填充时间，建构时间，挥霍时间

张利/ZHANG Li



填充时间，建构时间，挥霍时间

张利/ZHANG Li

作者单位：清华大学建筑学院/《世界建筑》

Filling in Time, Constructing by Time, Indulging with Time

建筑与音乐都是关于时间的艺术，随时间变化的感官信息序列在大脑的识别处理下，形成令人满足的审美经验是它们共同的特点。关于建筑与音乐的联系，借喻式的叙述已经很多，我们在此无意重复。抛开所有借喻的成分，如果以时间为基准，来对建筑和音乐的形式合成进行结构性的观察，可以发现一些共通的模式。

第一种模式是填充性的模式，或者说，建筑形式或音乐形式在既定内容的引导下，对既定的时间进行有明确目的的填充。在音乐中，这种模式表现为主题化的音乐；在建筑中，这种模式表现为功能性的建筑。为仪式或事件所做的主题化音乐，从盛装游行使用的进行曲到婚礼使用的入场曲，从悼念公主的舞曲到纪念战争浩劫的安魂曲，虽然复杂程度不同，但都必须用音乐的形式完成对所有内容元素的转译。以功能完成的准确度与效率为终极追求的建筑，从工厂、医院、实验室、食堂、交通枢纽到赈灾设施，亦都必须用建筑的形式，以实证主义的方法，对既定的功能活动进行相应空间的定义。在填充性的模式下，由于内容对形式的主导，建筑和音乐要形成当代语境下的感染力是相当有难度的。

第二种模式是建构性的模式，或者说，建筑形式或音乐形式在操作规则的作用下，以自主性的方式对时间进行建构式的表达。在音乐中，这种模式表现为在不同历史阶段挑战作曲理论常规的实验性作品，其中既有无标题作品，也有含标题作品，甚至是戏剧配乐或歌剧本身。在建筑中，这种模式表现为标称以还原建筑本质为追求的、探讨建筑自身构成要素关系的作品，有些有实际功能，有些没有。在这种模式下，不论是音乐还是建筑，其最大的价值所在都是形式的合成过程本身，是关于其结构的。因为这种过程本身的抽象性，通过这种模式在音乐和建筑之间建立某种可互换的“生成方法”是个吸引人的话题。同样是出于这种过程本身的抽象，能够被这类音乐或建筑作品感染的人群范围并不大，往往就是音乐家或建筑师本身，特别是音乐理论和建筑理论学者。至于通过音乐来生成建筑或反过来的过程，如里伯斯金等人的尝试，不论在其发明者眼里是多么客观，其结果往往表现为对“通感”现象的一种主观化的记录。

如果说前面两种模式一种是基于内容，一种是基于规则，均有客观化的原由，那么剩下的第三种模式可以说是完全主观的，是目的性不明确的、挥霍性（或放纵性）的模式。它仅仅出于作者对主体生命消耗客观时间过程的一种好奇，也仅仅用于表达作者本身的一种情境或情感，是不可重复的。在音乐中，这种模式表现为各种作曲家为自己写的作品，如斯克里亚宾的狂喜诗等，有大部头的复杂作品，也有短小的简单作品。在建筑中，这种模式则表现为建筑师以自己为主要对象的建筑，如斯卡帕的布里昂墓园等，多数是功能简单、环境独特的建筑。在这种模式下，无论是音乐还是建筑，几乎都可以看成是作者内心的外化，精神性大于物质性。有趣的是，在这种极端主观化的模式下却诞生了音乐史和建筑史上的一些具有普遍感染力的作品，“挥霍”的时间反倒换来了未曾预测到的长久价值。

本期《世界建筑》虽然以“挥霍时间”作为标题，但对前面提及的3种模式都是同样关注的。我们邀请到的学者们对建筑与音乐的话题所表现出的博学与激情，为我们通过深度阅读来“挥霍”时间提供了最好的理由。□

Both architecture and music are arts that are based upon time. Human organs feed sequences of sensory information to the brain, which are then processed and converted into satisfaction in aesthetic experience. There have been all kinds of quotes that address the metaphoric link between architecture and music. We are not interested in them though. What we are interested here is the structural inspection into the synthesis of forms in architecture and music, using time as the tool. This inspection reveals some common modes.

The first mode is the filling-in mode. Under the lead of the contents, architecture （music） provides purposeful fi lling-in to a given time. In music, this mode is represented in programmatic works. In architecture, it is represented in functional buildings. Music works written for any special event/use must fi ll the time with materials translated from the predetermined contents. Similarly, functional buildings that prioritise e ffi ciency and precision, also have to engineer spaces for certain functions. It is obvious that under this mode, neither music nor architecture can have easy resonances in the hearts of the audience/users.

The second mode is the constructive mode. Powered by certain sets of rules, architecture （music）gives autonomous compositions of time. In music, this mode is best represented in works that try to innovate the existing tools and rules. In architecture, this mode is represented in works that claims to go back to the fundamentals of architecture. In this mode, the value of architecture （music） resides in the process of synthesis of form, and materialises in its structure. Because of the abstractness of the synthesis process, it is possible to have interchangeable rules/tools between architecture and music. However, the same abstractness also limits the possible distribution of audience. It is mostly the architects/musicians that are interested in this mode, particularly those who are interested in generative theories. Claiming that architecture can be automatically generated from music or the other way around is a little bit too far. The attempts in this regard by Daniel Liberskind can only be best described as individual records of synaesthesia.

For the abovementioned modes, objective causes and processes are common. The third mode, however, is subjective and without an obvious purpose. It is a mode to lavish （or to indulge with） time. It is built upon the curiosity over the relationship between life and time. It is only used to carry a personal situation/ feeling of the author. In music we see works that are virtually composed for the composer him/herself, such as Scriabin's poem ecstasy. In architecture we see buildings that have the architect in mind, such as Scarpa's Brion Cemetery. In this mode, the subjective process usually end up ironically with more universal appeal. The lavished time definitely is paid back by permanence.

Although this issue of World Architecture takes "indulging with time" as the title, it actually pays equal attention to all three modes. The erudite and passion of the contributors, who have been truly committed to the discussion of architecture and music, are good reasons for us to indulge ourselves in some deep reading.□

收稿日期：2016-01-28