斯蒂芬·荷馬/Stephan Homer

加勒比建筑的色彩

斯蒂芬·荷馬/Stephan Homer

加勒比是一個(gè)具有多民族背景和深厚文化底蘊(yùn)的群島地區(qū)，坐落于大西洋和加勒比海之間，從邁阿密南部的島嶼起一直綿延到南美洲。這一地區(qū)的發(fā)展一貫具有多元化的特質(zhì)，融匯了多種社會(huì)和商業(yè)活動(dòng)，并由此產(chǎn)生了“加勒比風(fēng)格建筑”這一專有名詞及相關(guān)的建筑原型。加勒比風(fēng)格建筑除了在視覺上奪人眼球之外，還具有特定的形式和立面做法標(biāo)準(zhǔn)。這些色彩明快的建筑物排列在群島的城市、小鎮(zhèn)和海岸線的各處，向人們彰顯著這一地區(qū)的建筑特色，其建筑的歷史則可以追溯至16世紀(jì)。加勒比建筑及其對于光鮮華美感受的追求不僅出于應(yīng)對群島炎熱氣候的目的，更已深植于這一地區(qū)的歷史之中。

加勒比建筑，地方性，熱帶地區(qū)

加勒比地區(qū)在大多數(shù)人眼中都是一片精彩的島嶼，在那里，天堂以傳統(tǒng)的建筑物的形式出現(xiàn)，形成大多數(shù)人孜孜追求的理想中輕松而遠(yuǎn)離塵囂的生活環(huán)境。島上充沛的陽光和放松的生活容易讓人們忽視這里其實(shí)遍布著具有地方風(fēng)格的獨(dú)特建筑：這種建筑風(fēng)格與為度假所用的表面功能并沒有本質(zhì)上的關(guān)系，而是體現(xiàn)在遍布建筑外墻和內(nèi)部空間的鮮亮色彩之中。

加勒比建筑的演化受到了周邊的諸多地區(qū)以及地理上所屬的“熱帶建筑”的影響，最后則形成了自己的風(fēng)范，成為綜合了各種熱帶建筑風(fēng)格和各時(shí)代建筑特點(diǎn)的大集合。歷史上，這里的大部分島國在迎來20世紀(jì)中期的獨(dú)立之前（目前有部分地區(qū)仍受歐洲國家的管轄）都受到過歐洲殖民者的統(tǒng)治（例如西班牙、法國、荷蘭和英國）。這些國家影響了加勒比地區(qū)城市的肌理，并留下了一些矗立至今的經(jīng)典建筑。

但同時(shí)，當(dāng)代的加勒比建筑也不僅僅受到過去的統(tǒng)治者們的影響。我們可以清楚地看到構(gòu)成群島的28個(gè)國家的各色獨(dú)特人群對建筑的重要影響。這里的大多數(shù)國家原本屬于聚居在島上各地的原住民，這些原住民被認(rèn)為有著亞洲血統(tǒng)，從亞洲和阿拉斯加地區(qū)通過白令海峽來到美洲，隨著時(shí)間推移陸續(xù)地定居北美和南美各地，并進(jìn)入到加勒比地區(qū)。這些印第安人散落在加勒比各處，甚至已經(jīng)發(fā)現(xiàn)有些公元前3500年石器時(shí)代的人是從佛羅里達(dá)地區(qū)遷徙到西印度群島來的。緊隨著哥倫布的4艘大船航行到了西印度群島，從16世紀(jì)初起，來自非洲的奴隸，來自亞洲的勞工，來自葡萄牙、法國（法國的克里奧爾人）、敘利亞、黎巴嫩及其他國家的移民開始陸續(xù)地進(jìn)入加勒比地區(qū)。人口的導(dǎo)入帶來了發(fā)達(dá)的工藝水平和群島的商業(yè)繁榮，也開始在這些文明中融入本地的氣候、文化和宗教特色。

這一地區(qū)的建筑和世界上其他熱帶地區(qū)的建筑有許多不同之處，但同樣喜歡在立面和窗洞上使用各種色彩，以此模仿充沛的陽光和吹拂著海岸的涼爽的加勒比海風(fēng)給人的感覺。這些鮮亮，甚至有時(shí)顯得招搖而夸張的建筑物被視為加勒比建筑的標(biāo)志。但同時(shí)，并沒有哪一處地區(qū)的建筑可以被稱為標(biāo)準(zhǔn)的加勒比建筑，因?yàn)槊孔鶏u嶼都有其特有的建筑形式，而只有被同一個(gè)歐洲國家殖民過的地區(qū)才會(huì)在建筑上存在一些共性。這一地區(qū)建筑的共同點(diǎn)之一無疑是對氣候要素的考慮，在這里建造建筑的基本需求是遮蔽陽光和雨水，這讓建筑在形式上產(chǎn)生了一定的一致性。居住環(huán)境中對于室內(nèi)與室外空間銜接的強(qiáng)調(diào)在其中起到了重要的作用，柱廊、廊道、露臺、陽臺等構(gòu)件被廣泛地應(yīng)用在各地的建筑中。

諸如木材和磚之類的建材在早期的殖民建筑中被廣泛使用，其中的部分材料是在一部分島上就地生產(chǎn)的。這里的一些島嶼上有火山，而火山石正好可以作為建材來使用。而油漆和顏料的引進(jìn)則打破了建筑過去只能使用自然色彩的情況，給用不同的色彩來表現(xiàn)非洲傳統(tǒng)文化中的炙熱情感提供了富有魅力的新方法。

在這里，對于色彩的使用不僅僅停留于裝飾建筑表層的目的，同時(shí)也體現(xiàn)了人們對過去歷經(jīng)的磨難的紀(jì)念，也從文化上表達(dá)了對于祖輩居住之地的熱愛。加勒比地區(qū)的本土建筑在一種和諧的多樣性中共生、發(fā)展，盡管融合了多種風(fēng)格和其他地區(qū)的裝飾特點(diǎn)，最終則是形成了各自獨(dú)一無二的風(fēng)貌。

在過去，建造建筑在這一地區(qū)并不是一種專門的職業(yè)或者技能，在大多數(shù)時(shí)候是由工人借鑒歐洲既有的建筑設(shè)計(jì)，再在島上復(fù)制而成的，這一過程常常摻雜著對原有建筑的誤解。加勒比都市的城市肌理經(jīng)常受到這種建筑形式的限制，而色彩的使用

Colour in Architecture in the Caribbean

司馬蕾 譯/Translated by SIMA Lei

The Caribbean is a multi-ethnic， culture-rich archipelago located between the Atlantic Ocean and the Caribbean Sea stretching from islands just south of Miami all the way to South America. The region has developed enormously； it continues to be a diverse zone of many social and commercial activities and is worthy of being identifed as the archetype of Caribbean Style Architecture. A fnite term is associated with a particular criterion for form and fa?ade，but there is a lot more than meets the eye. Te bright array of buildings that populate the cities， towns， and beachfronts are just an introduction to the architecture of the region， and its architectural history dates as far back as the early 16th century. Te architecture of the Caribbean and its inclination toward the radiant and the ornate is deeply rooted in the history of the region and is not just a refection of the warmth of the islands.

Caribbean architecture， vernacular， tropicality

清華大學(xué)建筑學(xué)院

2016-6-21

The Caribbean is mostly viewed as the set of swashbuckling islands where paradise and traditional tectonics meet to create an idyllic， relaxed， and isolated life that most people seek. The abundance of sun and the relaxed mind-set of the people of the islands preclude the fact that there exists a cosmopolitan canopy of unique and inherited architectural styles that are not quintessentially associated with the attire worn at a beach resort， but with bright colours that line the walls of the exterior and interior spaces in the cities of the region.

Caribbean architecture has evolved alongside the architecture of many other regions and though geographically it ascribes to "Tropical Architecture，" it has fashioned its way to become a hub where tropical architecture meets all styles and movements of the past and present. Historically， most of the islands were under rule of the then colonizers from Europe （Spain，F(xiàn)rance， the Netherlands， and Britain） prior to gaining independence in the mid-1900s （some of the islands are still under the jurisdiction of European states）. Tese countries have infuenced the urban fabric of the Caribbean cities and there remain standing even today some remarkable works of architecture.

However， the remains of the then rulers are not the only influences that have driven contemporary Caribbean architecture. Instead， it can be asserted that the unique cosmopolitan fabric of the people who have graced the shores of these twenty-eight countries play an important role. Most of the islands were originally inhabited by settlements of people presumably of Asian backgrounds， who via Asia and Alaska， now referred to as the Bering Strait， over time settled in North and South America and then migrated to the Caribbean. Tese Amerindians were scattered in many locations and a few people from even the Stone Age， as early as 3500 BC， have been traced to migrate from Florida to the West Indies. Post Christopher Columbus's four voyages to the West Indies on the cusp of and in the early 16th century， there was an influx of African slaves，indentured laborers from Asia， immigrants from Portugal， France （French Creole）， Syria， Lebanon，and several other countries entering the Caribbean over the years. Tis led to the blossoming of fantastic craftsmanship and splendorous design throughout the islands， which were adapted to suit the climate，cultures， and religions that coexisted on the islands.

Te region varies a lot from its tropical counterparts around the world， but the commonality that exists among all of them is the use of colour on facades and fenestrations to mimic the rich abundance of sunlight and cool Caribbean breezes that hit the shores of the islands. These bright and sometimes outrageously unapologetic buildings are the hallmark of what is considered Caribbean architecture. However， no architecture in the region can be specifcally labeled as Caribbean Architecture as each island has persistent architectural styles and only those colonized by the same European countries show some similarities. One common thread， however， is undoubtedly climatic considerations， which led to uniformity in the region for the basic requirement of shelter from the sun and rain. A strong connection to the outdoors from the interior spaces is evident in the design of the living environment， and features such as porches， galleries，verandas， and balconies are seen throughout.又受到使用材料的限制，但形成的建筑群卻仍然能給人以莊嚴(yán)的感覺。

3 威廉斯塔德港，庫拉索島/Willemstad Harbour， Curacao（攝影/Photo: Stephan Homer）
4.5 昆斯皇家大學(xué)，特立尼達(dá)和多巴哥/Queens Royal College，Trinidad and Tobago
6.7 西印度群島大學(xué)建筑學(xué)研究生院/Graduate School of Architecture，University of the West Indies， 設(shè)計(jì)/Designed by : Gillespie and Partners
（4-7攝影/Photos: Stephen Jameson）

8 劉易斯宅/Lewis House， 設(shè)計(jì)/Designed by Jamal Lewis（攝影/Photo: Lumis Photography）
9 西印度群島大學(xué)圣奧古斯丁校區(qū)達(dá)嘎會(huì)堂/St. Augustine Campus Daaga Auditorium， University of the West Indies，設(shè)計(jì)/Designed by : Gillespie and Partners

而在進(jìn)入21世紀(jì)后，這些鄉(xiāng)土建筑之間開始穿插出現(xiàn)一部分當(dāng)代建筑，形成帶有過去建筑形制、卻用現(xiàn)代技術(shù)和材料建造的現(xiàn)代鄉(xiāng)土建筑。這種當(dāng)代加勒比建筑通過幾代國外與本土建筑師的共同努力，形成了這一地區(qū)在建筑上的新標(biāo)準(zhǔn)?，F(xiàn)代主義思潮帶來了喜用白色粉墻的審美傾向，這也幫助建筑突顯此地陽光的炙熱，形成建筑立面和室內(nèi)空間中強(qiáng)烈的光影效果，而搭配的一抹色彩則為空間帶來了空靈的感受（如巴拉干所言）。

但同時(shí)，當(dāng)代建筑中也用了一些不是那么現(xiàn)代主義的手法來強(qiáng)調(diào)建筑的特色，使之更好地融入周邊的環(huán)境。有時(shí)候，豐富的色彩被過于隨意地使用在建筑上，看上去如同膏藥，并有模仿別的建筑之嫌。但在大多數(shù)情況下，建筑則剛好成為了彰顯個(gè)人品味和觀念的理想媒介，被用來表現(xiàn)加勒比多民族的背景之下形成的各種文化風(fēng)俗。

多樣的文化和與之相關(guān)的節(jié)日讓色彩也有很多機(jī)會(huì)在城市的街道景觀中得以表現(xiàn)。例如Phagwa節(jié)是印第安慶祝春天的節(jié)日，色彩在其中被用來表現(xiàn)印度神話。這些由我們的印第安祖先帶到這片海岸的節(jié)日今天已經(jīng)成為了部分島嶼上的重要文化盛典。特里尼達(dá)和多巴哥的狂歡節(jié)（現(xiàn)在也成為了許多其他島上文化的一部分）可以追溯到18世紀(jì)后期法國人在四旬節(jié)齋戒期間舉行的化裝舞會(huì)，當(dāng)時(shí)，不能參加舞會(huì)的奴隸們模仿并形成了他們自己稱之為“Canboulay” （在法國戛納方言中意為燃燒的藤條）的慶?；顒?dòng)。這一習(xí)俗在今天演變成了城市街道上色彩豐富、藝術(shù)形式獨(dú)特而華麗的盛大化裝游行。這兩種文化節(jié)日都是當(dāng)?shù)厝松詈裎幕滋N(yùn)的象征，也對建筑和周邊環(huán)境中的色彩使用起到了重要作用，在特里尼達(dá)和多巴哥地區(qū)尤其如此。

在文化和傳統(tǒng)之外，讓使用者能加強(qiáng)空間體驗(yàn)質(zhì)量的綜合需求也是在這一地區(qū)使用色彩的原因之一。人們在室內(nèi)和室外的建筑中的體驗(yàn)有時(shí)候是短暫的，但和其他各種短暫的體驗(yàn)一起，卻能形成較具莊嚴(yán)性的感受。

在阿魯巴和庫拉索島，街道景觀就像一大片棉花糖，萬花筒般的建筑連成一片，互相擠在一起不留一點(diǎn)空隙。需要透氣的建筑則讓空氣能從自身的前后通過。這些島受到了強(qiáng)烈的荷蘭傳統(tǒng)的影響，現(xiàn)在仍然是歐洲國家的附屬地區(qū)。庫拉索的建筑群描繪出荷蘭殖民時(shí)期的17與18世紀(jì)阿姆斯特丹傳統(tǒng)街道的風(fēng)情。而建筑明亮的色彩卻源自炎熱而有清風(fēng)吹拂的加勒比氣候，這種建筑意向在荷蘭本土并不存在。同時(shí)，這些建筑也融合了熱帶建筑的裝飾風(fēng)格以及加勒比建筑中常見的露臺、格柵、柱廊等形式。當(dāng)年的這些影響形成了該地區(qū)建筑早期的“全球地域一體化”特征，而現(xiàn)在的許多城市仍然承襲著一個(gè)世紀(jì)前的這種建筑風(fēng)格和感覺。

加勒比地區(qū)長期被建設(shè)、裝點(diǎn)為展現(xiàn)如畫般的美麗建筑和能快速逃離現(xiàn)代生活喧囂的場所。隨著時(shí)間推移，用現(xiàn)代材料來復(fù)制傳統(tǒng)鄉(xiāng)土建筑的做法已經(jīng)被發(fā)現(xiàn)有許多缺點(diǎn)，也造成了今天建筑風(fēng)格的多樣性。這一地區(qū)的每個(gè)國家都有自己的鄉(xiāng)土風(fēng)格，每種建筑元素都有符合當(dāng)?shù)靥攸c(diǎn)的獨(dú)特性，例如華麗的裝飾花紋、格柵百葉窗（德梅拉拉窗），高聳的屋頂（屋脊和山墻）攢尖和圍繞建筑外沿、為了遮陽和降低室內(nèi)溫度而設(shè)的柱廊等。這些建筑元素不僅具有裝飾作用，也是展現(xiàn)個(gè)性品味和風(fēng)格的載體。在許多情況下，這些建筑構(gòu)件都是白色的，而建筑的立面則作為對比，被涂上絢麗的色彩，在另一些情況下則正好相反。

不言而喻，加勒比地區(qū)屬于熱帶氣候，其建筑也不可避免地遵循熱帶建筑的基本設(shè)計(jì)原理，但這一地區(qū)較少像其他一些地區(qū)一樣因?yàn)檫@種氣候而聞名（例如泰國、印度尼西亞等），反而更因?yàn)楫?dāng)?shù)氐慕ㄖ雒?。這里的島嶼不僅是度假勝地，也已經(jīng)成為了現(xiàn)代化的大都會(huì)，具有風(fēng)貌獨(dú)特的市中心區(qū)、金融中心區(qū)，并作為具有觀光、旅游、商業(yè)、藝術(shù)、文化歷史和現(xiàn)代建筑價(jià)值的世界性群島區(qū)而受到全球的關(guān)注。而色彩作為加勒比建筑中的重要要素，從形式上表現(xiàn)了大海、陽光和藍(lán)天，體現(xiàn)出島國的休閑氛圍，也反映了這一地區(qū)豐富的文化內(nèi)涵。

Materials such as wood and brick were prominent in the early colonial buildings and， in some cases， were manufactured locally on some of the islands. Some islands are known for their volcanoes and hence volcanic rock is used as part of the material palette. Te introduction of paint and pigments to the region muted the natural hues used earlier； these offered alluring new ways to express the efervescence of African traditions through the various colours that could be generated.

Te common denominator， the use of colour， is not just skin deep， but has emerged as a symbol of the hardships that the people have endured in the past and as a cultural expression of the places from where their forefathers once hailed. A symbiotic growth of harmony in diversity， the vernacular architecture of the Caribbean tries to be nothing other than itself despite the fusion of various styles and ornaments of other regions.

In the past， architecture neither was practiced as a profession nor was it a skill developed in the region； it was left to the workman who had to oftentimes use designs of buildings that existed in Europe and recreate them on the islands， which gave room for misinterpretations. As the urban fabric of the Caribbean cities developed， so too did the styles. Although the choice of materials often limited the colour palette available， it did not hinder the sublimity that resulted at the end of the day.

Fast forward to the 21st century， there now exist nestled amid the vernacular buildings， sets of contemporary works that claim to be modern vernacular with attributes of the past， designed and constructed using modern techniques and materials. Contemporary Caribbean architecture has been fashioned by several generations of architects both foreign and domestic， who have set new standards by which the region is judged architecturally.With the advent of modernism， there has been a proclivity for whitewashed buildings， which helps in accentuating the harsh sun and the play of shadow and light silhouettes on the facades and interior spaces， with a hint of colour to bring about an ethereal feel to these spaces （à la Barragan）.

Then again， the not-so-modernist approach is considered to portray uniqueness and transform the architecture into objects that vindicate themselves as part of the context. The abundant use of colour can be deemed as pastiche， but only when arbitrarily placed like plasters on sores. The multi-ethnic background of the majority of the Caribbean people is portrayed in various ways； architecture happens to be just one medium that is symbolic of personal tastes and ideals.

The diverse cultures and associated festivals offer several ways in which colour is expressed in the streetscapes of the cities. The festival of Phagwa， which is the Indian celebration of spring， is known for its use of colour as part of the festivities，according to Hindu mythology. A celebration brought to the region's shores by Indian ancestors is today an integral part of the culture of some of the islands. Te carnival held in Trinidad and Tobago （now a part of the culture of many other islands） is an offshoot of the late eighteenth-century French masquerade balls held during the fasting period of Lent. It was adopted by slaves who were not able to partake in it and hence formed their own celebration called "Canboulay" （from the French Cannes "brulees" meaning "burning cane"）. Te result of this today is a plethora of masquerade costumes worn by people parading the streets of the city displaying a riot of colours and splendor combining in a unique art form. These two cultural festivals embody the richness of the culture of the people and play a major part in the architecture and use of colour， especially in Trinidad and Tobago.

Culture and traditions are not the only rationale for the use of colour in the region； the use of colour also derives from the systemic need to enhance the experiential quality of spaces for the occupants. Architecture， both interior and exterior， is sometimes an ephemeral experience and capitalizing on other evanescent experiences has often led to majestic representation.

In the islands of Aruba and Curacao， the streetscape is like a field of cotton candy， lined with a kaleidoscope of buildings jutting against one another with no room to breathe. However， who needs room to breathe between buildings when the view to the front is breathtaking！ Tese islands possess a strong Dutch history and influence and are still colonies of the European state. Curacao's covey of buildings depicts traditional streets lining Dutch colonial buildings of 17th and 18th century Amsterdam. The bright colours， however， were adapted to the warm， breezy Caribbean climate， a scene unprecedented on the mainland. Te buildings themselves were altered with typical features inherent in Caribbean structures such as verandas，porches， and shutters. Back then， these influences formed the early periods of "glocalization" in architecture for the region， and the many cities that exist today still bear the style and feel of the past century.

The Caribbean as a region has long been explored as a site for picturesque architecture and as a quick getaway from the hustle and bustle of modern life. Over time， the adaptation of modern materials to recreate traditional vernaculars has seen many shortcomings leading to variations in the styles seen today. While every country in the region has its own vernacular， there are elements that are deemed to be quintessentially unique to the region， such as ornate fret work， louvered shutters（Demerara windows） Jalousies， high-pitched roofs （hips and gables）， fnials， and porches that wrap the exterior to help keep the interior spaces shaded and cool. Tese elements not merely used for ornamental purposes but also as a canvas to express one's personal taste and style. In many instances， these are painted white， while the facade of the building，in contrast， is painted in a variety of colours； in some cases， the opposite is done.

Although the Caribbean region experiences a tropical climate and the buildings adhere to the basic principles of tropical architecture， the region is less renowned than its climatic counterparts （Thailand， Indonesia， etc.）； its architecture too is largely different from that of its counterparts. The islands are no longer just vacation spots； they have also grown to become modern metropoles that are unique urban centers， financial hubs， and a cosmopolitan archipelago boasting of great scenery，tourism， commercial activities， arts， culture， and historic and modern architecture deserving global attention. Colour is an overarching principle in Caribbean architecture and is purely a form of expression of the relaxed mood of the islands that mimic the sea， sun， and the blue skies and the rich cultures that exist within.

10 圣保羅國教教堂，圣費(fèi)爾南多，特立尼達(dá)和多巴哥/St.
Pauls Anglican Church， San Fernando， Trinidad and Tobago
（9，10攝影/Photos: Stephen Jameson）
11 喬治·布朗宅，昆斯公園，薩凡那南部，特立尼達(dá)和多
巴哥/George Brown House， Queens Park Savannah South，
Trinidad and Tobago（攝影/Photo: Stephan Homer）
12 建筑師工作室，圣盧西亞/Architects Studio， St. Lucia， 設(shè)計(jì)/
Designed by: Melon（攝影/Photo: Lumis Photography）
13 西班牙港住宅/House in Port of Spain（攝影/Photo：
Stephen Jameson）