空無(wú)與體驗(yàn)

王小松教授， 藝術(shù)家

Prof. dr. Wang Xiaosong， Artist

空無(wú)與體驗(yàn)

BEING WITH NONBEING AND ITS EXPERIENCE

王小松教授， 藝術(shù)家

Prof. dr. Wang Xiaosong， Artist

三十輻共一轂，當(dāng)其無(wú)，有車之用。埏植以為器，當(dāng)其無(wú)，有器之用。鑿戶牖以為室，當(dāng)其無(wú)，有室之用。故有之以為利，無(wú)之以為用。

上面這段文字出自老子的《道德經(jīng)》第十一章，從古至令諸家注釋版本眾多，但總的來(lái)說(shuō)，基本都在“虛”與“實(shí)”、“有”與“空”之間展開辯論。

針對(duì)上述學(xué)界中的各種專家注釋，候幼彬先生在《中國(guó)建筑之道》一書中曾有過(guò)詳細(xì)的闡述。候幼彬先生引用了大量不同時(shí)期的考證版，特別提到希臘著名哲學(xué)家亞里士多德（Aristot élēs）的著名“四因說(shuō)”——亞里士多德把事情的存在和變化歸結(jié)為4種原因：質(zhì)料因、形式因、動(dòng)力因和目的因，并把形式因、動(dòng)力因、目的因合在一起，總稱為“形式”。亞里士多德認(rèn)為：事物都是由質(zhì)料和形式構(gòu)成的，質(zhì)料是事物的最初基質(zhì)，形式是它的結(jié)構(gòu)，是事物的本質(zhì)。質(zhì)料只是潛能的存在，只有具有了形式，才能使其潛能得以實(shí)現(xiàn)，成為現(xiàn)實(shí)。

蘭喜并在《老子解讀》中闡釋說(shuō)：老子的“有”與“無(wú)”之論與亞里士多德的潛能與現(xiàn)實(shí)、質(zhì)料與形式的思想有相似的地方。在老子看來(lái)，任何事物都包含兩個(gè)方面，即“有”與“無(wú)”?！坝兄詾槔?，無(wú)之以為用”。“有”是潛能，是“質(zhì)料”，通過(guò)“無(wú)”使“潛能”實(shí)現(xiàn)，使“利”成“用”?！盁o(wú)”使“有”具有了意義。

孫以楷在《老子通論》中闡釋說(shuō)：老子在本章講的不是“有”與“無(wú)”的主次問(wèn)題，而是講“無(wú)”是事物的本質(zhì)……沒(méi)有中空，就不是“轂”，而只能是木頭；沒(méi)有中空，就不是茶杯，而只能是一團(tuán)泥；沒(méi)有中空，就不是房屋，而只是磚堆。正是中空，木頭才成了轂，陶土才成了茶杯，磚堆才成了房屋。老子所講的“無(wú)”，不是虛無(wú)，而是事物的本質(zhì)。本質(zhì)是無(wú)形的，它與“有”結(jié)合在一起。有，提供了可資利用的質(zhì)料，這叫做“有之以為利”；無(wú)是事物的本質(zhì)所在，事物的不同本質(zhì)是通過(guò)不同的功用表現(xiàn)出來(lái)的，這叫做“無(wú)之以為用”。

如此，我們可以這樣認(rèn)為：沒(méi)有本質(zhì)的意義的建筑，只是水泥的堆砌。正如萊特（Frank ·Lloyd·Wright）所說(shuō)：“建筑的實(shí)質(zhì)是供人居住的空間”。正是“空”的存在才使我們稱之為“屋”的存在。而不是虛無(wú)?！翱铡笔鞘挛锏谋举|(zhì)。因此，這種“無(wú)”實(shí)際上是建筑的形式造型。而這種造型必須在“空無(wú)”之中才可以達(dá)到心靈的凈化與流傳，決定建筑本質(zhì)的不是材料的堆積，是事物的本質(zhì)決定結(jié)構(gòu)，質(zhì)料因結(jié)構(gòu)的需求而存在。

人對(duì)空的要求形成了一切質(zhì)料的選擇與運(yùn)用。而這種需要即是人性空靈凈化的最為本質(zhì)的一種向往。建筑在今天已經(jīng)由權(quán)力化的象征走向碎片化的回歸——回歸人性本質(zhì)的自然屬性。消滅不必要的空間累贅也同時(shí)就是選擇了一種思想境界和精神狀態(tài)。秩序與空間的流動(dòng)，將“虛”作為空間的美學(xué)細(xì)節(jié)而進(jìn)行探討，—這已經(jīng)成為當(dāng)代建筑師首先要思考和解決的問(wèn)題。

因此，我們可以這樣理解：“有”是建筑的質(zhì)料，“無(wú)”是建筑的存在。這就是我們常說(shuō)的：墻的間隙構(gòu)成了建筑。日本建筑師高松伸（SHIN TAKAMATSU）指出：建筑如同書法，其力量并非在于結(jié)構(gòu)，而在于周圍的空間。

今天的建筑設(shè)計(jì)若只是為了單純滿足入住的功能而被賦予建筑的本體形式，那么，這樣的建筑實(shí)體已經(jīng)不能成為時(shí)代精神的最佳體現(xiàn)。

那么，什么才是這個(gè)時(shí)代的建筑愿望呢？

可持續(xù)發(fā)展、低碳、綠色、健康環(huán)保智能化的建筑無(wú)疑是21世紀(jì)建筑的發(fā)展趨勢(shì)。不久前在浙江省長(zhǎng)興竣工的由德國(guó)建筑師 Peter Ruge 教授設(shè)計(jì)的朗詩(shī)布魯克被動(dòng)房酒店，讓我們看到了今天中國(guó)的建筑設(shè)計(jì)已經(jīng)由批量設(shè)計(jì)生產(chǎn)方式逐步邁向多元化與生態(tài)化的轉(zhuǎn)型間隙中，一種作為潛能存在的建筑思潮已經(jīng)冉冉升起。先目睹一下有關(guān)的報(bào)道：

朗詩(shī)長(zhǎng)興研發(fā)基地規(guī)劃設(shè)計(jì)是著名的中國(guó)房地產(chǎn)開發(fā)集團(tuán)朗詩(shī)集團(tuán)的旗艦項(xiàng)目，其位于太湖湖畔，占地近4萬(wàn)m2，朗詩(shī)集團(tuán)將在該基地嘗試建設(shè)各種類型的節(jié)能建筑予以學(xué)習(xí)借鑒。

在規(guī)劃設(shè)計(jì)之前根據(jù)甲方的使用要求，設(shè)計(jì)師 Peter Ruge 以及其團(tuán)隊(duì)通過(guò)前期詳細(xì)的多方位建筑物理模擬，得出準(zhǔn)確的規(guī)劃設(shè)計(jì)參數(shù)。例如：朝向、采光、能耗優(yōu)化、自然通風(fēng)等數(shù)據(jù)。結(jié)合當(dāng)?shù)爻鞘邪l(fā)展?fàn)顩r、自然景觀特色、規(guī)劃法規(guī)條例，通過(guò)建筑功能的合理布局，完善區(qū)域交通流線，最終呈現(xiàn)出一個(gè)美觀、實(shí)用、節(jié)能、可持續(xù)發(fā)展的生態(tài)區(qū)域規(guī)劃設(shè)計(jì)。基地內(nèi)包括辦公、實(shí)驗(yàn)、居住、餐飲等含有不同使用功能的建筑。其中布魯克被動(dòng)式酒店為長(zhǎng)興研發(fā)中心的核心項(xiàng)目。該酒店大樓共計(jì)五層，建筑面積約2500平方米，由36間一室的員工公寓、6間兩室的行政套房和4間三臥室的樣板公寓組成。被動(dòng)式建筑設(shè)計(jì)的團(tuán)隊(duì)這樣描述他們的建筑：由于長(zhǎng)三角地區(qū)惡劣的氣候條件（夏熱冬冷）。我們不得不在前期詳盡的建筑物理模擬后開始考慮在建筑設(shè)計(jì)上有可能地?fù)P長(zhǎng)避短，通過(guò)設(shè)計(jì)來(lái)提高建筑的節(jié)能環(huán)保及居住品質(zhì)。

為了能夠使入住客人擁有一個(gè)良好的視野及優(yōu)質(zhì)的采光條件，我們?nèi)康哪舷虼皯艟捎昧舜蟪叽缏涞卮?，精確的遮陽(yáng)設(shè)計(jì)使得夏季直射陽(yáng)光被遮擋，冬季陽(yáng)光反而可以照進(jìn)室內(nèi)，溫暖房間。高度絕緣的被動(dòng)式外圍護(hù)設(shè)計(jì)及精確的無(wú)冷橋節(jié)點(diǎn)設(shè)計(jì)有效保證了建筑自身的能耗損失，外立面彩色陶棒的設(shè)計(jì)運(yùn)用，不僅美化了立面視覺(jué)效果還對(duì)建筑物的外墻起到了很好的保護(hù)作用，使其免受強(qiáng)烈日光的傷害。由于布魯克項(xiàng)目設(shè)計(jì)參數(shù)達(dá)到德國(guó)被動(dòng)房標(biāo)準(zhǔn)，因此其夏季房間內(nèi)溫度在不采取主動(dòng)制冷的措施下不會(huì)超過(guò)26℃，冬季不會(huì)低于22℃。達(dá)到恒溫、恒濕、恒氧。此外，通過(guò)多重過(guò)濾新風(fēng)系統(tǒng)24小時(shí)不間斷提供新鮮空氣，可以過(guò)濾PM2.5 超過(guò)90%。與中國(guó)普通住宅建筑相比，被動(dòng)式房屋可以節(jié)省95% 的能耗。從上面的報(bào)道中我們可以發(fā)現(xiàn)，建筑在今天已經(jīng)在空的狀態(tài)下轉(zhuǎn)化為體驗(yàn)與過(guò)程。Peter Ruge 在他設(shè)計(jì)理念中曾提到：個(gè)體規(guī)范構(gòu)成了策略，策略定義了個(gè)體規(guī)范。自然而然。因此我們?cè)谛碌脑O(shè)計(jì)無(wú)法忽略在建設(shè)項(xiàng)目的最小解決方案與現(xiàn)有的最大經(jīng)驗(yàn)中尋求平衡點(diǎn)。關(guān)于這一點(diǎn)，在杭州重型機(jī)械廠的（INH）建筑遺產(chǎn)改造與保護(hù)中，Peter Ruge 的設(shè)計(jì)理念得到體現(xiàn)：在未來(lái)打造的新天地（INH）空間中心區(qū)域，保留通高原有敞開的中央空間，并設(shè)置兩個(gè)白色閃光的橢圓球體，橢圓球體的結(jié)構(gòu)形式與原有工業(yè)建筑的結(jié)構(gòu)形式形成了鮮明的對(duì)比，兩個(gè)球體像是懸浮于空中，猶如兩朵球狀的白云，輕盈飄逸。在視覺(jué)上融合為一個(gè)整體的空間，球體頂部設(shè)置空中花園，下部穿透道路兩側(cè)的玻璃墻懸挑于永福橋路上方，遠(yuǎn)望上去，球體的連廊與空中花園錯(cuò)落跌宕，一個(gè)細(xì)膩精致，一個(gè)粗獷豪放。所謂的建筑結(jié)構(gòu)在此時(shí)已被忘記。撲面而來(lái)的則是視覺(jué)動(dòng)力的演繹與藝術(shù)效果的呈現(xiàn)。放棄了功能上的刻意追求，得到卻是空間的詩(shī)意。

在這里，平衡的原則又一次讓我們想起了老子的“虛無(wú)空間”。因?yàn)橹挥性谔摕o(wú)的空間，一切經(jīng)驗(yàn)才可以被接納。而這種經(jīng)驗(yàn)是流動(dòng)，是穿越，是有形與無(wú)形?？臻g在被動(dòng)的主動(dòng)經(jīng)驗(yàn)下，一次又一次在“有無(wú)”之間開展人性的體驗(yàn)與感悟的對(duì)話，在這里，質(zhì)料與空不是各自孤立的，而是涌動(dòng)的美學(xué)與文化相互擁抱的狂歡。正如柯布西耶（Le Corbusier）在《走向新建筑》這本書里寫道：

清晰地表述一個(gè)作品，賦予生動(dòng)的統(tǒng)一性，使之具有一個(gè)基本的姿態(tài)與特性：這就是純精神的創(chuàng)作……小客廳、廁所、散熱器、鋼筋混凝土、拱頂或尖拱等等等等。這些都是構(gòu)筑，不是建筑。建筑只有在產(chǎn)生詩(shī)意的時(shí)刻才存在?？虏嘉饕@句話與哲學(xué)家海德格爾（Martin Heidegger）同出一轍，即：“當(dāng)人安然棲居時(shí)，大地便成為大地”。

在結(jié)束這篇短文時(shí)，布魯克被動(dòng)式酒店已經(jīng)開業(yè)，業(yè)內(nèi)的設(shè)計(jì)師們紛紛前去觀摩，此時(shí)此刻，我不知道他們每個(gè)人在想什么，但有一個(gè)問(wèn)題始終將擺在所有建筑師面前：“建筑到底是什么？”

老子似乎已經(jīng)答復(fù)了此問(wèn)題，但似乎又將此問(wèn)題再次留給我們，這或許就是空無(wú)在當(dāng)下，在未來(lái)，我們必需進(jìn)行的遐思與體驗(yàn)。

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 fa?ade design， using colored ceramic rods， not only beautifies the fa?ade'svisual effects but also gives very good protection to the fa?ade 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.

杭州新天地工廠改造室內(nèi)效果圖 Hangzhou Xintiandi Factory Interior Pespective