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《芳草说》是一个基于侨福芳草地品牌内核开辟的随笔专栏，由侨福芳草地主办，侨福当代美术馆·北京承办，刊登于“侨福芳草地”微信订阅号，每双周更新。每一期，我们将邀请一位在自身领域具有一定影响力的知名人士，就时下热点话题或近期见闻分享有价值的思考与感悟，在艺文绿洲的平台上展现独特的人文魅力。
The View is a featured column based on the brand DNA of Parkview Green FangCaoDi. Hosted by Parkview Green FangCaoDi and undertaken by The Parkview Museum Beijing, The View will be released in the “Parkview Green FangCaoDi” WeChat subscription channel biweekly. Each issue will feature an article composed by a key opinion leader in the fields of art and culture, architecture, business, etc. They are here to share the insights of their profession and the industry, observations on recent news, and valuable reflections of matters in life. This column delivers the connotation of art and culture through different perspectives.
以下文章来源于侨福芳草地 ，作者侨福芳草地
音乐与建筑，二者看似毫不相关，却又浑然共通。它们的形成都需要创作者倾注丰富的情感，依靠严谨的逻辑和结构，再添上些许“灵感”与大量辛勤的工作，方能让过程和结果共同产生艺术张力。在今天的《芳草说》中，磊落组合制作人王亦乐将与我们分享她的音乐创作与其中的建筑思维。
Music and architecture, though seemingly unrelated to each other, are connected. Their construction comes from a creator with passion, rigorous logic, structural thinking, some inspiration, and a lot of hard work. The process and the result together bind by an artistic tension. In today's The View, Wang Yile, the producer of "Wang Lei & Yile", will share her architectural thoughts in music creation.
建筑是凝固的音乐，
音乐是流动的建筑。
Architecture is a solidified music,
and music is a liquid architecture.
这句话似乎已经被人引用泛滥了，有无数人在撰写建筑中音乐性的理论文章，分析空间中的比例和音乐中和谐音程的关系，或者是在音乐结构和历史背景的基础上，分析建筑作品的艺术特征等。我作为一个在双边行业均有涉猎的从业人员，很幸运地从这两者的角度出发去考虑它们之间的特殊关系。现在，我作为一个在抽象听觉艺术事业中专职创作的工作者而言，更多的是从“人”的角度，去考虑我现在的组合——磊落组合——作品中本身所具备的双面性特点。
This famous saying seems to have been widely quoted. Countless people either author theoretical articles about the musicality of architecture to analyze the relationship between the proportions in the space and the harmonious intervals in the music or expound on the artistic characteristics of architectural works on the basis of musical structure and historical background. As a professional engaged in both industries, I am fortunate to gain insights into special ties between them from the perspective of architecture and music. Now, as a full-time creator specializing in abstract auditory art, I prefer the dimension of “people” to take into account our musician ensemble—“Wang Lei & Yile”— and the inherent double-sided characteristics of their works.
从大学开始，我一直系统地在学习建筑设计专业，虽然在大众的概念里，建筑设计行业似乎是一个理工科为主的行业，但我所在的悉尼大学建筑学院教学的方向，却是偏向于人文、社科和整体审美概念为主的。我们在学习的初期，需要去直观地用双手去感受不同材质的触感，接触手绘草图中各个媒介能表现出的不同力量，加上对于项目前期调研的重视，我们可能会在动手画第一张草图之前已经在场地的野外搭帐篷睡了几天了。
Since I was a university student, I have been studying architectural design systematically. Although it is commonly believed that architectural design industry is seemingly dominated by science and engineering, however, pedagogical practices at the School of Architecture of the University of Sydney focus on humanities, social sciences and overall aesthetic concepts. In the early stages of campus career, students were required to intuitively use hands to obtain tactile impression on different materials, touch the expressible different strengths of each medium in the hand-drawn sketches, and attach importance to the preliminary surveys of the projects. Students slept in a tent outdoor in a specific location for a few days before drawing the first sketch by hand.
在建筑学院的这种氛围之下，我们在理性钻入一个作品设计的前期，会狂热地去调查作品的在地性，其可能承载的历史重量和社会属性等。
Under this hands-on atmosphere of the School of Architecture, when students rationally devoted to the early stage of work design, they feverishly investigated the local character of the works, the underlying historical heritage and social attributes of the works, among others.
这种工作习惯和思维模式，一直持续到我陡然跨界之后。在十年前我遇见了我现在的伴侣，摇滚音乐人、贝斯手王磊。在辅助王磊的过程中，我逐渐将工作重心转移到独立音乐制作上了。这样一个外界看起来似乎是“诗和远方”的感性行业，产出的作品是完全抽象的。人们需要调动起自发的想象能力和情感中枢，去接受“音乐”这种听觉艺术传达的信息；这很容易让大家误解为“创作音乐”这个行为也是充满感性和随机性的。
This work habit and thinking approach continued until I plunged into a crossover realm. Ten years ago, I met my husband Wang Lei, who is a rock singer and bassist. In the process of assisting Wang Lei, I gradually shift my work focus to independent music production. Many outsiders consider music as an industry associated with the realm of emotionality and with an idealized existential dimension: they consider music as a completely abstract work of art. Musicians need to bring into play their spontaneous imagination and emotional pivot to accept the information conveyed by the auditory art of “music”. It is easily misunderstood that the behavior of “music creation” is also brimming with sensibility and randomness.
音乐创作的过程，却是需要完整的抽离感和理性模式的。这方面，正好和我长期在建筑专业浸淫所获得的经验相符。
The process of music creation depends on thorough distance and rational approach. In this regard, it coincides with my professional experience gained from devotion to architecture for a long time.
就用我们所创作的《大迁徙》为例，其乐曲中牵扯到的录制轨道超过了80轨，而这些零散的元素如何才能有机组合，体现出我们想要表现的“旱季”末期非洲大草原上百万动物涌动前行的迁徙感呢？这其中所需要研究的细节，绝不是在某一次探访非洲草原所能突然获得的“灵感”，而是对于每一个轨道的声场和频段有着笃定的理解后，再明确而理性组织安排的结果。乐曲中电吉他所使用的撕裂般的效果器声音，鼓和贝斯之间的错位，还有节奏吉他左声道右声道之间的摆动……这一切都是在一次次沟通、交流和碰头会之后的决策。制作人，在这里完全就像主持建筑师一样，需要在一个足够高的视野中，通观全局，调度调配手里的声音元素，把握乐曲的方向，并确保各方的推进，是在一个可被掌控的“红线”范围以内的。
Take our original work The Great Migration as an example. The recording tracks, involved in its music, exceeds 80. How can these scattered elements be organically combined to highlight what we want to express, namely a sense of migration of millions of animals dashing and moving forward across African savannah at the end of “dry season”? The details, which need to be grasped to an inch, are by no means the “inspirations” suddenly burst from a visit to the African savannah. Instead, they result from clear-cut and rational assembly and arrangement after a profound understanding of sound field and frequency band of each track. The tearing-apart effect sound adopted by the electric guitar in the music, the dislocation between the drum and the bass, and the swing between the left and right channels of the rhythm guitar…All of these are decisions made on the basis of repeated communication, exchange and meeting. On this occasion, producer exactly plays a role of chief architect, who should take a panoramic view for the overall situation under a high field of vision, dispatch and employ the available sound elements, clarify the direction of musical composition, and ensure that the advancements of all parties are within the “redline” under control.
这就是磊落组合一贯的工作理念：感性思考，理性创作。
This is exactly the consistent work philosophy of “Wang Lei & Yile”: Perceptual Thinking, Rational Creation.
对于声音的角色，我在跟制作团队讨论的过程中经常会用建筑术语来类比，将这种抽象的元素用大家肉眼可见的具象比喻讲出来，会在沟通中减少很多误解。
Regarding the role of sound, I often draw a parallelism with architectural terminology when discussing with production team. Expressing this abstract element with such a visible and concrete metaphors can eliminate misunderstandings in communication to the utmost extent.
我经常会将贝斯和鼓组这一类的基础律动乐器，比喻成一个作品的“地基”，也会开玩笑地告诉大家，作为作品的坚固命脉，律动组还是需要有觉悟的，因为可能没有人会说“这栋楼的地基真好看呀！”这样的话。他们需要做到扎实、稳健、骨骼清晰，这样一首乐曲的架构才能稳定而具备自己未来的搭建潜力，但同时他们也需要具备足够隐忍的性情。
I often compare basic rhythm instruments (such as bass and drum kit) to the “foundation” of a work. I also jokingly tell others that as the lifeblood of the work, the rhythm group still needs to be conscious, as it is unlikely for anybody to acclaim: “The foundation of this building is very beautiful!” The members of rhythm group should act in steadfast and stable ways “to shape the skeleton”. In this way, framework of musical composition can keep stable and implies its own potential for the future construction work. The members of rhythm group also need to keep patient enough, however.
同样的，在我们确认了乐曲的“地基”和“结构柱网”后，其他的色彩元素，或者用建筑语言上说的“立面”、“装饰”等元素，就不能脱离于这些基础而单独存在了。
Similarly, once we confirm “foundation” and “structural column grid” of musical composition, the other chromatic elements, also called “facade” and “decoration” in architectural language, cannot be separated from these foundations to exist alone.
我们见过建筑学派中的极简主义，也见过历史发展中出现过的极繁主义，这些设计决策的背后，都不是一拍脑门的机缘巧合。如何“恰当”地使用其他色彩乐器，就直接体现了制作者本身对音乐本身的情感理解了。我们是需要飘忽不定的梦幻般的旋律线？还是需要尖锐而硬朗的超高频段来制造情绪化的冲击？或者说我们是不是可以让所有的声音都归于寂静，让大家屏息等待一会，从而制造出更具备画面感的直接冲击？……
We are familiar with the architectural movement of minimalism, but also with maximalism in the course of historical development. Behind these design decisions, there is no coincidence under inspiration of someone. The way to “appropriately” make the best of other color instruments straightforward demonstrates the producer’s individual emotional understanding of the music itself. Do we need erratic and dreamy melodic lines? Or do we need a sharp and tough ultra-high frequency band to stimulate the flaming emotions as a blow? In other words, can we silence all the sounds, let everyone hold their breath and wait for a while so as to exert a direct impact in a more visualized manner?...
这样的设计在我们的作品中比比皆是，我们在生活中看到的一切，都成为了我们感性思考的语言词汇，而在创作时，这些喷涌而出的词汇正是我们生活的另一种体现方式。音乐的语言里，揉杂了我们看到的和看不到的一切，那些我无法用钢筋水泥、木架瓷片表现出的一切，通过音乐的世界呈现出来了。当我闭上眼睛聆听这些作品时，我感受到的是像多重梦境中重叠的华厦景观，我能感受到每一个音符存在的意义，也能看到那每一个鼓点奠定的脉络。
Such designs abound in our works. Everything we see in the daily life turns into language vocabularies for our perceptual thinking. At the time of creation, these vocabularies spew out from our mind, which surely embody the other side of our lifestyle. In the language of music, what we see and what we can’t see are mingled. All things, which cannot be expressed with reinforced concrete, wooden frame and ceramic chip, are vividly presented in the world of music. When I close my eyes and listen to these works, it seems that I can feel the overlapping mansion landscapes in multiple dreams. I can understand the meaning of each note, but also clearly capture the veins laid by each drumbeat.
我希望能将这种双重的快乐，更多地通过文字、音乐和现场的模式，传达到更多人心中去。
I hope that such a double happiness can take root in more people’s innermost world through text, music and live concert.