空谷传响（英文:Timeless Voices）丨比利时

墓地绝不仅是人们死后的长眠之地，更是空间化的历史文化档案，展现着不同文化对于生死的态度。本摄影项目聚焦于不同文化背景下的丧葬建筑，旨在通过探索建筑设计的特点，发现不同文化对待生死态度的异同，并引导观者探索和理解背后的政治、经济、社会因素。

Cemeteries are far more than resting places for the dead—they serve as living archives of history and culture, revealing how different societies view life and death. This photography project focuses on funerary architecture across various cultures, exploring the unique features of their design to uncover both the differences and similarities in how people approach mortality, whilst inviting viewers to consider the political, economic, and social forces that shape these attitudes.

▼家族墓室类似月门的空间元素，Tomba Veritti, Udine, Italy, 2024©杨天周

▼墓室墙壁上时间的印记，像苏州园林的墙，Tomba Veritti, Udine, Italy, 2024©杨天周

▼通过嵌于地面的木材营造“浮生”的意象，Igualada Cemetery, Barcelona, Spain, 2025©杨天周

在这些照片中，想必人们能体察到不同文化对于生死理解存在着超越文化边界的共性，其中寄托着人们对于时间如流水、不为任何人停留的慨叹，而又期待通过人类建造的建筑来保留和记录生命与文化的永恒。在这个日益分裂的世界中，意识到不同文明存在的共性显得尤为重要。这组摄影作品将在2025年伦敦建筑节首次对外展示。特别感谢Noiascape对于展览场地的支持与策展人Zhimin Zhang的工作。

Through these photographs, one can sense a shared understanding of life and death that transcends cultural boundaries—a collective lament for time’s relentless flow that waits for no one, coupled with humanity’s hope to preserve something eternal through the buildings we create. In our increasingly divided world, recognising what unites different civilisations has never been more vital. This body of work will be shown for the first time at the 2025 London Festival of Architecture. Special thanks to Noiascape for their support with the exhibition venue and to curator Zhimin Zhang for their dedicated work.

▼墓园面向城市的界面如同普通居民楼，San Cataldo Cemetery, Modena, Italy, 2023©杨天周

首次接触丧葬建筑是在上海求学期间的一场讲座。当时看到罗西 (Aldo Rossi) 设计的圣卡塔尔多公墓 (San Cataldo Cemetery) 的彩色手稿与黑白照片时，那种另类超脱的美令我深深着迷。这座设计于上世纪七十年代的公墓只建了不到一半便因种种原因停工，它的”未完成”状态为其增添了一丝神秘色彩，激发了我一探究竟的强烈渴望。

My first encounter with funerary architecture came during a lecture whilst studying in Shanghai. Seeing Aldo Rossi’s coloured sketches and black-and-white photographs of San Cataldo Cemetery, I was captivated by its otherworldly, transcendent beauty. Designed in the 1970s, this cemetery was only half-built before work stopped for various reasons. Its “unfinished” state added an air of mystery that sparked my curiosity to see it for myself.

▼墓园面向城市的界面如同普通居民楼，San Cataldo Cemetery, Modena, Italy, 2024©杨天周

2017年，我踏上了前往圣卡塔尔多公墓的旅程。正午的阳光炙热难耐，我躲进了正中央的红色骨灰堂。这座为意大利政治斗争中牺牲的左翼党派建造的建筑，因为种种原因未能用作本途，最后成为了骨灰堂。作为天主教国家，意大利直到新世纪初才通过允许火葬的法律，这或许解释了为何骨灰堂从二楼起便空荡荡。

In 2017, I made my first pilgrimage to San Cataldo Cemetery. The midday sun was scorching, so I quickly took shelter in the central red ossuary block. Originally intended for left-wing political martyrs, the building ended up serving as a columbarium instead. As a Catholic country, Italy only legalised cremation at the turn of the century, which perhaps explains why the upper floors of the ossuary remain largely empty.

▼仍有许多空置壁龛的骨灰堂空间，San Cataldo Cemetery, Modena, Italy, 2024©杨天周

▼圣卡塔尔多公墓，San Cataldo Cemetery, Modena, Italy, 2024©杨天周

此后八年间，我先后四次重访这座墓园，既见证了新冠疫情导致的骨灰堂使用数量激增，也曾在某个夏日夜晚漫步于墓园门口的农田，望着金黄的草垛，思考这座亡者之城与代表人类最基础农耕文化并置所产生的张力——仿佛亡者将在另一个世界重生，而那个世界就像几千年前的模样，人们守着一块田就是一辈子。

Over the following eight years, I returned to this cemetery four times. I witnessed the surge in ossuary use during the Covid pandemic, and one summer evening I wandered through the farmland at the cemetery’s entrance, gazing at golden haystacks and pondering the tension between this city of the dead and the most basic human activity of farming—as if the departed might be reborn into another world that looks much like ours did thousands of years ago, where people tended their patch of earth for a lifetime.

▼十九世纪修建的墓园大门，充满纪念性，Monumental Cemetery of Udine, Udine, Italy, 2024©杨天周

▼二十世纪初修建的斯洛文尼亚国家墓园，深受意大利文化影响，Zale Cemetery, Ljubljana, Slovenia, 2024©杨天周

▼威尼斯的墓园岛，San Michele Cemetery, Venice, Italy, 2020©杨天周

▼罗西设计的另一座墓园，Ponte Sesto Cemetery, Milano, Italy©杨天周

以圣卡塔尔多公墓为起点，我开启了长达八年的墓地建筑探索，其中大部分位于意大利及其周边。相比于德国、北欧等拥有简葬传统的新教国家，意大利作为天主教核心区域，拥有将墓园视为“灵魂之城”的传统，对墓地的神圣性与纪念性要求极高。这恰好契合了建筑学科的长久命题，因此建筑师在意大利获得了更多优质墓园项目的实践机会，其中包括布里昂墓园以及威尼斯特别的墓园岛——圣米凯莱 (San Michele Island)。

Starting with San Cataldo Cemetery, I embarked on an eight-year exploration of funerary architecture, focusing mainly on Italian projects. Unlike Protestant countries such as Germany and Scandinavia with their traditions of simple burial, Italy, as the heart of Catholicism, has long viewed cemeteries as “cities of souls,” demanding the highest standards of sanctity and commemoration. This aligns perfectly with architecture’s enduring concerns, giving Italian architects more opportunities to work on exceptional cemetery projects, including the Tomba Brion and Venice’s unique cemetery island, San Michele.

▼被当地人视为外星生物的墓园，Jesi Cemetery, Ancona, Italy, 2025©杨天周

▼被当地人视为外星生物的墓园，Jesi Cemetery, Ancona, Italy, 2025©杨天周

▼被当地人视为外星生物的墓园，Jesi Cemetery, Ancona, Italy, 2025©杨天周

▼一直未完成的墓园礼堂，青苔肆意生长，Igualada Cemetery, Barcelona, Spain, 2025©杨天周

墓园不受住宅与商业项目的功能限制，让建筑师能够相对自由地从形式、材料、哲学等角度进行建筑探索。当然，这时常导致建筑师的实验过于激进，难以被民众理解。Leonardo Ricci设计的耶斯墓园 (Jesi Cemetery) 就曾因其怪异造型引发当地居民的强烈不满，甚至扬言要把他送进监狱。位于同为天主教国家西班牙的伊瓜拉达墓园(Igualada Cemetery) 也曾引起过类似争议。

Cemeteries aren’t bound by the functional constraints of housing or commercial projects, allowing architects considerable freedom to explore form, materials, and philosophy. Of course, this sometimes leads to experiments that are too radical for public understanding. Leonardo Ricci’s Jesi Cemetery provoked such outrage among locals for its bizarre appearance that they threatened to throw him in prison. Spain’s Igualada Cemetery, in another Catholic country, faced similar controversy.

▼现代家族墓室，Monumental Cemetery of Bergamo, Bergamo, Italy, 2025©杨天周

▼老公墓区的现代家族墓室，San Cataldo Cemetery, Modena, Italy, 2024©杨天周

▼布里昂墓园在许多文化中存在的双环图案意象，Tomba Brion, Treviso, Italy, 2024©杨天周

▼受到东方园林空间结构影响的墓园礼堂，Tomba Brion, Treviso, Italy, 2024©杨天周

▼水中亭，Tomba Brion, Treviso, Italy, 2024©杨天周

▼水中亭细部，Tomba Brion, Treviso, Italy, 2024©杨天周

意大利绵延许久的家族墓室文化催生了建筑界最著名的墓园项目之一——斯卡帕 (Carlo Scarpa)设计的布里昂墓园。斯卡帕想必从对日本接触中受到佛教影响，特意设计了一座被莲花包围的水中亭。莲花因其出淤泥而不染的纯洁特性，在佛教中象征从现世（淤泥）中解脱，前往极乐世界。在日本岐阜县的冥想森林火葬场前，伊东丰雄也设计了一片莲花池。▼日本岐阜县的冥想森林火葬场，Forest of Meditation Crematorium, Gifu, Japan, 2019©杨天周

▼如岐阜火葬场的遥远对话，NamelessGraveyard, Tozeur, Tunisia, 2023©杨天周

▼外墙宛如“双喜”的形式意象，Tomba Brion, Treviso, Italy, 2024©杨天周

关于”水中亭“的意象，目前没有资料显示斯卡帕曾接触中国的死亡文化，但“水中亭“是中国小说中经常出现的代表阴阳（生死）相交的空间意象，生者往往在水中亭的空间与死者的魂魄相逢。这在某种程度上显示，不同文化对于生死的理解在空间层面有着某种共性。

Regarding the “water pavilion” imagery, there’s no evidence that Scarpa was influenced by Chinese death culture, yet the water pavilion frequently appears in Chinese literature as a space where yin and yang (life and death) meet, where the living encounter the spirits of the dead. This suggests that different cultures share certain spatial understandings of life and death.

▼应县木塔-佛宫寺释迦塔，Pagoda of Fogong Temple, Shuozhou, China, 2023©杨天周

在八年的墓园探索中，一些非传统墓园也令我印象深刻。中国现存最古老的木塔应县木塔在某种程度上也可称为丧葬建筑，因为Pagoda这种源于印度佛教的建筑形式，本身就是存放高僧舍利的纪念性建筑。虽然中国文化语境下人们往往不愿谈论死亡，对墓地更是敬而远之，新墓地的营建甚至会拉低周遭房价，但生活在应县木塔周边的人们早已习惯了它的存在，一代一代与它共存，近千年来如此。

During my eight years of cemetery exploration, some unconventional burial sites left lasting impressions. China’s oldest surviving wooden pagoda, the Yingxian Wooden Pagoda, could be considered a form of funerary architecture, since pagodas—originally from Indian Buddhism—were built to house the relics of revered monks. Though Chinese culture typically avoids discussing death and people give cemeteries a wide berth (new cemeteries can even lower nearby property values), the people living around the Yingxian Wooden Pagoda have grown accustomed to its presence, coexisting with it for nearly a thousand years, generation after generation.

▼被封存的村庄，Cretto di Burri, Trapani, Italy, 2023©杨天周

▼项目与西西里一海之隔的北非墓园遥相呼应，Cemetery Koraïch, Kairuoan,Tunisia, 2023©杨天周

▼村庄遗址在落日余晖下被染成粉色，Cretto di Burri, Trapani, Italy, 2023©杨天周

另一座令我印象深刻的建筑是西西里中部的 Cretto di Burri。这座墓葬不属于某个人或家族的，而属于 Gibellina整个村庄。六十年代的 Belice 大地震摧毁了整个村庄，幸存者们为规避余震风险纷纷搬迁，留下满地残骸。在当地艺术复兴计划的推动下，艺术家Alberto Burri将村庄残骸用白色混凝土浇筑，留出街道空间，用抽象的村庄网格纪念这座死亡的村庄。这个项目因资金短缺近些年才完工，却立即遭到世界各地环保主义者的攻击，可见时代观念的变迁。

Another remarkable site is Cretto di Burri in central Sicily. This isn’t a tomb for any individual or family, but for the entire village of Gibellina. The 1968 Belice earthquake destroyed the whole village, and survivors moved away to avoid aftershocks, leaving behind ruins. As part of a local arts revival, artist Alberto Burri encased the village remains in white concrete, preserving the street layout to create an abstract memorial to this dead village. The project, delayed by funding shortages, was only recently completed, immediately drawing criticism from environmentalists worldwide—a sign of changing times.

▼同样匍匐于大地的猪名川墓园礼堂，Inagawa Cemetery, Hyogo, Japan, 2018©杨天周

▼生命之树从建筑中心生长出来，Sayama Lakeside Cemetery, Saitama, Japan, 2019©杨天周

近些年来，由于各种原因，传统墓园建设在世界各地都陷入停滞，传统丧葬建筑也越来越难以符合现代人的多样化需求，世界也愈发分裂。然而我仍旧执着于探访这些墓园，了解它们背后的故事，以寻觅并记录超越文化边界的共通情感。

In recent years, traditional cemetery construction has stalled across the globe for various reasons. Traditional burial architecture struggles to meet modern people’s diverse needs, and our world grows ever more fragmented. Yet I remain committed to visiting these cemeteries and learning their stories, seeking to find and document emotions that transcend cultural boundaries.

▼墓墙之上的恣意生长的植株，Igualada Cemetery, Barcelona, Spain, 2025©杨天周

这些墓园在许多年后或许会像埋葬其中的亡者一般重归大地，而我希望在有限的时间内为它们留下档案。通过这个摄影项目，我期望能够引导观者思考生死的意义，理解不同文化的智慧，并在这个日益分化的世界中发现人类共通的情感纽带。

These cemeteries may one day return to earth like those buried within them, but I hope to create an archive whilst there’s still time. Through this photography project, I aim to encourage viewers to reflect on the meaning of life and death, to understand the wisdom of different cultures, and to discover the emotional threads that bind humanity together in our increasingly divided world.

项目名称：空谷传响

项目类型：建筑/艺术/摄影

艺术家：杨天周

项目时间：2018-2025

项目地址：意大利，比利时，中国，日本，西班牙，斯洛文尼亚，突尼斯，英国

摄影版权：杨天周

特别说明：本摄影系列将于2025年伦敦建筑节展出

展览合作方：Noiascape, Zhimin Zhang

展览时间：2025/06/06 – 2025/06/14

展览地点：High Street House, 83 Askew Rd, London

Project name: Timeless Voices

Project type: Architecture / Art / Photography

Artist: Tianzhou Yang

Project Duration: 2018-2025

Project location: Italy, Belgium, China, Japan, Spain, Slovenia, Tunisia, and the United Kingdom

Photo credit: Tianzhou Yang

Key Context: This project will be exhibited during the 2025 London Festival of Architecture.

Collaborating Partner: Noiascape, Zhimin Zhang

Exposure Period: 2025/06/06 – 2025/06/14

Venue Address: High Street House 83 Askew Rd, London