外國(guó)建筑史專題二 曲線的最后回響

1、 曲線的最后回響：高迪與霍塔 A. Gaudi & V. Horta: The Last Call of CurveAntonio Gaud 1852-1926西班牙建筑師，他的名字與巴塞羅那緊緊相連。Gods architectThe Dante of ArchitectureVictor Horta 1861-1947 比利時(shí)建筑師undoubtedly the key European Art Nouveau architect. 那些長(zhǎng)長(zhǎng)的、敏感的曲線，那些讓人憶起百合柔莖、昆蟲觸角、花朵蕊絲、偶或細(xì)長(zhǎng)火苗的曲線，那些起伏流動(dòng)、相互纏繞、萌生于一角而無(wú)拘地蔓延到四面的曲線 尼古拉斯佩夫

2、斯納 the long, sensitive curve, reminiscent of the lilys stem, an insects feeler, the filament of blossom, or occasionally a slender flame, the curve undulating, flowing, and interplaying with the others, sprouting from the corners and covering asymmetrically all available surfaces Nicolas PevsnerANTO

3、NIO GAUDI高迪建筑中的曲線梵高（1853-1890）星夜 高迪 巴特約之家高迪其人，以及加泰羅尼亞 建筑的崇高性， 來(lái)源于同其自身目的的高度契合， 而這些目的會(huì)隨不同的氣候、 土地和民族習(xí)俗而變化。 約翰拉斯金，1853The nobility of eachbuilding depends onits special fitness for itsown purpose; andthese purposes vary with every climate,every soil, and everynational customJohn Ruskin，1853Antonio Gaud

4、, his face1878188819101924San Felipe Neri en la consagracin de la Santa Misa,1902Joan Llimona (1860-1926)His story1852，born in Riudoms, Catalonia, Antoni Plcid Guillem Gaud i Cornet 五個(gè)小孩（兩個(gè)未能成年）中最小的一個(gè)。 nursery school 幼年健康不太好，風(fēng)濕病1868，搬到巴塞羅那，喜歡空想社會(huì)主義1875-1878服兵役，因?yàn)榻】挡疃槐厣锨熬€ 1878畢業(yè)，the Llotja School an

5、d the Barcelona Higher School of Architecture，獲得建筑師頭銜。學(xué)習(xí)成績(jī)不大好，老師的評(píng)語(yǔ)： We have given this academic title either to a fool or a genius. Time will show.His works student worksHis story1878年的方案深受EusebiGelliBacigalupi (1846-1918)喜愛(ài)， Gell從此成為Gaudi的贊助人 1879年，加入the Centre Excursionista de Catalunya，經(jīng)常騎馬或遠(yuǎn)足18

6、82年開(kāi)始，接手Francesco del Villar設(shè)計(jì)圣家族教堂。 1899年 ，Saint Luke artistic circle成員忙碌的建筑設(shè)計(jì)生涯，做著無(wú)人喝彩的作品。1926年，死于車禍終身未婚。圣家族教堂 Sagrade Familia, Barcelona, 1882-維森斯公寓 Casa Vicens, Barcelona, 1883-1888古埃爾公園 Parc Gell, Barcelona, 1883-1888古埃爾酒廠 Bodegas Gell, Sitges, 1895-97米拉公寓Casa Mil, Barcelona, 1905-1907科洛尼亞古埃爾教堂

7、 Church of Colnia Gell, Barcelona, 1908-1914巴特約之家Casa Batll, Barcelona, 1904-1906魅力酒店Hotel Attaction,New York, 1908古埃爾宮 Palau Gell, Barcelona, 1883-1888His works Orientalist PeriodCasa Vicens (188388) El Capricho (188385) Gell Pavilions (188487) Palau Gell (188688) Compaa Trasatlntica (1888)His work

8、s Neo-Gothic PeriodColegi de les Teresianes (188889) Episcopal Palace (1889-93) Casa Botines (1891-94), LeonBodegues Gell (1895-97) Torre Bellesguard (1900-09)Franciscan Mission of Tangiers,1892His works Naturalist Period Casa Calvert I Casa BatlloHis works Naturalist PeriodRosary of Montserrat Park

9、 Gell Gate, Park GellMuch of Gauds work was marked by the four passions of his life: architecture,nature, religion, andhis love for Catalonia.高迪的幾座建筑Parc Gell, 1883-1888 古埃爾公園的蜿蜒景致給人一個(gè)干涸的海底世界的印象被消退的海洋遺留在高處，到處都是沉淀的珊瑚。Casa Batllo, 1904-1906 Casa Mila, 1905-1907.The Colonia Gell, 1908-1915. The Colonia

10、 Gell, 1908-1915 Original Sketch懸鏈線Hotel Attraction, New York,1908the Cathedral of the Sagrade FamiliaBarcelona, 1882- on going圣家族教堂the Cathedral of the Sagrade Familia借鑒了哥特式教堂的平面和結(jié)構(gòu)技術(shù)、造型風(fēng)格。My good friends are dead; I have no family and no clients, no fortune nor anything. Now I can dedicate myself

11、entirely to the Church. Antonio Gaud高迪的形式來(lái)源戈埃爾公園 巴塞羅那圣喬賽普市場(chǎng)內(nèi)擺賣的蔬菜戈埃爾公園的蜥蜴噴泉 蜥蜴圣家堂塔樓 海星巴特婁公寓外立面陽(yáng)臺(tái) 霸王龍骨骼化石巴特婁公寓外立面陽(yáng)臺(tái) 霸王龍骨骼化石米拉公寓高迪博物館內(nèi)的蛇骨標(biāo)本 巴特婁公寓樓梯扶手米拉公寓天臺(tái)通風(fēng)井 古羅馬角斗士扮演者圣家堂樓梯俯視 鸚鵡螺殼圣家堂天頂 海膽內(nèi)骨骼The Tower Look at the tops! Is it not true that it seems to unite Heaven and Earth? This burst of mosaics is th

12、e first thing that sailors will see when approaching Barcelona; it will be a radiant welcome.以五顏六色的威尼斯馬賽克裝飾的塔頂When I went to take the measurements of the site, it was totally covered in yellow flowers, which I adopted as the ornamental theme for the ceramic work.花Flowers 花Flowers 維森斯公寓Casa Vicens以萬(wàn)壽

13、菊（金盞花草）作為裝飾主題花Flowers 以帶有向日葵以及向日葵葉子的瓷磚來(lái)裝飾建筑外墻花Flowers 棕櫚樹葉Palm tree leaf I also found there an exuberant European fan palm tree, whose leaves, cast in iron, fill the squares featured on the railings, and the entrance gate of the house.棕櫚樹葉Palm tree leaf 蒲葵葉蒲葵葉模型棕櫚樹葉Palm tree leaf 十字架Cross Lluis Bone

14、t I Gali描繪的鐘樓頂部，以此獻(xiàn)給耶穌十字架Cross Casa Bellesguard頂部Casa Batllo頂部高迪研究了生長(zhǎng)在教堂周圍的植物，并將其作為模型應(yīng)用在圣家族大教堂的頂部Apse of the temple of the Sagrada Familia Apse of the temple of the Sagrada Familia Apse of the temple of the Sagrada Familia 螺旋線Spiral helices 高迪手繪的西番蓮果分支，在畫作的底部我們能看到“耶穌”字樣的變形螺旋線Spiral helices 西番蓮果蔓卷成螺旋

15、狀多邊形Polygonal shapes 六角形蜂巢多邊形Polygonal shapes 螺旋運(yùn)動(dòng)Spiral movements 加泰羅尼亞拱 圓錐曲線Conical Curves 圓錐曲線Conical Curves 雙曲面One - Leaf Hyperboloid 雙曲面One - Leaf Hyperboloid 雙曲拋物面The Hyperbolic Paraboloid 雙曲拋物面The Hyperbolic Paraboloid 對(duì)理想柱式的追求The quest for the ideal column 如同大森林的教堂內(nèi)部The inside of the Temple

16、is like a huge forest 如同大森林的教堂內(nèi)部The inside of the Temple is like a huge forest 教堂的主要柱子Capital of the column in the Central Nave 對(duì)生結(jié)晶體Twinned crystalls 高迪對(duì)后世的影響經(jīng)常和警察沖突。流浪漢一樣死去。舉城大葬。高迪的職業(yè)精神?，F(xiàn)代建筑的探索者？后現(xiàn)代的鼻祖？城市的財(cái)富。 許多年以后，查爾斯詹克斯在后現(xiàn)代建筑語(yǔ)言一書中，聲稱高迪是后現(xiàn)代主義建筑的鼻祖。 而在西班牙，高迪被認(rèn)為是現(xiàn)代建筑的先驅(qū)。 高迪極端的獨(dú)創(chuàng)性和特異性表明他只是“新藝術(shù)運(yùn)動(dòng)”理想的

17、一個(gè)松散成員。事實(shí)上，建筑學(xué)中的一個(gè)風(fēng)格階段是共享表現(xiàn)母題、表達(dá)方式和思想主題的一個(gè)寬闊平臺(tái)，其中可能出現(xiàn)多種多樣的個(gè)人風(fēng)格。高迪執(zhí)著地探索著加泰羅尼亞的“地區(qū)”風(fēng)格，理解了當(dāng)?shù)氐慕Y(jié)構(gòu)類型和磚、陶瓷的建造技術(shù)，詩(shī)意地呼應(yīng)了地中海沿岸的地景植被以及巴塞羅那的濱海特征和傳統(tǒng)。同時(shí)，高迪篤信宗教，堅(jiān)信建筑的物質(zhì)特性必須是精神秩序的外在顯現(xiàn)。高迪的多處作品已經(jīng)被列入世界遺產(chǎn)名錄。World Heritage status by UNESCO:the Park Gell, the Palau Gell, the Casa Mil(1984);the Nativity facade, the crypt

18、and the apse of the Sagrada Famlia, the Casa Vicensthe Casa Batll in Barcelona, the crypt of the Colnia Gell in Santa Coloma de Cervell (2005)The declaration of Gauds works as World Heritage aims to recognise his outstanding universal value. According to the citation:*The work of Antoni Gaud represents an exceptional and outstanding creative contribution to the development of architecture and building technology in the late 19th and early 20th centuries. Gauds work exhibits an important interchange of values closely associated with the cultural and artistic currents of his time, as r