空无与体验

王小松教授， 艺术家

Prof. dr. Wang Xiaosong， Artist

空无与体验

BEING WITH NONBEING AND ITS EXPERIENCE

王小松教授， 艺术家

Prof. dr. Wang Xiaosong， Artist

三十辐共一毂，当其无，有车之用。埏植以为器，当其无，有器之用。凿户牖以为室，当其无，有室之用。故有之以为利，无之以为用。

上面这段文字出自老子的《道德经》第十一章，从古至令诸家注释版本众多，但总的来说，基本都在“虚”与“实”、“有”与“空”之间展开辩论。

针对上述学界中的各种专家注释，候幼彬先生在《中国建筑之道》一书中曾有过详细的阐述。候幼彬先生引用了大量不同时期的考证版，特别提到希腊著名哲学家亚里士多德（Aristot élēs）的著名“四因说”——亚里士多德把事情的存在和变化归结为4种原因：质料因、形式因、动力因和目的因，并把形式因、动力因、目的因合在一起，总称为“形式”。亚里士多德认为：事物都是由质料和形式构成的，质料是事物的最初基质，形式是它的结构，是事物的本质。质料只是潜能的存在，只有具有了形式，才能使其潜能得以实现，成为现实。

兰喜并在《老子解读》中阐释说：老子的“有”与“无”之论与亚里士多德的潜能与现实、质料与形式的思想有相似的地方。在老子看来，任何事物都包含两个方面，即“有”与“无”。“有之以为利，无之以为用”。“有”是潜能，是“质料”，通过“无”使“潜能”实现，使“利”成“用”。“无”使“有”具有了意义。

孙以楷在《老子通论》中阐释说：老子在本章讲的不是“有”与“无”的主次问题，而是讲“无”是事物的本质……没有中空，就不是“毂”，而只能是木头；没有中空，就不是茶杯，而只能是一团泥；没有中空，就不是房屋，而只是砖堆。正是中空，木头才成了毂，陶土才成了茶杯，砖堆才成了房屋。老子所讲的“无”，不是虚无，而是事物的本质。本质是无形的，它与“有”结合在一起。有，提供了可资利用的质料，这叫做“有之以为利”；无是事物的本质所在，事物的不同本质是通过不同的功用表现出来的，这叫做“无之以为用”。

如此，我们可以这样认为：没有本质的意义的建筑，只是水泥的堆砌。正如莱特（Frank ·Lloyd·Wright）所说：“建筑的实质是供人居住的空间”。正是“空”的存在才使我们称之为“屋”的存在。而不是虚无。“空”是事物的本质。因此，这种“无”实际上是建筑的形式造型。而这种造型必须在“空无”之中才可以达到心灵的净化与流传，决定建筑本质的不是材料的堆积，是事物的本质决定结构，质料因结构的需求而存在。

人对空的要求形成了一切质料的选择与运用。而这种需要即是人性空灵净化的最为本质的一种向往。建筑在今天已经由权力化的象征走向碎片化的回归——回归人性本质的自然属性。消灭不必要的空间累赘也同时就是选择了一种思想境界和精神状态。秩序与空间的流动，将“虚”作为空间的美学细节而进行探讨，—这已经成为当代建筑师首先要思考和解决的问题。

因此，我们可以这样理解：“有”是建筑的质料，“无”是建筑的存在。这就是我们常说的：墙的间隙构成了建筑。日本建筑师高松伸（SHIN TAKAMATSU）指出：建筑如同书法，其力量并非在于结构，而在于周围的空间。

今天的建筑设计若只是为了单纯满足入住的功能而被赋予建筑的本体形式，那么，这样的建筑实体已经不能成为时代精神的最佳体现。

那么，什么才是这个时代的建筑愿望呢？

可持续发展、低碳、绿色、健康环保智能化的建筑无疑是21世纪建筑的发展趋势。不久前在浙江省长兴竣工的由德国建筑师 Peter Ruge 教授设计的朗诗布鲁克被动房酒店，让我们看到了今天中国的建筑设计已经由批量设计生产方式逐步迈向多元化与生态化的转型间隙中，一种作为潜能存在的建筑思潮已经冉冉升起。先目睹一下有关的报道：

朗诗长兴研发基地规划设计是著名的中国房地产开发集团朗诗集团的旗舰项目，其位于太湖湖畔，占地近4万m2，朗诗集团将在该基地尝试建设各种类型的节能建筑予以学习借鉴。

在规划设计之前根据甲方的使用要求，设计师 Peter Ruge 以及其团队通过前期详细的多方位建筑物理模拟，得出准确的规划设计参数。例如：朝向、采光、能耗优化、自然通风等数据。结合当地城市发展状况、自然景观特色、规划法规条例，通过建筑功能的合理布局，完善区域交通流线，最终呈现出一个美观、实用、节能、可持续发展的生态区域规划设计。基地内包括办公、实验、居住、餐饮等含有不同使用功能的建筑。其中布鲁克被动式酒店为长兴研发中心的核心项目。该酒店大楼共计五层，建筑面积约2500平方米，由36间一室的员工公寓、6间两室的行政套房和4间三卧室的样板公寓组成。被动式建筑设计的团队这样描述他们的建筑：由于长三角地区恶劣的气候条件（夏热冬冷）。我们不得不在前期详尽的建筑物理模拟后开始考虑在建筑设计上有可能地扬长避短，通过设计来提高建筑的节能环保及居住品质。

为了能够使入住客人拥有一个良好的视野及优质的采光条件，我们全部的南向窗户均采用了大尺寸落地窗，精确的遮阳设计使得夏季直射阳光被遮挡，冬季阳光反而可以照进室内，温暖房间。高度绝缘的被动式外围护设计及精确的无冷桥节点设计有效保证了建筑自身的能耗损失，外立面彩色陶棒的设计运用，不仅美化了立面视觉效果还对建筑物的外墙起到了很好的保护作用，使其免受强烈日光的伤害。由于布鲁克项目设计参数达到德国被动房标准，因此其夏季房间内温度在不采取主动制冷的措施下不会超过26℃，冬季不会低于22℃。达到恒温、恒湿、恒氧。此外，通过多重过滤新风系统24小时不间断提供新鲜空气，可以过滤PM2.5 超过90%。与中国普通住宅建筑相比，被动式房屋可以节省95% 的能耗。从上面的报道中我们可以发现，建筑在今天已经在空的状态下转化为体验与过程。Peter Ruge 在他设计理念中曾提到：个体规范构成了策略，策略定义了个体规范。自然而然。因此我们在新的设计无法忽略在建设项目的最小解决方案与现有的最大经验中寻求平衡点。关于这一点，在杭州重型机械厂的（INH）建筑遗产改造与保护中，Peter Ruge 的设计理念得到体现：在未来打造的新天地（INH）空间中心区域，保留通高原有敞开的中央空间，并设置两个白色闪光的椭圆球体，椭圆球体的结构形式与原有工业建筑的结构形式形成了鲜明的对比，两个球体像是悬浮于空中，犹如两朵球状的白云，轻盈飘逸。在视觉上融合为一个整体的空间，球体顶部设置空中花园，下部穿透道路两侧的玻璃墙悬挑于永福桥路上方，远望上去，球体的连廊与空中花园错落跌宕，一个细腻精致，一个粗犷豪放。所谓的建筑结构在此时已被忘记。扑面而来的则是视觉动力的演绎与艺术效果的呈现。放弃了功能上的刻意追求，得到却是空间的诗意。

在这里，平衡的原则又一次让我们想起了老子的“虚无空间”。因为只有在虚无的空间，一切经验才可以被接纳。而这种经验是流动，是穿越，是有形与无形。空间在被动的主动经验下，一次又一次在“有无”之间开展人性的体验与感悟的对话，在这里，质料与空不是各自孤立的，而是涌动的美学与文化相互拥抱的狂欢。正如柯布西耶（Le Corbusier）在《走向新建筑》这本书里写道：

清晰地表述一个作品，赋予生动的统一性，使之具有一个基本的姿态与特性：这就是纯精神的创作……小客厅、厕所、散热器、钢筋混凝土、拱顶或尖拱等等等等。这些都是构筑，不是建筑。建筑只有在产生诗意的时刻才存在。柯布西耶这句话与哲学家海德格尔（Martin Heidegger）同出一辙，即：“当人安然栖居时，大地便成为大地”。

在结束这篇短文时，布鲁克被动式酒店已经开业，业内的设计师们纷纷前去观摩，此时此刻，我不知道他们每个人在想什么，但有一个问题始终将摆在所有建筑师面前：“建筑到底是什么？”

老子似乎已经答复了此问题，但似乎又将此问题再次留给我们，这或许就是空无在当下，在未来，我们必需进行的遐思与体验。

The thirty spokes unite in the one nave； but it is on the empty space （for the axle）， that the use of the wheel depends. Clay is fashioned into vessels； but it is on their empty hollowness， that their use depends. The door and windows are cut out （from the walls） to form an apartment； but it is on the empty space within， that its use depends. Therefore， what has a （positive） existence serves for profitable adaptation， and what has not， that for （actual） usefulness. ------Translated by James legge

The above text was from laozi ‘s "dao de Jing" Chapter 11. There are various versions of comments and insights about this sentence in history， but in general， it is basically a debate between "virtual" and"real"， and between "being" and "non-being".

In response to the variety of comments by different experts， Mr. Hou Youbin has given a detailed explanation in his book "The Principals of Chinese Architecture". Mr. Hou Youbin cited a number of versions from different periods，with particular reference to the famous greek philosopher Aristotle， who had a famous theory of "Four Causes". He pointed out that the causes of change or movement can be categorized into four fundamental types： material cause，formal cause， moving cause and final cause. And he put formal cause， moving cause and final cause together， referred to as "form." Aristotle said： “Things are constituted by material and form， the material is the original base of things， the form is its structure. Form is the essence of things. because in the absence of form， material is only potential existence which can hardly become reality”.

As lan Xibing wrote in his book "Interpretation of laozi”， laozi's notion of "being" and "nonbeing" is similar to Aristotle's ideas of "potential" and "reality”，"material" and "form". According to laozi's ideology， everything consists of two aspects， namely "being" and "non-being." "What has a （positive） existence serves for profitable adaptation， and what has not， that for （actual） usefulness." "being" is the potential， is the "material". Without "non-being"， the "being" cannot achieve， so that "non-being" creates the meaning of "being".

As sun YiKai interpreted in his book "general Theory of laozi”， laozi did not address the sequence of "being" and "non-being”. The problem is not which one is major and which one is minor； instead， he described "non-being" as the essence of things. From his "dao de Jing"， without the hollow， there is no nave，but only some wood； without the hollow， there is no cup， but only mud； without the hollow， there are no living spaces， but only bricks. It is the hollow， which makes the wood into a hub of wood， which makes clay into a cup， makes bricks into houses. laozi said that the "non-being" is not nothing， but the essence of things. Essence is invisible； it is the same thing as "being". The material to be used "has a （positive） existence that serves for profitable adaptation"； whereas "non-being" is the essence of things， the different nature of things is manifested through different functions，"that which has not， has that which is for （actual）usefulness." In other words， "non-being "is different way of function.

As a result， we can sum it up in this way： if there is no essential meaning of the building， there is just a pile of concrete. As Frank lloyd Wright stated： "The essence of buildings is the space for human habitation." It is the "empty" which forms the space known as "house" instead of nothingness. "Empty" is the essence of things. Thus， the "empty" is actually a form of architectural modality. And this form must be in the "empty" before being able to purify and spread to the soul. It is not the accumulation of material that determines the nature of the building； it is the essence of things that determines the structure. Material exists due to the demands of structure.

The requirement for the "empty" informs the selection and usage of materials. And this is a kind of longing of humanity for the purification of the natural soul.

Today the building has been transformed from a symbol of power towards a fragmentation of regress — the return to the natural character of human beings. To eliminate unnecessary space is also to choose a realm of thought and a mental state. The flow of order and space makes the "virtual" space an aesthetic detail to explore — it has become the most important contemporary problem that architects need to think about and solve.

Therefore， we can understand it in this way： "being" is the building material；"non-being" is the existence of the building. This is what we often say： spaces between walls constitute a building. Japanese architect sHIn TAKAMATsU has stated： “Architecture is calligraphy， its power is not in the structure， but depends on the spaces”.

Today， architectural design， if it is only done to satisfy the simple aim of function， and the form of the building is determined in this way， this cannot be the building which embodies the spirit of the times.

so， what is the desirable way of building that embodies the spirit of the times？

sustainable development， low-carbon， green， healthy environment， intelligent building： these are undoubtedly the development trends of architecture in the 21st century. Finished recently， Changxing Passive House bruck， designed by german architect Professor Peter Ruge， can be seen as an example of a trend that building design nowadays in China is in a transition gap， a gap which has gradually changed from quantity construction to diversification and ecological design. Here is a potentialarchitectural idea that has already arisen.

The planning and construction of an R&d base is a flagship project of the wellknown Chinese real estate firm landsea development group. It is located on Tai lake， and covers an area of nearly 40，000 m2. landsea group has constructed various types of energy efficient buildings at the base to be learned from as a reference.

According to the requirements of the client， Peter Ruge and his team began by making preliminary detailed multi-faceted building physics simulations to achieve accurate planning and designparameters. For example： orientation，day lighting， energy optimization， natural ventilation and other data were examined. Integrated with the local urban development， natural landscape features， planning laws and regulations， the rational distribution of functions of the building improve regional traffic flow lines， and in the end demonstrate a beautiful， practical， energy saving， eco-regional sustainable development planning.

The R&d centre in Changxing， where the Passive House bruck is the core project， includes offices， laboratories， living， dining and other functions with different architectural uses. The five-storey bruck apartment complex accommodates， in approximately 2，200 m2， 36 one-room staff flats， 6 two room executive suites and 4 three-bedroom model apartments. The design team of Passive House bruck describes their building like this： “due to local weather conditions of the Yangtze River delta region （hot and humid in summer and cold in winter）， after we had made early detailed physics simulations， we started to think about how we could improve the quality of the living environment and the energy-efficiency of the buildings. In order to have good vision and to ensure the quality of lighting conditions， all south-facing windows are large floor-to-ceiling windows. The precise shade design blocks direct sunlight in the summer， but in winter the sun can shine in to warm the room. The highly insu-lated exterior envelope of passive design， precise and without a cold bridge node， effectively guarantees very little own energy loss，The façade design， using colored ceramic rods， not only beautifies the façade'svisual effects but also gives very good protection to the façade from strong sunlight. since the parameters of the bruck project meet the german passive house standards， in summer the room temperature， without cooling measures，does not exceed 26°C， and in the winter is not lower than 22°C. The building has achieved essentially constant temperature， humidity and oxygen supply. In addition， through a multiple filtration air system 24 hours a day to provide fresh air， it can filter PM2.5 over 90%. Compared with ordinary Chinese residential construction， passive houses can save up to 95% of energy consumption.”

From the above description， we can see that the building has been transformed from the empty state to the experience and the process. Peter Ruge said once in his design philosophy： “The individual criteria form the strategy and the strategy defines each criterion. Close the eyes and the light goes on. Therefore， we cannot ignore， in new design projects， the balance between the smallest construction problems and existing solutions.

On this particular point， for the renovation and protection of the architectural heritage of a heavy machinery plant （InH） in Hangzhou， the design concept of Peter Ruge has generated two white flush oval spheres， set above the previous central open space. The structure of the new oval spheres forms a strong contrast to the existing industrial building. The two spheres are suspended in the air， as two clouds， light and elegant.

On the top of the spheres， there is a roof garden and below them， a glass wall suspended along Yongfu bridge Road. When seen from far away， the corridor of the spheres and the roof garden are refined to a delicate outline.

The so-called architectural structures have been forgotten by this time. Instead the emphasis is on visual effects and artistic interpretation. This design has abandoned the deliberate pursuit of function， to get at its poetic space.

Here， this balance principle reminds us again of laozi‘s „nothingness of space.“ because of the nothingness of space， all experience can be accepted. And this experience is flow， is tangible and intangible. spaces， in the passive/ active experience， again and again start a dialogue between "being“ and "nonbeing“， about experience and the perceptions of humanity， where material is not isolated with emptiness， but integrated with aesthetics and culture. As le Corbusier wrote in his book Towards a new Architecture “Clearly expressed in a work， giving vivid unity， so that it has a basic attitude and character. This is a pure spirit of creation small living room， toilet， sink， reinforced concrete vault or pointed arches， …” These are constructed， not a building. building exists only after it has its own meaning of concept. The statement of le Corbusier and the sentence of philosopher Martin Heidegger are almost the same： „When people dwell safely， and the earth will become the earth.“

by now， Passive House bruck has opened to visitors， and the designers of the architecture industry have come to view it. At this moment， I do not know what they are thinking， but there is always the same problem， and it will always be placed before all architects： „In the end what is architecture？“

laozi seems to have responded to this problem， but the problem seems to leave us again. Perhaps thisis a moment of emptiness， and we must dream and experience in the future.

杭州新天地工厂改造室内效果图 Hangzhou Xintiandi Factory Interior Pespective