thinking architecture 第一章 翻译版.doc

A way of looking at things观察事物的方法In search of the lost architecture找寻被遗忘的建筑When I think about architecture, images come into my mind. Many of these images are connected with my training and work as an architect. They contain the professional knowledge about architecture that I have gathered over the years. Some of the other images have to do with my childhood. There was a time when I experienced architecture without thinking about it. Sometimes I can almost feel a particular door handle in my hand, a piece of metal shaped like the back of a spoon.我思考建筑时，脑海里总是浮现出种种图像。很多来自我作为建筑师的训练和工作，包含了我多年积累的建筑学的专业知识；还有一些与我的童年有关，那段时光里我体验建筑但不思考它。有时我能几乎还能感觉到手里握着那个门把手，那是一片金属，塑成勺背的形状。I used to take hold of it when I went into my aunts garden. That door handle still seems to me like a special sign of entry into a world of different moods and smells. I remember the sound of the gravel under my feet, the soft gleam of the waxed oak staircase, I can hear the heavy front door closing behind me as I walk along the dark corridor and enter the kitchen, the only really brightly lit room in the house. 走进姨妈家的花园时，我总要握着那把手。对我来说，直到现在，它仍像进入另一世界的特殊标记，这个世界有着不同的情绪和味道。我记得脚下碎石的声音，记得打过蜡的橡木楼梯闪出的柔光。还能听见沉重的前门在身后关上，当我穿过黑暗的走廊走进厨房，厨房是这房子里唯一被真正点亮的房间。Looking back, it seems as if this was the only room in the house in which the ceiling did not disappear into twilight; the small hexagonal tiles of the floor, dark red and fitted so tightly together that the cracks between them were almost imperceptible, were hard and unyielding under my feet, and a smell of oil paint issued from the kitchen cupboard.回首望去，这好像是房子里唯一一个天花板不会消失在暮色里的房间；小块的六边形地砖，深红色的，紧密地拼在地上，几乎看不出拼缝，在我脚下，它们牢固且坚硬；一股油漆的味道从橱柜里散发出来。Everything about this kitchen was typical of a traditional kitchen. There was nothing special about it. But perhaps it was just the fact that it was so very much, so very naturally, a kitchen that has imprinted its memory indelibly on my mind. The atmosphere of this room is insolubly linked with my idea of a kitchen. Now I feel like going on and talking about the door handles which came after the handle on my aunts garden gate, about the ground and the floors, about the soft asphalt warmed by the sun, about the flagstones covered with chestnut leaves in the autumn, and about all the doors that closed in such different ways, one replete and dignified, another with a thin, cheap clatter, others hard, implacable and intimidating这个厨房里的一切都和传统厨房一样，没有任何特别之处。但也许正因为它如此“厨房”，如此自然，在我脑海中留下了不可磨灭的印象。这个房间的气氛与我心中“厨房”的概念紧密联系在一起。现在，我想继续谈门把手，姨妈家花园门把手之后的那些，谈谈室外和室内的地面、被太阳晒软的沥青、秋天被栗子树叶盖住的石板以及所有用如此不同的方式开关的门：一扇饱满而庄严，另一扇关起来会发出单薄廉价的咔哒声，其它的坚硬、不可变通、让人望而生畏Memories like these contain the deepest architectural experience that I know. They are the reservoirs of the architectural atmospheres and images that I explore in my work as an architect.类似这样的记忆包含了我所知道的最深刻的建筑体验，它们是我作为建筑师在工作中探寻建筑气氛和图像的宝藏。When I design a building, I frequently find myself sinking into old, half-forgotten memories, and then I try to recollect what the remembered architectural situation was really like, what it had meant to me at the time, and I try to think how it could help me now to revive that vibrant atmosphere pervaded by the simple presence of things, in which everything had its own specific place and form. And although I cannot trace any special forms, there is a hint of fullness and of richness which makes me think: this I have seen before. Yet, at the same time, I know that it is all new and different, and that there is no direct reference to a former work of architecture which might divulge the secret of the memory-laden mood.设计房子时，我常发现自己沉浸于旧日残缺的记忆中，然后，我试着回想记忆中的建筑情境真正的样子，回想它当时对我的含义；试着思考它现在如何帮我通过那些简单事物的存在，来唤醒那生动的气氛，在这种气氛中，所有事物都有自身的位置和形态。尽管我不能找出任何特别的形式，但仍有种对完整和丰富的暗示，让我觉得：这个我曾经见过。单同时，我知道它是全新的、不同的，并且没有前人的建筑可作为直接参照，来揭示盛满记忆的心绪的秘密。Made of materials材料构成To me, there is something revealing about the work of Joseph Beuys and some of the artists of the Arte Povera group. What impresses me is the precise and sensuous way they use materials. It seems anchored in an ancient, elemental knowledge about mans use of materials, and at the same time to expose the very essence of these materials, which is beyond all culturally conveyed meaning.对我来说，约瑟夫博伊于斯（Joseph Beuys） 约瑟夫博伊于斯（Joseph Beuys），19211986，德国著名艺术家，以雕塑为其主要创作形式。和贫困艺术（Arte Povera） 二十世纪60年代，出现在意大利的希尔施霍仑（Hirschhorn）的艺术运动贫困艺术（Arte Povera），最初由意大利评论家吉马诺塞朗提出。1968年，塞朗在波洛拿组织了一次题为“贫困艺术”的展览，次年又推出贫困艺术一书。贫困艺术是指：艺术家所选择的材料是普通的或日用的。他们注重物质简朴寒酸的环境和对于物品制作过程、功能、以及对其辩证性质的深层理解。这些物质在保留其自身原始特征的同时还产生出可识别的形象性及情感性，包含了某种复杂的概念和结构。是在材料和技术中提炼的诗意。主要成员包括：Mario Merz,Giovanni Anselmo, Alighiero Boetti, Luciano Fabro, Jannis Kounellis, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto和Gilberto Zorio。的一些成员的作品是有启发性的。我欣赏他们运用材料的精确和感性的方式，看起来像是某些深植于远古的、基本的、人类使用材料的知识，同时去揭示这些材料在一切文化译意之外的真正本质。I try to use materials like this in my work. I believe that they can assume a poetic quality in the context of an architectural object, although only if the architects is able to generate a meaningful situation for them, since materials in themselves are not poetic.我试图在作品里也这样运用材料，相信它们能在一个建筑实体/建筑物的语境里显现出诗意的品质，尽管这只有在建筑师能为其创造一个有意义的情境时才能达到，因为材料本身并没有诗意。The sense that I try to instill into materials is beyond all rules of composition, and their tangibility, smell, and acoustic qualities are merely elements of the language that we are obliged to use. Sense emerges when I succeed in bringing out the specific meanings of certain materials in my buildings, meanings that can only be perceived in just this way in this one building.我尝试注入材料里的感觉是超越一切构成规则的，而它们的触感、气味、音色是我们被迫使用的唯一语言。当我成功地在建筑中使既定材料显现出特定含义（这些含义只能在这栋房子、用这种方式被感知）时，感觉就浮现出来。If we work towards this goal, we must constantly ask ourselves what the use of a particular material could mean in a specific architectural context. Good answers to these questions can throw new light onto both the way in which the materials is generally used and its own inherent sensuous qualities.如果朝着这个目标努力，我们必须不断地问自己：某种特定材料在一个特定的建筑语境中的作用是什么。好的解答能使我们对材料的通常用法以及材料自身固有的感观品质这两方面都有新的了解。If we succeed in this, materials in architecture can be made to shine and vibrate.如果我们做到这点，建筑中的材料将会闪亮并打动人。Work within things在事物内部工作It is said that one of the most impressive things about the music of Johann Sebastian Bach is its “architecture”. Its construction seems clear and transparent. It is possible to pursue the details of the melodic, harmonic and rhythmical elements without losing the feeling for the composition as a whole the whole that makes sense of the details. The music seems to be based upon a clear structure, and if we trace the individual threads of the musical fabric, it is possible to apprehend the rules that govern the structure of the music.有人说巴赫的音乐最让人欣赏的特点之一（给人印象最深的）是其“建筑性”。其构成清晰透明，才能使听众追随这些优美、和谐、有韵律的元素的细节，同时又不失整体感能理解细节的整体。他的音乐就像是建立在一个清晰的结构上的，假如追随这音乐的每条线索（如果追随这音乐结构独特的线索），我们就有可能领会统领其结构的规则。Construction is the art of making a meaningful whole out of many parts. Buildings are witnesses to the human ability to construct concrete things. I believe that the real core of all architectural work lies in the act of construction. At the point in time when concrete materials are assembled and erected, the architecture we have been looking for becomes part of the real world.建造(construction)是以众多局部创造有意义的整体的艺术。房屋是人类有能力建造物质实体/具体事物的见证。我相信建造(the act of construction)是一切建筑工作的真正核心。当具体（实体）材料聚集并建起，至此，我们一直在寻找的建筑，便成为真实世界的一部分。I feel respect for the art of joining, the ability of craftsmen and engineers. I am impressed by the knowledge of how to make things, which lies at the bottom of human skill. I try to design buildings that are worthy of this knowledge and merit the challenge to this skill.我认为木匠的技艺、工匠和工程师的能力是值得尊敬的。我欣赏这些造物知识，它们是人类技艺的本源。我试图设计配得上这些知识和技艺的房子。People often say, “A lot of work went into this” when they sense the care and skill that its maker has lavished on a carefully constructed object. The notion that our work is an integral part of what we accomplish takes us to the very limits of our musings about the value of a work of art, a work of architecture. Are the effort and skill we put into them really inherent parts of the things we make? Sometimes, when I am moved by a work of architecture in the same way as I am moved by music, literature or a painting, I am tempted to think so.人们在仔细造出的物体上感受到建造者所投入的大量心思和技巧时，常说：“这其中包含了大量的工作。”我们的工作是作品不可分割的部分这样的观念把我们带到对于艺术品价值和建筑价值的思考的极限。我们投入制造物的努力和技巧真是其所固有的吗？ 有时，当被建筑打动，就像被音乐、文学或绘画打动一样，我就会被诱惑着这样认为。For the silence of sleep为睡眠的安静I love music. The slow movements of the Mozart piano concertos, John Coltranes ballads, or the sound of the human voice in certain songs all move me.我喜欢音乐。莫扎特（Mozart）缓慢的钢琴协奏曲，约翰克特兰 约翰克特兰（John Coltrane），1926-1967，美国萨克斯管演奏家，也是一位音乐革新家，对六七十年代的爵士乐坛有着巨大的影响。（John Coltrane）的乐曲，或者某些歌曲中的人声，都打动了我。The human ability to invent melodies，harmonies, and rhythms amazes me.人类创造旋律、和声和韵律(节奏)的能力让我惊讶。But the world of sound also embraces the opposite of melody, harmony, and rhythm. There is disharmony and broken rhythm, fragments and clusters of sound, and there is also the purely functional sound that we call noise. Contemporary music works with these elements.但是，声音的世界也包含了与旋律、和声、韵律(节奏)相反的东西。有不协调、残破的节奏，声音的片断和群簇，还有纯粹功能性的声音，我们称之为噪音。当代音乐结合了这些因素。Contemporary architecture should be just as radical as contemporary music. But there are limits. Although a work of architecture based on disharmony and fragmentation, on broken rhythms，clustering and structural disruptions may be able to convey a message, as soon as we understand its statement our curiosity dies, and all that is left is the question of the buildings practical usefulness.当代建筑或许能和当代音乐一样激进，但有限。尽管一个建筑作品是基于不协调和片断，基于破碎的韵律（节奏），但群聚和结构的破坏或许能够传达信息，一旦明白它所表达的，我们的好奇心就死亡了，剩下的只是房子实效性的问题（疑问）。 Architecture has its own realm. It has a special physical relationship with life. I do not think of it primarily as either a message or a symbol, but as an envelope and background for life which goes on in and around it, a sensitive container for the rhythm of footsteps on the floor, for the concentration of work, for the silence of sleep.建筑有它自身的领域，与生活有种特殊的物质联系。我主要不是将它当作一个信息或一个符号，而是作为生活的封套和背景来考虑，生活在其内部或周围进行，是一个对地板上步履的节奏，对工作的专心，对睡眠时的安静都很敏感的容器。Preliminary promises最初承诺In its final, constructed form, architecture has its place in the concrete world. This is where it exists. This is where it makes its statement. Portrayals of as yet unrealized architectural works represent an attempt to give a voice to something which has not yet found its place in the concrete world for which it is meant. 建筑以其最终建成形态在物质世界（现实世界）有了它的位置。这是它存在的地方，它自我讲述（表明立场）的地方。对至今未建成的建筑作品的描绘试图表达一些东西，尽管这些东西还没有在物质世界（现实世界）里找到它们表意的位置。Architectural drawings try to express as accurately as possible the aura of the building in its intended place. But precisely the effort of the portrayal often serves to underline the absence of the actual object, and what then emerges is an awareness of the inadequacy of any kind of portrayal, curiosity about the reality it promises, and perhaps - if the promise has the power to move us - a longing for its presence. 建筑绘图试着尽可能准确地表达建筑的氛围，在其预设之处。但是，绘图成果常常用来强调那个实际对象的不在场，之后显现的是对任何一种绘图不充分的意识、对它所承诺的事实的好奇，也许还有如果这承诺有能打动我们的力量对它存在的渴望。If the naturalism and graphic virtuosity of architectural portrayals are too great, if they lack “open patches” where our imagination and curiosity about the reality of the drawing can penetrate the image, the portrayal itself becomes the object of our desire, and our longing for its reality wanes because there is little or nothing in the representation that points to the intended reality beyond it. The portrayal no longer holds a promise. It refers only to itself.如果对建筑绘图的直觉想法和图解能力太强，如果它们缺乏“开放区域”(我们对于绘图事实的想象力和好奇心能洞穿图像的地方)，绘图本身则成为我们所期望的，而我们对其真实的渴望消退了，因为在指向预期真实的再现中，没有任何东西超越它。绘图不再遵守承诺。它只谈及自身。Design drawings that refer to a reality which still lies in the future are important in my work. I continue working on my drawings until they reach the delicate point of representation when the prevailing mood I seek emerges, and I stop before inessentials start detracting from its impact. The drawing itself must take on the quality of the sought-for object. It is like a sketch by a sculptor for his sculpture, not merely an illustration of an idea but an innate part of the work of creation, which ends with the constructed object.指向未来的真实的设计图纸在我的工作中是重要的。我继续绘图，直到其能精确表达。那时，我所寻找的主要情绪显现出来，并在无关紧要的东西开始影响其效果之前停止绘制。绘图自身必须呈现其所追求的目标的品质。就像雕塑家为雕塑而画的草图，不仅仅是一个想法（idea）的说明，而是创造工作天生的一部分，随着建造的完成，它才结束。These sort of drawings enable us to step back, to look, and to learn to understand that which has not yet come into being and which has just started to emerge.这种制图使我们能够退后几步，看看，学着去了解什么还没有产生，什么才刚刚开始显现。Chinks in sealed objects封闭物体的裂缝Buildings are artificial constructions. They consist of single parts which must be joined together. To a large degree, the quality of the finished object is determined by the quality of the joins.房屋是人工构筑物。它们由许多必须连接在一起的独立部分组成。在很大程度上，最终完成的品质取决于连接处（join）的品质。In sculpture, there is a tradition that minimizes the expression of the joints and joins between the single parts in favour of the overall form. Richard Serras steel objects, for example, look just as homogenous and integral as the stone and wood sculptures of the older sculptural traditions. Many of the installations and objects by artist of the 1960s and 70s rely on the simplest and most obvious methods of joining and connecting that we know. Beuys, Merz and others often used loose settings in space, coils, folds and layers when developing a whole from the individual parts.在雕塑中，有一个传统，就是：为了整体形态，将单个部分之间的节点（joints）和连接处（joins）的表达最小化。举例来说，里查德塞拉（Richard Serra） 里查德塞拉（Richard Serra），1939，美国艺术家，雕塑“倾斜的弧”(Tilted Arc)1981年在纽约联邦广场落成，经过一系列的上诉，查德塞拉的辩解策略最终还是失败了，1989年，雕塑被迁走。的钢雕塑看起来就像更老的石雕和木雕传统中一样同质和完整。许多二十世纪60到70年代的艺术家做的装置和物体都有赖于我们所知道的连接和联合的理论中最简单、最明显的理论。波伊斯（Beuys） 约瑟夫波伊斯（Joseph Beuys），1921，德国艺术家，以雕塑为其主要创作形式。被认为是的20世纪70、80年代欧洲前卫艺术最有影响的领导人。、梅茨（Merz） 马里奥梅茨（Mario Merz），19252003，意大利艺术家，“贫困艺术”运动的领航人，代表作有梦幻城市、闪电平原等。和其他一些人，从单个部分发展出整体时，常常在空间、coils folds和layers上使用松散设置（loose settings）。The direct, seemingly self-evident way in which these objects are put together is interesting. There is no interruption of the overall impression by small parts that have nothing to do with the objects statement. Our perception of the whole is not distracted by inessential details. Every touch, every join, every joint is there in order to reinforce the idea of the quiet presence of the work.这些物体直接、看起来自明的放置方式很有趣。整体的印象没有被与表达无关的小部分打断。我们对整体的感知并没有被无关紧要的细节打乱。每个联系，每个连接处（join），每个节点（joint）都是为了强调作品的宁静在场（presence）的想法（idea）而存在。When I design buildings, I try to give them this kind of presence. However, unlike the sculptor, I have to start with functional and technical requirements that represent the fundamental task I have to fulfill. Architecture is always faced with the challenge of developing a whole out of innumerable details, out of various functions and forms, materials and dimensions. The architect must look for rational constructions and forms for edges and joints, for the points where surfaces intersect and different materials meet. These formal details determine the sensitive transitions within the larger proportions of the building. The details establish the formal rhythm, the buildings finely fractionated scale.设计房屋时，我试图给它们这种方式的在场（我试图让它们以这种方式存在）。然而，与雕塑不同的是：我必须从功能和技术的要求开始，这表明我必须满足的基本任务。建筑总是面临着这样的挑战：从无数的细节中，从多种功能和形式、材料和尺度中，发展出一个整体。建筑师必须为边缘、节点joint、表面相交处、不同材料交接处，寻找合理的构造做法和形式。这些合理的细节决定了在房子中更大部分的微妙的转变。细节确定了合理的节奏，以及房子精美的层级比例。Details express what the basic idea of the design requires at the relevant point in the object: belonging or separation, tension or lightness, friction, solidity, fragility在建筑里相应的位置，细部表达了设计的基本想法所要求的：归属或分离，紧张或轻盈，冲突，牢固，脆弱Details, when they are successful, are not mere decoration. They do not distract or entertain. They lead to an understanding of the whole of which they are an inherent part.成功的细部不仅仅是装饰。它们并不分散注意或者取悦于人，而是导向对“它们是整体的内在部分”的理解。There is a magical power in every completed, self-contained creation. It is as if we succumb to the magic of the fully developed architectural body. Our attention is caught, perhaps for the first time, by a detail such as two nails in the floor that hold the steel places by the worn-out doorstep. Emotions well up. Something moves us.在每个完成的、独立的创作中，都有一种奇特的力量。就好像我们折服于被充分发展的建筑物的魔力似的。也许，当我们第一次看到某个细节，就被吸引了，例如地板里的两根钉子承拖着被磨破的门阶处的钢。情感涌现，某些东西打动了我们。Beyond the symbols超越象征“Anything goes,” say the doers. “Main Street is almost all right,”says Venturi, the architect. “Nothing works any more,”say those who suffer from the hostility of our day and age. These statements stand for contradictory opinions, if not for contradictory facts. We get used to living with contradictions and there are several reasons for this: traditions crumble, and with them cultural identities. No one seems really to understand and control the dynamics developed by economics and politics. Everything merges into everything else, and mass communication creates an artificial world of signs. Arbitrariness prevails.“什么都可以，”实干家说。“大街上的东西几乎全都不错，” 引自向拉斯维加斯学习，1972年建筑师文丘里（Venturi）说。“什么都不再有用，”那些遭受我们时代和年代的敌意的人说。这些说法如果不是代表了矛盾的事实，就是代表了矛盾的看法。我们习惯了与矛盾共同生活，是因为：传统与文化特性都瓦解了。没人看起来真正了解并控制了经济和政治发展的动态。一切都混入其它事物当中，大量的信息创造了一个符号的人工世界。肆意盛行。Postmodern life could be described as a state in which everything beyond our own personal biography seems vague, blurred, and somehow unreal. The world is full of signs and information, which stand for things that no one fully understands because they, too, turn out to be mere signs for other things. The real thing remains hidden. No one ever gets to see it. Nevertheless, I am convinced that real things do exist, however endangered they may be. There are earth and water, the light of the sun, landscapes and vegetation; and there are objects, made by man, such as machines, tools or musical instruments, which are what they are, which are not mere vehicles for an artistic message, whose p