Note_Peter Zumthor《Thinking Architecture》

A way of looking at things
觀察事物的方法
The hard core of beauty
美之核心
From passion for things to the things themselves
從對事物的熱情回歸事物本身 (從熱情到事物本身)
The body of architecture
建築軀體（建築主體）
Teaching architecture, learning architecture
教學建築
Does Beauty Have a Form?
美有形式嗎？
The Magic of the Real
現實的魅力
The Light in the Landscape
景觀之光



A way of looking at things
觀察事物的方法


In search of the lost architecture
找尋被遺忘的建築
When I think about architecture, images come into my mind. Many of these images are connected with my training and work as an architect. They contain the professional knowledge about architecture that I have gathered over the years. Some of the other images have to do with my childhood. There was a time when I experienced architecture without thinking about it. Sometimes I can almost feel a particular door handle in my hand, a piece of metal shaped like the back of a spoon.
我思考建築時，腦海裡總是浮現出種種圖像。很多來自我作為建築師的訓練和工作，包含了我多年積累的建築學的專業知識；還有一些與我的童年有關，那段時光裡我體驗建築但不思考它。有時我能幾乎還能感覺到手裡握著那個門把手，那是一片金屬，塑成勺背的形狀。
I used to take hold of it when I went into my aunt’s garden. That door handle still seems to me like a special sign of entry into a world of different moods and smells. I remember the sound of the gravel under my feet, the soft gleam of the waxed oak staircase, I can hear the heavy front door closing behind me as I walk along the dark corridor and enter the kitchen, the only really brightly lit room in the house.
走進姨媽家的花園時，我總要握著那把手。對我來說，直到現在，它仍像進入另一世界的特殊標記，這個世界有著不同的情緒和味道。我記得腳下碎石的聲音，記得打過蠟的橡木樓梯閃出的柔光。還能聽見沉重的前門在身後關上，當我穿過黑暗的走廊走進廚房，廚房是這房子裡唯一被真正點亮的房間。
Looking back, it seems as if this was the only room in the house in which the ceiling did not disappear into twilight; the small hexagonal tiles of the floor, dark red and fitted so tightly together that the cracks between them were almost imperceptible, were hard and unyielding under my feet, and a smell of oil paint issued from the kitchen cupboard.
回首望去，這好像是房子裡唯一一個天花板不會消失在暮色裡的房間；小塊的六邊形地磚，深紅色的，緊密地拼在地上，幾乎看不出拼縫，在我腳下，它們牢固且堅硬；一股油漆的味道從櫥櫃裡散發出來。
Everything about this kitchen was typical of a traditional kitchen. There was nothing special about it. But perhaps it was just the fact that it was so very much, so very naturally, a kitchen that has imprinted its memory indelibly on my mind. The atmosphere of this room is insolubly linked with my idea of a kitchen. Now I feel like going on and talking about the door handles which came after the handle on my aunt’s garden gate, about the ground and the floors, about the soft asphalt warmed by the sun, about the flagstones covered with chestnut leaves in the autumn, and about all the doors that closed in such different ways, one replete and dignified, another with a thin, cheap clatter, others hard, implacable and intimidating…
這個廚房裡的一切都和傳統廚房一樣，沒有任何特別之處。但也許正因為它如此“廚房”，如此自然，在我腦海中留下了不可磨滅的印象。這個房間的氣氛與我心中“廚房”的概念緊密聯繫在一起。現在，我想繼續談門把手，姨媽家花園門把手之後的那些，談談室外和室內的地面、被太陽曬軟的瀝青、秋天被栗子樹葉蓋住的石板以及所有用如此不同的方式開關的門：一扇飽滿而莊嚴，另一扇關起來會發出單薄廉價的哢噠聲，其它的堅硬、不可變通、讓人望而生畏……
Memories like these contain the deepest architectural experience that I know. They are the reservoirs of the architectural atmospheres and images that I explore in my work as an architect.
類似這樣的記憶包含了我所知道的最深刻的建築體驗，它們是我作為建築師在工作中探尋建築氣氛和圖像的寶藏。
When I design a building, I frequently find myself sinking into old, half-forgotten memories, and then I try to recollect what the remembered architectural situation was really like, what it had meant to me at the time, and I try to think how it could help me now to revive that vibrant atmosphere pervaded by the simple presence of things, in which everything had its own specific place and form. And although I cannot trace any special forms, there is a hint of fullness and of richness which makes me think: this I have seen before. Yet, at the same time, I know that it is all new and different, and that there is no direct reference to a former work of architecture which might divulge the secret of the memory-laden mood.
設計房子時，我常發現自己沉浸於舊日殘缺的記憶中，然後，我試著回想記憶中的建築情境真正的樣子，回想它當時對我的含義；試著思考它現在如何幫我通過那些簡單事物的存在，來喚醒那生動的氣氛，在這種氣氛中，所有事物都有自身的位置和形態。儘管我不能找出任何特別的形式，但仍有種對完整和豐富的暗示，讓我覺得：這個我曾經見過。單同時，我知道它是全新的、不同的，並且沒有前人的建築可作為直接參照，來揭示盛滿記憶的心緒的秘密。


Made of materials
材料構成
To me, there is something revealing about the work of Joseph Beuys and some of the artists of the Arte Povera group. What impresses me is the precise and sensuous way they use materials. It seems anchored in an ancient, elemental knowledge about man’s use of materials, and at the same time to expose the very essence of these materials, which is beyond all culturally conveyed meaning.
對我來說，約瑟夫•博伊於斯（Joseph Beuys） 和貧困藝術（Arte Povera） 的一些成員的作品是有啟發性的。我欣賞他們運用材料的精確和感性的方式，看起來像是某些深植於遠古的、基本的、人類使用材料的知識，同時去揭示這些材料在一切文化譯意之外的真正本質。
I try to use materials like this in my work. I believe that they can assume a poetic quality in the context of an architectural object, although only if the architects is able to generate a meaningful situation for them, since materials in themselves are not poetic.
我試圖在作品裡也這樣運用材料，相信它們能在一個建築實體/建築物的語境裡顯現出詩意的品質，儘管這只有在建築師能為其創造一個有意義的情境時才能達到，因為材料本身並沒有詩意。
The sense that I try to instill into materials is beyond all rules of composition, and their tangibility, smell, and acoustic qualities are merely elements of the language that we are obliged to use. Sense emerges when I succeed in bringing out the specific meanings of certain materials in my buildings, meanings that can only be perceived in just this way in this one building.
我嘗試注入材料裡的感覺是超越一切構成規則的，而它們的觸感、氣味、音色是我們被迫使用的唯一語言。當我成功地在建築中使既定材料顯現出特定含義（這些含義只能在這棟房子、用這種方式被感知）時，感覺就浮現出來。
If we work towards this goal, we must constantly ask ourselves what the use of a particular material could mean in a specific architectural context. Good answers to these questions can throw new light onto both the way in which the materials is generally used and its own inherent sensuous qualities.
如果朝著這個目標努力，我們必須不斷地問自己：某種特定材料在一個特定的建築語境中的作用是什麼。好的解答能使我們對材料的通常用法以及材料自身固有的感觀品質這兩方面都有新的瞭解。
If we succeed in this, materials in architecture can be made to shine and vibrate.
如果我們做到這點，建築中的材料將會閃亮並打動人。

Work within things
在事物內部工作
It is said that one of the most impressive things about the music of Johann Sebastian Bach is its “architecture”. Its construction seems clear and transparent. It is possible to pursue the details of the melodic, harmonic and rhythmical elements without losing the feeling for the composition as a whole – the whole that makes sense of the details. The music seems to be based upon a clear structure, and if we trace the individual threads of the musical fabric, it is possible to apprehend the rules that govern the structure of the music.
有人說巴赫的音樂最讓人欣賞的特點之一（給人印象最深的）是其“建築性”。其構成清晰透明，才能使聽眾追隨這些優美、和諧、有韻律的元素的細節，同時又不失整體感——能理解細節的整體。他的音樂就像是建立在一個清晰的結構上的，假如追隨這音樂的每條線索（如果追隨這音樂結構獨特的線索），我們就有可能領會統領其結構的規則。
Construction is the art of making a meaningful whole out of many parts. Buildings are witnesses to the human ability to construct concrete things. I believe that the real core of all architectural work lies in the act of construction. At the point in time when concrete materials are assembled and erected, the architecture we have been looking for becomes part of the real world.
建造(construction)是以眾多局部創造有意義的整體的藝術。房屋是人類有能力建造物質實體/具體事物的見證。我相信建造(the act of construction)是一切建築工作的真正核心。當具體（實體）材料聚集並建起，至此，我們一直在尋找的建築，便成為真實世界的一部分。
I feel respect for the art of joining, the ability of craftsmen and engineers. I am impressed by the knowledge of how to make things, which lies at the bottom of human skill. I try to design buildings that are worthy of this knowledge and merit the challenge to this skill.
我認為木匠的技藝、工匠和工程師的能力是值得尊敬的。我欣賞這些造物知識，它們是人類技藝的本源。我試圖設計配得上這些知識和技藝的房子。
People often say, “A lot of work went into this” when they sense the care and skill that its maker has lavished on a carefully constructed object. The notion that our work is an integral part of what we accomplish takes us to the very limits of our musings about the value of a work of art, a work of architecture. Are the effort and skill we put into them really inherent parts of the things we make? Sometimes, when I am moved by a work of architecture in the same way as I am moved by music, literature or a painting, I am tempted to think so.
人們在仔細造出的物體上感受到建造者所投入的大量心思和技巧時，常說：“這其中包含了大量的工作。”我們的工作是作品不可分割的部分——這樣的觀念把我們帶到對於藝術品價值和建築價值的思考的極限。我們投入制造物的努力和技巧真是其所固有的嗎？ 有時，當被建築打動，就像被音樂、文學或繪畫打動一樣，我就會被誘惑著這樣認為。

For the silence of sleep
為睡眠的安靜
I love music. The slow movements of the Mozart piano concertos, John Coltrane’s ballads, or the sound of the human voice in certain songs all move me.
我喜歡音樂。莫札特（Mozart）緩慢的鋼琴協奏曲，約翰•克特蘭 （John Coltrane）的樂曲，或者某些歌曲中的人聲，都打動了我。
The human ability to invent melodies，harmonies, and rhythms amazes me.
人類創造旋律、和聲和韻律(節奏)的能力讓我驚訝。
But the world of sound also embraces the opposite of melody, harmony, and rhythm. There is disharmony and broken rhythm, fragments and clusters of sound, and there is also the purely functional sound that we call noise. Contemporary music works with these elements.
但是，聲音的世界也包含了與旋律、和聲、韻律(節奏)相反的東西。有不協調、殘破的節奏，聲音的片斷和群簇，還有純粹功能性的聲音，我們稱之為噪音。當代音樂結合了這些因素。
Contemporary architecture should be just as radical as contemporary music. But there are limits. Although a work of architecture based on disharmony and fragmentation, on broken rhythms，clustering and structural disruptions may be able to convey a message, as soon as we understand its statement our curiosity dies, and all that is left is the question of the building’s practical usefulness.
當代建築或許能和當代音樂一樣激進，但有限。儘管一個建築作品是基於不協調和片斷，基於破碎的韻律（節奏），但群聚和結構的破壞或許能夠傳達資訊，一旦明白它所表達的，我們的好奇心就死亡了，剩下的只是房子實效性的問題（疑問）。
Architecture has it’s own realm. It has a special physical relationship with life. I do not think of it primarily as either a message or a symbol, but as an envelope and background for life which goes on in and around it, a sensitive container for the rhythm of footsteps on the floor, for the concentration of work, for the silence of sleep.
建築有它自身的領域，與生活有種特殊的物質聯繫。我主要不是將它當作一個資訊或一個符號，而是作為生活的封套和背景來考慮，生活在其內部或周圍進行，是一個對地板上步履的節奏，對工作的專心，對睡眠時的安靜都很敏感的容器。

Preliminary promises
最初承諾
In its final, constructed form, architecture has its place in the concrete world. This is where it exists. This is where it makes its statement. Portrayals of as yet unrealized architectural works represent an attempt to give a voice to something which has not yet found its place in the concrete world for which it is meant.
建築以其最終建成形態在物質世界（現實世界）有了它的位置。這是它存在的地方，它自我講述（表明立場）的地方。對至今未建成的建築作品的描繪試圖表達一些東西，儘管這些東西還沒有在物質世界（現實世界）裡找到它們表意的位置。
Architectural drawings try to express as accurately as possible the aura of the building in its intended place. But precisely the effort of the portrayal often serves to underline the absence of the actual object, and what then emerges is an awareness of the inadequacy of any kind of portrayal, curiosity about the reality it promises, and perhaps - if the promise has the power to move us - a longing for its presence.
建築繪圖試著盡可能準確地表達建築的氛圍，在其預設之處。但是，繪圖成果常常用來強調那個實際物件的不在場，之後顯現的是對任何一種繪圖不充分的意識、對它所承諾的事實的好奇，也許還有——如果這承諾有能打動我們的力量——對它存在的渴望。
If the naturalism and graphic virtuosity of architectural portrayals are too great, if they lack “open patches” where our imagination and curiosity about the reality of the drawing can penetrate the image, the portrayal itself becomes the object of our desire, and our longing for its reality wanes because there is little or nothing in the representation that points to the intended reality beyond it. The portrayal no longer holds a promise. It refers only to itself.
如果對建築繪圖的直覺想法和圖解能力太強，如果它們缺乏“開放區域”(我們對於繪圖事實的想像力和好奇心能洞穿圖像的地方)，繪圖本身則成為我們所期望的，而我們對其真實的渴望消退了，因為在指向預期真實的再現中，沒有任何東西超越它。繪圖不再遵守承諾。它只談及自身。
Design drawings that refer to a reality which still lies in the future are important in my work. I continue working on my drawings until they reach the delicate point of representation when the prevailing mood I seek emerges, and I stop before inessentials start detracting from its impact. The drawing itself must take on the quality of the sought-for object. It is like a sketch by a sculptor for his sculpture, not merely an illustration of an idea but an innate part of the work of creation, which ends with the constructed object.
指向未來的真實的設計圖紙在我的工作中是重要的。我繼續繪圖，直到其能精確表達。那時，我所尋找的主要情緒顯現出來，並在無關緊要的東西開始影響其效果之前停止繪製。繪圖自身必須呈現其所追求的目標的品質。就像雕塑家為雕塑而畫的草圖，不僅僅是一個想法（idea）的說明，而是創造工作天生的一部分，隨著建造的完成，它才結束。
These sort of drawings enable us to step back, to look, and to learn to understand that which has not yet come into being and which has just started to emerge.
這種製圖使我們能夠退後幾步，看看，學著去瞭解什麼還沒有產生，什麼才剛剛開始顯現。

Chinks in sealed objects
封閉物體的裂縫
Buildings are artificial constructions. They consist of single parts which must be joined together. To a large degree, the quality of the finished object is determined by the quality of the joins.
房屋是人工構築物。它們由許多必須連接在一起的獨立部分組成。在很大程度上，最終完成的品質取決於連接處（join）的品質。
In sculpture, there is a tradition that minimizes the expression of the joints and joins between the single parts in favour of the overall form. Richard Serra’s steel objects, for example, look just as homogenous and integral as the stone and wood sculptures of the older sculptural traditions. Many of the installations and objects by artist of the 1960s and 70s rely on the simplest and most obvious methods of joining and connecting that we know. Beuys, Merz and others often used loose settings in space, coils, folds and layers when developing a whole from the individual parts.
在雕塑中，有一個傳統，就是：為了整體形態，將單個部分之間的節點（joints）和連接處（joins）的表達最小化。舉例來說，裡查德•塞拉（Richard Serra） 的鋼雕塑看起來就像更老的石雕和木雕傳統中一樣同質和完整。許多二十世紀60到70年代的藝術家做的裝置和物體都有賴於我們所知道的連接和聯合的理論中最簡單、最明顯的理論。波伊斯（Beuys） 、梅茨（Merz） 和其他一些人，從單個部分發展出整體時，常常在空間、coils folds和layers上使用鬆散設置（loose settings）。
The direct, seemingly self-evident way in which these objects are put together is interesting. There is no interruption of the overall impression by small parts that have nothing to do with the object’s statement. Our perception of the whole is not distracted by inessential details. Every touch, every join, every joint is there in order to reinforce the idea of the quiet presence of the work.
這些物體直接、看起來自明的放置方式很有趣。整體的印象沒有被與表達無關的小部分打斷。我們對整體的感知並沒有被無關緊要的細節打亂。每個聯繫，每個連接處（join），每個節點（joint）都是為了強調作品的寧靜在場（presence）的想法（idea）而存在。
When I design buildings, I try to give them this kind of presence. However, unlike the sculptor, I have to start with functional and technical requirements that represent the fundamental task I have to fulfill. Architecture is always faced with the challenge of developing a whole out of innumerable details, out of various functions and forms, materials and dimensions. The architect must look for rational constructions and forms for edges and joints, for the points where surfaces intersect and different materials meet. These formal details determine the sensitive transitions within the larger proportions of the building. The details establish the formal rhythm, the building’s finely fractionated scale.
設計房屋時，我試圖給它們這種方式的在場（我試圖讓它們以這種方式存在）。然而，與雕塑不同的是：我必須從功能和技術的要求開始，這表明我必須滿足的基本任務。建築總是面臨著這樣的挑戰：從無數的細節中，從多種功能和形式、材料和尺度中，發展出一個整體。建築師必須為邊緣、節點joint、表面相交處、不同材料交接處，尋找合理的構造做法和形式。這些合理的細節決定了在房子中更大部分的微妙的轉變。細節確定了合理的節奏，以及房子精美的層級比例。
Details express what the basic idea of the design requires at the relevant point in the object: belonging or separation, tension or lightness, friction, solidity, fragility…
在建築裡相應的位置，細部表達了設計的基本想法所要求的：歸屬或分離，緊張或輕盈，衝突，牢固，脆弱……
Details, when they are successful, are not mere decoration. They do not distract or entertain. They lead to an understanding of the whole of which they are an inherent part.
成功的細部不僅僅是裝飾。它們並不分散注意或者取悅於人，而是導向對“它們是整體的內在部分”的理解。
There is a magical power in every completed, self-contained creation. It is as if we succumb to the magic of the fully developed architectural body. Our attention is caught, perhaps for the first time, by a detail such as two nails in the floor that hold the steel places by the worn-out doorstep. Emotions well up. Something moves us.
在每個完成的、獨立的創作中，都有一種奇特的力量。就好像我們折服于被充分發展的建築物的魔力似的。也許，當我們第一次看到某個細節，就被吸引了，例如地板裡的兩根釘子承拖著被磨破的門階處的鋼。情感湧現，某些東西打動了我們。

Beyond the symbols
超越象徵
“Anything goes,” say the doers. “Main Street is almost all right,”says Venturi, the architect. “Nothing works any more,”say those who suffer from the hostility of our day and age. These statements stand for contradictory opinions, if not for contradictory facts. We get used to living with contradictions and there are several reasons for this: traditions crumble, and with them cultural identities. No one seems really to understand and control the dynamics developed by economics and politics. Everything merges into everything else, and mass communication creates an artificial world of signs. Arbitrariness prevails.
“什麼都可以，”實幹家說。“大街上的東西幾乎全都不錯，” 建築師文丘裡（Venturi）說。“什麼都不再有用，”那些遭受我們時代和年代的敵意的人說。這些說法如果不是代表了矛盾的事實，就是代表了矛盾的看法。我們習慣了與矛盾共同生活，是因為：傳統與文化特性都瓦解了。沒人看起來真正瞭解並控制了經濟和政治發展的動態。一切都混入其它事物當中，大量的資訊創造了一個符號的人工世界。肆意盛行。
Postmodern life could be described as a state in which everything beyond our own personal biography seems vague, blurred, and somehow unreal. The world is full of signs and information, which stand for things that no one fully understands because they, too, turn out to be mere signs for other things. The real thing remains hidden. No one ever gets to see it. Nevertheless, I am convinced that real things do exist, however endangered they may be. There are earth and water, the light of the sun, landscapes and vegetation; and there are objects, made by man, such as machines, tools or musical instruments, which are what they are, which are not mere vehicles for an artistic message, whose presence is self-evident.
後現代生活可以被描述為一種狀態，在這種狀態下，我們自己的所有私人傳記（事件）看起來都含混、模糊、莫名地不真實。這世界充滿了符號和資訊，它們代表了一些沒有人能完全理解的東西，因為它們也只是其它東西的符號。真實事物一直被隱藏著，甚至沒人去看。然而，我深信，真實事物的確存在，然而它們或許瀕臨滅絕。那兒有土地和水，陽光，風景和植物；還有被人類製造出來的物體，例如機器、工具或者樂器。它們就是它們，不僅僅是為了傳達藝術的工具，它們的存在是自明的。
When we look at objects or buildings which seem to be at peace within themselves, our perception becomes calm and dulled. The objects we perceive have no message for us; they are simply there. Our perceptive faculties grow quiet, unprejudiced, and unacquisitive. They reach beyond signs and symbols; they are open, empty. It is as if we could see something on which we cannot focus our consciousness. Here, in this perceptual vacuum, a memory may surface, a memory that seems to issue from the depths of time. Now, our observation of the object embraces a presentiment of the world in all its wholeness because there is nothing that cannot be understood.
看著那些看似與其自身和平相處的物體或房屋，我們的感覺變得平靜而緩和。我們感知到的物體沒有給微妙什麼資訊，它們只是在那裡。我們的領悟能力變得安靜、公平、不貪心。它們延伸的範圍超越了符號和象徵，是開放的，空的。就好像我們能夠領會一些我們不能集中我們的個人思想於其上的東西。在這裡，這個知覺的真空，一段記憶或將浮出水面，就像是從時間深處流淌出來。現在，我們對物體的觀察，包含了對整個世界的預感，因為沒有什麼是不能被理解的。
There is a power in the ordinary things of everyday life, as Edward Hopper’s paintings seem to say. We only have to look at them long enough to see it.
日常生活中的平凡事物都有一種力量，正如愛德華•霍柏（Edward Hopper） 的繪畫所說的。我們只是需要用足夠長所時間看著它們，以領會這種力量。

Completed landscapes
完整的風景（景觀）
To me, the presence of certain buildings has something secret about it. They seem simply to be there. We do not pay any special attention to them. And yet it is virtually impossible to imagine the place where they stand without them. These buildings appear to be anchored firmly in the ground. They give the impression of being a self-evident part of their surroundings and they seem to be saying: “I am as you see me and I belong here.”
對我來說，某些房子的存在藏有一些秘密。它們看起來只是簡單地在那兒，我們並沒有特別注意。事實上，我們無法想像其所在地沒有它們。這些房子似乎被牢牢地釘在地面上，給人這樣的印象：它們不言而喻地是環境的一部分，就像在說：“我與你們所見到的一樣，我屬於這裡。”
I have a passionate desire to design such buildings, buildings that, in time, grow naturally into being a part of the form and history of their place.
我有強烈的欲望來設計這樣的房子：隨著時間的推移，它們漸漸成為當地形態和歷史的一部分。
Every new work of architecture intervenes in a specific historical situation. It is essential to the quality of the intervention that the new building should embrace qualities that can enter into a meaningful dialogue with the existing situation. For if the intervention is to find its place, it must make us see what already exists in a new light. We throw a stone into the water. Sand swirls up and settles again. The stir was necessary. The stone has found its place. But the pond is no longer the same.
每個新的建築作品都參與了一個特殊的歷史狀況。新的房子應該能與現有環境進行有意義的對話，這對於介入（intervention）的品質是很必要的。因為，如果介入是為了找到自身的位置，它必須讓我們用新的觀點去看待現狀。我們把一個石塊扔進水裡。沙子被漩起又回落下來。這個攪動是必要的。石塊已經找到了它的位置，可池塘再也不一樣了。
I believe those buildings only be accepted by their surroundings if they have the ability to appeal to our emotions and minds in various ways. Since our feelings and understanding are rooted in the past, our sensuous connections with a building must respect the process of remembering.
我相信，房屋只有在能以各種方式吸引我們的情感和注意力時，才能被其環境所接受。因為我們的感覺和理解都深植於過去，我們與某棟房子感覺上的聯繫必須遵循回憶的過程。
But, as John Berger says, what we remember cannot be compared to the end of a line. Various possibilities lead to and meet in the act of remembering. Images, moods, forms, words, signs, or comparisons open up possibilities of approach. We must construct a radial system of approach that enables us to see the work of architecture as a focal point from different angles simultaneously: historically, aesthetically, functionally, personally, passionately.
可是，正如約翰•伯格(John Berger) 所說，我們的記憶不能被喻為線段的終點。各種可能性都導向並匯合于回憶的行為。圖像、情緒、形式、詞彙、標誌或比喻，揭示了方法的可能性。我們必須建立一個發散的方法系統，讓我們能看到，建築作品是同時從不同角度產生的一個焦點：歷史的、美學的、功能的、個人的、熱情的。

The tension inside the body
內部張力（內部平衡）
Among all the drawings produced by architects, my favorites are the working drawings. Working drawings are detailed and objective. Created for the craftsmen who are to give the imagined object a material form, they are free of associative manipulation. They do not try to convince and impress like project drawings. They seem to be saying: “This is exactly how it will look."
在所有建築師畫的圖中，我最喜歡的是施工圖。施工圖詳細、客觀，是畫給施工隊看的。施工隊將想像中的物件變成實質的形體，它們免除了聯想的工作。施工圖並不像方案圖一樣試圖使人信服，並給人留下印象。它們像是在說：“這就是它將來的樣子。”
Working drawings are like anatomical drawings. They reveal something of the secret inner tension that the finished architectural body is reluctant to divulge: the art of joining, hidden geometry, the friction of materials, the inner forces of bearing and holding, the human work that is inherent in man-made things.
施工圖就像解剖圖。它們展示了隱秘的、建成建築不願意透露的內部張力（內部平衡）的一些東西：連接的藝術、隱藏其中的幾何學、材料的摩擦力、軸力和支撐力等內力、為人造物所固有的人類勞動。
Per Kirkeby once did a brick sculpture in the form of a house for a Documenta exhibition in Kassel. The house had no entrance. Its interior was inaccessible and hidden. It remained a secret, which added an aura of mystical depth to the sculpture’s other qualities.
佩爾•柯克比（Per Kirkeby） 曾為卡塞爾文獻展做了一個房子形的磚雕塑。那房子沒有入口，其內部不可達。它留下了一個秘密，為這個雕塑的其它品質增加了神秘的氣氛。
I think that the hidden structures and constructions of a house should be organized in such a way that they endow the body of the building with a quality of inner tension and vibration. This is how violins are made. They remind us of the living bodies of nature.
我認為一棟房子隱藏的結構和構造可以用這種方式來組織：它們賦予建築一種內在的張力和振動（共鳴）。小提琴就是這樣被製造的。它們使我們憶起自然界的活體。

Unexpected truths
意想不到的事實
In my youth I imagined poetry as a kind of colored cloud made up of more or less diffuse metaphors and allusions, which, although they might be enjoyable, were difficult to associate with a reliable view of the world. As an architect, I have learned to understand that the opposite of this youthful definition of poetry is probably closer to the truth.
年輕的時候，我認為詩意就像一種彩色的雲，多多少少由隱喻和暗示混合而成。儘管它們或許令人愉快，但是很難與一個可信的場景聯繫起來。現在，作為一個建築師，我已經漸漸認識到：年輕時對詩意的定義的對立面也許更接近於事實。
If a work of architecture consists of forms and contents that combine to create a strong fundamental mood that is powerful enough to affect us, it may possess the qualities of a work of art. This art has, however, nothing to do with interesting configurations or originality. It is concerned with insights and understanding, and above all with truth. Perhaps poetry is unexpected truth. It lives in stillness. Architecture’s artistic task is to give this still expectancy a form. The building itself is never poetic. At most, it may possess subtle qualities, which, at certain moments, permit us to understand something that we were never able to understand in quite this way before.
如果一個建築作品，組成它的形式和內容結合起來創造了強大的基本情緒，並強大到能影響我們，它也許就擁有了一個藝術品的品質。然而，這藝術與有趣的構造或創意毫無關係。它與洞察力和理解力有關。建築的藝術任務是給這個靜止的期望一個形式。房子本身並不詩意。至多，它可能擁有微妙的品質，這些品質在特定的時刻，允許我們瞭解一些東西，而這些東西是從前不可能通過這種方式瞭解的。

Desire
願望（欲望）
The clear, logical development of a work of architecture depends on rational and objective criteria. When I permit subjective and unconsidered ideas to intervene in the objective course of the design process, I acknowledge the significance of personal feelings in my work.
一個建築作品清晰、合理的推進取決於理性、客觀的標準。當我允許主觀和未經思考的想法介入客觀的設計過程，我承認個人感覺（情緒）在我工作中的意義。
When architects talk about their buildings, what they say is often at odds with the statements of the buildings themselves. This is probably connected with the fact that they tend to talk a good deal about the rational, thought-out aspects of their work and less about the secret passion which inspires it.
當建築師談論他們的房子時，他們所說的與房子自身陳述的往往不一致。這或許與這樣的事實有關：他們傾向談論許多其作品理性的、深思熟慮的方面，而很少討論產生它的神秘熱情。
The design process is based on a constant interplay of feeling and reason. The feelings, preferences, longings, and desires that emerge and demand to be given a form must be controlled by critical powers of reasoning, but it is our feelings that tell us whether abstract considerations really ring true.
To a large degree, designing is based on understanding and establishing systems of order. Yet I believe that the essential substance of the architecture we seek proceeds from feeling and insight. Precious moments of intuition result from patient work. With the sudden emergence of an inner image, a new line in a drawing, the whole design changes and is newly formulated within a fraction of a second. It is as if a powerful drug were suddenly taking effect. Everything I knew before about the thing I am creating is flooded by a bright new light. I experience joy and passion, and something deep inside me seems to affirm: “I want to build this house!”
設計過程是基於感覺和理智之間持續的相互影響之上的。顯現、並要求被賦形的感覺、嗜好、渴望和欲望都必須被推理的批評能力制約，但是，是感覺告訴我們理論考慮是否真的真實。在很大程度上，設計是基於理解以及為次序(要求)建立系統的。可是我相信，我們尋求的建築的基本實質來自感覺和洞察力。直覺的珍貴瞬間來自耐心的工作。隨著內心圖像的閃現、圖中一根新線條的出現，整個設計改變了，在一轉眼的功夫，設計被重新表達了。就像強力藥劑突然起效，之前所知道的關於我正創造的事物的一切，被一道明亮的新光線淹沒了。我體驗著愉悅和激情，某些深埋在我心中的東西肯定地說：“我想蓋這個房子！”

Composing in space
在空間中構成
Geometry is about the laws of lines, plane surfaces, and three-dimensional bodies in space. Geometry can help us understand how to handle space in architecture.
幾何學是關於空間中直線、平表面和三維物體的規律（規則），能説明我們理解如何處理建築中的空間。
In architecture, there are two basic possibilities of spatial composition: the closed architectural body that isolates space within itself, and the open body that embraces an area of space that is connected with the endless continuum. The extension of space can be made visible through bodies such as slabs or poles placed freely or in rows in the spatial expanse of a room.
在建築中，空間構成有兩種基本可能性：將內部空間與外部隔離的封閉建築主體，以及包含著無盡序列（空間）的開敞形體。在一個房間的空曠區域，空間的擴展可以通過類似板或柱自由或整齊地放置被視覺化。
I do not claim to know what space really is. The longer I think about it, the more mysterious it becomes. About one thing, however, I am sure: when we, as architects, are concerned with space, we are concerned with but a tiny part of the infinity that surrounds the earth, and yet each and every building marks a unique place in this infinity.
我並沒有說知道空間究竟是什麼。我越是思考它，它就變得越神秘。然而，我確信一件事情：當我們建築師參與空間，我們參與的並不是每一個在無限中標識一個獨特場地的房子，而是在這無限中地面周圍非常小的一部分。
With this idea in mind, I start by sketching the first plans and sections of my design. I draw spatial diagrams and simple volumes. I try to visualize them as precise bodies in space, and I feel it is important to sense exactly how they define and separate an area of interior space from the space that surrounds them, or how they contain a part of the infinite spatial continuum in a kind of open vessel.
抱著這樣的想法，我開始畫設計的第一套平、剖面。我畫了空間圖表和簡單的體量，試著在空間中把它們精確地形象化。正確認識它們如何從周遭界定、劃分一個區域作為內部空間，或者，它們如何在某種開放容器中容納無限空間的一部分，我認為這非常重要。
Buildings that have a strong impact always convey an intense feeling of their spatial quality. They embrace the mysterious void called space in a special way and make it vibrate.
給人深刻印象的房子總是傳達了其空間品質的強烈情感。它們用一種特殊的方式擁有了被稱之為空間（space）的神秘虛空（void），並使之產生共鳴。

Common sense
常識
Designing is inventing. When I was still at arts and crafts school, we tried to follow this principle. We looked for a new solution to every problem. We felt it was important to be avant-garde. Not until later did I realize that there are basically only a very few architectural problems for which a valid solution has not already been found.
設計就是發明。當我還在工藝美術學校時，我們總是試圖遵循這條原則。對每個問題都尋找新的解決方法，認為成為先鋒派非常重要。直到後來，我才認識到：基本上，只有很少的一些建築問題還沒找到有效的解決方法。
In retrospect, my education in design seems somewhat a-historical. Our role models were the pioneers and inventors of Das Neue Bauen. We regarded architectural history as a part of our general education, which had little influence on our work as designers. Thus, we frequently invented what had already been invented, and we tried our hand at inventing the uninventable.
回想起來，我接受的設計教育看起來有些偏向（離）歷史方向。我們的楷模是新建築運動（Das Neue Bauen）的先鋒和宣導者。我們認為建築歷史是我們普通教育的一部分，對作為設計者的我們來說幾乎沒有影響。這樣，我們常常發明一些已經被發明的東西，並妄圖去發明那些無法發明的東西。
This kind of training in design is not without its educational value. Later, however, as practicing architects, we do well to get acquainted with the enormous repository of knowledge and experience contained in the history of architecture. I believe that if we integrate this in our work, we have a better chance of making a genuine contribution of our own. Architecture is, however, not a linear process that leads more or less logically and directly from architectural history to new buildings. On the search for the architecture that I envisage, I frequently experience stifling moments of emptiness. Nothing I can think of seems to tally with what I want and cannot yet envisage. At these moments, I try to shake off the academic knowledge of architecture I have acquired because it has suddenly started to hold me back. This helps. I find I can breathe more freely. I catch a whiff of the old familiar mood of the inventors and pioneers. Design has once again become invention.
設計中這種訓練並不是沒有教育意義的。然而，後來，作為實踐建築師，我們開始明白，建築歷史這巨大的寶庫中包含了大量的知識和經驗。我認為，如果能在工作中結合運用這些，我們將有更好的機會做出真正的貢獻。然而，建築不是一個多少邏輯地、直接地從建築歷史指向“新房子”的線性過程。在尋求想像中的建築的過程中，我常常經歷空虛沉悶的時刻。我想不出任何看起來能符合我想像的東西，甚至不能設想（出我要的效果）。在這些時候，我試圖擺脫已掌握的建築理論知識，因為它突然開始將我往回拉。這是有幫助的。我發現我能更自由地呼吸。我從古老的、熟悉的發明家和先鋒的情緒裡，略得一絲清香。設計又一次變成了發明。
The creative act in which a work of architecture comes into being goes beyond all historical and technical knowledge. Its focus is on the dialogue with the issues of our time. At the moment of its creation, architecture is bound to the present in a very special way. It reflects the spirit of its inventor and gives its own answers to the questions of our time through its functional form and appearance, its relationship with other works of architecture, and with the place where it stands.
在一個建築作品形成的過程中，創造性的行為超越了所有歷史和技術知識。其焦點在於與我們的時代問題的對話。在其建成之時，建築通過一種特殊的方式與“現在”綁在一起。通過其功能形式、外觀以及與其它建築和場地的關係，反映了其發明者（設計者）的精神，對我們時代的問題做出了回答。
The answers to these questions, which I can formulate as an architect, are limited. Our times of change and transition do not permit big gestures. There are only a few remaining common values left upon which we can build and which we all share. I thus appeal for a kind of architecture of common sense based on the fundamentals that we still know, understand, and feel. I carefully observe the concrete appearance of the world, and in my buildings I try to enhance what seems to be valuable, to correct what is disturbing, and to create anew what we feel is missing.
對於這些問題的回答，我作為一個建築師，能說的有限。變遷的時代，不允許大的gestures（姿態，手勢）。我們可以建立和分享的只有一些留存下來的剩餘的共有價值。於是，我請求（期望）一種建築，它基於我們仍然知道、理解和感受的常識之上。我細心地觀察世界的實在形態，在我的房子裡，我試圖增強那些看起來有價值的，糾正那些令人煩惱的，並重新創造我們認為已經失去的。

Melancholy perceptions
憂鬱感
Ettore Scola’s film Le bal recounts fifty years of European history with no dialogue and a complete unity of place. It consists solely of music and the motion of people moving and dancing. We remain in the same room with the same people throughout, while time goes by and the dancers grow older.
埃托雷•斯柯拉（Ettore Scola） 的電影《舞廳》（Le bal）講述了歐洲五十年的歷史，沒有對話，在同一個地方。它只是由音樂、人群的活動及舞蹈組成。時間流逝，舞者老去，我們始終看著同樣的房間，同樣的人。
The focus of the film is on its main characters. But it is the ballroom with its tiled floor and its paneling, the stairs in the background, and the lion's paw at the side that creates the film's dense, powerful atmosphere. Or is it the other way round? Is it the people who endow the room with its particular mood?
這部電影的焦點在於它的主人公（主要角色）。但是，有著地板和鑲板的舞廳、後臺的樓梯和側面獅子的腳印，為電影製造了厚重有力的氣氛。或者，正相反？是人賦予了房間獨特的情緒？
I ask this question because I am convinced that a good building must be capable of absorbing the traces of human life and thus of taking on a specific richness.
我這麼問是因為我深信：一個好房子必須有能力吸取人類生活的痕跡，並借此變得特別豐富。
Naturally, in this context I think of the patina of age on materials, of innumerable small scratches on surfaces, of varnish that has grown dull and brittle, and of edges polished by use. But when I close my eyes and try to forget both these physical traces and my own first associations, what remains is a different impression, a deeper feeling – a consciousness of time passing and an awareness of the human lives that have been acted out in these places and rooms and charged them with a special aura. At these moments, architecture's aesthetic and practical values, stylistic and historical significance are of secondary importance. What matters now is only this feeling of deep melancholy. Architecture is exposed to life. If its body is sensitive enough, it can assume a quality that bears witness to the reality of past life.
自然地，在這樣的背景下，我關心材料上歲月的光澤，關心表面無數細小的劃痕，關心褪色而易碎的漆面，關心被使用磨光的邊緣。但是，當我閉上雙眼，嘗試忘記這些自然痕跡和我最初的聯想時，留下的是一種不同的印象，一種更深刻的感受——對時光流逝的感悟，對曾經發生在這些場所和房間的生活的知曉，給予他們特殊的氛圍。在這些時刻，建築的美學價值和實用價值，風格和歷史的意義，都是次要的。重要的，只是這深深的傷感（憂鬱）。建築暴露於生活。如果它的身體足夠敏感，它能呈現這樣一種品質：成為過去真實生活的見證人。

Steps left behind
身後的腳印
When l work on a design I allow myself to be guided by images and moods that I remember and can relate to the kind of architecture I am looking for. Most of the images that come to mind originate from my subjective experience and are only rarely accompanied by a remembered architectural commentary. While I am designing I try to find out what these images mean so that l can learn how to create a wealth of visual forms and atmospheres.
做設計的時候，我會允許自己被記憶中的圖像和情緒引導，它們能關聯到我所尋求的建築。浮現腦海的大多數圖像來自我個人的主觀經驗，而極少伴有建築說明。設計時，我試圖找出這些圖像對我的意義，這樣我才能學會如何去創造多種形式和氛圍。
After a certain time, the object I am designing takes on some of the qualities of the images I use as models. If I can find a meaningful way of interlocking and superimposing these qualities, the object will assume a depth and richness. If I am to achieve this effect, the qualities I am giving the design must merge and blend with the constructional and formal structure of the finished building. Form and construction, appearance and function are no longer separate. They belong together and form a whole.
過了一段時間，我正設計的物件擁有了一些我用作原型的圖像的品質。如果我能找到一種有意義的方式來結合和疊加這些品質，這物體將顯得有深度且豐富。想要到這種效果，我給予這個設計的品質必須與建成房子的構造與形式結構相融合。形式和構造，外觀和功能，都不再分離。它們相互從屬，成為一個整體。
When we look at the finished building, our eyes, guided by our analytical mind, tend to stray and look for details to hold on to. But the synthesis of the whole does not become comprehensible through isolated details. Everything refers to everything.
看著建成的房子，我們的眼睛被理性思維引導著，趨向迷失，也會尋找細部來堅持著。然而，整體合成並沒有因為獨立的細部而變得易於理解。每件事指向每件事（一切都互相關聯） 。
At this moment, the initial images fade into the background. The models, words, and comparisons that were necessary for the creation of the whole disappear like steps that have been left behind. The new building assumes the focal position and is itself. Its history begins.
此時，初始的圖像淡出背景。創造整體所必須的原型、詞彙和比喻，就像身後的腳印，消失了。新的房子 成為焦點，成就了它自己。它的歷史開始了。

Resistance
反抗
I believe that architecture today needs to reflect on the tasks and possibilities which are inherently its own. Architecture is not a vehicle or a symbol for things that do not belong to its essence. In a society that celebrates the inessential, architecture can put up a resistance, counteract the waste of forms and meanings, and speak its own language.
我認為，現今的建築需要反省其自身固有的任務和可能性。建築並不是那些不屬於其本質的東西的媒介或象徵。在一個讚美非本質性的社會，建築可以進行反抗，去除形式和意義的浪費，用它自己的語言去表達。
I believe that the language of architecture is not a question of a specific style. Every building is build for a specific use in a specific place and for a specific society. My buildings try to answer the questions that emerge from these simple facts as precisely and critically as they can.
我認為，建築的語言不是一個特定風格的問題。每棟房子都是在一個特定的場地，為一個特定的社會，為一個特定的用途而建造的。我的房子試圖著盡可能精確且批判地回答從這些簡單的事實中顯露出來的問題。

The hard core of beauty
美之核心


Two weeks ago I happened to hear a radio program on the American poet William Carlos Williams. The program was entitled The Hard Core of Beauty. This phrase caught my attention. I like the idea that beauty has a bard core, and when I think of architecture this association of beauty and a hard core has a certain familiarity. "The machine is a thing that has no superfluous parts," Williams is supposed to have said. And I immediately think I know what he meant. It's a thought that Peter Handke alludes to, I feel, when he says that beauty lies in natural, grown things that do not carry any signs or messages, and when he adds that he is upset when he cannot discover the meaning of things for himself.
兩周前，我碰巧在廣播上聽到一個關於美國詩人威廉•卡洛斯•威廉姆斯（William Carlos Williams） 的節目。節目名為“美之核心”，這個說法引起了我的注意。我喜歡“美有核心”的想法，當我思考建築時，“美”和“核心”有聯繫的想法讓我覺得熟悉。據說威廉姆斯說過“機器是一種沒有多餘部分的東西”。我立刻認為我明白了他的意思。我覺得，這是彼得•漢德克（Peter Handke） 暗指的想法，當他說美存在于自然的、長成的東西，它們不帶有任何符號或資訊，當他接著說他不能發現事物對他自己的意義時他很難過。
And then I learned from the radio program that the poetry of William Carlos Williams is based on the conviction that there are no ideas except in the things themselves, and that the purpose of his art was to direct his sensory perception to the world of things in order to make them his own.
我從廣播節目聽到的威廉•卡洛斯•威廉姆斯的詩是基於這樣的確信(信念)：除了事物自身，再也沒有想法（ideas），他的藝術目的是將其感官知覺貫注在物質世界上，以便擁有它們。
In Williams's work, said the speaker, this takes place seemingly unemotionally and laconically, and it is precisely for this reason that his texts have such a strong emotional impact.
節目主持人說，在威廉姆斯的作品裡，這看起來沒有感情地、簡潔地發生著，正因如此，他的文字有如此強烈的情感衝擊力。
What I heard appeals to me: not to wish to stir up emotions with buildings, I think to myself, but to allow emotions to emerge, to be. And: to remain close to the thing itself, close to the essence of the thing I have to shape, confident that if the building is conceived accurately enough for its place and its function, it will develop its own strength, with no need for artistic additions. The hard core of beauty: concentrated substance.
我所聽到的要求我：不能期望將情感和建築攪在一起，我自忖，而是讓情感形成、出現。同時，保持接近事物本身，靠近我不得不賦形的事物的基本（本質、基質），並相信：如果建築被足夠精確地為它的場地和功能考慮過，它將逐步形成它自身的力量，不需要任何的美化。美之核心：被濃縮的成分。
But where are architecture's fields of force that constitute its substance, above and beyond all superficiality and arbitrariness?
可是，在所有表相和隨意之上，真正構成建築學實質力量的領域在哪裡呢？
ltalo Calvino tells us in his Lezioni americane about the Italian poet Giacomo Leopardi who saw the beauty of a work of art, in his case the beauty of literature, in its vagueness, openness, and indeterminacy, because this leaves the form open for many different meanings.
伊塔羅•卡爾維諾（ltalo Calvino）在他的《未來千年文學備忘錄》（Lezioni americane）中告訴我們：義大利詩人賈科莫•列奧帕第（Giacomo Leopardi） 看見一件藝術品的美，對他而言則是文字之美，在它的（文字的？藝術品的？）模糊、開放和不確定，因為這使得形式向許多不同意義開放。
Leopardi’s observation seems convincing enough. Works or objects of art that move us are multi-faceted; they have numerous and perhaps endless layers of meaning that overlap and interweave, and that change as we change our angle of observation.
列奧帕第的評論似乎足夠令人信服。打動我們的藝術作品是多面的；它們有許多、也許無數層含義，重疊、交織，隨我們觀察角度的變化而變化。
But how is the architect to obtain this depth and multiplicity in a building of his making? Can vagueness and openness be planned? Is there not a contradiction here to the claim of accuracy that Williams's argument seems to imply?
然而，建築師如何在他設計的房子中得到這種深度和多樣性呢？模糊和開放能被設計嗎？這與威廉姆斯的論點所暗示的精確性不是相矛盾嗎？
Calvino finds a surprising answer to this in a text by Leopardi. Calvino points out that in Leopardi's own texts, this lover of the indeterminate reveals a painstaking fidelity to the things he describes and offers to our contemplation, and he comes to the conclusion: “This, then, is what Leopardi demands of us so that we can enjoy the beauty of the indeterminate and vague! He calls for highly accurate and pedantic attention in the composition of each picture, in the meticulous definition of details, in the choice of objects, lighting, and atmosphere with the aim of attaining the desired vagueness.” Calvino closes with the seemingly paradoxical proclamation: “The poet of the vague can only be the poet of precision!”
在列奧帕第的一段文字中，卡爾維諾找到一個令人驚訝的答案。卡爾維諾指出，在列奧帕第自己的文字裡，這個不確定性的愛好者對他描寫的和提供給我們的預期的事物展示了十分的忠誠，卡爾維諾得出這樣的結論：“這就是列奧帕第對我們的要求，他讓我們品味模糊與不限定的事物的美！他所要求的是確切地、細緻地注意每一個形象的佈局、細節的微細限定、物體的選擇、光照和空氣（氣氛），這一切都是為了達到高度的模糊性。”卡爾維諾以看似荒唐的聲明作結：“朦朧詩人只能是提倡準確性的詩人。”
What interests me in this story reported by Calvino is not the exhortation to precision and patient, detailed work with which we are all familiar, but the implication that richness and multiplicity emanate from the things themselves if we observe them attentively and give them their due. Applied to architecture, this means for me that power and multiplicity must be developed from the assigned task or, in other words, from the things that constitute it.
在卡爾維諾所說的這個故事裡，讓我感興趣的，不是對精確性的提倡和對我們都熟悉的東西的耐心、詳細的工作，而是暗示（含義）：如果我們留意觀察它們，並給予它們相應的權利（足夠的時間），從事物本身放射出來的豐富和多樣性。應用於建築，這對我來說意味著力量和多樣性必須從指定的任務，或者，換句話說，從組成它的東西發展而來。
John Cage said in one of his lectures that he is not a composer who hears music in his mind and then attempts to write it down. He has another way of operating. He works out concepts and structures and then has them performed to find out how they sound.
約翰•凱奇 （John Cage）在他的一次演講中說：他不是一個在腦海裡聽見音樂然後努力寫下來的作曲家。他有另一種工作方式。他作出（設計出）概念和結構，然後請人演奏，看它們聽起來如何。
When I read this statement I remembered how we recently developed a project for a thermal bath in the mountains in my studio, not by forming preliminary images of the building in our minds and subsequently adapting them to the assignment, but by endeavoring to answer basic questions arising from the location of the given site, the purpose, and the building materials - mountain, rock, water - which at first had no visual content in terms of existing architecture.
讀到這段話，我想起最近在我的工作室，我們如何設計發展一個山裡的溫泉浴場項目。我們並不是先在腦海中形成對建築形式的初步設想，然後使之適應任務書；而是盡力回答一些基本問題：給定場地的地理位置、建築目的、建築材料——山、石、水——這些就建成建築來說，一開始並沒有視覺的滿足。
It was only after we had succeeded in answering, step by step, the questions posed by the site, purpose， and material that structures and spaces emerged which surprised us and which I believe possess the potential of a primordial force that reaches deeper than the mere arrangement of stylistically preconceived forms.
在一步一步成功回答了由場地、目的和材料引起的問題以後，結構和空間顯現出來，這令我們驚訝。我所相信的東西（結構和空間），佔有了原始力量的潛力，比僅僅控制風格地預設形式觸及更深。
Occupying oneself with the inherent laws of concrete things such as mountains, rock, and water in connection with a building assignment offers a chance of apprehending and expressing some of the primal and as it were "culturally innocent" attributes of these elements, and of developing an architecture that sets out from and returns to real things. Preconceived images and stylistically pre-fabricated form idioms are qualified only to block the access to this goal.
專注于類似山、石、水等具體事物的內在法則與房子的聯繫提供了一個機會：領會並表達一些最初（最基本、最原始）的東西，因為正是那些要素的“非文化”品質，也是深化一個“從真實事物出發並回歸到它們”的建築的機會。預設圖像和風格化預想形式的習慣只會阻礙這個目標的實現。
My Swiss colleagues Herzog and de Meuron say that architecture as a single whole no longer exists today, and that it accordingly has to be artificially created in the head of the designer, as an act of precise thinking. The two architects derive from this assumption their theory of architecture as a form of thought, an architecture that, I suppose, should reflect its cerebrally conceived wholeness in a special way.
我的瑞士同行赫佐格和德穆隆（Herzog and de Meuron）說，今天，作為單一整體的建築已不復存在了，因此，它必須作為一個精確思考的動作，在設計者的腦海裡被人工創造。這兩位建築師從這個假設衍生出他們的理論：建築是一種思想（思維）的形式。我推測，他們是說：一個建築，可以用一種特殊的方式反映出它被理性地思考過的整體。
I do not intend to pursue these architects' theory of architecture as a form of thought, but only the assumption on which it is based, namely that the wholeness of a building in the old sense of the master builders no longer exists.
我不打算追隨這些建築師“建築作為思想的一種形式”的理論，只是將假設立於其基礎之上，也就是說，在工頭的舊有感覺中的一個建築整體不再存在了。
Personally, I still believe in the self-sufficient, corporeal wholeness of an architectural object as the essential, if difficult, aim of my work, if not as a natural or given fact.
我個人仍堅信，一個建築物那種自給自足的物質整體是我工作的基本目標。如果這很難，如果不是自認的或給定的事實。
Yet how are we to achieve this wholeness in architecture at a time when the divine, which once gave things a meaning, and even reality itself seem to be dissolving in the endless flux of transitory signs and images?
然而，我們如何在建築中達到這個整體呢？在這個時代，牧師（以前賦予事物意義的人），甚至事實（真相）本身，看起來都要在短暫的符號和圖像的無盡變遷中消退。
Peter Handke writes of his endeavors to make texts and descriptions part of the environment they relate to. If I understand him correctly, I am confronted here not only by the all-too-familiar awareness of the difficulty of eliminating artificiality in things created in an artificial act and of making them part of the world of ordinary and natural things, but also by the belief that truth lies in the things themselves.
彼得•漢德克努力將文字和描述變成其環境的一部分。如果理解得沒錯，我就不僅面臨了眾所周知的在人工創造的事物中消除人工和使它們成為平凡和自然的世界的一部分的困難，而且面臨了真理存在於事物本身的信念。
I believe that if artistic processes strive for wholeness, they always attempt to give their creations a presence akin to that found in the things of nature or in the natural environment.Consequently, I find that I can understand Handke, who in the same interview refers to himself as a writer about places, when he requires of his texts that “there should be no additives in them, but a cognizance of details and of their interlinking to form a factual complex.”
我相信如果藝術處理趨向整體化，他們總是試圖給其作品一個類似在自然事物或在自然環境之中的出現（在場）。因此，我覺得我能理解漢德克，在同一個訪談裡，他稱自己為一個關於場所（places）的作家，要求他的文字“它們不宜有任何添加，而是一個對細節和它們連接形成的事實複合體（factual complex）的認識”。
The word Handke uses to designate what I have here called a factual complex, namely Sachverhalt, seems to me to be meaningful with regard to the aim of whole and unadulterated things: exact factual contents must be brought together, buildings must be thought of as complexes whose details have been rightly identified and put into a factual relationship to each other. A factual relationship!
漢德克用來標明在此被我稱為事實複合體的詞，即“事態 （Sachverhalt）”，對我來說是有意義的，關於整體的目標和沒有摻雜的事物：準確的實際內容必須被帶到一起，房子必須被考慮為複合體，它們的細部被恰當地鑒別，並放入一個實際（事實）的相互關係中。一個實際（事實）的關係！
The point that emerges here is the reduction of the contents to real things. Handke also speaks, in this context, of fidelity to things. He would like his descriptions, he says, to be experienced as faithfulness to the place they describe and not as supplementary coloring.
這裡浮現的要點是真實事物內容的還原。漢德克也在這個上下文中說到對事物的忠實。他說，他喜歡他的描述被感受為忠實於它們描述的場景，而不是增添的色彩。
Statements of this kind help me to come to terms with the dissatisfaction l often experience when I contemplate recent architecture. I frequently come across buildings that have been designed with a good deal of effort and a will to find a special form, and I find I am put off by them. The architect responsible for the building is not present, but he talks to me unceasingly from every detail, he keeps on saying the same thing, and I quickly lose interest. Good architecture should receive the human visitor, should enable him to experience it and live in it, but it should not constantly talk at him.
這類陳述幫助我與我思考新近的建築時經常經歷的不滿達成協議。我常常遇到一些房子，它們被用許多“成果（努力）”和“發現一種特殊形態”的願望設計而成，我發現自己被它們分心。房子的建築師並不在場，但他不斷地通過每個細部與我交談，他繼續說著同一件事，我很快失去了興趣。好建築可以接待來訪者，讓他體驗，生活其中，但不用一直與他交談。
Why, I often wonder, is the obvious but difficult solution so rarely tried? Why do we have so little confidence in the basic things architecture is made from: material, structure, construction, bearing and being borne, earth and sky, and confidence in spaces that are really allowed to be spaces - spaces whose enclosing walls and constituent materials, concavity, emptiness, light, air, odor, receptivity, and resonance are handled with respect and care?
我常常想，為什麼這個明顯但困難的解決方式很少被採用？為什麼我們對組成建築的基本事物（材料、結構、構造、受力、施力、地面和天空）如此缺乏信心？對那些真正被認為是空間的空間（這些空間的圍護牆體、組成的材料、凹度、空、光、空氣、氣味、接受能力（感受性）和共鳴被尊重和謹慎地對待）缺乏信心？
I personally like the idea of designing and building houses from which I can withdraw at the end of the forming process, leaving behind a building that is itself, that serves as a place to live in and a part of the world of things, and that can manage perfectly well without my personal rhetoric.
我個人喜歡從這個想法出發，設計和建造房子：在形成過程最後我能退出，留下房子是它自己，作為一個可以居住的地方，作為世界的一部分，它能很好的處理，而沒有我的花言巧語。
To me, buildings can have a beautiful silence that I associate with attributes such as composure, self-evidence, durability, presence and integrity, and with warmth and sensuousness as well; a building that is being itself, being a building, not representing anything, just being.
對我來說，使我聯想到沉著、自信、耐久、風度和正直等品質，同時熱情而感性的房子能顯露出一種優美的靜謐；一個房子正在成為它自己，成為一個房子，而不是扮演任何東西，只是成為。
Say that it is a crude effect, black reds,
Pink yellows, orange whites, too much as they are
To be anything else in the sunlight of the room.
Too much as they are to be changed by metaphor,
Too actual, things that in being real
Make any imaginings of them lesser things.
說這是種原初的效果，黑紅，
粉黃，橙白，太過本來面目
無法成為屋裡陽光下的其它，
太過本來面目無法被隱喻更改，
太過確實，那些真實的事物
從來都使對他們的想像相形見絀。
This is the beginning of the poem Bouquet of Roses in Sunlight by the American poet of quiet contemplation, Wallace Stevens.
這是美國詩人華萊士•史蒂文斯的詩《陽光下的玫瑰》 的開始。
Wallace Stevens, I read in the introduction to his collection of poems, accepted the challenge of looking long, patiently, and exactly and of dis-covering and understanding things. His poems arc not a protest or a complaint against a lost law and order, nor are they the expression of any sort of consternation, but they seek a harmony which is possible all the same and which - in his case - can only be that of the poem. (Calvino goes a step further along this line of thought in an attempt to define his literary work when he says that he has only one defense against the loss of form that he sees all around him: an idea of literature.)
華萊士•史蒂文斯，我讀了他的詩集的介紹（導言），挑戰 長遠、耐心地、正確（嚴密）、發現、理解事物。他的詩不是對消失（lost）的法則和秩序的抗議或抱怨，也不是任何一種驚惶失措的表達，而是尋求協調，協調對他而言可能只是想這首詩那樣，（卡爾維諾在這條線索下走得更遠一步，他努力定義他的文學作品，他說他只有一個防衛形態的遺失，這個防衛在他周圍無處不在：文學的想法。）
Reality was the goal to which Stevens aspired. Surrealism, it appears, did not impress him, for it invents without discovering. He pointed out that to portray a shell playing an accordion is to invent, not discover. And so it crops up once again, this fundamental thought that I seem to find in Williams and Handke, and that I also sense in the paintings of Edward Hopper: it is only between the reality of things and the imagination that the spark of the work of art is kindled.
史蒂文斯渴望的目標是真實。看起來超現實主義並沒有打動他，因為它未發現卻發明了。他指出，描繪一個shell彈手風琴是發明而不是發現。所以，這個我在威廉斯和漢德克那裡找到，也在愛德華•霍珀（Edward Hopper） 的繪畫中感受到的基本想法又一次突然出現：只有在事物的真實（事實）和想像之間，藝術作品的火花才能被燃起。
If I translate this statement into architectural terms, I tell myself that the spark of the successful building can only be kindled between the reality of the things pertaining to it and the imagination. And this is no revelation to me, but the confirmation of something I continually strive for in my work, and the confirmation of a wish whose roots seem to be deep inside me.
如果將這個說法翻譯成建築語彙，我告訴自己成功建築的火花只能在它固有的事實和想像之間被點燃。這與我無關，但我一直試圖在工作中確認一些事情，這願望根植我內心深處。
But to return to the question one final time: where do I find the reality on which I must concentrate my powers of imagination when attempting to design a building for a particular place and purpose?
但是，最後一次回到這個問題：我在哪裡找到事實？當我試圖為一個獨特的場所和目的設計一個房子，我必須集中想像的力量在此事實之上。
One key to the answer lies, I believe, in the words "place" and "purpose" themselves.
我相信，答案的關鍵在於“場所”和“目的”這兩個詞本身。
In an essay entitled "Building Dwelling Thinking," Martin Heidegger wrote: "Living among things is the basic principle of human existence." which I understand to mean that we are never in an abstract world but always in a world of things, even when we think. And, once again Heidegger: "The relationship of man to places and through places to spaces is based on his dwelling in them."
在一篇題為《築•居•思》的文章中，馬丁•海德格爾寫到：“在事物（物質）之間生活是人類存在的基本法則。”我的理解是：我們從不在抽象世界中，而總是在一個事物（物質）的世界，甚至我們思考的時間。海德格爾還說到：“人與場地的關係，通過場地到空間，是基於它們中他的居所。”“人與位置的關聯，以及通過位置而達到的人與諸空間的關聯，乃基於棲居之中。”
The concept of dwelling, understood in Heidegger's wide sense of living and thinking in places and spaces, contains an exact reference to what reality means to me as an architect.
在海德格爾在場所和空間對生活和思想的寬闊理解（wide sense）裡，棲居的概念，對於作為建築師的我來說，包含了一個準確的說明。
It is not the reality of theories detached from things, it is the reality of the concrete building assignment relating to the act or state of dwelling that interests me and upon which I wish to concentrate my imaginative faculties. It is the reality of building materials, stone, cloth, steel, leather… - and the reality of the structures l use to construct the building whose properties I wish to penetrate with my imagination, bringing meaning and sensuousness to bear so that the spark of the successful building may be kindled, a building that can serve as a home for man.
不是從事物中分離出來的理論的事實（reality），而是具體的建築任務涉及到的棲居的行為或狀態引起了我的興趣，並期望將自己的想像力集中於此。這是建築材料的事實，石頭、布料、鋼、皮革……——也是結構的事實。我習慣建造這樣的房子：我希望它的性質深入於我的想像，帶來意義和能感受的知覺，這樣，成功的建築的火花才會被點燃，一個房子可以成為一個人的家。
The reality of architecture is the concrete body in which forms, volumes, and spaces come into being. There are no ideas except in things.
建築的事實（reality）是具體的body，形態、體積和空間產生於其中。想法只存在於事物之中。

From passion for things to the things themselves
從對事物的熱情回歸事物本身 (從熱情到事物本身)


It is important to me to reflect about architecture, to step back from my daily work and take a look at what I am doing and why I am doing it. I love doing this, and I think I need it, too. I do not work towards architecture from a theoretically defined point of departure, for I am committed to making architecture, to building, to an ideal of perfection, just as in my boyhood I used to make things according to my ideas, things that had to be just right, for reasons which I do not really understand. It was always there, this deeply personal feeling for the things I made for myself and I never thought of it as being anything special. It was just there.
反思建築學對我來說很重要，從日常工作往回走幾步，看看我正在做什麼，為什麼在做。我喜歡這麼做，而且認為需要這麼做。我並不以理論界定的起點出發設計建築，因為我致力於創造（設計）建築、建造、創造完美事物的理想，就像兒時我總是製造符合自己想法的東西一樣，必須恰到好處，因為那些我並不真正理解的原因。它總是在那兒，這種對為自己做的東西的深刻個人感覺，我從不認為它有什麼特殊。它只是在那兒。
Today, I am aware that my work as an architect is largely a quest for this early passion, this obsession, and an attempt to understand it better and to refine it. And when I reflect on whether I have since added new images and passions to the old ones, and whether I have learned something in my training and practice, I realize that in some way I seem always to have known the intuitive core of new discoveries.
今天，我意識到作為一個建築師，我的工作很大程度上是在尋求這種早年的熱情、這種執著，並且嘗試更好地理解它、精煉它。當我反省我是否對舊有事物增加了新的圖像和熱情，是否在學習和實踐中學到了什麼，我認識到，在某些方面我似乎總是已經知道了新發現的直觀核心。

Places
場所
I live and work in the Graubünden in a farming village surrounded by mountains. I sometimes wonder whether this has influenced my work, and the thought that it probably has is not unpleasant.
我工作並生活在格勞賓登州（Graubünden）一個群山環抱的村莊。有時我會想，是不是這個影響了我的工作。“或許是”的想法並不壞。
Would the buildings I design look different if, instead of living in Graubünden, I had spent the past 25 years in the landscape of my youth on the northern foothills of the Jura mountains, with their roiling hills and beech woods and the familiar, reassuring vicinity of the urbane city of Basel?
如果不是在格勞賓登，我就在我年輕時所在的Jura山北部的丘陵地區生活了25年。那裡有令人激動的山和山毛櫸森林，還有熟悉可靠的文雅之城巴塞爾（Basel）。這樣，我設計的房子看起來會不同嗎？
As soon as I begin to think about this question. I realize that my work has been influenced by many places.
一開始思考這個問題，我就意識到我的工作（作品）受到了許多地方的影響。
When I concentrate on a specific site or place for which I am going to design a building, when I try to plumb its depths, its form, its history, and its sensuous qualities, images of other places start to invade this process of precise observation: images of places that I know and that once impressed me, images of ordinary or special places that I carry with me as inner visions of specific moods and qualities; images of architectural situations, which emanate from the world of art, of films, theater or literature.
當我集中注意力在要設計房子的特殊場地（site）或場所（place）時，如果我試圖探究它的深度、形式、歷史和感官特性，其它的圖像開始湧入這個精確的觀察過程：我所知道的、曾給我留下印象的場所的圖像，有著特殊情緒和品質、作為我內心景象跟隨著我的平常或特別的場所的圖像；藝術、電影、戲劇或文學中的建築場景的圖像。
Sometimes they come to me unbidden, these images of places that are frequently at first glance inappropriate or alien, images of places of many different origins. At other times I summon them. I need them, for it is only when I confront and compare the essentials of different places, when I allow similar, related, or maybe alien elements to cast their light on the place of my intervention that the focused, multifaceted image of the local essence of the site emerges, a vision that reveals connections, exposes lines of force and creates excitement. It is now that the fertile, creative ground appears, and the network of possible approaches to the specific place emerges and triggers the processes and decisions of design. So I immerse myself in the place and try to inhabit it in my imagination, and at the same time I look beyond it at the world of my other places.
有時，它們不請自來，這些場所的圖像乍看起來常常不相稱或相反，是許多不同起源（原點）的場所的圖像。在其它時候，我招集（收集）它們。我需要它們，因為只有當我面臨並對比不同場所的本質（要點）時，當我允許（許可）相似的、相關的或者相反的元素（要素）將它們的光芒投射到我所介入的場所（場地）上時，場地當地基本的許多方面的圖像才浮現出來，一個揭示關係，表達受力的線（揭露力量的詩句），並創造愉悅的景象。就在此刻，豐饒的、創造性的沃土顯現了，通往特殊場所的可能途徑的網路出現了，引發了設計的過程和抉擇。這樣，我讓自己沉浸於場地，並試圖在想像中棲居於此，同時，從我的其它場所遠觀它。
When I come across a building that has developed a special presence in connection with the place it stands in, I sometimes feel that it is imbued with an inner tension that refers to something over and above the place itself.
當見到一棟與它所在的場地有關、設計得很特別房子，我有時會覺得它充滿了一種內部張力，這張力談到一些關於場地自身的事情。
It seems to be part of the essence of its place, and at the same time it speaks of the world as a whole.
它看起來像是其場所的基本（本質）部分，同時表明這個世界是一個整體。
When an architectural design draws solely from tradition and only repeats the dictates of its site, I sense a lack of a genuine concern with the world and the emanations of contemporary life. If a work of architecture speaks only of contemporary trends and sophisticated visions without triggering vibrations in its place, this work is not anchored in its site, and I miss the specific gravity of the ground it stands on.
當一個建築設計單單從傳統吸取養分，只是重複其場地的指令，我認為這缺乏對世界和當代生活真正的關心。如果一個建築作品只談及當代的時尚和複雜的視覺，而沒有在其場所引起共鳴，這個作品就沒有被錨定在它的場地上，我也錯過了它所在的土地的特殊引力。

Observations
觀察
1 We were standing around the drawing table talking about a project by an architect whom we all hold in high regard. I considered the project interesting in many ways. I mentioned several of its specific qualities and added that some time previously I had laid aside my positive prejudice, which sprang from my high estimation of the architect, and taken an unbiased look at the project. And I had come to the conclusion that, as a whole, l did not really like it. We discussed the possible reasons for my impression and came up with a few details without arriving at a valid conclusion. And then one of the younger members of the group, a talented and usually rationally minded architect, said: "It is an interesting building for all sorts of theoretical and practical reasons. The trouble is, it has no soul."
1 我們站在繪圖桌周圍，討論一個我們都非常尊敬的建築師的方案。我認為這個方案從很多方面都很有意思。我說起它的幾個特殊的品質，我接著說，以前有時我放棄自己實際的偏見是源於對這個建築師的高度尊重，同時也公平地看待這個方案。我已經得出這樣的結論：總的來說，我並不真正喜歡它。我們討論起讓我有這種印象的可能原因，並提出一些並沒有得出結論的細節。這時，一個比較年輕的成員，一個有才華並總是理性思考的建築師，說：“因為各種理論和實踐的原因，這是一個有意思的房子。問題是：它沒有靈魂。”
Some weeks later, I was sitting outdoors drinking coffee with my wife and discussing the issue of buildings with a soul. We talked about several works of architecture that we knew, and described them to each other. And when we recalled buildings that had the characteristics we were looking for and pinpointed their special qualities, we became aware that there are buildings that we love. And whereas we knew almost at once which ones belonged to the special category in which we were interested, we found it difficult to find a common denominator for their qualities. Our attempt to generalize seemed to rob the individual buildings of their splendor.
幾周後，我和我妻子坐在室外，邊喝咖啡邊談論著有靈魂的房子。我們討論了我們知道並互相描述過的幾個建築作品。當回憶有著我們尋找並精確識別其特殊品質的特徵時，我們開始意識到那些是我們喜歡的房子。然而，我們幾乎立刻知道了哪些屬於我們感興趣的特殊種類，我們發現很難為它們的品質找到一個共同的標準。我們對概括的努力看起來剝奪了這些建築單體的光彩。
But the subject continued to prey on my mind, and l resolved to try and write some brief descriptions of architectural situations that I love, fragmentary approaches based on personal experiences that have a connection with my work, and in so doing to move within the same mental framework in which I think when I am concerned with generating the essentials of a work of my own.
可是，這個問題持續侵佔我的思想，我決定嘗試寫一些關於我喜歡的建築境遇的簡短描述，基於與我工作有關的個人經歷的片段的方法。這樣，當我參與生成我最近的作品的要點（實質）時，我才能在我賴以思考的思維結構中遊移。
2 The main rooms of the small mountain hotel overlooked the valley on the broad side of the long building. It had two adjacent wood-paneled reception rooms on the ground floor, both of them accessible from the corridor and connected by a door. The smaller of them looked like a comfortable place in which to sit and read, and the larger one, with five well-placed tables, was clearly the place in which meals were served. On the first floor there were bedrooms with deep, shady wooden balconies, on the second floor more bedrooms opening onto terraces.
2 這個小小的山地旅館的主要房間俯瞰著山谷，山谷在這長長的建築寬闊的一邊。旅館在首層有兩個相鄰的鑲木板的接待室，都可以從走廊方便到達，兩間房通過一扇門相連。其中小一點的那個看起來像一個可以用來坐和閱讀的舒適場所，大一點的那個有五張精心佈置的桌子，很顯然是用餐的地方。二層有一些客房，有深深的、有蔭的木陽臺，在三層有更多的客房，它們都向露臺開敞。
I would enjoy looking at the open sky from the upper rooms, I thought, as we approached the hotel for the first time. But the thought of staying in one of the first floor rooms and reading or writing in the intimate atmosphere of the shady balcony in the late afternoon seemed no less inviting.
當我們第一次到達這個旅館時，我想，我應該會很享受從樓上的房間看著開敞的天空。可是，呆在二樓的房間，在有樹蔭的陽臺那私密的氣氛中讀書、寫作的想法似乎也不乏吸引。
There was an opening in the wall at the foot of the staircase leading from the upper floors to the entrance. A serving hatch. In the early afternoons it held fruit flans and white plates for the guests. The smell of the fresh flans took us by surprise as we came down the stairs, and kitchen noises issued from the half-open door of the opposite room.
在樓梯間牆角有一個開口，從上層通向入口。一個服務出口。在午後，放置為客人準備的水果餡餅和白盤子。當我們走下樓梯時，新鮮餡餅的香味使我們驚喜，廚房的噪音從對面房間半開的門裡傳出來。
After a day or two we knew our way around. There were deck chairs stacked along the side of the hotel, which adjoins the meadow. A little way away, in the half shadow at the edge of the wood, we noticed a woman sitting in a deck chair, reading. We picked up two of the chairs and looked for a spot of our own. During the day we usually drank our coffee at one of the wooden folding tables on the narrow veranda at the front. They were hinged at regular intervals along the front parapet. Good places to sit, these small tables clinging to the edge of the veranda; the sill was just the right height for use as an elbow rest.
一兩天后，我們熟悉了周圍的路。沿旅館一側疊放著折疊躺椅，旅館毗鄰著牧場。不遠處，在樹林邊緣的樹蔭裡，我們注意到一個婦人坐在躺椅上看書。我們拿起兩個椅子，為自己找了一個地方。白天，我們總是在前面狹窄的走廊上放的木折疊桌喝咖啡。木桌被以通常的間距鉸接在前欄板（低牆）上。這是很好的小坐之處，這些小木桌依靠（依附）在走廊的邊緣；窗臺恰好是一個可以休息肘部的高度。
Conversations with the other guests usually took place at dusk at the other veranda tables, placed in a row against the facade and protected from the weather by the projecting upper floors. The French window to the veranda was opened after the evening meal; we all stretched our legs and looked out over the valley, and then sat with a drink by the wall that was still warm from the day's sunshine. Once, after the evening meal, we were invited to sit at the large corner table at the far end of the veranda near the entrance. During the day, that spot always seemed to be used by the regulars of the house. I never sat in this niche, which caught the morning sun at the other end of the veranda. On sunny mornings there was usually someone already sitting there, reading.
與其他旅客的交談常常發生在黃昏其它走廊的桌旁。那些桌子對著正面被放成一排，出挑的上層樓板保護它們免受天氣之損。對著走廊的落地長窗在晚餐後被打開；我們都伸展腿，向外看看山谷，然後拿著飲料靠牆坐下，因為白天的太陽，牆體仍然溫暖。一次，晚飯之後，我們被邀請坐在入口附近走廊盡端那張大轉角桌（corner table）。白天，那個地方似乎總是房子的老顧客（自家人）使用。走廊另一端還能捕捉到早晨的陽光，我從未在那個舒適的地方（niche）坐過。陽光明媚的早晨，總是早已有人坐在那兒看書了。
When I think about buildings that provide me with natural spatial conditions appropriate to the place, to the daily routine, my activities and the way I am feeling, when I conjure up mental pictures of works of architecture that give me space to live and seem to anticipate and satisfy my needs, this mountain hotel always comes to mind. It was designed by a painter for himself and his guests.
當我思考“能給我適於場地，適於日常事物，適於我的活動和感受方式的自然空間環境”的房子時，當我召喚（conjure up）“給我居住空間，就像預見並滿足了我的需求”的建築作品的思維景象時，這個山地旅館總是出現在我的腦海。是一個畫家為他和他的客人們設計的。

3 Our first impression of the outside of the restaurant made us hopeful that we had found something better than the other places along the main road of the tourist village. We were not disappointed. Entering through the narrow porch, which, as it turned out, was built from the inside behind the main door like a wooden shed, we found ourselves in a large, high-ceilinged, hall-like room, its walls and ceiling lined with dark, mat, gleaming wood: regularly placed frames and panels, wainscoting, cornices, indented joists resting on brackets with ornamental scrolls.
3 餐館外表面給我們的第一印象使我們滿懷希望：我們已經找到了比沿著旅者之村主路的其它地方更好的。我們沒有失望。穿過狹窄的門廊（走廊）（門廊在像木棚一樣的正門後，是從裡往外建起來的）進來，我們發現自己身在一個巨大的、天花很高、像大廳一樣的房間，它的牆和天花板排列著深色、亞光、若隱若現的木頭：被規律佈置的框架和麵板、壁板、簷口、有卷形裝飾的托架上搭著的齒狀托架。
The atmosphere of the room seemed dark, even gloomy, until our eyes grew accustomed to the light. The gloom soon gave way to a mood of gentleness. The daylight entering through the tall, rhythmically placed windows lit up certain sections of the room, while other parts, which did not benefit from the reflection of the light from the paneling, lay withdrawn in half-shadow.
這間房間的氣氛似乎很隱秘，甚至陰沉，直到我們的眼睛習慣了這裡的光線。過了一會，這陰暗讓步於柔和的情緒。日光通過有節奏地設置的高窗照進來，照亮了房間的某些部分，而其它部分不能受益於面板的反光，孤獨地呆在陰影裡。
As soon as I entered the room my eye was caught by an extension in the center of the long outer wall, a semi-circular bulge large enough to accommodate five tables along the curved wall by the windows. The floor of the room-height niche was on a slightly higher level than the rest of the hall. No doubt about it, I thought, this was where I wanted to sit. Two of the tables were still free. The people sitting there, doubtless ordinary guests of the restaurant, had a privileged air about them.
我一進入這間房，眼睛立刻被在長長的外牆中心的一個加建部分所吸引，一個半圓的突出部分大得足夠容納五張桌子，沿著窗邊的曲牆。這個地方（niche）層高和其它部分一樣高，地面則高一點。勿庸置疑，我想，這是我想坐的地方。其中的兩張桌子還是空的。人們坐在那裡（無疑都是平常的客人），有一種有特權的神情。
We hesitated and finally decided on a table in the almost empty main part of the hall. Yet we hesitated again, and instead of sitting down we went in search of service. After a while a girl appeared through a door in the paneling of the inner wall and led us to a table in the niche. We sat down. The slight feeling of irritation occasioned by our arrival soon abated. We lit our first cigarettes and ordered some wine.
我們猶豫了，最後決定坐在廳裡幾乎空著的主要部分的一張桌子。可我們又猶豫了，沒有坐下來，而是去請求服務。過了一會兒，一個女孩從一扇門裡出來（門在有面板的內牆上），把我們引到那個地方（niche）。我們坐下。被我們的到來引起的抱怨很快緩和了。我們拿出第一支香煙，並要了些酒。
At the next table two women were holding an animated conversation. One of them was speaking American, the other Swiss German. Neither of them spoke a word in the other's language. The voices of the people in the group at the next table but one sounded pleasantly far away. I looked around and gradually absorbed the mood. I felt at ease sitting in the light of one of the windows, which now seemed taller than ever, and looking into the darkened expanse of the hall. The other guests, busy with their conversations and their meals, also seemed happy to be sitting there; they behaved naturally, undisturbed by other people's presence, with an unconstrained considerateness for their fellow guests which lent them an air of dignity. Occupied as I was with my own activities, my gaze nevertheless alighted occasionally on other faces, and I realized that I liked the feeling of their proximity - in this room in which we all looked our best.
臨桌有兩個女人正愉快地交談。她們一個說美語，一個說瑞士德語，交談過程中，沒有一個人說另一個的語言。接著那桌有一群人，但聲音聽起來像一個人在很遠說話。我看看四周，逐漸接受（absorbed）了這種狀態（情緒）。我坐在一扇窗的陽光下，感到很自在（安逸），（那扇窗現在看起來比已往都高）。我看著廳裡被變暗的廣闊區域。其他客人忙於他們的談話和食物，似乎很高興能坐在那兒；他們舉止自然，沒有受到其他人在場的干擾，對同來的客人自發的體諒給了他們高貴的風度。Occupied as I was with my own activities,我的視線偶爾落在其他人臉上，我認識到我喜歡他們的親近的感覺——在這個房間，我們看起來都是最好的狀態。

4 Driving along a road on the coast of California, we finally arrived at the school that was listed in the architectural guide: a sprawling complex or pavilions spread out over a large expanse of flat land high over the Pacific. Barely any trees, karstic rock thrusting through the turf, a few houses in the immediate vicinity. The rows of tall, single-storey buildings with flat, projecting roofs were connected by asphalt paths covered by concrete slabs on steel columns, and the regular arrangement of the paths and pavilions which appeared to accommodate the classrooms was periodically interrupted by buildings with a special function at which we could only guess. It was during the school holidays, and the complex was deserted. The windows were set high up in the walls and it was hard to see into the classrooms. We came across a large metal door to a side courtyard which seemed to belong to one of the classrooms. It was slightly open, and we managed to catch a glimpse of a room with desks and a blackboard. It was plainly furnished. The walls and the floor showed signs of intensive use, and the daylight entering through the high windows lent the room an atmosphere that was both concentrated and gentle.
4 我們沿著加利福尼亞海濱的道路前行，最後到達建築指南上的那個學校：一個不規則伸展的綜合體，或說是在太平洋上一塊平坦的高地上展開的建築群（pavilions）。幾乎沒有樹，喀斯特岩石在草皮上延伸，一些住宅就在旁邊。一排排高高的、出挑平頂的單層建築被用瀝青小路聯繫起來，用鋼柱支撐的混凝土厚板遮在路上方，小路和看起來是容納教室的建築的規則排列被一些房子週期性地打斷，我們猜測這些房子有特殊的功能。當時學校正在放假，綜合體空無一人。窗被高高地置於牆的高處，很難看到教室的內部。我們偶然看見一扇巨大的金屬門，通向一個側院，這院子看起來屬於其中一個教室。門微開著，我們瞥見一個有課桌和黑板的房間。它被有計劃地佈置了傢俱（It was plainly furnished）。牆面和地面給了房間一種既專注又文雅的氣氛。
Protection from the sun, shelter from the wind and rain, an intelligent approach to the issue of lighting, I thought, and I was aware that I had by no means grasped all the specific qualities of this architecture - the straightforward simplicity of its structure, for example, which was reminiscent of industrial precast concrete constructions, or its spaciousness, or its lack of the pedantic refinements that abound in schools in Switzerland.
免受日曬，遮風避雨，巧妙的採光方式，我想；我明白我絕沒有領會這個建築所有的特殊品質——它的結構直接、樸素（例如，使人聯想到預製混凝土建築），還有它的空間感，還有對瑞士大量學校都存在的教條的精巧的缺乏。
My visit had been worthwhile. Once again, I resolved to begin my work with the simple, practical things, to make these things big and good and beautiful, to make them the starting point of the specific form, like a master builder who understands his métier.
我們的參觀是值得的。我又一次決定從簡單、實際的東西開始做設計。讓這些事物變大、變好、變美，讓它們變成特殊形式的起點，就像能理解他的職業的工長一樣。

5 At the age of eighteen, when I was approaching the end of my apprenticeship as a cabinetmaker, I made my first self-designed pieces of furniture. The master cabinetmaker or the client determined the form of most or the furniture made in our shop, and I seldom liked it. I did not even like the wood we used for the best pieces: walnut. I chose light-colored ash for my bed and cupboard, and I made them so that they looked good on all sides, with the same wood and the same careful work hack and front. I disregarded the usual practice of expending less time and care on the back because no one ever sees it anyway. At long last I was able to round off the edges only slightly without being corrected, running the sandpaper swiftly and lightly over the edges to soften their sharpness without losing the elegance and fineness of the lines. I barely touched the corners where three edges meet. l fitted the door of the cupboard into the frame at the front with a maximum of precision so that it closed almost hermetically, with a gentle frictional resistance and a barely audible sound of escaping air.
5 十八歲那年，是我作為細木工學徒的最後時段，我第一次做了自己設計的傢俱。傢俱工長或甲方決定我們店裡大部分傢俱的形式，但很少有我喜歡的。我甚至不喜歡我們為最好的傢俱所用的木頭：胡桃木。我為我的床和櫥櫃選擇了淺灰色，並製作好，因此它們從所有面看起來都很好，前後都用相同的木頭和同樣精細的手工。我不顧通常為了花費更少時間的做法，而是去關注沒人能看到的背面。最後，我終於可以只需要輕微地修修邊緣，而不需要被更正，不需要又輕又快地用砂紙打磨邊緣來柔化它們的銳利，不會失去線條的高雅和出色。我幾乎觸摸不到有三個邊緣交匯的角。我使櫥櫃門最大限度地適合前面的結構（框frame），因此它關上時基本密封了，帶著溫和的摩擦力和幾乎聽不見的排氣聲。
I felt good working on this cupboard. Making the precisely fitting joints and exact shapes to form a whole, a complete object that corresponded to my inner vision, triggered in me a state of intense concentration, and the finished piece of furniture added a freshness to my environment.
製作這個櫥櫃讓我感覺良好。製造了恰到好處的節點和精確的形態來形成整體，一個符合我內心景象的完善的物體，觸使我進入一個高度集中的狀態，這個完成件為我的環境注入了新鮮空氣。

6 The idea is the following: a long, narrow block of basalt stone projecting a good three stories out of the ground. The block is hollowed out on all sides until only a long middle rib and a number of transverse, horizontal ribs remain. Seen in cross-section, the imagined block now looks like a geometrical tree or the letter T with three horizontal strokes: a stone object on the outskirts of the Old Town, dark, almost black, mat, gleaming – and at the same time the load bearing and spatial structure of a three-story building – cast in dark stained cement, jointless, varnished with stone oil, with surfaces that feel like paraffin wax. Door-sized openings in the ribs, simple holes in the stone, expose the sheer mass of the material.
6 想法如下：一條長長的、狹窄的玄武岩長方體將一個三層的房子架離地面。長方體所有的面都被挖空，只保留了一條長中梁（肋）和許多橫向水準梁（肋）。從橫剖面看，想像中的長方體現在看起來像一個幾何形的樹，或者加了三橫的字母T：一個石頭物體在老城鎮的市郊，顏色很暗，近乎黑色，亞光（表面粗糙），發著微光——同時，也是三層房屋的承重及空間結構——用暗斑水泥鑄成，沒有接縫，用石材用油漆好，表面感覺像固體石蠟。肋間門大小的開口，石頭上簡單的孔洞，暴露了材料純粹的品質（mass）。
We handle this stone sculpture with the utmost care, for even at this stage it is already almost the whole building. We design the joints of the boards in which it is cast like a fine network covering all the surfaces with a regular pattern, and we are careful to ensure that the joints arising during the section-wise casting of the concrete will disappear into the network. The thin steel frames projecting from the stone like blades in the middle of the door are intended to hold the wings of the doors, and lightweight glass and sheet metal panels are inserted between the stone consoles of the floor slabs so that the intermediate spaces between the ribs become rooms like glazed verandas.
我們極度小心地對待這個石雕，因為甚至是眼下，它也已經幾乎是整個房子。我們設計了板材的節點，通過它們房子被澆鑄得像一個精美的網路，規則的圖案覆蓋了所有的表面，我們很小心，以確保那些出現在截面方向的混凝土鑄件的節點消失在網格裡。薄鋼結構從那石頭出挑，就像門正中的合頁，是為了支持門扇，輕質玻璃和片狀金屬面板被嵌入樓層水泥板的支架之間，因此肋條之間的空間成為玻璃走廊似的房間。
Our clients are of the opinion that the careful way in which we treat our materials, the way we develop the joints and transitions from one element of the building to the other, and the precision of detail to which we aspire are all too elaborate. They want us to use more common components and constructions, they do not want us to make such high demands on the craftsmen and technicians who are collaborating with us: they want us to build more cheaply.
甲方認為，我們仔細對待材料的方式，我們推進節點的方式，推進從房子的一個元素到另一元素的轉變的方式，還有我們想要取消的細部，都太精細了。他們想讓我們使用更多的常用成分和構造，不想讓我們對與我們合作的工人和技師提如此高的要求：他們想讓我們蓋得更便宜。
When I think of the air of quality that the building could eventually emanate on its appointed site in five years or five decades, when I consider that to the people who will encounter it, the only thing that will count is what they see, that which was finally constructed, I do not find it so hard to put up a resistance to our clients' wishes.
當我想到這房子的品質最終將在它被指定的場地影響五年或五十年，當我考慮到對將要遇到它的人唯一會有價值的是他們看見了什麼、最終建成的是什麼，我並不認為對甲方的期望進行反抗會很難。

7 I revisited the hall with the niche in the end wall that I liked so much and which 1 tried to describe earlier. I was no longer sure whether the floor of the niche was really on a higher level than the rest of the hall. It was not. Nor was the difference in brightness between the niche and the hall as great as I remembered it, and I was disappointed by the dull light on the wall paneling.
7 我再次造訪了之前描述的那個山牆有一個小空間（niche）的大廳，我非常喜歡它。我不再確定那個空間（niche）的地面是否真的比廳裡其它地方高。不是的。那個地方和廳的光線差別也不像我記憶中的那麼大，我對牆面板無趣的光感到失望。
This difference between the reality and my memories did not surprise me. I have never been a good observer, and I have never really wanted to be. I like absorbing moods, moving in spatial situations, and I am satisfied when I am able to retain a feeling, a strong general impression from which I can later extract details as from a painting, and when I can wonder what it was that triggered the sense of protection, warmth, lightness or spaciousness that has stayed in my memory. When I look back like this it seems impossible to distinguish between architecture and life, between spatial situations and the way I experience them. Even when I concentrate exclusively on the architecture and try to understand what I have seen, my perception of it resonates in what I have experienced and thus colors what I have observed. Memories of similar experiences thrust their way in, too, and thus images of related architectural situations overlap. The difference in the floor levels of the niche and the hall could well have existed. Perhaps it even did exist once and was later removed? Or, if it was never there, perhaps it should be added, as an improvement to the room?
現實和記憶的不同並不讓我驚訝。我從不曾是一個好的觀察者，而且我從沒真的想成為那樣。我喜歡吸引人的狀態（吸引人的情緒）、在空間位置移動，當我能保留一種感覺、一個強烈的印象，稍後我能從中提取細節，就像從一幅畫中那樣，我感到滿意。我這樣回首看去，看起來不可能區分建築和生活，區分空間位置和我體驗它們的方式。甚至當我只集中注意力在建築上，並試圖理解我的所見，我對它的感知（理解）與我所體驗的產生共鳴，因此影響到我所觀察的。相似的體驗的回憶也沖進來，這樣，相關的建築情境重疊。那個小空間（niche）和大廳地面的高差原本存在的話就很好。甚至，它也許曾經的確存在，稍後又被移除了？或者，如果它從不存在，也許該被加上，作為對房間的一個改進？
Now I have fallen back into my role as an architect, and I realize once more how much I enjoy working with my old passions and images, and how they help me to find what I am looking for.
現在，我落回到我作為建築師的角色，又一次認識到我是多麼享受和我過去的熱情和圖像一塊工作，而它們又是如何幫助我找到我所尋找的東西的。



Key Words：
Passion： 熱情，激情
Site：場地
Place：場所，場地
Situation：情境，位置
Essential：要點，實質
Mood：狀態，情緒


The body of architecture
建築軀體（建築主體）

Observations, impressions
1 I was interviewed by the curator of the museum. He tried to sound me out by means of clever, unexpected questions. What did I think about architecture, what was important to me about my work – these were the things he wanted to know. The tape recorder was on. I did my best. At the end of the interview, I realized that I was not really satisfied with my answers.
1 我接受了博物館館長的採訪。他試圖用機智、意外的問題試探我。我如何考慮建築，對我來說，工作中什麼是重要的——這些是他想知道的。答錄機開著。我盡了全力。在訪談最後，我意識到對自己的回答並不滿意。
Later that evening, I talked to a friend about Aki Kaurismaiki's latest film. I admire the director's empathy and respect for his characters. He does not keep his actors on a leash; he does not exploit them to express a concept, but rather shows them in a light that lets us sense their dignity, and their secrets. Kaurismaiki's art lends his films a feeling of warmth, I told my colleague - and then I knew what it was I would have liked to have said on the tape this morning. To build houses like Kaurismaiki makes films - that's what I would like to do.
當晚晚些時候，我和一個朋友談起阿基•考利斯馬基(Aki Kaurismaiki) 的最新電影。我欽佩導演的移情作用（神會），尊敬他的故事人物。他不約束演員，不利用他們去表達他的概念，而是把他們展示在一盞燈下，這燈使我們感覺到他們的高貴和秘密。考利斯馬基的藝術（技巧）給了他的電影一種溫暖的感覺，我對我的同事說，然後，我知道了今早在錄音時本該說什麼。像考利斯馬基拍電影一樣蓋房子——這就是我想做的。

2 The hotel in which I was staying was remodeled by a French star designer whose work I do not know because I am not interested in trendy design. But from the moment I entered the hotel, the atmosphere created by his architecture began to take effect. Artificial light illuminated the hall like a stage. Abundant, muted light. Bright accents on the reception desks, different kinds of natural stone in niches in the wall. People ascending the graceful stairway to the encircling gallery stood out against a shining golden wall. Above, one could sit in one of the dress circle boxes overlooking the hall and have a drink or a snack. There are only good seats here. Christopher Alexander, who speaks in Pattern Language of spatial situations in which people instinctively feel good, would have been pleased. I sat in a box overlooking the hall, a spectator, feeling that I was part of the designer's stage set. I liked looking down on the activity below where people came and went, entered and exited. I felt I understood why the architect is so successful.
2 我正逗留的旅館是由一個法國明星建築師改建的。我不瞭解他的作品，因為我對時尚的設計不感興趣。但從我進入旅館的那一刻，他的建築所創造的氣氛就開始見效了。人工光把大廳照得像一個舞臺。大量的、無聲的光（Abundant, muted light）。總服務台（Bright accents on the reception desks），不同種類的天然石塊被放在牆上的壁龕裡。人們順著優美的樓梯上到環形走廊，走廊突出于一片華麗的金色牆壁。在上面，人可以坐在排成環形的包廂之一，俯視大廳，喝點酒或者吃些點心。這兒只有好座位。克裡斯朵夫•亞歷山大（Christopher Alexander）應該會感到非常高興，他在《建築模式語言》裡說到一些空間情境（spatial situations），在那裡人們本能地感覺到愉悅。我坐在一個包廂中俯視大廳，作為一個觀眾（旁觀者），感覺自己是設計師的道具的一部分。我喜歡看著下面，觀察人們的行為，人們來來往往，進進出出。我覺得我明白了這個建築為何如此成功。

3 She bad seen a small house by Frank Lloyd Wright that made a great impression on her, said H. Its rooms were so small and intimate, the ceilings so low. There was a tiny library with special lighting and a lot of decorative architectural elements, and the whole house made a strong horizontal impression which she had never experienced before. The old lady was still living there. There was no need for me to go and see the house, I thought. I knew just what she meant, and I knew the feeling of “home” that she described.
3 H說她曾經見過弗蘭克•羅伊德•賴特（Frank Lloyd Wright）設計的一個小住宅，令她印象深刻。房間那麼小而私密，屋頂那麼低。有一個微型藏書室，有特殊的照明設備和許多建築裝飾元素。整個住宅製造了一種強烈的水準感，這是她從未經歷過的。那個老太太仍然住在那裡。我想，我沒有必要去那裡看那個住宅。我知道她的意思，而且明白她所描述的“家”的感覺。

4 The members of the jury were shown buildings by architects competing for an architectural award. I studied the documents describing a small red house in a rural setting, a barn converted into a dwelling which had been enlarged by the architect and the inhabitants. The extension was a success, I thought. Although you could see what had been done to the house beneath the saddle roof, the change was well modeled and integrated. The window openings were sensitively placed. The old and the new were balanced and harmonious. The new parts of the house did not seem to be saying “I am new,” but rather “I am part of the new whole.” Nothing spectacular or innovative, nothing striking. Based perhaps on a somewhat outdated design principle, an old-fashioned approach attuned to craftsmanship. We agreed that we could not award this conversion a prize for design – for that, its architectural claims were too modest. Yet I enjoy thinking back on the small red house.
4 評審團成員被示以建築師的房子，以評選一個建築獎項。我看了一個蓋在鄉村的小紅房子的資料，房子被建築師和業主由穀倉擴建改造為住所。我認為，這個擴建是成功的。儘管能看見在鞍狀屋頂下房子被如何處理，但改造部分被很好地模仿、結合。窗洞設置得很微妙。新、舊均衡而協調。新的部分看起來不像是在說：“我是新的，”而是“我是新整體的一部分”。沒什麼壯觀的或創新的，也沒什麼突出的。這也許是基於一個稍稍過時的設計原則，一種適於技術的舊有方式。我們同意不給這個改建項目一個設計獎項，因為它的建築主張太過謙虛。可我至今享受著回想那小小的紅房子所帶來的樂趣。

5 In a book about timber construction, my attention was caught by photographs of huge areas of closely packed tree trunks floating on wide expanses of water, I also liked the picture on the cover of the book, a collage of lengths of wood arranged in layers like a cross section. The numerous photos of wooden buildings, despite the fact that they were architecturally commendable, were less appealing. I have not built wooden houses for a long time.
5 在一本講木構建築的書裡，我的注意力被一些照片吸引了，照片裡，大面積包裹好的樹幹浮在寬闊的水面，我也喜歡封面的圖片，是一張拼貼畫：許多段木頭被分層排列得像剖面圖一樣。大量木建築的照片卻不夠引人注目，儘管事實上它們在建築上是值得表揚的。我已經有很長一段時間沒有做木建築了。
A young colleague asked me how I would go about building a house of wood after working for some years with stone and concrete, steel and glass. At once, I had a mental image of a house-sized block of solid timber, a dense volume made of the biological substance of wood, horizontally layered and precisely hollowed out. A house like this would change its shape, would swell and contract, expand and decrease in height, a phenomenon that would have to be an integral part of the design. My young colleague told me that in Spanish, his mother tongue, the words wood, mother, and material were similar: madera, madre, materia. We started talking about the sensuous qualities and cultural significance of the elemental materials of wood and stone, and about how we could express these in our buildings.
一個年輕的同事問我，在用石頭、混凝土、鋼和玻璃工作了一些年之後，我如何著手去蓋一個木建築。我立刻想到這樣的畫面：一塊房子大小的實心木料，一個由木材的生物物質製成的密集的體量，水準分層，並被精確地掏空。一棟這樣的房子會改變它的外形，會增大、縮小，升高、降低，這不得不成為設計的一個主要部分。我的那個同事告訴我，在他的母語西班牙語裡，“木頭”、“母親”和“材料”是相似的：“madera”、“madre”和“materia”。我們開始談論木、石這些自然材料的感官品質和文化意義，談論怎樣才能在我們的房子裡表達這些。

6 Central Park South, New York, a hall on the first floor. It was evening. Before me, framed by the soaring, shining, stony city, lay the huge wooded rectangle of the park. Great cities are based on great, clear, well-ordered concepts, I thought. The rectangular pattern of the streets, the diagonal line of Broadway, the coastal lines of the peninsula. The buildings, packed densely in their right-angled grid, looming up in the sky, individualistic, in love with themselves, anonymous, reckless, tamed by the straitjacket of the grid.
6 紐約中央公園南，在一個二樓的大廳。這是晚上。在我面前的，是被高聳、閃亮、冷酷的城市裝裱的巨大的、樹木繁茂的矩形公園。我想，大城市基於強烈、清晰、秩序良好的概念。矩形的路網，斜穿的百老匯大街，半島的海岸線。建築，被高密度滿滿地塞在方格網中，隱約在空中，個人主義，自愛（自大），匿名，不計後果，被方格網所束縛。

7 The former townhouse looked somewhat lost in the park-like expanse. It was the only building in that part of the town to have survived the destruction of the Second World War. Previously used as an embassy, it was now being enlarged by a third of its original size according to the plans of a competent architect. Hard and self-assured, the extension stood side by side with the old building: on the one hand a hewn stone base, stucco facades and balustrades, on the other a compressed modern annex made of exposed concrete, a restrained, disciplined volume, which alluded to the old main building while maintaining a distinct, dialogic distance in terms of its design.
7 在那寬闊的像停車場似的地方，從前的市政廳看起來稍有缺失（lost）。它是鎮上那個部分唯一一棟在二戰中躲過一劫的建築。以前作為大使館，現在，依照一個能幹的建築師的設計，在原基礎上被擴大了三分之一。擴建部分堅固、自信，與舊建築並排站著：一方面，（舊有的）毛石基礎、抹灰外表和欄杆；另一方面，清水混凝土製成的、扁平的、現代的附加體，影射舊有主體建築，同時，依照設計，保持一個清晰的對話距離。
I found myself thinking about the old castle in my village. It has been altered and extended many times over the centuries, developing gradually from a cluster of free-standing buildings into a closed complex with an inner courtyard. A new architectural whole emerged at each stage of its development. Historical incongruities were not architecturally recorded. The old was adapted to the new, or the new to the old, in the interest of the complete, integrated appearance of its latest stage of evolution. Only when one analyzes the substance of the walls, strips them of their plaster and examines their joints do these old buildings reveal their complex genesis.
我情不自禁地想起了我所在的村莊的古老城堡。在幾個世紀中，它已經被改擴建了許多次，逐漸從一群獨立的建築發展為一個封閉、擁有內院的綜合體。一個新的建築整體體現了其發展的每一階段。歷史的不調和沒有被建築地記錄。舊的適應新的，或者新的適應舊的，熱衷於在它發展的最新階段體現出完整、綜合的外觀。只有當一個人分析這些牆的物質，剝去它們的灰泥，檢查它們的節點，這些舊建築才顯示出它們複雜的起源。

8 I entered the exhibition pavilion. Once again, I was confronted by sloping walls, slanted planes, surfaces linked loosely and playfully together, battens and ropes hanging, leaning, floating or pulling, taut or projecting. The composition disclaimed the right-angle and sought an informal balance. The architecture made a dynamic impression, symbolizing movement. Its gestures filled the available space, wanting to be looked at, to make their mark. There was hardly any room left for me. I followed the winding path indicated by the architecture.
8 我走進展廳。又一次，我面臨（碰上）傾斜的牆面，傾斜的平面，被鬆散地、玩笑般地連接在一起的表面，板和繩索懸掛著，傾斜著，漂浮著或者拉著，緊張的（拉緊的）或突出的。這個作品放棄了直角，尋找（探求）了一個不正式的平衡。這個建築製造了一個動態的印象，象徵著運動。它的姿態充滿了可用的空間，期望被觀察（看）、期望製造它們的標記。幾乎沒有留任何餘地（空間）給我。我沿著建築指出的彎彎曲曲的小路走著。
In the next pavilion I met with the spacious elegance of the Brazilian master Niemeyer's sweeping lines and forms. Once again, my interest was captured by the large rooms and the emptiness of the huge outdoor spaces in the photos of his work.
在下一個廳，我偶遇了巴西籍主人Niemeye的曲線和形體的優雅。我的興趣又一次被他的攝影作品中巨大的房間和無限室外空間的空曠所俘獲。

9 A. told me that she had seen many tattooed women on the beach of a small seaside resort in the “Cinque Terra” region, a holiday destination visited mainly by Italians. The women underline the individuality of their bodies, use them to proclaim their identity. The body as a refuge in a world which would appear to be flooded by artificial signs of life, and in which philosophers ponder on virtual reality.
9 A告訴我她在五漁村（Cinque Terra） ——一個義大利人主要的度假地——的一個小海濱勝地海灘見到許多紋身的婦女。這些婦女強調其身體的獨特性，用紋身來顯示她們的身份。在這個看起來像要被生活的人工標誌所淹沒（充滿）的世界，這個哲學家思考虛擬實境的世界，身體作為避難所。
The human body as an object of contemporary art. Surveys, disclosures that seek knowledge, or the human body as a fetish of self-assertion that can only succeed when looked at in the mirror or seen through the eyes of others?
人體作為當代藝術的一個物件。尋求知識的測量和揭示，或者作為一意孤行的崇拜的人體，只有當從鏡中或通過他人的眼睛被看見時，才能成功？
This autumn, I visited the room with the exhibition of contemporary architectural projects from France. I saw shining objects made of glass, gentle shapes, without edges. Taut, elegant curves rounding off the geometrical volumes of the objects at specific points. Their lines reminded me of Rodin's drawings of nudes and endowed the objects with the quality of sculptures. Architectural models. Models. Beautiful bodies, celebrations of surface texture, skin, hermetic and flawless, embracing the bodies.
這個秋天，我參觀了舉辦法國當代建築工程展的空間。我看見玻璃製造的閃亮的物體，溫和的外形，沒有邊線。在特殊的點（地方），緊張、優雅的曲線圓滑了物體的幾何體量。它們的線條讓我想起了羅丹的裸體畫，給予物體雕塑的性質。建築模型。模型。漂亮的身體，表面質地（肌理）和皮膚的慶典，密封的、沒有縫（缺點）的，擁抱著身體。

10 A glass partition divided up the length of the narrow corridor of the old hotel. The wing of a door below, a firmly fixed pane of glass above, no frame, the panes clamped and held at the corners by two metal clasps. Normally done, nothing special. Certainly not a design by an architect. But I liked the door.
10 一道玻璃門分割了這個老旅館狹窄走廊的長度。下面是門扇，上面是一塊牢固的長方形固定玻璃，沒有框，玻璃在轉角處被兩個金屬夾子夾住。很通常的做法，沒什麼特殊。當然，這也不是建築師的設計。但我喜歡這個門。
Was it because of the proportions of the two panes of glass, the form and position of the clamps, the gleaming of the glass in the muted colors of the dark corridor, or was it because the upper pane of glass, which was taller than the average-height swing door below it, emphasized the height of the corridor? I did not know.
是因為這兩塊玻璃的比例，夾子的形狀和位置，在暗暗的走廊muted的色彩中玻璃的光亮，還是因為上部的玻璃比它下面的門更高，從而強調（加強）了走廊的高度？我不知道。

11 I was shown some photographs of a complicated building. Different areas, planes, and volumes seemed to overlap, slanting and erect, encapsulated one within the other. The building, whose unusual appearance gave me no clear indication as to its function, made a strangely overloaded and tortured impression. Somehow, it seemed two-dimensional. For I (a) moment I thought I was looking at a photograph of a cardboard model, colorfully painted. Later, when I learned the name of the architect, I was stocked. Had I made a mistake, a premature, ignorant judgment? The architect’s name has an international ring, his fine architectural drawings are well known, and his written statements about contemporary architecture, which also deal with philosophical themes, are widely published.
11 我被示以一棟複雜建築的照片。不同的區域、平面和體量，看起來交疊、傾斜、直立，一個包含另一個(相互咬合)。這房子不尋常的外觀沒有給我關於其功能的清楚暗示，造成了奇怪的荷載和扭曲的印象。不知為何，它看起來像二維的。過了一會兒，我想我正在看一個彩色紙板模型的照片。後來，當得知這位建築師的名字時，我驚呆了。是我做了一個錯誤、草率、無知的判斷？這位建築師的名字有著國際光環，他的建築畫非常知名，他那關於當代建築、同時也解決哲學問題的著作被廣泛出版。

12 A townhouse in Manhattan with a good address, just completed. The new facade in the line of the street of buildings stood out distinctly. In the photographs, the natural stone shield, surrounded by glass, looked like a backdrop. In reality, the facade was more uniform, more integrated in its surroundings. My instinct to criticize vanished when I entered the house. The quality of its construction captured my attention. The architect received us, took us into the vestibule, and showed us from room to room. The rooms were spacious, their order logical. We were eager to see each succeeding room, and we were not disappointed. The quality of the daylight entering through the glazed rear facade and a skylight over the stairs was pleasant. On all the floors, the presence of the intimate back yard around which the main rooms were grouped was perceptible, even at the heart of the building.
12 一棟在曼哈頓的住宅剛剛落成，位置很好。新立面在那條街的房子中很顯眼。在照片中，天然石護板被玻璃包圍著，看起來像一個背景幕布。在現實中，這立面在環境中更為統一、完整。進入這房子時，我批評的本能消失了。其建造品質引起了我的注意。建築師接待了我們，把我們帶進前廳，並帶領我們一間房一間房地參觀。房間寬敞，秩序合理。我們渴望看見隨後的每一個房間，並且沒有失望。日光的品質通過那呆滯的後表面照進來的時候，樓梯上的天光令人愉快。後院（主要的房間都圍繞它排列）的存在在每個樓層都能感覺到，甚至在房子的核心部分。
The architect spoke in respectful, amicable terms (tones) of the clients, the newly installed residents, of their understanding of his work, of his efforts to comply with their requirements, and of their criticism of some impractical aspects which he subsequently improved. He opened cupboard doors, lowered the large scrim blinds, which suffused the living room with a mellow light, showed us folding partitions, and demonstrated huge swing doors that moved noiselessly between two pivots, closing tightly and precisely. Every now and then, he touched the surface of some material, or ran his hands over a handrail, a joint in the wood, the edge of a glass pane.
建築師用禮貌友善的言辭談了業主（最近安頓下來的居民），談了他們對他的設計的理解，談了他應他們的要求做出的努力，也談了他們對一些不切實際的方面的批評，他隨後做出了改進。他打開食櫃的門，放下巨大的麻布窗簾，窗簾讓起居室充滿柔光，給我們展示折屏，示範巨大的推拉門在兩軸間靜靜地滑動，關閉時嚴絲合縫，十分完美。他不時觸摸著一些材料的表面，或者用他的手在欄杆上來回磨蹭，一塊方玻璃的木邊緣的節點（或者用他的手在欄杆上、木節點上、方玻璃的邊緣上來回磨蹭）。

13 The town I was visiting had a particularly attractive neighborhood. Buildings from the 19th century and the turn of the century, solid volumes placed along the streets and squares, constructed of stone and brick. Nothing exceptional. Typically urban. The public premises on the lower floors faced the road, the dwellings and offices above retreated behind protective facades, hiding private spheres behind prestigious faces, anonymous faces, clearly divorced from the public space which began with a hard edge at the foot of the facades.
13 我正參觀的這個城鎮有一個有獨特魅力的鄰居。19世紀和20世紀初的房子，沿著街道和廣場佈置，由石頭和磚建成。沒有什麼例外。典型城市。公共房產在底下幾層臨街，上面的住宅和辦公退在受保護的立面之後，在知名的外觀後隱藏私人領域，不知名的外觀則清楚地從公共空間分離出來，公共空間從正面牆腳的邊線開始。
I had been told that a number of architects lived and worked in this neighborhood. I remembered this a few days later when I was looking at a new neighborhood nearby, designed by well-known architects, and I found myself thinking about the unequivocal backs and fronts of the urban structures, the precisely articulated public spaces, the graciously restrained facades and exactly fitting volumes for the body of the town.
我曾被告知許多建築師在這個住宅區生活和工作。一些天后，我看著附近一個新住宅區時，才記起來。這個社區由一些知名建築師設計，而我發現自己正思考這城市建築明確的背面和正面，被恰好地連接的公共空間，被優雅地控制的立面，和對城市主體來說恰如其分的體積。

14 We spent years developing the concept, the form, and the working drawings of our stone-built thermal baths. Then construction began. I was standing in front of one of the first blocks that the masons had built in stone from a nearby quarry. I was surprised and irritated. Although everything corresponded exactly with our plans, I had not expected this concurrent hardness and softness, this smooth yet rugged quality, this iridescent gray-green presence emanating from the square stone blocks. For a moment, I had the feeling that our project had escaped us and become independent because it had evolved into a material entity that obeyed its own laws.
14 我們花了幾年時間推進那個石制溫泉浴室的概念、形式和施工圖。接著，建造開始了。我站在石匠從附近一個採石場采來的第一批石塊中的一塊面前，感到驚訝和惱怒。 儘管每件事都完全符合我們的計畫，我還沒有設想它的硬度和軟度，品質是光滑還是粗糙，還有這從方形石塊放射出來的發亮的灰綠色的出現。過了一會兒，我覺得我們的項目已經逃離了我們，並開始不受約束，因為它已經發展成一個物質實體，有它自己的法則了。

15 I visited an exhibition of work by Meret Oppenheim at the Guggenheim Museum. The techniques she uses are strikingly varied. There is no continuous, consistent style. Nevertheless, I experienced her way of thinking, her way of looking at the world and of intervening in it through her work as coherent and integral. So there is probably no point in wondering just what it is that stylistically links the famous fur cup and the snake made up of pieces of coal. Didn't Meret Oppenheim once say that every idea needs its proper form to be effective?
15 我在古根海姆美術館參觀梅雷•奧本海姆（Meret Oppenheim） 的作品。她使用的技術非常多樣。沒有連續、一致的風格。然而，我通過她的作品體驗到她的思考方式、她看世界和干預世界的方式是一致和完整的。因此，或許在奇怪究竟是什麼在風格上連接了著名的“皮毛杯子”和“用煤片組成的蛇”這個問題上並沒有要點。梅雷•奧本海姆不也曾說過每一個想法都需要它特有的形式來變得有效嗎？

Teaching architecture, learning architecture
教學建築


Young people go to university with the aim of becoming architects, of finding out if they have got what it takes. What is the first thing we should teach them?
年輕人以成為建築師和確認他們是否學到了（所需要的知識）為目的進入大學。我們首先要教給他們的是什麼呢？
First of all, we must explain that the person standing in front of them is not someone who asks questions whose answers he already knows. Practicing architecture is asking oneself questions, finding one's own answers with the help of the teacher, whittling down, finding solutions. Over and over again.
首先，我們必須說明，那個站在他們面前的人，並不是對他所提出的問題已經有了答案的人（並不是提出自己已知答案的問題的人）。學建築，是問個人自己問題，通過教師的幫助，找到個人自己的答案，削減（whittling down），找到解決方法。一次又一次。
The strength of a good design lies in ourselves and in our ability to perceive the world with both emotion and reason. A good architectural design is sensuous. A good architectural design is intelligent.
一個好設計的力量存在於我們自己，存在於我們用情感和理性去觀察世界的能力。一個好的建築設計是賞心悅目的；一個好的建築設計是有智慧的。
We all experience architecture before we have even heard the word. The roots of architectural understanding lie in our architectural experience: our room, our house, our street, our village, our town, our landscape – we experience them all early on, unconsciously, and we subsequently compare them with the countryside, towns, and houses that we experience later on. The roots of our understanding of architecture lie in our childhood, in our youth; they lie in our biography. Students have to learn to work consciously with their personal biographical experiences of architecture. Their allotted tasks are devised to set this process in motion.
在聽說“建築”這個詞前，我們都體驗過建築。理解建築的根源在於我們的建築體驗：我們的房間、住宅、街道、鄉村、市鎮和景觀——我們早期都無意中經歷過它們，後來我們將其與稍後體驗的鄉村、市鎮和住宅相比較。理解建築的根源還存在於我們的童年和青年時光；它們存在於我們的“傳記”（個人經歷）。學生必須學會有意識地用他們個人傳記式的建築體驗來工作。他們被指派的任務（作業）就是被設計來使這個過程運轉的。
We may wonder what it was that we liked about this house, this town, what it was that impressed and touched us - and why. What was the room like, the square, what did it really look like, what smell was in the air, what did my footsteps sound like in it, and my voice, how did the floor feel under my feet, the door handle in my hand, how did the light strike the facades, what was the shine on the walls like? Was there a feeling of narrowness or width, of intimacy or vastness?
我們或許想知道我們喜歡這棟房子、這個城市的什麼，是什麼讓我們印象深刻並打動了我們，還有——為什麼。這個房間是怎樣的，這個廣場，它真正看起來如何，空氣中是什麼味道，我的腳步、我的聲音在這裡聽起來如何，在我腳下的地面、我手中的門把手感覺起來如何，光如何打動立面，牆上的光澤如惡化？有沒有狹窄或者寬闊的感覺，是覺得尺度宜人還是空間太大？
Wooden floors like light membranes, heavy stone masses, soft textiles, polished granite, pliable leather, raw steel, polished mahogany, crystalline glass, soft asphalt warmed by the sun… the architect's materials, our materials. We know them all. And yet we do not know them. In order to design, to invent architecture, we must learn to handle them with awareness. This is research; this is the work of remembering.
輕隔膜一般的木地板、沉重的石塊、柔軟的織品、拋光的花崗岩、柔韌的皮革、未加工的鋼、打磨了的桃木、透明的玻璃、被太陽曬軟的瀝青……建築師的材料，我們的材料，這些我們全都知道，卻並不瞭解。為了設計、創造建築，我們必須學會懂得運用它們。這就是研究；這就是記憶工作。
Architecture is always concrete matter. Architecture is not abstract, but concrete. A plan, a project drawn on paper is not architecture but merely a more or less inadequate representation of architecture, comparable to sheet music. Music needs to be performed. Architecture needs to be executed. Then its body can come into being. And this body is always sensuous.
建築總是具體的問題。它並不是抽象的，而是具體的。畫在紙上的一個平面、一個項目並不是建築，只不過是多多少少不夠充分的建築表現，就像活頁樂譜。音樂需要被演奏。建築需要被建成。那時，它的身體才能形成。而這個身體是賞心悅目（能激發感觀）的。
All design work starts from the premise of this physical, objective sensuousness of architecture, of its materials. To experience architecture in a concrete way means to touch, see, hear, and smell it. To discover and consciously work with these qualities - these are the themes of our teaching.
所有的設計工作都以對建築及其材料自然、客觀的感知為前提開始。用具體的方式體驗建築，意味著去觸摸、看、聽和聞，去發現並有意識地運用這些品質——這些是我們教育的主題。
All the design work in the studio is done with materials. It always aims directly at concrete things, objects, installations made of real material (clay, stone, copper, steel, felt, cloth, wood, plaster, brick). There are no cardboard models. Actually, no "models" at all in the conventional sense, but concrete objects, three-dimensional works on a specific scale.
這個工作室所有的設計工作都是基於材料的。它總是直接針對具體事物，由真實材料（粘土、石頭、銅、鋼、毛氈、布料、木頭、石膏、磚……）組成的物體和裝置。沒有紙板模型。實際上，在常規意義上，根本沒有“模型”，只是實體，一個有特殊比例的三維物品。
The drawing of scale plans also begins with the concrete object, thus reversing the order of "idea - plan - concrete object" which is standard practice in professional architecture. First the concrete objects are constructed; then they are drawn to scale.
按比例的平面圖也始於實體，因此，在專業的建築中，顛倒“想法——平面——實物”的順序是基礎訓練。實物先被建造，然後被按比例畫出來。
We carry images of works of architecture by which we have been influenced around with us. We can re-invoke these images in our mind's eye and re-examine them. But this does not yet make a new design, new architecture. Every design needs new images. Our “old” images can only help us to find new ones.
我們通過影響了我們的周遭事物來獲得建築的圖像。我們能在記憶中重新調用並再次檢驗它們。但這並沒有形成新的設計、新的建築。每個設計都需要新的圖像。我們那些“舊的”圖像只能説明我們尋找新的圖像。
Thinking in images when designing is always directed towards the whole. By its very nature, the image is always the whole of the imagined reality: wall and floor, ceiling and materials, the moods of light and color of a room, for example. And we also see all the details of the transitions from the floor to the wall and from the wall to the window, as if we were watching a film.
當設計總是把注意力放在整體上，就在圖像中思考。由於它特定的天性，圖像總是想像中事實的全部：例如，牆面和地面，天花和材料，房間中光和色的狀態。我們也看到了所有從地面到牆面，從牆面到窗戶轉換的細節，就像正在看一部電影。
Often however, they are not simply there, these visual elements of the image, when we start on a design and try to form an image of the desired object. At the beginning of the design process, the image is usually incomplete. So we try repeatedly to re-articulate and clarify our theme, to add the missing parts to our imagined picture. Or, to put it another way: we design. The concrete, sensuous quality of our inner image helps us here. It helps us not to get lost in arid, abstract theoretical assumptions; it helps us not to lose track of the concrete qualities of architecture. It helps us not to fall in love with the graphic quality of our drawings and to confuse it with real architectural quality.
然而，當我們開始一個設計並試圖為期望的物件形成一個圖像時，那些圖像的視覺因素，往往不僅僅是這麼簡單的。在設計過程的開始，圖像往往是不完整的。因此，我們再三嘗試去重新連接並闡明我們的主題，向我們的想像畫面中添加遺失的部分。換言之：我們設計。我們內心圖像的具體、可感知的性質幫助了我們。它幫助我們不在無趣的抽象理論設想中迷失；不失去建築的實在屬性的線索。它幫助我們不會愛上我們繪圖的圖面品質，不使之與真實的建築混淆。
Producing inner images is a natural process common to everyone. It is part of thinking. Associative, wild, free, ordered, and systematic thinking in images, in architectural, spatial, colorful, and sensuous pictures – this is my favorite definition of design.
產生內心圖像對每個人來說都是一個自然過程。它是思考的一部分。在圖像中，在建築的、空間的、色彩的、感觀的圖片中，進行聯想的、野性的、自由的、有計劃的和系統的思考——這是我最喜歡的對設計的定義。


Does Beauty Have a Form?
美有形式嗎？

Apricot trees exist, ferns exist, and black berries, too. But beauty? Is beauty a concrete property of a thing or an object that can be described or named, or is it a state of mind, a human sensation? Is beauty a special feeling inspired by our perception of a special form, shape, or design? What is the nature of a thing that sparks a sensation of beauty, that gives us a feeling at a certain moment of experiencing beauty, of seeing beauty? Does beauty have a form?
杏樹存在，蕨類存在，黑莓也存在。可美呢？美是一件事物或物體能被描述或命名的具體特質，抑或是一種思維狀態，一種人類感覺？美是由我們對一個特定的形式、形狀或設計的理解（感知）激發而產生的感覺嗎？一件激發美感的事物在體驗美、感受美的特殊時刻給我們一種感覺，其天性（nature）是什麼？美有形式嗎？
1 Music interrupts my writing. Peter Conradin is listening to a Charles Mingus recording of the 50s. A particular passage has caught my attention, a passage of great intensity and freedom in the calm, almost earthy sweep of its slow rhythm. In the pulse of that rhythm, the tenor saxophone speaks in warm and rough and leisurely tones that I almost understand – word by word. Booker Erwin, the sound of his horn hard and compressed, shrill but not brittle, porous despite the density; dry pizzicatos in Mingus's bass; no erotic, greasy "groove" that seeks to disarm and conquer. The music, thus heard, might give the impression of sounding stiff. But it isn’t. It's wonderful. Incredibly beautiful, my son and I say, almost in unison, as we look at each other. I listen. The music draws me in. It is a space. Colorful and sensual, with depth and movement. I am inside it. For a moment, nothing else exists.
1 音樂打斷了我的寫作。彼得•康拉丁（Peter Conradin）正在聽查理斯•明格斯（Charles Mingus） 50年代的唱片。一段獨特的樂章吸引了我的注意，在平靜中，一段極強烈而自由的樂章，幾乎徹底掃蕩了它緩慢的韻律（節奏）。在那韻律的節拍中，次中音薩克斯管用一種熱烈、粗曠而又從容的音調訴說著，我幾乎能明白它的一字一句。布克•艾爾文（Booker Erwin） ，他的薩克斯管音質硬而扁（hard and compressed），尖而不脆，濃厚卻具有穿透性；明格斯的貝斯干幹的撥奏，沒有試圖disam和征服的、情欲的、油膩的“享受（groove）”。這麼聽起來，這音樂會給人聽起來僵硬（呆板）的印象。但不是的。它非常好。“難以置信的美，”我和我的兒子互相看了一眼，幾乎同時說到。我聽著。這音樂吸引了我。這是一個空間，多彩而感性（sensual），有深度，有運動。我沉醉其中。一會兒，其它的什麼都不存在了。

2 A painting by Rothko, vibrant fields of color, pure abstraction. To me it's only a question of seeing, a purely visual experience, she says. Other sensual impressions like smell or sound, materials or the sense of touch don’t play a role. You enter the picture you're looking at. The process has something to do with concentration and meditation. It is like meditation, but not with an empty mind. You're fully alert and aware. Concentration on the picture sets you free, she says. You reach another level of perception.
2 一幅羅斯科（Rothko） 的畫，充滿活力的色塊，完全抽象。對我來說這只是個看的問題，一個純粹的視覺體驗，她說。其它的感官印象，例如氣味或者聲音、材料或觸感都沒參與。你進入所看的畫中。這個過程與專注和冥想有關係。這就像冥想，而不是空想。你思維敏捷且十分清楚。集中注意在畫上令你自由，她說。你達到了理解（感知）的另一水準（境界）。

3 The intensity of a brief experience, the feeling of being utterly suspended in time, beyond past and future-this belongs to many, perhaps even to all sensations of beauty. Something that has the radiation of beauty strikes a chord in me, and later, when it is over, I say: I was completely at one with myself and the world, at first holding my breath for a brief moment, then utterly absorbed and immersed, filled with wonder, feeling the vibrations, effortlessly excited and calm as well, enthralled by the magic of the appearance that has struck me. Feelings of joy. Happiness. The countenance of a sleeping child, unaware of being watched. Serene, undisturbed beauty. Nothing is mediated. Everything is itself.
3 一段短暫的經歷（體驗）的強度，在時間中完全暫停的感覺，超越過去和將來——這屬於許多（或許，甚至是所有）對美的感覺。某些放射美之光的事物撥動了我的心弦，後來，當它結束，我說：我完全與自我和世界一致，首先，屏住呼吸片刻，然後完全集中精神並沉浸其中，充滿驚奇，感受動人之處，也容易興奮和平靜，被打動我的外觀（景象）的魔力迷住了。快樂的感覺。快樂。沒有發覺被看的孩子熟睡的面容。平靜的、不被打擾的美。沒有什麼間接的。每件事都是它自身。
The flow of time has been halted, experience crystallized into an image whose beauty seems to indicate depth. While the feeling lasts, I have an inkling of the essence of things, of their most universal properties. I now suspect that these lie beyond any categories of thought.
時間的流逝已被中斷（時間停滯），經驗（經歷）被明確進一個圖像，它的美看起來顯示了深度。這種感覺持續著，我對事物的本質以及它們大部分普遍性質有了一些概念（略知一二）。現在，我懷疑這些超出了任何種類的思想。

4 The Renaissance theater in Vicenza. Steep rows. The wood worn and aged, great intimacy. A powerful sense of space, intensity. Everything is right, she says, so amazing, so natural, like a hand.
4 維琴察的文藝復興大劇院。座位高差大。木頭陳舊，非常舒適。一種強有力的空間感，強烈。一切都恰到好處，她說，如此驚人，如此自然，就像一隻手。
And later, the villa on the hill: She walks through the countryside and suddenly sees a jewel that takes her breath away. The building is radiant. As if it belonged to the landscape and the landscape belonged to it.
接下來，山上的別墅：她步行穿過村子，突然看見一塊寶石，讓她無法呼吸。這房子閃閃發光。就像是它屬於這地形（景觀），而這地形（景觀）也屬於它。
5 The beauty of nature touches us as something great that goes beyond us. Man comes from nature and returns to it. An inkling of the measure of human life within the immensity of nature wells up inside us when we come upon the beauty of a landscape that has not been domesticated and carved down to human scale. We feel sheltered, humble and proud at once. We are in nature, in this immeasurable form that we will never understand, and now, in a moment of heightened experience, no longer need to because we sense that we ourselves are part of it.
5 自然之美觸動了我們，就像偉大的事物超越我們。人從自然中來，又回到自然中去。當我們面臨一片還未曾被改造成人的尺度的風景之美，對在無限的自然中的人類生活方式的提示（模糊概念）在我們內心湧現。我們同時感到受庇護、謙遜（卑微）而又自豪。我們在自然中，在這個我們將絕不會理解的不可度量的形式中，那麼現在，在經歷被提高的一刻，不再需要理解它，因為我們感到我們自己就是它的一部分。
I look out into the landscape; gaze at the sea on the horizon, look at the masses of water; I walk across the fields to the acacias; I look at the elder blossoms, at the juniper tree and become still.
我向外看著風景；凝視著地平線上的海面，看著大量的海水；我走過田野，走向膠樹；看著敗花，看著柏樹，變得安靜下來。
She is bathing in the Sicilian sea and dives under water. Her heart misses a beat. A huge fish passes close by, silent and infinitely slow. Its movements are untroubled and powerful and elegant. They have the self-evidence of millennia.
她在西西里島的海裡洗澡，並潛入水下。她的心靈錯過了一次震撼。一條巨大的魚悄無聲息地緩緩遊過她的身旁。它的動作平靜、矯健且文雅。它們有幾千年的自明（self-evidence）。

6 She loves beautiful shoes. She admires the craftsmanship, the material and above all their shape, their lines. She likes looking at shoes, not when people wear them but as objects whose shape is strictly defined by use and whose beauty transcends practical demands until they come full circle and say to her: "Use me, wear me." The beauty of a utilitarian object is the highest form of beauty, she adds.
她喜歡漂亮的鞋子。她稱讚其做工、材料，首要的是它們的形狀和線條。她喜歡看著鞋子，不是人們穿著它們的時候，而是作為物體：被嚴格地由使用定義的形狀，它們的美勝過實際需求，直到它們回到原處，對她說：“使用我，穿上我。”一個實效物體的美是美的最高形式，她補充到。

7 As long as I can remember, I have always experienced the beauty of an artifact, an object created by man as a special presence of form, as a self-evident and self-confident hereness that is intrinsic to the object. Sometimes when such an object asserts itself in nature, I see beauty. The building, city, house, or street seems consciously placed. It generates a place. Where it stands there is a back and a front, there is a left and a right, there is closeness and distance, an inside and outside, there are forms that focus and condense or modify the landscape. The result is an environment.
只要能回憶，我總是體驗著人造物品的美，被人創造的物體，作為形式的一種特殊存在（到場presence），作為一個自明且自信的hereness，（這hereness是物體內在的）。有時，當這樣的一個物體在本質上堅持自己，我就見到了美。房子、城市、住宅或者街道，似乎是被有意佈置的。它產生了一個場所（place）。它所在的地方有了前和後，左和右，遠和近，內和外，有了聚集、精簡或修改這景觀（landscape）的形式。其結果是一個環境。
The object and its environment: a consonance of nature and artificially created work that is different from the pure beauty of nature – and different from the pure beauty of an object. Architecture, the mother of the arts?
物體及其環境：自然和人工造物的協調，與自然的純粹之美不同——與一個物體的純粹之美也不同。建築，是藝術之母嗎？

8 She is standing with a group of younger people, mostly architects. It’s drizzling; the air is warm. The men and women are standing in the courtyard of a villa. Their open umbrellas and sweeping, unbuttoned raincoats lend them an air of cosmopolitan elegance. The daylight around the group is mild. Light from above shines through a soft gray ceiling of clouds that could be interpreted as a thick layer of fog. It transforms the minute raindrops into particles of light. The landscape is filled with gentle radiance.
8 她與一群年輕人站在一起，那群人大部分都是建築師。天下著毛毛雨；空氣溫暖。男人女人都站在一棟別墅的院子裡。撐開的傘和移動（sweeping）、無扣雨衣給他們一種全球性的高雅氣氛。這群人周圍的日光是溫和的。從上方來的光線透過灰色的雲層（這雲層也可以被解釋為一層很厚的霧）照下來。它使微小的雨滴看起來像極小的光點。這場景（landscape）充滿著文雅的光輝。
The faces of the men and women standing there seem serene. With unhurried, almost casual nonchalance, they take in the stately manor, the courtyard, the outhouses, the open wings of the wrought-iron gate. Occasionally someone glances at the hilly countryside. Mist rises. The cobblestones in the courtyard, the leaves on the trees, the grasses on the meadow glisten. The meandering gaze seeks the way to the Villa Rotonda of Andrea Palladio, which is supposed to be nearby. The scene has become a lasting image in her memory. She has written about it.
站在那裡的人們面容平靜。帶著從容的、幾乎是不經意的冷淡（nonchalance），他們注意到這莊嚴的莊園、院子、外屋以及開著的熟鐵門扇。偶爾有人瞥見山地的村莊。薄霧升起。院子裡的鵝卵石，樹上的葉片，牧場上閃閃發光的草。漫遊的目光探尋著去安德莉亞•帕拉第奧的圓廳別墅的路，它應該就在附近。這場景在她的記憶中變成一個永恆的圖像。她已經描寫過它。

9 I remember the experience of houses, villages, cities, and landscapes, about which I now say they lent me an impression of beauty. Did these situations also seem beautiful to me at the time? I think so, but I'm not quite sure. The impression came first, I suppose, and reflection followed. And I know that certain things were not invested with beauty until afterwards, through subsequent impulses, conversations with friends, or conscious exploration of my still aesthetically unclassified recollections. I can also respond to beauty that others have experienced. I assimilate the impression it has made on them if I am able to create an image in my mind of the beauty others tell me about.
9 我回憶著對住宅、村莊、城市和景觀的體驗（經歷），現在，我所說的體驗給我一個對美的印象。這些情景（情境）在那時對我來說也是美的嗎？我想是的，但不太確定。首先出現的是印象，我猜（推想），接著是反思。我知道某些事情是不會被授予美的，直到後來，經過隨後的刺激、與朋友的交談，或是對我那靜態的沒有審美分類的回憶有意識的探求。我也能回應其他人經歷的美。如果我能在腦海中創造一張別人告訴我的美的圖像，我就吸收了它作用在他們身上的印象。
Beauty always appears to me in settings, in clearly delimited pieces of reality, object-like or in the manner of a still life or like a self-contained scene, composed to perfection without the least trace of effort or artificiality. Everything is as it should be; everything is in its place. Nothing jars, no overstated arrangement, no critique, no accusation, no alien intentions; no commentary, no meaning. The experience is unintentional. What I see is the thing itself. It captivates me. The picture that I see has the effect of a composition that appears extremely natural to me and at the same time extremely artful in its naturalness.
美總是在背景中，在被清楚界定的真實中，object-like，或在一種平靜的生活方式（習慣），或在獨立的場景，展現給我，沒有一絲努力或人工痕跡地產生完美。每件事都各行其道；一切均在其位。沒有衝突，沒有誇大的安排，沒有批評，沒有譴責，沒有不同的目的；沒有注釋，沒有意義（含義）。這體驗是無意識的。我看見的就是事物本身。它迷住了我。我看見的畫面有混合的效果，對我來說顯得極端自然化，同時，對它的自然顯得極端人工化。

10 She turns the corner of a small shed and sees the new building for the first time. She comes to a halt, astonished, electrified. Something about the way the pillared building is standing there, the way it is made of porous stone and glass and fine-ringed wood and the way it forms a large courtyard with its older neighbors – the new body set down with non-geometrical precision in the balance of the masses and materials of the place – imparts feelings of attraction and aura, of energy and presence. It seemed as if everything I saw was in a state of balanced suspension. And the body of the new building seemed to vibrate, she said.
10 她轉過一個小屋角，第一次看見了那棟新房子。她停了下來，感到驚訝，感到震撼。這棟柱承重的房子矗立在那裡的方式，其多孔磚、玻璃和fine-ringed木頭組合的方式，與更老的鄰居形成一個大院子的方式——新的“身體”落座並沒有在這個場所的體量和材料的平衡上有幾何精確性——給予吸引、氣氛、活力和在場的感覺。它看起來就像是，我看見的一切都在一個平衡的懸浮（暫停）狀態下。那新房子的“身體”看起來在顫動，她說。

11 He is standing in the portal of San Andrea in Mantua. At all portico of light and shadow, single rays of sun on the pilasters. A world of its own, no longer city but not yet the interior of the church. Pigeons are flying high up in shadowy regions where the carved figures and moldings fade out of sight. I hear but do not see them. Darkness abounds. The light that penetrates reveals fine particles of dust in the air. The air is thick, almost tactile. It seems as if the things under the portico in which I am standing, things more sensed than seen, have energized each other, as if they were in a unique state of mutuality, he says.
11 他正站在馬圖亞聖•安德里亞教堂的入口。柱廊充滿光和影，單一的陽光照在壁柱上。一個它自己的世界，不再是城市，也不是教堂內部。鴿子高飛在有陰影的區域，那裡，雕像和線腳淡出視線。我能聽見它們，卻看不見。很暗。穿透的光線揭示出空氣中細小的灰塵。空氣很濃厚（thick），幾乎能觸摸得到。看起來像是：我正站著的這個柱廊下的事物（更多的是被感覺到而不是被看到）已經相互啟動，就像它們在一個統一的狀態，他說。

12 Our perception is visceral. Reason plays a secondary role. I think we immediately recognize beauty that is a product of our culture and corresponds to our education. We see a form framed and condensed into an emblem, a shape or a design, which touches us, which has the quality of being a great deal and possibly everything in one: self-evident, profound, mysterious, stimulating, exciting, suspenseful…
12 我們的感覺是本能的。理性扮演的是次要角色。我想我們直接（立刻）認識到：美是我們文化的產物，並符合我們的教育。我們看見一個形式被限定和濃縮進一個符號、一個形狀或一個設計，這打動了我們，它有集大量（也許是所有）東西於一體的品質：自明的、深刻的、神秘的、刺激的、令人興奮的、懸疑的……
Whether the appearance that touches me really is beautiful cannot be properly judged by the form itself because the depth of feeling that belongs to the sensation of beauty is not ignited by the form as such but rather by the spark that jumps from it to me.
打動我的外觀是否真的美，不能完全由形式本身判斷，因為屬於美感的感覺，其深度同樣不是由形式引發的，而是由從它迸向我的火花引發的。
But beauty exists – although it makes relatively rare appearances and frequently in unexpected places. While in other places where we would expect it, it fails to appear.
但美是存在的——即使它產生相對少的外觀（外表），而且常常在意想不到的地方。而在其它我們期望它出現的地方，卻不出現。
Can beauty be designed and made? What are the rules that guarantee the beauty of our products? Knowing about counterpoint, harmonics, the theory of color, the Golden Section and "form follows function" is not enough. Methods and devices – all those wonderful instruments – are no substitute for content, nor do they guarantee the magic of a beautiful whole.
美能被設計和製造嗎？保證我們的產品（產物）的美的法則（rules）是什麼呢？只瞭解對位、和聲學、色彩理論、黃金比和“形式追隨功能”是不夠的。方法和策略——所有出色的手段（工具）——都不能取代內容，也不能保證一個美麗整體的魔力。

13 My task as a designer is difficult – by definition. It is related to artistry and achievement, intuition and craftsmanship. But also to commitment, authenticity, and a deep interest in subject matter.
13 我作為設計師的任務（目標）是很難定義的。它涉及（與……有關）藝術和實現（完成），直覺和技術。但也涉及委託、真實性和對專案深深的興趣。
To achieve beauty I must be at one with myself, I must do my own thing and no other because the particular substance that recognizes beauty and can, with luck, create it lies within me. On the other hand, the things I want to create – table, house, bridge – must be allowed to come into their own. I believe every well-made thing has an inherently appropriate order that determines its form. This essence is what I want to discover and I therefore stick firmly to the matter at hand in the process of designing. I believe in an accuracy of outlook and a truth content in real, sensual experience, which are beyond abstract opinions or ideas.
為了達到美，我必須獨處，必須只做我自己的事情而沒有別的，因為認出美且能創造美（幸運的話）的獨特物質存在於我內心。另一方面，我想創造的東西——桌子、住宅、橋——必須被允許成為它們自己。我相信（認為）每件做得好的事物都有個固有的適當的確定其形式的秩序。這本質就是我想揭示的，因此，在設計過程中，我緊緊抓住手頭的事件（問題）。我相信（認為），在前景的精確性和在真實的感官體驗中的真正內容，超越了抽象的觀點或想法。
What does this house want to become, as an object of use, as a physical body, its materials firmly constructed and joined, its shape molded into a form that serves life? I ask myself and ask some more. What doest his house want to be for its location on the city lane, in the suburbs, in the battered landscape, on the hill in front of a stand of beeches, with a flight path overhead, in the light of the lake, in the shade of the forest?
這棟房子想成為什麼，一個有用的物體，一個物質實體，其材料堅固地製造並連接、其外形鑄進提供生命的形式？我問自己，也問其他人（別人）。他的房子想成為什麼，因為它的位置：在城市街巷、在郊區、在被破壞的景觀、在一片山毛屨樹前的山上（頭頂有飛行航線）、在湖水的光下、在森林的樹蔭下？

l4 "Apricot trees exist, apricot trees exist/ Ferns exist; and blackberries..."
“杏樹存在，杏樹存在 / 蕨類存在，黑莓也存在……”
The beginning of this essay as well as the lines that follow are indebted to Inger Christensen, whose poem "Alphabet" begins with these lines; her poem builds on the infinitely increasing rhythm of the Fibonacci numbers, a condensation of words in which she secures the world and thereby releases particles that sparkle and irritate.
這篇短文的起始以及後面的詩句，都源自英格爾•克裡斯滕森（Inger Christensen） ，她的詩《字母（Alphabet）》就是以這幾行開始的；她的詩建立在菲波納濟數列無限增長的韻律上，在濃縮的文字裡，她保護了世界並因此釋放了閃亮又刺激的語氣（粒子）。

The June night exists. The June night exists...
and no one
in this flying summer, no one understands that autumn exists,
the aftertaste and the afterthought,
too, only the dizzying series of this
restless ultra-sound exists and the jade ear of the
bat turned toward the ticking haze;
never has the earth's inclination been so splendid,
never the zinc-white nights so white ...
六月之夜存在。六月之夜存在……
但沒有人
在這飛揚的夏日，沒有人瞭解秋天存在
回味和追思
也沒有，只有這燦爛的
不寧靜的超聲波存在，
蝙蝠轉向陰霾（疑惑）；
土地的傾向再沒有如此壯麗，
鋅白的夜晚再沒有如此白……

Beauty, I think as I read these lines, is at its most intense when it is born of absence. I find something missing, a compelling expression, an empathy, which instantly affects me when I experience beauty. Before the experience, I did not realize or perhaps no longer knew that I missed it, but now I am persuaded by knowledge renewed that I will always miss it. Longing. The experience of beauty makes me aware of absence. What I experience, what touches me, entails both joy and pain. Painful is the experience of absence and pure bliss the experience of a beautiful form that has been ignited by the feeling of absence. In the words of writer Martin Walser: "The more we miss something, the more beautiful may become that which we have to mobilize in order to endure absence."
美，當我讀著這些詩句時，我想，最強烈的時刻是介於呈現與未呈現的時刻（生於其所未生之時，也是其最強烈之時）。當我經歷美的時候，我發現有些東西不見了（錯過了），一種引人注目的表達，一種神會（移情作用），立刻影響了我。在此之前，我沒認識到或是不再知道我錯過了，但現在，我被更新的知識說服了：我將總是錯過它。渴望。對美的體驗讓我明白了不在場（absence）。那些我所經歷的，打動我的，給了我歡樂和痛苦。痛苦的是經歷不在場和純粹的快樂，對一個美的形式的體驗已經被對不在場的感覺點燃了。作家馬丁•瓦爾澤（Martin Walser） 說：“一件事物，我們失去的越多，它也許變得越美，為了忍耐不在場（缺乏），我們必須調動起來。”


Key words
Rhythm：節奏，韻律

The Magic of the Real
真實的魔力

1.There is the magic of music. The sonata begins with the first descending melodic line of the viola, the piano sets in, and there it is already, the instantaneous presence of a distinct emotion; the atmosphere of sound that envelops and touches me, that puts me in a special mood.

There is the magic of painting and poetry, of words and images, there is the magic of radiant thoughts. And there is the magic of the real, of the physical, of substance, of the things around me that I see and touch, that I smell and hear. Sometimes, at certain moments, the magic conveyed by a specific architecture or landscape, a specific milieu, suddenly there; it has materialized like the measured growth of the soul, unnoticed at first.

(Here I voluntarily cut out a portion of his article which very lengthily describes his singular experience of a square on a Maundy Thursday morning. He observes and notes the buildings, the spaces, the people, the sky, the ambient sounds, etc. and states that everything combined to enchant and move him. He then wonders if what touched him happened to him alone... now i continue the article - bronne)

"Beauty is in the eyes of the beholder" - this sentence comes to mind as I write. Does it mean that everything I experienced at the time was primarily the expression and the outflow of my state of mind, of the mood that I happened to be in at the moment? Did the experience ultimately have little to do with the square and its atmosphere?

In order to answer that question, I conduct a simple experiment : I dismiss the square from my mind and the moment I do so, a curious thing happens : the feelings evoked by the situation begin to fade and even threatened to disappear. Without the atmosphere of the square, I realize I would never have experienced those feelings. Now it comes back to me : there is an intimate relationship between our emotions and the things around us. That thought is related to my job as an architect. I work at the forms, the physiognomies, at the physical presence of the things that constitute the spaces in which we live. In my work, I contribute to the existing physical framework, to the atmosphere of places and spaces that kindle our emotions.


音樂有它的魔力。奏鳴曲由中提琴滑落的旋律開始，之後鋼琴加入，這樣，一種清晰的感情已然瞬間表現出來；聲音的氣氛圍繞並打動著我，將我置於一種獨特的狀態。

繪畫和詩歌有魔力，詞語和圖像有魔力，閃亮的思想有魔力。現實、自然（the physical）、物質（substance）也有魔力，還有周圍我看到、觸摸到、聞到和聽到的東西，都有魔力。有時，在某些時刻，這魔力被特定的建築、景觀（landscape）、環境傳達而突然出現；它被物化了，像標準
的心靈成長一樣，一開始並沒有被意識到。

濯足星期四（基督受難日）。我坐在克羅斯教堂長長的敞廊下，面對著廣場全景：成排的房子、教堂和紀念碑。我背對著咖啡館的牆。人群不多不少。有個花卉市場。陽光下。那是上午11點。廣場對邊的牆處在陰影裡，沐浴在舒適的藍灰光下。美妙的聲音：近處的交談聲、廣場石板上的腳步聲、人群的低語聲（沒有汽車，沒有引擎的噪音），偶爾還有遠處建造的聲音。鳥，飛行的黑點，它們看起來熱情而愉快，在空中快速且參差不齊地排成直線。假日剛剛開始，看起來已經放慢了人們步行的腳步。兩個修女，愉快地打著手勢交談著，穿過整個廣場；她們步履輕盈，頭巾在風中飄動。每人提著一個塑膠包。溫度立刻清爽而溫暖。我坐在一個有軟墊的躺椅上，綠天鵝絨已經褪色。在我面前，廣場上高高的方基座上的銅像背對著我，引我看向有著雙塔的教堂。每個塔都有不同的塔尖；它們在底部開始的時候是一樣的，越往上越不同。一個比另一個高些，有著金皇冠。過了一會兒，B.將出現在右邊，對角穿越廣場，走向我。

寫下這些關於那個廣場的氛圍的雜記的時候，我完全被我所見到的一切迷住了。現在，讀著筆記，我想知道究竟是什麼如此打動我。

所有！一切——事物、人群、空氣品質、光線、聲響（噪音）、聲音和色彩。還有材料表現（material presence）、肌理和形狀。我能理解的形式。我能嘗試閱讀的構造。能打動我的漂亮外觀（地貌，面貌physiognomies）。

然而，除了所有物質材料、事物和人群之外，還有別的東西觸動了我——當我坐在那兒看著、聽著，是否有什麼關係到我的獨處，關係到我的情緒、我的感覺、我的期待？

“美在觀者眼中（情人眼裡出西施）”——當我寫作時，這句話印入我的腦海。這是否意味著那時我經歷的一切主要都是我精神狀態以及當時恰巧的情緒的表達和流露？這體驗是否根本與那廣場和它的氛圍無關？

為了回答這個問題，我做了一個簡單實驗：將那個廣場抽離腦海，當我這麼做的時候，一件奇怪的事發生了：被情境喚起的感覺開始變得平淡，甚至像要消失了。我認識到，沒有廣場的氛圍，我將不能體驗到那些感覺。現在這廣場又回到我心中：我們的情感和我們的周遭之間有一種密切的聯繫。這個想法與我作為建築師的職業有關。我從事於形態、外觀（physiognomies）、建立我們居住空間的事物的物質存在（physical presence）。在我的工作中，我努力促成現有的物質結構（existing physical framework）、場所的氣氛和引發我們情感的空間。



2.The magic of the real : that to me is the "alchemy" of transforming real substances into human sensations, of creating that special moment when matter, the substance and form of architectural space, can truly be emotionally appropriated or assimilated.

As an architect, I can construct workable holiday homes, commercial buildings, or airports; I can build flats with good floor plans at affordable prices' I can design theaters, art museums, or show rooms that make an impact; I can apply forms to my buildings that satisfy the need for innovation or novelty, status, or lifestyle.

It is not easy to do those things. It takes work. And talent. And more work. But that alone is not enough to come up with compelling successful architecture born of those special moments of personal architectural experience, and it makes me wonder : can I, as an architect, invest what I design with whatever it is that actually constitutes the essence of an architectural atmosphere? Can I create that unique feeling of intensity and mood, of presence, well-being, rightness and beauty? Is it possible to give concrete shape to that which defines the magic of the real at a specific moment, to the spell that it casts on my experience of it, conjuring a quality that I would never otherwise experience?

There are small and large, impressive and important buildings or complexes that dwarf me, that oppress me, that exclude or rebuff me. But there are also buildings or ensembles of buildings, both small ones and monumental ones, that make me feel good, that make me look good, that give me a sense of dignity and freedom, that make me want to stay awhile and that I enjoy using.

These are the works I feel passion for.

真實的魔力：對我來說就是把真實物質化入人類情感、創造特殊時刻（當建築空間的內容、實質和形式能真正地在情緒上被使用或吸收的時刻）的“煉金術”。

作為一個建築師，我能建造可用的假日住宅、商業建築或者機場；我能建造樓層平面良好、價格合理的公寓；我能設計效果不錯的劇場、美術館或是展廳；我能將形式賦予我的房子，它們滿足創新或新穎，滿足身份或生活方式。

做到這些並不容易。這需要工作，還有才幹，還有更多的工作。但是，只有這些還不足以產生引人注目的、成功的建築（它們產生於那些個人建築體驗的特殊時刻），這使我想知道：作為一個建築師，我能給予我所設計的房子 絲毫 實際上形成 建築氛圍的實質嗎？我能創造那關於熱情和情緒，關於存在（到場）、安寧、公正和美的獨特感覺嗎？有可能將具體外形賦予在一個特殊時刻定義真實的魔力的東西，一種我對它的體驗的魅力……

有一些大大小小的、感人的、重要的房子或綜合體，使我變得矮小，壓迫我，排斥我，或者拒絕我。但也有一些房子或建築群，既小又不朽，使我感覺良好，讓我看起來不錯，給我高貴和自由的感覺，這使得我想要呆上一會兒，並享受使用它。

這些是讓我感到熱情的作品。

3.So when I'm working, I keep reminding myself that my buildings are bodies and need to be built accordingly; as anatomy and skin, as mass and membrane, as fabric, shell, velvet silk, and glossy steel.

I try to make sure that the materials are attuned to each other, that they radiate; I take a certain amount of oak and a different amount of pietra serena and add something to them; three grams of silver of a handle that turns or maybe surfaces of gleaming glass, so that every combination of materials yields a unique composition, becomes an original.

I listen to the sound of the space, to the way materials and surfaces respond to touching and tapping, and to the silence that is prerequisite of hearing.

The temperature of rooms is very important to me, how cool they are, how refreshing, the chiaroscuro of warmth that caresses our bodies.

I love thinking about the personal things that people surround themselves with in order to work, in order to feel at home and for which create room, space, and place.

I like the idea of arranging the inner structure of my buildings in sequences of rooms that guide us, take us places, but also let us go and seduce us. Architecture is the art of space and it is the art of time as well - between order and freedom, between following a path and discovering a path of our own, wandering, strolling, being seduced. I give thought to careful and conscious staging of tension between inside and outside, public and intimate, and to thresholds, transitions, and borders.

And to the play of scale in architecture. My dedication to finding the right size of things is motivated by the desire to create degrees of intimacy, of closeness and distance. I love placing materials, surfaces, and edges, shiny and mat, in the light of the sun, and generating deep solids and gradations of shading and darkness for the magic of light falling on things. Until everything is right.

因此，當我工作時，我總是提醒我自己，我的房子是“身體”，它們需要因此而建：作為骨骼和皮膚，作為體量（體塊）和隔膜，作為織物、貝殼、天鵝絨、絲綢和拋光的鋼。

我試圖證實：材料能相互調和，顯現特質；我拿來大量橡木和不同量的塞茵那石（pietra serena），並給它們添加一些東西：3克銀或一個可以轉動的把手，或者是玻璃閃亮的表面，如此，每種材料的結合都生成唯一的合成物，成為一個原型（original）。

我聽著空間的聲音，聽著材料和表面回應觸摸和輕叩的方式，聽著作為傾聽之前提的寂靜。
房間的溫度對我來說非常重要，它們有多涼爽，多討人喜歡，寵愛我們的身體的溫暖的明暗處理。
我喜歡思考人們為了工作、為了感到自在而放置在他們周圍的個人事物，同樣是為了這個目的，我創造房間、空間和場所。

我喜歡這樣的想法：按房間（空間）的順序安排房子的內部結構，房間（空間）引導我們、帶領我們去各處，讓我們遠離，同時又誘惑我們。建築是空間的藝術，也是時間的藝術——在秩序和自由之間、在遵循和發現我們自己的道路之間，迷失、徘徊、被誘惑。我在意內外之間、公共和私密之間那小心的、有意的張力級別（staging of tension），也在意開端、轉換和邊界。

最後，建築中的尺度（比例）遊戲。創造私密、狹窄和距離的程度的熱情激發我對尋找事物的恰當尺寸的努力。我喜歡設置材料、表面和邊界，在陽光下閃亮的、暗淡的，喜歡產生深遠的實體以及因為打在物體上的光的魔力而產生的陰影和黑暗的層級。直到一切都恰到好處。

The Light in the Landscape
景觀之光

The light of the moon
月光
The light of the moon is a quiet reflection, large, even, and mild. The light of the moon comes from far away. That makes it quiet. I imagine the shadows that things cast on the earth in the light of the moon imperceptibly seeking separation. Though I can't tell with my bare eyes. I'm too small or too close to make out the cosmic angle between the source of light and the things it illuminates on earth.
月光是一種寧靜的反射，寬大、平滑且溫和。月光遠遠而來，使得它寧靜從容。我想像在月光下事物投射在地面上的影子不易察覺地尋求分離，儘管我不能用肉眼判斷。我太小或太接近這個在光源和它所照亮的地球上的事物之間宇宙的角落。
When I start studying light and shadow, the light and shadow of the moon, the light and shadow of the sun, the light and the shadows produced by the lamp in my living room, I acquire a sense of scale and dimension.
當我開始研究光和影，月亮的光影，太陽的光影，我的起居室中燈產生的光影，我獲得了比例感和尺度感。
I have always wanted to write a book about light. I can think of nothing that reminds me more of eternity, says Andrzej Stasiuk in his book The World behind Dukla. Events or objects stop or disappear or collapse under their own weight and when I look at them and describe them, he says, it is only because they refract light, because they shape it and give it a form that we are capable of understanding.
我總是想寫本關於光的書。安傑•史達休克（Andrzej Stasiuk ）在他的書《杜克拉後的世界》（The World behind Dukla） 裡說，“我不能想到任何使我更想起永遠的事情。”“事件或物體在它們自身的重量下停止、消失或坍塌，當我看著它們、描述它們，”他說，“只是因為它們折射光，因為它們使它成形、給它我們能夠理解的形式。”

The light that meets the earth from afar
與地面相遇的遠來之光
I want to think about the artificial light in my buildings, in our cities and in our landscapes, and I catch myself forever returning, like a lover, to the object of my admiration: the light that meets the earth from afar, the untold numbers of bodies, structures, materials, liquids, surfaces, colors, and shapes that radiate in the light. The light that comes from outside the earth makes the air visible, I can see it. In the Upper Engadine in autumn, for example, where the skies are already southern but the air is fresh.
我想思考在我的房子、我們的城市、景觀中的人工光線，我catch myself始終回到我喜歡的物體：與地面相遇的遠來之光、無數的“身體”、結構、材料、液體、表面、色彩以及在光線下發光的外形。從地球外來的光使得天空（空氣）看得見，我能看見它。例如，在Upper Engadine的秋天，天空已經像南方，但空氣清新。

Seen from a great height
從極高處看
Seen from a great height, the artificial lights with which people illuminate the night have a soothing effect. We illuminate our buildings and streets, we illuminate our planet, ward off little pieces of darkness and create islands of light on which we can see ourselves and the things that we have accumulated around us.
從極高處被看，人們用來夜間照明的人工光有一種撫慰人的效果。我們照亮了我們的房子和街道，照亮了我們的地球，擋住（避開）小塊黑暗，創造光之島，在島上我們能看見我們自己和已經堆積在我們周圍的東西。
Sensing, smelling, touching, tasting, dreaming in the dark – that's just not enough. We want to see. But how much light do people need in order to live? And how much darkness?
在黑暗中感覺、聞、觸摸、品嘗、做夢——那還不夠。我們想看。可人們為了生活需要多少光？需要多少暗？
Is there a spiritual condition or a life condition so sensitive that tiny amounts of light would be enough to ensure a good life? Or, to go even further: Are there some things we can experience only in dark, shaded places, in the darkness of night?
有沒有精神環境或生存（生活）條件如此敏感以至於微量的光就足以保證良好的生活？或者，甚至走得更遠：有沒有一些東西我們能只在暗陰的場所中、在夜晚的黑暗中體驗？
Two hunters from San Bernardino, who spent a few days and nights in an uncivilized mountain valley, describe coming home at night and looking down on their illuminated village – the tunnel entrance, the gas station, the cars – and how the familiar village suddenly seemed polluted.
兩個三藩市來的獵人，在一個未開化的山谷呆了一些日夜，描寫他們晚上回家，(在山上)向下看著他們那被照亮的村莊——隧道入口、加油站、汽車——還有那熟悉的村莊如何突然似乎被污染了。
Tanizaki Jun’ichiro, the author of In Praise of Shadows, once decided to watch the full moon at the Ishiyama Temple, but changed his mind when he learned that they would play a recording of the Moonlight Sonata for the entertainment of the visitors and install artificial lights to illuminate the site.
谷崎潤一郎Tanizaki Jun’ichiro ，《陰翳禮贊（In Praise of Shadows）》的作者，曾經決定在石山寺（Ishiyama Temple）看滿月，但是當他知道他們要播放《月光奏鳴曲》作為給遊客的娛樂節目並安裝人工燈來照亮場地後，他改變了主意。

The light of the sun
陽光
Myriad small dots of light: the stars in the sky, fireflies in the woods, the artificial lights of nightscapes on earth. Small objects of light that radiate or reflect. The glass beads in a chandelier, for example.
無數的光點：天空的星星、樹林中的螢火蟲、地上夜景的人造燈。發光或反射光的小物體。例如裝飾燈上的玻璃珠。
The light of the sun, the day, that reaches the surface of the earth from outer space, is big and strong and directed. It is one light.
白天，太陽的光從太空到達地球表面，大量、強烈而定向。它是一盞燈。

Darkness lives in the earth
黑暗住在土地裡
Recently, on a mountain hike, A. observed that the colors of the Alpine flowers along the path are still aglow for a little bit after twilight has fallen, as if the flowers had stored the light and now have to release it, she tells me.
A.告訴我，最近，在一次登山遠足中，她發現在黃昏已經來到以後一會兒，沿著阿爾卑斯山路的花朵的色彩仍然通紅，就像花儲存了光，現在不得不釋放出來。
Darkness lives in the earth. It rises up out of it and returns to it like a strong breath, I read in Andrzej Stasiuk's Dukla.
黑暗住在土地裡。我在安傑•史達休克的《杜拉克（後的世界）》（Dukla）裡讀到，“它從地裡起來，並回到地裡，就像一次強有力的呼吸。”
The older I get, the more intense is my interest in the various ways and forms in which light appears in nature. I am amazed, I learn from that, and I am aware that it is the light of the sun that illuminates the buildings I envision. I hold spaces, materials, textures, colors, surfaces, and shapes up to the light of the sun; I capture this light, reflect it, filter it, screen it off; I thin it out to create a luster in the right spot. Light as an agent, I'm familiar with it. But when I really start thinking about it, I understand hardly anything.
年紀越大，我對以各種方式和形式讓光能自然表現的興趣就越濃烈。我很吃驚，我從那裡學到了，並且，我知道是太陽的光照亮了我預想的房子。陽光下，我擁有空間、材料、紋理、色彩、表面以及外形；我捕獲這光，表現它，過濾它，用幕隔開它；在恰當的地方，我使它稀薄，來創造一種光澤。光就像一個代理，我熟悉它。但當我真正開始思考它，我幾乎什麼也理解不了。


The light in the landscape
景觀（地形）之光
The Light in the Landscape. Friederike Mayröcker uses this image to title a text that seems extremely autobiographical to me. Its many shades and shadows keep breaking out and into the light as she piles up the material of her words layer upon layer, describing and creating inner and outer landscapes.
《景觀（地形）之光》。弗裡德里克•邁勒克爾（Friederike Mayröcker） 用這個圖像（意象/比喻）來命名一篇文章，這文章對我來說似乎極端“自傳化”。當她一層一層地堆積文字素材時，它的許多陰暗和陰影持續爆發，進入光明，在地形的內外描述並創造。
Personal landscapes. Images and landscapes of longing, mourning, tranquility, joy, loneliness, sanctuary, ugliness, the pretension of pride, seduction. In my memory they all have a light of their own.
個人景觀。渴望、悲慟、寧靜、愉悅、孤獨、避難所、醜陋、自豪的要求、誘惑的圖像和景觀。在我的記憶中，它們都有自己的光。
Is it even possible to imagine things without light?
甚至，如果沒有光，有可能想像事物嗎？
Tanizaki Jun'ichiro praises shadows. In the dark depths of the traditional Japanese home, where shadows crouch in all the corners, the gold of a lacquer painting gleams, and gentle light is diffused through translucent paper stretched over the delicate wooden frame of a sliding door so that one can hardly distinguish the source of the daylight that captures and reflects the objects so beautifully in the half light.
谷崎潤一郎（Tanizaki Jun'ichiro）讚美陰影。在日本傳統住宅那暗黑的深處，陰影蜷縮在每個角落，漆器上的黃金閃著微光，柔和的光線透過糊在精巧的木滑門上那半透明的紙漫射開來，因此，很難辨別日光的來源，這光如此美妙地捕獲和反映了物體。
Jun'ichiro praises shadows. And shadows praise light.
谷崎潤一郎讚美陰影。陰影讚美光。

Shadowless modernism
無陰影的現代主義
If l remember rightly, I have seen buildings of classical modernism that celebrate the light and the landscape. Richard Neutra's houses in California, for example. Shadows do not seem to loom large in these architectural compositions. But brightness does, light and air and the outdoor view, the sensation of living in the landscape, of having the landscape flow into or through the rooms inside the landscape with all of its lights and shadows. Watching the sun set in these houses is a magnificent experience. Later, when the house is no longer illuminated from outside, it has to generate its own lighting, its own illuminated atmosphere. With human light.
如果記得不錯，我已經見過一些歌頌光和景觀（地形）的經典現代主義的房子。例如，Richard Neutra在加利福尼亞的住宅。在這些建築佈局中，陰影並不顯得突出，但光亮卻是，光、空氣以及室外的景色，在這景觀中生活的感覺，擁有景觀的感覺，和它所有的光影一起，溢入或穿過房間。在這些住宅看日落是最美好的體驗。後來，當房子不再被從外部照亮時，它不得不產生自身的光亮，它自身被照亮的氣氛。用人類的光。

Los Angeles by night
夜幕中的洛杉磯
Seen from an approaching aircraft that is gradually losing altitude, the nighttime illumination of Los Angeles looks like a magical image. Later, on the streets of the city, that same light seems pallid and sickly to me, an unnatural brightness in which the green lawns and bushes in the front yards of the houses look as if they were made of plastic.
從快降落的飛機上看（高度逐漸降低），洛杉磯的夜間照明看起來像是一張不可思議的圖像。後來，在這個城市的街上，同樣的光，對我來說暗淡而蒼白，是一種不自然的亮度，在這光線下，草坪上和房屋前院的灌木看起來就像是用塑膠做的。

Between sunset and sunrise
日落日出間
Between sunset and sunrise, we furnish ourselves with illumination of our own making lights that we can switch on at will. These lights cannot be compared to daylight; they are too weak and too breathless with their flickering intensities and swiftly spreading shadows.
在日落和日出之間，我們用自己製造的可以隨意接通的燈來照明。這些燈有著忽隱忽現的亮度和快速投下的陰影，無法與日光相比，它們太弱、太靜止。
But when I do not think of these lights that we make ourselves as an attempt to eliminate darkness, when I think of them as night-time lights, as accentuated night, as intimate illuminated clearings that we carve out of the darkness, then they can become beautiful, then they can have a magic all their own.
但是，當我沒有把我們自己製造的這些燈看作一種消除黑暗的嘗試，當我把它們作為夜間照明，作為被強調的夜晚，作為照亮我們雕刻黑暗的空地的朋友，它們就變得美麗，它們就擁有完全作為它們自身的魔力。
Which lights do we want to switch on between sunset and sunrise?
在日落和日出之間，哪些燈是我們想要點亮的？
What do we want to illuminate in our buildings, cities, and landscapes?
在我們的房子、城市和景觀中，我們想要照亮什麼？
How and for how long?
如何（照亮）？（照）多久？


http://www.douban.com/note/157045708/