羅布·格雷戈里/Rob Gregory

司馬蕾 譯/Translated by SIMA Lei

“感知空間：建筑之重新想象”展覽裝置

The installations of Sensing Spaces: Architecture Reimagined

羅布·格雷戈里/Rob Gregory

司馬蕾 譯/Translated by SIMA Lei

1 裝置，阿爾瓦羅·西扎/Installation by álvaro Siza（攝影/Photo: James Harris,圖片來源/Image courtesy: Royal Academy of Arts）

阿爾瓦羅·西扎 | álvaro Siza

在安納伯格庭院中放置著葡萄牙建筑師阿爾瓦羅·西扎的展覽裝置。該裝置是由3種元素構成的：一根倒下的柱子，旁邊放置著它的頭部，也就是“柱頭”；一根豎立著的柱子；以及一根帶有柱頭的柱子。建筑師初次來到這一場地時，他發(fā)現(xiàn)從皮卡迪利大街一側的柱廊看伯靈頓大廈外墻時，片段式的建筑元素能讓人回想起原始柱子的形態(tài)，這讓他深受啟發(fā)。這些柱子標識著主要流線的起點和終點，形成筆直的中軸線，聯(lián)系起街道和展廳：軸線穿越庭院、沙龍、樓梯、玄關和中央大廳，一直通往放有西扎的長期工作伙伴艾德瓦爾多·蘇托·德·莫拉的兩件裝置展品的6號展廳。而作為兩者間的聯(lián)系，蘇托·德·莫拉的展品中獨自站立著的室內(nèi)拱門，以及西扎的作品中4.8m高的柱子都使用了預制混凝土。但是，和蘇托·德·莫拉的作品使用的常見的硅酸鹽水泥的灰色不同，西扎在看到庭院柱廊前開過的黃色巴士時，受到巴士帶來的一抹色彩的影響，在作品中加入了黃色的元素。

阿爾瓦羅·西扎認為，創(chuàng)造建筑開始于場地上既有的東西，而在描述他自己的作品時，這位葡萄牙建筑師常?；貞浧鹚麑扔械膱龅禺a(chǎn)生的強烈的情感反應，以及當?shù)剡^去的歷史和傳統(tǒng)。在這次的作品中，他的這種與場地協(xié)調(diào)和個人情感反應的特質(zhì)集中反映在皇家藝術學院和學院外的城市之間的空間關系上——安納伯格庭院不僅充當了兩者之間的過渡，也突顯了這一關系的重要性。分成3塊的展品同時也顯示了對連貫性的考慮，這既體現(xiàn)在對建筑歷史的理論連續(xù)性上，也體現(xiàn)在場地上實體的連續(xù)性上。因此，這些元素不僅遵從了柱子的原始形式，成為極具自我風格的抽象形象，同時也與現(xiàn)狀空間混合在一起，形成廣場上以雕塑形式存在的室外展廳。這些裝置同時也成為了指引主要展廳位置的路標，而這也是西扎希望的——他希望展品能夠激發(fā)參觀者對場所的回想，而不僅僅是與蘇托·德·莫拉的拱門形成對比而已。這些柱子也調(diào)和了人們離開展廳和庭院時的過程——通過建筑師在皇家藝術學院建筑附近加入的反應城市生活色彩的元素，來幫助參觀者迅速地回到城市的領域中去。

Located outside in the Annenberg Courtyard,the installation by Portuguese architect álvaro Siza consisted of three elements; a column lying down with its head or "capital" beside it,another standing upright,and a third with its capital in place Inspired by the architect's first response to the site,when he was struck by the presence of the Burlington House facade as seen through the archway from Piccadilly,these fragments refer back to the birth of the column They also mark the beginning and end of an important route that sets up a straight axis,linking street with gallery - via courtyard,salon,staircase,vestibule and Central Hall - and terminating in Gallery VI with the first of two installations by Siza's lifelong collaborator,Eduardo Souto de Moura Presented as a shared response,like Souto de Moura's freestanding internal door cases,Siza's 4.8-metre-tall columns were also made with precast concrete However,unlike the ordinary Portland cement grey of his colleague's sculptures,Siza chose to use an embedded pigment in yellow,inspired by a flash of colour seen as a yellow bus drove past the courtyard's archway.

álvaro Siza states that to make architecture is to start with what is already there,and when describing his own work,the Portuguese architect often refers to what he recalls as being his deep emotional response to any given site,and its existing history and traditions In this case,that highly attuned and personal reaction focused on the relationship between the Royal Academy and the city beyond - a relationship that is celebrated and mediated by the presence of the Annenberg Courtyard The three-piece sculpture also reflected his interest in continuity,both in terms of the theoretical continuity of architectural history and the physical continuity of place As such,the elements not only became abstract figures in their own right - tracing the birth of the column and combining to create a sculptural entity that occupies the courtyard as a type of external gallery They also formed a series of signposts to what lay within the Main Galleries,which Siza hoped would activate visitors' memories rather than simply draw visual comparisons with Souto de Moura's door cases The columns also mediated the process of leaving the gallery and courtyard as visitors effectively re-entered the realm of the city,with the architect's choice of colour bringing elements of street life in closer proximity to the architecture of the Royal Academy

艾德瓦爾多·蘇托·德·莫拉 | Eduardo Souto de Moura

在2號和6號展廳中，有兩個與皇家藝術學院中原有的拱門一模一樣的門，形成了原有物與復制物之間的張力感。這兩個拱門獨立地矗立著，與原有門廊呈45°相對，高3.5m，用超性能鋼筋混凝土（UHPRC）筑造而成。由于使用了精密的預制模具，這一先端的混凝土制品可以精確復制正品的所有細節(jié)，連0.2mm的淺浮雕都能被完美地重現(xiàn)。盡管門框的組成和建造看似十分簡單，實則使用了先進的采用有限元分析方法的電腦軟件，來計算這一30mm厚的混凝土框架如何能在沒有支撐墻體的情況下站立，以及在受到?jīng)_擊的情況下的受力情況。

葡萄牙建筑師艾德瓦爾多·蘇托·德·莫拉清楚地指出，他設計的裝置本身并不是建筑。相反地，他認為這一作品是雕塑，是建筑的映射，是“建筑”這一詞語字面上和實質(zhì)上的意義的片段性反映。通過對這兩個學院中既有拱門（兩道大理石拱門都位于中軸線上，而木質(zhì)方門位于次軸線上）的復制，蘇托·德·莫拉不僅僅在形式上反映了展廳的建筑形式，也通過這兩道新裝置讓參觀者深刻地意識到微妙的空間感受——包括人們平時并不留意的尺度感、軸線、空間范圍和過渡。建筑師沒有選擇其他展廳中最常見或是特別的建筑元素，這是因為在展廳的日常使用中，許多人都會穿梭于各個房間之間，卻并不會留意走過的學院拱門上細微的空間細節(jié)。

為此，蘇托·德·莫拉新設立的拱門脫離于墻體之外，讓穿越門洞時感受到的材質(zhì)和幾何變化能形成更現(xiàn)實的體驗。這也讓參觀者能更有意識地體會到行為和空間轉變帶來的情感變化，也幫助人們更能注意到無論是皇家藝術學院的展廳中，還是廣義的建筑中構成空間的界限和范圍的建筑元素。因為建筑師其實并不能真正地憑空創(chuàng)造空間，蘇托·德·莫拉認為這些空間的限制、邊界和范圍是建筑師定義空間的主要手法。而在這些要素得到明確后，建筑師也就為我們的空間體驗定義好了界限。

艾德瓦爾多·蘇托·德·莫拉這樣評論他的作品：“首先，我的門不是建筑，它們是雕塑。其次，我認為它們很優(yōu)雅。此外，當你跨過這些門檻時，你也許會體會到一種感覺或是一絲情緒。第四，這一作品也很有理性?！?/p>

Situated in Galleries II and VI,these two replica door cases were precise facsimiles of those in the Royal Academy and played on the tensions that exist between original and copy Freestanding and set at a 45-degree angle to their predecessors,these 3.5-metre-high structures were made from ultra highperformance reinforced concrete (UHPRC) Cast in precision-made joinery moulds,this advanced concrete product allowed even the finest detail of the door cases to be replicated,with a relief as shallow as 0.2mm being perfectly formed Despite their apparently simple composition and construction,cutting-edge finite-element analysis was run using computer software to predict how the 30-mm-thick concrete frame,without the aid of a supporting wall,would perform structurally and react in the event of impact.

Portuguese architect Eduardo Souto de Moura states clearly that his installations were not in themselves works of architecture Instead,he describes them as sculptures,which he sees as reflections of architecture; an assertion that draws on both the literal and notional meaning of the word reflection By making copies of two of the Academy's existing door cases (both the marble arch that occupies the main axis and the timber square door frame which runs in the secondary axis),Souto de Moura was not only reflecting the gallery's architectural detail in physical form,but was perhaps more profoundly providing two new architectural devices that caused the visitor to become aware of and to reflect upon subtle spatial notions - of scale,axis,threshold and transitionthat may have been otherwise overlooked Despite forming the gallery's most consistent and prominent architectural element,in the day-to-day use of the galleries many people typically move through the enfilade of rooms apparently unaffected by the spatial nuances of passing through the Academy's door frames.

In response to this,Souto de Moura's new freestanding door cases,which were disembodied and independent of the walls,imposed a material and geometric shift that made passing through the apertures a more present experience This gave visitors the opportunity to more consciously focus on the sensations associated with movement and transition,and helped to make them more aware of the architectural elements that form the limits and thresholds both inside the Royal Academy galleries and in architecture generally Souto de Moura considers these limits,edges and thresholds to be the architect's principle medium for defining space,underlying the fact that it is impossible for architects or architecture to actually create space As these pieces made manifest,architecture defines the limits of our spatial experiences.

"First,my doors are not architecture,they are sculpture Second,I think they are elegant Third,when you cross these thresholds perhaps you experience a sensation,an emotion Fourth,they are logical." Eduardo Souto de Moura.

2 裝置，艾德瓦爾多·蘇托·德·莫拉/Installation by Eduardo Souto de Moura（攝影/Photo: James Harris,圖片來源/Image courtesy: Royal Academy of Arts）

佩佐-馮·艾利赫夏森 | Pezo von Ellrichshausen

3 裝置，佩佐-馮·艾利赫夏森/Installation by Pezo von Ellrichshausen（攝影/Photo: James Harris,圖片來源/Image courtesy: Royal Academy of Arts）

此裝置由4個圓柱體和兩個箱體構成，非常質(zhì)樸，并且使用了相當原始的建筑語言。裝置具有優(yōu)美的沉靜感，第一印象上讓人感覺密不透風，但其實每個支撐結構的內(nèi)部都能通往上層漂浮著的箱體——4個圓柱體內(nèi)都設有的旋轉樓梯，同時，豎向的箱體內(nèi)也設有一個斜坡能通往上層。然而，裝置結構的基本形式雖然簡單，使用的木結構卻干練而精準，這些部件都是在裝船運往倫敦前由建筑承包商在智利預先制造好的。而展品本身則繼承了建筑師對建筑藝術的標志性的態(tài)度，用非常有限的材料和最基本的形式在展廳中制造出獨具紀念感的裝置，但其在與參觀者的互動中又顯示出了親切和可觸摸的特質(zhì)。

智利建筑師組合毛里西奧·佩佐和索菲亞·馮·艾利赫夏森把這一裝置形容為架在4根巨大柱子上的小房間，并在設計中上體現(xiàn)了許多設計師長久以來的思考。在過去所有的作品中，兩位設計師都拒絕追隨流行的新時尚，而是選擇他們認為普通和熟悉的方式來設計，并認為永恒的美是來自第一印象看上去非常簡單而非復雜的建筑形式。這一包有木表皮的構造物就具有簡單的形式和樸實的細節(jié)，其尺度和比例都和展廳非常相符。出于建筑師對幾何形態(tài)的偏好，方盒子正好占據(jù)了展廳一半的空間，角點剛好對準學院拱頂和天花的裝飾性結構。這一結構能給參觀者帶來3種完全不同的體驗。首先是在平臺下方的共同體驗，在此處，人們聚在一起或是在巨大的圓柱形柱子之間走動。第二種是個人的感官體驗——在斜坡或是樓梯上下時，參觀者對距離和時間的感知都得到了延續(xù)。最后則是爬到展廳上方的平臺上時的一種出乎意料的親近體驗，在這里，參觀者和通常不能接觸到的拱頂天花間建立起了一種新的關系。

這一裝置讓人們能更接近19世紀的裝飾細節(jié)，并且建立起一種參觀者與學院的大環(huán)境間的新的空間關系，同時也為展廳提供了新的被俯視的形象，并讓空間通過從玻璃屋頂射入的光線與外面的世界聯(lián)系在一起。

4 裝置，佩佐-馮·艾利赫夏森/Installation by Pezo von Ellrichshausen（攝影/Photo: James Harris,圖片來源/Image courtesy: Royal Academy of Arts）

Comprising four cylinders and two rectangular forms,this installation was unadorned and apparently primitive in its architectural language Decoratively mute and on first impression impenetrable,each of the supporting structures provided access to the elevated box above,via four spiral stairwells,one in each of the cylinders,and a ramp that rose inside the vertical box However,the basic form of construction belied the refinement and precision of its timber structure,which was prefabricated by the architects' contractors in Chile,before being shipped in modules to London As an object in itself,the installation also exhibited the architects' trademark attitude to the art of building,working with a limited palette of materials and the most basic modes of construction to produce an installation that is monumental in relation to the gallery,but intimate and tactile in its engagement with the visitor.

Described by the Chilean architectural duo Mauricio Pezo and Sofia von Ellrichshausen as a small room elevated on four massive columns,this installation extended many of the designers' enduring preoccupations As with all their work,the pair rejected the pursuit of fashionable invention,choosing instead to take inspiration from what they refer to as the ordinary and the familiar,based on the premise that timeless beauty exists in forms of architecture that on first impressions often seem too simple to be sophisticated Simple in form and unadorned in detail,the timber-clad structure was composed in response to the scale and proportions of the gallery Exploring the architects' interest in geometry,the square form occupies exactly half of the gallery,and its points align precisely with the decorative structure in the Academy's vaults and ceilings The structure provides three distinct experiences for the visitor The first is a shared experience below the platform,where people can collectively gather around or move between the massive cylindrical columns The second is an individual and sensual experience,when ascending or descending the ramp or stairwells,which expands the visitor's perception of distance and time Finally the third is an intimate and surprising experience when elevated above the gallery on a platform,where a new relationship is established between visitors and the hitherto inaccessible ceiling vault.

This installation both brought people into closer proximity with the late nineteenth-century decorative detail and established a new spatial relationship between the visitor and the broader context of the Academy itself,simultaneously providing a new aerial view of the gallery,and setting this in context with the outside world through the glass roof light

隈研吾 | Kengo Kuma

5 裝置，隈研吾/Installation by Kengo Kuma（攝影/Photo: Benedict Johnson,圖片來源/Image courtesy: Royal Academy of Arts）

日本建筑師隈研吾設計的兩組裝置由一系列精美的構造物組成，位于皇家藝術學院西廳的大小兩個展廳中。構造物輕觸地面，由長度經(jīng)過精心挑選的竹子制成，全部從京都進口而來。這些竹材由長至3～4年的竹子制成，并削成4mm直徑的竹絲，建筑師通過這種方法來保證竹絲能被彎曲成型。選擇竹材的原因同時也是因為竹子能吸收并緩慢散發(fā)出香味，在真空包裝裝船運往倫敦之前，每片竹子都經(jīng)過帶有檜木（日本扁柏）或是榻榻米香味的液體浸漬。每片構造物雖然脆弱，但相互構成結構上的平衡，形成重復的鉆石型模塊，每4組間成對地通過熱縮塑料套筒聯(lián)系在一起，并在相反方向上撐開。每個模塊都與地面相接，竹子被夾在高出地面的膠合板隱形盒子里，盒子里同時也藏著一些嵌入式的LED燈具。

秉承建筑師過去作品的風格，這組裝置中也延續(xù)了隈研吾招牌式的對小塊木材的使用，并體現(xiàn)了他在運用傳統(tǒng)和自然材料并使用新的營造模式方面的能力。這組展品同時也顯示出他一貫的對于用最少的資源形成最復雜的效果的興趣。為此，他使用規(guī)則幾何形狀的竹棒來搭建出兩個完全不同、但又互相滲透的建筑形式，這一創(chuàng)意來自建筑師對小時候坐在蚊帳里的體驗的回憶。然而，這里的構筑物并不是一張網(wǎng)，而是通過懸吊和栓接形成張力，讓裝置能夠自承重站立，并通過菱形單元彎曲組成的蜿蜒矩陣，同時構成形式感和結構支撐。

兩個裝置中的一個被稱為“亭子”，另一個被稱為“洞穴”，進入西側展廳的參觀者會先看見其中一個，再進入另一個，與建筑的關系從旁觀者轉為參與者，對建筑的理解也從一個物品過渡為一個設置好的構造物。而在常規(guī)展廳的一端，洞穴形成了一個盡頭，讓空間顯得更為深邃，感覺上也從動態(tài)空間過渡到了靜態(tài)空間。當光線變暗時，人的眼睛會隨之變化，難以聚焦，注意力從前景的細節(jié)轉移至深邃的背景，而我們的嗅覺能力則開始提升，開始察覺出檜木和榻榻米的香味。

隈研吾這樣談他的作品： “我們在兩個不同的空間內(nèi)建造了兩個不同的建筑。一個是‘真實的建筑’，或者說‘父親的建筑’，而另一個是‘架空的建筑’，或者說是‘母親的建筑’。父親的建筑佇立在空間中央，充滿了檜木的香味。母親的建筑則像繭一樣包裹你的身體，內(nèi)部充滿了榻榻米的味道。”

6 裝置，隈研吾/Installation by Kengo Kuma（攝影/Photo: James Harris,圖片來源/Image courtesy: Royal Academy of Arts）

The two installations by Japanese architect Kengo Kuma comprised a pair of delicate structures that occupied the Royal Academy's Large and Small Weston Rooms Touching the floor lightly,the structures are made from carefully selected lengths of bamboo,imported especially from Kyoto in Japan Matured for between three to four years and whittled to a diameter of 4mm,this material was chosen by the architect to exploit its capacity to be bent into shape It was also chosen for its ability to absorb and slowly release scent,each piece being impregnated with the liquid scent of Japanese Cyprus or Tatami,before being vacuum-packed and shipped to London Fragile,yet held in structural balance,each structure was made up from a repeated diamond-shaped module,formed by four lengths of bamboo bound together in pairs by sleeves of heat-shrinkable plastic and pulled apart in opposing directions Where each module touched the floor,the bamboo was clamped in hidden pockets set within a raised plywood floor,which also provided space for a number of recessed LED light fittings.

Consistent with much of his work,this installation extended Kuma's trademark use of small sections of timber,and his ability to combine traditional,natural materials with innovative modes of construction It also demonstrated his ongoing interest in how to achieve the maximum effect with the minimum use of resources To this end,he combined a regular geometry of bamboo rods to create two distinct permeable figures that are analogous with the architect's recollection of sitting inside a mosquito net as a child However,unlike a net,which finds its form when hung and tethered in tension,these freestanding structures were selfsupporting,and gained both formal and structural stability by being bent into a sinuous matrix of regular diamond-shaped cells.

With one assembly described as "pavilion" and the other as "cave",visitors to the Weston Rooms observed one before entering the other,shifting their relationship to the work from viewer to participant,and translating their understanding of the structure as an object to the structure as a setting Located at the end of the gallery's formal suite of rooms,the cave formed a dead-end and becomes a place of even deeper contemplation; a static space that is rendered dynamic to the senses As light levels drop,one's eyes are forced to shift in and out of focus,jumping from foreground detail to background abyss as our sense of smell heightened to detect the aromas of Japanese Cyprus and Tatami.

"We built two houses in two different spaces One is “architecture of reality",or "architecture of a father",whereas the other is "architecture of void" or "architecture of a mother" The father's construction stands alone in the space and is filled with the aroma of Hinoki (Japanese Cypress) The mother's structure is a cocoon that wraps your body and is full of Tatami smell.' Kengo Kuma.

迭貝多·弗朗西斯·凱雷 | Diébédo Francis Kéré

7 裝置，疊貝多·弗朗西斯·凱雷/Installation by Diébédo Francis Kéré（攝影/Photo: James Harris,圖片來源/Image courtesy: Royal Academy of Arts）

由非洲建筑師迭貝多·弗朗西斯·凱雷設計的這一裝置被形容為房間中的房間，裝置具有玻璃酒杯形的曲線結構，位于學院放射形的矩形房間之外，連接起兩個展廳，讓人們能匯聚到這一親切的洞穴般的空間中來。凱雷設計的這一拱形結構由60mm厚的蜂窩塑料板建造，體現(xiàn)了建筑師對容易取得并具有高適應性的材料的興趣。這種德國產(chǎn)的穿孔塑料板材料通常用于建筑結構，但僅僅是作為門和墻體后的墊層，而在這個設計中，建筑師發(fā)現(xiàn)了材料的新的可能性。凱雷采用了新方法來讓這種材料提高其與人的互動性和適應性——參觀者能將所提供的色彩明快的塑料吸管自由穿插在蜂窩結構的孔洞里，從而為本身單調(diào)的結構帶來不斷變化的彩色表皮。

作為一個常常將社區(qū)作為其設計的重點，同時將其工作職責延伸至社會活動家、募捐召集人和建造者的建筑師，凱雷的裝置能讓參觀者參與互動其中并對其產(chǎn)生影響，這一點兒也不出乎意料。因為經(jīng)常在有特殊問題的社區(qū)工作，凱雷堅信建筑具有真正的激發(fā)人們改變的潛力。也因為認識到了每個人都有通過建筑激發(fā)其創(chuàng)造力的需求，凱雷認為他的主旨是創(chuàng)造讓人隨意地聚集在一起的舒適的空間，并且?guī)椭鐓^(qū)找到改變的方法。為此，他創(chuàng)造出了既是展品本身又構成周邊環(huán)境的構造物。這一對象具有獨立的形式，在展廳中形成新的焦點，并超越構造物自身形式成為展品所在的背景。構筑物的內(nèi)部則形成了一個新的供人相遇和坐下停留的地點，而更關鍵的是能讓人們與建筑互動和互相適應——每個參觀者都受邀在展品中留下自己作為個人和集體的印記。

“當你改變一個建筑時，你也成為了它創(chuàng)造出的一部分?！苯ㄖ熯@樣說。

8 裝置，疊貝多·弗朗西斯·凱雷/Installation by Diébédo Francis Kéré（攝影/Photo: Benedict Johnson,圖片來源/Image courtesy: Royal Academy of Arts）

Described as a room within a room,this installation by African architect Diébédo Francis Kéré interrupted the Academy's enfilade of rectangular rooms with a curvaceous wineglassshaped form that linked two galleries and funnelled people together into a more intimate cave-like space Forming an arch made up of a matrix of 60mm thick honeycomb plastic panels,Kéré's construction extended his interest in working with ready to hand and adapted material In this instance,he found new potential in perforated plastic sheets from Germany,typically used in construction,but hidden within doors and walls as fillers Kéré's specification of this material provided a mechanism for interaction and adaptation,with visitors being offered brightly coloured plastic straws to thread through holes in the honeycomb structure and thereby adorn the otherwise monochromatic cocoon with an everchanging cloak of colour.

For an architect who places community at the heart of his work,and whose role often extends to that of activist,fundraiser and builder,it comes as little surprise that Kéré's installation relies on the engagement,interaction and contribution of the gallery visitor Often working with communities that have experienced particular hardship,Kéré adheres to the belief that architecture has the potential to genuinely inspire change Recognising the need that exists in everyone to have buildings that enhance their creativity,Kéré states that his main aim is to create comfortable spaces for informal gatherings,and to help communities build their own inspiration To this end,he created a structure that is both object and context; object in the sense that the structure is an autonomous form that creates a new focus within the gallery setting,and context in how that form does much more than serve its own end He created at its heart a new place to meet,to sit,and most crucially a place that became a focus of interaction and adaptation,as each visitor was invited to leave their mark both as an individual and collectively.

"When you change a building you become part of its creation." Diébédo Francis Kéré

李曉東 | LI Xiaodong

9 裝置，李曉東/Installation by LI Xiaodong（攝影/Photo: James Harris,圖片來源/Image courtesy: Royal Academy of Arts）

10 裝置，李曉東/Installation by LI Xiaodong（攝影/Photo: Benedict Johnson,圖片來源/Image courtesy: Royal Academy of Arts）

不同于本次展覽中的其他裝置，由中國建筑師李曉東設計的這件作品在視覺和體驗上并不是空間中的物品。相反，它建立在經(jīng)過庭院、宮殿、大階梯和美術展廳的連續(xù)體驗之上，同時，在熟悉的路線中加入了一個新的迷宮般的空間。木框架中填充了矮林的小樹枝（矮林是一種不用重新種植就能有效地快速培育環(huán)保木材的方法）。丙烯酸的墊高地面中嵌入了LED燈， 沿途有著膠合板制成的壁龕點綴，而線路的終點是李曉東稱為禪院的空間。庭院的地板上鋪著鵝卵石，形成參觀路線的最后一個場景，建筑師將其形容為“在雪夜穿越林?！?。

中國的一些著名的建筑，例如紫禁城，都是通過創(chuàng)造一系列的空間體驗而非建造一組互相獨立的建筑來布局。李曉東在形容他的作品時也提到了中國的哲學，他認為，他的作品在塑造能讓參觀者發(fā)揮想象力的空間以及創(chuàng)造優(yōu)質(zhì)的物質(zhì)體驗上，采用的是無形、而非有形的手法。這就是他所指的與通?？臻g體驗的不同之處：你被空間吸納其中，目睹空間之象，卻神游其外。在這個空間中，參觀者們踏上了尋找和感知他們行走路線之外的另一個世界之旅，并與之互動。他們能夠從窄窄的通道和近處的壁龕中體驗到不同的空間，最后則到達寬闊的禪院。如同中國的畫卷一般，這是一種通過慢慢的移動和時間的推移來緩緩展開故事的手法。建筑師希望能夠藉此引起參觀者的好奇心并對他們產(chǎn)生影響，讓他們能在倫敦得到逃避現(xiàn)實的片刻，并在體驗的最后通過禪院來感受到智慧和靈性。

李曉東說：“西方的建筑師從透視的角度設計建筑，認為建筑是被從外部看的物品，而中國的建筑師認為建筑應該是從內(nèi)部體驗的東西。”

11 裝置，李曉東/Installation by LI Xiaodong（攝影/Photo: Benedict Johnson,圖片來源/Image courtesy: Royal Academy of Arts）

Unlike the other installations in this exhibition,this piece by Chinese architect LI Xiaodong was not seen or experienced as an object in space Instead,it built upon the sequential experience of visiting the Academy-via courtyard,town-palace,grand staircase and Beaux-Arts gallery-by adding a new maze of spaces to an otherwise familiar route Experienced as a choreographed one-way route,the timber frame was in-filled with small sections of coppiced timber (coppicing is an effective method of growing sustainable timber fast,without the need to replant) An acrylic raised floor was illuminated by LEDs,and plywood-lined niches provided accents along the route,culminating in a space that LI Xiaodong describes as a Zen garden Complete with pebbles on the floor,this space was presented as the final scene on a route that the architect likens to "a walk through a forest in the snow at night".

There are well-known Chinese examples,such as the Forbidden City,which was laid out to be experienced as a sequence of spaces rather than a collection of individual buildings LI Xiaodong also draws on Chinese philosophy when describing how this work focuses on the intangible rather than the tangible,in order to allow room for the visitor's imagination to help create a satisfying physical experience This he states is "the fundamental difference between 'being present' in a space,where you are absorbed within it,and looking at images of a space,where the mind is detached." In this place,visitors are invited on a journey of discovery and to sense that alternative worlds run alongside their path and intersect with it They can experience the different spaces,from the narrow passageways and intimate niches,to the expansive Zen garden Likened to a Chinese hand scroll,this was an unfolding story that was best moved through slowly and appreciated over time The architect intends this to arouse curiosity and generate impact,to create a moment of escapism from London; an experience that ends in a Zen garden,which represents clearsightedness and inspiration.

"Western architecture develops from perspective,with the building as an object to be looked at from without,while Chinese architecture develops from the idea that the building is something to be experienced from within." LI Xiaodong

格拉夫頓建筑師事務所 | Grafton Architects

12 裝置，格拉夫頓建筑師事務所/Installation by Grafton Architects（攝影/Photo: Benedict Johnson,圖片來源/Image courtesy: Royal Academy of Arts）

格拉夫頓建筑師事務所的這一展品，由謝利·麥克納馬拉和伊馮娜·法雷爾主持設計。裝置漂浮在9號展廳和演講廳之上，懸吊在頂燈之下。為了創(chuàng)造出相鄰房間之間的強大的空間張力以及不同光線下的場景，建筑師設計了兩組完全不同的裝置。因為設計只針對屋頂燈光，裝置包含了一系列懸吊著的用于操控燈光和重塑空間的表皮以及體塊，以形成兩種完全不同的風格：一種是對輕的探索，形成光線的瀑布；另一種則截然相反，是對重的探索，以及空間的容量和構成。在演講廳中，一系列黑暗、內(nèi)斂的巨大體塊遮蔽起原來的天花和頂燈的大部分，只留下兩個相對較小的高處的“孔洞”，或稱為透光孔來透射出光線。與此相反，9號展廳中則設有9個片狀裝置，懸浮在展廳裸露的構架上，排成一列，形成對自然光線和經(jīng)過過濾的頂部人工光線的平衡。兩組裝置都在8.5m高的展廳中形成凈高2.5m的空間，但在地板和光線間建立起兩種完全不同的關系。在演講廳中，裝置加強了地板和燈光間的距離感，而在9號展廳中，懸掛的片狀裝置則帶來了接近感和統(tǒng)一感。

格拉夫頓建筑師事務所引用了美國建筑師路易斯·康的話“聽到一種聲音就等于看到一個空間”，以此顯示他們在賦予空間形態(tài)時的一貫努力。按照他們的說法，他們力求“盡量留白”，并通過對空間中的光線運動的精巧設定來構筑空間。他們將皇家藝術學院主展廳形容為“無比寬闊的空間”，而他們的裝置能從根本上改變讓每個參觀者對這片熟悉的場地的看法。為此，建筑師們在9號展廳和演講廳之間創(chuàng)造了兩個截然不同的場景，當從其中一邊走過時，會體驗到強大的空間二元性，而通過既有房間進入新空間時，張力感也讓人對既有房間產(chǎn)生的感受得到了加強。

建筑師說：“你會通過地面和表皮間的空氣、咫尺之外可見的藍色天空和大海意識到空間的存在，而你自己則站在空間的支撐之上，從而加深了你身處于特定時刻的特定地點的存在感。”

13 裝置，格拉夫頓建筑師事務所/Installation by Grafton Architects（攝影/Photo: James Harris,圖片來源/Image courtesy: Royal Academy of Arts）

The structures by Grafton Architects,founded by Shelley McNamara and Yvonne Farrell,hovered above Gallery IX and the Lecture Room,suspended from the roof lights above In order to create a strong spatial tension between adjacent rooms and to set up different lighting scenarios,two dramatically different compositions were made Choosing only to work with the roof lights,both installations featured a series of suspended surfaces and forms that manipulate the light and reshape the space in two entirely different ways; one as an exploration of lightness,with what is referred to as a waterfall of light,and the other being the exact opposite,exploring weight,containment and the formation of carved-out space In the Lecture Room,a series of dark,brooding and apparently massive solid forms obscured most of the existing ceiling and roof light,articulated by two relatively small,high-level "apertures" or openings of light In contrast to this,Gallery IX featured nine blades,suspended in alignment with the gallery's exposed trusses to reflect a balance of natural and artificial light filtered through the exposed roof light While both installations dropped down within the galleries to create an implied headroom of 2.5 metres within the 8.5-metre-high spaces,two entirely different relationships were established between the floor and the light In the Lecture Room,the installation intensified the perception of distance between the floor and the light,while in Gallery IX the hanging blades brought proximity and unity.

By quoting American architect Louis I Kahn's statement that "to hear a sound is to see a space",Grafton Architects allude to a consistent ambition in their work to make space tangible As they put it,they seek to "make as much nothing as possible",and to structure space through the careful orchestration of the passage of light and movement through the void In response to what they refer to as an "amazing generosity of space" within the Main Galleries of the Royal Academy,their installations set out to radically transform each visitor's perception of the familiar As such,between Gallery IX and the Lecture Room the architects created two distinctly different scenarios which,when experienced side-by-side,set up a powerful spatial duality and tension that reinforced the qualities of the existing rooms while radically transforming them into something new.

"You become aware of the space,the trapped air between ground surface,blue sky and the ocean visible in the distance,and of yourself held by the containing forces of this space,in a way that heightens your sense of being alive in a particular place at a particular moment." Grafton Architects

英國皇家藝術學院學習部/ Learning Department,Royal Academy of Arts,UK

2014-07-15