第2篇 what a building is

1、1、A building does not express its meaning in the same way as a picture or a sculpture, because it is by nature much more complex. It demands a prior effort of analysis. In the first place, we never see a building in its totality; we can never obtain more than partial views both of the exterior and i

2、nterior, with the result that we are always obliged to relate what we can see to what we cannot see to form a clear picture of the whole. It is impossible simply to indulge the pleasure of the eye: one has to think as well as look. To help us in this intellectual exercise we have an important tool t

3、o hand, the plan, which inform us simultaneously（同時） about exterior and interior, the whole and the part. Together with the cross section, which reveals（揭示） the structure, it gives in abstract form a composite image of the building which photographs-in whatever number-could never give. It is therefo

4、re necessary, before anything else, to learn to read a plan and to familiarize oneself in a general way with the various means of graphic expression used in architecture (cross section, elevation, axonometric plan). 一棟建筑并不會像一幅圖片或是一座雕像那樣表達(dá)它的內(nèi)含，因為它的自然屬性會更加復(fù)雜。在欣賞建筑之前，人們需要先進(jìn)行充足的分析工作。首先，我們從不會看到一個建筑以其整體的姿

5、態(tài)出現(xiàn)，而且我們也只能看到內(nèi)部景象與外部景觀的部分場景，因此我們經(jīng)常會將我們看到的與我們看不到的組成一個清晰的關(guān)于整體的樣貌。僅僅滿足視覺的歡愉是不可能的：人們必須邊看邊想。為了幫助我們更好地進(jìn)行這項消耗智力的練習(xí)，我們應(yīng)當(dāng)去掌握一個重要的工具，那就是平面圖。平面圖可以同時告知我們內(nèi)部與外部的信息，也可以告訴我們整體與局部的信息。它與顯示結(jié)構(gòu)關(guān)系的橫向剖面圖一起，共同給我們提供了一個抽象的關(guān)于整棟建筑的合成圖，這種圖像是內(nèi)部攝像所不能提供的。因此，了解與欣賞一個建筑之前，先學(xué)會看懂平面，同時讓你熟悉認(rèn)知建筑中多種圖像表達(dá)方式（剖面，立面，軸測圖等）是很有必要的。2、 The transform

6、ations（變換） to which buildings are subject constitute（構(gòu)成、設(shè)立） a second difficulty. Very often we can no longer see today what the builders would have wished: projects are abandoned or modified（修改） before completion, parts that were complete are demolished（摧毀）, others, added later, are of a different c

7、haracter. Time, it is true, alters（改變） all works of art, but its effect on architecture is more noticeable because the construction of a major building takes a long time, and because buildings -always intend for use-must be adapted to the changing needs of men. We should not , therefore, look at a b

8、uilding completed at one stretch（拉伸） and still more or less intact, such as Salisbury Cathedral（索爾茲伯里大教堂）, in the same way as we regard an incomplete chateau（不完全的城堡）, such as Brissac（布里薩克城堡）, or a building that has been continuously altered, such as Versailles（凡爾賽宮）. In the first unusual case, we ar

9、e immediately in a position to appreciate the work of the builders; in the second, we have to imagine what was intended; and in the third case, we have to discover the successive stages（連續(xù)階段） of building to interpret(解釋） correctly what we see, and not attribute to the intention of a single architect

10、 what was the product of several building campaigns.3、Finally, it should never be forgotten that even the most magnificent宏偉的 buildings were never intended simply as works of art, and that they are incomprehensible if one is unaware of their purpose, whether utilitarian功利的 or symbolic象征的. The partic

11、ular forms of religious buildings, houses and palaces, are always a reflection of the demands of religious cult宗教祭禮, of everyday life, or of the exercise of power in any given society確定的社會. Less independent than other artists, the architect exercises his powers of invention within a framework框架 stri

12、ctly defined by the society to which he belongs and the individuals個體 to whom he owes each commission傭金. Such constraints限制, compelling to a degree dependent on the particular age and social level (the Greek temple, the urban dwelling, are highly standardized types),impose limits on invention, but a

13、lso confer on architecture an important social significance: buildings are a unique embodiment體現(xiàn) , the most durable耐用的, the most manifest明顯的- of the needs and dream of men.最后，絕不能忘記的是：即使是最宏偉華麗的建筑也不能被簡單的認(rèn)為只是藝術(shù)的產(chǎn)物，而且如果人們沒有認(rèn)識到建筑建成的原因，無論是功利性的（世俗的）還是象征性的，就很難理解建筑。那些宗教建筑、房屋和宮殿建筑的特有形式，往往是對于日常宗教祭禮要求或特定社會下權(quán)利行使

14、需求的回應(yīng)。建筑師的獨立性明顯弱于其他藝術(shù)家，他們的創(chuàng)造力被緊緊地限制在他們所屬的社會和被拖欠的傭金這一框架中。這些在一定程度上受制于特定的時代和社會水平的限制（希臘神廟、城市住宅是高標(biāo)準(zhǔn)的類型）雖強(qiáng)加于創(chuàng)造力上，但同時也賦予了建筑一個重要的社會意義：建筑是滿足人類需求和夢想的最顯然、最堅固的獨特方式。4、We take an interest in a building to the degree to which we see in it effects of volume, space, rhythm and colour that please us. In certain cases

15、-an urban dwelling or rural architecture, for example-these effects are very simple and result above all from harmony between a building and its environment. In other cases-the most interesting -these effects are extremely complex and can be attributed to one or more creative individuals who have de

16、liberately contrived them. Between these two extremes-architecture without architects and the architecture of great masters-there are numerous degree, but it would be pointless to distinguish them. It is more worthwhile to identify the various means of expression available to architecture: one in th

17、is way can we enrich our perception of the buildings we encounter. 我們對一個建筑感興趣，在一定程度上是那些我們看到的讓我們愉悅的建筑體積、空間、節(jié)奏和色彩的影響。在某些情況下例如：一個城市的住所或者一個農(nóng)村房屋這些影響是非常簡單，因為建筑及其環(huán)境之間很和諧。在另一些情況下最有趣的情況這些影響是極其復(fù)雜的,可以歸因于一個或更多的創(chuàng)造性的人故意做作。在沒有建筑師的建筑和那些有很高的學(xué)位的建筑大師設(shè)計的建筑這兩種極端里，區(qū)分它們是沒有意義的。確定出很多有效的建筑表達(dá)方式才是更有價值的，一種這種方式我們才能豐富我們對我們邂逅的建筑的感

18、知。· Contrived adj. 人為的；做作的；不自然的· Extremes n. 狂熱分子，極端條件· perception  p'sep()n n. 知覺；生理 感覺；看法；洞察力；獲取· Encounter vt. 遭遇，邂逅；遇到· Deliberately adv. 故意地；謹(jǐn)慎地；慎重地建筑（作為學(xué)科）的變換構(gòu)成了第二個難點。經(jīng)常地在今天我們再也不能看到建筑師曾經(jīng)期待的：項目在完成之前就被拋棄或修改，已經(jīng)完成的部分被摧毀，其他的后加入的還有不同的符號表示。誠然，時間改變了所有藝術(shù)作品，但是它對于建筑的影響更是

19、顯而易見，因為主要建筑的修建要花費(fèi)更多時間，而且因為建筑總是為必要的使用而改變以適應(yīng)變化的人類需要。因此，我們不應(yīng)該看一座建筑在一個程度完成而或多或少的完整固定，像索爾茲伯里大教堂，用相同的方式看待我們認(rèn)為不完整的城堡，像布里薩克城堡，或一個建筑一直持續(xù)在改建，像凡爾賽宮。第一個不尋常的情況，我們會馬上站在贊美建筑師的位置上；第二個，我們不得不猜想什么是預(yù)期的。第三個情況，我們必須發(fā)現(xiàn)建筑建造的連續(xù)階段去正確解釋我們看到的，而不是憑空認(rèn)為一個產(chǎn)生于建筑競賽的單獨建筑的意圖。5、 This perception should not be equated with aesthetic appre

20、ciation, but it is necessary precondition. Without it, spontaneous judgments which appear to be expressions of personal opinion do no more than（僅僅） repeat preconceived adj. 預(yù)想的；（思想或觀點）事先形成的ideas-on the bareness of the Romanesque, the excesses of the Baroque, the frigidity of classical churches. Thus

21、 we could not recommend to the reader too strongly to forget such prejudices and to look with a fresh eye and open mind in order to appreciate the objectivesn. 目的（objective的復(fù)數(shù)形式）；目標(biāo)；宗旨 peculiar adj. 特殊的；獨特的；奇怪的；罕見n. 特權(quán)；特有財產(chǎn)to each style.這種看法不應(yīng)等同于審美,但這是必要的前提.似乎沒有它,自發(fā)的判斷,表達(dá)個人觀點只是重復(fù)成見，關(guān)于羅馬式的赤裸簡單，巴洛克的過度繁瑣，古典教堂的莊嚴(yán)，因此我們也不推薦讀者強(qiáng)烈忘記這樣的偏見，要用新鮮的眼光和開放的心態(tài),以欣賞目標(biāo)看待每個特有的風(fēng)格。·· 6、All these observations lead to the same conclusion: a work of architecture is too complex to be understood at first glance; one has simultaneously（同時地） to be aware o