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試譯 | 爆炸中心與時(shí)間回溯——海杜克《美杜莎的面具》

2022-01-16 20:08 作者:IDsCeLeee 0人讀過(guò) | 我要投稿

以下為嘗試翻譯稿，請(qǐng)謹(jǐn)慎閱讀。如有誤導(dǎo)，概不負(fù)責(zé)。

我們談?wù)撝?間墻（垛）-墻住宅，所有的圖紙都是用鉛筆繪制的(平面、立面和軸測(cè))。在德克薩斯住宅系列研究和菱形項(xiàng)目系列之間有一個(gè)項(xiàng)目叫做達(dá)格·哈馬舍爾德紀(jì)念館。它位于聯(lián)合國(guó)廣場(chǎng)，離東河不遠(yuǎn)。它是一座由四面墻圍起來(lái)的紀(jì)念碑。沿著人行步道穿過(guò)一大片樹林你會(huì)到達(dá)場(chǎng)地微微隆起的立方體量。從平面進(jìn)來(lái)，上一小段臺(tái)階走到對(duì)角線（的入口），紀(jì)念碑就位于正中央。沿對(duì)角線出來(lái)，俯看河流。于是立方體開(kāi)始流轉(zhuǎn)。立方等軸測(cè)開(kāi)始變成菱形。光線“打入”立方體的方式很重要，陰影的方式對(duì)于哈馬舍爾德項(xiàng)目的對(duì)角線特征非常重要。（詳見(jiàn)：試譯 | 達(dá)格·哈馬舍爾德紀(jì)念堂——海杜克《美杜莎的面具》）

如果你在平面上畫正方形的等軸測(cè)圖，它就變成了菱形，而如果你在平面上畫一個(gè)菱形，然后做等軸測(cè)，它將變成正方形。如果你像第一個(gè)等軸測(cè)圖那樣逐層投影，你將得到一張看起來(lái)像三維的層疊的圖。等距軸測(cè)說(shuō)白了就是去除了一次透視，但它仍舊是一種三維視圖。而如果你再對(duì)（這個(gè)）菱形做等距軸測(cè)，它就會(huì)變成一系列相互重疊的平面視口，它會(huì)帶來(lái)了一種感覺(jué)，一種記憶狀態(tài)。你會(huì)喚起記憶，回溯，你在整理你自己。而這在三維等軸測(cè)條件下并不會(huì)發(fā)生。這就是基本的論點(diǎn)。在菱形中，我們常常討論邊緣的那一層“薄膜”。這個(gè)“膜”是一個(gè)邊界條件，一個(gè)線性要素，一個(gè)界限。它是非實(shí)體的，或者說(shuō)是記憶的實(shí)體。那里有一個(gè)宇宙，一個(gè)不斷膨脹的宇宙。它從一個(gè)中心發(fā)出；一個(gè)“爆炸”中心。由一個(gè)“電樞”將能量反射到角落，然后你在外面建立這個(gè)條件（邊界）。不同之處（特別之處）在于，在繪畫中，是”你“坐在那里看著那些墻，沉思。列奧納多·達(dá)·芬奇提出，繪畫一定是最好的藝術(shù)，因?yàn)樗且婚T沉思的藝術(shù)。你坐在那里觀看，并建立你的世界，一個(gè)非現(xiàn)實(shí)的世界，人坐著，靜止不動(dòng)，只是觀看，它是關(guān)于思想和眼睛的。你是靜止的，但畫在移動(dòng)，畫卷在展開(kāi)。這是一個(gè)關(guān)于繪畫和靜態(tài)的很好的想法。而在建筑中，“你”開(kāi)始移動(dòng)，如果你以特定的文藝復(fù)興式視角觀看，你可以看到實(shí)體，但你是在它的外面觀看。當(dāng)你靠近“薄膜”，你在某個(gè)點(diǎn)開(kāi)始進(jìn)入。這是一種奇妙的（關(guān)于）記憶、觀看、移動(dòng)、靜態(tài)和非靜態(tài)的方式。

回溯過(guò)去，過(guò)去（的方式）是透視的，是體積的。杰伊·費(fèi)羅斯（Jay Fellows）在《失敗的距離》一書中提到了這一點(diǎn)。那是一段美麗的歷程；當(dāng)你回到空間，會(huì)進(jìn)入更深的透視，變得不那么清晰且無(wú)法真正把握它，因?yàn)樗俏粗?，它（視角）不是固定的。所以?huì)變得更加深不見(jiàn)底。你越靠近當(dāng)前，就變得越清晰。在當(dāng)前的平面上是水平“電樞”，也就是斜邊；你可以推測(cè)未來(lái)。未來(lái)可能是翻轉(zhuǎn)的菱形，或圓錐形，或者它可以以一種延伸的方式不斷向外移動(dòng)。

以下為英文原稿：

We talked about the column-pier-wall house, all the drawings were done in pencil (plans-elevations and axonometrics ). There was a project between the series of the Texas House studies and the Diamond projects which was called the Dag Hammarskjold Memorial. It was located on the U. N. Plaza, off the East River. It was a monument and was contained within four walls. There were trees that you went under through footpaths and the site at the cube was slightly raised. In the plan you came in, went up a little stair into the diagonal and there in the center was the monument itself. You exited out upon the diagonal overlooking the river. There was just a cube which began to move. The cube isometric began to move into a diamond. It's important the way light penetrates the cube, the way the shadow is important to the diagonal features of the Hammarskj?ld project.

If you make an isometric of the square in plan it becomes a diamond and if you take a diamond in plan and made an isometric of it, it would become a square. If you project floor upon floor as in the first isometric drawing you get an overlapping like that which is actually a three dimensional view. Your isometric/axonometric basically, it's once removed from perspective but it's still a three dimensional view of things. If you take the diamond and you make an isometric of it, it becomes a series of flat screens overlapping each other which then brings on a sense,?a memory condition.?You're memorizing the calls, the recalls, you're working yourself up, it does not really happen that way in a three-dimensional isometric condition. Fundamentally that's the thesis. In the Diamonds one is always talking about the edge membranes. That membrane is an edge condition, a line condition, a threshold condition. It's non-physical; it's physical by memory. There's a universal; it's an expanding universe. It's emanating from a center; it's an explosive center. There is an armature which is reflecting energy out to the corners and then you build up that condition outside. The differential is that in painting, it's?you?sitting there looking upon the wall, contemplating. Leonardo Da Vinci comes to the conclusion that painting has to be the finest art, because it's a contemplative art. You're sitting there looking and you build your world, a certain non-physicality, the person is not moving, he's sitting, he's looking, it's the mind and it's the eye. You're static but the painting is moving, the painting is evolving. That's a very beautiful idea about painting and the static condition. The minute you start the physicality of moving, which is architecture, you can look at the object if you're looking in a fixed Renaissance point of view and you're looking outside of it. As you approach the membrane, there is a point where you physically come inside. It's a marvelous way of memory, of seeing, of moving, of static and non-static.

A recession of time, the recession of time into the past is in perspective and it's volumetric. Jay Fellows writes of this in the Failing Distance. It's a beautiful distance; as you go back into space it gets into deeper perspective, it gets less clear and you can never really complete it, because that's the unknown, it isn't fixed. So it gets darker. As you get closer to the present, it's clearer. On the plane of the present is that horizontal armature, which is the hypotenuse；you just speculate on futures. The futures can be an inversion of the diamond, the cone, or it can keep moving out in an extended way.