感知空間：建筑之重新想象

凱特·古德溫/Kate Goodwin

司馬蕾 譯/Translated by SIMA Lei

感知空間：建筑之重新想象

Sensing Spaces: Architecture Reimagined

凱特·古德溫/Kate Goodwin

司馬蕾 譯/Translated by SIMA Lei

“感知空間：建筑之重新想象”這個(gè)題目并不簡單：要求在皇家藝術(shù)學(xué)院華麗的鮑扎式空間——這一傳統(tǒng)的展覽環(huán)境中，表現(xiàn)出建筑的體驗(yàn)性和力量感。建筑類展覽中常常包含大量的圖紙、照片和模型的展示，但這種方式也讓我們遠(yuǎn)離了近距離接觸建筑時(shí)產(chǎn)生的體驗(yàn)感。而在此次展覽中，我們想探索能否讓展覽不僅僅強(qiáng)調(diào)建筑的功能性和單純的視覺效果，而是讓人感知在一座建成的建筑內(nèi)部的感受。此外，我們也想試試能否通過策劃展覽鼓勵(lì)參觀者反思自己對建筑的看法，而建筑又是否能打動(dòng)他們；同時(shí)，這樣的體驗(yàn)?zāi)芊癫粌H僅在展館內(nèi)、而是在生活中也喚醒參觀者對身邊空間的感知力呢？

2014年1月，皇家藝術(shù)學(xué)院開始舉辦其迄今為止規(guī)模最大的建筑展，展區(qū)占據(jù)了整個(gè)主展館，布展的面積達(dá)到2100m2（2.3萬平方英尺）。這次展覽被命名為“感知空間：建筑之重新想象”，展覽采用了全新的方式來將建筑呈現(xiàn)給廣大參觀者，讓主辦機(jī)構(gòu)重新思考了許多常規(guī)的展覽做法，并且受到了來自參觀者的空前反響和積極參與。展覽主要關(guān)注建筑帶來的體驗(yàn)——即我們與周邊的空間產(chǎn)生的物理上、感官上和情感上的互動(dòng)。展覽并非直接呈現(xiàn)建筑，而是通過邀請7個(gè)來自世界各地的知名的新銳建筑設(shè)計(jì)機(jī)構(gòu)來設(shè)計(jì)大尺度的構(gòu)造物，并塑造其中的內(nèi)部環(huán)境。這些建筑師分別是：格拉夫頓建筑事務(wù)所（愛爾蘭）、迭貝多·弗朗西斯·凱雷(布基納法索和德國)、 隈研吾 (日本)、 李曉東 (中國)、佩佐-馮·艾利赫夏森 (智利) 、阿爾瓦羅·西扎以及艾德瓦爾多·蘇托·德·莫拉 (葡萄牙)。

這些建筑師入選的原因是，他們的作品都清晰地表現(xiàn)了建筑如何超越其實(shí)用性和功能性從而打動(dòng)人心的特質(zhì)。他們的作品都體現(xiàn)了與所處的環(huán)境之間緊密的相關(guān)性：無論從建筑本身、其所處的城市與自然的關(guān)系、其周邊景觀、還是當(dāng)?shù)氐奈幕c傳統(tǒng)角度來看都是如此。建筑師通過他們對歷史的理解來構(gòu)筑起不但能與歷史接軌、也與當(dāng)下息息相關(guān)的建筑物。他們也對人們是如何身處在建筑物中、人的身體和感官又是如何對周邊的空間做出反應(yīng)進(jìn)行了思考。如同他們此次的裝置展品所展現(xiàn)出的特質(zhì)，他們所用的手法有時(shí)一致，有時(shí)又迥然不同。而他們各人所屬的不同的文化、地理和那代人的感情又帶來了豐富迥異的視角，為我們呈現(xiàn)出對建筑更廣泛的理解。

我們的日常活動(dòng)，無論是工作、睡覺或是娛樂大都發(fā)生在建筑內(nèi)，或是與某種形式的建筑相關(guān)。建筑是我們的生活的永恒背景。今天的建筑作為我們?nèi)粘；顒?dòng)的容器，大都以實(shí)用而理性的形式簡單地體現(xiàn)出對于需求、功能與場地的制約。而建筑對我們的感官和精神的影響則往往是次要的考慮。但是，可以說，建筑的豐富性往往來自我們的感官對它產(chǎn)生的多方面的反應(yīng)，它喚起我們的想象力，并且對我們的情緒產(chǎn)生影響。

此次建筑展通過所處的展覽環(huán)境來突顯建筑的力量感和表現(xiàn)力。建筑師的主要目的是讓參觀者認(rèn)識(shí)并體會(huì)身邊空間的形式、材料和感官品質(zhì)。我們和建筑師密切配合來搭建他們的裝置，使作品的每部分都與其占據(jù)的空間以及相鄰的空間相關(guān)——這對展覽的完整性和最終的成功來說至關(guān)重要，也是這些裝置不能被重新轉(zhuǎn)移到別處展覽的原因。建筑師通過展覽空間的結(jié)構(gòu)、比例、平面和特點(diǎn)來強(qiáng)調(diào)他們想要表達(dá)的重點(diǎn)。而從策展的角度看，我參與了一場全面的布展體驗(yàn)，這同時(shí)也是一場從倫敦皮卡迪利大道，經(jīng)過建于17世紀(jì)的宮殿、中央樓梯和19世紀(jì)的美術(shù)展廳，一直通往皇家藝術(shù)學(xué)院庭院的建筑之旅。展覽沒有規(guī)定的路線，參觀者可以選擇自己想?yún)⒂^的裝置和展廳，而對展覽的解釋也很少，只在參觀結(jié)束時(shí)會(huì)播放一個(gè)啟發(fā)性的影片。

“感知空間：建筑之重新想象”的展覽構(gòu)思基于一種詢問并探求答案的精神，從與建筑師們的討論開始，并隨著設(shè)計(jì)進(jìn)程不斷發(fā)展而來。因此，我們從一開始起就只設(shè)定了展覽的方向和框架，同時(shí)刻意避免定義展品可以是、應(yīng)該是、或者將會(huì)是怎樣的。每個(gè)建筑師都根據(jù)一個(gè)開放性的簡要要求來開展工作：探索建筑的可能性，建筑與人的關(guān)系及與周邊的聯(lián)系，以及如何利用皇家藝術(shù)學(xué)院傳統(tǒng)空間中的既有建筑來達(dá)成這些目的。每個(gè)建筑師都根據(jù)最初的構(gòu)思在皇家藝術(shù)學(xué)院中找到一個(gè)合適的地點(diǎn)，再根據(jù)指派給他們的場地深入設(shè)計(jì)，同時(shí)也與其他展品和新舊建筑物間形成對話關(guān)系。

在展覽開始之后，觀眾對建筑的反應(yīng)令人驚奇——有人快速穿越其中，有人徘徊、觀察、等待，也有人躺下、坐下或是觸摸著建筑。孩子們有時(shí)會(huì)在空間中奔跑和跳舞。人們并沒有對最喜愛的展品達(dá)成一致，各類參觀者對各個(gè)展品都有不同的回應(yīng)和觀察。這次展覽也改變了參觀者在皇家藝術(shù)學(xué)院和展廳中的行為模式，并打破了參觀藝術(shù)展和建筑展的界限。

建筑師們受邀來為展覽創(chuàng)造空間，但這并不意味著建筑就是建筑師的領(lǐng)地。相反，人們對建筑和空間的反應(yīng)并不是建筑師們預(yù)設(shè)好的，也不局限在建筑本身。雖然“感知空間”探索了每個(gè)建筑師在創(chuàng)造空間時(shí)的主觀意圖，但同時(shí)也關(guān)注參觀者對建筑所呈現(xiàn)的狀態(tài)的反應(yīng)以及建筑帶給我們的感受。

很多人都對這一展覽是藝術(shù)展還是建筑展存有疑問，但最終我想，人們將體驗(yàn)到的是一種空間，或者說是建筑的片段，并將對人們今后如何體驗(yàn)身邊的建筑產(chǎn)生影響。

The task set by "Sensing Spaces: Architecture Reimagined" was far from simple: to evoke the experience and power of architecture within a traditional gallery environment,specifically the grand Beaux-Arts spaces of the Royal Academy of Arts Exhibitions of architecture - consisting for the most part of drawings,photographs and models - often distance us from what we might experience in direct contact with a building; here,instead,we asked whether an exhibition could become the means to highlight not merely the functional or purely visual aspects of architecture but also the sensation of inhabiting a built space Could an exhibition be devised that would encourage visitors to question their ideas about architecture and test its capacity to move them? Could such an experience awaken visitors' sensibilities to the spaces around them,not only within but beyond the gallery walls?

In January 2014 the Royal Academy of Arts mounted its largest architectural exhibition to date,occupying its entire Main Suite of galleries with a footprint of over 23000 square feet The exhibition entitled Sensing Spaces: Architecture Reimagined,set new ground in the presentation of architecture to a wide audience; saw the institution rethink many of its normal practices and generated an unprecedented visitor response and engagement.The exhibition focused on the experiential aspects of architecture- our physical,sensory or emotional engagement with the spaces around us Instead of representations of architecture,the exhibition entailed large scale structures and visceral environments specially commissioned from seven well-known and emerging architectural practices from around the world The architects were: Grafton Architects (Ireland),Diébédo Francis Kéré (Burkina Faso and Germany),Kengo Kuma (Japan),LI Xiaodong (China),Pezo von Ellrichshausen (Chile) and álvaro Siza and Eduardo Souto de Moura (Portugal).

These architects were selected because they engage distinctly with how architecture might move beyond practical and functional concerns to address the human spirit Their buildings are strongly anchored in their contexts: from the physical - urban and natural - landscapes in which they are located to the cultures and traditions that surround them The architects use their appreciation of history to create buildings that acknowledge the past but are also highly meaningful within the present They consider how people will inhabit their buildings,how the human body and senses will respond to their spaces They do all this in sometimes shared and sometimes opposing ways,as their installations would reveal And their different cultural,geographical and generational sensibilities brought a rich array of perspectives that encourage a broader understanding of architecture and what it can offer us.

Our daily activities of working,sleeping or playing mostly take place within,and interact with,some form of architecture Buildings are the everpresent background to our lives Today,they are created largely as a practical and rational response to a brief,to the demands and constraints of function and site,and as the shelter and container for what we do How they might affect our senses and spirit is often a secondary consideration But,arguably,much of the richness of architecture comes from the multifaceted way our senses respond to it,from the way it catches our imaginations,and from its emotional impact on us.

The exhibition used the gallery context to foreground this power and presence of architecture Central to the architects brief was to make the visitor aware and sensitive to the physical,material and sensual qualities of spaces around them We worked very closely with the architects to develop their installations so that each directly related to the spaces they occupied and to their neighbours This was vital to the exhibition's integrity and to its success,but also the reason the installations could not be re-housed in other venues They used the structure,proportions,plan and character of the gallery spaces to help reinforce what they wanted to say From a curatorial perspective I was setting out to choreograph what could be deemed an overall exhibition experience,and one which started as an architectural journey from the London thoroughfare of Piccadilly into the Royal Academy's courtyard,through the 17th Century Town-palace,up the central staircase and into the 19th Century Beaux- Arts Main Galleries The visitor was encouraged to experience the installations and the galleries as they chose,with no set route and minimal interpretation offered,except an evocative film at the end of the exhibition.

Sensing Spaces: Architecture Reimagined was conceived in a spirit of enquiry,begun through discussion and developed through the process of design with the architects From the outset a direction and framework were established which deliberately resisted defining what the outcome could,should or would be Each architect worked with an open brief: to explore the potential of architecture,its relevance to people,the connections it evokes,and how one might convey these using architectural constructions within the traditional spaces of the Royal Academy Each architect proposed initial ideas which then found a home in a particular places within the RA and evolved in response to their designated location,setting up dialogues with each other and between the existing and the new.

Once the exhibition was open,it was incredible to watch how people responded to the spaces- some walking through quickly other lingering,watching,waiting,some lying down,sitting and touching Kids would sometimes run or dance in the spaces There was no clear "favourite" with people,but rather a series of different responses and observations that varied with each person The exhibition changed how visitors acted in the Royal Academy itself as well as within the galleries,and breaking the boundaries between where they were having an art experience and an architectural one.

Yes,architects were invited to create the spaces for this exhibition,but this in no way implies that architecture is the sole territory of architects - on the contrary Our responses to buildings or spaces are neither predefined by the architect nor inherent in the architecture itself Although "Sensing Spaces" explored each architect's intentions in the spaces they have created,it is equally concerned with what visitors discover by being open to the proposals architecture makes to us and to what it calls out from within us.

Many questions arose as to whether this was art or architecture,but ultimately I think that people experienced them as spaces,or as fragments of architecture,that will echo later as they experience the architecture around them every day.

英國皇家藝術(shù)學(xué)院德魯·海因茨建筑館館長，“感知空間：建筑之再定義”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,

2014-07-15