省略的世界——中国美术学院象山校园记述

葛明/GE Ming

“一个世界建立起来了，剩下的只是附加的血肉。书房中的那种桌子几乎是自动从这个已有的世界中产生出来的……”[1]

“这个假设的建筑群使真实的世界与叙述的可能性的世界相吻合。”[1]

“于是我找到了园林的方法，即不是把建筑当作应予分析的人工制品，而是当作一种意识的体现：一种邀请人们去参与的一个假设世界的意识和经验。”[1]169

“建造一个城市，就是建造一个世界，这个世界的完满和它的尺度毫不相干。在这个世界的营造中，最艰难的一项任务就是把直接呈现给感觉的东西加以系统化、形式化。”[1]151

……

在王澍评述自己设计的文字里，桌子、建筑、园林、城市所有这些词汇都与“世界”紧密相连，“世界”也通过各种方式、各种途径呈现出来。它来自文字，又脱离了文字；它来自真实，又脱离了真实。

那么，“世界”对王澍意味着什么呢？

是他在杭州一住十数年的情境与无边的想像所联结而成的特殊境域？

是他的口语与古汉语、翻译文字（如罗兰·巴特等人的著述）所交汇而成的特殊词汇？

所有这些都意味着王澍的“世界”是复杂、变化、模糊的世界。

王澍的“世界”又何尝不是一个“省略的世界”？犹如贾克梅蒂。

萨特说贾克梅蒂的创造常受到“无限”带来的威胁[2]。因为，对于贾克梅蒂而言，空间是一种剩余品，它只是把各种因素并列在一起。而绝大多数雕塑者都在慷慨的空间弥散之前迷失，过多地将其引入作品，去填充、扩大人类的姿势。而贾克梅蒂与此不同，他认为活生生的人身上不会有多余的东西，所以他的雕塑必须是从空间中修剪多余的东西而成，从而高度得精确。为此，他通过记忆制作。记忆和写生一样具有其不确定性，记忆愈想确定，意象愈是仿佛，最后只能从最基本的形态——骨骼中呈现，而且为保护像的大小，只好让其变得细长 。[2]142

王澍不停地回到“世界”的方式与此相仿。

它体现了一种回到事实的态度。因为建立各种名词与“世界”的直接联系，就意味着引入了各种事实。它同时也体现了一种省略的态度，它通过各种具体的事实促使原有的各个名词省略各种歧义而现身。“桌子”、“建筑”、“园林”、“城市”也因此获得了共通之处，而且以其“最基本的形态”呈现。所以，省略是为了生成。

此外，省略并不意味着减少。海杜克就指出，建筑学必须经过绘画、文学、医药等平行的训练来过滤，才能去芜存菁，这是一种省略的方法，却也是不断增值的方法。[3]

可以发现，中国美术学院的象山校园就像是象山与转塘之间经过“省略”而获得的一个小世界。

省略的要旨在于精确，并因精确获得升华。贾克梅蒂为了使自己的雕塑获得一种想像的不可分的空间（一般的雕塑因远近观看的效果不同而产生形象的分离），于是就像画家赋予画中的人物以绝对距离一样，他规定了自己雕像所看的距离，并以此去雕刻，从而使雕塑一步跃入了幻想的王国[2]149。

王澍同样尝试精确地规定象山校园中房子的所在与所是，通过“省略”获得房子与环境，房子与房子，房子与人之间特殊时刻的共同照亮。

看似随意的布局，其实与山体水势都进行了契合，两者之间就像照相机进行调焦一样互相建立关系。

看似随意的体量，其实对其向背、姿态都进行了斟酌，王澍常用“这房子坐在那里，那房子……”表示它们互相依赖而求取矛盾存在的状况。

看似随意的进出，其实对门洞都进行了推敲。各式各样的门时常因其多样而模糊了内外的界限，但又在不经意的时候，成为特殊的洞口，使人惊觉内外的差异。

在此，省略似乎是海杜克所描述的一种特定时刻的隐匿：一个观者置身于一幅画前，人与画之间的空间自成范围，观者用眼睛接纳画幅，却无法吸入它的气息；当两者完全连在一起的时刻，所有真实的距离消失了，思想照亮了两者之间的空间……它脱离了观者的身体飞逸，从而导致实体空间的消失[3]。

省略的世界由此产生。

这是贾克梅蒂在雕塑中显现的。

这也是王澍在他的建筑中试图追求的。□

申博 摄

注释：

[1]王澍.设计的开始.北京：中国建筑工业出版社，2002：37

[2][法]萨特. [美]韦德·巴斯金编.萨特论艺术.欧阳友权，冯黎明译.北京：中国人民大学出版社，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.

吕恒中 摄

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.□