葛明/GE Ming

“一個世界建立起來了，剩下的只是附加的血肉。書房中的那種桌子幾乎是自動從這個已有的世界中產(chǎn)生出來的……”[1]

“這個假設(shè)的建筑群使真實的世界與敘述的可能性的世界相吻合?！盵1]

“于是我找到了園林的方法，即不是把建筑當(dāng)作應(yīng)予分析的人工制品，而是當(dāng)作一種意識的體現(xiàn)：一種邀請人們?nèi)⑴c的一個假設(shè)世界的意識和經(jīng)驗。”[1]169

“建造一個城市，就是建造一個世界，這個世界的完滿和它的尺度毫不相干。在這個世界的營造中，最艱難的一項任務(wù)就是把直接呈現(xiàn)給感覺的東西加以系統(tǒng)化、形式化?！盵1]151

……

在王澍評述自己設(shè)計的文字里，桌子、建筑、園林、城市所有這些詞匯都與“世界”緊密相連，“世界”也通過各種方式、各種途徑呈現(xiàn)出來。它來自文字，又脫離了文字；它來自真實，又脫離了真實。

那么，“世界”對王澍意味著什么呢？

是他在杭州一住十?dāng)?shù)年的情境與無邊的想像所聯(lián)結(jié)而成的特殊境域？

是他的口語與古漢語、翻譯文字（如羅蘭·巴特等人的著述）所交匯而成的特殊詞匯？

所有這些都意味著王澍的“世界”是復(fù)雜、變化、模糊的世界。

王澍的“世界”又何嘗不是一個“省略的世界”？猶如賈克梅蒂。

薩特說賈克梅蒂的創(chuàng)造常受到“無限”帶來的威脅[2]。因為，對于賈克梅蒂而言，空間是一種剩余品，它只是把各種因素并列在一起。而絕大多數(shù)雕塑者都在慷慨的空間彌散之前迷失，過多地將其引入作品，去填充、擴(kuò)大人類的姿勢。而賈克梅蒂與此不同，他認(rèn)為活生生的人身上不會有多余的東西，所以他的雕塑必須是從空間中修剪多余的東西而成，從而高度得精確。為此，他通過記憶制作。記憶和寫生一樣具有其不確定性，記憶愈想確定，意象愈是仿佛，最后只能從最基本的形態(tài)——骨骼中呈現(xiàn)，而且為保護(hù)像的大小，只好讓其變得細(xì)長 。[2]142

王澍不停地回到“世界”的方式與此相仿。

它體現(xiàn)了一種回到事實的態(tài)度。因為建立各種名詞與“世界”的直接聯(lián)系，就意味著引入了各種事實。它同時也體現(xiàn)了一種省略的態(tài)度，它通過各種具體的事實促使原有的各個名詞省略各種歧義而現(xiàn)身。“桌子”、“建筑”、“園林”、“城市”也因此獲得了共通之處，而且以其“最基本的形態(tài)”呈現(xiàn)。所以，省略是為了生成。

此外，省略并不意味著減少。海杜克就指出，建筑學(xué)必須經(jīng)過繪畫、文學(xué)、醫(yī)藥等平行的訓(xùn)練來過濾，才能去蕪存菁，這是一種省略的方法，卻也是不斷增值的方法。[3]

可以發(fā)現(xiàn)，中國美術(shù)學(xué)院的象山校園就像是象山與轉(zhuǎn)塘之間經(jīng)過“省略”而獲得的一個小世界。

省略的要旨在于精確，并因精確獲得升華。賈克梅蒂為了使自己的雕塑獲得一種想像的不可分的空間（一般的雕塑因遠(yuǎn)近觀看的效果不同而產(chǎn)生形象的分離），于是就像畫家賦予畫中的人物以絕對距離一樣，他規(guī)定了自己雕像所看的距離，并以此去雕刻，從而使雕塑一步躍入了幻想的王國[2]149。

王澍同樣嘗試精確地規(guī)定象山校園中房子的所在與所是，通過“省略”獲得房子與環(huán)境，房子與房子，房子與人之間特殊時刻的共同照亮。

看似隨意的布局，其實與山體水勢都進(jìn)行了契合，兩者之間就像照相機(jī)進(jìn)行調(diào)焦一樣互相建立關(guān)系。

看似隨意的體量，其實對其向背、姿態(tài)都進(jìn)行了斟酌，王澍常用“這房子坐在那里，那房子……”表示它們互相依賴而求取矛盾存在的狀況。

看似隨意的進(jìn)出，其實對門洞都進(jìn)行了推敲。各式各樣的門時常因其多樣而模糊了內(nèi)外的界限，但又在不經(jīng)意的時候，成為特殊的洞口，使人驚覺內(nèi)外的差異。

在此，省略似乎是海杜克所描述的一種特定時刻的隱匿：一個觀者置身于一幅畫前，人與畫之間的空間自成范圍，觀者用眼睛接納畫幅，卻無法吸入它的氣息；當(dāng)兩者完全連在一起的時刻，所有真實的距離消失了，思想照亮了兩者之間的空間……它脫離了觀者的身體飛逸，從而導(dǎo)致實體空間的消失[3]。

省略的世界由此產(chǎn)生。

這是賈克梅蒂在雕塑中顯現(xiàn)的。

這也是王澍在他的建筑中試圖追求的?！?/p>

申博 攝

注釋：

[1]王澍.設(shè)計的開始.北京：中國建筑工業(yè)出版社，2002：37

[2][法]薩特. [美]韋德·巴斯金編.薩特論藝術(shù).歐陽友權(quán)，馮黎明譯.北京：中國人民大學(xué)出版社，2004：145

[3]Education of Architect-the Irwin S.Chanin School of Architecture of the Cooper Union,New York:Rizzoli Publications, 1988:340

"The world having been built,what else is left is merely some flesh attached to it.The type of desk in my study room is almost automatically generated in the world already there."

"This imaginary architectural complex matches the real world and the world possible only in narrations."

"I have thus arrived at my approach in garden,which treats architecture not as a man-made item to by analyzed,but as a reflection of consciousness:a message inviting people to participate in the consciousness and experience of an imaginary world."

"To build a city is to build a world,and the perfection of the world has nothing to do with its size.The most difficult mission in building such a world is to systemize and formalize the things that directly appeal to senses."

…

In literatures where WANG Shu reviewed his own designs,vocabularies such as desk,building,garden and city are closely associated with the"world," while the "world" is presented in various ways.It originates in form of literature,but rises far beyond literature;it is derived from reality,but hovers far above reality.

The world,then what does it mean to Wang Shu?

Is it a peculiar realm composed of his over 10 years of living in Hangzhou and his boundless imagination?

Or is it the special vocabulary stemming from his speech,his classic Chinese and the translation works (such as books by Roland Barthes,etc.)?

All these mean that the world of Wang Shu is one packed with complexity,change,and ambiguity.

Why do we not view WANG Shu's "world" as a "an elliptical world",just like that of Annette Giacometti?

Sartre had pointed that Giacometti's creation is frequently threatened by "Infinity," because the space to him means nothing more than a remainder linking all elements.Most sculptors get lost before that generous space fading out,as they include too much of it in their works to fill in or to magnify human postures.Where Giacometti differs from others is his belief that the body of a living person shall not have anything more than bare minimum,so all his sculptures were created by trimming the space of anything redundant for the sake of high precision.Bearing this in mind,he worked out of his own memory.Memory,however,has the same uncertainty as characterized in sketches,and the more a memory wants to define,the more obscure an imago becomes,eventually to the extent that it can only be presented in its most elementary formthe skeletons－and all images have to be slender to stay large enough for appreciation.

The way in which WANG Shu keeps returning to the world is similar to that.It reflects an attitude of facing to the fact itself.Once the relation between a name and the world is defined,it means that the fact is introduced.It also reflects an attitude of ellipsis,the fact may allow for the original names to present themselves with ellipsis of all ambiguity.In this way,"desk","building","garden" and "city" come to share some commonality,presented in their "most elementary forms".So ellipsis is for the sake of generation.

Moreover,ellipsis means anything but reduction.As John Hejduk points out,architecture must be filtered through by parallel disciplines of painting,literature and medicine so that the impurity is washed away."It is an elliptical method,and it is incremental."

It can be seen that Chinese Academy of Art Xiangshan Campus is just a little world with some resemblance to both Xiangshan Mountain and Zhuantang area but has gone through "ellipsis".

The key for ellipsis lies in precision,which in turn sublimes ellipsis.In an effort to place his sculptures in an imaginary space that cannot be segmented (ordinary sculptures produce variable images when observed from different distances),Giacometti set an observing distance for himself－just as painters set absolute physical distances among figures in their paintingsand proceeded to bring his sculpture works into a realm of illusions.

With the same precision,WANG Shu defined where and what the houses in Xiangshan Campus should be,achieving through "ellipsis" mutual illumination in particular moments between houses and their surroundings,among houses,and between houses and their occupants.

呂恒中 攝

The seemingly casual layout has been arranged through careful matching of geographic features of hills and waters－relations being established just as a camera focuses its lens on objects.

The seemingly casual placement of houses has been thought through with careful balancing of their alignment and positions.WANG Shu often describes the conflicting interdependence among the houses by saying "this house sits there and that house…"

The seemingly casual passageway has been designed with careful consideration of each door and gate.The entrances,built in numerous styles,blur the boundary between the inside and the outside,only to surprise you with their uniqueness in bringing out the emphatic difference between the inside and the outside when you least expect it.

Here,ellipsis can be an obscurity at a particular moment as described by John Hejduk:An observer places himself before a painting,the space between the canvas and the viewer is geometrized air.The viewer can take in the painting with his eyes;but does not breathe it in. When the observer totally connects with painting,all actual distance disappear.Thought illuminate the air between….The dematerialized thought left the body of the observer and made the physical space disappear by its flight outward…

An elliptical world is thus born.

This is what Giacometti sought to achieve through his sculpture.

This is also what WANG Shu has been trying to achieve with his architecture.□