花园里的花园:杰弗里·巴瓦和他的“顺势设计”
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摘要
以杰弗里·巴瓦作品为例,指出其建筑事业以代表个人审美生活的"花园"为终始。两座私人宅园一方面似乎缩小了现代建筑的关怀范畴,摒弃了西方启蒙主义传统和城市乌托邦理想;另一方面则拓展了现代建筑的知识领域,开辟了一种与传统审美生活相呼应的、注重身体感知的物文化系统,发展出顺应广义"地形学"的顺势设计方法,体现出以精准物质营造为手段的高级环境伦理意识,和建立在个人经验基础上的、推己及人的建筑学。巴瓦以其"在世间"的诗学远离了西方意义上的抽象知识传统和超越式的"几何原型"追求,自身却是现代建筑务宴精神和简明形式语言的真正传人之一。
Based on the study of Geoffrey Bawa's designs,this paper highlights that Bawa's professional career started and ended with garden representing his own aesthetic life.He seemed to narrow down the concern of modern architecture on the one hand,giving away the Western tradition of enlightenment and the ideal of Utopian cities,and expand the knowledge of modern architecture on the other,discovering a system of material culture that speaks to traditional aesthetic life with an emphasis of bodily perceptions.As such he developed a homeopathic design method in accordance with topography in general terms,embodying a superior sense of environmental ethics through precise material construction and architectural understandings with considerations of others based on personal experiences.With his mundane poetry differing from Western abstract knowledge and pursuit for geometrical prototype writ large,Bawa inherit the pragmatic nature and simplistic formal language of modern architecture.
Based on the study of Geoffrey Bawa's designs,this paper highlights that Bawa's professional career started and ended with garden representing his own aesthetic life.He seemed to narrow down the concern of modern architecture on the one hand,giving away the Western tradition of enlightenment and the ideal of Utopian cities,and expand the knowledge of modern architecture on the other,discovering a system of material culture that speaks to traditional aesthetic life with an emphasis of bodily perceptions.As such he developed a homeopathic design method in accordance with topography in general terms,embodying a superior sense of environmental ethics through precise material construction and architectural understandings with considerations of others based on personal experiences.With his mundane poetry differing from Western abstract knowledge and pursuit for geometrical prototype writ large,Bawa inherit the pragmatic nature and simplistic formal language of modern architecture.
引文
[1]Geoffrey Bawa.Lunuganga[M].Marshall Cavendish Editions,2006.
[2]大卫·罗宾森.杰弗里·巴瓦作品全集[M].悦洁,译.上海:同济大学出版社,2016.
[3]戴维·B·布朗宁.路易斯·康:在建筑的王国中[M].马琴,译.北京:中国建筑工业出版社,2004:126.
[4]杰弗里·巴瓦.一种建造方式(AWay of Building)[G].锡兰建筑年鉴,1968.
1)文章名来自巴瓦为自己的卢努甘卡庄园撰写的说明“A Garden in a Larger Garden”,详见参考文献[1]9。
2)“当一个人像我一样,从设计一个建筑和将其建成中获得这么多愉悦时,就能理解为什么我觉得无法以分析或规则来精确地描述每一个步骤……我非常确信根本不可能用语言来描述建筑……我一直很享受参观建筑,但不喜欢阅读有关它们的解释……建筑无法被完整地解释,必须被体验”。来自参考文献[2]148。
3)关于Lunuganga,具体内容参见参考文献[1]及参考文献[2]244-266。
4)路易斯·康1963年在耶鲁课堂上的谈话。
[2]大卫·罗宾森.杰弗里·巴瓦作品全集[M].悦洁,译.上海:同济大学出版社,2016.
[3]戴维·B·布朗宁.路易斯·康:在建筑的王国中[M].马琴,译.北京:中国建筑工业出版社,2004:126.
[4]杰弗里·巴瓦.一种建造方式(AWay of Building)[G].锡兰建筑年鉴,1968.
1)文章名来自巴瓦为自己的卢努甘卡庄园撰写的说明“A Garden in a Larger Garden”,详见参考文献[1]9。
2)“当一个人像我一样,从设计一个建筑和将其建成中获得这么多愉悦时,就能理解为什么我觉得无法以分析或规则来精确地描述每一个步骤……我非常确信根本不可能用语言来描述建筑……我一直很享受参观建筑,但不喜欢阅读有关它们的解释……建筑无法被完整地解释,必须被体验”。来自参考文献[2]148。
3)关于Lunuganga,具体内容参见参考文献[1]及参考文献[2]244-266。
4)路易斯·康1963年在耶鲁课堂上的谈话。