溪山庭三问:传统、材料与居景问题

Three issues on Xishan Garden:tradition,material,and dwelling-scenery relation

在溪山庭造园实践施工过程中偶得的西山洞穴营造,是为山中构屋;混凝土框架的天然质料和与假山的位置关系,又使得构屋如山。设计通过叠山与构屋的紧密互成,试图回答现代建筑如何在模拟传统式样之外回应传统的问题。比起柯布西耶将旧物“置错时代”,董豫赣以“数寄”般的材料观对现成品进行指向特定意象的及物匹配,呈现出无关地域与时间,成法与贵贱的相物、相才的创造力。溪山庭体现的中国园林空间促使人们在日常行为的“参演”与“抽离”、“居”与“游”中往复运动,园林不仅是舞台布景,还与人的活动一道构成场景,又牵动记忆与文学中的片段,进而生成情景。

The design endeavors to answer the question of how modern architecture can respond to tradition beyond imitating traditional styles through the closed relationship between rockery and building structures.Compared with Le Corbusier's“anachronism”of the antique,Dong Yugan hold’s a quasi-suki attitude toward how to understand and use materials,which is,to match the ready-made,easily-got objects with specific images,regardless of the material's origin,time,or the price.The Chinese garden space embodied in Xishan Garden encourages people to travel back and forth between involving and detaching from scenes of daily activities,represented as one’s body moving between staying at certain view points and wandering around the garden.In that sense,the garden is not only a stage setting,but also a scene formed by human activities.It also recalls fragments from people’s memory and literature,to further generate the so-called“emotional scenes,”-qingjing in Chinese.