填充時(shí)間，建構(gòu)時(shí)間，揮霍時(shí)間

張利/ZHANG Li

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填充時(shí)間，建構(gòu)時(shí)間，揮霍時(shí)間

張利/ZHANG Li

作者單位：清華大學(xué)建筑學(xué)院/《世界建筑》

Filling in Time, Constructing by Time, Indulging with Time

建筑與音樂都是關(guān)于時(shí)間的藝術(shù)，隨時(shí)間變化的感官信息序列在大腦的識(shí)別處理下，形成令人滿足的審美經(jīng)驗(yàn)是它們共同的特點(diǎn)。關(guān)于建筑與音樂的聯(lián)系，借喻式的敘述已經(jīng)很多，我們?cè)诖藷o意重復(fù)。拋開所有借喻的成分，如果以時(shí)間為基準(zhǔn)，來對(duì)建筑和音樂的形式合成進(jìn)行結(jié)構(gòu)性的觀察，可以發(fā)現(xiàn)一些共通的模式。

第一種模式是填充性的模式，或者說，建筑形式或音樂形式在既定內(nèi)容的引導(dǎo)下，對(duì)既定的時(shí)間進(jìn)行有明確目的的填充。在音樂中，這種模式表現(xiàn)為主題化的音樂；在建筑中，這種模式表現(xiàn)為功能性的建筑。為儀式或事件所做的主題化音樂，從盛裝游行使用的進(jìn)行曲到婚禮使用的入場(chǎng)曲，從悼念公主的舞曲到紀(jì)念戰(zhàn)爭(zhēng)浩劫的安魂曲，雖然復(fù)雜程度不同，但都必須用音樂的形式完成對(duì)所有內(nèi)容元素的轉(zhuǎn)譯。以功能完成的準(zhǔn)確度與效率為終極追求的建筑，從工廠、醫(yī)院、實(shí)驗(yàn)室、食堂、交通樞紐到賑災(zāi)設(shè)施，亦都必須用建筑的形式，以實(shí)證主義的方法，對(duì)既定的功能活動(dòng)進(jìn)行相應(yīng)空間的定義。在填充性的模式下，由于內(nèi)容對(duì)形式的主導(dǎo)，建筑和音樂要形成當(dāng)代語境下的感染力是相當(dāng)有難度的。

第二種模式是建構(gòu)性的模式，或者說，建筑形式或音樂形式在操作規(guī)則的作用下，以自主性的方式對(duì)時(shí)間進(jìn)行建構(gòu)式的表達(dá)。在音樂中，這種模式表現(xiàn)為在不同歷史階段挑戰(zhàn)作曲理論常規(guī)的實(shí)驗(yàn)性作品，其中既有無標(biāo)題作品，也有含標(biāo)題作品，甚至是戲劇配樂或歌劇本身。在建筑中，這種模式表現(xiàn)為標(biāo)稱以還原建筑本質(zhì)為追求的、探討建筑自身構(gòu)成要素關(guān)系的作品，有些有實(shí)際功能，有些沒有。在這種模式下，不論是音樂還是建筑，其最大的價(jià)值所在都是形式的合成過程本身，是關(guān)于其結(jié)構(gòu)的。因?yàn)檫@種過程本身的抽象性，通過這種模式在音樂和建筑之間建立某種可互換的“生成方法”是個(gè)吸引人的話題。同樣是出于這種過程本身的抽象，能夠被這類音樂或建筑作品感染的人群范圍并不大，往往就是音樂家或建筑師本身，特別是音樂理論和建筑理論學(xué)者。至于通過音樂來生成建筑或反過來的過程，如里伯斯金等人的嘗試，不論在其發(fā)明者眼里是多么客觀，其結(jié)果往往表現(xiàn)為對(duì)“通感”現(xiàn)象的一種主觀化的記錄。

如果說前面兩種模式一種是基于內(nèi)容，一種是基于規(guī)則，均有客觀化的原由，那么剩下的第三種模式可以說是完全主觀的，是目的性不明確的、揮霍性（或放縱性）的模式。它僅僅出于作者對(duì)主體生命消耗客觀時(shí)間過程的一種好奇，也僅僅用于表達(dá)作者本身的一種情境或情感，是不可重復(fù)的。在音樂中，這種模式表現(xiàn)為各種作曲家為自己寫的作品，如斯克里亞賓的狂喜詩等，有大部頭的復(fù)雜作品，也有短小的簡(jiǎn)單作品。在建筑中，這種模式則表現(xiàn)為建筑師以自己為主要對(duì)象的建筑，如斯卡帕的布里昂墓園等，多數(shù)是功能簡(jiǎn)單、環(huán)境獨(dú)特的建筑。在這種模式下，無論是音樂還是建筑，幾乎都可以看成是作者內(nèi)心的外化，精神性大于物質(zhì)性。有趣的是，在這種極端主觀化的模式下卻誕生了音樂史和建筑史上的一些具有普遍感染力的作品，“揮霍”的時(shí)間反倒換來了未曾預(yù)測(cè)到的長(zhǎng)久價(jià)值。

本期《世界建筑》雖然以“揮霍時(shí)間”作為標(biāo)題，但對(duì)前面提及的3種模式都是同樣關(guān)注的。我們邀請(qǐng)到的學(xué)者們對(duì)建筑與音樂的話題所表現(xiàn)出的博學(xué)與激情，為我們通過深度閱讀來“揮霍”時(shí)間提供了最好的理由?！?/p>

Both architecture and music are arts that are based upon time. Human organs feed sequences of sensory information to the brain, which are then processed and converted into satisfaction in aesthetic experience. There have been all kinds of quotes that address the metaphoric link between architecture and music. We are not interested in them though. What we are interested here is the structural inspection into the synthesis of forms in architecture and music, using time as the tool. This inspection reveals some common modes.

The first mode is the filling-in mode. Under the lead of the contents, architecture （music） provides purposeful fi lling-in to a given time. In music, this mode is represented in programmatic works. In architecture, it is represented in functional buildings. Music works written for any special event/use must fi ll the time with materials translated from the predetermined contents. Similarly, functional buildings that prioritise e ffi ciency and precision, also have to engineer spaces for certain functions. It is obvious that under this mode, neither music nor architecture can have easy resonances in the hearts of the audience/users.

The second mode is the constructive mode. Powered by certain sets of rules, architecture （music）gives autonomous compositions of time. In music, this mode is best represented in works that try to innovate the existing tools and rules. In architecture, this mode is represented in works that claims to go back to the fundamentals of architecture. In this mode, the value of architecture （music） resides in the process of synthesis of form, and materialises in its structure. Because of the abstractness of the synthesis process, it is possible to have interchangeable rules/tools between architecture and music. However, the same abstractness also limits the possible distribution of audience. It is mostly the architects/musicians that are interested in this mode, particularly those who are interested in generative theories. Claiming that architecture can be automatically generated from music or the other way around is a little bit too far. The attempts in this regard by Daniel Liberskind can only be best described as individual records of synaesthesia.

For the abovementioned modes, objective causes and processes are common. The third mode, however, is subjective and without an obvious purpose. It is a mode to lavish （or to indulge with） time. It is built upon the curiosity over the relationship between life and time. It is only used to carry a personal situation/ feeling of the author. In music we see works that are virtually composed for the composer him/herself, such as Scriabin's poem ecstasy. In architecture we see buildings that have the architect in mind, such as Scarpa's Brion Cemetery. In this mode, the subjective process usually end up ironically with more universal appeal. The lavished time definitely is paid back by permanence.

Although this issue of World Architecture takes "indulging with time" as the title, it actually pays equal attention to all three modes. The erudite and passion of the contributors, who have been truly committed to the discussion of architecture and music, are good reasons for us to indulge ourselves in some deep reading.□

收稿日期：2016-01-28