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試譯 | 早期作品——海杜克《美杜莎的面具》

2020-06-10 01:09 作者:IDsCeLeee 0人讀過 | 我要投稿

The basic generators of the early work were:

1.?The program:?Representing certain aspects of the time.

2.?The site:?The site as severe horizontal datum line (the extended horizontal line); the meeting of the earth and the sky; the idea of earth as flat plane. The site as earth slope and earth incline, as moulded earth and a carved out earth. The earth acting as biomorphic form, as curvature, and as three-dimensional warp.

3.?The Plan:?The Cathedral, Chapels 1 and 2 as well as the Ski Lodge were all oriented on downward sloping sites. The Foot Bridge project spans two earth inclines. The Chapel and the Cathedral’s horizontal floors terraced down a slope. The Ski Lodge was placed on a hill and its bridge created the drama of the site. Skiers move silently down between buildings, under a bridge and out through a compressed exit to continue their quiet journey.

The Cemetery for the War Dead was located in the bowl of an inactive volcano. The grave site were placed in concentric rings which moved down from the peripheral top edge of the crater to the lowest center. Here, a chapel and earth sculpture were located. The sculpture consisted of a rock hovering within, and surrounded by elongated earth mounds. The Cemetery site explored the idea of mould and curvature.Although the sites of the Zoological Park, County Fair, Church Complex 3 and Biological Research Center were relatively flat, there does occur a carving out (monkey house, lion pits, elephant house). When these structures were placed in flat site surfaces many took on biomorphic shapes and curvatures which acted as argument to the flat horizontal datum plane of the earth.

Most of the projects during the first frame were fundamentally single, self-contained structures placed individually on hills or on flat planes. Rarely did the buildings go beyond one story above the grade floor although within the grade level there might be slight changes of elevation-terracing, etc. There were projects such as the Ski Lodge that were two or three floors high. Few schemes dealt with the idea of repetitive frame or attempted to express the frame: they had a curvilinear volumetric preference (Chapel 2, Cemetery, County Fair, Biological Center, Church Complex 3, Zoological Park). This aspect even carried over into the first two projects at Harvard in the Oil Refinery and Shopping Center. There were plans for the juxtaposition of curves with angular shapes (most marked in the Biological center). The circle plan was in full use with pivotal elements moving to the periphery from the center. Land-scaping (trees) was treated with care, as well as the movement of the circulatory systems. In Church Complex 3 every element was designed from the site plan down to the detail of the steel candle sticks.

There was a conscious attempt to move into the anthropomorphic, particularly in the Snake House (circulation). There was also introduced a profusion of color not based on any intellectual order. The tools used in re-presenting the above projects were usually pencil, color pencil, ink and colored inks.

Looking back I recognize the very first emergence of the “Wall House” plan (not conscious) in the restaurant of the Zoological Park. Even through color was used extensively it seems that this period can be reproduced monochromatically.The Italian Sketches (1953-1954) were a search for the capturing of the spirit of place and were the first senses and probes into what later came to be the 13 Watch-towers of Cannaregio, Venice.

The final project before embarkation of the ten year Texas House study was the program for a large Cathedral. The Cathedral cascaded down from the top of a high hill. It had the early image of a musical instrument.

In many of the early projects one collaborated with a sculptor, painter and other architects. There was a “communitas”; it gave deep respect for the other arts.

Of all of the works in the 1947-1954 period Chapel 2 stands out as pivotal. The work consists of three prime drawings: plan, elevation and perspective. In a way, these three drawings serve as progenitors of the future work. They had within them the seeds of what was to come. The Chapel drawings gave the necessary information, no more, no less. They were done in ink and pencil and were monochromatic. There was the measurable right angle geometry of the wood railings and the sweep of the curvilinear space and form. It felt out relationships. There was the site, a hill overlooking a valley; a singular structure placed on the sloping earth. The Chapel’s walls were free standing, and open to the sky. The walls were made of stone, and denselarge rocks cradled the walls. After entering the chapel a curve brought one past a solid rock altar and then to an exit by a stone stair. The wood protective railings for the terraces were installed from a previous project (the Foot Bridge).

The process of using elements from past works, leaving behind that which was no longer necessary commenced, the idea of bringing?forward?past elements, taking an incremental approach, one that slowly built on previous foundations in order to continue to imagine other things, persons, places, and architectures.

以下為嘗試翻譯稿，請謹慎閱讀。如有誤導，概不負責。

早期作品的發(fā)生基礎是：
1.?項目：代表時代的某些方面。

2.?場地：作為絕對水平基準線（延伸水平線）的場地——天空與大地的交界，地球作為平面的概念。作為斜坡和傾斜地面，以及塑形和雕鑿形地面的場地。作為有機形態(tài)、曲面以及三維曲面形地面的場地。

3.?方案：大教堂、1和2號小教堂以及滑雪旅館都位于向下傾斜的場地。人行橋橫跨兩個斜坡。小教堂和大教堂的水平樓層順著斜坡階梯狀向下?；┞灭^建在一座小山上，它的橋造就了場地的戲劇性?；┱咴诮ㄖ镏g、橋下輕輕地滑下來，經(jīng)過一個扁平的出口滑出，繼續(xù)他們安靜的旅程。

陣亡將士公墓坐落于一座死火山的火山口上。墓地被放置在從火山口的頂部邊緣向下直到中心最低處的的同心圓環(huán)中。在這里，坐落著一個小教堂和一個泥土雕塑。這座雕塑由一塊懸停其中的巖石組成，周圍是細長的土丘。公墓場地探索了塑形和曲線形的概念。

盡管動物園、縣市集、教堂建筑群3、以及生物研究中心的場地相對平坦，但確出現(xiàn)了雕刻形體（猴舍、獅坑、象舍）。當這些結構體被放置在平坦的場地表面時，許多呈現(xiàn)出有機形態(tài)和曲線形，作為對地球水平基準面的佐證。

第一章節(jié)中的大多數(shù)項目基本上是單棟的、獨立的結構體，單獨坐落于山上或平地上。這些建筑很少超過地上一層的，盡管地面層可能會有高程、階地等輕微變化。也有一些建筑如滑雪旅館有兩到三層高。很少有方案涉及重復框架的概念或試圖表達框架：他們有曲線形體的偏好（小教堂2，公墓，縣市集，生物中心，教堂建筑群3，動物園）。這方面甚至延續(xù)到哈佛大學的前兩個項目——煉油廠和購物中心中。有將曲線形與成角幾何形并置的方案（最明顯的是在生物中心項目）。關鍵元素從中心向外圍移動，使圓形平面得到了充分的利用。對景觀（樹木）以及循環(huán)系統(tǒng)的運作也進行了精心的處理。在教堂建筑群3中，從場地總平到鋼燭臺細部，每一個元素都經(jīng)過了設計。

（當時）有一個有意的擬人化嘗試，尤其是在“蛇舍”（環(huán)狀）。此外，在不基于任何理性原則下，還引入了大量的色彩。用于重現(xiàn)上述項目所用的工具多為鉛筆、彩色鉛筆、墨水以及彩色墨水。

回過頭來看，我發(fā)現(xiàn)在動物園餐廳的設計中第一次出現(xiàn)了“墻宅”方案（無意識的）。即使顏色被廣泛使用，但這一時期（的作品）似乎仍可以用單色重現(xiàn)。

意大利的速寫（1953-1954）是對捕捉場所精神的一次探索，也是對后來的威尼斯卡納雷吉奧（Cannaregio）的13座瞭望塔的第一次感知和探索。

在開始為期十年的德克薩斯住宅研究之前的最后一個項目是一座大教堂項目。大教堂從一座高山頂上層疊而下。它具有一種早期樂器的形象。

在早期的許多項目中，（建筑師）與雕塑家、畫家以及其他建筑師合作。具有一種“團體精神”，它給予其他藝術以深深的尊重。
在1947-1954年間的所有作品中，小教堂2顯得尤為重要。這個作品由三張基本圖紙組成：平面圖、立面圖和透視圖。在某種程度上，這三張圖紙是未來作品的先導。它們蘊含了未來的種子。禮拜堂的圖紙?zhí)峁┝吮匾男畔?，一點不多，也一點不少。它們是用鋼筆和鉛筆繪制的，并且是單色的。有標準直角幾何形的木欄桿和掃瓊曲線形空間和形式。它體現(xiàn)某種關聯(lián)?；匚挥谝粋€可以俯瞰山谷的小山；一個孤零零的結構體坐落于斜坡之上。教堂的墻壁獨立支承，上部露天。墻是用石頭砌成的，密密麻麻的大石頭支撐著墻體。進入教堂后，一段?。▔Γ私?jīng)過一個堅固的巖石祭壇，然后到達一個石階邊的出口。階地的木防護欄桿出自之前的一個項目（步行橋）。