關(guān)于窗On the Window

關(guān)于窗
On the Window

青木淳　Jun Aoki青木淳建筑計劃事務(wù)所主持建筑師　Principal，Jun Aoki & Associates

走在街上的時候，我喜歡看那些從窗戶里朝外看的人。帶有橫豎窗欞的窗我覺得最好。沒有窗欞的話，不過是在墻壁上挖的洞。真正的窗不僅向我們展示對面的世界，同時還要昭示那個世界與我們的世界不同，是完全不一樣的世界。因此，才有了窗欞。特別是寒冷的日子，當(dāng)看到對面那個溫暖世界里的人生活的樣子，會真切地體會到世界的豐富多彩?！酰ɡL圖：青木淳；辛夢瑤 日譯中）

As I walk down the street，I love to observe people who stand at their windows，looking onto the outside world.I prefer the lattice windows，otherwise they merely resemble an opening or cavity in the wall.A true window not only can present the outside world to us，but can also showcase the difference between that world and our world - which can be completely disparate at times.Therefore，the window lattice is hugely important.

Especially on the cold day，I can really cherish the richness of the world，when I see in the other side of window where people living their life in their warm world.□（Translated by Dandan Wang）

青山周平　Shuhei AoyamaB.L.U.E.建筑設(shè)計事務(wù)所主持建筑師　Principal，B.L.U.E.Architecture Studio

我想聊聊京都大德寺的茶室“松向軒”的窗戶。雖然“松向軒”是只有不到三張榻榻米的極小的茶室，但由于它巧妙地配置了3個窗戶，使人進(jìn)入室內(nèi)也沒有局促感，有一種室內(nèi)與室外相互滲透交融的感覺。為照亮主人手的動作在較低位置配置的小窗，為壁龕采光而在南側(cè)稍高位置的開窗，以及能把庭院景觀收入室內(nèi)的西側(cè)開窗。以上這3個窗戶都有各自不同的特定功能。尤其是最具特點的西側(cè)開窗，它由密度較高的竹方格編織而成，室外庭院的風(fēng)景因方格的緣故，被分解成很多粒子狀，讓景觀以抽象化的狀態(tài)映入室內(nèi)?！酰〝z影：青山周平）

I would like to speak about the windows of Shōkō-ken teahouse in the Daitoku-ji temple.Although the Shōkō-ken is a very small-teahouse，having less than three tatamis，it artfully features three windows which help to reduce its sense of compactness，as well as to blend the exterior and interior of the teahouse.

The lower，minor window is provided to illuminate the teahouse owner's workspace.An upper window facing the south serves to capture natural light for the niche，while a view of the courtyard is offered by an upper window to the west.Each of these three windows function differently，especially the western window，which is composed of high-density woven bamboo squares.These squares divide the courtyard scene into a grid pattern，presenting an abstract view.□（Translated by Dandan Wang）

曹曉昕　CAO Xiaoxin中國建筑設(shè)計研究院設(shè)計總院副總建筑師　Deputy Chief Architect，China Architecture Design & Research Group

記憶之初，我上的幼兒園邊上就是小學(xué)，窗里常常傳來朗朗的讀書聲，覺得那就是一片好神秘的未來世界。后來在小學(xué)總愛靠著窗邊坐，因為窗邊有一大片鉆天楊以及充斥著螞蟻、肉蟲和小鳥的蓬勃世界。窗的內(nèi)外其實是兩個象場，通過窗相互映射：對外透過窗宣誓著人和人的活動在自然中的不可侵犯，對內(nèi)窗就是窺見自然的眼睛，讓自然流傾在人工的世界里。所以只要有可能，我總是喜歡讓窗開得再大一點！□（繪圖：曹曉昕）

Recalling far back into my memories，my kindergarten was located next to a primary school.The upbeat sound of the schoolchildren reading aloud often came through our window.It seemed to me that there was a secret world out there.Because of the Lombardy poplar trees and the dynamic world of ants，worms and birds which interested me，the seat right next to the window became my favorite spot during my time at primary school.The outside and inside realms that the window connects can be regarded as separate，reflecting each other via the window.Outside is the world for human beings and their activities，which are inviolable in the natural world.For the people who stay inside，the window is an eye to nature and all that it represents to our artificial world.Therefore，I would like to have the window opened wider if possible.□（Translated by Dandan Wang）

褚冬竹　CHU Dongzhu重慶大學(xué)建筑城規(guī)學(xué)院教授　Professor，F(xiàn)aculty of Architecture and Urban Planning，Chongqing University

如果說眼睛是心靈的窗戶，那么窗戶應(yīng)該算是建筑的眼睛吧？不反映建筑心靈的窗戶不是好眼睛。眼睛有明眸善睞，亦有灰暗呆滯。窗也同理。透過窗，建筑與世界得以交流。與門不同，窗作為一個更為微妙和曖昧的“時空”接口，將多個世界聯(lián)系起來。窗的魅力不僅關(guān)乎外在景物與窗界面的空間關(guān)系，更關(guān)乎窗前人視線的移動性、景象變遷的時間性和內(nèi)心與外在的關(guān)聯(lián)性。當(dāng)窗外景物與窗的界面緊貼合一時，便成了老式照相館中的固定背景。面對這幅鳥瞰布拉格的速寫，我用紙板刻出洞口與人形，將它放在畫紙前20cm處，按下了相機(jī)快門。希望這幅已落筆固化的繪畫有了些許顧盼自若的靈氣。于是，便有了窗?！酰ɡL圖：褚冬竹）

If eyes are a window to the soul，then windows should be considered as eyes to a building.Windows that do not refect the soul of architecture represent eyes that are not clear.Some eyes are shining and bright，while others are dull and gloomy.Windows are likewise.Through windows，architecture has an opportunity to communicate with the world.In comparison to doors，windows are more subtle and more inexplicit，like a space-time portal which connects multiple worlds.The charm of a window is not only about the spatial relationship between the view and the window itself，but it is also about the mobility of sights that a viewer experiences，the timeliness of the changes in nature，as well as the connection between one's inner world and the external world.When external scenery approaches till meets the window，it becomes a 2D-backdrop in an old photo studio.I cut out a shape of a man and a and a window frame from cardboard，placing it 20cm in front of a sketch，an aerial view of Prague，and then I pressed the camera shutter.I hope the completed composition starts to show a sense of spirit.As a result，there is a window.□（Translated by Dandan Wang）

丁垚　DING Yao天津大學(xué)建筑學(xué)院副教授　Associate Professor，School of Architecture，Tianjin University

顯密圓通佛教的窗

幽燕佛殿立面，至遼一變。擴(kuò)大室內(nèi)空間的絕對需求，不僅吞沒了古老且極具雕塑感的柱廊，同時也把隱于廊內(nèi)的門窗推到面前，與檐下的斗栱一同表情。太行山間的盆地，留下了此中代表，閣院寺文殊殿純由鏤刻門窗制成的巨幅立面。各種富含宗教意味的符號被以幾何的語言編織，奧義現(xiàn)化于耳目，正是密宗之道。超平的二維構(gòu)圖所描畫的卻是層層立體再立體的空間秩序，你若立于殿前，目眩之余，金剛杵、青蓮花、三昧耶曼荼羅、法曼荼羅，在在皆是。會神凝視，梵文 ?（ ra）字，就在窗中央。□（繪圖：劉翔宇）

The Use of Windows in Esoteric and Exoteric Buddhism

The facade design of the Buddhist temple in the You Yan area（northern China） was altered during the Liao dynasty.The enlargement of the interior space was an absolute necessity，which resulted in the removal of the ancient，heavily sculptured colonnades.Meanwhile，the windows and doors within the veranda were relocated to the front，which is connected to the dougong under the eaves.

There is another typical example in the basin of the Taihang Mountains； the Wenshu Hall's large facade composed of engraved windows and doors in Geyuan Temple.Varied religious symbols are formed in a geometric language，which allows their profound meanings to come to the forefront.This represents the philosophy of Esoteric Buddhism.

These flat two-dimensional images depict a three-dimensional space that presents the image of Vajra，Utpala，Samaya Mandala，and Dharma Mandala to audiences who stand in front of the hall.If a viewer concentrates his attention on the window，the Sanskrit word of ?（ra） appears in the center of the window.□（Translated by Dandan Wang）

范路　FAN Lu清華大學(xué)建筑學(xué)院講師　Lecturer，School of Architecture，Tsinghua University

“反構(gòu)成”中的月亮河

在立體主義繪畫中，對人物的過度分解，只會背離增加認(rèn)識維度的初衷，而走向形式虛無。作為現(xiàn)代建筑重要形式來源的風(fēng)格派也是這樣。凡·杜伊斯堡的“反構(gòu)成”以基本幾何形進(jìn)行組織，形成了離心開放的流動空間。但極端的要素化，不僅消解了圖底關(guān)系和空間層級，更瓦解了空間關(guān)系的敏感性，將建筑分解為一堆乏味的構(gòu)件。因此，建筑的基本元素不僅是梁柱樓板，還有門窗樓梯。在《蒂凡尼早餐》男女主人公對望交談的場景中，窗戶將人與物、活動與風(fēng)景、空間與事件、理智與情感聯(lián)系了起來，讓建筑超越客觀物體，成為有意義的本體?！酰ㄖ茍D：范路）

Moon River in Counter-Construction

In Cubist painting，the excessive disintegration of fgures departs from the original intention of the enhancement of cognition，leading to an abstract form.De Stijl，an inspiration for important modern architectural trends，also faces the same situation.The Counter-Construction，created by Theo van Doesburg，consists of basic geometry and forms an off-centered and open fowing space.However，the extreme disintegration of these elements not only dissolves the relationship between the fgure and the ground，but also removes the nuances of the spatial relationship.This results in the deconstruction of architecture into numerous pieces of boring components.Besides the beams，columns and foors，the basic elements of architecture are comprised of doors，windows and stairs.In a scene from Breakfast at Tiffany's，the hero and heroine are looking at one another and having a conversation.The windows connect characters and objects，activities and sceneries，spaces and stories，as well as sense and sensibilities，allowing the building to have greater meaning，beyond merely an object to become a signifcant entity.□（Translated by Dandan Wang）

方曉風(fēng)　FANG Xiaofeng清華大學(xué)教授　Professor，Tsinghua University

窗是溝通建筑內(nèi)外的重要部件，由內(nèi)向外，窗的形式并不重要，視野更重要。但于教堂而言，窗是人神對話的媒介，借著光講述一個華麗的故事。

由外向內(nèi)看，窗的形式便是重要的表情，我反感現(xiàn)在通行的點窗做法，上無窗檐，下無窗臺，似乎是為了一種利落、整體的感覺，然而窗下的雨跡透露的是邋遢的狼狽。曾嘆服丹下先生在東京都廳舍中的墻身節(jié)點，光滑的幕墻上布滿精細(xì)的排水暗槽，現(xiàn)在我傾向于適度的繁瑣，啰嗦之中多少有點暖意。

錫耶納某教堂的表現(xiàn)主義彩色玻璃窗，窗是對光的約束，所憑的是心意?！酰ɡL圖：曲摩笛）

Windows are an essential architectural component for communicating between the internal and external world.As viewed from the inside looking out，the form of a window seems unimportant； however，what is of significance is the vision that it affords.Within a church，the window acts as a medium，allowing God to communicate with his faithful.Through the rays of light，the window is able to tell a captivating story.

The form of a window becomes important when it is viewed from outside looking in.I have a strong aversion to today's confguration of windows.There are no eaves at the top and no sills at the bottom，which seems as an attempt to create a clean，holistic look.However，the trails left by rain under the window displays certain untidiness.

I was once amazed by the design of wall nodes，hidden rain gutters on smooth curtain walls，such as in Tokyo Metropolitan Government designed by Kenzo Tange.Nowadays，I prefer properly-detailed design which provides a warm atmosphere.

I remember one expressionistic stained glass window in a church in Siena.A window can be defned as a medium for the constriction of light，which can create an emotive reaction in the observer's heart.□（Translated by Dandan Wang）

郭屹民　GUO Yimin東南大學(xué)副教授　Associate Professor，Southeast University

窗——作為風(fēng)景的空間

窗，是建筑不可思議的構(gòu)成要素。無論是對于城市還是街巷，風(fēng)土還是人情，消費甚至是宗教與政治，窗都是建筑不可或缺的組成要素。而在另一方面，窗也是身體、情緒、欲望這些孤獨的個體試圖隔絕與窺視社會的唯一途徑。毫無疑問，窗擁有著建筑的其他構(gòu)成要素所無法比擬的豐富表情。從哥特的彩色窗與東方的格柵窗的單向性，到玻璃幕墻雙向的一覽無余，窗所承載的文化性與技術(shù)性同樣折射出建筑歷史的腳印。通過與停留、聆聽與穿越，窗能帶給我們的不僅僅是存在，而是體驗。窗，是作為風(fēng)景的另一處空間！□（繪圖：郭屹民）

The Window，a Space for Scene

Window，incredible architectural element.Whether it is for city or street，or endemic human consumption and even religion and politics，building windows are integral.On the other hand，the window is the physical，emotional，desire these lonely and isolated individuals trying to peep society the only way.There is no doubt that the window has a building other components unmatched expressive.From the one-way window Gothic and Oriental color grille window glass curtain bidirectional sweeping，window hosted by cultural and technical architecture also reflects the historical footprints.By staying with，listening to and through，the window can bring us not only exist，but experience.Window，as another space scenery！□

何崴　HE Wei中央美術(shù)學(xué)院副教授　Associate Professor，China Central Academy of Fine Arts

除去功能性的需要，窗對于建筑，對于建筑師來說更趨向于一種象征的元素。不同的時代，不同的技術(shù)條件和觀念思潮下，窗都與限定窗的墻一起，成為特定時間和空間上的坐標(biāo)。通過它可以解讀出建筑、建筑師、建筑流派等諸多信息，正如現(xiàn)代主義時期的帶窗并不是功能的必然需要，更多的是宣示與古典的決裂，以及表明墻與結(jié)構(gòu)構(gòu)件的脫離。現(xiàn)代主義如此，古典時期、后工業(yè)時期和當(dāng)代信息時期的窗也是如此。□（繪圖：何崴）

For architecture and its practitioners，a window often plays a symbolic role，rather than serving a functional need.Windows and their connecting walls represent a certain period and space throughout the ages，under different technical conditions and even different trends of thought.They communicate a depth of information about their buildings，architects，architectural genre and much more.As an example，F(xiàn)rench doors in the modernist period were not merely designed for functional needs，but instead designed to break from the old conventions and demonstrate the disconnection between walls and their structural components.Similar information can be decoded from windows representing the architecture of the classical period，the post-industrial era，and the information age.□（Translated by Dandan Wang）

黃蔚欣　HUANG Weixin清華大學(xué)副教授　Associate Professor，Tsinghua University

窗作為連接內(nèi)外空間的界面而讓人著迷。在不同的語境下，窗也被用來指代系統(tǒng)間更為抽象的連接。在數(shù)字建筑的研究中，我常用“連接虛擬與現(xiàn)實”為題，探討材料、空間與算法、信息的關(guān)系，而數(shù)字建筑這扇窗也因其連接的差異巨大而又無法割裂的兩個世界而充滿魅力。大數(shù)據(jù)時代，虛擬世界因其中海量豐富的信息而呈現(xiàn)出高維的特點，因此一個很有意思的問題是，建筑師擅長的三維空間的直覺思維與想象力是否也能夠幫我們理解數(shù)據(jù)世界的高維空間，或者說，如何設(shè)計一扇窗，能夠讓我們一窺信息汪洋中世界的本源?！酰ɡL圖：黃蔚欣）

The windows function as a link between the interior and exterior of a building is a fascinating one.However，it is also utilized to refer to abstract links for systems under differing circumstances.

In the research of digital architecture，I often discuss the relationship between materials，spaces and arithmetic as well as information under the theme of "connecting the virtual and the reality"，and the window of digital architecture becomes appealing due to the two diverse yet inseparable worlds that it links.

In the era of "Big Data"，the virtual world，due to the vast information it holds，features high dimensionality.Therefore，a very thought-provoking question is: if the intuitive thinking and imagination for three-dimensional space that architects are specialized in can help us to understand the highdimensional space in data world，or how can we design a window to help us to take a glance at the origin of the world in the sea of data.□（Translated by Dandan Wang）

賴德霖　Delin Lai美國路易維爾大學(xué)美術(shù)系副教授　Associate Professor，Department of Fine Arts，University of Louisville，USA

林語堂的《生活的藝術(shù)》和《吾國吾民》都談到中國建筑，但與同時代的梁思成甚至劉敦楨有所不同。梁最關(guān)心建筑結(jié)構(gòu)，如梁架、斗拱。劉雖然寫了住宅，但重點是平面布局及其所影響的建筑形體。林則關(guān)心人的環(huán)境體驗，所以他注意到了庭院、家具、陳設(shè)，還有窗戶。如他欣賞李漁發(fā)明的“扇面窗”“梅花窗”“尺幅窗”，還有所謂“無心畫”的鑲邊窗。中國建筑家中童寯也欣賞傳統(tǒng)園林墻洞外廓“任意弛放，不受制于規(guī)律”，王澍對此曾深以為然。窗戶限定了觀看外部世界的方式，而心靈自由的人就總在嘗試與眾不同的觀看。□（攝影：賴德霖）

In his works My Country and My People and The Importance of Living，the Chinese writer LIN Yutang discussed Chinese architecture from a different perspective than the contemporary architectural historians LIANG Sicheng and LIU Dunzhen.LIANG focused on structural-principle-related beams，columns，and dougong brackets，and LIU，the pioneer scholar in studying Chinese housing，paid close attention to the importance of spatial layout and corresponding forms.However，LIN emphasized spatial experiences，and thus paid more attention to Chinese gardens，ornaments，and windows.He admired such designs by the Ming writer and artist LI Yu as the fan- or plum blossom-shaped windows，and decoratively-framed windows，which would turn exterior scenes into "mounted paintings".The Chinese architect TONG Jun and his follower，the Pritzker Laureate WANG Shu，also appreciated the design of windows in traditional Chinese gardens for their "imaginativeness" and "unrestrainedness".A window helps define the way of looking.An individual with independent mind always seeks the uniqueness of the way.□

李振宇　LI Zhenyu同濟(jì)大學(xué)建筑與城市規(guī)劃學(xué)院院長、教授　Dean，Professor，College of Architecture and Urban Planning，Tongji University

小時候覺得，窗是建筑的眼。孫悟空變作一座廟的時候，尾巴成了旗桿，眼睛就成了窗；當(dāng)年在同濟(jì)建筑初步課上，趙秀恒老師總要幫同學(xué)修改窗戶的比例，一時興起之際，會順手添上“窗楣”，那不是眼睛上的眉毛么？到了高年級，覺得窗是建筑的衣衫。那時候帶形長窗盛行，許多建筑都穿了一件?；晟?，像是要去海島站崗。再后來，窗彌漫開來，成了幕墻，成了“double skin”，從點睛的眼，變成龍身上通體的鱗片。然而最顯示個性的建筑，往往不以窗示人，彷佛閉著眼歌唱的明星。我喜歡明星，喜歡龍鱗，喜歡海魂衫。我愛孫悟空?！酰ɡL圖：李振宇）

When I was a child，I deemed windows to be the eyes of a building.When the Monkey King（a character from Journey to the West） magically transformed into a temple，his tail became its fagpole and his eyes turned into its windows.In my elementary architecture course at Tongji University，Professor ZHAO Xiuheng often helped students adjust the proportion of windows on their projects.Sometimes，he would recommend window lintels，which I regarded as eyebrows if he was in a good mood.By my senior year，I thought of windows as the clothing of a structure.At the time，ribbon windows were quite popular，but these reminded me of sailor's tunics； I thought these buildings were about to report for sentry duty at the sea island.

Years later，I consider windows as curtain walls，as a double skin for buildings.It has transformed from the eyes of a dragon into its scales.However，the most characteristic architecture is designed with imperceptible windows，like a star singing with closed eyes.I like stars，dragon scales and sailor's shirts.I love the Monkey King.□（Translated by Dandan Wang）

劉珩　LIU Heng南沙原創(chuàng)建筑設(shè)計工作室創(chuàng)建人、主持建筑師　Founder and Principal，NODE

第一次窗感動我，是到瑞士看勒·柯布西耶母親住宅的時候，住宅位于湖邊，記得勒·柯布西耶用了一條水平窗把整個外部的湖景都自然地框入室內(nèi)，室內(nèi)一如湖水般平靜和從容。

窗像是一個人的內(nèi)心所向，穿越這窗口，你所看到的，就是你自己的內(nèi)心，你與景色合二為一；所以我給自己也設(shè)計了一個小宅單元；里面也有一線看得見風(fēng)景的窗子，在我與風(fēng)景之間就有了屬于自己的一段從容的時光。

如果說，窗像是一個人的內(nèi)心，那么窗也可以是面鏡子，虛擬的界面投射出想象的時空，你與時間合二為一，你即永恒。很多年前我做了一個圖書館的設(shè)計競賽，想象有這樣的場景，虛虛實實，穿越這視窗，我希望自己迷失在時空的黑洞里。□（繪圖：劉珩）

The first time that I was moved by a window was on my visit of Villa Le Lac，the home of Le Corbusier's mother.Through a series of horizontal windows，the beautiful lake outside is projected completely into the interior，bringing peace and serenity inside the home.

A window is also a projection of a person's inner world.The view one sees through a window is a reflection of one's inner state，where the person and the view blend into one.

Therefore，I have designed a small apartment for myself with a window that offers the view of the outside world.Then the time passes slowly，quietly and peacefully between the view and me.

If a window projects a person's inner world，it can also be considered as a mirror.An imaginary surface fashes an imagined space-time； we become timeless and eternal.

A long time ago，I designed a library for a design competition.I imagined a scene in a book，a mixture of reality and illusion.Through this scene，I wish I had lost in the black hole of space-time.□（Translated by Dandan Wang）

劉宇揚(yáng)　LIU Yuyang劉宇揚(yáng)建筑事務(wù)所主持建筑師　Founder and Principal，Atelier Liu Yuyang Architects

窗是建筑對外部環(huán)境的景觀和光線最直接的處理。窗框既是窗與窗洞的銜接，又是室外風(fēng)景的畫框；窗洞與墻體的過渡方法即是將光線引入室內(nèi)和將視線引到室外的途徑。配圖是我們五原路工作室一樓衛(wèi)生間通風(fēng)窗的手繪。300mm見方的小窗洞用超出材料性能要求的粗重木框強(qiáng)調(diào)出其存在性，讓眼睛也在進(jìn)入空間的瞬時看到了綠色；窗洞與墻體斜切的銳角過渡面放大了人對窗體開口的感受，打破了狹小廁格的逼仄；水平向的光線以銳利的角度射進(jìn)室內(nèi)，使得空間有了透氣性；同時也增加了操作空間，解決了墻體過厚導(dǎo)致啟閉不便的問題，因此下部采取了部分斜面的形式去回應(yīng)人的胳膊啟閉窗扇的動作與尺度?！酰ɡL圖、攝影：劉宇揚(yáng)）

The primary function of a window is its ability to mediate light and views between the building and the outdoors.A window frame is the joint between a window and its cavity，as well as a frame crystallizing the scenery outside.The transition between the wall and window cavity aims to bring natural light inside，while leading our sight outside.

The sketch illustrates the bathroom window on the ground foor of our studio on Wuyuan Road.A 300mm square mini-window fashioned from a thick wooden frame，the extreme thickness emphasizes its presence and brings our attention to the outdoor greenery.The acute angle between the window cavity and its wall visually enlarges the window opening，which breaks the claustrophobic feeling of a small bathroom.The natural light enters into the interior with a sharp angle，bringing to the tight space a breath of air.The window sill is chamfered into the thick wall with respect to scale of the human arm，in order to ease the effort operating the window.□（Translated by Dandan Wang）

魯安東　LU Andong南京大學(xué)建筑與城市規(guī)劃學(xué)院教授　Professor，Nanjing University

窗作為象征物

窗從本質(zhì)來說不是一個“物”，它關(guān)于未知、關(guān)于關(guān)系、關(guān)于可能性，以及更重要的，關(guān)于對這三者的干預(yù)、協(xié)調(diào)和呈現(xiàn)。窗是建筑最根本的兩種元素——內(nèi)與外之間的觸媒。對內(nèi)，它馴服著自然環(huán)境元素，使它們更加溫和與穩(wěn)定，使人能夠安逸地面對外部環(huán)境——自然的或者人工的，由此它也可能成為一種特殊的“窗空間”。對外，它同樣是內(nèi)部空間對外發(fā)生影響的區(qū)域，它允許著一種場所性和領(lǐng)域感的溢出，因而是充滿機(jī)會的?？梢哉f，“窗”是內(nèi)外之間的邊界跨越，或者說一種對跨越可能性的支持和暗示，因此它也必然是象征性的，它誘發(fā)著我們對空間的想象以及實踐?！酰ɡL圖：魯安東）

A Window as a Symbol

Essentially speaking，a window is not just an object，but also an unknown，a connection，and a possibility，and even more importantly in relation to the aforementioned three，it is an intervention，coordination，and presentation.Windows play a fundamental role in architecture as mediums between indoor and outdoor space.For indoor spaces，the window stabilizes and warms the natural environment，as well as comforts the building's inhabitants by facing the exterior as well as the artificial environment.Therefore，the nexus between outdoor and indoor can be regarded as creating a special "window-space".For outdoor space，the window can be regarded as a zone that promotes possibility，where indoor space can begin to infuence the outside world，emitting a sense of place and occupation.

Hence，windows have boundary crossing role，or support and imply the possibility of boundary crossing.As a result，windows are definitely symbolic，sparking the imagination of space and realizing the viewers' visualization.□（Translated by Dandan Wang）

呂敬人　LYU Jingren獨立書籍設(shè)計師　Freelance Book Designer

在我眼里，窗像一個取景框，截留包羅萬象的人文景觀。羅馬萬圣殿的圓形天窗，圣賢們盡享太陽的光環(huán)；荷蘭家家戶戶敞開的窗戶，視線可直達(dá)后園，盡顯荷蘭人的爽直通透性格；沒有窗戶的日本古建筑，可用移動的幛扇切割著光與氣的自然流向；北京四合院的門窗院體呈現(xiàn)四方、五行、八卦、九宮、十二度的族群圓合……窗，是建筑師特別斟酌構(gòu)想和精心計算的重要部分，空間起落中包含著時間的概念，從功能到審美，從物形到心緒，從私密到公器，由社會、制度、習(xí)俗、價值觀制約著設(shè)計者的抉擇與考量?！酰ɡL圖：呂敬人）

In my eyes，a window is like an aperture that captures diverse cultural landscapes.The circular oculus in the Pantheon in Rome spreads sunshine all over the sages.The open windows found in each family home in Holland offer a direct view into the backyard，a reflection of the straightforward and direct personality the Dutch are known for.Classical Japanese architecture，which does not make use of windows，instead utilizes movable screens to control the flow and direction of natural light and air.The windows and doors of the quadrangular siheyuan courtyards in Beijing present culture in all four directions，using the fve elements，the Bagua，and the nine-grid pattern.

Windows are essential facets of a building，and architects must be careful and considerate in their utilization of them.Different time periods throughout history have had different conventions for the function and placement of windows.From function to aesthetics，from material objects to immaterial minds，as well as from the individual to the public，the architect's manipulation of windows is restrained by society，the system，social conventions，and value.□（Translated by Dandan Wang）

增田信吾，大坪克亙　Shingo Masuda，Katsuhisa Otsubo增田信吾+大坪克亙建筑設(shè)計事務(wù)所主持建筑師　Principal Architects，Shingo Masuda + Katsuhisa Otsubo Architects

超越“現(xiàn)代”

通常，建筑物通過設(shè)置“窗洞”來連接外部，通過窗洞一定可以收進(jìn)些什么，但我們在“邊界之窗”這個項目中卻放棄了這樣的邏輯，最終是通過窗框、玻璃、門、窗簾來閉合它。雖然這是可以獲得“透明感”和“外部感”的妥當(dāng)?shù)奶幚矸椒?，卻帶來了“構(gòu)造的時候場所反而更具有豐富性”的困擾。

事實上，對應(yīng)客戶“與外部的新連接”的要求，我們的回應(yīng)是“邊界之窗”。我們并非讓窗洞的交接處徹底閉合，而是先使窗構(gòu)件全都向外移，然后再進(jìn)行錯位，令視野變得更遠(yuǎn)，從而獲得擴(kuò)張感。就算關(guān)閉卻依然保留開放感是必要的。□（繪圖：增田信吾，大坪克亙；張玲 日譯中）

Go Beyond Contemporary

Typically，a building is connected with the outside world through a window opening，letting in a glimpse of the outside world.However，for Boundary Window we chose not to employ a "window" approach，instead we closed up the window opening with a combination of window frames，glass doors and curtains.This approach allows us to create a sense of transparency and openness，yet retain a diverse philosophy to the design.To meet the client's requirement of "a new link to the outdoors"，we designed the Boundary Window.We did not choose to seal the window cavities entirely，but on the contrary，we moved all regular window components to the exterior of the building and interlace them.This allows for broadening of the viewers' vision and creates a sense of expansion.The necessity of maintaining openness even when the window is closed is also a very important attribute.□（Translated by Dandan Wang）

青鋒　QING Feng清華大學(xué)建筑學(xué)院副教授　Associate Professor，School of Architecture，Tsinghua University

愛丁堡的天窗

在愛丁堡，我的小格子上面是一個玻璃天窗。下大雨時雨點噼里啪啦地落在天窗上。玻璃濾過了雨水，但保留了光線與溫度，一扇天窗就像是一個洞穴，供人蝸居。這個時候，會更強(qiáng)烈地感受到，柏拉圖的洞穴故事里那些“他們”為何不愿意走出洞穴去體驗清晰的光明。假象有時也是一種保護(hù)，建筑或許不能揭示真理，但是它卻擅于制造假象。有的建筑希望通過摧毀洞穴來迫使人接受真理，也有的建筑呼喚人們回到洞中。一道10cm厚的墻與一道100cm厚的墻之間的差異，就在于此?！酰ɡL圖：青鋒）

The Edinburgh Skylight

In Edinburgh，I worked in a loft with a glass skylight.When heavy rain dropped down onto the skylight，it made loud drumming sounds.The glass blocked the rain，yet it allowed natural light to come through and maintained the temperature inside the room.A skylight is like a cave for mankind to inhabit，and this is perhaps why "they" in Plato's Cave were unwilling to go out and experience the bright light.Illusion can sometimes be regarded as a protection.Architecture may not be able to reveal the truth，but it is good at creating illusions.Some buildings attempt to force man to accept the truth by destroying the cave，while some beckon humans to retreat back into the cave.That is the difference between a wall that is 10cm thick versus a wall that is 100cm thick.□（Translated by Dandan Wang）

曼弗雷多·德·羅比蘭特　Manfredo di Robilant米蘭多莫斯設(shè)計學(xué)院講師　Lecturer，Domus Academy，Milan

使窗得以幸存的無意識宣言

早在1907年，沃爾特·格羅庇烏斯就已經(jīng)是一位癡迷于現(xiàn)代主義的青年建筑師，然而他還未成為尼古拉斯·佩夫斯納在其1936年的著作中所描述的“現(xiàn)代主義運動先驅(qū)”。在一次跨西班牙的旅行中，他曾找到一幅油畫或是一面鏡子的邊框，透過這扇想象中的窗戶眺望。不久之后，在法古斯工廠（1911）和包豪斯學(xué)校（1926）的設(shè)計里，他取消了窗戶的獨立性，將它們?nèi)谌肓⒚嬷小?907年的這幅照片由此成為反向的預(yù)言，并頗具意味地闡釋了窗戶如何一直以來都是、且現(xiàn)在仍是個人主義與集體主義爭奪的戰(zhàn)場?！酰ㄖ茍D：曼弗雷多·德·羅比蘭特；徐知蘭 譯）

An Involuntary Manifesto for the Survival of the Window

By 1907，Walter Gropius was a young architect fascinated by modernity，but he was not quite yet a "pioneer of the modern movement"，as the 1936 book by Nikolaus Pevsner had labeled him.That year，during one of his travels through Spain，he found the empty frame of a painting or mirror and was photographed looking from this imaginary window.Later，in the Fagus factory（1911） and in the Bauhaus workshops（1926） he negated the independence of the windows by blurring them into the fa?ade.The 1907 photo thus appears as a reversed prophecy，perhaps providing some insight on how the window has been，and still represents，a battleground of individualism vs collectivism.□

菅野裕子　Yuko Sugeno橫濱國立大學(xué)特別研究教員　Assistant Professor，Yokohama National University

使室內(nèi)邊界擴(kuò)張的窗

在東京的高密度住宅區(qū)，原本用于眺望的窗也變得只能看見隔壁房子的外墻了。高橋一平的O之家中，通過大開口的窗只能看到隔壁住宅近在眼前的外墻。不過恰恰因為太近了，仿佛到那片墻之前的部分也成了室內(nèi)，而且地面的顏色也被選成與外墻相近的，更加強(qiáng)了這種錯覺。與隔壁之間僅有的縫隙不像是室外，反倒像是從高窗射入室內(nèi)的一部分。而一旦打開巨大的窗，外面的空氣從房間內(nèi)部通過，室內(nèi)也變得像室外一樣了。這里的窗不是用于觀景的，它擴(kuò)張了建筑的邊界，使內(nèi)外的關(guān)系發(fā)生了變化。□（攝影：菅野裕子，高橋一平建筑事務(wù)所；辛夢瑤 日譯中）

The Window to Enlarge Interior Space

In a high-density residential district in Tokyo，the windows in buildings have limited peripheral scope，which makes residents can only see their neighborhoods' outdoor walls.Ippei Takahashi's Casa O features spacious windows which offer a view of the neighboring building's outer wall.Because of the close distance between the buildings，the neighboring wall appears as an integral part of Casa O.The color of the floor matches the nearby wall，which also contributes to the illusion of extra space.The space between the two buildings doesn't look like exterior space，but rather it looks like a part of the interior，with light reflecting from a clerestory window.Once the large window is opened，fresh air fows through the small house，indoor space seems to have changed to outdoor space.The window is here not to provide scenery，but to enlarge the boundaries of space，as well as to change the relationship between the interior and exterior.□（Translated by Dandan Wang）

湯樺　TANG Hua重慶大學(xué)建筑城規(guī)學(xué)院教授　湯樺建筑設(shè)計事務(wù)所有限公司總建筑師　Professor，F(xiàn)aculty of Architecture and Urban Planning，Chongqing UniversityChief Architect，Tanghua Architect & Associates

鑰匙孔

美國埃克塞特圖書館，路易斯·康的一座圣殿般的建筑，而房子上的“鑰匙孔窗”可以說是我的至愛。這是一個以功能出發(fā)、極為節(jié)制地處理光線、為窗前的空間和建筑深處帶來不同光效的采光裝置。窗與家具是一個完整的空間，作為窗臺的延伸，形成一個微型的龕室。讀者依偎在“有陽光的窗前”，頗有克里斯多夫·亞歷山大模式語言的意味。陽光以不同的方式照進(jìn)靜謐的空間。如果說天堂是圖書館的模樣，這窗戶就是天堂里的星辰。□（繪圖：湯樺）

Keyhole

Exeter Library is a cathedral-like building designed by Louis Kahn.Its functional keyhole-like windows are one of my favorite features.They moderate and focus natural light，serving as devices that bring different lighting effects for the areas surrounding the windows and the bottom of the building.

Windows and furniture come together to constitute a complete space，and these can be considered as an extension of the windowsill，creating a mini niche.The scene of readers leaning against the window as sunshine pours in，resembling the design approach of Pattern Language coined by architect Christopher Alexander.The sunshine enters into the silent space in a varied way.If heaven looks like a library，then the window here would be the star in heaven.□（Translated by Dandan Wang）

唐克揚(yáng)　TANG Keyang中國人民大學(xué)副教授　Associate Professor，Renmin University of China

要么你畫出一扇窗，要么你畫出你在窗里看到的，兩者不可兼得——這是在國外學(xué)建筑的時候，啟蒙老師告訴我的，她說，不要作畫。起先常為能畫栩栩如生的明信片而自得，后來我慢慢理解了她的話?！爱嫛笔且粋€動詞，一種經(jīng)驗，而“作畫”僅限于紙面的世界。依此，中國古典繪畫很少描繪有窗的“窗外”，而現(xiàn)代建筑師只把園林的窗理解為凝滯的框景。

窗的透明性和玻璃無關(guān)。

窗是消極的門。

窗不限于室內(nèi)經(jīng)驗，但確實離不開“人”。

窗是沒有圖案的（也沒有形狀）。

窗是有厚度的。

窗是看不見的……□（繪圖：唐克揚(yáng)）

Either you draw a window or depict the view that you saw through a window.You can't have your cake and eat it too.My teacher told me so when I studied architecture abroad.She said，"Don't make a picture".

At the beginning，I was self-satisfied because I could create vivid postcards.Later，I began to understand her sentiment."To draw" is a verb and can be regarded as an experience，while drawing is only picturing a world on paper.In classical Chinese art，there are paintings of window scenes that do not depict the actual window.Modern architects consider the windows in Chinese traditional gardens as examples of motionless scenery.

The transparency of windows is independent of their glass.

Although a window is an inactive door，it is greater than mere interior decoration，but together with man it forms a complete whole.

Windows have no patterns，nor do they have shapes.

They have thickness，yet are invisible.□

（Translated by Dandan Wang）

陶磊　TAO Lei陶磊（北京）建筑設(shè)計有限公司創(chuàng)始人、主持建筑師　Founder & Principal，TAOA

窗的空間表達(dá)

在建筑的空間關(guān)系中，最為核心的是建筑內(nèi)與外的轉(zhuǎn)換關(guān)系，窗幾乎是最重要的表達(dá)手段，因此窗可以理解為內(nèi)外空間的轉(zhuǎn)換裝置，它不應(yīng)該阻斷建筑的內(nèi)與外，而應(yīng)該使內(nèi)外緊密聯(lián)系，渾然一體。窗也應(yīng)該是有空間和體積的。墻體上平面化的簡單洞口，顯然在表達(dá)上是很無力的，它把建筑的內(nèi)與外定義成了兩個對立的世界，然而這不符合人對外部自然向往的欲望，窗的自身應(yīng)該是空間的一部分，應(yīng)該以空間的方式連接建筑的內(nèi)與外，內(nèi)與外本應(yīng)是一個統(tǒng)一而完整的世界。□（制圖：陶磊）

The Spatial Expression of Windows

Within architecture，a core idea or concept is the transformational relationship between a building's interior and exterior.Windows can be regarded as the most important and expressive method of highlighting this fundamental divergence.The window has the capability of acting as a bridge；blending the interior and exterior together into an integral whole，instead of dividing them.

A window should have its own space and volume.Although it divides the indoor and outdoor into two opposite worlds，a fat，unadorned，simple window，can be rather unimaginative.Therefore，it is in confict with the inherent desire of humans to blur the line between nature and their personal world.A window should be considered as an integral part of that continuum，connecting the interior and exterior，and constituting a whole，intact world.□（Translated by Dandan Wang）

五十嵐太郎　Taro Igarashi日本東北大學(xué)教授　Professor，Tohoku University

比建筑還大的窗戶？

第一次看到增田信吾和大坪克亙設(shè)計的“邊界之窗”時，我嚇了一跳，因為窗比建筑還大。確切地說，建筑師把這座舊公寓改造成攝影師的周末住宅兼工作室時，一邊讓朝向院子的窗開得很大，一邊用玻璃屏或者說玻璃幕墻作為巨大的皮膚罩在上面。上下兩扇巨大的玻璃窗都能滑動，并且上下窗的交接處和樓板形成錯位。同時，建筑的一側(cè)安裝了不可開啟的鋼窗框，立面嚴(yán)整，而面向道路的一側(cè)則嵌入了窗戶，形成盲窗，在住宅區(qū)格外引人注目。另外，改造沒有使空間的構(gòu)造發(fā)生太多變化，只是在每個面都進(jìn)行了不同的關(guān)于窗的操作。這些窗使攝影工作室追求的多樣空間環(huán)境更容易實現(xiàn)了?！酰〝z影：五十嵐太郎；辛夢瑤 日譯中）

The Window Is Bigger Than the Building

Upon first sight，I was shocked by the "Boundary Window"，which was designed by Shingo Masuda and Katsuhisa Otsubo.The window is even bigger than the building.To be more specifc，the architects have converted this old apartment into a weekend getaway and studio for the use of photographers.The architects have added huge windows which face towards the courtyard； this glass screen or glass curtain wall covers the building like an enormous mask.The gigantic facade is consisted of upper sliding windows and lower sliding windows，but central line discords with articulation of floors.In addition，there are inoperable steel casements on one side of the building，which make neat impression.On the other side of the building facing the street，there are false windows，which bring an air of strangeness to the neighborhood.While，the renovation did not fundamentally change the layout of the space itself，it did however utilize windows as a conscious design feature on each side of the building.This allows the photography studio to have diverse spatial environments.□（Translated by Dandan Wang）

王昀　WANG Yun北京大學(xué)副教授　方體空間工作室主持建筑師　Associate Professor，Peking University Chief Architect，Atelier Fronti

窗，存在于真實世界的同時，還幽藏于意識之中，從肖維巖洞、火塘、戶牖、繪畫、電視、移動的屏幕，歷經(jīng)36，000年的一系列客觀演變，事實上都是意識中的窗的期待與顯現(xiàn)物。本次我參加第16屆威尼斯建筑雙年展的以“窗”為題的作品，試圖關(guān)掉36，000年至今的所有像的呈現(xiàn)，從而點燃意識中的窗對未來映射的全新的窗景期待。作品“窗”由17個不同的方形屏幕構(gòu)成，屏幕上不顯示任何場景的目的是為了調(diào)動每一個觀者意識中的窗景想象?！酰〝z影：方體空間工作室）

There are both physical windows in real life as well as metaphysical windows inside our consciousness.Starting from Grotte Chauvet，fire pits，casements，doors，paintings，televisions，and finally to screens of mobile devices，windows have gone through 36，000 years of evolution.As a matter of fact，the evolution is the combination of expectations and objects forecasted from the window in mind.At the 16th Venice Architecture Biennale，my artwork on the theme of Window seeks to eliminate all images reflected by windows over the past 36，000 years and which.

By extension，it will raise expectation for a whole new vision of the future projected on windows in human consciousness.

Window consists of seventeen different square screens，however nothing is displayed on the screens.This is an attempt to stimulate the observer's imagination，offering an inward-looking view into their own consciousness.□（Translated by Dandan Wang）

夏珩　XIA Heng自由研究員　Freelance Researcher

窗，囧，OJO

“窗”若要用一個漢字來表意，“囧”或許最合適。它不但形象地呈現(xiàn)出木骨泥墻中“洞口”的構(gòu)造，有明亮之義。它還模擬人的苦情：試想默默地忍受光、熱、聲、風(fēng)、霾、生物的出入，窗怎能不無奈？

在字母體系里，與“囧”相匹配的或許是“OJO”?！癘－眼睛”與“J－鼻子”的符號組合表征窗的最基本功能：“看－采光”與“呼吸－通風(fēng)”。

如今，窗更上升為建筑室內(nèi)環(huán)境的調(diào)控器。其構(gòu)造層次也日益復(fù)雜，在原始“洞口”的基礎(chǔ)上，窗又進(jìn)化出可對其調(diào)節(jié)的“窗構(gòu)件”和“附屬構(gòu)件”（如遮陽、紗網(wǎng)等）。這三個層次之間的不同組合可引出無窮的窗的設(shè)計可能?！酰ɡL圖：夏珩）

Window，囧 and OJO

On etymology aspect，the Chinese character of window，"窗"，comes from "囧".It exactly traces a primitive window structured by wood frame in mud wall.Its original meaning is brightness，but now it is commonly used as an emoticon to convey distress，embarrassment，and the like.Windows would be quite 囧，suffering light，heat，sound，airfow，rain，dust，insects and even peeps day by day.

In alphabet-based writing systems，"OJO" may be the most matching word for "囧".Graphically，O looks like an eye，and J like a nose.The O-J-O combination shows the basic function of a window，"eye-see-light" and "nose-breathe-ventilation".

Nowadays，windows play as modulators of indoor environment and are becoming more sophisticated.In addition to the primary openings，"window components" and "attachments"（grille，insects screen，security mesh） have been developed.Articulation of the three creates infnite possibilities of window design.□（Translated by PENG Qiang）

周漸佳　ZHOU Jianjia冶是建筑工作室創(chuàng)始合伙人　Co-founder，YeArch Studio

《后窗》

希區(qū)柯克在1954年的電影《后窗》中所展現(xiàn)的并非是構(gòu)造意義上的窗，而是城市意義上的窗。在這出“看”與“被看”的故事中，主人公在藏著各式偷窺工具的寓所中，透過自家的窗，觀察對樓立面窗洞中閃現(xiàn)的種種場景，從而拼湊出一個謀殺故事。有趣的是，電影的鏡頭是被主人公的窗戶所框定的（連窗戶的比例也和當(dāng)時的銀幕比例一致，為 1.66：1），所有臆測罪案發(fā)生的片段同樣被對樓的窗戶所框定（甚至連對樓的人物也很少有近景），如同城市中所體驗的那樣，窗與屏幕在有意識地重合又反轉(zhuǎn)，在一部電影中復(fù)制了一個城市場景，又在城市場景的窗中上演了無數(shù)部電影?！酰ㄖ茍D：周漸佳）

Rear Window

Rear Window，directed by Alfred Hitchcock in 1954，is not the story of a window in the physical sense，but of a window in the city-sense.In this story of seeing and being seen，the protagonist lives in an apartment with various observation apparatus，from where he believes he witnesses a murder.

Interestingly，the film scene is framed by the protagonist's window - the proportion of the window follows the aspect ration（1.66:1） of the flm.The suspected crime viewed across the courtyard is framed by the window of the opposite building，thus all the characters inhabit it were taken in mid shot.In a city，windows and film screens coincide and reverse consciously； city scenes have been copied into films，then windows in city scenes present numerous movies.□（Translated by Dandan Wang）

本文作者以姓氏拼音拼寫排序

The authors in alphabetical order

（左頁圖片由呂敬人提供）