Introduction: 事物——一个充满意义的世界

Introduction: Thing-The world of meaning.

背景 |The Background

“我们西方世界开始发现我们被忽视的感官。这种日益增 加的意识代表了一种逾期的反叛，反抗我们在这个科技化 的世界中感官体验被痛苦的剥夺。”1——Ashley Montagu

“We in the western world are beginning to discover our neglected senses. This growing awareness represents something of an overdue insurgency against the painful deprivation of sensory experience we have suffered in our technologized world.”1 ——Ashley Montagu

这个社会总是需要一种抵抗的建筑学。抵抗的建筑学“抵抗”的不是技术本身，而是技术对感官体验的剥夺。在这个科技化的世界，我们变得越来越不敏感。例如一个经常使用手机和电脑的孩子对周边现实的反应变得迟钝。对于建筑师来说，我们能做的是通过情感的挖掘，使建筑更具互动性，使人们在空间中的感觉得到恢复。

社会和技术是在不断变化的，给予不断变化的技术无限的信任是值得令人怀疑的。尤其是当我们想要创造某种永恒性时，就必须与社会和技术保持一定的距离。保持一定的距离并不意味着忽视它们，而是获得更多的可能性和自由。我们理解技术的意义应该在于此！

康德说：美不是艺术品或自然现象的一种属性，而是一种意识的愉悦，它伴随着想象和理解的自由。

建筑学是创造空间和物体（object）。

除了空间和物体的制造之外，建筑学还关注空间和物体的系统秩序、空间和物体的场景透视、空间和物体的感官体验、在空间中和物体周围的运动等等。建筑必须具有吸引力，引人入胜，并在一定程度上具有象征性，以便人们能够与其产生关联。

当我们面对建筑学时，什么将会激发我们去概念化建筑学的物体？对这些物体的感知和思考是关于物体与人的关系，从现象学哲学的角度看，它是一个物体（object）变成一个事物（thing）的过程。

This society will always need a kind of resistant architecture. What resistant architecture “resist” is not technology, it is about the technology deprives the sensation of us. For an architect what we can do is trying to make architecture be more interactive to revive the sensation of people in the space, by the mining of emotion.

“Beauty is not a property of an artwork or natural phenomenon, but is instead consciousness of the pleasure that attends the ‘free play’ of the imagination and the understanding.” ——Immanuel Kant

Architecture is making spaces and objects. And when we facing an architecture, what will trigger us to image and conceptualize the object of architecture? The perception and the thought of these object is about the relationship between object and people, From the perspective of the phenomenological philosophy, it is an object becomes a thing.

研究方法 |The Methodology

我的研究对象是柱子，它一直是建筑学的一个基本元素和语言，但实际上，柱子又是当代建筑学尝试去摆脱的。建筑师们努力去创造最大的无柱空间或者最细的柱子，这也是技术发展的一个结果。而我选择柱子作为研究对象也是对这种技术发展趋势的一种抵抗。使柱子成为一个事物，因为我们相信充满意义的事物能够超越时间。

研究方法：通过理论和案例学习来进行前期“研究”，通过制作拼贴进行“练习”来阐释理解，同时通过项目来反思和“实践”。

My research object is the column, the column is what contemporary architecture has been trying to abandon. There are many architects trying to create the largest column-free space or the slenderest column. And my choice of column is also a resistance to this trend of technology development.

The methodology, researching about theory and case study, and making collages as training to interpret, and also doing a project to rethink and practice.

目的 |The Intention

主要的目的就是尝试让建筑更具有互动性，以唤起人们在空间中的感官。 但同时，这种研究对象或者物体可以超越建筑学的范畴， 它的边界是无穷无尽的。无穷无尽的物体组成了这个世界，在与人的互动中产生了无穷无尽的意义，构成了这个 充满意义的世界——事物。

The main intention is trying to make architecture be more interactive to revive the sensation of people in the space. Infinite objects constitute the world. In the interaction between objects and humans, it is a world of meaning – thing.

章节注释：

1 Francesca Bacci, David Melcher, (2011). Art and the Senses. p.589.

2 Kant’s general discussions of the distinction between “cognition” and “conscious of” are also given in the Critique of Pure Reason (notably A320/B376), and section V and the conclusion of section VIII of his Introduction in Logic.

3 EL croquis, No 156, (2011). Valerio Olgiati (1996-2011), p.31.

4 EL croquis, No 156, (2011). Valerio Olgiati (1996-2011), p.31.

1. 事物理论 |Thing theory

“You liked asking questions as a child. Insistently digging. But you were curious about the wrong things.”

“They were my things, not yours.”

1.1 马丁·海德格尔 ——什么是事物 | Martin Heidegger’s What is a Thing.

事物理论（Thing theory ）是批评理论的一个分支，它关注文学和文化中的人与物的相互作用。它借用了海德格尔对物体（objects）和事物（things）的区分，他认为当一个物体（object）不再为它的通常功能服务时，它就变成了一个事物（thing）。当一个物体发生故障或被误用时，它就会摆脱它的社会编码价值，并通过中止习惯以新的方式呈现在我们面前。1 海德格尔指出，事物（things）的特殊性似乎完全取决于它们的空间和时间。如果两个事物是相似的，但这个事物和那个不一样，只是因为它现在在这里，而另一件在那里，或者是以后在这里出现。

Thing theory is a branch of critical theory that focuses on human–object interactions in literature and culture. It borrows from Heidegger’s distinction between objects and things, which posits that an object becomes a thing when it can no longer serve its common function. When an object breaks down or is misused, it sheds its socially encoded value and becomes present to us in new ways through the suspension of habit. Heidegger shows that the particularity of things seems to depend completely on their space and time. If two things are alike, this one is different from that one only because it is here now, while the other is there, or is here later.

是空间和时间使平凡的事物变得特殊。空间和时间是在人与人所指出、定位和具体化的事物的相遇中产生的。空间和时间是在我们与事物的相互作用中产生的。它缺乏一个持久的真相，只是它与我们之间不断变化的关系。因此，我们与事物相互作用的时间和空间方面并不足以决定一个事物。必须考虑第二个主要问题：给予（givenness)和概念实际上都是我们和事物之间的相互作用，因为给予（givenness)是它们遇到我们的方式，而特征的概念化是我们决定和定义它们的方式。

因此“‘这’是什么“并不取决于我们的任性和快乐。“它是什么取决于我们，但“它同样取决于事物”。这种“之间”并不是说我们和事物可以先分开存在，然后再相互作用。更确切地说，一个人总是已经拥有了假定事物的能力，而一个事物已经是遇到的东西了。一个事物是什么，总是取决于它与我们的某种相互作用，取决于它所处的某种真相。

It is space and time that make ordinary things particulars. Space and time are generated in the encounter between man and the things that humans point out, locate, and make specific. The temporal and spatial aspects of this interplay “between” us and things is not alone sufficient to determine a thing. A second major consideration must be taken up both givenness and concepts are really interplays “between” us and things, for givenness is their mode of encountering us, and the concepts of traits are our way of determining and defining them.

Thus, “What a ‘this’ is does not depend upon our caprice and our pleasure.” What it is does depend upon us, but “it also equally depends upon the things”. both givenness and concepts are our ways. And both are the thing’s ways.

1.2 比尔·布朗 —— 事物的观念 |Bill Brown’s A Sense of Things.

事物理论主要是由比尔·布朗（Bill Brown）创立的，他在 2001 年编辑了一期关于它的评论性研究专刊，并出版了一本关于这一主题的专著《事物的观念》（A Sense of Things.) 正如布朗在其论文《事物理论》（”Thing Theory“） 中所写： 当物体（object) 停止为我们工作时，我们开始面对它们 的事物性（thingness)：5

Thing theory was largely created by Bill Brown, who edited a special issue of Critical Inquiry on it in 2001 and published a on the subject entitled A Sense of Things. As Brown writes in his essay “Thing Theory”: We begin to confront the thingness of objects when they stop working for us.

▼Bill Brown, the Karla Scherer Distinguished Service Professor in American Culture at the University of Chicago.Figure source, https://news.uchicago.edu/profile/bill-brown

当钻机损坏，当汽车熄火，当窗户变得肮脏，当它们在生产和分配、消费和展览的循环中流动时，不管是多么短暂，都会被阻止。物体（objects）声称自己是事物（things）的故事，是一个与人类主体的关系发生变化的故事，因此是一个关于事物如何命名的故事，而不是一个特定的主客 体关系。为了说明这一点，布朗制作了一张图表，用以形象化描述物体（things）和事物（thing）[ 物体 (object) 和它的事物性（thingness）之间 ] 的作用方式和区别。

To make it clear, Brown make a chart to formalize the dynamics out of which the distinction between the object and the thing (between an object and its thingness).

▼the chart to formalize the dynamics out of which the distinction between the object and the thing (between an object and its thingness).Figure source, Brown, Bill. (2015) Other Things. The University of Chicago Press.

图表中的对角线箭头指出了某个事物（thing）是如何成为主体和客体之间相互作用的结果（超越了它们的彼此构成），而这些在布朗的看来就是被构成的客体（object）的事物性（thingness）。事物因此是主客体关系的名称。

布朗关心的不是你能否成功地把握事物（things）本身，对象（objects）本身。他关心的是物体如何抓住你：它们如何引起你的注意，打断你的注意力，攻击你的感觉器官。

这同样也是建筑师所关心的。

The diagonal arrows in the chart point out how some thing, by which Brown always means the thingness of the constituted object, is the outcome of an interaction (beyond their mutual constitution) between subject and object. The thing thus names a subject-object relation.

Brown’s concern is not with whether you succeed or fail to grasp things-in-themselves, objects as they are. His concern is how objects grasp you: how they elicit your attention, interrupt your concentration, assault your sensorium. This is also what architects’ concern.

1.3 马塞尔·杜尚 ——现成品 |Marcel Duchamp’s Found Object.

想想海德格尔和比尔·布朗的事物理论，当一个物体不再为它的通常功能服务或当它停止为我们工作时，这个物体就变成了一个事物。这就是杜尚的“现成品”的工作原理。“现成品”是指由未经掩饰但经常被修改的物体或产品所创造的艺术，这些物体或产品通常不被认为是制造艺术的材料，是因为它们已经具有非艺术的功能。8 杜尚想用艺术来为智力和思维服务，而不是眼睛。

Consider about Heidegger and Bill Brown’s thing theroy, when an object no more serve its common function or when it stop working for us, the object become a thing. Found objects derive their identity as art from the designation placed upon them by the artist and from the social history that comes with the object. Duchamp wanted to use art to serve the mind instead of the eye.