建筑姿态的创造英文

ThecreationofarchitecturalgestureExtravaganceisnottheonlywaytofindgesturalqualitiesinthings,andenhancetheirstatus.Anasceticphilosopherwouldaimforatablethatwaspointedlylessextravagantthanthenorm,anditspurposewouldbetoshowhigh-mindednessratherthanlowstatusassuch.Ademocraticpresidentwouldneedtoshowondifferentoccasionsbothimperialgrandeur(whenentertainingvisitingheadsofstate)andabsoluteordinariness(showingarapportwithvoters).Wemightfeelashamedifourheadofstatelivedinanapartmentwithinexpensivecataloguefurniture,butinanothermoodmightresenttheextravagantcostsinvolvedinfurnishinghigh-statusaccommodationfromthepublicpurse.Thearchitecturalsettinghasaparttoplayinputtinginplaceasenseofhowitwouldbeappropriatetobehave,andinindicatingthestatusandaspirationsofitsinhabitant.Itcanbesimplyapersonalmatter,ifwedon'tcarewhatanyonethinks,anddecoratetosuitourselves,orcanbeverypublictheatre,broadcastaroundthewholeworld.渡1雕.植陶T馋r学a语d雷i钻t争i熊o齿n芒a吧l鸡朵c呜o精t停t版a女g矛e杰,谷优u出n意c口e袭r融t齿a藏i水n波咳d无a辞t枕e粘,疤荡b晃u晴t搅假p罢r泡c址-锡2芒0东t敢h钟策c送e坦n士t袍u广r素y端;嚷临n卷o鞋扇a影r洋c耍h宇i灵t招e萄c进t池.客春T或h辣i朵s绣粪h丈o众v侨e尾l浙覆i撞s鞋坏a闯袖r驶e象p唐r吐e克s皮e浸n散t叹a介t签i识v带e认夹e销x显a妥m扯p缓l继e魔案o病f称逢t玉h顶e减躬t狮y平p较e葛s惜妻o镰f也睁d娃w棵e缘l难l秋i部n椒g山岭t融h盒a起t栏汽w葛e拴r充e灭皱b份u竭i课l挎t爹绸b恰y炼目t柳h详e出烂r反u象r俘a爱l执次p望o免o联r顽馅u绳n咐t肢i勿l唤娘t两h爷e柳阀1劝9终t为h波醒c搞e村n蔽t结u都r用y庸.只踩L脉i遥v茫i捧n齿g测伟c扭o垂n假d肆i晃t俱i搜o括n疲s瓦将c隔o称u亏l辰d鱼甲b幅e洪狂b姐a露d辣,茫秩b稻u上t循分t武h邻e掠妙w列o玉r谊s挑t选联c朋o律t卖t结a胖g说e软s反篇w苦e熄r趋e鞋见m愧a灾d沃e手行o码f迫口e系a惠r防t宫h刊异a悄n僻d盏坡h嫂a惯v匪e尼偏l沃o颠n俱g踪构s么i匆n湖c饶e程惜d泉i量s不a励p煮p画e总a暴r透e示d疏.哗全S忍t斧o赠n限e揭辛d绩w惠e画l丘l玩i系n漫g推s群,箱腹s编u从c元h杆俊a片s演蹲t匆h权e贸尚o带n鹅e晃吵s怠h凉o助w蹄n穗掉h绒e滑r辨e丈,游摩w村o零u临l仆d纱巧h盟a挖v猎e悉撤b般e蕉e学n茫富b较u搭i奇l锻t这胞w锅i朱t趟h龟踩s盒t香o窑n影e茧袖t躲h泻a既t额训w动a量s庸锡e弹i败t最h字e围r撕沾q勾u速a精r枯r侵i搬e剖d视项l吗o始c献a缺l择l钞y仗淋o筝r尽呼t幕h触a羊t虚蜓h姑a夺d回却b套e印e袭n储茄c舒l坚e从a迅r哗e央d揭注f楚r宏o舒m致仰t也h嫁e唇朋f汪i撕e琴l粗d暖s善.燃涛T缴h漏i泽s痛改e挎x吹a柏m援p欧l享e堵再w市o至u扫l鸭d搭广h堆a茧v泼e轧绞b火e新e洋n横冻t它o会o高彩s拉m档a把l新l个脆t陈o很公a都d他a省p畜t弃舒t粮o片疏m仆o面d啄e镜r顽n血努n慌e鲜e渠d谜s剑,妻挂b酬u抱t治蜡m见a似n拼y锈贵s兔i姑m雕i连l雾a腾r鲁这s野l森i茫g圆h信t风l旋y剑佣l办a柄r帮g葵e粮r昨院b范u或i济l写d闪i蚊n脾g即s益膛a随r梨e石降s钓t启i钓l叛l浙燃o滥c揪c纪u蓄p疯i木e疾d赢,液胡c挡o吸n贞n勾e袍c豆t汗e军d销明t琴o肾的e啦l撇e每c洒t滥r氏i欢c腰i块t爪y值圆a蠢n捡d偏词w缝i墨t速h涉专m剧o谁d薪e峰r幸n宝贷p秀l惭u梅m党b剑i喜n葵g真,牌腐w监h恐i盲c虹h边傅m加a烫k镰e浙s掉挥t怒h文e罗m墓同v钟e秒r平y耐修d途i晕f物f杰e蒙r猛e位n覆t花炉f渔r砌o丸m槽狡t伞h优e任今p节l鲁a仇c处e舱s失架t取h堤e绳y乞霞o绝n剂c氧e总墙w烦e条r邀e伐.脸堡I菠n棒右B旁r铅i菊t颂a静i竿n思,脊楚m训o竹s狱t也秤c愧o遥t燥t毯a需g污e傍s让倍a旅r划e目浮n离o堆w豪豪i阵n牺h剖a盛b享i抛t婶e捏d貌旬b金y律杆p危e风o象p貌l倚e裤宽w悼h腰o备s笨e码下i誓n股c骂o弦m酒e刃制d述o披e骆s淘宣n枯o毫t涛绒c稍o耽m活e巷舰f贺r首o绘m且究f虚a灵r肠m美i危n股g旱缘t醋h泳e西着p惯l蔑o暴t搬猜o壶f怀千l璃a语n墨d丰学o泰n汁桥w鼓h酬i践c租h伪炎t瘦h者e那认h划o冈u垦s图e亩氧s莫i却t光s症,冈思b肃u拦t旨吴b梳y席俯p耐e晋o纺p届l裂e攻苏w乡h崭o膝粮e院i糠t林h回e慎r厘呜h贼a产v莲e贱壤j路o迷b侧s术印i焦n势机t层o钞w纸n炼s麦,仅修o遗r薪柳w守h巧o抖王h自a泻v屋e亮当r顺e供t爆i巩r豪e攀d确味f裳r配o兴m基远t葬h汤e榴i敏r刻愁t谁o公w稻n射晕w陈o狱r虽k棉.村挥M僻o但s棍t太市c表o贡t级t崭a怕g照e们s柳隶t捐h维e雪r祖e口f针o秤r侄e智改f肌u党n职c坏t披i旁o泊n朗挤a彼s丸骑p草a璃r抵t寻伞o其f搂械a慰均c绑i纸t筑y狸,迁傻e某v球e就n镜王t豆h漆o弦u狮g肿h洗峡t训h屡e纲y也痕c胀a京n搞绍s药t遮i项l到l粪津l议o元o奸k紧献i朴d将y脉l敢l剂i淘c吗a屡l搭l弹y烛汁r堤u巩r养a胆l披.Themeaninginbuildingsisnotfixedinthem.Forexample,thecottagesthatwerebuiltbyagriculturalworkersfortheirownusewerenotconsideredasaformofartisticexpression,butasserviceableshelters(Figure1).Howevertheromanticpoetssawthesimplecottagesoftheruralpoorasanexpressionoftenaciousvirtueinbleakcircumstances,whichmeantthattheywereseenasgestural,andthenbytheendofthe18thcenturytherewasafashionforsmall-scaleruralretreats(cottagesornees),whichcertainlyshouldbeseenasartisticallyexpressive,andweredesignedthatway.Therehasbeenalongtraditionoflookingatagriculturalworkersasvirtuousandromanticthatstartedsomewhereintheancientworld.ItwasalreadyatraditionwhenVirgilwrotehisEcloguesinthefirstcenturyBC.Alreadythentherewasasentimentalinterpretationofagriculturethatcoulddevelopbecausetherewasaclassinthatsocietythatdidnothaveaneverydayinvolvementinagriculture,butwhocouldseeitfromadistanceandthinkofitasenviable,orinnocent.Themostfamousarchitecturalexpressionofthissensibilityinthe'modern'worldisthehamletthatMarie-AntoinettecommissionedatVersailles,whereshecouldstepasidefromherdutiesasthequeenintheworldsmostsplendidcourt,andpretendstobeasimplemilkmaid,intouchwithnatureandherfeelings.Thegestureisablendofinnocence,naivetéandsauciness.AnotherexampleisBlaiseHamletnearBristol,whichwasdesignedbythearchitectJohnNashasaself-consciouslyprettyandwell-managedgroupofhousesforretiredemployeesoftheBlaiseestate,agenuinebuthighlyvisiblegestureofbenevolenceonthepartofthelandowner.ThishasparticularpoignancybecauseNashwasalsoresponsibleforoneofthemostextravagantprincelydwellingsofthisoranyothertime:theRoyalPavilionatBrighton(Figure2).Eveninsmallillustrations,thereisnodoubtabouttherelativestatusoftheinhabitantsofthedwellingsshowninFigures1and2.Withoutanyspecializedknowledgeofarchitecture,weknowhowtoreadthesigns.EvenifwethoughtthatthebuildinginBrightonwasrelativelynormal,itwouldbeclearthatitwasnotthelow-costoption,andinfactitwasstylisticallyoutlandishandnovel.Itwasnotonlyextravagant;italsorelishedthedisplayofthatextravagance,andstilltodaysweepsvisitorsalongwiththesheerexuberanceofitsdisplay.ThereissomethingcharmingaboutthewayitrefusestoacknowledgeconventionaldecorumandsomethingabsolutelyaptaboutthewaythePrinceRegent'sriotouspartieswoulddothesame.Thereisasurprisinglycloserelationbetweentheformofthebuildinganditsfunction.2.RoyalPavilion,Brighton,England(1815-21);architect:JohnNash(1752-1835).Thisisoneofthemostself-consciouslyexoticbuildingsthathaseverbeenbuilt.The'pavilion'atBrightonbeganwithamuchsmallerandmoreconventionalbuildingforthethenPrinceofWales(whowaslaterPrinceRegentandthenGeorgeIV).Thename'pavilion'derivesanoldFrenchwordforatentandisnownormallyusedforsmallbuildingsthatconnectwithoutdooractivity,anditwouldhavefittedtheoriginalbuildingreasonablywell,butthesprawlingpalacethatdevelopedonthesiteisnotreallyapavilion(thoughsomeoftheroofshavetent-likeforms).JohnNashalsodesignedtheoriginalRegentStreetinLondon,and旨B妄u辈c条k拆i要n挖g隶h岩a程m携铃P言a画l雷a族c纠e挠盒(第b餐u藏t目槽n劝o星t拒诸i促t活s质血f坦a鼻m锅i炮l杀i小a古r盏萍p环u吩b麦l失i映c答彩f甲a港c薪a坛d镰e眼)卸.糖崭T墨h冷e狗区P毕a章v秤i习l翠i史o白n巧聪w载a丘s涉第c录o厘m熟p辈o璃s枣e碎d坚铸o束f团府a训r单c叉h愚i虾t族e甩c假t灶u孕r葬a贡l蠢嚷m牌o捷t颜i筹f功s丝钻t饥a训k胞e塌n字桶f佩r皮o驴m乱饶t童h女e赛滥f搂a切r渴症r麦e伸a集c炮h薪e街s燃钳o做f糖娃e办m惭p器i怜r氏e际,敞辟w纽i佩t忌h澡兰I羞n惜d内i辩a峰n派宰d疤o撕m牌e瓜s开帆a泥n改d颈追v右e验r印a宝n滥d位a楼h嚷s神经o帮n院葱t南h尾e弃毅o寨u删t莫s炭i捧d庙e北,潮稻a么n愉d泼较a族芦s柿u他m粪p恩t伴u节o格u夫s笑面w弟e鲜s着t卸e群r羡n敲驼i混d因e洁a均顿o滩f辛忠C罚h罚i灿n虽e研s曾e贩色d币e教c判o村r笨a铜t禾i赔o跑n目档o绢n春故t垫h词e坦盟i限n半s沫i泉d葬e发.ExtravaganceisalsothemainreasontobeimpressedbythegreatpyramidsofancientEgypt.Vastresourceswentintomakingthem,andfromthatweinferhowpowerfultherulerswhocommissionedthemwere.Therearereasonstobeimpressedbytheingenuityofthepyramidbuilders,andtheirknow-how,butthepyramidswouldbeinsignificantmonuments,knownonlytospecialists,iftheywerenotbig(Figure2).Wearenotoverlyimpressedbythingsthatwethinkwecoulddoourselves,andthereasonthatthepyramidswereoneofthewondersoftheworldisthattheycouldnoteasilybeimitated,onaccountofthesheerexpenseoftheundertaking.Iftheproductionofthestateonlyjustcoveredthepeople'sneedtosubsist,thenitwouldnothavebeenpossibletobuildonsuchascale.Andifthewealthhadbeenevenlydistributedthroughthesociety,thennosuchmonumentcouldhavebeenbuilt.Ahighproportionofthestate'swealthmusthavebeendirectedintothesebuildingprogrammers,andsuchaunityofwillsuggestsapoliticalstructurethatputagreatdealofpoweratthedisposalofanindividual.Thepyramidsweregivenovertosurvivalandprosperityintheafterlife,andsocouldbeseenasawholesociety'sinvestmentinthefuture.TheBrightonPavilionwasgivenovertopleasure.Whatlinksthetwobuildingsisthattheyarefarfromordinary,andhavelittleconnectionwiththedailylivesoftheordinarypeopleineithersociety.Neitherofthemeverhelpeddirectlywiththeactivitiesthatmakeitpossibletolive,suchastheproductionoffoodorthemanufactureofusefulgoods.Thoseactivitiesmusthavebeengoingonsomewhereineachsociety,buttheyarenothousedinthesebuildings,whichconsumedvastresources.Theyimpressbecausetheybearthemarkofthatconsumption-ofmaterialscarefullyworked,tomakeeffectsthatwerecarefullyconsidered.3.GreatPyramidofKhufu,Giza,nearCairo,Egypt(2723-2563BC);architect:unknown.TheEgyptianpyramidsastonishedtheancientworld,andinthemodernworldhavebeenabywordformystery.TheywerebuiltinthenorthofEgyptasburialplacesforthepharaohs-thegod-kingswhoruledinancienttimes.Theoneillustratedherewasthelargestofthem,builtfortheburialofKhufu,whoisalsoknownbytheGreeks'nameforhim:Cheops.AllthelargepyramidsdatefromtheOldKingdomofEgypt,afterwhichthecountrywasruledfromThebes,500milesfurthersouth,andtheburialswereincavetombsintheValleyoftheKings.TheGreatPyramidishuge,andconsumedvastamountsofeffortfromthesocietythatbuiltit-withoutthehelpofsuchadvancedtechnologyasirontoolsorpulleysofanykind.Everydaybuildingswerebuiltinmud-brickandtimber,andtheydonotsurvive,butthepyramidsweredesignedtolastforever.'Architecture'hasoftenbeentakentobeimpressivebuildingssuchasthese.Inthatwayofthinking,buildingsthatimpressusaretobecalled'architecture',whilethosethatdon'timpressremainasmerebuildings'.Infactwemightnotneedtocallthemanythingatall,becausetheyprobablyjustfalloutofthepicture.Iwanttoarguethat'architecture'isnotthesamethingas'goodbuildings'butistheculturalaspectofanybuildingatall,goodorbad.Theputtingtogetherofmaterialsbelongstotherealmofbuilding,butthebuilding'sgestures-theextravagance,exoticism,andexuberance-belongtotherealmofarchitecture,aswouldsimplicityandruggedness,ifthosewerethebuilding'sparticularqualities.Thepointisbestexplainedbythinkingabout'vernaculararchitecture',whichisthetermusedtorefertotheordinarybuildingsputupbyordinarypeople,traditionallyagriculturalworkersbuildingforthemselvesortheirneighbors.Ifweweretolookatthesebuildingsthroughtheeyesofan18th-centurylandowner,thenwewouldseethemas'hovels',placestolivethathadfewcomforts-thoughforthepeoplewholivedinthemtheywouldhavehadallthecomplicatedconnotationsof’home'.WhenweastouristsintheLakeDistrictseethemtheyare'vernaculararchitecture'andacharmingpartofthescenery,protectedbylegislation.Evenwhentheactualfabricofthebuildinghasnotchangedmuch,therehasbeenachangeinsensibility,whichcanbetracedbacktotheinfluenceoftheRomanticpoets,especiallyWordsworth.Thepointtobemadeisthat'architecture'didnotseemtobeanythingtodowiththesebuildingswhentheywerebuilt,butitdoesseem