門
——隨感一篇Doorway: A そought Piece

西蒙·昂溫/Simon Unwin

徐知蘭 譯/Translated by XU Zhilan

門
——隨感一篇Doorway: A そought Piece

西蒙·昂溫/Simon Unwin

徐知蘭 譯/Translated by XU Zhilan

門一直都是建筑普遍語言中的重要因素。20世紀時，建筑師們為了從功能出發組織建筑空間和創造空間的美學體驗探索新的方式，刻意地削弱了門的影響力。其后果卻是現在門作為建筑要素的豐富潛質被極大地低估。本文提示了門的要素如何成為我們生活的句讀，如何約束我們的行為，又感染我們的情緒。文章主張建筑師應更強烈地意識到門有助于他們通過不動聲色、且豐富多彩的方式完成建筑構思。

The doorway has been a powerful element in the universal language of architecture throughout history.In the twentieth century architects reduced its power intentionally to open fresh ways of organising architectural space functionally and experiencing it aesthetically. But the consequence has been that the multifarious architectural potential of the doorway is now largely overlooked. This article is a reminder of the ways in which doorways punctuate our lives, influence our behaviour and elicit emotional responses. It argues that architects should be more aware of the subtle and diverse contributions the doorway can make to their repertoire of architectural ideas.

門，門檻，現象學，建筑的影響力

doorway, threshold, phenomenology, powers of architecture

在21世紀的今天，建筑的設計主要在計算機屏幕上完成，人們則主要通過互聯網上的照片欣賞建筑。所以，我們有必要提醒自己，現實中的建筑才最具感染力——也就是我們在現實世界中直接體驗建筑的時候——在建筑物塑造我們的行為、影響我們的表現、感染我們的情緒時。任何以照片或屏幕影像（即視覺形象）來展示建筑的方式，都無法讓人盡情欣賞，因為建筑不只是視覺的媒介。建筑具有多重維度，遠甚于三維空間與時間維度之和（盡管這些因素確實是建筑所依托的時空結構）。而我們作為人類個體和公眾集體，也不只是建筑的旁觀者，更是積極的參與者。建筑引導我們，鼓舞我們，確保我們安全，也感染我們的情緒，更為我們提供似乎無窮無盡的富于詩意的隱喻……最重要的是，建筑讓我們的世界變得有理可循，并以潤物無聲卻強而有力的方式作為空間組織的載體做到這一切。建筑本身就是普遍語言，與那些由單詞和數字組成的語言迥然不同，盡管后者得到人們更為廣泛的認可。

門是建筑普遍語言中一項強有力的元素。它如此不同凡響，以至于常被其他表現體裁引用（作為比喻）——從詩歌到喜劇，從商業廣告到政治和宗教領袖向全世界表現自我的方式，從兒童故事到電影和計算機游戲等。多少次，偵探或超級英雄在小說里打破一道門、闖入其中對抗和摧毀邪惡勢力；多少次，鴛鴦眷侶在一道門廊內外邂逅，四目相對，兩情相悅；你又需要通過多少道門關，才能在錯綜復雜的網絡世界中達到最高層級。等你下次再遭遇任何上述場景時，請思考一下這些敘事方式以何種方式借用門的要素。門是建筑語言不可或缺的一部分——這是一門比口頭語言或數字語匯更古老的語言。動物既已懂得建造門的要素。我們可以在自然界辨認出門的要素——洞口、樹間的空隙、山脈間的孔道……自從最遙遠的史前時期伊始，門就已成為人類建筑的重要元素。作為建筑師，我們應當提醒自己認識其潛質，并懂得如何巧妙地加以利用，以增強作品的震撼力和詩意。

在本文中，我只能用平面圖像來說明門的案例，但我希望你能以四維的空間體驗方式來解讀我的案例——即將其理解為在一處處空間之間、耗費一些時間完成轉換的過程。門的力量不僅在于其外觀，更在于它們所代表的種種機會或威脅，在于人們在走近和穿越門廊的過程中發生轉變的體驗。如果你休息片刻，暫停閱讀，請閉上眼睛，僅僅想象自己正走近一道門，你就會感受到有所期待；如果你更進一步踏進門檻，在穿過敞開的門廊去探索另一側的“新世界”究竟如何的時候，你還會經歷到一陣興奮。（以作為建筑師所擁有的想象力，你不妨自行決定那個“新世界”的樣貌。）

門是我們生活的句讀。我們在家中走動或是穿行于城市中時，從一間屋子到另一間屋子、從一處地點到另一處地點之間，我們不假思索地跨過一道道門檻。每越過一道門檻，我們就有所變化，有時悄無聲息，有時又引人注目。讓我們從你自己的生活中想象一些例子。譬如你離開家門，從私人空間進入公共領域——你的情緒狀態、外在形象變化了——好像演員進入舞臺去面對觀眾。你在等待一場面試，隨后被要求走進房間去面對面試官的提問，在你邁進那道門的剎那，你的精神狀態變化了——你將處于他人的嚴格審視之下。在一道門廊的后面，你見到了男友或女友，你綻開了笑容。你怒氣沖沖地摔門而去，以此凸顯你的憤怒。在比賽前或演出開場前，你走進體育館或劇院的大門；你焦躁地等待，翹首以盼；之后哨聲響起，或是帷幕拉開，比賽或演出終于開始。夜幕降臨，你回到家，走進臥室后關上房門，心跳減緩，你放松下來。門，即使它關閉或開敞的門扇，是你在這世上日常生活中生機勃勃的要素。

門具有無窮無盡的隱喻潛質。我們常提到身體之“門竅”——人體的每一個孔竅功能各異，世界上有一些部落民族把它們闡釋為房屋建造門窗的方式。死亡則被詩化為“穿越死亡之門”——經由聯想，墓室的入口似乎也獲得了特殊意義。在出生時，我們經過孔道，由子宮的保護進入光亮刺目的世界。由人生的一個階段進入下一階段的節點則被稱為“開端”或“門檻”，并經常以包含有從現實的通道踏進門檻或通過門廊環節的儀式來表明這些時刻?；槎Y之后，兩個人并肩走出一道大門，作為締結了婚姻關系的伴侶共同去面對這個世界。畢業典禮之后，莘莘學子作為畢業生走出校門，踏上社會。全世界和道路有關的儀式都包含通過大門或門廊的環節。每經過一道門，我們就會以微不可察的方式、或偶爾以恢弘偉大的方式得到重生。在這些情景下，建筑的普遍語言在現實的建筑中得到了表達，并與我們的自身生命產生了密切的關聯。與門相關的隱喻還有很多。我們會提到“關起門來”做秘密決定。我們“打開大門”來歡迎朋友，或歡迎新鮮的體驗來豐富我們的生命。這些詩意盎然的隱喻影響了我們在現實中如何使用建筑的門。它們也影響了我們如何設計建筑的門。

門能形成軸線。自古以來，門就是定義軸線的工具。英國古代墓葬的門通過對位的方式與冬至日太陽的位置取得聯系。雅典衛城的入口將圣殿與薩拉米斯島附近意義重大的海戰戰場相聯系。教堂與廟宇的入口引導走近它們的崇拜者靠近上帝或來到圣壇?；仡櫄v史，門一直都象征著權威。宗教利用門引發人們對超越性界域的思考，并且用門形成指向世俗世界的軸線作為權威的象征。他們利用門定義神圣空間——即讓我們可在其中得到神明保護、遠離塵囂的避難之所。我們可以悄然溜進這些門內，以逃避世俗的囚禁，抑或尋求庇護。軍隊會攻擊大門。軍事防御工事會對門的位置進行保護，因為它們是相對薄弱的環節。政治家居住在門后責任重重的世界，然后走出大門發表公開演講——相機記錄下這些演講，畫面上的門赫然在目，象征政治家的責任范疇；演講結束后，他們又經同一道門返回，去面對各種挑戰。我們觀看這些事件的屏幕也是一道把我們和他們聯系起來的“門”。

In these twenty- fi rst century days, when buildings are primarily generated on computer screens and admired through photographs on the Internet, it is worth reminding ourselves that architecture is at its most powerful in its actuality – when our experience of buildings is direct, in the real world; when buildings frame our activities, influence our behaviour, affect us emotionally. Any depiction of architecture as an image in a photograph or on a screen (i.e. as a twodimensional image) never provides a full appreciation of it because architecture is not merely a visual medium. Architecture has many dimensions; many more than the three spatial dimensions plus time(though these do provide the fundamental space-time framework within which architecture operates). We, as individuals and as the general mass of human beings,are not merely architecture's spectators, we are active ingredients. Architecture guides us, informs us, keeps us safe, surprises us, affects our emotions, provides us with seemingly in fi nite poetic metaphors… Above all,architecture makes sense of the world for us. It does so in the tacit, but nevertheless powerful, medium of spatial organisation. Architecture is a universal language in its own right, distinct from the more commonly acknowledged languages of words and numbers.

1 建筑可以摒棄門的要素。20世紀一些建筑師的此類嘗試極大豐富了建筑的普遍語言——他們讓空間和場所在彼此間順暢地流動——因沒有門而讓人感到毫不停歇、毫無斷層、毫不猶豫。然而，如果我們忽略了門的作用，建筑的語言是否會被削弱？/Architecture can be made without doorways.Attempts by some twentieth-century architects to create such buildings have enriched the universal language of architecture;they allow spaces and places to fl ow seamlessly from one to another without punctuation, without the fault-lines and hesitations that doorways provoke. But is the language of architecture diminished if we neglect the power of doorways?

The doorway is a potent element in the universal language of architecture. Its potency is so great that its power is often enlisted as a device (a trope) in many other media of expression: from poetry to plays;from commercial advertising to the ways political and religious leaders present themselves to the world; from children's stories to movies and computer games. How many times has a fi ctional detective or super hero burst through a doorway to confront and destroy a malign threat. How many times have lovers met, face to face,eyes locked, through a doorway. How many doorways do you have to pass through to reach the highest level of a labyrinthine cyber world. The next time you encounter any of these, think about how those narratives use the doorway. The doorway is an essential part of the language of architecture – a language that is older than the language of speech or of mathematics.Animals make doorways. We recognise doorways in the natural world – the mouths of caves, a gap between two trees, a pass through the mountains… Doorways have been signi fi cant elements of human architecture since the most distant prehistoric times. As architects we should remind ourselves of their potential and how we might use it consciously and with deliberation to enhance the practical and poetic power of our work.

2 門為建筑帶來詩意。它們能同時在實踐層面和實驗性方面表現出詩意。在性格迥然不同的場所之間，門分隔了空間，也形成過渡。它們能引起期待和渴望，也能暗示“另一個世界”的存在，并提供向其中窺視的視野，引人入勝，并帶來了從一個世界逃往另一個世界的可能性。/Doorways contribute to the poetry of architecture. They have great practical and experiential poetic potential. They divide but also create transitions between places that can be of dramatically different character. They can elicit emotions of anticipation and aspiration. They can suggest, and provide tantalising views into,"other worlds". They can offer the possibility of escape from one world into another.

In this paper, I can illustrate examples of doorways only with two-dimensional images, but I would like the audience to interpret my examples as four-dimensional experiences: transitions from one place to another,a spatial process that also takes time. The power of doorways lies more than in how they look; it lies in the opportunities or threats they present and the transformative experience of approaching and passing through them. If you were to stop reading these words for a moment, close your eyes, and do no more than imagine approaching a doorway you would feel a sense of anticipation; if you step further you will experience a thrill as you pass through the doorway's opening to see the "new world" that is on the other side. (With your architect's imagination, the nature of that "new world"is up to you.)

Doorways punctuate our lives. As we move around our homes or our cities we pass through doorways without thinking as we move from room to room, place to place. And each time we pass through a doorway we ourselves are changed, sometimes imperceptibly,sometimes dramatically. Imagine examples from your own life. When you leave home, you pass from your private world into the public realm – your emotional state, your persona, changes… like an actor emerging onto a stage in front of the audience. When you wait for an interview and are then asked into the room to face those who will question you, as you pass through the doorway your state of mind changes… you come under scrutiny. When you meet your boy- or girlfriend in a doorway, you smile. When you storm out of a room you slam the door behind you, to emphasise your anger.When you enter a sports arena or a theatre before the game or performance, as you pass through the entrancethe field or stage is spread out before you; you wait with impatient anticipation; then the whistle blows or the curtain lifts and the show begins. At night, when you return through your bedroom doorway and close the door, your heart beat slows and you are relaxed.Doorways, and the doors by which they are closed and opened, are active instruments in our daily experience of the world.

20世紀時，曾有建筑師力圖摒棄門的要素，或至少要將其固有的影響力降至最低甚至消除殆盡。一些建筑師把門和它的主導軸線與（宗教、皇室和政治的）特權階層文化相關聯，認為是它們導致了第一次世界大戰的災難和其他社會劇變。他們著手建造在現實空間和隱喻意義上都能夠沒有門的建筑。在勒·柯布西耶1920年代發表的文章和密斯·凡·德·羅的作品中，我們都能看到對“開放”或“自由”平面的主張——空間在房間與房間之間自由流動——這些平面都沒有門的布置；以及建筑周圍空間自由流動的城市——亦即沒有等級分明、象征特權的軸線。這一隱喻意味深長。它深刻地改變了人們設計建筑的方式。避免使用門及其相關軸線的渴望既成了審美的需求，也成為隱喻的主題。

3門可以分隔對立的事物——耀眼的陽光與黑暗的陰影；宜人的溫暖與刺骨的寒冷；喧囂與靜謐；匱乏與特權；威脅與安全；隱秘獨處與公開亮相……同時，它也建立了兩者之間的關聯。門在我們身上制造萬有引力，將我們拉近它，邀請我們通過……也許，有時它們也充滿誘惑和欺騙。/A doorway can divide opposites: dark shade from bright sunlight; icy cold from balmy warmth; silence from noise;privilege from deprivation; threat from safety; private solitude from public exposure... but at the same time provide access between the two. Doorways can exert a gravitational pull on us, drawing us towards them, inviting us to pass through...maybe sometimes they seduce to deceive.

建筑發生了翻天覆地的變化。建筑材料和結構體系的科技進步也助長了這一趨勢。開放的平面更容易通過鋼和混凝土框架實現。墻體更為輕巧，并可獨立于結構存在。平板玻璃也可被當作完全通透的墻體?！伴_敞”的理念由此得到進一步加強。如今，我們在當代建筑設計作品中能見到許多以玻璃幕墻喬裝成門的嘗試，配以設計精巧的細部——鉸鏈、門把手、扶手等——這些門與玻璃墻面儼然一體，幾乎不可分辨。而所有這些努力都只為一并減弱甚至徹底消解室內與室外的邊界、及其比喻的內涵和美學特征。門似乎已是禁忌。

但是，在建筑中盡可能消除門的努力恰如從書面語言中盡可能取消標點符號一樣。它們都是各自語言體系中必不可少的要素。記得在詹姆斯·喬伊斯的《尤利西斯》（1922年）中就有一部分文字沒有句讀，讓人疲于閱讀也難以理解。盡管這種做法在當時引起了轟動，這一實驗卻后繼乏人。門的表達形式和體驗方式有多種可能，其重要性遠甚于句號和逗號的用法。20世紀時對門的厭惡意味著建筑師已經對如何加強人們體驗建筑、與建筑互動的方式失去了探究的興趣。

4門能把我們帶離涼爽的起居室，進入充滿植物與花卉的溫室。由此，門為我們提供了多姿多彩的建筑體驗。它們把我們在建筑中穿行的過程交織成一曲交響樂，讓我們沉浸在猶如受到音樂感染的情緒中。一道門檻也是變化發生的一瞬間。隨著我們所處地點的個性發生變化，我們也隨之改變。/A doorway can take us from the coolness of a living room into the warmth of a conservatory full of greenery and fl owers. In doing so doorways enable dramatic variety in our experience of a building. They orchestrate our movements through a building, affecting our moods like in music. A threshold is a moment of transformation. As the character of the place in which we fi nd ourselves changes, we do too.

門的建筑學潛質較其實際用途廣泛得多。門是可以獨自存在的地點。古代的法律訴訟往往在城市的入口處舉行，可能是因為異端份子一經定罪，就會被人關進城市的防御塔或驅逐出境；也可能因為門具有門檻的本質，因此在比喻的意義上，似乎與這一場景的特質不謀而合——它既是判斷無辜與犯罪、自由與監禁的交點，也是城市內部社群的公共法律與不受法律控制的城市外部世界之間的界限。在溫暖的氣候條件下，人們會愜意地坐在屋舍門口，它既屬于公共領域，也是他們的家庭空間。店老板坐在商店門口歡迎潛在的顧客。廟宇自古以來都有高敞宏偉的大門作為從外部凡塵俗世進入內部神圣世界之間的過渡空間；它是供來訪者畢恭畢敬地鞠躬或脫鞋的地方，或是葬禮開始前可以停靈片刻的地點。如今的游客景點也有入口建筑，可出售門票和導覽手冊，或供游客購買紀念品；它們也同樣具有在平淡無奇的外部世界和游客特別趕來觀看的“另一個世界”之間進行過渡的作用。

5門可以形成景框，成為房間里并非一成不變的“圖片”，隨著冬去春來、日升月落而變化。門（和窗）通過框景，讓我們能遠近借景（也許并不“屬于”我們）。門也提供了一處“中間狀態”的地點，讓我們既不在室內也不在室外，卻又同時屬于并占有二者。/Doorways can frame views, providing rooms with "pictures" that are not fi xed and change with the times of day and the seasons of the year.Doorways (and windows) enable us to borrow scenery from near and far (and which may not "belong" to us) by drawing it into our rooms. Doorways also offer a place "in-between",where we are neither inside nor outside, but possessed by and possessing both.

6門是公共領域與我們自宅私人空間之間的界限。是我們歡迎來賓之處。是我們定義自身身份之處。是我們接受信函之處。通常門不會截然割裂空間，而是屬于一系列從“公共空間”到“半公共空間”、到“半私密空間”、直到“私密空間”的序列。它也能讓視線透過……譬如它在這里能讓人看見附近的海面。/A doorway is the interface between the public realm and the private worlds of our own houses. It is where we welcome visitors. It is where we identify ourselves. It is where we receive missives from elsewhere.Often the doorway does not mark a clear divide, but is part of a sequence that passes from "public", to "semi-public", to "semiprivate", to "private". It can also provide a view through... in this example to the horizon of the sea in the distance.

The doorway has endless metaphorical potential.We speak of the "doorways" of the body; each opening has a different purpose, which some tribal peoples of the world translate into the ways they build openings in their houses. Death is depicted poetically as "passing through a doorway"; by association, the doorways of tombs seem to acquire particular signi fi cance. At birth we pass through a doorway from the security of the womb into the bright world. Passage from one stage of life to the next is called a "threshold" or "doorway"; and can often be marked by ceremonies involving actual passage over a threshold or through a doorway. After a marriage ceremony, two people emerge from a doorway to face the world as a married couple. After degree ceremonies, students return to the world through a doorway as graduates. Rites of passage around the world involve passing through gates or doorways. Every time we pass through a doorway we are reborn in a miniscule or, occasionally, in a grand way. In such instances the universal language of architecture, expressed in real buildings, is intimately engaged with our lives. There are many metaphors associated with the doorway. We speak of secret decisions being made "behind closed doors". We"open our doors" to friends to welcome them, or to new experiences as a way of enriching our lives. Such poetic metaphors influence how we use the real doorways of buildings. They should influence how we design the doorways of real buildings too.

7就像劇院的舞臺臺口拱門，門能形成分隔的框架要素，分隔象征尊卑的空間。文藝復興時期的一位王子可以躺在這張精致繁復的床上覲見一門之隔的朝覲者，后者只能被限定在另一個空間里。這道門增強了王子公認的優越感、及其對于他人而言遙不可及的社會地位。/Like the proscenium arch of a theatre, a doorway can frame the divide between the make-believe world of privilege and its inferior subjects. A Renaissance prince might hold court lying in a ceremonial bed framed by a doorway, whilst supplicants were con fi ned to a separate space. The doorway reinforces the prince's assumed superiority, and the inaccessibility of his social position to others.

A doorway generates an axis. Since ancient times doorways have been used as instruments of axial linkage. By alignment, the doorways of ancient burial chambers in Britain were linked to the sun setting on the winter solstice. The doorway into the Acropolis in Athens links the sacred sanctuary to the site of signi fi cant naval battle near the island of Salamis. The doorways of many churches and temples link the approaching worshipper to the god or altar within. Through history doorways have been used as instruments of authority. Religions use doorways to evoke the idea of a world beyond, and establish the authority of the axis that projects out into the world. They use doorways to define a sacred realm,a refuge from the world where we are safe in the protection of the gods. We slip through doorways to escape confinement, or perhaps to find refuge.Armies attack doorways. Fortresses protect their doorways because they are weak points. Politicians inhabit worlds of responsibility behind doorways,and emerge through them to make public statements;cameras film those statements with the doorway of their realm of responsibility visible behind; and after their statement they go back through that doorway to address their challenges. The screens on which we watch such events are "doorways" that link us to them.

8更多的普通人——尤其在溫暖氣候地區——喜歡坐在家門口招呼過往的鄰居閑聊幾句。坐在自家門前的樹蔭下讀報、喝咖啡、和左鄰右舍打招呼是最愜意的打發時間的方式之一；它讓人能有機會進行哲學沉思，也能讓你能回到室內去接電話。/More ordinary people, especially in warm climates, enjoy sitting by their doorways so they can greet and chat with passing neighbours. Sitting by one's doorway,under the shade of a tree, reading the paper, drinking a coffee,greeting neighbours, is one of the most enjoyable ways to spend time. It offers the possibility of a time for philosophical musing. It also means you can run back inside to answer the telephone.

門既分隔了不同的世界，也聯系了它們。劇院舞臺口的拱門——和電影院、電視機或計算機的方形屏幕一樣——實際上是不同世界之間的大門，是我們過著平凡生活的普通世界和我們在其中享受并向它投射想象的另一個世界之間的大門?，F實的建筑物也有異曲同工的作用?；叵胍幌聸鏊a蔽的起居室和溫暖明亮、充滿綠植和繽紛花卉的溫室之間的關系。介于兩者之間的門形成了從一處空間望向另一處空間的景框——在蔭蔽的一側瞥見明亮鮮艷的一側；從溫暖的一側窺視涼爽的一側。在一些文藝復興時期的宮殿里有國王臥室，它由兩間單獨的房間所組成，之間用仿佛劇院臺口拱門般高大的“門廊”隔開。其中一間布置有一張以名貴的紡織品點綴的豪華睡床，各種精巧的物件則環繞在周圍，貴族成員或皇室成員在此接見能被允許進入隔壁房間的拜訪者，隔壁這間被拱門隔開的房間則仿佛是一個不同的世界。同理，廟宇的入口或教堂的圣壇拱券也分隔了神圣空間和我們凡俗的世界。進入一座墓葬的過程也與神話英雄進入死后的世界與亡者對話相類似。

9門是我們等待朋友和會面的地方。富于詩意的是，門能同時象征一對伴侶的團聚和分離。在許多敘事體裁中——文學、電影、戲劇……——門都不言而喻地被用作發生聚散離合、驚訝、欣慰、憤怒、孤立等情節的地點。對門的敘事功能運用通常是下意識的——也就是說 ，在我們的意識之門背后。/Doorways are where we wait for and meet our friends. Poetically a doorway manages to symbolise both the unity and the separation of a couple. In many forms of narrative – literature, movies, drama... – the doorway is used as a tacit device for framing reunion, separation, surprise,relief, anger, isolation... The narrative power of the doorway often works subliminally – i.e. beneath the threshold of our consciousness.

門的功能多種多樣。門是我們表達個性與身份的地方——不僅通過銘牌和標志，也經由門本身的特點進行表達。骯臟破敗、陳舊不堪的門讓我們對住在門后的人有所了解。雄偉高大、超凡出眾的鍍金大門則告訴人們，它的主人想讓別人相信自己也同樣超凡出眾、熠熠生輝、引人注目。謙和樸素的門則暗示著它通往純粹簡單的生活。門當然也可能說謊。

一道門也可以是一道濾網抑或閥門。門把可能進入或離開一處場所的人和那些固定不動的人區分開——人們必須在門口出示名片或邀請函，或購買門票，或花費一番說服的口舌。門區隔危險的地點和安全的地點——宇宙飛船或核反應堆都有設計精巧的“氣閘室”作為出入口，防止氧氣從宇宙飛船泄漏或核泄漏。會議室和醫生診室的門為人們討論較為敏感的問題提供隱私的保護。門感染人們的情緒。在電影里，即使最自信的偵探也會在進入審訊罪犯的陌生法庭之前感到一絲不安。而就算是最緊張不安的逃亡者也會在終于找到的避難所上鎖的門后感到一絲欣慰和放松。而電影結束則好像關上了一扇門。

10一般而言，門是入口，讓我們能毫無困難地來往于不同的地點之間。但有時候，門也是我們的停歇之所，阻止我們去往遠處。門是保安阻擋陌生人的地方，是“保鏢”禁止衣著不整者進入的地方……宮殿“禁地”就在這一道道門的背后，它們因其禁止入內的性質，顯得更有威嚴。/Generally doorways are ports of entrance, they allow us to pass between separated places without diきculty.But sometimes doorways are where we are stopped ;prevented from going further. Doorways are where guards halt strangers, where "bouncers" forbid entry to those not dressed appropriately... The "forbidden" places behind such doorways, become more tanalising because access is barred.

綜上所述，作為建筑通用語言的組成要素，門充滿潛質。如果我們視而不見門具有的可能性，就會讓建筑學變得貧瘠。門的作用可以是激動人心，也可以是細致入微、詩意盎然的。使用門的方法則無窮無盡。

通常，我們經過一道道門而熟視無睹；我們的注意力不是在向往門另一側的世界，就是在思索如何從我們正遠離的空間逃遁。但是作為建筑師，我們應當意識到門具有許多可能性，我們肩負對它們進行設計的責任。我們經?？紤]門的外觀和建造方式，對其功能和如何更好地實現這些功能，以及它對進入建筑的空間體驗還能提供什么則缺乏足夠認真的考量。

我們可以利用門實現許多目的——譬如讓我們的建筑使用起來更實用、宜居和激動人心。我們可以有意識地利用門，為人們進入建筑、在其附近活動和離開建筑編織一曲空間體驗的交響。我們可以用門的物質形式形成隱喻。我們如何運用門的要素來做設計會影響許多人認識世界的方式?！?/p>

11墓室的門好像通往死亡自身之門。墓室作為凄苦不堪、死氣沉沉之處，其入口通常沿著狹窄逼仄的甬道展開。門是從瀕死的壓抑向死亡本身的凄涼過渡的瞬間。也許這世間再也沒有更震撼人心的隱喻了。墓室也是最古老的建筑類型之一，可以回溯至史前時代。/The doorway of a tomb is like a doorway into death itself.Tombs are desolate, drab places, and their entrances are often approached along narrow, oppressive passageways. The doorway is the moment of transition from the oppression of dying into the desolation of death itself. There is perhaps no metaphor more powerful. And it is one of the oldest in all architecture, stretching way back into prehistory.

In the twentieth century some architects tried to abolish the doorway, or at least minimise or counteract its intrinsic power. Some associated the doorway and its dominating axis with the cultures of privileged authority (religious, royal and political) that had contributed to the disaster of the First World War and other social upheavals. They set about creating an architecture that would create a world without doorways, physically and metaphorically. In the 1920s writings of Le Corbusier and the work of Mies van der Rohe we see arguments for the "open" or "free" plan:plans in which rooms flow freely one into the next –plans without doorways; cities in which space flows freely around buildings – cities without the hierarchical axes of authority. This metaphor is powerful. And its effect profoundly changed the ways in which buildings were designed. The desire to avoid the use of doorways and their related axes became an aesthetic as well as a metaphorical issue.

Architecture changed fundamentally. And the advancing technology of building materials and structural systems helped that change. Open plans were made easier by steel and concrete frames. Walls could be lighter and independent of structures. Plate glass made it possible to create walls that were completely transparent. In these ways the idea of "openness" could be reinforced further. Nowadays, in contemporary work, we see attempts to camou fl age doorways in glass walls, with details – hinges, catches, handles – carefully designed so the doorways are almost indistinguishable from the general glazing. All this is done so that the barrier between outside and inside, with all its metaphorical connotations as well as aesthetic characteristics, might be reduced or even eliminated. It is as if the doorway is a forbidden concept.

But trying to abolish the doorway from architecture is like trying to abolish punctuation from written language.Both are essential elements of their respective languages.Remember that part of James Joyce'sUlysees(1922) is written without punctuation, making it tiring to read and difficult to understand; though sensational at the time, it is not an experiment that has been much repeated. The expressive and experiential possibilities of doorways are far greater than those of full stops and colons. The twentieth-century aversion to doorways means that architects have lost interest in the ways they could be used to enhance how people experience and interact with buildings.

12盡管20世紀曾有一些建筑師試圖將門從建筑的語匯中消除掉，另一些建筑師則繼續探索其表達詩意的潛質。這是格爾德·盧弗倫斯在斯德哥爾摩斯林地公墓設計的復活堂（1925年），銅制十字架既是基督教的象征，也是表示不得從此門進入教堂的符號。然其陰郁的氣質也讓它變成了一道“死亡之門”。/Though some twentieth-century architects sought to banish the doorway from the language of architecture, a few continued to relish its poetic potential.Here is the exit doorway of Sigurd Lewerentz's Chapel of the Resurrection (1925) in Stockholm's Woodland Crematorium.The cross of its bronze panels is both a Christian symbol and a sign that indicates that you are not supposed to enter the chapel by this door. But its sombre character also makes it a"doorway of death".

13盧弗倫斯在他于瑞士克利潘的圣彼得教堂（1966年）里，設計了各式各樣的門。他甚至讓人從外部公共空間很難找到進入教堂的方式。入口處的門廊謙卑謹慎而隱蔽不見。等你終于找到了它，它又將你引入一個充滿神秘的洞穴般的室內空間。這張照片上只有一個簡單的入口，讓游客從幽暗的入口禮拜堂進入光線明亮的主教堂。/In his Church of St Peter at Klippan in Sweden (1966), Lewerentz used doorways in many different ways. He even made it difficult to find the way into the church from the public world outside. The entrance doorway is humble and hidden away. When you eventually fi nd it, it transports you into a mysteriously cave-like interior world. In this photograph a simple opening entices the visitor through from the shady entrance chapel into the starkly-lit main church.

14瑞士建筑師彼得·卒姆托也同樣對門如何影響我們進入建筑的體驗做過一番探究。這是他在庫爾的羅馬考古遺址保護棚（1986年）的入口。門由懸挑的金屬方盒作為邊框，并在其中包含幾級臺階，我們的體驗也得到拓展。當我們步入其中，入口的方盒會在我們的體重影響下稍有顫動，讓我們感受到自己正在進入一處陌生的世界——歷史的空間。/The Swiss architect Peter Zumthor has also been interested in the powers doorways have to affect our experience of entering a building. そis is his entrance to the Roman Archaeological Shelter at Chur (1986). The doorway is framed, and our experience of it extended, by a cantilevered metal box that also incorporates steps. As we step onto it, the box moves slightly under our weight, giving us the feeling that we are entering a foreign world – the world of the past.（1-14攝影/Photos: 西蒙·昂溫/Simon Unwin）

The architectural potential of the doorway is much broader than its practical usefulness. Doorways are places in their own right. In ancient times legal proceedings were held at the gateways of cities, presumably so miscreants, if found guilty, might be locked in one of the defensive towers or banished from the community;but probably also because the threshold nature of the gateway seemed in some sort of metaphorical harmony with the threshold nature of the occasion – i.e. the cusp of innocence or guilt, freedom and imprisonment, the line between the communal laws of the city and the lawless world outside. In warm climates, people enjoy sitting at the doorways of their houses so that they can be part of the public realm as well as of their own homes.Shopkeepers sit by the doorways of their stores to greet possible customers. Temple grounds since ancient times have been given grand gateways as transitions from the secular world outside to the sacred world within;where visitors bow or remove their shoes in respect, or where coきns rest for a moment before funeral services.Nowadays tourist sites have entrance buildings where tickets and guidebooks are sold and souvenirs bought;they too have the effect of creating a transition between the ordinary world outside and the special "other world"tourists have come to see.

Doorways separate as well as link different worlds.The proscenium arch of a theatre – like the rectangular screen of a cinema, television or computer – is effectively a doorway between one world and another,between the world in which we live our ordinary lives and another into which we enjoy projecting our imaginations. The architecture of real buildings can do this too. そink of the relationship between a cool shady living room and a warm and bright conservatory fi lled with green plants and colourful fl owers. Between the two, the doorway frames the view from one into the other – from the shade into the light and colour; from the warm into the cool. In some Renaissance palaces there are state bedrooms consisting of two chambers separated by a large "doorway" like a proscenium arch; in one of these chambers would be a grand bed,bedecked with expensive fabrics and surrounded by fi ne objects, from which the noble or royal personage would receive visitors allowed into the adjacent chamber, separated as it were in a different world by the proscenium doorway. Likewise, the doorway of a temple or the sanctuary arch of a church distinguishes the world of the god from that of us mortals. And entering a tomb can be like a mythical hero entering the afterworld to speak with the dead.

Doorways do many things. Doorways are where we express our identities; not only with name plates and logos but by the character of the doorway too. A dirty,worn, decrepit doorways says something about who lives behind it. A grand, larger-than-life, gold-plated doorway says that the person to whom it belongs wants others to believe that he too is larger than life and,metaphorically, plated in gold. A modest neat doorway suggests it leads into the home of a pure simple life.Doorways may of course tell lies too.

A doorway can be a filter or a valve. Doorways are where those who may enter or leave a place are separated from those who may not; they are where identity cards or invitations must be shown, tickets bought or persuasion attempted. Doorways separate dangerous places from safe ones; space ships and nuclear reactors have elaborate "air-lock" entrances that prevent air being lost from a space ship and radiation escaping from a reactor. The doorways of meeting rooms and doctors' consulting rooms provide privacy for sensitive discussions. Doorways elicit emotional responses. In movies, even the most con fi dent detective feels a hint of trepidation entering a strange bar frequented by criminals. And even the most nervous of fugitives breathes a sigh of relief and relaxation when they fi nd refuge behind a locked door. And the movie ends with the closing of a door.

To conclude… as an element in the universal language of architecture, the doorway is rich with potential. By neglecting the possibilities the doorway offers we make architecture poorer. The powers of the doorway can be both dramatic and subtly poetic. There are in fi nite ways in which they may be exploited.

In general, we pass through doorways without noticing; we are intent on projecting ourselves forward to the other side, or on escaping the place we are leaving. But, as architects, we should be conscious of the range of capabilities doorways offer. We are responsible for designing them. We consider what doorways look like and how they should be constructed. But often we do not think hard enough about what a doorway is doing, how it might do it better, and what else it could do to enhance the experience it offers.

We can do things with doorways; do things that will make our buildings more practical, enjoyable and stimulating to use. We can use doorways consciously,to orchestrate the experiences of those who will enter,move around, and exit our buildings. We can make metaphors in physical form. Our use of doorways can in fl uence how people see the world.□

/Biography: 任教于卡迪夫大學威爾士建筑學院。鄧迪大學名譽教授。已出版中文版書籍《解析建筑》（中國水利水電出版社，2002）、《門》（電子工業出版社，2014）/Simon Unwin is Emeritus Professor of Architecture at the University of Dundee in Scotland. He studied architecture at the Welsh School of Architecture in Cardiff, where he continues to teach. His books include Doorway (Routledge, 2007) and Analysing Architecture (4th edition, Routledge, 2014), both of which are available in Chinese.

/Received Date: 2017-11-10