坂本一成 《对屋型的记忆与渴望》

“对屋型的记忆与渴望”
The Memory and Desire for the House Form

坂本一成

翻译：Edie 原文：坂本一成 《住宅——日常的诗学》第二章 家型







记忆中的住宅

住宅就是简简单单一个住宅。我宁可不记得它的真实形式。它不动声色地矗立在街坊的一角，舒适，轻松而又不做作。尽管第一眼看上去很质朴，但是一点也不粗糙，甚至很精致优雅。它不需要在街坊的住宅中鹤立鸡群夺人眼球，但也不会埋没其中。当周围的住宅升级成更高级的住宅时，它安安静静，可能什么都不会说。当周围的住宅失去基本形式只剩外壳时，它强健如斯，保持它自己的屋型。尽管沉默缄言，却依然担心自己多嘴多舌。这种趋势产生了其与周边住宅神秘的对比，但其实仅仅是屋型而已。

室内给人的印象和室外相比并没有什么不同，就是说，它呈现的屋型和室外看起来是一样的。室外的屋型往往是由很普通而很难让人记住的屋顶、墙体和窗户组成。室内的地板、墙体、天花、窗户（包括天窗）也是极其普通而令人心安得各居其位：一切是那样的自然，不唤起别人的注意，我现在已记不起来那屋型了。在室外也一样，这里并不需要成为令人动情的空间。这些房间的连接也自然无比，任何一个典型的住宅室内都有的空间组织。

我一定在哪里见过这样的住宅，或许是在我成长的小镇的一角，或是我童年画册的哪几页，或许是在我漫长火车旅途中到访的一个小镇，也许根本没那么远，它好像就在我住的这条街上。你的记忆中也有这样的住宅吧。

The house of memory

The house was simply a house. Or, rather, I don't quite remember the actual form. It stood matter-of-factly in one corner of the neighborhood — comfortably, casually, without pretensions. Though naive at first appearance, it was not coarse, but rather it appeared refined. That is, it did not necessarily stand out from the other houses of the neighborhood, but it wasn't overwhelmed by them either. While the surrounding houses promoted their position as houses, this house was silent and presumed to say nothing. And while the surrounding house could be thought to be mere shells, losing their fundamental form, this house continued to compose its house-form quite vigorously. While taciturn, it was terribly worried about being loquacious. This tension produced a mysterious contrast with respect to its surroundings, but it was nothing more than the form of a house.

The impression given by the interior was no different from that of the exterior. That is, it held the same house-form that was seen on the outside. Just as the house-form of the exterior was composed of the most ordinary roof and walls and windows — and they might be difficult to recall because they are so ordinary — the floor and walls, ceiling and windows (perhaps there were skylights) of the interior were terribly ordinary and contented in their positioning. This too was terribly natural: it called no attention to itself, and I am now unable to recall the form. As on the outside, the place cannot necessarily be called an emotional space. The rooms were connected in a perfectly natural way. The interior had the organization of a house that can be seen in any typical residence.

This house was somewhere. Perhaps it was in some corner of the town I grew up in. Or perhaps on the pages of a picture book from my childhood. Or perhaps in a small town visited on a long train trip. No, not even that far way, it seems that the house could be in this neighborhood somewhere. Perhaps the reader has a similar house of memory.

抹去意义

住宅是人们居住的场所，但真正的住宅是考虑了日常生活的。它最根本的设计是满足每天生活的功能需要，不幸的是，为了满足这种功能，需要一种形式满足功能的配置。这种配置产生了大量的涵义，也就是说，为了满足功能，需要的形式产生了社会化的以及并不与其相关的涵义。为真实生活而建的建筑是社会化的，并且某种程度上是建筑化的，它是被文化约束的。但是，我对此有很多疑问，我已经开始把住宅当建筑看了，并不是通过对辅助功能清晰的表达使建筑成为一个问题，而是当其最初的涵义已经被抹去时，在衍生出或者表达，或者保留涵义的功能的抽象概念中。

这既不确定又对立矛盾。在我们的文化社会中，每个形式都造就不同的功能，但这并不是说“形式追随功能”的概念。我不停地在想，当辅助功能消失，涵义消失，或在那个不能完全消失的地方，住宅的基本特性才得以保留，这显示出，住宅的意象便是屋型。

Erasing meaning

The house is a place for people to reside in, and the real house is prepared for daily life. It is planned, fundamentally, to secure the functions of everyday life, and unfortunately, in order to achieve that function, a form based in composition is required. And within the compositional, various meanings are produced. That is, in order to achieve the functions, the required form produces meanings that are social and not necessarily directly related to it. Thus the building for actual life is socialized, and, to the extent that it is architecturalized, the building is bound by culture. Or the thought related to that can perhaps be called architecture. However, I have come to have many doubts about this. That is, I have come to look to the residence as architecture — not in making architecture as a problem through the clear expression of a second dimensional function — but within the abstraction of the function which produces a meaning that is expressed, or remains, when prior meaning are erased.

However, that is both ambivalent and contradictory. That is, within our cultural society, each form gives rise to a different function, but not in the sense of "form follows function". There, I have unconsciously come to think that in the erasure of the second dimension function, in the erasure of meaning, or again, in the place that can't be completely erased, the fundamental character of the house remains. What is revealed, then is the icon of the house: the house-form.

住宅形式是功能的标志

只要住宅存在于这个所谓的社会世界中，想完全删除辅助功能逻辑上是不可能的。但再说一次“住宅仅仅是住宅”，许多类似于辅助功能的涵义也是可以删除的。以一种屋型来说辅助功能，不是会有很多丰富的涵义表现出来吗？再说一遍住宅的表达，住宅是给人生活的场所，形成功能性，它限制了由功能产生的任何涵义的象征。不这并不是说我们有必要去关注屋型。屋型并不需要反映住宅的真实形式，但可以理解成通过一个具体的物体来表达生成住宅概念的不同层面的联系。

可能屋型简单来说是人们对于他们居住场所的热恋。它在我们记忆的深处建立了一个深刻的居住意象。也许它在大众的潜意识中勾勒出这个意象。直到现在，在小镇上，或在画板前，我一直在寻找的屋型是存在于零度平面的。必须这样理解，屋型是存在于世界各种不同的对立与相关中的。（1979）

The house form as a functional sign

It is logically impossible to erase completely the second dimension functions as long as the house remains within this world called society. Yet within the tautology that a house is a house, many meanings — second dimension functions — can be erased. By basing the second dimension functions on a type of house form, aren't various meanings open up? Expression of the residence as a tautology, that a place for people to live is called a house, codifies the functionality (that is, it limits the symbol to whatever meaning the function produces). It can not be thought that there is a need to focus on the house form. House form doesn't necessarily mean the actual form of the house, but can be understood to express through a concrete object the relationship of various levels forming the concept of house.

Perhaps the house form is simply the infatuation of people with where they live. It seems to establish a deep icon of inhabitation in our distant, deep memory. Perhaps it forms this image in a collective unconscious. Even now, in town, or in front of this drawing board, the house I am looking for is the house-form existing on the zero degree plain. It must be thought that the house-form floats within various contrasts and correlations to the world. (1979)

所有翻译文字版权归属“未冶设计”，配图由译者完成，部分出自原书，未经授权，不得转载