思考建筑02-The_hard_core_of_beauty-3

时间:2024.2.18

思考建筑

The hard core of beauty

美之核心

Two weeks ago I happened to hear a radio program on the American poet William Carlos Williams. The program was entitled The Hard Core of Beauty. This phrase caught my attention. I like the idea that beauty has a bard core, and when I think of architecture this association of beauty and a hard core has a certain familiarity. "The machine is a thing that has no superfluous parts," Williams is supposed to have said. And I immediately think I know what he meant. It's a thought that Peter Handke alludes to, I feel, when he says that beauty lies in natural, grown things that do not carry any signs or messages, and when he adds that he is upset when he cannot discover the meaning of things for himself.

两周前,我碰巧在广播上听到一个关于美国诗人威廉·卡洛斯·威廉姆斯(William Carlos Williams)①的节目。节目名为“美之核心”,这个说法引起了我的注意。我喜欢“美有核心”的想法,当我思考建筑时,“美”和“核心”有联系的想法让我觉得熟悉。据说威廉姆斯说过“机器是一种没有多余部分的东西”。我立刻认为我明白了他的意思。我觉得,这是彼得·汉德克(Peter Handke)②暗指的想法,当他说美存在于自然的、长成的东西,它们不带有任何符号或信息,当他接着说他不能发现事物对他自己的意义时他很难过。

And then I learned from the radio program that the poetry of William Carlos Williams is based on the conviction that there are no ideas except in the things themselves, and that the purpose of his art was to direct his sensory perception to the world of things in order to make them his own.

我从广播节目听到的威廉·卡洛斯·威廉姆斯的诗是基于这样的确信(信念):除了事物自身,再也没有想法(ideas),他的艺术目的是将其感官知觉贯注在物质世界上,以便拥有它们。

In Williams's work, said the speaker, this takes place seemingly unemotionally and laconically, and it is precisely for this reason that his texts have such a strong emotional impact. 威廉·卡洛斯·威廉姆斯(William Carlos Williams),1883—1963,美国后现代主义诗歌的鼻祖。代表作长诗《裴特森》。威廉姆斯不好张扬传统与观念上的东西,不愿意去讴歌欧洲传统和文明,也反对精英意识,认为诗歌必须走出象牙之塔回到现实。威廉姆斯认为只有坚持美国本土精神才是他所要追求的艺术道路。他的这种反欧洲传统文化的思想表现在他提倡的“只有新的,才是好的”的美国化诗歌理念,而他的另一名言“没有观念,除非在事物中”,更是高度概括地表达了威廉姆斯的诗歌创作原则:丢弃传统回归生活,用简洁明了的意象来表达思想。威廉斯的名篇《红色手推车》就是在试图与艾略特的诗歌观念背道而驰,提倡重新回到现实生活的创作思想指导下于19xx年完成的。 ①

②彼得·汉德克(Peter Handke,1942-),奥地利知名的剧作家、诗人、小说家。19xx年获豪普特曼奖,19xx年获毕希纳奖,19xx年获席勒奖。 汉德克于19xx年以《谩骂观众》一剧的别出心裁的表现手法而引人瞩目。他自称在创作上“决不与人雷同”。戏剧、小说、诗歌,他的作品都具有反传统的特点。他力图独树一帜,以突出他听说的敏感性,来描述他那个社会里人的孤寂与迷茫。诗集有《德语诗歌人》(1969)和《内部世界的外部世界的内部世界》(1969)两种。

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节目主持人说,在威廉姆斯的作品里,这看起来没有感情地、简洁地发生着,正因如此,他的文字有如此强烈的情感冲击力。

What I heard appeals to me: not to wish to stir up emotions with buildings, I think to myself, but to allow emotions to emerge, to be. And: to remain close to the thing itself, close to the essence of the thing I have to shape, confident that if the building is conceived accurately enough for its place and its function, it will develop its own strength, with no need for artistic additions. The hard core of beauty: concentrated substance.

我所听到的要求我:不能期望将情感和建筑搅在一起,我自忖,而是让情感形成、出现。同时,保持接近事物本身,靠近我不得不赋形的事物的基本(本质、基质),并相信:如果建筑被足够精确地为它的场地和功能考虑过,它将逐步形成它自身的力量,不需要任何的美化。美之核心:被浓缩的成分。 But where are architecture's fields of force that constitute its substance, above and beyond all superficiality and arbitrariness?

可是,在所有表相和随意之上,真正构成建筑学实质力量的领域在哪里呢?

ltalo Calvino tells us in his Lezioni americane about the Italian poet Giacomo Leopardi who saw the beauty of a work of art, in his case the beauty of literature, in its vagueness, openness, and indeterminacy, because this leaves the form open for many different meanings.

伊塔罗·卡尔维诺(ltalo Calvino)在他的《未来千年文学备忘录》(Lezioni americane)中告诉我们:意大利诗人贾科莫·列奥帕第(Giacomo Leopardi)①看见一件艺术品的美,对他而言则是文字之美,在它的(文字的?艺术品的?)模糊、开放和不确定,因为这使得形式向许多不同意义开放。

Leopardi’s observation seems convincing enough. Works or objects of art that move us are multi-faceted; they have numerous and perhaps endless layers of meaning that overlap and interweave, and that change as we change our angle of observation.

列奥帕第的评论似乎足够令人信服。打动我们的艺术作品是多面的;它们有许多、也许无数层含义,重叠、交织,随我们观察角度的变化而变化。

But how is the architect to obtain this depth and multiplicity in a building of his making? Can vagueness and openness be planned? Is there not a contradiction here to the claim of accuracy that Williams's argument seems to imply?

然而,建筑师如何在他设计的房子中得到这种深度和多样性呢?模糊和开放能被设计吗?这与威廉姆斯的论点所暗示的精确性不是相矛盾吗?

Calvino finds a surprising answer to this in a text by Leopardi. Calvino points out that in Leopardi's own texts, this lover of the indeterminate reveals a painstaking fidelity to the things he describes and offers to our contemplation, and he comes to the conclusion: “This, then, is what Leopardi demands of us so that we can enjoy the beauty of the indeterminate and vague! He calls for highly accurate and pedantic attention in the composition of each picture, in the meticulous definition of details, in the choice of objects, lighting, and atmosphere with the aim of attaining the desired vagueness.” Calvino ① 贾科莫·列奥帕第(Giacomo Leopardi),意大利浪漫主义诗人。他是启蒙主义思想的热情讴歌者,对人类的幸福无限向往。《田园诗集》是他重要的代表作主一。《致席尔维娅》、《致意大利》及《但丁纪念碑》等,都是他的传世之作。

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closes with the seemingly paradoxical proclamation: “The poet of the vague can only be the poet of precision!”

在列奥帕第的一段文字中,卡尔维诺找到一个令人惊讶的答案。卡尔维诺指出,在列奥帕第自己的文字里,这个不确定性的爱好者对他描写的和提供给我们的预期的事物展示了十分的忠诚,卡尔维诺得出这样的结论:“这就是列奥帕第对我们的要求,他让我们品味模糊与不限定的事物的美!他所要求的是确切地、细致地注意每一个形象的布局、细节的微细限定、物体的选择、光照和空气(气氛),这一切都是为了达到高度的模糊性。”卡尔维诺以看似荒唐的声明作结:“朦胧诗人只能是提倡准确性的诗人。” What interests me in this story reported by Calvino is not the exhortation to precision and patient, detailed work with which we are all familiar, but the implication that richness and multiplicity emanate from the things themselves if we observe them attentively and give them their due. Applied to architecture, this means for me that power and multiplicity must be developed from the assigned task or, in other words, from the things that constitute it.

在卡尔维诺所说的这个故事里,让我感兴趣的,不是对精确性的提倡和对我们都熟悉的东西的耐心、详细的工作,而是暗示(含义):如果我们留意观察它们,并给予它们相应的权利(足够的时间),从事物本身放射出来的丰富和多样性。应用于建筑,这对我来说意味着力量和多样性必须从指定的任务,或者,换句话说,从组成它的东西发展而来。

John Cage said in one of his lectures that he is not a composer who hears music in his mind and then attempts to write it down. He has another way of operating. He works out concepts and structures and then has them performed to find out how they sound.

约翰·凯奇(John Cage)在他的一次演讲中说:他不是一个在脑海里听见音乐然后努力写下来的作曲家。他有另一种工作方式。他作出(设计出)概念和结构,然后请人演奏,看它们听起来如何。 When I read this statement I remembered how we recently developed a project for a thermal bath in the mountains in my studio, not by forming preliminary images of the building in our minds and subsequently adapting them to the assignment, but by endeavoring to answer basic questions arising from the location of the given site, the purpose, and the building materials - mountain, rock, water - which at first had no visual content in terms of existing architecture.

读到这段话,我想起最近在我的工作室,我们如何设计发展一个山里的温泉浴场项目。我们并不是先在脑海中形成对建筑形式的初步设想,然后使之适应任务书;而是尽力回答一些基本问题:给定场地的地理位置、建筑目的、建筑材料——山、石、水——这些就建成建筑来说,一开始并没有视觉的满足。 It was only after we had succeeded in answering, step by step, the questions posed by the site, purpose, and material that structures and spaces emerged which surprised us and which I believe possess the potential of a primordial force that reaches deeper than the mere arrangement of stylistically preconceived forms.

在一步一步成功回答了由场地、目的和材料引起的问题以后,结构和空间显现出来,这令我们惊讶。我所相信的东西(结构和空间),占有了原始力量的潜力,比仅仅控制风格地预设形式触及更深。 ①①约翰·凯奇(John Cage),1912-1992,是 20世纪美国著名的“作曲家、 哲学家和音乐作家”,在美国现代音乐发展史中,处于一个极为重要的地位。他提出了“节奏结构”理论和“空的节奏结构”概念(就是在作曲家划定的时间结构内,任何声音都可以投入到空的时间框架之中)。

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Occupying oneself with the inherent laws of concrete things such as mountains, rock, and water in connection with a building assignment offers a chance of apprehending and expressing some of the primal and as it were "culturally innocent" attributes of these elements, and of developing an architecture that sets out from and returns to real things. Preconceived images and stylistically pre-fabricated form idioms are qualified only to block the access to this goal.

专注于类似山、石、水等具体事物的内在法则与房子的联系提供了一个机会:领会并表达一些最初(最基本、最原始)的东西,因为正是那些要素的“非文化”品质,也是深化一个“从真实事物出发并回归到它们”的建筑的机会。预设图像和风格化预想形式的习惯只会阻碍这个目标的实现。

My Swiss colleagues Herzog and de Meuron say that architecture as a single whole no longer exists today, and that it accordingly has to be artificially created in the head of the designer, as an act of precise thinking. The two architects derive from this assumption their theory of architecture as a form of thought, an architecture that, I suppose, should reflect its cerebrally conceived wholeness in a special way.

我的瑞士同行赫佐格和德穆隆(Herzog and de Meuron)说,今天,作为单一整体的建筑已不复存在了,因此,它必须作为一个精确思考的动作,在设计者的脑海里被人工创造。这两位建筑师从这个假设衍生出他们的理论:建筑是一种思想(思维)的形式。我推测,他们是说:一个建筑,可以用一种特殊的方式反映出它被理性地思考过的整体。

I do not intend to pursue these architects' theory of architecture as a form of thought, but only the assumption on which it is based, namely that the wholeness of a building in the old sense of the master builders no longer exists.

我不打算追随这些建筑师“建筑作为思想的一种形式”的理论,只是将假设立于其基础之上,也就是说,在工头的旧有感觉中的一个建筑整体不再存在了。

Personally, I still believe in the self-sufficient, corporeal wholeness of an architectural object as the essential, if difficult, aim of my work, if not as a natural or given fact.

我个人仍坚信,一个建筑物那种自给自足的物质整体是我工作的基本目标。如果这很难,如果不是自认的或给定的事实。

Yet how are we to achieve this wholeness in architecture at a time when the divine, which once gave things a meaning, and even reality itself seem to be dissolving in the endless flux of transitory signs and images?

然而,我们如何在建筑中达到这个整体呢?在这个时代,牧师(以前赋予事物意义的人),甚至事实(真相)本身,看起来都要在短暂的符号和图像的无尽变迁中消退。

Peter Handke writes of his endeavors to make texts and descriptions part of the environment they relate to. If I understand him correctly, I am confronted here not only by the all-too-familiar awareness of the difficulty of eliminating artificiality in things created in an artificial act and of making them part of the world of ordinary and natural things, but also by the belief that truth lies in the things themselves. 彼得·汉德克努力将文字和描述变成其环境的一部分。如果理解得没错,我就不仅面临了众所周知的在人工创造的事物中消除人工和使它们成为平凡和自然的世界的一部分的困难,而且面临了真理存在于事物本身的信念。

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I believe that if artistic processes strive for wholeness, they always attempt to give their creations a presence akin to that found in the things of nature or in the natural environment.Consequently, I find that I can understand Handke, who in the same interview refers to himself as a writer about places, when he requires of his texts that “there should be no additives in them, but a cognizance of details and of their interlinking to form a factual complex.”

我相信如果艺术处理趋向整体化,他们总是试图给其作品一个类似在自然事物或在自然环境之中的出现(在场)。因此,我觉得我能理解汉德克,在同一个访谈里,他称自己为一个关于场所(places)的作家,要求他的文字“它们不宜有任何添加,而是一个对细节和它们连接形成的事实复合体(factual complex)的认识”。

The word Handke uses to designate what I have here called a factual complex, namely Sachverhalt, seems to me to be meaningful with regard to the aim of whole and unadulterated things: exact factual contents must be brought together, buildings must be thought of as complexes whose details have been rightly identified and put into a factual relationship to each other. A factual relationship!

汉德克用来标明在此被我称为事实复合体的词,即“事态(Sachverhalt)”,对我来说是有意义的,关于整体的目标和没有掺杂的事物:准确的实际内容必须被带到一起,房子必须被考虑为复合体,它们的细部被恰当地鉴别,并放入一个实际(事实)的相互关系中。一个实际(事实)的关系!

The point that emerges here is the reduction of the contents to real things. Handke also speaks, in this context, of fidelity to things. He would like his descriptions, he says, to be experienced as faithfulness to the place they describe and not as supplementary coloring.

这里浮现的要点是真实事物内容的还原。汉德克也在这个上下文中说到对事物的忠实。他说,他喜欢他的描述被感受为忠实于它们描述的场景,而不是增添的色彩。

Statements of this kind help me to come to terms with the dissatisfaction l often experience when I contemplate recent architecture. I frequently come across buildings that have been designed with a good deal of effort and a will to find a special form, and I find I am put off by them. The architect responsible for the building is not present, but he talks to me unceasingly from every detail, he keeps on saying the same thing, and I quickly lose interest. Good architecture should receive the human visitor, should enable him to experience it and live in it, but it should not constantly talk at him.

这类陈述帮助我与我思考新近的建筑时经常经历的不满达成协议。我常常遇到一些房子,它们被用许多“成果(努力)”和“发现一种特殊形态”的愿望设计而成,我发现自己被它们分心。房子的建筑师并不在场,但他不断地通过每个细部与我交谈,他继续说着同一件事,我很快失去了兴趣。好建筑可以接待来访者,让他体验,生活其中,但不用一直与他交谈。

Why, I often wonder, is the obvious but difficult solution so rarely tried? Why do we have so little confidence in the basic things architecture is made from: material, structure, construction, bearing and being borne, earth and sky, and confidence in spaces that are really allowed to be spaces - spaces whose enclosing walls and constituent materials, concavity, emptiness, light, air, odor, receptivity, and resonance are handled with respect and care?

我常常想,为什么这个明显但困难的解决方式很少被采用?为什么我们对组成建筑的基本事物(材料、①① Sachverhalt,奥格登的英译为“原子事实”。

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结构、构造、受力、施力、地面和天空)如此缺乏信心?对那些真正被认为是空间的空间(这些空间的围护墙体、组成的材料、凹度、空、光、空气、气味、接受能力(感受性)和共鸣被尊重和谨慎地对待)缺乏信心?

I personally like the idea of designing and building houses from which I can withdraw at the end of the forming process, leaving behind a building that is itself, that serves as a place to live in and a part of the world of things, and that can manage perfectly well without my personal rhetoric.

我个人喜欢从这个想法出发,设计和建造房子:在形成过程最后我能退出,留下房子是它自己,作为一个可以居住的地方,作为世界的一部分,它能很好的处理,而没有我的花言巧语。

To me, buildings can have a beautiful silence that I associate with attributes such as composure, self-evidence, durability, presence and integrity, and with warmth and sensuousness as well; a building that is being itself, being a building, not representing anything, just being.

对我来说,使我联想到沉着、自信、耐久、风度和正直等品质,同时热情而感性的房子能显露出一种优美的静谧;一个房子正在成为它自己,成为一个房子,而不是扮演任何东西,只是成为。

Say that it is a crude effect, black reds,

Pink yellows, orange whites, too much as they are

To be anything else in the sunlight of the room.

Too much as they are to be changed by metaphor,

Too actual, things that in being real

Make any imaginings of them lesser things.

说这是种原初的效果,黑红,

粉黄,橙白,太过本来面目

无法成为屋里阳光下的其它,

太过本来面目无法被隐喻更改,

太过确实,那些真实的事物

从来都使对他们的想象相形见绌。①

This is the beginning of the poem Bouquet of Roses in Sunlight by the American poet of quiet contemplation, Wallace Stevens.

这是美国诗人华莱士·史蒂文斯的诗《阳光下的玫瑰》②的开始。

Wallace Stevens, I read in the introduction to his collection of poems, accepted the challenge of looking long, patiently, and exactly and of dis-covering and understanding things. His poems arc not a protest or a complaint against a lost law and order, nor are they the expression of any sort of consternation, but they seek a harmony which is possible all the same and which - in his case - can only be that of the poem. (Calvino goes a step further along this line of thought in an attempt to define ① 武昕译。

Bouquet of Roses in Sunlight,收录于19xx年发表的诗集《秋天的晨曦》("The Auroras of Autumn" ) ②

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his literary work when he says that he has only one defense against the loss of form that he sees all around him: an idea of literature.)

华莱士·史蒂文斯,我读了他的诗集的介绍(导言),挑战 长远、耐心地、正确(严密)、发现、理解事物。他的诗不是对消失(lost)的法则和秩序的抗议或抱怨,也不是任何一种惊惶失措的表达,而是寻求协调,协调对他而言可能只是想这首诗那样,(卡尔维诺在这条线索下走得更远一步,他努力定义他的文学作品,他说他只有一个防卫形态的遗失,这个防卫在他周围无处不在:文学的想法。)

Reality was the goal to which Stevens aspired. Surrealism, it appears, did not impress him, for it invents without discovering. He pointed out that to portray a shell playing an accordion is to invent, not discover. And so it crops up once again, this fundamental thought that I seem to find in Williams and Handke, and that I also sense in the paintings of Edward Hopper: it is only between the reality of things and the imagination that the spark of the work of art is kindled.

史蒂文斯渴望的目标是真实。看起来超现实主义并没有打动他,因为它未发现却发明了。他指出,描绘一个shell弹手风琴是发明而不是发现。所以,这个我在威廉斯和汉德克那里找到,也在爱德华·霍珀(Edward Hopper)①的绘画中感受到的基本想法又一次突然出现:只有在事物的真实(事实)和想象之间,艺术作品的火花才能被燃起。

If I translate this statement into architectural terms, I tell myself that the spark of the successful building can only be kindled between the reality of the things pertaining to it and the imagination. And this is no revelation to me, but the confirmation of something I continually strive for in my work, and the confirmation of a wish whose roots seem to be deep inside me.

如果将这个说法翻译成建筑语汇,我告诉自己成功建筑的火花只能在它固有的事实和想象之间被点燃。这与我无关,但我一直试图在工作中确认一些事情,这愿望根植我内心深处。

But to return to the question one final time: where do I find the reality on which I must concentrate my powers of imagination when attempting to design a building for a particular place and purpose?

但是,最后一次回到这个问题:我在哪里找到事实?当我试图为一个独特的场所和目的设计一个房子,我必须集中想象的力量在此事实之上。

One key to the answer lies, I believe, in the words "place" and "purpose" themselves.

我相信,答案的关键在于“场所”和“目的”这两个词本身。

In an essay entitled "Building Dwelling Thinking," Martin Heidegger wrote: "Living among things is the basic principle of human existence." which I understand to mean that we are never in an abstract world but always in a world of things, even when we think. And, once again Heidegger: "The relationship of man to places and through places to spaces is based on his dwelling in them." 在一篇题为《筑·居·思》的文章中,马丁·海德格尔写到:“在事物(物质)之间生活是人类存在的基本法则。”我的理解是:我们从不在抽象世界中,而总是在一个事物(物质)的世界,甚至我们思考的时间。海德格尔还说到:“人与场地的关系,通过场地到空间,是基于它们中他的居所。”“人与位置的关①爱德华·霍珀(Edward Hopper),(1882-1967) ,美国20世纪写实派大师,以荒凉都会画作著称。

7

①联,以及通过位置而达到的人与诸空间的关联,乃基于栖居之中。”

The concept of dwelling, understood in Heidegger's wide sense of living and thinking in places and spaces, contains an exact reference to what reality means to me as an architect.

在海德格尔在场所和空间对生活和思想的宽阔理解(wide sense)里,栖居的概念,对于作为建筑师的我来说,包含了一个准确的说明。

It is not the reality of theories detached from things, it is the reality of the concrete building assignment relating to the act or state of dwelling that interests me and upon which I wish to concentrate my imaginative faculties. It is the reality of building materials, stone, cloth, steel, leather… - and the reality of the structures l use to construct the building whose properties I wish to penetrate with my imagination, bringing meaning and sensuousness to bear so that the spark of the successful building may be kindled, a building that can serve as a home for man.

不是从事物中分离出来的理论的事实(reality),而是具体的建筑任务涉及到的栖居的行为或状态引起了我的兴趣,并期望将自己的想象力集中于此。这是建筑材料的事实,石头、布料、钢、皮革??——也是结构的事实。我习惯建造这样的房子:我希望它的性质深入于我的想象,带来意义和能感受的知觉,这样,成功的建筑的火花才会被点燃,一个房子可以成为一个人的家。

The reality of architecture is the concrete body in which forms, volumes, and spaces come into being. There are no ideas except in things.

建筑的事实(reality)是具体的body,形态、体积和空间产生于其中。想法只存在于事物之中。 ①孙周兴 译。

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