建筑学外文翻译

从帕提农神庙到蓬皮杜文化中心对西方建筑文化意义与价值的思考一 绪言 有意义的房屋1. IntroductionBuildings have meaning人们建造房屋是为了解决实际问题，但是，通常房屋不止解决了这些 实际问题，而当房屋确实不止解决了这些实际问题时，我们就会称其为建筑雹因为这些房屋有了文化的维度。Buildings are constructed so as to solve practical problems, but they often do more than that, and when they do then we feel inclined to call them architecture, because they have a cultural dimension.无论我们是否能意识到，我们都受到生长于其中的文化的影响，也受 到我们参与其中的文化的影响。在建筑学中，如同在其他文化中一样我 们对事物应该如何的认识是从我们的经验中发展而来的。我们的每一个 姿势都有意义，至于说这些姿势意味着什么则取决于理解这一姿势的文 化。建筑就是房屋做出的姿态！We are shaped by the culture that we grow up in, and by the culture in which we anticipate, whether we think about it or not. In architecture, as in any other culture, our sense of how things should be develop from our experience. Each gesture that we make means something, but the meaning depends on the culture in which the gesture is understood. Architecture is gesture made with buildings.建筑变得复杂的一个原因是建筑对我们来说在各种不同的方面都具 有重要意义。例如，人们所住的住宅，也就是称之为家的那所房子，对 于房主来说就负载了某种特殊的意义，而这种意义对于那些不住在这所 房屋里的人来说就不存在。One of things that complicates architecture is that it can be significant to us in a variety of different ways. For example, the building I live in, which I think of as my home, carries a special feeling from me that it does not carry for people who dont live in it.在设计房屋的时候，建筑师不仅要注意房屋的实用性，而且还要关注 房屋的文化价值，尽力设计出一个在某种意义上合适的造型。什么样的 建筑才是合适的建筑，取决于周围的建筑，使用的建构方法以及建筑的 用途。一栋与郊区环境相得益彰的房子如果搬到市中心，就可能显得怪 异。一座同样造型的建筑，若是用木料来建造，有可能给人简洁洗练的 感觉，但若是用混凝土浇筑而成就会显得不伦不类。一座功能完善的游 泳馆建筑不一定会成为一座不错的图书馆，即使它可以当作图书馆来使 用，因为游泳馆的外观会令人产生误解。When architects do is to design buildings with an eye not only to their practical utility, but also with an eye to their cultural value, trying to give them a shape that is in some way appropriate. What is that makes a building appropriate will be different in different circumstances, depending on what the surrounding buildings are like, what method of construction can be used, and what role a building plays. What seems right in the suburbs might be strange in a city centre. The same shape of building might be simple and direct if it is built in timber, but downright odd if cast in concrete. A building that makes a good swimming pool does not necessarily make a good library -even if it can be made to work , the building appearance could feel misleading.同样建筑内部的装饰也会对人们的感觉产生影响，使人知道自己在建 筑中怎样行事才是适当得体的，并且还能暗示居住者的身份与报负。And also, the architectural setting has s part to play in putting in place a sense of how it would be appropriate to behave, and in indicating the status and aspirations of its inhabitant.建筑的意义并不是一成不变的。例如，农夫建造的自用房屋并没有被 看作是一种艺术的表现，只是被当成是可以遮风避雨的遮蔽物而已。然 而在浪漫主义诗人眼里，这些乡村贫民那简简单单的农舍表现出了一种 品质，那是在恶劣环境中顽强生存的优秀品质，这就意味着这些农舍被 看成是具有了姿态。到了18 世纪末，追求小尺度的乡村居所成为一种 时尚。如今，我们会将这些房屋看作是乡土建筑 ，是迷人风景的一个 有机的组成部分，而受到法律保护。虽然这些房屋的实际构造没有太大 变化，是文化发生了变化。The meaning in buildings is not fixed in them. For example, the cottages that were built by agricultural workers for their own use were not considered as a form of artistic expression, but as serviceable shelters. However the romantic poets saw the simple cottages of the rural poor as an expression of tenacious virtue in bleak circumstances, which meant that they were as gestural, and then by the end of the 18th century there was a fashion for small-scale rural retreats. Today we see them they are vernacular architecture and a charming part of the scenery, protected by legislation. Even when the actual fabric of the building has not changed much, there has been a change in culture.而建筑与好房子并不是一回事。建筑指的是所有房屋的文化属性，不 论好坏。将材料堆砌在一起属于房屋的范畴，而这些房屋所表现出的姿 态铺张浪费、异国情调和勃勃生机却属于建筑的范畴。如果简 洁和粗狂就是房屋的特质，那么也是建筑范畴的。An architecture is not the same thing as good buildings, but is the cultural aspect of any building at all, good or bad. The putting together of materials belongs to the realm of building, but the buildings gesturesthe extravagance, exoticism, and exuberancebelong to the realm of architecture, as would simplicity and ruggedness, if those were the buildings particular qualities.设计者赋予一座建筑的象征意义与看到这座建筑的现代人所理解的 象征意义并不总是一致。其所在的文化离你越远，这种不一致的情况越 容易出现。例如，金字塔被看成是远古之谜的象征符号，这并不是因为 金字塔设计者的设计意图就是如此，而是因为金字塔距离现代的理性主 义是如此的遥远！我们对之知之甚少罢了。法老的建筑绝不是粗疏与偶 然之作。但是我们同样可以确定的一点是，这些建筑绝不是粗疏与偶然 之作。但是，我们同样可以确认的一点是，这些建筑的原始意义已经不 为我们今天的人所了解，试图重现这些意义只能算是一种臆测，永远也 不可能像原来的建筑师那样有直觉感染力。法老的建筑中蕴含的意义已 经发生了变化，这些意义不仅仅取决于那些石头，同时也取决于对法老 的建筑加以解读的文化。二 西方建筑文化意义的兴变2 . Growth and change of western architectural cultural meaning在世界各地，从古至今的建筑可谓玲琅满目。建筑可以是漂亮而振奋 人心的，然而，一旦它们被建造就包含了经济和政治层面，当然，也包 括美学层面。此外还有其他层面，例如建造技术层面。比如说这座房屋 能否立起来？它能否做到遮风避雨？房屋的室内能否温暖如春？抑或 它会燥热难忍？人们能否在其中过其希望的生活？或者，想成为在这建 筑中生活的那种人？There is a great deal of architecture around ,from the recent and distant past around world. Builds can be beautiful and inspiring, but if they are built then they always have an economic and political aspect, as well as an aesthetic aspect. There are another aspects too, such as the technical side of things. Will it stand up? Will it keep the rain out? Can it be kept warm? Will it overheat? Can I use it as a place where I can live the life I want? Do I want to be the sort of person who lives in a place like this?建筑与无数的文化与技术因素相关，而且关系复杂，因而它们在不同 的领域具有不同层面的意义。Buildings are involved in a complex way with an indefinite number of cultural and technical matters, and therefore they can have different levels of significance in different spheres.在各种文明的产物中建筑应该是最为昂贵之物了。Buildings can be the most expensive things that civilizations produce.建筑之所以重要，一个原因是它能透露给我们一些线索，从而使我 们了解历史上的统治者真正看重的事物。另一个原因是建筑还能告诉我 们，它如何使我们这些活着的人以特定的生活方式成为可能，并且让我 们能够向彼此和自己证明什么才是我们关注的事，无论是作为个人，还 是作为社会这个整体。One of the things that mattered about architecture is how it gives us clues to what really mattered to rulers of the past. Another thing is how it makes it possible for us , the living, to live in certain ways, and to demonstrate to each other and ourselves what it is that we really care about, as individuals and as a society.反过来说，我们要么刻意选择一种能够反映我们是什么样的人的环境 生活，要么发现自己生活在这样一种环境中他透露出的我们的性格 特征远比自己意识到的要多。Conversely we either deliberately choose to live in surroundings that reflect our ideas about who we are, or else find ourselves living in conditions that somehow reveal more about us than we realize.究竟是考虑人们当前的需求，还是超越人们眼前的需求以建造出名垂 青史的建筑，这两者之间如何平衡，不同的文明有着不同的答案。 Different civilizations strike different balances between what seems to be owed to the living, and going beyond immediate needs in order to make things that build a reputation in posterity.建筑之所以能够特别引起考古学家的兴趣，原因之一是他们负载了如 此多的生活层面的信息。建筑与生活方式密切相关，通过对建筑的解读， 我们可以对住户的生活做出推断。如果我们能够搞清楚哪些人被带到一 处，哪些人被分隔开，那么建筑的布置方式就会告诉我们人们在建筑中 是如何互动的。建筑物的建造材料以及处理这些材料的方法也可以告诉 我们很多信息。如果建造房屋的石头来自很远的地方，那么我们就知道 要么当时存在一种有效的交通运输体系，要么就是这些石头十分特殊， 值得人们去大费周章。如果一座建筑用了钢铁构架，那么我们就知道它 是现在建筑，因为古人根本不懂钢铁构架。One of things that makes buildings particularly interesting to archaeologists is that they are caught up in so many aspects of life. The way they are organized tells us something about the way people interact in them, if we can work out which groups of people are brought together, and which kept apart. The materials from which buildings are made, and the way the materials are handled, can also tell us a great deal. If the stone came from a long way away, then we know that either there was an efficient transport system or that the stones were very special and worth a great deal of effort. If a building has a steel frame, then we know that it belongs to the modern age because the ancient world didnt know about them.我们从古代希腊与罗马的文明开始他们以其文学、哲学、与宏伟的建 筑遗迹而闻名于世。We start with the ancient civilizations of Greece and Rome., which were admired for their literature, philosophy, and grandiose ruins.例如，若从非常笼统的角度来理解古代世界，那么将希腊与罗马建筑统称为古典建筑”是十分恰当的。古希腊建筑本事就有一个古典时期, 即公元前5 世纪，这一时期之前为初创时期，之后则为希腊化时期。那 些长期以来始终如一地与西方传统中的美德和高贵思想密切相关的古 希腊建筑，以雅典卫城的帕提农神庙为代表，其造型非常优雅而精准， 是古希腊建筑的最高成就。罗马也有自己的初创时期，接着是共和时期， 然后是帝国时期。这样一种划分既考虑了艺术上的变化，又考虑了政治 上的变化。For example, when the ancient world is understood in a very general way it can be quite adequate to call the architecture of Greece and Rome generically classical. The architecture of ancient Greece itself has a classical era, the 5th century BC, preceded by an archaic era, and followed by the Hellenistic era. Rome has its own archaic era, a republican, and then an imperial period. These divisions are taken from a mixture of artistic and political changes.在中世纪，许多不同的建筑风格得到了发展。那些试图模仿罗马穹顶与拱券的教堂被称为罗马风”建筑。In the medieval period many different styles of architecture developed.Churches that tried to imitate roman vaults and arches are now called Romanesque.后来使用了尖拱券和更富于装饰性的花饰窗格的教堂被称为 哥特式 建筑。Later churches that used pointed arches and more decorative window tracery are called Gothic.哥特式建筑又进一步细分成不同的地方风格。Gothic is subdivided into different local styles.这些地方风格的名称大多源自描述建筑效果的概念。罗马风也将我们 引回建筑形式，而这些建筑形式又让人想起了古罗马的建筑。The names of local styles are mostly derived from ideas that describe the effect of architecture. Romanesque also refers us back to the form of the building, which is reminiscent of those of Rome.罗马风 建筑可以被称为 诺曼式 建筑，这以兴建它们的诺曼底的那 些领主来命名的。因而是对同一种建筑风格所起的 政治性 称谓。同样， 哥特式 这个名称也是政治性的，因为这一名称与一个族群，也就是摧 毁罗马的 哥特人 有关。Romanesque architecture can be called Norman , after the dukes ofNormandy who commissioned it, so this is a political name for the same style. Similarly the name gothic is political, in that it refers to a body of people, the Goths, who laid waste to Rome.18世纪中叶，巴洛克建筑在华丽与奢侈方面达到了登峰造极的地步， 这时出现了回归简洁的呼声，并要求表现出建筑的基本建构原理。随着 时间的推移，考古发掘让我们更多地了解了古希腊的纪念性建筑，以转 向纯净、简洁、优雅的名义要求回归古希腊的审美趣味成为可能。In the mid-18th century, when baroque architecture was at its most sumptuous and exuberant, there was a call for a return to simplicity and the expression of fundamental constructional principles.当建筑被剥去繁复的细部装饰外衣，古典风格又再一次清楚地显现了出来。人们对这种过分装饰的做法做出了反应。这场被称为新古典主义 的运动还受到在希腊的考古发掘中所获得的新知识的滋养。There was a reaction to these excesses, when the elaboration was, so to speak, stripped away and the classical order made clear again. This movement, known as Neoclassicism, was also nourished with new knowledge from archaeological investigations in Greece.接着到了18 世纪末，一些与之前的古典主义成竞争之势的古典风格 流行开来，这些风格以对希腊和罗马建筑的不同理解为基础，从主张造 型严谨的多立克神庙那种纯正的简单性，到那些高度装饰化的作品，不 一而足。同时，还有一种日益增强的复兴中世纪建筑的复古情绪，后来 演化成了19 世纪中叶的哥特式复兴这一态度严肃的建筑风格。By the end of the 18th century, then, there were rival versions of classicism in circulation, base on various understandings of Greek and roman architecture, ranging from the fundamentalist simplicity of austere Doric temples, to the highly ornamental work. There was also a growing antiquarian interest in medieval architecture that developed into the very serious-minded architecture of the Gothic Revival of the mid-19th century.如果说文艺复兴标志着社会权利从封建阶层转移到商人阶层，那么折中主义的出现则标志着工业巨富的到来。If the renaissance marked the passing of power from the feudal to the mercantile classes, the coming of eclecticism marked the arrival of the great industrial fortunes.尽管在瑞士的建筑师勒柯布西耶的倡导下，始自1928年，CIAM（国 际现代建筑协会）试图在20世纪中叶为现代建筑推行一种国际化的统一风格，但已不再有什么众口一词的统一标准。因为从那时起，当代建筑在形式上的变化已经是五彩斑斓的了。There has been no consensus since, despite a concreted attempt to promote an internationally unified style for modern architecture through the CIAM guided by the Swiss architect Le Corbusier in the mid-20th century starting in 1928.用来指称过去几十年建筑的术语的意义一直在不断变化，因为出现的新建筑似乎需要打上新的标签。后现代这一术语被用来描述勒柯布西耶后期的一些建筑作品，如朗香教堂。The terminology used to label the architecture of the last few decades has tended to shift its meaning as new buildings have appeared that seem to need new labels. The term postmodern was used to describe some of Le Corbusiers later buildings such as the pilgrimage chapel which has pronounced sculptural qualities and had clearly moved on from the machine aesthetic that he had previously been promoting.这是一座具有显著的雕塑性质的建筑，也是一座明显摆脱了他早年所 提倡的 机器美学 思想的建筑。然而，这一术语起初在建筑学界并未广 受欢迎，知道后来查尔斯詹克斯出版了他的后现代建筑语言一书 之后，情况才发生了变化。詹克斯将后现代主义与对建筑的意义的关注 联系在了一起。自那时以来，建筑领域又出现了其他一些口号与宣言， 但是他们直到如今还未具有能给广大公众留下永久印象的名称。The term however did not catch on with a wide architectural public until later, when Charles Jencks published the language of postmodern architecture. He associated postmodernism with a concern for the meaning of buildings. Since then, there have been other rallying cries and manifestos in the architecture-world, but they have no, as yet, been given names that have made a lasting impression on a wide public.三 建筑文化价值的启思建筑自身能够负载关于过去建筑的文化记忆，当需要赋予一座建筑某 种得体感或权威性的时候，西方文化中最常用的一种方法就是建造让人 怀旧的古代建筑。每一次建筑的古典语言出现复兴的时候，古典建筑不 同的层面就会凸显，并成为关键性的属性。古希腊的古典主义常常被视 为民主的象征，但当这种古典主义形式为罗马人所用时，它体现的是一 种不同的秩序。建筑的造型虽然没有太大的变化，但建筑的意义却随着 时代的变迁而发生了巨大变化。正是文化的影响力在这里起了作用。一件艺术作品即便是优秀的也不一定具有历史价值。人们更倾向于认 为某些建筑 伟大 是因为它们改变了建筑史发展的进程，掀开了建筑历 史新的篇章，正因为如此，我们在回顾历史时，这些建筑看起来总是 走 在时代的前面 。对于建筑师个人而言，获得声誉的一个方法是设计出 某种意义上的原创作品，这样人们一看便知这是谁的作品。然而，这并 不是说建筑越独特越好，越是值得引起人们的注意。帕提农神庙是具有 最高质量的建筑，但是她看起来却与当时所有的希腊神庙非常相似。这 样说并不是说她缺乏创新，她并非早前那些神庙建筑的简单重复。毫无 疑问，帕提农神庙根植于希腊神庙建筑传统中，但她比之前建造的任何 神庙都要宏伟与辉煌。这座建筑不同寻常之处还在于她的正立面上设置 了 8 跟古典柱子，并做了几乎看不出来的视觉调整处理，这标志着这一 类建筑对精准、细腻程度的关注。2500 多年历史的西方传统正是认为柱 子在建筑物中具有特殊价值，而将它们看作是建筑的美学效果的基础。 重要的建筑都有大尺度的柱子，地位崇高的建筑之柱子选料上乘、精雕 细刻。帕提农神庙正是如此。如今西方的这一传统受到了挑战，因为有的人试图表现建筑的其他重 要方面，诸如供热与通风设备。例如巴黎的蓬皮杜艺术文化中心就将各 种服务性管道和循环系统楼梯、自动扶梯和电梯都布置在了十 分显眼的地方，这些设备在建筑结构中穿梭，使得这座建筑别具一格。 他的结构处理非常巧妙，因此那些巨大的柱子大部分都隐藏在了建筑内 部，于是从主要立面上看到的结构几乎都是一个看上去像脚手架的优质 钢制网格架。当人群蜂拥而至的时候，蓬皮杜艺术文化中心看起来不过 就像是一个专门为其内部、周围举办活动而搭建的支架，而这正是这座 建筑要表现得意义。他被当成一台设备，而并不是一座纪念建筑来设计。 他为人们举行活动提供场所，而不是决心拥有一个漂亮的、满足所有功 能的造型。蓬皮杜艺术文化中心的含蓄令人惊异，但是他的实现方式与 其他建筑如帕提农神庙是如此不同，以至于人们会怀疑 建筑 这个范畴 都用于这两座建筑是否合适。尽管如此，事实上这两座建筑都隶属于相同的传统，并具有某些共同 之处。当然，他们在姿态或氛围上又有许多不同，这些不同是如此明显， 无需逐一指出。然而这两座建筑本身就是一件艺术展品。每一座建筑都 主导了一个充满喜庆气氛的室外空间，就帕提农神庙来说其外部空间被 更为正式地成为神圣场所，而蓬皮杜艺术文化中心的外部空间则是一个 划分明确的公共广场。在帕提农神庙的柱楣上雕刻有一队行进中的人物 而蓬皮杜艺术文化中心则避免使用任何雕刻性的装饰，那些装配方式手 法十分显眼的构件本身就成为了建筑的装饰。从帕提农神庙到蓬皮杜艺术文化中心，他们之所以在不同的时代都受 到人们的珍视是因为它似乎表现着不同的东西或是表现一种文明的辉 煌，或是象征民主的起源，亦或是表达一种时髦的生活方式。当人们遇 到建筑时，人们的感受经过了文化的过滤。在这种文化中，人们过着自 己想要的生活。当一座房屋与这种文化相遇，并以产生某种价值的方式相结合，建筑也就产生了。一座建筑可能让我们感到震撼、平静、挑战，但若人们对这种种反应毫不在意，那么建筑将会离我们远去，人们所构建的世界就会变成一片乏味的荒漠。