建筑如画——由绘画引申开来的关于现代建筑理论和实践的几点思考
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摘要
通过梳理20世纪以来绘画在建筑理论和实践中的介入来讨论这一特定的跨学科交流所带给人们的思考与启发。详细论述了绘画在建筑讨论中形成的三种关系——生成模型、象征机制、体验方式,并依次分析了各个关系中对于绘画不同特征的强调以及其所产生的利弊。虽然方法不尽相同,但通过对比,可以观察到绘画这种视觉艺术在建筑讨论中的"语义性"的生成和强调,以及这种语义所衍生出的文化性解读。通过对比分析,希望为这一话题提供更为独特、多样的观察视角,并且表达对绘画这一视觉艺术赋予建筑专业以独特视野的肯定。
With exemplified case studies from the 20 th century onwards, this article provides some reflections on the use of paintings in architectural discussions in modern design theories and practices. The analysis summarizes three types of relationships established between painting and architecture-the model of formulation, the device of symbolism, and the way of experience-and expounds on their different focuses through the pictorial medium. The presented diversity of this pictorial exercise in architecture, however, also implies a conscious and continuous emphasis on the semantics imbedded in the pictorial medium, which further contributes to the establishment of a cultural frame in some recent discussions. While valuing the multiplicity of analysis, the article proposes to anchor on the type of visual art that painting belongs to and its unique contributions in architectural translation.
With exemplified case studies from the 20 th century onwards, this article provides some reflections on the use of paintings in architectural discussions in modern design theories and practices. The analysis summarizes three types of relationships established between painting and architecture-the model of formulation, the device of symbolism, and the way of experience-and expounds on their different focuses through the pictorial medium. The presented diversity of this pictorial exercise in architecture, however, also implies a conscious and continuous emphasis on the semantics imbedded in the pictorial medium, which further contributes to the establishment of a cultural frame in some recent discussions. While valuing the multiplicity of analysis, the article proposes to anchor on the type of visual art that painting belongs to and its unique contributions in architectural translation.
引文
[1]Pérez-Gémez A,Pelletier L.Architectural Representation and the Perspective Hinge[M].Cambridge,Mass:MIT Press,1997.
[2]Giedion S.Part VI,Space-Time in Art,Architecture,and Construction[M]//Giedion S.Space,Time,and Architecture:The Growth of a New Tradition.5th edition.Cambridge:Harvard University Press.1967:429-497.
[3]Rowe C,Slutzky R.Transparency:Literal and Phenomenal[M]//Rowe C.The Mathematics of the Ideal Villa and Other Essays,Cambridge,Mass:MIT Press,1987:159-184.
[4]顾凯.中国园林中“如画”欣赏与营造的历史发展及形式关注——兼评《两种如画美学观念与园林》[J].建筑学报,2016(9):57-61.
[5]董豫赣.预言与寓言——贝聿铭的中国现代建筑[J].时代建筑,2007(5):60-65.
[6]Giedion S.Construction and Aesthetics:Slab and Plane[M]//Giedion S.Space,Time,and Architecture:The Growth of a New Tradition.5th edition.Cambridge:Harvard University Press,1967:450-477.
[7]Mertins D.Anything But Literal:Sigfried Giedion and the Reception of Cubism in Germany[M]//Mertins D.Modernity Unbound:Other Histories of Architectural Modernity.London:Architectural Association,2011:24-69.
[8]Hastings H.Exterior Furnishing or'Sharawaggi':The Art of Making Urban Landscape[J].The Architectural Review,1944(95):2-8.
[9]Cullen G.Townscape[M].London:Architectural Press,1961.
[10]Pevsner N.Picturesque England[M]//Pevsner N.The Englishness of English Arts:The Reith Lectures.New York:Frederick A.Praeger Inc.,1956:163-181.
[11]Rowe C,Koetter F.Collage City[J].The Architectural Review,1975,158(952):66-91.
[12]Rowe C,Koetter F.Collage City[M].Cambridge:MIT Press,1998.
[13]Macarthur J.Appropriation[M]//Macarthur J.The Picturesque:Architecture.Disgust and Other Irregularities.London&New York:Routledge,2007:215-224.
[14]赖德霖.从现代建筑“画意”话语的发展行王澎建筑[J].建筑学报,2013(4):80-91.
[15]Ho W.The Literary Concepts of'Picture-Like'[ruhua]and'Picture-Idea'[huayi]in the Relation Between Poetry and Painting[M]//Murck A,Fong W C.Words and Images:Chinese Poetry,Calligraphy,and Painting.New York:The Metropolitan Museum of Art,1991:359-404.
[16]Lu A.Lost in Translation:Modernist Interpretation of the Chinese Garden as Experiential Space and its Assumptions[J].The Journal of Architecture,2011,6(4):499-527.
[17]王欣.建筑需要如画的观法[J].新美术,2013(8):34-56.
[18]董豫赣.山居九式[J].新美术,2013(8):77-87.
[19]王澍.营造琐记[J].建筑学报,2008(7):22-23.
[20]王澍.自然形态的叙事与几何——宁波博物馆创作笔记[J].建筑学报,2009(5):66-80.
[21]王澍.隔岸问山——一种聚集丰富差异性的建筑类型学[J].建筑学报,2014(1):42-47.
(1)对于立体主义绘画理论的讨论和总结早于现代主义建筑。在1913年,纪尧姆·阿波利奈尔(Guillaume Apollinaire)就使用了“simultaneity”(同时性)来总结立体主义绘画的形式特征,而在一战以前,“transparency”(透明度)也同样成为了绘画评论家常用的形容词。参见:Mark Antliff and Patricia Leighten,A Cubism Reader:Documents and Criticism,1906-1914,Chicago:University of Chicago Press.2008。
(2)由于贝聿铭的误认,以及后来各种研究的引用.对贝聿铭这个设计的绘画原型的猜测产生了很多种版本。笔者在贝氏纽约的工作室里查阅这个工程的档案时发现了《云山图卷》这幅图。这幅图是唯一的一幅保留在石景建造相关文件夹中的山水画。再加上这幅画与建成石景的相似性,笔者判断这幅图应该是其设计的绘画原型。
(3)参见:2017年12月14日刘琳璠在香港大学举办的“重思贝聿铭:百年诞辰研讨会”(Rethinking Pei:A Centenary Symposium)上宣讲的发言稿《重思贝聿铭:建筑学里的绘画视觉》(Rethinking Pei:A Pictorial Vision in Architecture)。
(4)对于这种方法的弊端.马尔科姆·安德鲁斯(Malcom Andrews)曾就风景画在风景园林中的借鉴中有所论述。参见:Malcom Andrews.“Ⅱ.Landscape Painting and the Picturesque Formula,”The Search for the Picturesque:Landscape Aesthetics and Tourism in Britain,1760-1800,(Stanford,CA:Stanford University Press,1989),pp.24-41。
(5)这一段是笔者的翻译.引自哈斯廷斯(Hubert Hastings)的文章Exterior Furnishing or'Sharawaggi':The Art of Making Urban Landspace.英文原文:“It is found to be,in essence,an aesthetic method which is designed to reconcile by various means-contrast,concealment,surprise,balance-the surface antagonisms of shape which a vital democracy is liable to go on pushing up in its architecture in token of its own liveliness.”
(6)参见约翰,麦克阿瑟(John Macarthur)文章Apporpriation中对于拼贴城市更加详细的解读。
(7)参见文献[16]中鲁安东在The Journal of Architecture上发表的文章。此段原文为:“The purpose of this essay is to reconsider the experiential approach by reintroducing the poetic and imaginary mind into the moving body without losing the explanatory power of the approach.I wish to call for a new metaphor of the Chinese Garden,not as the modernist'space,'with its inherent mobility,locality and visuality,but as a'deictic'gameplay,that enables us to redeem the informality,immersivity,and narrativity of garden space."
(8)参见由郭恩编述其父的创作经验和艺术见解的专著《林泉高致》之《山水训》一节。
(9)关于这些操作的叙述比较复杂,笔者将在其他文章中详细论述。
[2]Giedion S.Part VI,Space-Time in Art,Architecture,and Construction[M]//Giedion S.Space,Time,and Architecture:The Growth of a New Tradition.5th edition.Cambridge:Harvard University Press.1967:429-497.
[3]Rowe C,Slutzky R.Transparency:Literal and Phenomenal[M]//Rowe C.The Mathematics of the Ideal Villa and Other Essays,Cambridge,Mass:MIT Press,1987:159-184.
[4]顾凯.中国园林中“如画”欣赏与营造的历史发展及形式关注——兼评《两种如画美学观念与园林》[J].建筑学报,2016(9):57-61.
[5]董豫赣.预言与寓言——贝聿铭的中国现代建筑[J].时代建筑,2007(5):60-65.
[6]Giedion S.Construction and Aesthetics:Slab and Plane[M]//Giedion S.Space,Time,and Architecture:The Growth of a New Tradition.5th edition.Cambridge:Harvard University Press,1967:450-477.
[7]Mertins D.Anything But Literal:Sigfried Giedion and the Reception of Cubism in Germany[M]//Mertins D.Modernity Unbound:Other Histories of Architectural Modernity.London:Architectural Association,2011:24-69.
[8]Hastings H.Exterior Furnishing or'Sharawaggi':The Art of Making Urban Landscape[J].The Architectural Review,1944(95):2-8.
[9]Cullen G.Townscape[M].London:Architectural Press,1961.
[10]Pevsner N.Picturesque England[M]//Pevsner N.The Englishness of English Arts:The Reith Lectures.New York:Frederick A.Praeger Inc.,1956:163-181.
[11]Rowe C,Koetter F.Collage City[J].The Architectural Review,1975,158(952):66-91.
[12]Rowe C,Koetter F.Collage City[M].Cambridge:MIT Press,1998.
[13]Macarthur J.Appropriation[M]//Macarthur J.The Picturesque:Architecture.Disgust and Other Irregularities.London&New York:Routledge,2007:215-224.
[14]赖德霖.从现代建筑“画意”话语的发展行王澎建筑[J].建筑学报,2013(4):80-91.
[15]Ho W.The Literary Concepts of'Picture-Like'[ruhua]and'Picture-Idea'[huayi]in the Relation Between Poetry and Painting[M]//Murck A,Fong W C.Words and Images:Chinese Poetry,Calligraphy,and Painting.New York:The Metropolitan Museum of Art,1991:359-404.
[16]Lu A.Lost in Translation:Modernist Interpretation of the Chinese Garden as Experiential Space and its Assumptions[J].The Journal of Architecture,2011,6(4):499-527.
[17]王欣.建筑需要如画的观法[J].新美术,2013(8):34-56.
[18]董豫赣.山居九式[J].新美术,2013(8):77-87.
[19]王澍.营造琐记[J].建筑学报,2008(7):22-23.
[20]王澍.自然形态的叙事与几何——宁波博物馆创作笔记[J].建筑学报,2009(5):66-80.
[21]王澍.隔岸问山——一种聚集丰富差异性的建筑类型学[J].建筑学报,2014(1):42-47.
(1)对于立体主义绘画理论的讨论和总结早于现代主义建筑。在1913年,纪尧姆·阿波利奈尔(Guillaume Apollinaire)就使用了“simultaneity”(同时性)来总结立体主义绘画的形式特征,而在一战以前,“transparency”(透明度)也同样成为了绘画评论家常用的形容词。参见:Mark Antliff and Patricia Leighten,A Cubism Reader:Documents and Criticism,1906-1914,Chicago:University of Chicago Press.2008。
(2)由于贝聿铭的误认,以及后来各种研究的引用.对贝聿铭这个设计的绘画原型的猜测产生了很多种版本。笔者在贝氏纽约的工作室里查阅这个工程的档案时发现了《云山图卷》这幅图。这幅图是唯一的一幅保留在石景建造相关文件夹中的山水画。再加上这幅画与建成石景的相似性,笔者判断这幅图应该是其设计的绘画原型。
(3)参见:2017年12月14日刘琳璠在香港大学举办的“重思贝聿铭:百年诞辰研讨会”(Rethinking Pei:A Centenary Symposium)上宣讲的发言稿《重思贝聿铭:建筑学里的绘画视觉》(Rethinking Pei:A Pictorial Vision in Architecture)。
(4)对于这种方法的弊端.马尔科姆·安德鲁斯(Malcom Andrews)曾就风景画在风景园林中的借鉴中有所论述。参见:Malcom Andrews.“Ⅱ.Landscape Painting and the Picturesque Formula,”The Search for the Picturesque:Landscape Aesthetics and Tourism in Britain,1760-1800,(Stanford,CA:Stanford University Press,1989),pp.24-41。
(5)这一段是笔者的翻译.引自哈斯廷斯(Hubert Hastings)的文章Exterior Furnishing or'Sharawaggi':The Art of Making Urban Landspace.英文原文:“It is found to be,in essence,an aesthetic method which is designed to reconcile by various means-contrast,concealment,surprise,balance-the surface antagonisms of shape which a vital democracy is liable to go on pushing up in its architecture in token of its own liveliness.”
(6)参见约翰,麦克阿瑟(John Macarthur)文章Apporpriation中对于拼贴城市更加详细的解读。
(7)参见文献[16]中鲁安东在The Journal of Architecture上发表的文章。此段原文为:“The purpose of this essay is to reconsider the experiential approach by reintroducing the poetic and imaginary mind into the moving body without losing the explanatory power of the approach.I wish to call for a new metaphor of the Chinese Garden,not as the modernist'space,'with its inherent mobility,locality and visuality,but as a'deictic'gameplay,that enables us to redeem the informality,immersivity,and narrativity of garden space."
(8)参见由郭恩编述其父的创作经验和艺术见解的专著《林泉高致》之《山水训》一节。
(9)关于这些操作的叙述比较复杂,笔者将在其他文章中详细论述。