Chinese practitioners with a critical and reflective eye on architecture in China.His architecture first caught my attention when an international magazine published the Yuhu Elementary School Expansion Project in Lijiang,and later the Bridge School in Fujian and Liyuan Library (Wattle School) outside of Beijing These projects provided a stark and welcome contrast to much of what was widely shown of Chinese architecture LI Xiaodong is clearly one of the pioneers in an emerging generation of young Chinese practitioners with a critical and reflective eye to architecture in China For a country which has recently undergone rapid change,often looking towards the West,the forging of a distinctly contemporary expression for Chinese architecture is vital LI Xiaodong offers an acute sensibility to place,local tradition and materials combined with an attuned ability to choreograph space.

It was not until visiting his buildings that I gained a more complete appreciation for his work.Through experiencing the buildings in their settings one discovers a series of unfolding worlds that pass from the outside to the inside There is a spatial sophistication in his work which is evident in the plans and sections,but the material realisation and its impact on the senses is hard to fully grasp from these alone He takes us on a journey; one that is very prescribed and carefully articulated in spatial terms with a strong physical and emotional impact While he choreographs a very personal journey for the visitor this ultimately connects to a wider social and cultural context.

My first experience of this took place after driving an hour from Beijing winding into the mountainous region of Huairou County and passing through the small village of Jiaojiehe We were to visit Liyuan Library,and LI Xiaodong pulled the car to the side of the road and suggested we get out There was nothing in sight but a small river,a dirt track and surrounding mountains covered in a spray of foliage As we walked around the bend in the road,the library came into view across a small body of water,sitting at the base of the valley; its simple geometric form legible yet equally blending into the hillside We approached the library across a bridge,passing slightly to one side of it before being led around its long fa?ade closest to the mountain The detail of the facade - three layers of sticks encasing a glass box - became evident There are various entrance points,but the main one is not entirely obvious Steps to a wide under croft beneath the building lead down to the water's edge The temperature naturally drops as the breeze passes across the water we are now in close proximity to To the right a door opens onto a lobby space,illuminated primarily from light which filters from above a staircase to the side The concrete surrounds of the undercroft contrast with the timber-lined interior that immediately gives a feeling of warmth After ascending the stairs one arrives into the heart of the library which rises up around you through a stepped volume The glass box in which one stands is entirely lined on all sides,including the roof,by three layers of sticks,which gives a sense of being securely inside yet very much a part of the surrounding landscape The space is gently in flux with the changing mood of the shifting light and movement of clouds.

It was only afterwards,sitting in the courtyard of a nearby house surrounded by the mountains,that I came to properly sense what LI Xiaodong had meant when he spoke to me previously of being both within and spatialising the mountains He had referred to his own experiences in the Yellow Mountains and to the sole use of axonometric representation within Eastern cultures The non-hierarchical form of representation used in paintings and scrolls brings nature,objects and people together in a single image so that one can conceive of being within - not simply looking at - the depicted landscape I looked around at the surrounding mountains,seeing their texture much more strongly than their form,and the library returned to my mind,making a new sort of sense.

Chinese culture and spatial concepts are a strong point of reference for LI Xiaodong In a very early conversation we had he cited the Chinese philosopher Lao Tzu who said that what is contained is more important than the container itself After experiencing LI Xiaodong's architecture it becomes evident that he is a master at making and containing spaces He expands and contracts them,sometimes literally by reducing head-height or narrowing apassage,and sometimes perceptually by adding a mirror or changing light levels He overcomes dualisms of interior and exterior,private and public,light and shade,contemplative and social,open and enclosed,nature and the man-made.

1 籬苑書屋/Liyuan Library

This is evident in the Water House in Lijiang,with its series of interlocking courtyards that takes you through an unfolding journey deeper into another world With the specific placement of stone walls in the courtyards alongside reflection pools,nature and the outside world are drawn in Although open to the sky and elements,these spaces are inward looking in many other senses They create a space of refuge and contemplation,holding a space for the visitor to be present.

David Leatherbarrow's essay "Disorientation and Disclosure" can perhaps give a different insight into LI Xiaodong's architecture For Leatherbarrow,orientation and disorientation is a means to gain spatial awareness and a heightened sense of interiority Leatherbarrow talks of a "sense of orientation in which we not only find our bearings in given conditions,but witness a richer world coming into being,once its latent depth - spatial,historical,and cultural - has been disclosed" Traditionally,the orientation of a building is used to describe its environmental position,but the word orientation also implies finding ones bearings in relation to things,places and people Leatherbarrow contends that it is through orientation that the "two horizons" are mediated,that of the internal character and mood of a building and its wider outside landscape Orientation is temporal as well as directional,providing an indication of what has come before and what will come after Leatherbarrow cites Joseph Connors description of Frank Lloyd entry to the Robie House in Chicago:

"The Robie House confounds expectations of what a house should look like It has no street facade and no obvious door .. getting in .. is no easy matter,since the doors are located in out of the way places .. one [must] walk deep in under the shelter of the house before encountering the doors .. and the visitor is forced close up against massive blocks of brick,so much so the simple act of ascending is turned into an intense experience,something like scaling the face of a cliff "(1984: 30)

Wright's use of labyrinthine entry sequence in many of his houses plays with disorientation as a means to make the eventual arrival to the "interior" all the more powerful and an intense LI Xiaodong equally uses orientation - and disorientation - in all his buildings to enable one to find a new bearing on the physical and social landscape One thinks here of the Bridge School,which is more than a physical link,it is a social and psychological connection that re-orientates the town and our relationship to it The Water House equally orientates one with the mountains,so that our relationship with them is made apparent and forms an inherent part of the spatial qualities of the house itself The Liyuan Library in its landscape is brought in and out of focus,as you approach and then explore its interior spaces.

What was further striking about being within the Liyuan Library was the fact that the space was completely open and revealed Standing in the centre I could see the entire space,although I knew that being in different parts of it would offer drastically varying experiences.I wanted to discover the new sensations that the space would give; to move to different places,try sitting standing,looking out,looking in I could have stayed for hours and watched the shadows move,the light change in colour,intensity and direction,observing and feeling the slow passage of time,and understanding my own responses to it It was,I believe,the very experience that Gernot Bohme was talking about in his essay Atmosphere as mindful physical presence in space Bohme draws a distinction between spaces where our experiences are bodily,and those where we have a mindful physical presence; an experience of architecture that possess greater depth and a certain kind of slowness derived from a relationship between our sensibilities,experience and qualities of the space.

Throughout the process of commissioning LI Xiaodong's installation for the exhibition Sensing Spaces at the Royal Academy of Arts in London,I witnessed his own strong sensibilities to how a visitor would experience - physically,sensually and emotionally - the spaces he created I was in the exhibition often,and on every occasion would discover a different moment he had created,which would give pleasure,delight,comfort or intrigue Layers of spatial experience that were informed by sounds,smells,textures,light and movement would constantly unfold and reveal something new for me and for the context of the work itself.

Li Xiaodong Atelier

Kate Goodwin describes her experience of visiting LI Xiaodong's Liyuan Library and discovers how the nonhierarchical Chinese representation of nature,objects and people informs the buildings' dialogue with the mountains and surrounding landscape LI Xiaodong transgresses traditional architectural binarisms to create unfolding worlds within his buildings where experiences vary drastically as one moves through the space,a physical manifestation of Chinese philosopher Lao Tzu's assertion that "what is contained is more important than the container itself" His disorientating entrances,in the Leatherbarrow sense,enables comparisons with Wright's Robie House in Chicago to create a "heightened sense of interiority" and ultimately experience a sensation akin to Gernot Bohme's notion of mindful physical presence.

spatial complexity,interiority,orientation,presence,Liyuan Library

英國(guó)皇家藝術(shù)學(xué)院德魯·海因茨建筑館館長(zhǎng)，“感知空間：建筑之重新想象”展覽（2014年1月25日-4月6日）策展人/ Curator of "Sensing Spaces: Architecture Reimagined" (25 January - 6 April,2014),Drue Heinz Curator of Architecture,Royal Academy of Arts,

2014-08-26