序 Foreword
我不知道，我是不是故乡的逆子。我吃着它的乳汁长大，而后弃它而去。我一心离开故乡，到城里去。在别人的城市里，我吃尽了苦头。我走了那么多的弯路。我爱错了很多人。我迷失了很多路。我弄丢了很多珍贵的东西。我弄丢了它们，然后又穷尽一生去寻找。
——付秀莹《他乡》
I don’t know if I am the rebellious child of my hometown. She nourished me but then i abandoned her. I left my hometown wholeheartedly to go to the city. Faraway from home I suffered, took the wrong path, fell for wrong person, lost my way. I lost a lot of precious things, then spent my whole life looking for them.
——Far Away From Home, Fu Xiuying
场一 Scene 1
永恒的家 Everlasting Home
▲1931年 邬达克第三个自宅，在孙科住宅斜对面（今番禺路129号，可考图纸藏于上海市城市建设档案馆）
1930年代初，哥伦比亚住宅圈，于他乡建造梦幻家园的野心与对新生活的热切展望。由普益地产开发，意将阡陌交通的水乡打造成美国式的“梦幻乡村”，和在沪侨民“永恒的家”。
上海建筑的黄金时代，来自世界各地的建筑师带来当时最先进时髦的建筑理论与实践技术，上海因此成为展示世界近代建筑风格的大舞台。
In the early 1930s, in Shanghai’s Colombia Circle, with the ambition to build a dream home in a foreign country and desire for new life, developed by Asia Realty Company, the paddy fields was intended to be turned into an American ‘dream village’ and an ‘everlasting homeland’ for the western immigrants in Shanghai.
In the golden age of Shanghai’s architecture, architects from all over the world brought the most advanced architectural theories and practical techniques at the time. Therefore, Shanghai has grown to become a heritage where different styles of modern architecture from the globe are presented.
▲1929-1931年 邬达克第二个自宅（未及入住就以低价转与孙科）后称孙科住宅，位于哥伦比亚路22号（今番禺路60号，可考图纸藏于上海市城市建设档案馆）
场二 Scene 2
孙科别墅 Sun Ke Villa
诸如蒋介石、孔祥熙、宋子文、陈立夫等，在有“东方巴黎”之誉的十里洋场上海都拥有豪华别墅。他们经常在繁忙工作之余，乘沪宁快车到上海度周末，过着纸醉金迷的生活。孙科也不例外。他是孙中山的独子，早年就留学于美国加利福尼亚州立大学、哥伦比亚大学研究院，获得硕士学位。他曾经担任过交通部长、建设部长、财政部长、铁道部长、考试院副院长等要职，在国民党内有较高的威信。因受其父孙中山的影响，孙科特别喜欢读书，熟谙文学、哲学和艺术等，也喜欢与社会各界人士交朋友，交游极广。当时，孙科的豪华别墅就在上海哥伦比亚路（今番禺路）22号，现为延安西路1262号卫生部上海生物制品研究所大院内。
——《细说孙中山家族》
Chiang Kai-shek, Kong Xiangxi, Song Ziwen, Chen Lifu and others owned luxury villas in Shanghai, renowned as the “Oriental Paris”. Apart from busy working routine, they often took the Shanghai-Nanjing Express to Shanghai for weekends and lived an extravagant life, and Sun Ke was no exception. He is the only son of Sun Yat-sen. He studied at California State University and research institute of Columbia University in the United States in his early years and obtained a master’s degree. He has served as Minister of Transportation, Minister of Construction, Minister of Finance, Minister of Railways, and Deputy Dean of the Examination Institute. He had high prestige in the Kuomintang Party. Because of the influence of his father Sun Yat-sen, Sun Ke particularly liked to read, was familiar with literature, philosophy and art, and also likes to make friends with people from all walks of life, and had a very wide range of contacts. At that time, Sun Ke’s villa was located at No. 22 Columbia Road (now Panyu Road), Shanghai, which is now in the compound of Shanghai Institute of Biological Products, Ministry of Health, No. 1262, Yan’an West Road.
——The Sun Yat-sen Family
场三 Scene 3
门铃 The Doorbell
他大步穿过花园，去拉门铃上的绳子。门铃声响过了，他透过窗户看里面的前厅，但这间屋子一般都是空着的。他又拉了一次门铃。没有回应。他弯下身去看信箱孔，但这儿也看不见太多东西，只有楼梯的一小部分，一张瑞士山景画，还有半开着的厨房门。没有动静。
——肯.福莱特《寒鸦行动》
He strode up the garden path and pulled the bell rope. The ring of the bell died away, leaving the house strangely silent. He looked through the window into the front parlor, but that room was always empty. He rang again. There was no response. He bent down to look through the letter box, but he could not see much： part of the staircase, a painting of a Swiss mountain scene, and the door to the kitchen, half open. There was no movement.
——Jackdaws, Ken Follett
场四 Scene 4
向背 Front and Back
正门与前室隐匿在广玉兰背后低调的近乎谦逊，如果不从后方千尺大花园内观察建筑物的背面，人们很难相信这里就是孙科别墅。建筑的正背向关系存在一种得体的旧权贵感，这份精巧内敛与上海滩大部分著名老别墅的艳丽绰约截然不同，作为曾经的政要住宅，它竟然安稳实用。
揉捏型的铸铜雕塑是进门的电铃，在百年老宅前或戏谑或预告时空移转莫测。
The front door and the front parlor are hidden behind the southern magnolias, which keeps the building low profile. People would not believe that this is the Sun Ke Villa if it was not observed from the back of the house where the thousand-foot large garden lies. There is an elegant sense of old authority in the architecture. The exquisiteness and restraint is completely different from the gorgeousness of most famous old villas in Shanghai. As a former residence for dignitaries, it turned out to be steady and practical.
‘学习文史知识目的在于“温故”，有文史修养的人生活在从过去到现代一个漫长的时间段里。学习科学知识目的在于“知新”，有科学知识的人可以预见将来，他生活在从现在到广阔无垠的未来。’
——王小波《思维的乐趣》
The purpose of learning literature and history lies in “revising the old”, people with literary accomplishment live a long period of time from the past to the present. The purpose of learning scientific knowledge is to “know the new”. A person with scientific knowledge can foresee the days to come. He lives from the present to the vast future.
——The Pleasure of Thinking, Wang Xiaobo
场五 Scene 5
老灯 The Old Lamp
我们是一些年老的哨兵，现在有了穿着比我们更漂亮的制服的兵士来接班。现在我们可以把我们的家族——一直到我们十八代的老祖母灯–所看到和经历过的事情统统都告诉你们：整个哥本哈根的历史。
——《安徒生童话/干爸爸的画册》
We are the old sentinels, being relieved by new guards in better uniforms than ours. We’ll tell you what our family, way back to great-great-great-grandmother lantern, has seen and experienced – the whole history of Copenhagen.
——Godfather’s Picture Book, Hans Christian Andersen
场六 Scene 6
管家 The Butler
“科尔姆斯贵女？”管家说着走到会客室门口，“很抱歉，但主人说他无法抽出时间下来跟您交谈。”
“噢。”她猛地感到心中一沉。看来她根本是在痴人说梦。
“的确如此，贵女。”管家说，嘴唇下撇得弧度更大，“劳烦您跟我到书房一趟，大人会在那里与您会面。”
——布兰登.桑德森《迷雾之子》
“Lady Colms?” the butler said, stepping up to the doorway of the room. “I apologize, but the master says that he cannot spare the time to come down and converse with you.”
“Oh,” she said, feeling an immediate sinking in her stomach. So she’d made a fool of herself after all.
“Indeed, my lady,” the butler said, lips turning down even farther. “You are to accompany me to his study so he can converse with you there.”
——Mistborn Trilogy, Brandon Sanderson
场七 Scene 7
建筑师的客厅 The Architect’s Living Room
但是，他却从未像他爱奥斯顿·海勒的房子这样爱过这些草图。一连好几个晚上他都待在制图室里，独自面对着一张图纸，想象着那座临海而立的悬崖。在绘制好以前，谁也没见过他的草图。
做好草图的那个夜里，他在制图台前坐下来，看着面前铺开的一张张图纸，一坐就是好几个小时。他一只手撑着头，另一只手垂在身体的一侧，血液在他的手指上聚集，使它们变得麻木，窗外的街道变成了深蓝，又变成浅灰。他并没有看眼前的草图。他感觉到一阵眩晕，异常疲惫。
那图上的房子不是由洛克设计的，而是由它所蹲踞的那座悬崖设计的。仿佛是那座悬崖自己成长，自己完善，最终完成了它一直在等待着的使命似的。那座房子分解成几个层次，依山势走向和地形起落而建，俯仰包合，错落有致，最终达到一种圆满和谐。屋墙与山体同为花岗岩，与山势互为依托。混凝土的阶梯宽阔而突出，银色似大海一般，在回应着海浪和笔直地平线的线条。
——安.兰德《源泉》
But he had not loved any of them as he loved the house of Austen Heller. He stayed in the drafting room through evening after evening, alone with a sheet of paper and the thought of a cliff over the sea. No one saw his sketches until they were finished.
When they were finished, late one night, he sat at his table, with the sheets spread before him, sat for many hours, one hand propping his forehead, the other hanging by his side, blood gathering in the fingers, numbing them, while the street beyond the window became deep blue, then pale gray. He did not look at the sketches. He felt empty and very tired.
The house on the sketches had been designed not by Roark, but by the cliff on which it stood. It was as if the cliff had grown and completed itself and proclaimed the purpose for which it had been waiting. The house was broken into many levels, following the ledges of the rock, rising as it rose, in gradual masses, in planes flowing together up into one consummate harmony. The walls, of the same granite as the rock, continued its vertical lines upward; the wide, projecting terraces of concrete, silver as the sea, followed the line of the waves, of the straight horizon.
——The Fountainhead by Ayn Rand
场八 Scene 8
邬达克 Laszlo Hudec
很多时候，人们总是觉得自己被命运推着走，走到哪儿算哪儿，毫无回旋余地，是所谓“认命了”。但有时在心里又突然冒出和命运对抗一下的念头，于是邬达克暗中酝酿着、储备着，等待时机，急速调转命数的航向。这一切虽然风险巨大，但也有游戏般，甚至豪赌般的刺激和快感。
邬达克身无分文，在中国辗转流浪，最后到了十里洋场–冒险家的乐园–大上海！后来的故事，按照现在的说法是非常励志的。这位建筑师在异国独立创业，白手起家……现在仍然屹立不倒的上海国际大饭店、大光明电影院、达华宾馆、武康大楼、怀恩堂、爱神花园等都出自这位犹太人之手–拉斯洛·邬达克（Ladislav Hudec，1893-1958）。
——钟立风《书旅人》
Most of the time, people feel that they are being pushed forward by fate and there is no way out the determined path. This is the so-called “acceptance of fate”. But sometimes the idea of confronting fate suddenly popped up in ones mind, so Hudec secretly prepared himself, waiting for the opportunity to change his fate. Although all this is risky, there are also game-like and even gamble-like excitement and pleasure.
Hudec was flat broke, tossing around in China, and finally arrived Shanghai, an adventurer’s paradise! Later the story became very inspirational. The architect started his own business in a foreign country. The still standing Shanghai International Hotel, Daguangming Cinema, Dahua Hotel, Wukang Building, Huai’en Hall, Eros Garden, etc. are all designed by the Jewish architect – Ladislav Hudec (1893-1958).
——Book Traveller, Zhong Lifeng
早上起来后，给她讲了陈子善教授在《不日记》里写的一个叫邬达克的斯洛文尼亚人的传奇经历。邬达克是个建筑师，“一战”时入伍，没多久就被俄国哥萨克骑兵俘虏，流放至西伯利亚。1918年，他被转移到中国边境时，突然跳下疾驰的火车逃生……
——钟立风《书旅人》
After getting up in the morning, I told her about the legendary experience of a Slovenian named Ladislav Hudec that Professor Chen Zishan wrote in No Diary. Ladislav Hudec was an architect who enlisted in the World War I and was captured by the Russian Cossack cavalry before exile to Siberia. In 1918, when he was transferred to the Chinese border, he suddenly jumped off a fast – moving train to escape…
——Book Traveller, Zhong Lifeng
场九 Scene 9
永不消逝的电波 The Eternal Radio Wave
▲装置：永不消逝的电波。同名著名舞台剧由上海歌舞团于2019年5月12日创作首演。
场十 Scene 10
光环 Aura
“拉尔夫？”海伦问，“你没事吧？”
“没事。”他抬头发现海伦被一圈绚丽的乳白色光环所包围。那光环有着昂贵衬裙般的柔滑质地。从光环处升起的气球线也呈现象牙色调，犹如婚礼礼盒上的绸带般又宽又扁。格蕾琴·蒂尔贝里周围的光环呈暗橙色，光环边缘留下了黄色的阴影。
“你会搬回家住吗？”
——史蒂芬·金《失眠》
‘Ralph?’ Helen asked. ‘Are you okay?’
‘Sure.’He looked up and saw that Helen was now surrounded by a luxurious ivory-colored aura. It had the satiny look of an expensive slip. The balloon-string floating up from it was an identical shade of ivory, and as broad and flat as the ribbon on a wedding present. The aura surrounding Gretchen Tillbury was a dark orange shading to yellow at the edges.
‘Will you be moving back into the house?’
——Insomnia, Stephen King
场十一 Scene 11
阳台 Balcony
我记得他站在威尼斯的一个旅馆的阳台上，抽着一根上好的雪茄，想象着这座城市里发生着什么事情，这是个使人十分容易惹祸上身却很难摆脱麻烦的城市；晚上睡不着的时候，我总是很愉快地想象亨利·詹姆斯站在他所住旅馆的阳台上，俯视着下面的城市和过往行人，这些人有他们的需求、他们的职责、他们的问题、他们的精打细算，他还看到人们愉快的乡间生活和健康有序的运河航行；我想到詹姆斯并不知道去其中的某一个地方，只是在阳台上抽他的雪茄。
——海明威《曙光示真》
I remembered him standing on the balcony of his hotel in Venice smoking a good cigar and wondering what must go on in that town where it is so much harder to keep out of trouble than to get into it and when, in the nights I could not sleep, I always had great comfort thinking of Henry James standing on the balcony of his hotel looking down at the town and people passing, all of them with their needs and their duties and their problems, their small economies and village happinesses and the sound well-organized life of the canal, and think of James, who knew not one of the places to go, and stayed on his balcony with his cigar.
——True at First Light, Ernest Hemingway
几乎全白的铜版雕刻针。在被光线吞噬了的栏柱后，人们分辨出一个形状。上了年纪的男人，闭着眼睛，一把白胡子，一只手放在两腿之间，在一个阳台上，在罗马，在黄昏中，在白天的第三个时辰里，在夕阳的金黄色光芒中，在自由自在的幸福中，在生活于葡萄酒与美梦之间的幸福中。
——帕卡斯.基尔尼亚《罗马阳台-世间的每一个清晨》
The mezzotinting graver is almost completely white. A shape can be seen behind the balusters devoured by the light. An elderly man, with his eyes closed and white beard, his hand between his legs, on a terrace, in Rome, at twilight, in the third hour of the day, under the last golden rays of the sun, happy to be free and happy to live, between wine and sleep.
——Terrasse à Rome, Pascal Quignard
场十二 Scene 12
毕加索的餐桌 Picasso’s Dinning Table
剩下什么呢？一幅画。这幅画除了是一幅画之外什么也不是。而使这幅画不同于它可能变成的装饰性布局的，正是组成这幅画自身的生活形状，在装饰性布局中会显得不合适的部分。
毕加索想画一个屏风，他想在屏风的各个面上加上一些曲线作为简单的装饰。后来他放弃了；屏风却栩栩如生。
——让.科克托《遇见毕加索》
What is left? A painting. It is nothing but a painting. What makes this painting different from the decorative layout it may become is the part that composes the shape of the painting itself, which would appear inappropriate in the decorative layout.
One day, Picasso wanted to paint on a screen. He wanted to add some curves on all sides of the screen as a simple decoration. Later, he gave up, but the screen turned out to be remarkable.
——Entre Picasso et Radiguet, Jean Cocteau
场十三 Scene 13
方松 Fang Song
景德镇三宝村的年轻画师，擅长制铁砂陶，在他的工作室里，一只铁砂陶600元，若破损件，150元。
The young artist in Sanbao Village, Jingdezhen, is good at making iron-sand pottery. In his studio, an iron-sand pottery sells at 600 Yuan, and a damaged piece costs 150.
他的碎片堆满了整个房子。.
His entire house is filled with broken pieces.
场十四 Scene 14
化妆 Costume
“抱歉女士，我是说，能借个火吗？”
“我的荣幸。”
“噢，哈德门香烟，当然了，每个上海滩的漂亮小姐都抽哈德门软包。但依我看，今天的你需要来一支刀牌（英国惠尔斯公司生产的Pirate香烟，包装盒上印有持刀的海盗形象），和你的海盗装扮多么相称。你那绒布面的单只眼罩，几乎要让我相信上帝仅给夏娃一只眼睛就足够了。”
“Excuse me, ma’am, could I trouble you for a light?”
“My pleasure.”
“Oh, the Hatamen. Of course, every pretty lady in Shanghai smokes Hatamen Cigarettes. I reckon, today you need a Pirate (The image of a pirate printed on the case), it matches your costume so well. Your velvet single-eyed blindfold almost convinces me that it is perfect for God to create Eve with only one eye.”
场十五 Scene 15
池塘之底 Fond de l’Etang
电影《放牛班的春天》中，主人公马修任职的男监学校的外号，这里的学生大部分都是一些顽劣的儿童。
In the movie “Les Choristes”, the main character Mathieu works in a boarding school called Fond de l’Etang (meaning the bottom of the pond). Most of boys here are with discipline problems.
场十六 Scene 16
多宝鱼 Turbot fish
有鱼为鲲，千里化鹏，垂天之云海运则徙，南冥天池。
There is a big fish called Kun, when it is transformed into a bird called Peng, it spreads its wings with the utmost exertion in order to fly，rides the highest current of air and flies to the Southern Sea.
场十七 Scene 17
书房 The Study
这是间高雅安静的书房，在一个绝对安全稳秘的地方。
无论谁要进入这间书房，都必须先通过七道防守严密的门户。
防守在外面的人，几乎每一个都是当今武林中的一流高手，其中包括了武当、少林、雁荡，和巴山门下最优秀的弟子，还有长江水寨和十二连环坞中最精明干练的几位舵主。
没有得到屋子里这些人的允许，绝对没有任何人能闯进来。
他们在这里说的话，也绝对不会有一点风声走漏出去。
他们将这个地方叫作“鹰巢”，这次对付“幽灵山庄”的计划，就是他们三个月以前在“鹰巢”中决定的。这是绝对机密的计划。
——古龙《陆小凤传奇5/幽灵山庄》
This is an elegant and quiet study in an absolutely safe and secure place. Whoever wants to enter this study room must first pass through seven tightly guarded doors. Almost everyone on the outside is a top master of martial arts nowadays, including Wudang, Shaolin, Yandang, and the best disciples of Bashan, as well as the most capable rudder owners of the Yangtze River Water Village and Twelve Lianhuanwu. Without the permission of these people in the house, no one could break in, and what they said here would never leak out. They called this place the “Eagle’s Nest”, and their plan to deal with the “Ghost Villa” this time was decided in the “Eagle’s Nest” three months ago. This is an absolutely confidential plan.
——Lu Xiaofeng series “Ghost Villa”，Gu Long
场十八 Scene 18
终场 Finale
线是由一系列的点组成的；无数的线组成了面；无数的面形成体积；庞大的体积则包括无数体积……不，这些几何学概念绝对不是开始我的故事的最好方式。如今人们讲虚构的故事时总是声明它千真万确，不过我的故事一点不假。
——博尔赫斯《沙之书》
Lines consist of an infinite number of points; planes an infinite number of lines; volumes an infinite number of planes, hypervolumes an infinite number of volumes… No, this, this more geometrico, is definitely not the best way to begin my tale. Affirming a fantastic tale’s truth is now a story-telling convention; mine, though, is true.
——The Book of Sand by Jorge Luis Borge
拾遗 Pickup the Left
项目信息——
项目名称：理想之地-孙科别墅改造
项目地址：中国 上海
项目面积：1200㎡
甲方团队：胡秉 贺加宁 / VANKE万科集团
协作设计：刘焕辉、叶锐权、张刘金城、郑敏茵、古坤辉 等 / DOMANI东仓建设
传媒管理：洪加路 / DOMANI东仓建设
文保设计：华东建筑设计研究院有限公司
施工单位：上海建筑装饰(集团)设计有限公司
工程管理：上海万宁文化创意产业发展有限公司 / VANKE万科集团
项目摄影：吴鉴泉
Porject Information——
Name：Sun Ke Villa
Location：Shanghai, China
Area：1200㎡
Client：VANKE
Client Team：Bing Hu, Jianing He / VANKE
Leading Designer：Ann Yu / DOMANI
Installation：A&V
Assistant Designer：Huanhui Liu, Ruiquan Ye, Jincheng Zhangliu, Minyin Zheng, Kunhui Gu / DOMANI
PR Managment：Karo Hong / DOMANI
Cultural Relics Preservation：ECADI
Constructor：Shanghai Building Decoration Design Group Co. Ltd
Construction Managment：Shanghai Wanning Cultural Creative / VANKE
Photographer：Vincent Ng
