事事無礙的建築－試論伊東豐雄近期作品的大乘美學觀

Architecture of Everything for Everything: Theorizing the Mahayana Aesthetics of Toyo Ito's Recent Works

10.30105/JDS.201106.0005

羅時瑋(Shih-Wei Lo)

部分與整體關係 ； 現代盒子 ； 一與多 ； 大乘美學 ； 事事無礙 ； part-whole relation ； modern box ； the one and the multiple ； Mahayana aesthetic ； everything for everything

設計學研究

14卷S期（2011 / 06 / 01）

63 - 78

繁體中文

伊東豐雄在2000年之後所完成的一系列盒子式建築作品，呈現出對現代盒子建築的挑戰與顛覆，其設計的核心理念是基於對「部分－整體」關係的重新詮釋，亦即重新掌握「一與多」的關係。今日與數位運算技術結合的形式設計過程中處理的「部份－整體」關係，已從階層結構解放出來，每一部分可相互等值，接近佛學中大乘觀點的「一多相即」、「一即一切」的世界。華嚴思想主張「即事而真」，強調對「事」的重視，提出獨到的「事事無礙法界」的解釋，似乎可發展爲對伊東這一系列建築的論述架構。 現代盒子範型的演進，顯示在建築「開窗術」的變化上。而伊東的樣態盒子，似乎完全擺脫建築開窗術的慣例，他這系列盒子建築的形式與結構彼此相即相入，以透明盒子內部構件的「流動」或以盒子皮層的碎形結構來表現這時代的流動感，亦即以部分－整體之間的非階層式、非支配性關係來構築他的盒子建築。 在伊東的跨世紀三部曲作品中，仙台媒體館是相即相入的Dom-ino模型，蛇形館與TOD's旗艦店則是反Dom-ino模型的案例，根特文化中心與台中歌劇院則是趨向事事無礙的建築。

Toyo Ito's box-like architectural works completed after 2000 reveal his challenge and subversion against the modern box building. His central idea is based on the re-interpretation of ”part-whole relation”, i.e. re-apprehension of the relation of ”the one and the multiple”. Thank to today's digital-algorithmic technology, the ”part-whole” relation can be liberated from the hierarchical structure, with every part's value equivalent to one another. This is close to the Mahayana idea of ”mutually being and becoming of the one and the multiple”. The thought of Avatamsaka suggests ”truth with the thing” and emphasizes the ”thing”, and contends ”the world of everything for everything”. It thus seems that the Mahayana idea of Avatamsaka can be applied to discoursing Ito's architecture of this series. The evolution of the modern box building manifests itself on the development of fenestration. Ito's modal box, however, gets rid of the conventional practice of fenestration. In his box-like architecture, form and structure are made mutually ”being and becoming” each other. He utilizes the moving components inside the box or applies the fractal structure to the surface of box in order to represent the sense of flux in our time. In other words, he builds his box architecture with a non-hierarchical and non-dominant sort of part-whole relationship. Among the trio groups of his works stepping into the 21st century, Sendai Mediatheque can be regarded as the Dom-ino model of ”mutually being and becoming”. Serpentine Gallery Pavilion and TOD's can be examples of anti-Dom-ino models. Ghent Culture Center and Taichung Opera House seem to approach toward the ”architecture of everything for everything”.

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