街巷：行走在建筑間

[美 ]詹姆斯 · 沃菲爾德 James Warf i eld

顧心怡 譯 Translated by Gu Xinyi

戴方睿 譯校 Proofread by Dai Fangrui

街道的魔力在于瑣碎生活與靈光閃現(xiàn)的交織。

——麗貝卡·索爾尼特

街道不是一塊場地，而是一個容器。它無法孤立存在，而是與周邊環(huán)境不可分割。換句話說，街道幾乎是周邊房子的集合。街道是母體：城市的客廳、肥沃的土壤，以及孕育生命的溫床。它的活力既源于正確的建筑，也源于合適的人群。

——伯納德·魯?shù)婪蛩够?/p>

早在為高速交通工具建造大尺度的街道之前，人們穿行的都是步行尺度的通道。窄街與巷道常常是狹窄又曲折的，它們?yōu)槿粘Ｉ詈蛻敉饣顒犹峁┤梭w尺度的千變?nèi)f化的空間。即便是在城市中，當?shù)亟ㄖ缘胤讲牧辖ㄔ斓牧⒚?，也很少超過兩三層的高度，它們同樣塑造出了街坊鄰里。在車行交通所要求的寬闊筆直、缺乏尺度感又千篇一律的街道出現(xiàn)之前，磚或石頭，這些符合人體尺度的材料裝點著路面，為人行道帶來親和力。建筑外墻面與街面共同界定著村莊或鄰里的尺度，街道建筑的特色也由街道呈現(xiàn)。正立面的門窗往往開敞著，其裝修表明建筑的功能特征是商務、店鋪或居住。窄街連通著更窄的巷道，巷道通向各家各戶，或者不同層級的街道，又或者更次一級的巷道。

在中世紀，有些文化地區(qū)的住宅在一層飼養(yǎng)家畜，上層給人居住。作為公共服務和社群集會點，旅店、商鋪以及酒館的入口，將居住層的活動帶到了街道上。隨著村落的有機擴張，其中的建筑布局體現(xiàn)了地方秩序：公共的、市民的和宗教用的高大建筑位居制高點，商鋪和住宅則依照地形和水體，如小溪與河流的輪廓布置。街道的形狀遵循人們自然移動的路線，合理按照地形延展以最大程度地避免出現(xiàn)陡坡。垂直于主要流線的巷道則常常通過踏步和階梯來聯(lián)系整個城鎮(zhèn)的高處和低處。街道常常蜿蜒曲折，這使得街景不斷變換，同時也一定程度抵擋了強風的沖擊。

意大利評論家和建筑史學家布魯諾 · 賽維在他極富啟發(fā)性的著作《建筑鑒賞方法》中提出了“建筑作為空間”的概念。在我自己的工作室和理論研討課上，則使用了“建成環(huán)境”這個現(xiàn)行的建筑學定義。這些概念共同定義了街道建筑的主要設計理念。一方面，街道是一個容器，一個供人流穿過的“空”間。同時，它也是一個建成的背景，其墻面和地面由建筑材料構成，其長度不固定，天花板則是廣闊的天空。它是一個戶外的“房間”，一個人們?nèi)粘Ｉ畹奈枧_。

與所有建造物相似，街道的尺度由以下因素決定：街道兩側墻面之間的距離，立面的高度，墻體材料和門洞的尺寸，墻面和路面材料的尺度，是否有踏步或高差，以及建筑的風格和細部工藝。這些建筑上的考量所建立的人性化的尺度與親和力，在塑造街道特點的同時，還提升了街道空間的舒適度，使其成為人們的駐足之地。

對于許多人來說，街道是每天都會體驗到的最為重要的戶外公共建筑。從功能上講，街道是行人通往工作地點、當?shù)厣啼?、集市、公園或城市廣場必經(jīng)的社區(qū)空間。街道還承載了聯(lián)系各家各戶、建立社群身份認同、決定鄰里范圍的社會意義。從個人層面上看，對許多居民來說，街道提供了在自宅之外最為親密的建筑體驗。當他們走出家門，地面的建筑材料便引導他們進入戶外的步行空間。自然的石材、人造的磚塊或手工切割的卵石，這些尺度宜人的材料迎接著人們進入鄰里社區(qū)。當人們在街道中行走，建筑的細節(jié)、窗、門、陽臺，以及長椅、街道鑲邊和門廊，都成為熟悉的標識，塑造地方身份，并且提供舒適感。街道由此成為一個人的私人領域。就像費爾南多 · 佩索阿詩中所寫：“行走在街道上，我的生活似乎成為了她的生活?！遗c街道之間再無分別，除了她是街道，而我是一個靈魂?！?/p>

‘The magic of the street is the mingling of the errand and the epiphany.’

– Rebecca Solnit

‘The street is not an area, but a volume.It cannot exist in a vacuum; it is inseparable from its environment. In other words, it is no better than the company of houses it keeps.The street is the matrix: urban chamber, fertile soil, and breeding ground. Its viability depends as much on the right kind of architecture as the right kind of humanity.’

– Bernard Rudofsky

Long before streets and avenues were built for high-speed auto traffic, people flowed through passageways built at pedestrian scale. Lanes and alleyways, often narrow and twisting, provided ever-changing human scale environments appropriate for daily life and outdoor movement. Even in urban areas, vernacular building fa?ades,seldom more than two or three stories in height, characterised neighbourhoods built of local, natural materials. Before wide, arrow straight streets with scaleless, homogeneous surfaces demanded by auto traffic, these same human scale materials, brick or stone,graced the walking surfaces and offered intimacy to the passageways. Building walls and street surfaces blended to reinforce the village or neighbourhood scale. Streets took on the character of the architecture that defined them. Fa?ade elevations provided doorways and windows, usually punched openings,often detailed to suggest business, shop or residential features appropriate for their use.Narrow streets opened onto even narrower alleys leading to homes or different level streets or alleyways beyond.

In medieval times, depending upon the cultural area of the world, the ground level housed animals, with living quarters for the building residents situated above. Entries to services and social gathering points, taverns, shops and pubs, brought first floor activities to the street. As villages expanded organically, the first buildings were situated honoring vernacular principles: public, civic and religious edifices on highest ground with shops and residences following the contours of the land and water features such as creeks or rivers. The shapes of the streets conformed to the natural movement of the people, flowing logically with the topography to minimise steep inclines. Alleyways, perpendicular to the flow, often required steps or staircases to link the upper and lower levels of the town.Streets often twisted and curved, creating ever-changing vistas and reducing the impact of strong winds.

In his inspirational manuscript Saper Vedere L’Archiettura, Italian critic and architectural historian Bruno Zevi established the concept of ‘a(chǎn)rchitecture as space’. In my own design studio and theory seminar, I have used the working definition of architecture as the‘built environment’. Together, these concepts define the parameters of major design principles demonstrated in the architecture of the street. On one hand, the street is a volume,an empty space through which people flow.Conversely, it is a built setting, its walls and floor surface constructed of architectural materials; its length left open; its ceiling, the open sky. It is an outdoor ‘room’, a stage set for daily human life.

Similar to all built architecture, the scale of the street is determined by the interval between its defining walls; the height of the fa?ades; the size and building materials of the wall and door openings; the scale of the materials employed to build its walls and road surface; the existence of steps or staircases; and the style and craft details of the architecture. These architectural considerations establish the human scale and the intimacy that results in the character of the street. They also determine the comfort level of the space that can become then a place for people, a neighbourhood.

For many people, the street is the most signif i cant outdoor public architecture that they experience on a daily basis. Functionally, it is the community space through which pedestrians move to their workplace, to local shops,to the public market, the municipal park or the town plaza. Socially, the street links residences and defines community identity of the neighbourhood. At the personal level, the street provides the most intimate architectural experience that many residents have outside their own home. As they leave their front door, the architectural material of street surface is their introduction to the outdoor pedestrian environment. It is the natural stone or man-made brick or hand cut cobblestone that is the personal scale material that welcomes them to the neighbourhood. As they move through the street, local building details, windows, entries, balconies, benches,street curbs and door stoops are all familiar landmarks that render the locality identity and give it a sense of comfort. The street becomes one’s personal domain. As Fernando Pessoa wrote:

Walking on the streets, my life feels to me like the life they have.… There is no difference between me and the streets,save they being streets and I a soul.

Biography:James Warf i eld, Professor Emeritus at the School of Architecture, University of Illinois at Urbana-Champaign (Illinois 61802)

希臘諸島石頭鋪就的窄街顯然是風土世界里最為美麗的風景之一。在米科諾斯島，鋪地的每一塊石頭都以同樣的白色涂料勾邊，這種涂料還用于粉刷和保護墻面。如今，當?shù)厝擞靡环N更加耐久的現(xiàn)代涂料取代了原先的白石灰飾面，但這一他們引以為豪的傳統(tǒng)仍在繼續(xù)，渲染著一種與深藍的愛琴海天空相協(xié)調(diào)的古樸環(huán)境，創(chuàng)造出享譽世界的優(yōu)雅的“地中海建筑”。

The narrow, stone paved streets of the Greek islands are clearly among the most picturesque of the vernacular world. On the island of Mykonos, each stone paver is characteristically outlined with the same white paint that protects the stuccoed walls. Originally lime-based whitewash, the surfaces are painted today with a more durable modern paint product, but the proud tradition continues, rendering a pristine environment that blends with the deep blue Aegean sky to create an elegance recognized throughout the world as ‘Mediterranean architecture’.

希臘基克拉迪群島的當?shù)鼐用駷樗麄儭皳碛小睗崈舻沫h(huán)境而自豪。為迎接東正教復活節(jié)的到來，每座島嶼的所有戶外表面——墻面、街道、踏步、護墻和屋頂，都會被粉刷一新。根據(jù)教會習俗，節(jié)日期間，希臘人會回到他們的出生地，與家人共同慶祝這一神圣時刻。盡管這些建筑表面經(jīng)過一個旅游季的考驗會留下痕跡，或者由于地中海對面撒哈拉沙漠的沙暴而留下凹坑和紅色的污漬，但是每年春天的復活節(jié)，街道都會煥然一新。

The local residents of the Greek Cyclades take great pride in ‘owning’ their immaculate environment. Throughout the islands, every outdoor surface—walls, streets, steps, parapets and rooftops—is newly painted in anticipation of the Orthodox Easter season when, according to church custom, Greeks return to their birthplace to celebrate that sacred time with family. While the architectural surfaces may be scarred from a season of tourism or pitted and stained red by sandstorms from the Sahara across the Mediterranean, each spring at Easter time, streets shine.

在伊斯坦布爾一處安靜的居住區(qū)，街道生活集中在住宅樓沿街一層的小商鋪中。當?shù)厝嗣刻炀驮谡螛苏Z和晾曬的衣服組成的頂棚下喝早茶、聊天。女人們購物，孩子們上學，男人們在街邊的椅子上看報。臨街的小商鋪為日常需要提供服務：咖啡廳、面包房、雜貨店、書店、五金店與政治總部和專業(yè)辦公樓混在一起，創(chuàng)造出真正以街道為中心的鄰里氣氛。

In a quiet residential neighbourhood in Istanbul, daily life on the street consists of small retail shops at street level with housing above.Under a canopy of political banners and laundry hung to dry, locals continue their daily routine of morning tea and casual conversation.Women shop and children walk to school. Chairs are moved into the streets where men read the daily news. Small scale storefronts provide homes for the needs and services of everyday life: cafés, bakeries, grocery shops, bookstores and hardware sales mix with political headquarters and professional offices to create an atmosphere of true neighbourhood centred on the street.

墨西哥是一個充滿色彩、狂歡和慶典的國家，盡管它的歷史充滿了動蕩的政治運動和殘酷的戰(zhàn)爭與起義。與此相似的是，它的宗教背景也飽含激情，充滿了熱烈的信仰、色彩與儀式。墨西哥人將他們本土過去的宗教觀念與外來的天主教派相融合，在街道和教堂庭院中舉行慶典。在塔斯科的“亡靈節(jié)”上，剪紙組成的條幅跨過街道上空，以此慶祝這個墨西哥最為重要的宗教圣日。圣米格爾 · 德 · 阿連德是墨西哥傳統(tǒng)手工藝和現(xiàn)代藝術的中心，在這里的一條殖民時期街道上，類似的裝飾物將五顏六色的街道立面連接起來。

Mexico is a nation of colour, fiesta and celebration. Its history is one of volatile political campaigns, brutal wars and revolution. Similarly, its religious background is one of passion, packed with intense beliefs, colour and ritual. Fusing views from their indigenous past with religious tenants of the Catholic Church, Mexicans celebrate in the streets and churchyards. In Taxco, weathered paper cutouts are draped across the street in celebration of the ‘Day of the Dead’, Mexico’s most significant religious holy day. Similar decorations link colourful fa?ades on a colonial street in San Miguel de Allende, Mexico’s centre for historic crafts and modern arts.

16世紀，當西班牙征服者進入墨西哥時，他們發(fā)現(xiàn)了一個有著2 000年以上歷史的先進文明。它的文化充滿了紀念性儀式，還有大量色彩豐富的壁畫和精美的石雕。幾個世紀以來，本土的建筑和藝術成就與西班牙的文化結合了起來，藝術浸透著墨西哥人生活的每個角落。塔斯科是殖民時期的銀器中心，一條普通的小巷中優(yōu)雅的卵石路面反映出當?shù)亟ㄔ煺吒叱乃囆g造詣和細致的工藝。

When the Spanish conquistadors entered Mexico in the 16th century, they discovered an advanced civilisation over 2 000 years old. It was a culture filled with monumental ceremonial centres, of lavish, colourful murals and finely crafted stone sculptures. Over the centuries,those indigenous accomplishments in art and architecture were blended with Spanish counterparts. Art permeated every aspect of Mexican life. In a simple side street in Taxco, a colonial silver center, an elegant cobblestone surface reflects the attentive art and craftsmanship of a vernacular builder.

風土建筑形式的本質反映的是其創(chuàng)造者的生活方式。在哈尼齊奧島上，墨西哥村民們在內(nèi)陸湖帕茨夸羅湖清澈的湖水中捕魚。村莊的房屋用簡樸的泥磚砌成，白色灰泥抹面，粘土瓦覆頂。值得一提的是由漁網(wǎng)組成的通往湖面的“街道”。每天，漁民們回到家都會晾曬漁網(wǎng)，這便形成了從高處通往湖面的廊道，以及各家各戶的工作場地。男人們出門捕魚時將網(wǎng)取下，“街道”即隨之消失，女人們便可自由地在各戶之間和水邊穿行。

Vernacular architecture, in its most fundamental form, reflects the life and livelihood of the people who created it. On the island of Janitzio, Mexican villagers fish the fresh waters of the vast inland Lake Patzcuaro. The houses of the village consist of simple adobe structures with whitewashed stucco walls and clay tile roofs. What makes the village noteworthy are the net formed ‘streets’ which lead to the lake.Each day, when the fishermen are home, the fishing nets are hung to dry, establishing both corridors from the high ground to the water and private work yards for the homes. When the men leave to fish, the nets come down, the ‘streets’ disappear, and the women mingle freely in the space between homes and at water’s edge.

加德滿都河谷里的巴克塔普爾古城的歷史可以追溯到12世紀，它是當時馬拉王朝的都城。作為“信徒之城”，它的主要公共空間是杜巴廣場，那里遍布著精美的神龕與古廟。然而，使這座美麗的中世紀城市更具吸引力和親和力的卻是它的街道。得益于當?shù)卮u鋪地的材料特性，街道呈現(xiàn)出一種溫暖柔和的色調(diào)。作為被聯(lián)合國教科文組織選定為世界遺產(chǎn)地的條件之一，機動車只能在其旁邊寬闊的大道上行駛，以保護這里街道生活和日?；顒拥莫毺仫L貌。

The ancient city of Bhaktapur dates from the 12th century when it served as the capital of the Malla Kingdom in the Valley of Kathmandu. Known as the ‘City of Devotees’, its main public space, Durbar Square, is filled with elaborate religious shrines and historic temples. It is the streets, however, that render this beautiful medieval city its charm and welcoming character. Paved and lined with the local brick, their materiality offers warmth and gentle color. As a condition of its designation as a UNESCO World Heritage site, its traffic is limited on the wide streets, preserving the special qualities of street life and daily activity.

2015年，尼泊爾發(fā)生了一次7.9級的地震，古都巴克塔普爾遭到毀滅性打擊。這場災難使古城失去了許多歷史建筑和廟宇，幸而有磚街組成的路網(wǎng)成為重建的基礎。購物區(qū)和居住區(qū)溫柔流動的窄街與人行廊道，以及街道兩旁具有美妙比例的磚石立面，共同為接下來的保護措施指明了方向。當?shù)卮u材的及時供給也為商鋪、店面和沿街市場貨攤的修復提供了幫助。

In 2015, a 7.9 magnitude earthquake hit Nepal, devastating the ancient capital Bhaktapur. While many historic buildings and temples were lost, the city’s network of brick streets provided a basis for rebuilding. The gently flowing lanes and pedestrian corridors of the shopping district and local neighbourhoods, as well as the beautifully scaled masonry fa?ades that define the streets, gave direction and order to preservation efforts that were to follow. The immediate availability of locally made brick aided in the restoration of shops, storefronts and streetside market stalls.

在世界的許多地方，生土材料是最基本的建材，有時是用模制或壓實的泥土，有時甚至是直接挖取的泥土。在西班牙瓜迪克斯，房間是挖入土中形成的，再加上一個土坯磚砌的立面。出了家門爬上屋頂是人行道，這條土“街”上還有下面人家白色的女兒墻和煙囪。在非洲，另一條土路經(jīng)過用泥抹面的清真寺圍墻，為行人、自行車和推車提供通行之便。這條土街正是將馬里的莫普提老城與尼日爾河連通的主干道。

In many parts of the world, construction materials are fundamental, relying heavily on molded or packed earth, or at times simple excavation. In the Spanish community of Guadix, home interiors consist of caves carved into the ground with mud brick constructed fa?ades added. Pedestrian pathways lead from doorways up and over the rooftops, and earthen ‘streets’ flow past the whitewashed parapets and chimneys of residences below. In Africa, another earthen street passes by the mud plastered walls of a neighbourhood mosque providing for pedestrian movement, bicycles and carts. This clay street is the major corridor linking Mali’s Old Mopti to the Niger River.

伯納德 · 魯?shù)婪蛩够凇度嗣竦慕值馈分袑懙?，“街道幾乎是周邊房子的集合?。街道的尺度和特色不僅取決于它的長度和寬度，還取決于塑造街道的那些墻面的材料、質感與顏色，以及沿街的門窗洞口，陽臺和立面，還有人行道、臺階與踏步，所有這些都賦予了街道特征和人性化尺度。在土耳其阿馬西亞的城市街道和中國貴州一座侗寨的入口，孩子們在家附近的街道上玩耍都會感到安全和舒適。這些街道對他們而言是家在戶外的延伸，也是與朋友和玩伴聯(lián)系的紐帶。

In Streets for People, Bernard Rudofsky writes that a street ‘is no better than the houses it keeps’. The scale and character of the street is determined not only by its length and width, but also by the materiality and textures and colours of the walls which shape it; by its doorways and window openings; by it’s balconies and fa?ades; and by its sidewalks, steps and staircases; all of which give it identity and human scale.In both an urban street in Amasya, Turkey, and a Dong minority town entry in China’s Guizhou Province, children feel safe and comfortable in their neighbourhood streets. They are the outdoor extensions of their family home and their link to friends and playmates.

在中國海島上的茶灣村，一位漁民用村里的水泵取水。和許多其他中國村鎮(zhèn)一樣，村里的窄街呈網(wǎng)格狀布局。街道走向與南海海岸垂直，這樣島礁頂上的崗哨看見魚群時，漁民們就可以直接找到他們的漁船。在世界的另一頭，葡萄牙崖邊小鎮(zhèn)納扎雷，一位漁民行走在類似的直路上。在那里，瞭望臺的守衛(wèi)看到魚群時會敲鐘示意，漁民們便會涌向大西洋。

In the island Chinese village of Chawan, a fisherman collects water from the community pump. The narrow village street follows a grid plan, as in many Chinese settlements. Its streets are perpendicular to the shore of the South China Sea, allowing fishermen direct access to their fishing boats when the clifftop sentinel sights a school of fish. On the other side of the world, a Portuguese fishermen walks a similar arrow straight street in the hillside town of Nazare. There, fishermen flow to the Atlantic when the watchmen on the overlook rings a bell indicating fish sighted.

800余年來，中國的麗江古鎮(zhèn)都是一個商貿(mào)集散中心，將云南、西藏和四川與絲綢之路相連。隨著時間的流逝，它融合了漢族、白族和西藏各民族的藝術、建筑、規(guī)劃、社會和文化生活，儒釋道三教也在此和諧共存。它獨具吸引力的建筑群由兩層的瓦頂木構住宅組成，這些住宅由石頭鋪砌的主干道和狹窄的巷道組成的簡單的路網(wǎng)相連。因為地形陡峭，街道經(jīng)過了精心的設計；不僅如此，這些街道還容納了一個復雜的水利系統(tǒng)，將天然泉水與鎮(zhèn)上的水井和人工水道相連。

China’s Old Town of Lijiang has for over 800 years served as a trade centre and distribution hub linking Yunnan, Tibet and Sichuan to the Silk Road. It has over time combined the art, architecture, town planning, social and cultural life of the Han, Bai and Tibetan peoples as well as a harmonious coexistence of Confucianism, Taoism, and Buddhism. It’s attractive building complexes, consisting of two-story, tile roofed, timber framed houses, are linked by a simple network of stone paved arterials and narrow connecting alleyways. Sensitively designed for the steep topography, the streets also allow for a sophisticated water system linking natural springs to neighbourhood wells and canals.