感知空间：建筑之重新想象

凯特·古德温/Kate Goodwin

司马蕾 译/Translated by SIMA Lei

感知空间：建筑之重新想象

Sensing Spaces: Architecture Reimagined

凯特·古德温/Kate Goodwin

司马蕾 译/Translated by SIMA Lei

“感知空间：建筑之重新想象”这个题目并不简单：要求在皇家艺术学院华丽的鲍扎式空间——这一传统的展览环境中，表现出建筑的体验性和力量感。建筑类展览中常常包含大量的图纸、照片和模型的展示，但这种方式也让我们远离了近距离接触建筑时产生的体验感。而在此次展览中，我们想探索能否让展览不仅仅强调建筑的功能性和单纯的视觉效果，而是让人感知在一座建成的建筑内部的感受。此外，我们也想试试能否通过策划展览鼓励参观者反思自己对建筑的看法，而建筑又是否能打动他们；同时，这样的体验能否不仅仅在展馆内、而是在生活中也唤醒参观者对身边空间的感知力呢？

2014年1月，皇家艺术学院开始举办其迄今为止规模最大的建筑展，展区占据了整个主展馆，布展的面积达到2100m2（2.3万平方英尺）。这次展览被命名为“感知空间：建筑之重新想象”，展览采用了全新的方式来将建筑呈现给广大参观者，让主办机构重新思考了许多常规的展览做法，并且受到了来自参观者的空前反响和积极参与。展览主要关注建筑带来的体验——即我们与周边的空间产生的物理上、感官上和情感上的互动。展览并非直接呈现建筑，而是通过邀请7个来自世界各地的知名的新锐建筑设计机构来设计大尺度的构造物，并塑造其中的内部环境。这些建筑师分别是：格拉夫顿建筑事务所（爱尔兰）、迭贝多·弗朗西斯·凯雷(布基纳法索和德国)、 隈研吾 (日本)、 李晓东 (中国)、佩佐-冯·艾利赫夏森 (智利) 、阿尔瓦罗·西扎以及艾德瓦尔多·苏托·德·莫拉 (葡萄牙)。

这些建筑师入选的原因是，他们的作品都清晰地表现了建筑如何超越其实用性和功能性从而打动人心的特质。他们的作品都体现了与所处的环境之间紧密的相关性：无论从建筑本身、其所处的城市与自然的关系、其周边景观、还是当地的文化与传统角度来看都是如此。建筑师通过他们对历史的理解来构筑起不但能与历史接轨、也与当下息息相关的建筑物。他们也对人们是如何身处在建筑物中、人的身体和感官又是如何对周边的空间做出反应进行了思考。如同他们此次的装置展品所展现出的特质，他们所用的手法有时一致，有时又迥然不同。而他们各人所属的不同的文化、地理和那代人的感情又带来了丰富迥异的视角，为我们呈现出对建筑更广泛的理解。

我们的日常活动，无论是工作、睡觉或是娱乐大都发生在建筑内，或是与某种形式的建筑相关。建筑是我们的生活的永恒背景。今天的建筑作为我们日常活动的容器，大都以实用而理性的形式简单地体现出对于需求、功能与场地的制约。而建筑对我们的感官和精神的影响则往往是次要的考虑。但是，可以说，建筑的丰富性往往来自我们的感官对它产生的多方面的反应，它唤起我们的想象力，并且对我们的情绪产生影响。

此次建筑展通过所处的展览环境来突显建筑的力量感和表现力。建筑师的主要目的是让参观者认识并体会身边空间的形式、材料和感官品质。我们和建筑师密切配合来搭建他们的装置，使作品的每部分都与其占据的空间以及相邻的空间相关——这对展览的完整性和最终的成功来说至关重要，也是这些装置不能被重新转移到别处展览的原因。建筑师通过展览空间的结构、比例、平面和特点来强调他们想要表达的重点。而从策展的角度看，我参与了一场全面的布展体验，这同时也是一场从伦敦皮卡迪利大道，经过建于17世纪的宫殿、中央楼梯和19世纪的美术展厅，一直通往皇家艺术学院庭院的建筑之旅。展览没有规定的路线，参观者可以选择自己想参观的装置和展厅，而对展览的解释也很少，只在参观结束时会播放一个启发性的影片。

“感知空间：建筑之重新想象”的展览构思基于一种询问并探求答案的精神，从与建筑师们的讨论开始，并随着设计进程不断发展而来。因此，我们从一开始起就只设定了展览的方向和框架，同时刻意避免定义展品可以是、应该是、或者将会是怎样的。每个建筑师都根据一个开放性的简要要求来开展工作：探索建筑的可能性，建筑与人的关系及与周边的联系，以及如何利用皇家艺术学院传统空间中的既有建筑来达成这些目的。每个建筑师都根据最初的构思在皇家艺术学院中找到一个合适的地点，再根据指派给他们的场地深入设计，同时也与其他展品和新旧建筑物间形成对话关系。

在展览开始之后，观众对建筑的反应令人惊奇——有人快速穿越其中，有人徘徊、观察、等待，也有人躺下、坐下或是触摸着建筑。孩子们有时会在空间中奔跑和跳舞。人们并没有对最喜爱的展品达成一致，各类参观者对各个展品都有不同的回应和观察。这次展览也改变了参观者在皇家艺术学院和展厅中的行为模式，并打破了参观艺术展和建筑展的界限。

建筑师们受邀来为展览创造空间，但这并不意味着建筑就是建筑师的领地。相反，人们对建筑和空间的反应并不是建筑师们预设好的，也不局限在建筑本身。虽然“感知空间”探索了每个建筑师在创造空间时的主观意图，但同时也关注参观者对建筑所呈现的状态的反应以及建筑带给我们的感受。

很多人都对这一展览是艺术展还是建筑展存有疑问，但最终我想，人们将体验到的是一种空间，或者说是建筑的片段，并将对人们今后如何体验身边的建筑产生影响。

The task set by "Sensing Spaces: Architecture Reimagined" was far from simple: to evoke the experience and power of architecture within a traditional gallery environment,specifically the grand Beaux-Arts spaces of the Royal Academy of Arts Exhibitions of architecture - consisting for the most part of drawings,photographs and models - often distance us from what we might experience in direct contact with a building; here,instead,we asked whether an exhibition could become the means to highlight not merely the functional or purely visual aspects of architecture but also the sensation of inhabiting a built space Could an exhibition be devised that would encourage visitors to question their ideas about architecture and test its capacity to move them? Could such an experience awaken visitors' sensibilities to the spaces around them,not only within but beyond the gallery walls?

In January 2014 the Royal Academy of Arts mounted its largest architectural exhibition to date,occupying its entire Main Suite of galleries with a footprint of over 23000 square feet The exhibition entitled Sensing Spaces: Architecture Reimagined,set new ground in the presentation of architecture to a wide audience; saw the institution rethink many of its normal practices and generated an unprecedented visitor response and engagement.The exhibition focused on the experiential aspects of architecture- our physical,sensory or emotional engagement with the spaces around us Instead of representations of architecture,the exhibition entailed large scale structures and visceral environments specially commissioned from seven well-known and emerging architectural practices from around the world The architects were: Grafton Architects (Ireland),Diébédo Francis Kéré (Burkina Faso and Germany),Kengo Kuma (Japan),LI Xiaodong (China),Pezo von Ellrichshausen (Chile) and Álvaro Siza and Eduardo Souto de Moura (Portugal).

These architects were selected because they engage distinctly with how architecture might move beyond practical and functional concerns to address the human spirit Their buildings are strongly anchored in their contexts: from the physical - urban and natural - landscapes in which they are located to the cultures and traditions that surround them The architects use their appreciation of history to create buildings that acknowledge the past but are also highly meaningful within the present They consider how people will inhabit their buildings,how the human body and senses will respond to their spaces They do all this in sometimes shared and sometimes opposing ways,as their installations would reveal And their different cultural,geographical and generational sensibilities brought a rich array of perspectives that encourage a broader understanding of architecture and what it can offer us.

Our daily activities of working,sleeping or playing mostly take place within,and interact with,some form of architecture Buildings are the everpresent background to our lives Today,they are created largely as a practical and rational response to a brief,to the demands and constraints of function and site,and as the shelter and container for what we do How they might affect our senses and spirit is often a secondary consideration But,arguably,much of the richness of architecture comes from the multifaceted way our senses respond to it,from the way it catches our imaginations,and from its emotional impact on us.

The exhibition used the gallery context to foreground this power and presence of architecture Central to the architects brief was to make the visitor aware and sensitive to the physical,material and sensual qualities of spaces around them We worked very closely with the architects to develop their installations so that each directly related to the spaces they occupied and to their neighbours This was vital to the exhibition's integrity and to its success,but also the reason the installations could not be re-housed in other venues They used the structure,proportions,plan and character of the gallery spaces to help reinforce what they wanted to say From a curatorial perspective I was setting out to choreograph what could be deemed an overall exhibition experience,and one which started as an architectural journey from the London thoroughfare of Piccadilly into the Royal Academy's courtyard,through the 17th Century Town-palace,up the central staircase and into the 19th Century Beaux- Arts Main Galleries The visitor was encouraged to experience the installations and the galleries as they chose,with no set route and minimal interpretation offered,except an evocative film at the end of the exhibition.

Sensing Spaces: Architecture Reimagined was conceived in a spirit of enquiry,begun through discussion and developed through the process of design with the architects From the outset a direction and framework were established which deliberately resisted defining what the outcome could,should or would be Each architect worked with an open brief: to explore the potential of architecture,its relevance to people,the connections it evokes,and how one might convey these using architectural constructions within the traditional spaces of the Royal Academy Each architect proposed initial ideas which then found a home in a particular places within the RA and evolved in response to their designated location,setting up dialogues with each other and between the existing and the new.

Once the exhibition was open,it was incredible to watch how people responded to the spaces- some walking through quickly other lingering,watching,waiting,some lying down,sitting and touching Kids would sometimes run or dance in the spaces There was no clear "favourite" with people,but rather a series of different responses and observations that varied with each person The exhibition changed how visitors acted in the Royal Academy itself as well as within the galleries,and breaking the boundaries between where they were having an art experience and an architectural one.

Yes,architects were invited to create the spaces for this exhibition,but this in no way implies that architecture is the sole territory of architects - on the contrary Our responses to buildings or spaces are neither predefined by the architect nor inherent in the architecture itself Although "Sensing Spaces" explored each architect's intentions in the spaces they have created,it is equally concerned with what visitors discover by being open to the proposals architecture makes to us and to what it calls out from within us.

Many questions arose as to whether this was art or architecture,but ultimately I think that people experienced them as spaces,or as fragments of architecture,that will echo later as they experience the architecture around them every day.

英国皇家艺术学院德鲁·海因茨建筑馆馆长，“感知空间：建筑之再定义”展览（2014年1月25日-4月6日）策展人/ Curator of "Sensing Spaces: Architecture Reimagined" (25 January - 6 April,2014),Drue Heinz Curator of Architecture,Royal Academy of Arts,

2014-07-15