建筑的靈魂
——溢于言表

2017年9月7日

國際建筑師協(xié)會金獎得主首爾講座伊東豐雄

何謂“建筑的靈魂”？對我而言，這與“何謂建筑”如出一轍。只需解答“何謂建筑”，便可弄清何謂“建筑的靈魂”。

2011年3月11日，日本東北部發(fā)生里氏9.0級大地震。地震引發(fā)海嘯肆虐，導(dǎo)致逾2萬人喪生。海嘯過后，家園不復(fù)存在，只剩一片狼藉。災(zāi)難發(fā)生后，我曾前往多個受災(zāi)區(qū)，親眼目睹在災(zāi)難中流離失所的人群。多數(shù)居民只能在小學(xué)操場臨時避難，他們中的大多數(shù)是年邁的長者和女性，以種植或捕魚為生，他們的日常生活與居住在大城市的現(xiàn)代人的生活方式截然不同。海嘯過后，受災(zāi)居民只能暫住于臨時住房內(nèi)，別無他選。當(dāng)我到達(dá)受災(zāi)區(qū)時，我發(fā)現(xiàn)受災(zāi)居民的臨時住房空間十分狹小，只有小型集裝箱一般大。這些臨時避難所依循現(xiàn)代建筑理論而建，并不適合農(nóng)民和漁民的生活方式。雖然臨時住房的主要目的是為每戶家庭提供私密空間，但這卻導(dǎo)致形成一個個孤立封閉的單元。因此，居住在這些小型、封閉的箱式住房內(nèi)的居民大多深感孤獨(dú)。在親眼目睹災(zāi)后狼藉景象和臨時住房亟待改善的居住環(huán)境后，我捫心自問：“作為一名建筑師，我能做些什么？”

于是，我決定籌集善款，修建“共有之家”?！肮灿兄摇笔枪┡R時住房內(nèi)的居民居住的小型公屋。每間大小僅40平方米，主體為開放式木質(zhì)結(jié)構(gòu)，設(shè)有緣側(cè)、土間、大桌、燃木火爐和榻榻米，與當(dāng)?shù)鼐用裨跒?zāi)前習(xí)慣居住的農(nóng)舍相似。受災(zāi)居民在看到“共有之家”后，心情激動，喜極而泣。對我本人而言，“共有之家”并非一件“藝術(shù)品”，而是一幢“建筑”。

如今，受海嘯影響城鎮(zhèn)的災(zāi)后重建工作正在穩(wěn)步推進(jìn)，但大部分重建工作仍在現(xiàn)代建筑理論指導(dǎo)下展開。每一塊區(qū)域依照同一個設(shè)計方案。當(dāng)?shù)卣_挖、平整山區(qū)土地，修建新住宅，并使用開挖的土壤填海造陸，修建高大的防波堤。如果防波堤高度超過10米，則底部基礎(chǔ)的寬度介于60至80米。這些巨型防波堤與金字塔有著相同的剖面。防波堤切斷了海洋與生活區(qū)之間的聯(lián)系。漁民根本無法看見海洋?，F(xiàn)代建筑理論宣稱人類可以通過技術(shù)統(tǒng)治自然，但生活在海嘯侵襲地區(qū)的人們承認(rèn)他們無法戰(zhàn)勝自然。相反，他們敬畏自然，同時對自然的恩賜懷有感激之心。

相比之下，東京的傳統(tǒng)住宅區(qū)每年正迅速興建高層公寓和寫字樓。建筑越高，離自然越遠(yuǎn)，建筑越多，同質(zhì)化越嚴(yán)重。在我的印象中，東京是一座街道布局同質(zhì)化的城市。在不久的將來，隨著東京市民和居住空間愈發(fā)脫離自然，他們彼此之間將越來越難以區(qū)分。

文化人類學(xué)家中澤新一《建筑的倫理》一文給我留下深刻的印象。文中提到，西藏人民在修建寺廟前，會事先稟告“土地神”，征求其同意。這是因為即便是西藏人民，在興建建筑時也會運(yùn)用幾何學(xué)原理。但是，大自然本身如同旋渦一般始終在轉(zhuǎn)動，而人類修建的幾何建筑會破壞自然的流動性，兩者之間存在尖銳的矛盾。

從外觀看，寺廟的幾何設(shè)計給游客留下理性印象，走進(jìn)寺內(nèi)，幾何圖形的痕跡減弱，大自然的活力再度復(fù)蘇。寺廟內(nèi)部通過利用燭火散發(fā)的香味、五彩繽紛的紡織品形成的視覺沖擊、引人注目的神秘?zé)艄獾仍赜绊懹慰偷母泄?，將游客重新帶回自然。我對書中提到將笛卡爾網(wǎng)格轉(zhuǎn)變?yōu)榇笞匀粍討B(tài)流動空間的概念十分感興趣，希望能夠在設(shè)計項目中進(jìn)行深入探索。

對于臺灣大學(xué)社會科學(xué)院項目而言，我希望設(shè)計一個舒適的空間，讓人感覺坐在樹下閱讀，陣陣微風(fēng)迎面吹拂。為實現(xiàn)這一設(shè)想，我在屋頂采用蓮花狀放射幾何圖形。通過將蓮花狀圖形連接，從而確定柱狀物的中心點(diǎn)。其次，通過運(yùn)用泰森多邊形確定屋頂?shù)淖罱K形狀。從整體上看，屋頂猶如一片片荷葉。通過借助上述算法，樹下閱讀的景象躍然眼前。

最近，我還參與了藥師寺齋堂（Jikido）的修復(fù)項目。藥師寺是奈良境內(nèi)的一座名寺，建于1300年前。該寺廟由五幢主要建筑組成，除東塔外的所有建筑均已于近期重建。Jikido原為僧人用膳的齋堂。設(shè)計方要求齋堂外觀必須按原有樣式重建，而齋堂內(nèi)部可自由設(shè)計。重建后的齋堂將用作藝術(shù)館和活動舉辦場地。我正好負(fù)責(zé)齋堂內(nèi)部的設(shè)計工作。齋堂正中懸掛著一幅由日本畫家繪制的巨型阿彌陀如來畫像，畫像兩側(cè)同為該名畫家繪制的14幅風(fēng)景畫。這些畫像描繪阿彌陀如來從西安古都東渡日本奈良之行。日本舊都奈良城雖采用笛卡爾網(wǎng)格布局，但規(guī)整設(shè)計下仍留有自然景觀之空間。齋堂天花板被設(shè)計為阿彌陀如來頭頂光環(huán)的延展部分。光環(huán)由鋁板制成，懸掛于天花板下方。鋁板經(jīng)鐳射切割，并鍍成金色。天花板圖案為連續(xù)的同心圓波紋。

舊時，東方的卷草紋常被用作風(fēng)呂敷的圖案。古老的“唐獅子”圖案就由這些復(fù)雜的漩渦紋樣組成。日本平面設(shè)計大師杉浦康平曾寫過一篇有關(guān)這類圖案的美文：

“旋渦紋樣的力量通過卷草紋設(shè)計傳遞予風(fēng)呂敷包裹的物件。物件的內(nèi)部力量慢慢蘇醒，物件開始有了心跳。風(fēng)呂敷的旋渦紋樣不僅僅起到裝飾作用。對于亞洲人而言，旋渦紋樣是一種神圣的圖式，可將物件的內(nèi)力與人心相連通。旋渦紋樣隨處可見，它就像催化劑催化出物件的內(nèi)部力量?！按蠹业纳郑横访襟w中心”是我接下來要說的項目。該項目是一幢圖書館綜合建筑，內(nèi)設(shè)美術(shù)館、小禮堂和公共交流空間。該建筑位于日本中部山地地區(qū)，四周林木繁茂。建筑高2層，每層樓面積為90m x 80m。第二層是連續(xù)的流動空間，未設(shè)分隔墻。閱讀區(qū)的“globe”形似大傘，由聚碳酸酯的紡織物制成。

該部分介紹建筑的主要設(shè)計概念?！癵lobe”結(jié)構(gòu)從頂部收集空氣和自然光，同時起到柔光作用。由于項目場地臨近主要河流，我們希望將這一地下水源引入建筑內(nèi)部，發(fā)揮地下水水溫全年穩(wěn)定的優(yōu)勢。地下水流經(jīng)第一、二層的混凝土樓板，起到為建筑供暖或冷卻的作用。地下水通過輻射樓面系統(tǒng)在建筑內(nèi)部循環(huán)，營造出舒適的室內(nèi)環(huán)境。除輻射供暖和冷卻系統(tǒng)外，視季節(jié)不同，整個圖書館內(nèi)形成冷/暖空氣循環(huán)。夏季，暖空氣升騰，并從“globe”結(jié)構(gòu)頂部排出。冬季，“globe”結(jié)構(gòu)頂部的開口關(guān)閉，暖空氣僅在“globe”結(jié)構(gòu)內(nèi)部循環(huán)。在岐阜媒體中心，我們通過盡可能多地利用自然能源，成功將該建筑的能耗降至傳統(tǒng)建筑的一半。

除能源系統(tǒng)外，屋頂采用由本地檜木（日本扁柏）制成的木質(zhì)結(jié)構(gòu)。該結(jié)構(gòu)系統(tǒng)十分特殊。每根木條厚度僅2厘米，彎曲性能優(yōu)良。通過將木材組件以60°角鋪設(shè)，形成起伏狀屋頂。波浪起伏的屋頂增強(qiáng)了屋頂結(jié)構(gòu)的穩(wěn)定性，并充當(dāng)外殼結(jié)構(gòu)件。同時，有助于促進(jìn)空氣流通，并與周圍環(huán)境和諧融為一體。在圖書館的第二層，我們可聞到檜木的芳香?！癵lobe”結(jié)構(gòu)下方是最適合閱讀的區(qū)域?！癵lobe”結(jié)構(gòu)懸掛于第二層天花板下方，共分四個規(guī)格（直徑介于8至14米）。書架呈螺旋狀擺放于各“globe”結(jié)構(gòu)的正下方，形成流動性空間。讀者可自由徜徉其中，自行選擇11個不同的閱讀區(qū)。

最后，我想提一提臺灣的臺中歌劇院。臺中歌劇院是一幢綜合性建筑，由大中小三座劇場組成：大劇院2,000席、中劇院800席、小劇場200席。小劇場設(shè)有開放式后臺，可與戶外劇場相連。矩形外觀與三維曲面設(shè)計形成強(qiáng)烈反差。如同臺大圖書館項目，該項目同樣以網(wǎng)格幾何圖形為基礎(chǔ)，但又不止于此。網(wǎng)格圖形變換為連續(xù)的三維曲面。該建筑的結(jié)構(gòu)模型十分復(fù)雜。該部分揭示空間如何流動以及如何像液體一般連續(xù)。該項目從最初競標(biāo)階段起，共耗時11年，于去年秋（9月30日）正式開館。歌劇院開放后，每天活動不斷，人流如織，令我倍感欣慰。

所有這些項目都代表我對“建筑的靈魂”的認(rèn)識，其本質(zhì)源于對自然的認(rèn)同。這種情感與海嘯侵襲地區(qū)的農(nóng)民和漁民懷有的情感相同。即使在當(dāng)代社會，我們也不應(yīng)當(dāng)忘記——人是自然界的一部分，建筑也是自然界的一部分。

What is the “soul of architecture”? This is the same question as “what is architecture” for me. We can discover the “soul of architecture” by pursuing the answer to the question of“what is architecture”.

On March 11th, 2011, a large magnitude-9 earthquake hit the north-eastern part of Japan. The unleashed tsunami took more than 20,000 lives. After the tsunami, nothing but rubble was leftover. In the aftermath of the disaster, I visited many places and saw the people who had lost their homes and towns. Most of the residents had taken refuge in the gymnasiums at primary schools. Many of them were old men and women who had been working as farmers or fi shermen, their daily lives were quite a contrast compared to the lifestyles of the modern people living in big cities. The residents struck by the disaster had no choice but to move to temporary housing in the aftermath of the tsunami. When I visited, I noticed that the space of their temporary housing was so tiny, like a small container box. These temporary shelters were made based on a modernist philosophy and were ill-suited for the lifestyles of the farmers and fisherman. The primary objective of this temporary housing was to create and assure privacy for each family, but this resulted in creating separate, closed units that were very isolating. As a result, many people were very lonely living in these small, secluded boxes. Seeing all the destruction and the inadequate state of their temporary housing, I asked myself, “what can I do as an architect?”.

So, I decided to ask for donations to build “Minna no Ie (Home-for-All)”, a small communal house for the residents living in temporary housing. While only 40m2 in size, the communal house contained an engawa, a doma, a big table, a wood burning stove, and a tatami space. It is made from a wooden structure and opens to nature, similar to the farm houses that the local people had been accustomed to living in before the tsunami. When the residents saw this “Home-for-All”, they were so pleased and they cried tears of joy.For me, this creation is not “artwork” but “architecture”.

Today, reconstruction in the towns damaged by the Tsunami is moving forward. But much of the reconstruction is still based on a modernist architectural ideology. Every area follows almost the same plan. They cut and fl atten the land in the mountainous area for new housing, fi ll in the seaside areas with this soil, and construct high seawalls. If the height of the seawall is 10m, the width of the base is 60–80m wide. These massive seawalls have the same section as the pyramids. The connection between the sea and the living area is sharply bisected by these walls. The fi shermen cannot see the sea at all. Modernist architectural ideology states that people can dominate nature through technology. But the people who lived in these tsunami stricken areas acknowledge that they can never overcome nature. Instead, they fear nature, they respect nature and they show gratitude for the blessings of nature.

In contrast, traditional housing areas in Tokyo are developed into high-rise apartments or office buildings rapidly every year. The taller the buildings, the more they are divided from nature and blend all together as indistinguishable towers within the urban metropolis. My image of Tokyo is that of a city covered in homogeneous grids. In the near future, I fear the people and living spaces of Tokyo will become almost unrecognizable from one another as all becomes more and more disconnected from nature.

I am impressed by the essay “The Ethics of Architecture” by Shinichi Nakazawa (a cultural anthropologist). He says when the people in Tibet build temples, they ask the “God of the Earth” to allow the construction. This is because even the people in Tibet must utilize geometry when they build architecture. But in contrast, nature itself is always fl uid like swirls. The resulting man-made geometry con fl icts against this natural fl uidity. This creates a sharp contradiction.

The exterior view of the temple gives viewers a rational impression due to the traces of geometry. But when people enter inside, this geometry fades out, and the dynamism of nature is revived again. The interior space of the temple brings the visitors back to nature by appealing to their fi ve senses: the scent of the numerous candles burning, the vision of the richly colored textiles, the dramatic mysterious light, and so on. I am very interested in this transformation of the Cartesian grid into the dynamic fl uid space of nature and wanted to explore this concept in a number of my projects.

At the National Taiwan University, College of Social Sciences, I wanted to create a comfortable space based on the idea of man reading under a tree, feeling a gentle breeze. To realize this vision, I introduced a radial geometry like a pattern of lotus fl owers. When connecting these patterns, the center points of the columns are determined. Then, by using a Voronoi pattern, the fi nal shape of the roof was determined. Altogether, it looks like the leaves of a lotus flower. By using these algorithms, the image of reading under the trees was realized.Recently I also participated in the restoration project of Jikido of Yakushi-ji, one of the most popular temples in Nara, built 1300 years ago. This temple is made up of five main buildings, all the buildings except Toto (East tower) were rebuilt recently. Jikido was originally a dining space for monks. The outside had to be reconstructed in the original style, but the inside could be designed almost freely, and was to be used as gallery and event space. I was tasked with designing the interior space. At the center of the space, a large painting of Amidah (Amida Nyorai) by a Japanese painter is hung with 14 landscape paintings by the same painter exhibited on either side. These paintings illustrate the travels of the monk from Seian, the capital of China in old days, to Nara, Japan. Nara, the old capital of Japan, was created based on a Cartesian grid and yet the natural landscape is allowed to intrude inside this grid space. The ceiling design is intended to be an extension of Amidah’s halo. It is made of aluminum panels hung from the ceiling. The panels were laser cut and dyed a golden hue. The pattern of the ceiling is that of continuous waves of concentric circles.

In the old days, the oriental arabesque was very popular as the pattern of furoshiki. The ancient paintings of the lion called Karajishi is made up of these complex swirls. In speaking about these patterns, Kohei Sugiura,a famous graphic designer in Japan, wrote the beautiful essay.

“The power of the swirl transfers to the item wrapped by Furoshiki with the arabesque design. The internal force of the item awakens, and the item begins to have a heart. The swirls of Furoshiki act beyond the role of mere decoration. For Asian people, the swirl symbolizes a holy image that connects the heart of an item to human beings. The swirl is a catalyst to incite the internal force of items, and this pattern can be found everywhere.”

The next project I want to mention is ‘Minna no Mori’ Gifu Media Cosmos. This project is a library complex which contains an art gallery, small auditorium and communication space for the local people. It is located in the mountainous area of central Japan. The building has only 2 stories but each floor plate is 90m x 80m,surrounded by a lush landscape. The space on the and floor is fluid and continuous, without walls. The “globes”in the reading space look like large umbrellas, and are made from a combination of polycarbonate and a fabric textile.

This section shows the main concept of the building. The globes gather air and natural light from the top and gently fi lter in light. The site is close to a big river, so we wanted to use this underground water source within

the building since its temperature is stable throughout the year. Groundwater flows through the concrete slabs of the 1st and 2nd floor to either warm or cool the building. This radiant fl oor system circulates the groundwater to create a comfortable indoor climate. In addition to the radiant heating and cooling system, the warm or cool air also circulates in the entire space based on seasonality. In the summer, the warm air rises and eventually discharges from the top of the globes. In the winter, the warm air circulates in the globes simply by shutting the openings at the top. At Gifu, we have reduced the energy consumption to half of what conventional buildings use by utilizing natural energy as much as possible.

In addition to the energy system, the roof is a timber structure made from local hinoki (Japanese cypress). The structural system is very special. Each timber piece is only 2cm thick, which makes it very easy to bend. The roof is created by laying these timber members at 60-degree angles to create the undulating roof. By making the roof form wavy, the structure becomes stronger since it acts as a structural shell. The undulating roof form also promotes the circulation of air and harmoniously blends into the surrounding landscape. On the 2nd fl oor, we can smell the fragrant hinoki. The most suitable spaces for reading are beneath the globes. The globes are hung from the ceiling on the second fl oor and range in four sizes: from 8 to 14 meters in diameter. The bookshelves are all arranged in spirals beneath the center of each globe, creating very fl uid spaces underneath. People can wander freely and pick and choose from the eleven diあerent reading spaces.

Finally, I have to mention the Taichung Opera House in Taiwan. It is a complex that contains three theaters: Grand Theater with 2000 seats, Playhouse with 800 seats, Black Box with 200 seats. The backstage of the Black Box can be opened and connected to the outdoor amphitheater. The exterior view shows the contrast between the rectangular form and the threedimensional curve. Like the Taiwan University Library project, this project also starts from a grid geometry, but transforms it. The grid pattern is transformed into a continuous three-dimensional curve. The structural model of this building is very complex. This section reveals how the space is fl uid and continuous like liquid. This project took a total of 11 years to complete from the initial competition stage, opening last autumn on September 30th. After the opening, I am happy to see that the opera house bustles with the activity of people every day.

All these projects represent the “Soul of Architecture” for me, which at its core comes from a sympathy to nature. This sentiment about nature is the same that the farmers and fi shermen in the tsunami-stricken area held. Even in our contemporary society, we should not cease to forget that human beings are a part of nature, thus architecture is also a part of nature.