建筑姿態(tài)的創(chuàng)造英文

ThecreationofarchitecturalgestureExtravaganceisnottheonlywaytofindgesturalqualitiesinthings,andenhancetheirstatus.Anasceticphilosopherwouldaimforatablethatwaspointedlylessextravagantthanthenorm,anditspurposewouldbetoshowhigh-mindednessratherthanlowstatusassuch.Ademocraticpresidentwouldneedtoshowondifferentoccasionsbothimperialgrandeur(whenentertainingvisitingheadsofstate)andabsoluteordinariness(showingarapportwithvoters).Wemightfeelashamedifourheadofstatelivedinanapartmentwithinexpensivecataloguefurniture,butinanothermoodmightresenttheextravagantcostsinvolvedinfurnishinghigh-statusaccommodationfromthepublicpurse.Thearchitecturalsettinghasaparttoplayinputtinginplaceasenseofhowitwouldbeappropriatetobehave,andinindicatingthestatusandaspirationsofitsinhabitant.Itcanbesimplyapersonalmatter,ifwedon'tcarewhatanyonethinks,anddecoratetosuitourselves,orcanbeverypublictheatre,broadcastaroundthewholeworld.渡1雕.植陶T饞r學(xué)a語(yǔ)d雷i鉆t爭(zhēng)i熊o齒n芒a吧l雞朵c嗚o精t停t版a女g矛e杰,谷優(yōu)u出n意c口e襲r融t齒a藏i水n波咳d無(wú)a辭t枕e粘,疤蕩b晃u晴t攪假p罷r泡c址-錫2芒0東t敢h鐘策c送e坦n士t袍u廣r素y端;嚷臨n卷o鞋扇a影r洋c耍h宇i靈t招e萄c進(jìn)t池.客春T或h辣i朵s繡糞h丈o眾v僑e尾l浙覆i撞s鞋壞a闖袖r駛e象p唐r吐e克s皮e浸n散t嘆a介t簽i識(shí)v帶e認(rèn)夾e銷x顯a妥m扯p緩l繼e魔案o病f稱逢t玉h頂e減躬t獅y平p較e葛s惜妻o鐮f也睜d娃w棵e緣l難l秋i部n椒g山嶺t融h盒a起t欄汽w葛e拴r充e滅皺b份u竭i課l挎t爹綢b恰y煉目t柳h詳e出爛r反u象r俘a愛(ài)l執(zhí)次p望o免o聯(lián)r頑餡u繩n咐t肢i勿l喚娘t兩h爺e柳閥1勸9終t為h波醒c搞e村n蔽t結(jié)u都r用y庸.只踩L脈i遙v茫i捧n齒g測(cè)偉c扭o垂n假d肆i晃t俱i搜o括n疲s瓦將c隔o稱u虧l辰d魚甲b幅e洪狂b姐a露d辣,茫秩b稻u上t循分t武h鄰e掠妙w列o玉r誼s挑t選聯(lián)c朋o律t賣t結(jié)a胖g說(shuō)e軟s反篇w苦e熄r趨e鞋見(jiàn)m愧a災(zāi)d沃e手行o碼f迫口e系a惠r防t宮h刊異a悄n僻d盞坡h嫂a慣v匪e尼偏l沃o顛n俱g蹤構(gòu)s么i匆n湖c饒e程惜d泉i量s不a勵(lì)p煮p畫e總a暴r透e示d疏.嘩全S忍t斧o贈(zèng)n限e揭辛d績(jī)w惠e畫l丘l玩i系n漫g推s群,箱腹s編u從c元h桿俊a片s演蹲t匆h權(quán)e貿(mào)尚o帶n鵝e晃吵s怠h涼o助w蹄n穗掉h絨e滑r辨e丈,游摩w村o零u臨l仆d紗巧h盟a挖v獵e悉撤b般e蕉e學(xué)n茫富b較u搭i奇l鍛t這胞w鍋i朱t趟h龜踩s盒t香o窯n影e繭袖t躲h瀉a既t額訓(xùn)w動(dòng)a量s庸錫e彈i敗t最h字e圍r撕沾q勾u速a精r枯r侵i搬e剖d視項(xiàng)l嗎o始c獻(xiàn)a缺l擇l鈔y仗淋o箏r盡呼t幕h觸a羊t虛蜓h姑a奪d回卻b套e印e襲n儲(chǔ)茄c舒l堅(jiān)e從a迅r嘩e央d揭注f楚r宏o舒m致仰t也h嫁e唇朋f汪i撕e琴l粗d暖s善.燃濤T繳h漏i澤s痛改e挎x吹a柏m援p歐l享e堵再w市o至u掃l鴨d搭廣h堆a(bǔ)繭v潑e軋絞b火e新e洋n橫凍t它o會(huì)o高彩s拉m檔a把l新l個(gè)脆t陳o很公a都d他a省p畜t棄舒t糧o片疏m仆o面d啄e鏡r頑n血努n慌e鮮e渠d謎s劍,妻掛b酬u抱t治蠟m見(jiàn)a似n拼y銹貴s兔i姑m雕i連l霧a騰r魯這s野l(fā)森i茫g圓h信t風(fēng)l旋y劍傭l辦a柄r幫g葵e糧r昨院b范u或i濟(jì)l寫d閃i蚊n脾g即s益膛a隨r梨e石降s釣t啟i釣l叛l浙燃o(jì)濫c揪c紀(jì)u蓄p瘋i木e疾d贏,液胡c擋o吸n貞n勾e袍c豆t汗e軍d銷明t琴o腎的e啦l撇e每c灑t濫r氏i歡c腰i塊t爪y值圓a蠢n撿d偏詞w縫i墨t速h涉專m劇o誰(shuí)d薪e峰r幸n寶貸p秀l慚u梅m黨b劍i喜n葵g真,牌腐w監(jiān)h恐i盲c虹h邊傅m加a燙k鐮e浙s掉揮t怒h(huán)文e羅m墓同v鐘e秒r平y(tǒng)耐修d途i暈f物f杰e蒙r猛e位n覆t花爐f漁r砌o丸m槽狡t傘h優(yōu)e任今p節(jié)l魯a仇c處e艙s失架t取h堤e繩y乞霞o(jì)絕n劑c氧e總墻w煩e條r邀e伐.臉堡I菠n棒右B旁r鉛i菊t頌a靜i竿n思,脊楚m訓(xùn)o竹s獄t也秤c愧o遙t燥t毯a需g污e傍s讓倍a旅r劃e目浮n離o堆w豪豪i陣n犧h剖a盛b享i拋t嬸e捏d貌旬b金y律桿p危e風(fēng)o象p貌l倚e褲寬w悼h腰o備s笨e碼下i誓n股c罵o弦m酒e刃制d述o披e駱s淘宣n枯o毫t濤絨c稍o耽m活e巷艦f賀r首o(hù)繪m且究f虛a靈r腸m美i危n股g旱緣t醋h泳e西著p慣l蔑o暴t搬猜o壺f懷千l璃a語(yǔ)n墨d豐學(xué)o泰n汁橋w鼓h酬i踐c租h偽炎t瘦h者e那認(rèn)h劃o岡u墾s圖e畝氧s莫i卻t光s癥,岡思b肅u攔t旨吳b梳y席俯p耐e晉o紡p屆l裂e攻蘇w鄉(xiāng)h嶄o膝糧e院i糠t林h回e慎r厘嗚h賊a產(chǎn)v蓮e賤壤j路o迷b側(cè)s術(shù)印i焦n勢(shì)機(jī)t層o鈔w紙n煉s麥,僅修o遺r薪柳w守h巧o抖王h自a瀉v屋e亮當(dāng)r順e供t爆i鞏r豪e攀d確味f裳r配o興m基遠(yuǎn)t葬h湯e榴i敏r刻愁t誰(shuí)o公w稻n射暈w陳o獄r雖k棉.村揮M僻o但s棍t太市c表o貢t級(jí)t嶄a怕g照e們s柳隸t捐h維e雪r祖e口f針o秤r侄e智改f肌u黨n職c壞t披i旁o泊n朗擠a彼s丸騎p草a璃r抵t尋傘o其f摟械a慰均c綁i紙t筑y貍,遷傻e某v球e就n鏡王t豆h漆o弦u獅g腫h洗峽t訓(xùn)h屢e綱y也痕c脹a京n搞紹s藥t遮i項(xiàng)l到l糞津l議o元o奸k緊獻(xiàn)i樸d將y脈l敢l劑i淘c嗎a屢l搭l彈y燭汁r堤u鞏r養(yǎng)a膽l披.Themeaninginbuildingsisnotfixedinthem.Forexample,thecottagesthatwerebuiltbyagriculturalworkersfortheirownusewerenotconsideredasaformofartisticexpression,butasserviceableshelters(Figure1).Howevertheromanticpoetssawthesimplecottagesoftheruralpoorasanexpressionoftenaciousvirtueinbleakcircumstances,whichmeantthattheywereseenasgestural,andthenbytheendofthe18thcenturytherewasafashionforsmall-scaleruralretreats(cottagesornees),whichcertainlyshouldbeseenasartisticallyexpressive,andweredesignedthatway.Therehasbeenalongtraditionoflookingatagriculturalworkersasvirtuousandromanticthatstartedsomewhereintheancientworld.ItwasalreadyatraditionwhenVirgilwrotehisEcloguesinthefirstcenturyBC.Alreadythentherewasasentimentalinterpretationofagriculturethatcoulddevelopbecausetherewasaclassinthatsocietythatdidnothaveaneverydayinvolvementinagriculture,butwhocouldseeitfromadistanceandthinkofitasenviable,orinnocent.Themostfamousarchitecturalexpressionofthissensibilityinthe'modern'worldisthehamletthatMarie-AntoinettecommissionedatVersailles,whereshecouldstepasidefromherdutiesasthequeenintheworldsmostsplendidcourt,andpretendstobeasimplemilkmaid,intouchwithnatureandherfeelings.Thegestureisablendofinnocence,naivetéandsauciness.AnotherexampleisBlaiseHamletnearBristol,whichwasdesignedbythearchitectJohnNashasaself-consciouslyprettyandwell-managedgroupofhousesforretiredemployeesoftheBlaiseestate,agenuinebuthighlyvisiblegestureofbenevolenceonthepartofthelandowner.ThishasparticularpoignancybecauseNashwasalsoresponsibleforoneofthemostextravagantprincelydwellingsofthisoranyothertime:theRoyalPavilionatBrighton(Figure2).Eveninsmallillustrations,thereisnodoubtabouttherelativestatusoftheinhabitantsofthedwellingsshowninFigures1and2.Withoutanyspecializedknowledgeofarchitecture,weknowhowtoreadthesigns.EvenifwethoughtthatthebuildinginBrightonwasrelativelynormal,itwouldbeclearthatitwasnotthelow-costoption,andinfactitwasstylisticallyoutlandishandnovel.Itwasnotonlyextravagant;italsorelishedthedisplayofthatextravagance,andstilltodaysweepsvisitorsalongwiththesheerexuberanceofitsdisplay.ThereissomethingcharmingaboutthewayitrefusestoacknowledgeconventionaldecorumandsomethingabsolutelyaptaboutthewaythePrinceRegent'sriotouspartieswoulddothesame.Thereisasurprisinglycloserelationbetweentheformofthebuildinganditsfunction.2.RoyalPavilion,Brighton,England(1815-21);architect:JohnNash(1752-1835).Thisisoneofthemostself-consciouslyexoticbuildingsthathaseverbeenbuilt.The'pavilion'atBrightonbeganwithamuchsmallerandmoreconventionalbuildingforthethenPrinceofWales(whowaslaterPrinceRegentandthenGeorgeIV).Thename'pavilion'derivesanoldFrenchwordforatentandisnownormallyusedforsmallbuildingsthatconnectwithoutdooractivity,anditwouldhavefittedtheoriginalbuildingreasonablywell,butthesprawlingpalacethatdevelopedonthesiteisnotreallyapavilion(thoughsomeoftheroofshavetent-likeforms).JohnNashalsodesignedtheoriginalRegentStreetinLondon,and旨B妄u輩c條k拆i要n挖g隸h巖a程m攜鈴P言a畫l雷a族c糾e撓盒(第b餐u藏t目槽n勸o星t拒諸i促t活s質(zhì)血f坦a鼻m鍋i炮l殺i小a古r盞萍p環(huán)u吩b麥l失i映c答彩f甲a港c薪a壇d鐮e眼)卸.糖嶄T墨h冷e狗區(qū)P畢a章v秤i習(xí)l翠i史o白n巧聰w載a丘s涉第c錄o厘m熟p輩o璃s棗e碎d堅(jiān)鑄o束f團(tuán)府a(chǎn)訓(xùn)r單c叉h愚i蝦t族e(cuò)甩c假t灶u孕r葬a貢l蠢嚷m牌o捷t顏i籌f功s絲鉆t饑a訓(xùn)k胞e塌n字桶f佩r皮o驢m亂饒t童h女e賽濫f摟a切r渴癥r麥e伸a集c炮h薪e街s燃鉗o做f糖娃e辦m慚p器i憐r氏e際,敞辟w紐i佩t忌h澡蘭I羞n惜d內(nèi)i辯a峰n派宰d疤o撕m牌e瓜s開帆a泥n改d頸追v右e驗(yàn)r印a寶n濫d位a樓h嚷s神經(jīng)o幫n院蔥t南h尾e棄毅o寨u刪t莫s炭i捧d廟e北,潮稻a么n愉d潑較a族蘆s柿u他m糞p恩t伴u節(jié)o格u夫s笑面w弟e鮮s著t卸e群r羨n敲駝i混d因e潔a均頓o灘f辛忠C罰h罰i燦n雖e研s曾e販色d幣e教c判o村r笨a銅t禾i賠o跑n目檔o絹n春故t墊h詞e坦盟i限n半s沫i泉d葬e發(fā).ExtravaganceisalsothemainreasontobeimpressedbythegreatpyramidsofancientEgypt.Vastresourceswentintomakingthem,andfromthatweinferhowpowerfultherulerswhocommissionedthemwere.Therearereasonstobeimpressedbytheingenuityofthepyramidbuilders,andtheirknow-how,butthepyramidswouldbeinsignificantmonuments,knownonlytospecialists,iftheywerenotbig(Figure2).Wearenotoverlyimpressedbythingsthatwethinkwecoulddoourselves,andthereasonthatthepyramidswereoneofthewondersoftheworldisthattheycouldnoteasilybeimitated,onaccountofthesheerexpenseoftheundertaking.Iftheproductionofthestateonlyjustcoveredthepeople'sneedtosubsist,thenitwouldnothavebeenpossibletobuildonsuchascale.Andifthewealthhadbeenevenlydistributedthroughthesociety,thennosuchmonumentcouldhavebeenbuilt.Ahighproportionofthestate'swealthmusthavebeendirectedintothesebuildingprogrammers,andsuchaunityofwillsuggestsapoliticalstructurethatputagreatdealofpoweratthedisposalofanindividual.Thepyramidsweregivenovertosurvivalandprosperityintheafterlife,andsocouldbeseenasawholesociety'sinvestmentinthefuture.TheBrightonPavilionwasgivenovertopleasure.Whatlinksthetwobuildingsisthattheyarefarfromordinary,andhavelittleconnectionwiththedailylivesoftheordinarypeopleineithersociety.Neitherofthemeverhelpeddirectlywiththeactivitiesthatmakeitpossibletolive,suchastheproductionoffoodorthemanufactureofusefulgoods.Thoseactivitiesmusthavebeengoingonsomewhereineachsociety,buttheyarenothousedinthesebuildings,whichconsumedvastresources.Theyimpressbecausetheybearthemarkofthatconsumption-ofmaterialscarefullyworked,tomakeeffectsthatwerecarefullyconsidered.3.GreatPyramidofKhufu,Giza,nearCairo,Egypt(2723-2563BC);architect:unknown.TheEgyptianpyramidsastonishedtheancientworld,andinthemodernworldhavebeenabywordformystery.TheywerebuiltinthenorthofEgyptasburialplacesforthepharaohs-thegod-kingswhoruledinancienttimes.Theoneillustratedherewasthelargestofthem,builtfortheburialofKhufu,whoisalsoknownbytheGreeks'nameforhim:Cheops.AllthelargepyramidsdatefromtheOldKingdomofEgypt,afterwhichthecountrywasruledfromThebes,500milesfurthersouth,andtheburialswereincavetombsintheValleyoftheKings.TheGreatPyramidishuge,andconsumedvastamountsofeffortfromthesocietythatbuiltit-withoutthehelpofsuchadvancedtechnologyasirontoolsorpulleysofanykind.Everydaybuildingswerebuiltinmud-brickandtimber,andtheydonotsurvive,butthepyramidsweredesignedtolastforever.'Architecture'hasoftenbeentakentobeimpressivebuildingssuchasthese.Inthatwayofthinking,buildingsthatimpressusaretobecalled'architecture',whilethosethatdon'timpressremainasmerebuildings'.Infactwemightnotneedtocallthemanythingatall,becausetheyprobablyjustfalloutofthepicture.Iwanttoarguethat'architecture'isnotthesamethingas'goodbuildings'butistheculturalaspectofanybuildingatall,goodorbad.Theputtingtogetherofmaterialsbelongstotherealmofbuilding,butthebuilding'sgestures-theextravagance,exoticism,andexuberance-belongtotherealmofarchitecture,aswouldsimplicityandruggedness,ifthosewerethebuilding'sparticularqualities.Thepointisbestexplainedbythinkingabout'vernaculararchitecture',whichisthetermusedtorefertotheordinarybuildingsputupbyordinarypeople,traditionallyagriculturalworkersbuildingforthemselvesortheirneighbors.Ifweweretolookatthesebuildingsthroughtheeyesofan18th-centurylandowner,thenwewouldseethemas'hovels',placestolivethathadfewcomforts-thoughforthepeoplewholivedinthemtheywouldhavehadallthecomplicatedconnotationsof’home'.WhenweastouristsintheLakeDistrictseethemtheyare'vernaculararchitecture'andacharmingpartofthescenery,protectedbylegislation.Evenwhentheactualfabricofthebuildinghasnotchangedmuch,therehasbeenachangeinsensibility,whichcanbetracedbacktotheinfluenceoftheRomanticpoets,especiallyWordsworth.Thepointtobemadeisthat'architecture'didnotseemtobeanythingtodowiththesebuildingswhentheywerebuilt,butitdoesseem