室内设计专业译文(共8页)

1、精选优质文档-倾情为你奉上Healing Heavens and Le CorbusierDesigning a garden for a childrens hospital can be a particular challenge. If is going to function well for the variety of people who may seek to use it, the garden needs to be all of the following: a green oasis for burnt-out staffa sanctuary for worried

2、 or grieving parentsan engaging environment for hospitalized childrena stimulating setting for the well siblings of an inpatienta stress-reducing milieu for an outpatient child brought in forests or frightening procedures.The Childrens Garden at Legacy Emanuel Childrens Hospital in Portland, Oregon-

3、although at first glance appearing to be nothing special-subtly fulfills the needs of all these potential garden users As a result the garden, open 24 hours a day, receives use by adult as well as child patients, and by all who use or visit the hospital.In 1997, Legacy Health System hired Portland a

4、rchitects Mic and Connie Johnson to remodel and coordinate the pediatric facilities in the hospital and to create a new corridor linking the main hospital foyer to elevators accessing pediatric check-in on an upper floor. Visible through the windows of the new corridor was an unkempt courtyard with

5、a soggy patch of lawn. The CEO of Legacy Health System, John G. King, was moving the hospital toward more patient-centered care; creating a new garden in the courtyard fit in with this goal.As often happens in the creation of health-care gardens, the idea of a new design was endorsed enthusiasticall

6、y, but the design team was told the money had to be found. The John- sons created a conceptual design and then brought in Portland landscape architect Gretchen Vadnais to work on grading and planting. Since money was scarce, the garden was created in phases, the first being a small wildlife habitat

7、that was created by Vadnais in 1995. The phasing of the garden worked well for the design team, recalls Connie Johnson. It allowed us to dream big, to have faith that in the end it would all be funded-and it was.Staff began to see the potential for the garden; the head of pediatrics organized a comm

8、ittee to provide art-work for the garden and the adjacent corridor. The director of the hospital leant enthusiastic support, and the designers produced a workbook for potential donors listing each element needed for the garden and its cost.The resulting 11,000-square-foot garden fills a triangular c

9、ourtyard bounded by glass-sided corridors. It is thus highly visible to people inside the hospital. The garden is an easily negotiated layout of a figure-eight path winding through a richly planted landscape. A large, central, red-leafed, ornamental plumvirtually the only feature in the uninspiring

10、courtyard that preceded the garden-scales down the surrounding five-story buildings and helps to subdivide the garden. Five subareas enable at least five family or staff groups to find a private spot in the garden and to visit and chat while not being overheard by others. Each subarea is partially o

11、r totally screened from others by planting and the orientation of the benches. (Contrast this with a cancer clinic garden in Berkeley, California, where six-foot steel benches are lined up in pairs facing each other like seats on a sub-way train-too far apart for a group conversation, but close enou

12、gh to intrude on privacy.)Under the ornamental plum are two comfortable wooden benches close enough for a group conversation. Late on a sunny afternoon, I observed three adult family members seated here with a teenage patient wearing a head restraint. Over the course of the next hour, three teen fri

13、ends or siblings arrived with an outsize get-well card, talking and laughing, the foliage above and on three sides subtly defining a comfortable private space. (One can imagine that such a gathering would not have been so relaxed had they met in the patients room.)Many also use such a garden for gen

14、tle, therapeutic exercise: Staff members wander through, stopping to read plant labels or examine a flower; family members push a child in a wheelchair, stopping to look at the life-size mosaic figure of a cow or the sculpture of the Tin Man encountered on the painted Yellow Brick Road; well childre

15、n run around the looped path-ways playing at now you see me, now you dont. The planting design and curving pathways provide surprising views and changing vistas, even in this relatively small garden.Adding to the interest of adults and children alike as they move around in the garden are large and s

16、mall elements that catch their attention: plant labels that offer Latin and common names as well asbrief information on growing habits; bird feeders and nesting boxes;small sculpted figures, half hidden in the planting (a frog, a snail, a smiling face);planters of edible plants (pole beans, lettuce,

17、 tomatoes);Now it is the turn of Le Corbusier, a man whose career was a kind of precis of 20th-century history. What other architect, after all, could boast of having served Joseph Stalin, Marshal Petain, and Jawaharlal Nehru? Although he is remembered for his distinctive personal language of flat r

18、oofs, pristine white planes, and continuous bands of windows, Le Corbusier did far more than merely cultivate a signature style. He created buildings that were exemplars of their type even as they transformed those types. He devised a new kind of suburban house (the Villa Savoye), open in plan and b

19、uoyed aloft on slender pilotis; an apartment house (the Unite de Habitation in Marseille) that functioned as a miniature city with internal streets; and a church (Ronchamp) treated as an inhabitable sculpture rendered in freeform concrete. His ideas about city planning were applied across the globe,

20、 especially-for better or worse-in Americas far-reaching urban-renewal programs.Yet despite Le Corbusiers overweening importance, and despite the vast archives of the Fondation Le Corbusier in Paris, there has been no comprehensive biography until now. Hence, one turns with the highest of expectatio

21、ns to Le Corbusier, A Life, * the product of nearly a decades labor by Nicholas Fox Weber, the longtime director of the Josef and Anni Albers Foundation and the author of thirteen other books on artists and collectors. LE CORBUSIER is an artificial persona, a pseudonym adopted by the architect after

22、 World War I. He was born Charles-Edouard Jeanneret in 1887 in La-Chaux-de Fonds, Switzerland, in the center of the precision-watch industry. His father, a dial-painter who enameled watchcases with decorative designs, groomed him for the same trade, sending him at the age of fourteen to the local ar

23、t school. There he blossomed under the tutelage of the charismatic Charles LEplattenier, excelling at watercolor and the invention of ornament and acquiring a stupendous graphic facility that he carried with him to the end.Le Corbusier would in time come to renounce architectural ornament categorica

24、lly, and to dismiss his own early efforts as juvenilia. But while his aesthetic philosophy changed, what would not was his insistence on presenting his artistic choices as the imperatives of logic and objectivity. This stubborn strand in his character was evidently the contribution of his mother, th

25、e dominant personality of his youth and beyond. A quietly intense woman who gave piano lessons, she died in 1960, when Le Corbusier himself was seventy-three. From her came the vocabulary of moral rectitude and duty that lent his writings their distinctly Calvinist undertone. The mutually hectoring,

26、 affectionate, and manipulative correspondence of mother and son, carried on over a half-century, is the principal document of his psychological development. When loss of sight in one eye made his studies difficult, Le Corbusier relinquished the degrading metier of his father and turned to architect

27、ure. His gifts were immediately evident. At the age of seventeen he was asked by one of his teachers to design a mountain villa, and with the fee he set off on a prolonged study trip. He spent much of 1907-1911 out of the country, working from time to time as a draftsman to replenish his coffers. Th

28、ese stints, coupled with his sketching tours and early training in the applied arts, constituted the whole of his architectural education.The years in question were the formative period of European modernism, especially in the urban triumvirate of Paris, Berlin, and Vienna. Le Corbusiers peculiarly

29、Swiss freedom, both geographic and mental, allowed him to seek work in each and thereby to create a synthesis of the leading currents of international modernism. In each city, he presented himself to the most progressive architectural firm, being rebuffed only in Vienna, In Paris he worked for Augus

30、te Perret, the first architect to use concrete imaginatively and expressively and not merely as a surrogate for stone. In Berlin it was Peter Behrens, an architectural polyglot who handled every aspect of design for the German electrical company AEG and whose industrial rationality would strongly st

31、amp the Bauhaus. (Both Mies van der Rohe and Walter Gropius were products of Behrenss office.)WORLD WAR I hardly touched Le Corbusier-thanks to his Swiss passport, he could travel easily to both Germany and France. But it did direct his attention to the problem of mass housing. Offered a job in Germ

32、any, he moved instead to Paris, where he worked from 1917 until his death. He soon befriended the capricious painter-publicist Amedee Ozenfant, who introduced him to a much more radical modernism than he had yet imagined.In Ozenfants judgment, Cubism was a bourgeois decorative fad that had played it

33、self out and would give way to a new art of rigor, precision, and purity, such as were embodied in the machine; this doctrine he termed Purism. Le Corbusier applied its principles to the studio/residence he built for Ozenfant, a boxy concrete affair with enormous industrial windows. It was the first

34、 of his buildings to live up to his famous maxim, a house is a machine for living in.For five years, Le Corbusier worked eyeball to eyeball with Ozenfant. The two painted together, collaborated on books, and jointly edited the journal LEsprit Nouveau (1920-1925). It was in its pages that he first dr

35、opped his given name for the alter ego Le Corbusier, a willful purging of tradition and inherited identity that seemed to correspond to the same process of purification occurring in his designs. Ozenfant himself was purged shortly thereafter-for while Le Corbusier enjoyed working with collaborators,

36、 he preferred them in clearly subordinate roles. This held true as well for his wife Yvonne-an attractive milliner whom he kept out of sight and who sank into alcoholism-and for his architectural partner Pierre Jeanneret, his second cousin and the keel to his sail.In 1923, Le Corbusier codified his

37、architectural philosophy in Vers une Architecture, the single most influential treatise of architectural modernism. (The original English tide, Toward a New Architecture, loses the arresting terseness.) The text-which he wrote jointly with Ozenfant, later expunging his coauthors name-was striking in

38、 the brusqueness of its declarations. Even more startling were the images, which juxtaposed such dissimilar objects as Greek temples and modern automobiles to make the point that both were products of standardization and incremental refinement.In his strenuous insistence on applying to architecture

39、the principles and even the forms of the machine, Le Corbusier paid special attention to transportation, studying the living spaces of airplanes, locomotives, ocean liners, even dirigibles (he once traveled from Paris to Rio de Janeiro in a zeppelin). Not only did he admire the streamlined forms, ra

40、mps, and railings of staterooms and cabins, using them as devices in the Villa Savoye; he also admired the extreme efficiency and objectivity of their designers, who were forced to work within the tightest of constraints. The clearances of height and width in a luxury train car, he was fond of point

41、ing out, would in most countries be forbidden by law in a house.疗养天堂和勒柯布西耶 -美国，俄勒冈州，波特兰市儿童医院花园设计设计师：Mic和 Connie Johnson设计时间：1997年-2000年文章来源：Landscape Architecture August 2003一 设计背景：也许你第一眼看到俄勒冈州，波特兰市儿童医院的花园并不会觉得它有什么不同，但在那的病人或去探望病人的亲友却觉得那是一个十分迷人的地方。因为在那不论是大人还是小孩，病人还是工作人员，都能找到一种属于自己的乐趣。看见眼前美丽的景色，谁能想像之前

42、它只是一块荒野的院落，仅有的“景色”也只是几块杂碎的草坪。为了使儿童医院能为波特兰市人民提供更好的医疗护理，legacy health system 的执行官，john 决定改造医院的花园，于是在1997年聘请了波特兰市当地的景观师Mic和 Connie Johnson来进行改造设计。当设计者接到这个任务的时候觉得设计这个儿童花园是一个很大的挑战。它不但要功能齐全，而且还要满足各类潜在的使用者的要求：1.一个可供职员休憩的绿洲2.一个收留焦虑与悲伤的病人的庇护所3.对小孩来说，它必须一个充满魅力的场所。4. 是病人与亲手相互交流的场所5. 它还是为刚入院的小孩减轻压力与恐惧的地方。二 设计过程

43、： 刚开始设计者只被要求对原有地形进行改造，并在协调儿童门诊与花园之间的关系，并建立一条走廊连接医院的主大厅以及通往上层的电梯通道。但随着设计的深入，设计者发现人们对花园的要求更多。越来越多的人参与进行设计，儿科主任组织会议为花园和走廊提供艺术品。甚至病人也参与进来。和所有其它的医院花园改造一样，johnson 提出的概念设计很快就被大家热情的认可了，但设计团队突然被告知，改建的费用还需要进行筹备。因此真个花园设计只能分阶段来进行。也是由于资金的原因，早在1995年，花园建好由vadnais设计的第一块场地野生动植物栖息地后便偃旗息鼓。但对于资金短缺的问题，设计师johnson 抱有乐观的态度

44、：“分阶段进行设计，对整个设计团队来说是非常有利的，因为它给了我们更多的时间去完善我们的梦想，也给了我们信心使它完美的进行到底，事实证明我们做到了！”三 设计特点与使用情况：最终整个花园占地11000，整个基地呈三角形，周围是由绿草围和的长廊构成，因此由花园周围的医院朝里看，可以很好的看到花园内的景象。花园的园路呈8字型，由不同材质的铺地构成，人们在蜿蜒的道路行走，视角不停的进行变换，所看到的风景也在不停的跳动，形成了许多富有吸引力的景观。花园的中心是一棵巨大的具有象征性的李树，其周围的树木都是按一定比例与周围的建筑协调栽种，这些树木也把花园分成了五个部分。这五个部分至少可以允许五个家庭或工作

45、组各找到一个私密地方来进行交谈和讨论。各个分区之间都巧妙的被各种树木或者向上的枝条分开，以满足私密性的要求。这种人性化的设计，在其它医院花园是很少见的。 在具有装饰性作用的李树下面摆放着两张用木头建造的长椅，其间距刚好适合两个群组之间的进行舒适的对话。在一个阳光的午后，可以看到三个成人在此与一个头戴大号头套青少年坐在一起交谈。之后的几个小时，又换成了几个青少年之间在一起有说有笑。在不同的时间，花园内的座椅都得到了有效的利用。也有许多人以一种更文雅的方式或治疗手段来使用这个花园：医院的工作人员在经过花园的时候都会驻足欣赏各种植物，读一读植物的标签，或者仔细看看花；。父母经常推着坐着轮椅的孩子来花

46、园，看看真人大小的雕塑以及地面上由马赛克拼成的各种图案；健康的孩子绕着园路与树木进行各式各样的游戏。精心的树木种植与蜿蜒的园路，在这个小小的花园内，创造了令人感到惊讶的，层次感十足的景观。为了增加成人与小孩游园的乐趣，花园的设计结合了许多要素来吸引他们的注意力。这些要素包括：1. 每种植物都具有一个标签，上面不但记载了植物的拉丁文名或俗名，还附带植物生长习性的简短说明。2. 喂鸟的器皿以及用盒子做的鸟巢。3. 小的雕塑设计，半掩在植物中。4. 种植一些可供食用的植株，如豆子，生菜，马铃薯等。现在我们讲到勒柯布西耶。这个人的职业生涯是20世纪的历史一个摘要，还有什么其他的建筑师可夸耀正在任职的斯

47、大林，贝当元帅和贾瓦哈拉尔，尼赫鲁尽管他因为他自己对平面屋顶，纯净的白色平面和连续的窗口带独特的个人语言而被记住，勒柯布西耶也远远超过仅仅是培养署名的样式。他创建的建筑物均为那些类型的典范即使他们改变这些类型。他发明了一种新的郊区住宅（别墅萨沃耶），开放计划，并推动高举的细长pilotis，一种公寓楼（团结式居住在马赛）作为一个微型的城市内部的街道运作，一个教堂(Ronchamp)在自由形态混凝土中回报的是一个适于居住的雕塑。他关于城市设计的想法被全球各地所采用，特别是-或好或坏-在美国的影响已深入到城市重建计划。然而，尽管勒柯布西耶的过分重视，尽管在巴黎有大量的柯布西耶档案基金会，但是一直到

48、现在仍没有全面的传记。因此，这就转向了对勒柯布西耶最高的期望，一种生活，该产品的由尼可拉斯福克斯韦伯近10年来的劳动制作的，是关于艺术家和收藏家长期以来的主导约瑟夫和安妮阿尔伯斯基金会的和13个其他书籍的作者。“勒柯布西耶”是一种人为的人名 ，在第一次世界大战之后被建筑师采用的化名。他于1887年出生在瑞士的拉查尔斯德全宗的查尔斯爱德华让纳雷，在精致钟表业的中心。他的父亲，一个钟面画家，用装饰设计漆表壳，在同行业培养了他，当他十四岁时送他去当地的艺术学校。在那里在查尔斯欧莱雅的指导下他蓬勃发展的魅力被培养了，他擅长于水彩画，发明饰品以及获取一个了不起的图形设施 正因为这样以致查尔斯欧莱雅带着他

49、进行到底。勒柯布西耶及时会断然放弃建筑装饰，解散他自己的早期努力的少年刊物。但是，尽管他的美学理念的变化，什么也不会是他坚持介绍了他的艺术选择的作为逻辑性和客观性的必要性。在他的个性的这条倔强个性显然地是遗传了他的母亲的。是他的青年超过同龄人的占主导地位的人格个性。上钢琴课的带着平静的激烈的女人，她死于1960年，当勒柯布西耶是七十三岁时。从她来了道德正直和义务词汇带给他的著作其明显加尔文主义耳语。相互威吓，亲切，和操纵信件的母亲和儿子两个人的关系进行了一个半世纪，这些是他的心理发展的主要文件。而当一只眼睛得失明使他研究困难时，勒柯布西耶放弃了他的父亲“有辱人格的技艺”和转向建筑学。他的收获立

50、即明显。在十七岁时，他被他的一个老师要求设计一个山庄，并且用这笔经费，他踏上了他的长期的研究之旅。他在1907-1911年间花很多时间离开他的国家，他时常作为制图员重新补充他的箱柜，这些限制，加上他在应用美术的速写的浏览和早期训练。这些都构成了他的整体的建筑教育。正在思考中的岁月是欧洲现代主义的形成期间，特别是在城市三人的巴黎，柏林和维也纳，勒柯布西耶在瑞士特殊的自由氛围里，不仅地理上还有心理上，让他在每一个地方自由地寻找工作，从而建立一个综合的国际领先潮流的现代主义。在每个城市，他提出了自己最先进的建筑公司，被拒绝只有在维也纳，在巴黎，他为奥古斯特佩雷工作，他是第一富有想象力的传神地使用混凝

51、土建筑师，而不是仅仅作为一种替代的石头。在柏林，彼德贝伦斯是一个通晓数种语言建筑师，他处理电气公司，德国AEG公司的各个方面的设计，其工业合理性将强烈盖印鲍豪斯建筑学派。(Mies van der Rohe和Walter Gropius是Behrens的办公室产品。)第一次世界大战很少涉及勒柯布西耶，这是由于他的瑞士护照，他能很容易的来往于德国和法国之间。但这个却没有引导他注意的问题群众住房问题。在德国他被提供了一份工作，他搬到了巴黎，在那里他从1917年开始工作直到他死亡。他很快协助了反复无常的画家宣传代理人阿梅德奥占芳。正是这个人介绍给他比他想象更加根本的现代主义。在阿梅德奥占芳的评断，立体主义是一个资产阶级的装饰热潮，它已经发挥了并且将自己交给一个新的拥有严谨，精度和纯度的艺术，如体现在机器，这一理论，他称之为