建筑历年

2021年  4月

 

 

2021年  1月

 

 

2020年  10月

 

 

2017年   7月

 

 

2016年   3月

 

 

2015年   2月

 

 

        某种程度来说,建筑师一直思考的就是如何可以创造出一个能够超越我们的意图/建筑的意图的空间,从而令空间本身变得更开放,或是提供开放的空间让人们可以得到启发。
        我想建筑虽然很具体但同时也是时间性的,流动的,因为人们总是在建筑中游走,而不是被一个个空间所分隔。人们游走其间。
                                                ——藤本壮介

 

In some sense, an architect is always thinking about how to create a space beyond human’s intention, to make the space more open, or an open space for people to get inspiration by themselves.
I think architecture is concrete but also time-based, it has its own fluidity, because people are walking into the space, they are always wandering inside, without being separated by different sections of the space.
 — Sou Fujimoto

 

相忘于山水
(节选)

 

         这儿的地形学,与其说是地形的物理性构造,勿宁说是文化拓扑学的一部分,这让我们想像一种“顺势建筑”(顺应地球的重力和与人类感知尺度)的可能性。
        泉水、雨水、地下水,饮用、回收、过滤、净化、浇灌——这儿的水系统并不指向景观,而是能量循环的一部分,正如河流的三角地带总是孕育人类的文明一样,近水所带来的愉悦恰恰来自生存资源的透明感:我们可以随时亲近养育着人类生命的资源。
        这儿的空气,尽可能不被人为控制的机器系统阻隔和过滤,今天的问题是,如果没有人为控制的机器系统,我们还能呼吸到空气吗?如果说,人的生存实际上是浸泡在空气中的一种生存,那么,这儿的建筑,是否可以成为让人真正沐浴其中的气候?
        在我们讨论对这儿的光线的感知的同时,我们也关注黑夜以及黑夜在都市空间中的消失,如何保留这儿的黑夜?
        在“镜花园”思考过程中产生大量的模型,包括空间模型、思考模型,它们不但指向这儿,也指向那儿,不但指向农田、村落和不远处的都市,也指向山脉、河流和古老的园林。从遥远的星空俯瞰,“镜花园”可能是地球肌体丰富脉络上的一个小点,犹如人体经脉系统中的一个小点,它正联结起来自其他能量的流动,而能量的流动未必是意图明确的,它有着生长的渴望,也有消逝的坦然。
        艺术,在日复一日的日常练习中,是否有可能成为一种与各种生存要素一起合作的劳动,从而形成自身循环的类似永续农业的价值创造系统?它在抽象的时间效应中(也许是永远延迟的)获得真正的检验,它向人类一切生存智慧学习,而本身也将应该成为富有启发性,富有感染力的生存智慧实践,由此,材料、技艺、人性和命运的因素交织在一起,暗示了生生不息的整体世界观。

 

——选自胡昉著《走向无所意图的空间——关于藤本壮介的“镜花园”建筑设计:过程中的研究》,第174-176页,观心亭,2015

 

Forgetting Each Other in Mountains and Water (excerpt)

 

Rather than just a question of the physical formation of landscape, the topography of this place should be understood as being part of a cultural topology, which allows us to imagine the possibility of a “homeopathic architecture” (a kind of architecture that complies with the gravity of the Earth and the human scale of perception).
Spring water, rain water, underground water; drinking, recycling, filtering, purifying, irrigating—the aqueous system here does not aim to create a scenery; instead, it is part of an energy cycle. Civilization tends to mature in river delta, humans always live close to the water because there is a pleasure to sense the transparency of the source of life: we like to be intimate with that which nurtures life.
Here, we try not to block or filter the air by any manmade mechanic system. One of today’s problems is: can we still breathe if there is no manmade mechanic system? We can say that we live soaking in air and here the architecture attempts to create a climate that lets us immerse ourselves in natural air.
While we explore our perceptions of light, we also pay attention to the darkness of night and its disappearance in urban space—how do we preserve the dark night here?
Different models were produced during the process of conceptualizing ‘Mirrored Gardens,’ and these spatial or thinking models not only point towards this place, but also to other places; they not only point towards farmland, villages and the city close by, but also to the mountains, rivers and ancient gardens. When looked at from a faraway star, ‘Mirrored Gardens’ may appear to be a spot point in the complex body system of the Earth; and like a small spot in the meridian systems of the human body, it connects the flow of many different energies. While the reasons behind these energy flows remain obscure, they represent both the aspiration to create and to elapse.
Can art, through the persistent quotidian practice of it, hold the possibility of becoming a kind of collaborated labor with our other essential aspects of life? Can it become a system that can always regenerate values, something similar to sustainable agriculture? Here, art will be experimented in reality through the abstract effects of time (whose results may be forever delayed, however). It will learn from all the wisdom of humankind, and become itself an inspiring and contagious practice of living wisdom. From there, materials, skills, humanness and occasionality interweave, representing a view of a vivacious world.
– Excepts from Hu Fang Towards a Non-intentional Space – About Sou Fujimoto’s Architectual Design for Mirrored Gardens, Koenig Books, The Pavilion, 2016, pp.166,167.

 

摄影:曾翰,2015、2017 ;  Louise G. Feldt,2016 ;  温鹏,2020、2021
图片和文字来源及版权所有© 镜花园,观心亭,2015, 2017

 

Photo:Zeng Han, 2015, 2017; Louise G. Feldt, 2016; Wen Peng, 2020,2021
Text © Mirrored Gardens, The Pavilion, 2015, 2017
All rights reserved.