羅布·格雷戈里/Rob Gregory

司馬蕾 譯/Translated by SIMA Lei

“感知空間：建筑之重新想象”展覽裝置

The installations of Sensing Spaces: Architecture Reimagined

羅布·格雷戈里/Rob Gregory

司馬蕾 譯/Translated by SIMA Lei

1 裝置，阿爾瓦羅·西扎/Installation by álvaro Siza（攝影/Photo: James Harris,圖片來源/Image courtesy: Royal Academy of Arts）

阿爾瓦羅·西扎 | álvaro Siza

在安納伯格庭院中放置著葡萄牙建筑師阿爾瓦羅·西扎的展覽裝置。該裝置是由3種元素構(gòu)成的：一根倒下的柱子，旁邊放置著它的頭部，也就是“柱頭”；一根豎立著的柱子；以及一根帶有柱頭的柱子。建筑師初次來到這一場(chǎng)地時(shí)，他發(fā)現(xiàn)從皮卡迪利大街一側(cè)的柱廊看伯靈頓大廈外墻時(shí)，片段式的建筑元素能讓人回想起原始柱子的形態(tài)，這讓他深受啟發(fā)。這些柱子標(biāo)識(shí)著主要流線的起點(diǎn)和終點(diǎn)，形成筆直的中軸線，聯(lián)系起街道和展廳：軸線穿越庭院、沙龍、樓梯、玄關(guān)和中央大廳，一直通往放有西扎的長(zhǎng)期工作伙伴艾德瓦爾多·蘇托·德·莫拉的兩件裝置展品的6號(hào)展廳。而作為兩者間的聯(lián)系，蘇托·德·莫拉的展品中獨(dú)自站立著的室內(nèi)拱門，以及西扎的作品中4.8m高的柱子都使用了預(yù)制混凝土。但是，和蘇托·德·莫拉的作品使用的常見的硅酸鹽水泥的灰色不同，西扎在看到庭院柱廊前開過的黃色巴士時(shí)，受到巴士帶來的一抹色彩的影響，在作品中加入了黃色的元素。

阿爾瓦羅·西扎認(rèn)為，創(chuàng)造建筑開始于場(chǎng)地上既有的東西，而在描述他自己的作品時(shí)，這位葡萄牙建筑師常?；貞浧鹚麑?duì)既有的場(chǎng)地產(chǎn)生的強(qiáng)烈的情感反應(yīng)，以及當(dāng)?shù)剡^去的歷史和傳統(tǒng)。在這次的作品中，他的這種與場(chǎng)地協(xié)調(diào)和個(gè)人情感反應(yīng)的特質(zhì)集中反映在皇家藝術(shù)學(xué)院和學(xué)院外的城市之間的空間關(guān)系上——安納伯格庭院不僅充當(dāng)了兩者之間的過渡，也突顯了這一關(guān)系的重要性。分成3塊的展品同時(shí)也顯示了對(duì)連貫性的考慮，這既體現(xiàn)在對(duì)建筑歷史的理論連續(xù)性上，也體現(xiàn)在場(chǎng)地上實(shí)體的連續(xù)性上。因此，這些元素不僅遵從了柱子的原始形式，成為極具自我風(fēng)格的抽象形象，同時(shí)也與現(xiàn)狀空間混合在一起，形成廣場(chǎng)上以雕塑形式存在的室外展廳。這些裝置同時(shí)也成為了指引主要展廳位置的路標(biāo)，而這也是西扎希望的——他希望展品能夠激發(fā)參觀者對(duì)場(chǎng)所的回想，而不僅僅是與蘇托·德·莫拉的拱門形成對(duì)比而已。這些柱子也調(diào)和了人們離開展廳和庭院時(shí)的過程——通過建筑師在皇家藝術(shù)學(xué)院建筑附近加入的反應(yīng)城市生活色彩的元素，來幫助參觀者迅速地回到城市的領(lǐng)域中去。

Located outside in the Annenberg Courtyard,the installation by Portuguese architect álvaro Siza consisted of three elements; a column lying down with its head or "capital" beside it,another standing upright,and a third with its capital in place Inspired by the architect's first response to the site,when he was struck by the presence of the Burlington House facade as seen through the archway from Piccadilly,these fragments refer back to the birth of the column They also mark the beginning and end of an important route that sets up a straight axis,linking street with gallery - via courtyard,salon,staircase,vestibule and Central Hall - and terminating in Gallery VI with the first of two installations by Siza's lifelong collaborator,Eduardo Souto de Moura Presented as a shared response,like Souto de Moura's freestanding internal door cases,Siza's 4.8-metre-tall columns were also made with precast concrete However,unlike the ordinary Portland cement grey of his colleague's sculptures,Siza chose to use an embedded pigment in yellow,inspired by a flash of colour seen as a yellow bus drove past the courtyard's archway.

álvaro Siza states that to make architecture is to start with what is already there,and when describing his own work,the Portuguese architect often refers to what he recalls as being his deep emotional response to any given site,and its existing history and traditions In this case,that highly attuned and personal reaction focused on the relationship between the Royal Academy and the city beyond - a relationship that is celebrated and mediated by the presence of the Annenberg Courtyard The three-piece sculpture also reflected his interest in continuity,both in terms of the theoretical continuity of architectural history and the physical continuity of place As such,the elements not only became abstract figures in their own right - tracing the birth of the column and combining to create a sculptural entity that occupies the courtyard as a type of external gallery They also formed a series of signposts to what lay within the Main Galleries,which Siza hoped would activate visitors' memories rather than simply draw visual comparisons with Souto de Moura's door cases The columns also mediated the process of leaving the gallery and courtyard as visitors effectively re-entered the realm of the city,with the architect's choice of colour bringing elements of street life in closer proximity to the architecture of the Royal Academy

艾德瓦爾多·蘇托·德·莫拉 | Eduardo Souto de Moura

在2號(hào)和6號(hào)展廳中，有兩個(gè)與皇家藝術(shù)學(xué)院中原有的拱門一模一樣的門，形成了原有物與復(fù)制物之間的張力感。這兩個(gè)拱門獨(dú)立地矗立著，與原有門廊呈45°相對(duì)，高3.5m，用超性能鋼筋混凝土（UHPRC）筑造而成。由于使用了精密的預(yù)制模具，這一先端的混凝土制品可以精確復(fù)制正品的所有細(xì)節(jié)，連0.2mm的淺浮雕都能被完美地重現(xiàn)。盡管門框的組成和建造看似十分簡(jiǎn)單，實(shí)則使用了先進(jìn)的采用有限元分析方法的電腦軟件，來計(jì)算這一30mm厚的混凝土框架如何能在沒有支撐墻體的情況下站立，以及在受到?jīng)_擊的情況下的受力情況。

葡萄牙建筑師艾德瓦爾多·蘇托·德·莫拉清楚地指出，他設(shè)計(jì)的裝置本身并不是建筑。相反地，他認(rèn)為這一作品是雕塑，是建筑的映射，是“建筑”這一詞語字面上和實(shí)質(zhì)上的意義的片段性反映。通過對(duì)這兩個(gè)學(xué)院中既有拱門（兩道大理石拱門都位于中軸線上，而木質(zhì)方門位于次軸線上）的復(fù)制，蘇托·德·莫拉不僅僅在形式上反映了展廳的建筑形式，也通過這兩道新裝置讓參觀者深刻地意識(shí)到微妙的空間感受——包括人們平時(shí)并不留意的尺度感、軸線、空間范圍和過渡。建筑師沒有選擇其他展廳中最常見或是特別的建筑元素，這是因?yàn)樵谡箯d的日常使用中，許多人都會(huì)穿梭于各個(gè)房間之間，卻并不會(huì)留意走過的學(xué)院拱門上細(xì)微的空間細(xì)節(jié)。

為此，蘇托·德·莫拉新設(shè)立的拱門脫離于墻體之外，讓穿越門洞時(shí)感受到的材質(zhì)和幾何變化能形成更現(xiàn)實(shí)的體驗(yàn)。這也讓參觀者能更有意識(shí)地體會(huì)到行為和空間轉(zhuǎn)變帶來的情感變化，也幫助人們更能注意到無論是皇家藝術(shù)學(xué)院的展廳中，還是廣義的建筑中構(gòu)成空間的界限和范圍的建筑元素。因?yàn)榻ㄖ熎鋵?shí)并不能真正地憑空創(chuàng)造空間，蘇托·德·莫拉認(rèn)為這些空間的限制、邊界和范圍是建筑師定義空間的主要手法。而在這些要素得到明確后，建筑師也就為我們的空間體驗(yàn)定義好了界限。

艾德瓦爾多·蘇托·德·莫拉這樣評(píng)論他的作品：“首先，我的門不是建筑，它們是雕塑。其次，我認(rèn)為它們很優(yōu)雅。此外，當(dāng)你跨過這些門檻時(shí)，你也許會(huì)體會(huì)到一種感覺或是一絲情緒。第四，這一作品也很有理性?！?/p>

Situated in Galleries II and VI,these two replica door cases were precise facsimiles of those in the Royal Academy and played on the tensions that exist between original and copy Freestanding and set at a 45-degree angle to their predecessors,these 3.5-metre-high structures were made from ultra highperformance reinforced concrete (UHPRC) Cast in precision-made joinery moulds,this advanced concrete product allowed even the finest detail of the door cases to be replicated,with a relief as shallow as 0.2mm being perfectly formed Despite their apparently simple composition and construction,cutting-edge finite-element analysis was run using computer software to predict how the 30-mm-thick concrete frame,without the aid of a supporting wall,would perform structurally and react in the event of impact.

Portuguese architect Eduardo Souto de Moura states clearly that his installations were not in themselves works of architecture Instead,he describes them as sculptures,which he sees as reflections of architecture; an assertion that draws on both the literal and notional meaning of the word reflection By making copies of two of the Academy's existing door cases (both the marble arch that occupies the main axis and the timber square door frame which runs in the secondary axis),Souto de Moura was not only reflecting the gallery's architectural detail in physical form,but was perhaps more profoundly providing two new architectural devices that caused the visitor to become aware of and to reflect upon subtle spatial notions - of scale,axis,threshold and transitionthat may have been otherwise overlooked Despite forming the gallery's most consistent and prominent architectural element,in the day-to-day use of the galleries many people typically move through the enfilade of rooms apparently unaffected by the spatial nuances of passing through the Academy's door frames.

In response to this,Souto de Moura's new freestanding door cases,which were disembodied and independent of the walls,imposed a material and geometric shift that made passing through the apertures a more present experience This gave visitors the opportunity to more consciously focus on the sensations associated with movement and transition,and helped to make them more aware of the architectural elements that form the limits and thresholds both inside the Royal Academy galleries and in architecture generally Souto de Moura considers these limits,edges and thresholds to be the architect's principle medium for defining space,underlying the fact that it is impossible for architects or architecture to actually create space As these pieces made manifest,architecture defines the limits of our spatial experiences.

"First,my doors are not architecture,they are sculpture Second,I think they are elegant Third,when you cross these thresholds perhaps you experience a sensation,an emotion Fourth,they are logical." Eduardo Souto de Moura.

2 裝置，艾德瓦爾多·蘇托·德·莫拉/Installation by Eduardo Souto de Moura（攝影/Photo: James Harris,圖片來源/Image courtesy: Royal Academy of Arts）

佩佐-馮·艾利赫夏森 | Pezo von Ellrichshausen

3 裝置，佩佐-馮·艾利赫夏森/Installation by Pezo von Ellrichshausen（攝影/Photo: James Harris,圖片來源/Image courtesy: Royal Academy of Arts）

此裝置由4個(gè)圓柱體和兩個(gè)箱體構(gòu)成，非常質(zhì)樸，并且使用了相當(dāng)原始的建筑語言。裝置具有優(yōu)美的沉靜感，第一印象上讓人感覺密不透風(fēng)，但其實(shí)每個(gè)支撐結(jié)構(gòu)的內(nèi)部都能通往上層漂浮著的箱體——4個(gè)圓柱體內(nèi)都設(shè)有的旋轉(zhuǎn)樓梯，同時(shí)，豎向的箱體內(nèi)也設(shè)有一個(gè)斜坡能通往上層。然而，裝置結(jié)構(gòu)的基本形式雖然簡(jiǎn)單，使用的木結(jié)構(gòu)卻干練而精準(zhǔn)，這些部件都是在裝船運(yùn)往倫敦前由建筑承包商在智利預(yù)先制造好的。而展品本身則繼承了建筑師對(duì)建筑藝術(shù)的標(biāo)志性的態(tài)度，用非常有限的材料和最基本的形式在展廳中制造出獨(dú)具紀(jì)念感的裝置，但其在與參觀者的互動(dòng)中又顯示出了親切和可觸摸的特質(zhì)。

智利建筑師組合毛里西奧·佩佐和索菲亞·馮·艾利赫夏森把這一裝置形容為架在4根巨大柱子上的小房間，并在設(shè)計(jì)中上體現(xiàn)了許多設(shè)計(jì)師長(zhǎng)久以來的思考。在過去所有的作品中，兩位設(shè)計(jì)師都拒絕追隨流行的新時(shí)尚，而是選擇他們認(rèn)為普通和熟悉的方式來設(shè)計(jì)，并認(rèn)為永恒的美是來自第一印象看上去非常簡(jiǎn)單而非復(fù)雜的建筑形式。這一包有木表皮的構(gòu)造物就具有簡(jiǎn)單的形式和樸實(shí)的細(xì)節(jié)，其尺度和比例都和展廳非常相符。出于建筑師對(duì)幾何形態(tài)的偏好，方盒子正好占據(jù)了展廳一半的空間，角點(diǎn)剛好對(duì)準(zhǔn)學(xué)院拱頂和天花的裝飾性結(jié)構(gòu)。這一結(jié)構(gòu)能給參觀者帶來3種完全不同的體驗(yàn)。首先是在平臺(tái)下方的共同體驗(yàn)，在此處，人們聚在一起或是在巨大的圓柱形柱子之間走動(dòng)。第二種是個(gè)人的感官體驗(yàn)——在斜坡或是樓梯上下時(shí)，參觀者對(duì)距離和時(shí)間的感知都得到了延續(xù)。最后則是爬到展廳上方的平臺(tái)上時(shí)的一種出乎意料的親近體驗(yàn)，在這里，參觀者和通常不能接觸到的拱頂天花間建立起了一種新的關(guān)系。

這一裝置讓人們能更接近19世紀(jì)的裝飾細(xì)節(jié)，并且建立起一種參觀者與學(xué)院的大環(huán)境間的新的空間關(guān)系，同時(shí)也為展廳提供了新的被俯視的形象，并讓空間通過從玻璃屋頂射入的光線與外面的世界聯(lián)系在一起。

4 裝置，佩佐-馮·艾利赫夏森/Installation by Pezo von Ellrichshausen（攝影/Photo: James Harris,圖片來源/Image courtesy: Royal Academy of Arts）

Comprising four cylinders and two rectangular forms,this installation was unadorned and apparently primitive in its architectural language Decoratively mute and on first impression impenetrable,each of the supporting structures provided access to the elevated box above,via four spiral stairwells,one in each of the cylinders,and a ramp that rose inside the vertical box However,the basic form of construction belied the refinement and precision of its timber structure,which was prefabricated by the architects' contractors in Chile,before being shipped in modules to London As an object in itself,the installation also exhibited the architects' trademark attitude to the art of building,working with a limited palette of materials and the most basic modes of construction to produce an installation that is monumental in relation to the gallery,but intimate and tactile in its engagement with the visitor.

Described by the Chilean architectural duo Mauricio Pezo and Sofia von Ellrichshausen as a small room elevated on four massive columns,this installation extended many of the designers' enduring preoccupations As with all their work,the pair rejected the pursuit of fashionable invention,choosing instead to take inspiration from what they refer to as the ordinary and the familiar,based on the premise that timeless beauty exists in forms of architecture that on first impressions often seem too simple to be sophisticated Simple in form and unadorned in detail,the timber-clad structure was composed in response to the scale and proportions of the gallery Exploring the architects' interest in geometry,the square form occupies exactly half of the gallery,and its points align precisely with the decorative structure in the Academy's vaults and ceilings The structure provides three distinct experiences for the visitor The first is a shared experience below the platform,where people can collectively gather around or move between the massive cylindrical columns The second is an individual and sensual experience,when ascending or descending the ramp or stairwells,which expands the visitor's perception of distance and time Finally the third is an intimate and surprising experience when elevated above the gallery on a platform,where a new relationship is established between visitors and the hitherto inaccessible ceiling vault.

This installation both brought people into closer proximity with the late nineteenth-century decorative detail and established a new spatial relationship between the visitor and the broader context of the Academy itself,simultaneously providing a new aerial view of the gallery,and setting this in context with the outside world through the glass roof light

隈研吾 | Kengo Kuma

5 裝置，隈研吾/Installation by Kengo Kuma（攝影/Photo: Benedict Johnson,圖片來源/Image courtesy: Royal Academy of Arts）

日本建筑師隈研吾設(shè)計(jì)的兩組裝置由一系列精美的構(gòu)造物組成，位于皇家藝術(shù)學(xué)院西廳的大小兩個(gè)展廳中。構(gòu)造物輕觸地面，由長(zhǎng)度經(jīng)過精心挑選的竹子制成，全部從京都進(jìn)口而來。這些竹材由長(zhǎng)至3～4年的竹子制成，并削成4mm直徑的竹絲，建筑師通過這種方法來保證竹絲能被彎曲成型。選擇竹材的原因同時(shí)也是因?yàn)橹褡幽芪詹⒕徛l(fā)出香味，在真空包裝裝船運(yùn)往倫敦之前，每片竹子都經(jīng)過帶有檜木（日本扁柏）或是榻榻米香味的液體浸漬。每片構(gòu)造物雖然脆弱，但相互構(gòu)成結(jié)構(gòu)上的平衡，形成重復(fù)的鉆石型模塊，每4組間成對(duì)地通過熱縮塑料套筒聯(lián)系在一起，并在相反方向上撐開。每個(gè)模塊都與地面相接，竹子被夾在高出地面的膠合板隱形盒子里，盒子里同時(shí)也藏著一些嵌入式的LED燈具。

秉承建筑師過去作品的風(fēng)格，這組裝置中也延續(xù)了隈研吾招牌式的對(duì)小塊木材的使用，并體現(xiàn)了他在運(yùn)用傳統(tǒng)和自然材料并使用新的營(yíng)造模式方面的能力。這組展品同時(shí)也顯示出他一貫的對(duì)于用最少的資源形成最復(fù)雜的效果的興趣。為此，他使用規(guī)則幾何形狀的竹棒來搭建出兩個(gè)完全不同、但又互相滲透的建筑形式，這一創(chuàng)意來自建筑師對(duì)小時(shí)候坐在蚊帳里的體驗(yàn)的回憶。然而，這里的構(gòu)筑物并不是一張網(wǎng)，而是通過懸吊和栓接形成張力，讓裝置能夠自承重站立，并通過菱形單元彎曲組成的蜿蜒矩陣，同時(shí)構(gòu)成形式感和結(jié)構(gòu)支撐。

兩個(gè)裝置中的一個(gè)被稱為“亭子”，另一個(gè)被稱為“洞穴”，進(jìn)入西側(cè)展廳的參觀者會(huì)先看見其中一個(gè)，再進(jìn)入另一個(gè)，與建筑的關(guān)系從旁觀者轉(zhuǎn)為參與者，對(duì)建筑的理解也從一個(gè)物品過渡為一個(gè)設(shè)置好的構(gòu)造物。而在常規(guī)展廳的一端，洞穴形成了一個(gè)盡頭，讓空間顯得更為深邃，感覺上也從動(dòng)態(tài)空間過渡到了靜態(tài)空間。當(dāng)光線變暗時(shí)，人的眼睛會(huì)隨之變化，難以聚焦，注意力從前景的細(xì)節(jié)轉(zhuǎn)移至深邃的背景，而我們的嗅覺能力則開始提升，開始察覺出檜木和榻榻米的香味。

隈研吾這樣談他的作品： “我們?cè)趦蓚€(gè)不同的空間內(nèi)建造了兩個(gè)不同的建筑。一個(gè)是‘真實(shí)的建筑’，或者說‘父親的建筑’，而另一個(gè)是‘架空的建筑’，或者說是‘母親的建筑’。父親的建筑佇立在空間中央，充滿了檜木的香味。母親的建筑則像繭一樣包裹你的身體，內(nèi)部充滿了榻榻米的味道。”

6 裝置，隈研吾/Installation by Kengo Kuma（攝影/Photo: James Harris,圖片來源/Image courtesy: Royal Academy of Arts）

The two installations by Japanese architect Kengo Kuma comprised a pair of delicate structures that occupied the Royal Academy's Large and Small Weston Rooms Touching the floor lightly,the structures are made from carefully selected lengths of bamboo,imported especially from Kyoto in Japan Matured for between three to four years and whittled to a diameter of 4mm,this material was chosen by the architect to exploit its capacity to be bent into shape It was also chosen for its ability to absorb and slowly release scent,each piece being impregnated with the liquid scent of Japanese Cyprus or Tatami,before being vacuum-packed and shipped to London Fragile,yet held in structural balance,each structure was made up from a repeated diamond-shaped module,formed by four lengths of bamboo bound together in pairs by sleeves of heat-shrinkable plastic and pulled apart in opposing directions Where each module touched the floor,the bamboo was clamped in hidden pockets set within a raised plywood floor,which also provided space for a number of recessed LED light fittings.

Consistent with much of his work,this installation extended Kuma's trademark use of small sections of timber,and his ability to combine traditional,natural materials with innovative modes of construction It also demonstrated his ongoing interest in how to achieve the maximum effect with the minimum use of resources To this end,he combined a regular geometry of bamboo rods to create two distinct permeable figures that are analogous with the architect's recollection of sitting inside a mosquito net as a child However,unlike a net,which finds its form when hung and tethered in tension,these freestanding structures were selfsupporting,and gained both formal and structural stability by being bent into a sinuous matrix of regular diamond-shaped cells.

With one assembly described as "pavilion" and the other as "cave",visitors to the Weston Rooms observed one before entering the other,shifting their relationship to the work from viewer to participant,and translating their understanding of the structure as an object to the structure as a setting Located at the end of the gallery's formal suite of rooms,the cave formed a dead-end and becomes a place of even deeper contemplation; a static space that is rendered dynamic to the senses As light levels drop,one's eyes are forced to shift in and out of focus,jumping from foreground detail to background abyss as our sense of smell heightened to detect the aromas of Japanese Cyprus and Tatami.

"We built two houses in two different spaces One is “architecture of reality",or "architecture of a father",whereas the other is "architecture of void" or "architecture of a mother" The father's construction stands alone in the space and is filled with the aroma of Hinoki (Japanese Cypress) The mother's structure is a cocoon that wraps your body and is full of Tatami smell.' Kengo Kuma.

迭貝多·弗朗西斯·凱雷 | Diébédo Francis Kéré

7 裝置，疊貝多·弗朗西斯·凱雷/Installation by Diébédo Francis Kéré（攝影/Photo: James Harris,圖片來源/Image courtesy: Royal Academy of Arts）

由非洲建筑師迭貝多·弗朗西斯·凱雷設(shè)計(jì)的這一裝置被形容為房間中的房間，裝置具有玻璃酒杯形的曲線結(jié)構(gòu)，位于學(xué)院放射形的矩形房間之外，連接起兩個(gè)展廳，讓人們能匯聚到這一親切的洞穴般的空間中來。凱雷設(shè)計(jì)的這一拱形結(jié)構(gòu)由60mm厚的蜂窩塑料板建造，體現(xiàn)了建筑師對(duì)容易取得并具有高適應(yīng)性的材料的興趣。這種德國(guó)產(chǎn)的穿孔塑料板材料通常用于建筑結(jié)構(gòu)，但僅僅是作為門和墻體后的墊層，而在這個(gè)設(shè)計(jì)中，建筑師發(fā)現(xiàn)了材料的新的可能性。凱雷采用了新方法來讓這種材料提高其與人的互動(dòng)性和適應(yīng)性——參觀者能將所提供的色彩明快的塑料吸管自由穿插在蜂窩結(jié)構(gòu)的孔洞里，從而為本身單調(diào)的結(jié)構(gòu)帶來不斷變化的彩色表皮。

作為一個(gè)常常將社區(qū)作為其設(shè)計(jì)的重點(diǎn)，同時(shí)將其工作職責(zé)延伸至社會(huì)活動(dòng)家、募捐召集人和建造者的建筑師，凱雷的裝置能讓參觀者參與互動(dòng)其中并對(duì)其產(chǎn)生影響，這一點(diǎn)兒也不出乎意料。因?yàn)榻?jīng)常在有特殊問題的社區(qū)工作，凱雷堅(jiān)信建筑具有真正的激發(fā)人們改變的潛力。也因?yàn)檎J(rèn)識(shí)到了每個(gè)人都有通過建筑激發(fā)其創(chuàng)造力的需求，凱雷認(rèn)為他的主旨是創(chuàng)造讓人隨意地聚集在一起的舒適的空間，并且?guī)椭鐓^(qū)找到改變的方法。為此，他創(chuàng)造出了既是展品本身又構(gòu)成周邊環(huán)境的構(gòu)造物。這一對(duì)象具有獨(dú)立的形式，在展廳中形成新的焦點(diǎn)，并超越構(gòu)造物自身形式成為展品所在的背景。構(gòu)筑物的內(nèi)部則形成了一個(gè)新的供人相遇和坐下停留的地點(diǎn)，而更關(guān)鍵的是能讓人們與建筑互動(dòng)和互相適應(yīng)——每個(gè)參觀者都受邀在展品中留下自己作為個(gè)人和集體的印記。

“當(dāng)你改變一個(gè)建筑時(shí)，你也成為了它創(chuàng)造出的一部分?！苯ㄖ熯@樣說。

8 裝置，疊貝多·弗朗西斯·凱雷/Installation by Diébédo Francis Kéré（攝影/Photo: Benedict Johnson,圖片來源/Image courtesy: Royal Academy of Arts）

Described as a room within a room,this installation by African architect Diébédo Francis Kéré interrupted the Academy's enfilade of rectangular rooms with a curvaceous wineglassshaped form that linked two galleries and funnelled people together into a more intimate cave-like space Forming an arch made up of a matrix of 60mm thick honeycomb plastic panels,Kéré's construction extended his interest in working with ready to hand and adapted material In this instance,he found new potential in perforated plastic sheets from Germany,typically used in construction,but hidden within doors and walls as fillers Kéré's specification of this material provided a mechanism for interaction and adaptation,with visitors being offered brightly coloured plastic straws to thread through holes in the honeycomb structure and thereby adorn the otherwise monochromatic cocoon with an everchanging cloak of colour.

For an architect who places community at the heart of his work,and whose role often extends to that of activist,fundraiser and builder,it comes as little surprise that Kéré's installation relies on the engagement,interaction and contribution of the gallery visitor Often working with communities that have experienced particular hardship,Kéré adheres to the belief that architecture has the potential to genuinely inspire change Recognising the need that exists in everyone to have buildings that enhance their creativity,Kéré states that his main aim is to create comfortable spaces for informal gatherings,and to help communities build their own inspiration To this end,he created a structure that is both object and context; object in the sense that the structure is an autonomous form that creates a new focus within the gallery setting,and context in how that form does much more than serve its own end He created at its heart a new place to meet,to sit,and most crucially a place that became a focus of interaction and adaptation,as each visitor was invited to leave their mark both as an individual and collectively.

"When you change a building you become part of its creation." Diébédo Francis Kéré

李曉東 | LI Xiaodong

9 裝置，李曉東/Installation by LI Xiaodong（攝影/Photo: James Harris,圖片來源/Image courtesy: Royal Academy of Arts）

10 裝置，李曉東/Installation by LI Xiaodong（攝影/Photo: Benedict Johnson,圖片來源/Image courtesy: Royal Academy of Arts）

不同于本次展覽中的其他裝置，由中國(guó)建筑師李曉東設(shè)計(jì)的這件作品在視覺和體驗(yàn)上并不是空間中的物品。相反，它建立在經(jīng)過庭院、宮殿、大階梯和美術(shù)展廳的連續(xù)體驗(yàn)之上，同時(shí)，在熟悉的路線中加入了一個(gè)新的迷宮般的空間。木框架中填充了矮林的小樹枝（矮林是一種不用重新種植就能有效地快速培育環(huán)保木材的方法）。丙烯酸的墊高地面中嵌入了LED燈， 沿途有著膠合板制成的壁龕點(diǎn)綴，而線路的終點(diǎn)是李曉東稱為禪院的空間。庭院的地板上鋪著鵝卵石，形成參觀路線的最后一個(gè)場(chǎng)景，建筑師將其形容為“在雪夜穿越林?！?。

中國(guó)的一些著名的建筑，例如紫禁城，都是通過創(chuàng)造一系列的空間體驗(yàn)而非建造一組互相獨(dú)立的建筑來布局。李曉東在形容他的作品時(shí)也提到了中國(guó)的哲學(xué)，他認(rèn)為，他的作品在塑造能讓參觀者發(fā)揮想象力的空間以及創(chuàng)造優(yōu)質(zhì)的物質(zhì)體驗(yàn)上，采用的是無形、而非有形的手法。這就是他所指的與通常空間體驗(yàn)的不同之處：你被空間吸納其中，目睹空間之象，卻神游其外。在這個(gè)空間中，參觀者們踏上了尋找和感知他們行走路線之外的另一個(gè)世界之旅，并與之互動(dòng)。他們能夠從窄窄的通道和近處的壁龕中體驗(yàn)到不同的空間，最后則到達(dá)寬闊的禪院。如同中國(guó)的畫卷一般，這是一種通過慢慢的移動(dòng)和時(shí)間的推移來緩緩展開故事的手法。建筑師希望能夠藉此引起參觀者的好奇心并對(duì)他們產(chǎn)生影響，讓他們能在倫敦得到逃避現(xiàn)實(shí)的片刻，并在體驗(yàn)的最后通過禪院來感受到智慧和靈性。

李曉東說：“西方的建筑師從透視的角度設(shè)計(jì)建筑，認(rèn)為建筑是被從外部看的物品，而中國(guó)的建筑師認(rèn)為建筑應(yīng)該是從內(nèi)部體驗(yàn)的東西?！?/p>

11 裝置，李曉東/Installation by LI Xiaodong（攝影/Photo: Benedict Johnson,圖片來源/Image courtesy: Royal Academy of Arts）

Unlike the other installations in this exhibition,this piece by Chinese architect LI Xiaodong was not seen or experienced as an object in space Instead,it built upon the sequential experience of visiting the Academy-via courtyard,town-palace,grand staircase and Beaux-Arts gallery-by adding a new maze of spaces to an otherwise familiar route Experienced as a choreographed one-way route,the timber frame was in-filled with small sections of coppiced timber (coppicing is an effective method of growing sustainable timber fast,without the need to replant) An acrylic raised floor was illuminated by LEDs,and plywood-lined niches provided accents along the route,culminating in a space that LI Xiaodong describes as a Zen garden Complete with pebbles on the floor,this space was presented as the final scene on a route that the architect likens to "a walk through a forest in the snow at night".

There are well-known Chinese examples,such as the Forbidden City,which was laid out to be experienced as a sequence of spaces rather than a collection of individual buildings LI Xiaodong also draws on Chinese philosophy when describing how this work focuses on the intangible rather than the tangible,in order to allow room for the visitor's imagination to help create a satisfying physical experience This he states is "the fundamental difference between 'being present' in a space,where you are absorbed within it,and looking at images of a space,where the mind is detached." In this place,visitors are invited on a journey of discovery and to sense that alternative worlds run alongside their path and intersect with it They can experience the different spaces,from the narrow passageways and intimate niches,to the expansive Zen garden Likened to a Chinese hand scroll,this was an unfolding story that was best moved through slowly and appreciated over time The architect intends this to arouse curiosity and generate impact,to create a moment of escapism from London; an experience that ends in a Zen garden,which represents clearsightedness and inspiration.

"Western architecture develops from perspective,with the building as an object to be looked at from without,while Chinese architecture develops from the idea that the building is something to be experienced from within." LI Xiaodong

格拉夫頓建筑師事務(wù)所 | Grafton Architects

12 裝置，格拉夫頓建筑師事務(wù)所/Installation by Grafton Architects（攝影/Photo: Benedict Johnson,圖片來源/Image courtesy: Royal Academy of Arts）

格拉夫頓建筑師事務(wù)所的這一展品，由謝利·麥克納馬拉和伊馮娜·法雷爾主持設(shè)計(jì)。裝置漂浮在9號(hào)展廳和演講廳之上，懸吊在頂燈之下。為了創(chuàng)造出相鄰房間之間的強(qiáng)大的空間張力以及不同光線下的場(chǎng)景，建筑師設(shè)計(jì)了兩組完全不同的裝置。因?yàn)樵O(shè)計(jì)只針對(duì)屋頂燈光，裝置包含了一系列懸吊著的用于操控?zé)艄夂椭厮芸臻g的表皮以及體塊，以形成兩種完全不同的風(fēng)格：一種是對(duì)輕的探索，形成光線的瀑布；另一種則截然相反，是對(duì)重的探索，以及空間的容量和構(gòu)成。在演講廳中，一系列黑暗、內(nèi)斂的巨大體塊遮蔽起原來的天花和頂燈的大部分，只留下兩個(gè)相對(duì)較小的高處的“孔洞”，或稱為透光孔來透射出光線。與此相反，9號(hào)展廳中則設(shè)有9個(gè)片狀裝置，懸浮在展廳裸露的構(gòu)架上，排成一列，形成對(duì)自然光線和經(jīng)過過濾的頂部人工光線的平衡。兩組裝置都在8.5m高的展廳中形成凈高2.5m的空間，但在地板和光線間建立起兩種完全不同的關(guān)系。在演講廳中，裝置加強(qiáng)了地板和燈光間的距離感，而在9號(hào)展廳中，懸掛的片狀裝置則帶來了接近感和統(tǒng)一感。

格拉夫頓建筑師事務(wù)所引用了美國(guó)建筑師路易斯·康的話“聽到一種聲音就等于看到一個(gè)空間”，以此顯示他們?cè)谫x予空間形態(tài)時(shí)的一貫努力。按照他們的說法，他們力求“盡量留白”，并通過對(duì)空間中的光線運(yùn)動(dòng)的精巧設(shè)定來構(gòu)筑空間。他們將皇家藝術(shù)學(xué)院主展廳形容為“無比寬闊的空間”，而他們的裝置能從根本上改變讓每個(gè)參觀者對(duì)這片熟悉的場(chǎng)地的看法。為此，建筑師們?cè)?號(hào)展廳和演講廳之間創(chuàng)造了兩個(gè)截然不同的場(chǎng)景，當(dāng)從其中一邊走過時(shí)，會(huì)體驗(yàn)到強(qiáng)大的空間二元性，而通過既有房間進(jìn)入新空間時(shí)，張力感也讓人對(duì)既有房間產(chǎn)生的感受得到了加強(qiáng)。

建筑師說：“你會(huì)通過地面和表皮間的空氣、咫尺之外可見的藍(lán)色天空和大海意識(shí)到空間的存在，而你自己則站在空間的支撐之上，從而加深了你身處于特定時(shí)刻的特定地點(diǎn)的存在感?！?/p>

13 裝置，格拉夫頓建筑師事務(wù)所/Installation by Grafton Architects（攝影/Photo: James Harris,圖片來源/Image courtesy: Royal Academy of Arts）

The structures by Grafton Architects,founded by Shelley McNamara and Yvonne Farrell,hovered above Gallery IX and the Lecture Room,suspended from the roof lights above In order to create a strong spatial tension between adjacent rooms and to set up different lighting scenarios,two dramatically different compositions were made Choosing only to work with the roof lights,both installations featured a series of suspended surfaces and forms that manipulate the light and reshape the space in two entirely different ways; one as an exploration of lightness,with what is referred to as a waterfall of light,and the other being the exact opposite,exploring weight,containment and the formation of carved-out space In the Lecture Room,a series of dark,brooding and apparently massive solid forms obscured most of the existing ceiling and roof light,articulated by two relatively small,high-level "apertures" or openings of light In contrast to this,Gallery IX featured nine blades,suspended in alignment with the gallery's exposed trusses to reflect a balance of natural and artificial light filtered through the exposed roof light While both installations dropped down within the galleries to create an implied headroom of 2.5 metres within the 8.5-metre-high spaces,two entirely different relationships were established between the floor and the light In the Lecture Room,the installation intensified the perception of distance between the floor and the light,while in Gallery IX the hanging blades brought proximity and unity.

By quoting American architect Louis I Kahn's statement that "to hear a sound is to see a space",Grafton Architects allude to a consistent ambition in their work to make space tangible As they put it,they seek to "make as much nothing as possible",and to structure space through the careful orchestration of the passage of light and movement through the void In response to what they refer to as an "amazing generosity of space" within the Main Galleries of the Royal Academy,their installations set out to radically transform each visitor's perception of the familiar As such,between Gallery IX and the Lecture Room the architects created two distinctly different scenarios which,when experienced side-by-side,set up a powerful spatial duality and tension that reinforced the qualities of the existing rooms while radically transforming them into something new.

"You become aware of the space,the trapped air between ground surface,blue sky and the ocean visible in the distance,and of yourself held by the containing forces of this space,in a way that heightens your sense of being alive in a particular place at a particular moment." Grafton Architects

英國(guó)皇家藝術(shù)學(xué)院學(xué)習(xí)部/ Learning Department,Royal Academy of Arts,UK

2014-07-15