相关阅读文章stan allen_field conditions_W

1、Th e fi eld describ es a space of propagation, of effects. It con t ains no matter or materialpaints, rather functions, vectors and speeds. It describes local relations of difference within fields of celerit y, transmission or of careering points, in a word, what Minkowski called t he world.SANFORD

2、KWI NTER, 1986101 FROM OBJECT TO FI ELDField condi tions moves from the one toward the many, from indi viduals to collectives, from object s to fields. In its most complex manifestat ion, the concept of field conditio nsrefers to mathematical field theory, to non linear dynamics, and to computer sim

3、ula92tions of evolutionary change. However, my understanding of field conditions in archit ecture issomewhat disti nct from it s mof 氏 xact meaning in the 1ihysical sciences. I intend the phrase to resonate wi th a more tactical sense, as it wou ld for an anthropolog ist or a bota nist engaged in fi

4、eldwork, for a general facing the field of battle , or the architect who cautions a builder to veri fy in field. My concern parallels a shift in recent technologies from the analog to the digi tal. I t pays close attent ion to precedents in visual a 代from the abstract painting of Piet Mondrian in th

5、e 1920s to mi n 卜ma list and postmi nimalist sculpt ure of the 1960s. Postwar com posers, as they moved away from the stri ctu res of seriaIism, employed concepts such as clouds of sound or, in the case of Iannis Xenakis, statistica l music in which complex acoustical events cannot be broken down in

6、to their constituent elements 2 The infra-structural elements of the modern city, by thei r nature lin ked together in open-ended networks, off er another example of field conditions in the urban context. A complete examinatio n of the implicat ions of field conditions in archi tectu re would necess

7、arily reflect the complex and dynamic behaviors of architecture s users, and speculate on new methodologies to model program and space To general ize, a field condition could be any formal or spatial matrix capable of unify ing diverse elements whi le respecting the identity of each. Fieldconfigurat

8、ions are loosely bound aggregates characterized by porosity and local interconnectivity. Overal l shape and extent are highly flu id and less im portant than the internal relati onships of par ts, which determine the behavior of the field Field conditions are bot tom-up phenomena, defined not by ove

9、rar ching geometrical schemas but by intr icate local connections. In terval, repeti tion, and seriality are key concepts. Form matt ers,but not so much the forms of things as the forms between things.Field condi tio ns cannot claim to produce a systemati c theory of architectural form or compostiio

10、n. The theoret ical model pro posed here anticipates its own irrelevance when faced wi th the real i ties of pr actice. These are working concepts derived from experimentation in contact with the real0.2 GEOM ETRIC VS. ALGEBRAI C COM BINATIONThe diverse elements of classical architecture are organiz

11、ed into coherent wholes by means of geometric systems of proport ionFie ld Co nd i t io ns广立= -气它广，一于 一一一 书- li:!！:. I:：!为了：平户 记!:lf ffif:？The Great Mosqueof Cordoba, Spain, constructed over a span of nearly eight centuries, offers an instructive counterexample.3 The form of the mosque had been clea

12、rly established: an enclosed forecourt, flanked by a minaret tower, opening onto a coveredspace for worship (perhaps derived from market structmes, oriadapted from the Roman basilica). Theenclosure isloosely orientedl;:：. ：i :. i i 9. t ,: 4t.o ward the qiblo, a continuous prayer wall marked by a sm

13、all niche叶 II!卢! i ;l ，, :i！i斗:; ； ：。. 一 ；(the mihrob). In the first stage of construction (c. 785-800) theThe GrtJt Mosque of Cordoba,Spain,c.78 5- 800 . Shaded area indicates original extent!！ !l0b点,i!l.llitypological precedent wasrespected, resulting in a simple structureof ten parallel walls per

14、pendicular to the qiblo. These walls, sup ported on columns and pierced by arches. defining a covered spaceof equal dimension to the open court.The arched walls operate in93Although ratios can be expressed numerically, the relationshipsintendedare fundamentally geometric. Albertis well know axiom th

15、at Beauty is the consonance of the parts such that nothing can be added or taken away expresses an ideal of organic geometric unity.The conventions of classical architecture dictate not only the proportions of individual elements but also the relationship between indiv idual elements.Parts form ense

16、mbles which in turn form larger wholes. Precise rules of axiality, symmetry, or formal sequence govern the organization of the whole.Classical architec lure displays a wide variation on these rules. but the principle of hierarchical distribut ion of parts to whole is constan t. Individual elements a

17、re maintained in hierarchical order by extensive geo metric relationships in order to preserve overall unity.counterpoint to the framed vistas across the grain of the space. Thecolumns are located at the intersection ofthese two vectors, form心ing an undifferentiated but highly charged field. This fi

18、eld gener ates complex parallax effects that prey on visitors as they move th rough the space. The entire west wall is open to the courtyard, so that once within the precinct of the mosque there is no single entrance. The axial, processional space of the Christian church gives way to a nondirectiona

19、l space, a serial order of one thing afte anothe. The mosque was subsequenlyt enlarged in four stages. Significantly, with each add巾on the fabric of the original has remained substantially intact. The typological structureis reiterated at larger scale, while the local relationships have remained fix

20、ed. By com parison withclassical Western architecture, it ispossibletoidentifyField Cond11ion,contrasting principles ofcombination: onealgebraic, working with numerical units combined one after another, and the other geo metric, working with figures (lines. planes, solids) organized in space to form

21、 larger wholes5. In Cordoba, for example, independent elementsare combined addi tively to form an indeterminatewhole.The relations of part to part are identical in the first and last versionsconstructed. The loc al syntax is fixed, but th ere is no overar- -LeCorbusfcr,Venice Hospital. 1964-65 ching

22、 geometric scaffolding. Parts are not fragments of wholes, butsimply parts. Unlike the idea of closed unity enforced in western typical of the Western church. As Rafael Moneo has observed: I do classical architecture, the structure can be added onto without not believe that the Cordoba Mosque has be

23、en destroyed by all substantial morphological transformation. Field configurations are these modifications. Rather, I think that the fact that the mosqueinherently expandable; the possibili ty of inc remental growth is94anticipated,n the mathematical relations of the parts.It could be argued that th

24、ere are numerous examplesof clas sical Western buildings that have grown incrementally and havecontinues to be itself in face of all these interventions is a tribute to its own integrity.6To briefly extend the argument to a more recent example, LeCorbusiers Venice Hospital (1964-65) employs a syntax

25、 ofbeentransformedovertime.St.Petersin Rome,for examplehasanrepeated self-same parts, establishing multiple links at its periph- equally long history of construction and rebuilding. But there is aery with thecity fabric.The projectdevelops horizontally, through a significant difference. At St. Peter

26、s, additions are morphologicallogic of accumulation. The basic block of program, the care unit transformations, elaborating and extending a basic geometric formed of twenty-eight beds, is repeated throughout. Consulting schema, and tending towardcompositional closure. This contrastsrooms occupy open

27、 circulation spaces in the covered areas with the mosque at Cordoba where each stage replicates and pre-between. The rotat ing placement of blocks establishesconnections serves the previous stage of construction by theaddition of similarand pathways from ward to ward, while the displacement of the p

28、arts. And at Cordoba, even in later stages when the mosque wasblocks opens up voids within the horizontal field of the hospit al consecrated as Christian church and a Gothic cathedral wasThere is no single focus. no unifying geometric schema. As in the inserted into the continuous and undifferentiated fabric of themosqueat Cordoba, theoverall formisanelaboration of conditions mosque, the existing spatial order resisted thecentral or axial focus establis