案例查拉塔20-5翻譯

1、Itmightbetall La Congiunta in Italian means (po- tential) suggesting a womb a receptacle for a child through long ion. Artists oftenrefer totheirworksas theirchildren.PeterMrklis isaItmightbetall La Congiunta in Italian means (po- tential) suggesting a womb a receptacle for a child through long ion.

2、 Artists oftenrefer totheirworksas theirchildren.PeterMrklis isareceptacleforHansalone ina narrow valley close to the village of Giornico,of Switzerland. It is a long, grey, win-dowless, concrete box. This austere building is a destination for pilgrim-age. It ended those wishing to admire Josephsohn

3、s sculpture. It e a destination for rigued by Mrklis architecture. of a shrine. offers a refuge, away from the world; but this is a refuge with no prospect. lgrim has commit time to travel there and has to make extra efforts to find the building and to gain Asifnegotiatingguardianofthedoorway,visito

4、rstoLaCongiuntamustobtainakeythe owner of a local caf; and then to find the entrance to the building, which away your approach; you must walk along the whole length of the buildings walls. Like an church s no electricity (no lighting), no heating, no , no lavatory. But, also like anchurch it does ha

5、ve mysterious daylighting, it also has a crypt; in this instance an usedinconnectionwithlocalvine就是其一例。拉孩子，而彼得 馬克利所設(shè)計(jì)的博物館就是作為漢斯而拉孔瓊塔寂寞地坐落提契諾（Ticino）的一個(gè)名叫焦?fàn)柲岬倪M(jìn)一步將你從自然環(huán)境中剝離開來。像一座古老的教堂，沒有電（沒有照明它也有一個(gè)室；在這種情況下與當(dāng)?shù)仄咸雅嘤嗦?lián)系aresonates with the length narrownessofthesteep-sidedvalleyIts long and narrow s next t

6、o the river, n the railway and the old road, the Cantonale. Including它也有一個(gè)室；在這種情況下與當(dāng)?shù)仄咸雅嘤嗦?lián)系aresonates with the length narrownessofthesteep-sidedvalleyIts long and narrow s next to the river, n the railway and the old road, the Cantonale. Including a of movement railway, lane, river and road draw fo

7、ur almost parallel lines. (There is express-way too, the E35, shown to the left of the drawing, which also generally follows the ofthevalleyheadingnorthfromItalytotherdThelinesaredividedanddefinedbylayersoftrees.Thelongisfromthevillagejusttothesouth.Thebuildingsentranceis at its northern end.LaCongi

8、unta（1）它的長而窄的領(lǐng)域位于河流之間，鐵路和舊路之間，通過 Cantonale。包括 （E35，左圖所示的圖形，這也通常遵 從村莊到南部。大樓的 是在北端。 不同的樹和灌木界定劃分，而狹長的拉）背向人的行進(jìn)方向，道路由南向北卻在北邊Basic,combinedandmodifying基礎(chǔ)上，結(jié)合可用元素（基本要素concrete poured while o moulds (form-work) erected on site andremoved oncethe concrete hasset(gone off ).is not a tconsidersthecomfort ofpeo

9、ple,exceptperhapstoshelterthemfromand rain; it is a temple for t are indifferent to cold and ernal (there is no l light in the main part of the building) enters through clerestory strips ranslucent plastic which nlight and prevents sharp shadows running full length of the buildings three sections (4

10、2). This arrangement the elemental quality of Romanesque architecture (5). At the end of the building furthest from the entrance there are four ls, each with its own centred square roof-light. Josephsohns enigmatic and visceralwork isedmainly onthewalls, withthree free-standing sculpturesonpedestals

11、the last and highest of the buildings three mainchambers. Even on a bright sunny day the isdisplayed in a soft even greyish light (slightly monochromelikeahe small side ls).eriorLaCongiunta（拉孔瓊塔是由混凝土澆筑而 work雨外，它是一個(gè)對寒冷和潮濕無動(dòng)于衷的雕塑圣殿。(）室內(nèi)日光（4-2）（5瓊塔的量。馬克利顯然受到了來自羅馬教堂基本空間質(zhì)量的影響，isdisplayed in a soft even g

12、reyish light (slightly monochromelikeahe small side ls).eriorLaCongiunta（拉孔瓊塔是由混凝土澆筑而 work雨外，它是一個(gè)對寒冷和潮濕無動(dòng)于衷的雕塑圣殿。(）室內(nèi)日光（4-2）（5瓊塔的量。馬克利顯然受到了來自羅馬教堂基本空間質(zhì)量的影響，（小小的教堂里略微露出Inlectures,PeterMrkliysedthischurch(S.Pietro,Tuscania)toexplainheofelementalarchitecture.Itssection,withtheraisedcentralallowingcleres

13、toryothenave,seemstohavetofLaCongiunta,thoughMrklissparestructureofsteelbeamsspanningnconcreteparallelwallsdoesrequireermediatesupportofcolumnsnnaveheRomanesque. La CongiuntarkliIf the Farnsworth House ysis) denies the Congiunta is a t (re-)asserts the walls er enclose and separate (isolate, insulat

14、e, divorce) a place from everywhere else. It is a series cells linked by doorways single entrance at one end. Apart from the light entering above, there is very little more to this building. Its basic architectural elements are very few. floor (concrete grey and level) is raised a couple of feet abo

15、ve the slight slope of the ground outside (soft green andcells linked by doorways single entrance at one end. Apart from the light entering above, there is very little more to this building. Its basic architectural elements are very few. floor (concrete grey and level) is raised a couple of feet abo

16、ve the slight slope of the ground outside (soft green and gently ) but this is apparent only at the entrance. Whereas Farnsworth Houses floor, supported on its columns, floats above the ground, the walls of Congiunta go o the ground. he case of the Farnsworth House there are no paths leading to the

17、building; it stands like a ship in a sea of grass. There is a small step like ledge at the entrance to help (make) you climb inside. The entrance doorway has a simple industrial metal door fixed to the outside surface of the concrete wall. The roof projects slightly over the full width of the entran

18、ce wall, like a vestigial porch. Everything is as simple, minimal, reduced, condensed as it can be.As you walk around the building to the entrance, its sharp corners enter you are cut distantmountainsgrey nothingness. And as rom the y. Once inside theerior you can the door behind you or leave it ope

19、n and sunlight. Each of the door-less doorways bet thresholdwhich,likeinaHindutemple,makesyouconsciousofstepn the cells has a raised fromoneonext, from one o another. In La he n the frames cellsisonlysubtle.Thethresholdsdonotofferdramaticchangesinesofbeing.(4 sec tion cc) is short in nd medium in he

20、ight; the second (3 section bb) is long the lowest in height; the third (2 section aa) is the same length as the second but also tallest of the three. The four side ls are almost square in plan and have a height nt of and second cells. One senses there is a harmonic proportioning erningtheseal如果 Far

21、nsworth House（以前的分析）Congiunta（重新離婚.）一個(gè)地方從各處其他。還有一點(diǎn)點(diǎn)。其基本的建筑元素很少。（混凝土灰色和水平面在外面的輕微斜坡上方高出幾英尺（柔和的綠色，輕輕傾斜處才顯現(xiàn)。而 Farnsworth House超La 間;第二（3b-b）個(gè)房間最長，但高度最低;第三（2a-a）Geometryof超La 間;第二（3b-b）個(gè)房間最長，但高度最低;第三（2a-a）Geometryofand the slight steel structure, La Congiunta is a building of a single material, in situ c

22、oncrete. ece Architecture the geometry of making is erms of the construction of as bricks and sawn oftimberwhichare assembledby addition,i.e. by placing material on or attaching it to others. The terns in situ concrete is different.mighttthisinitiallyfluidmaterialwouldlenditselftofreers;butusuallyit

23、sis determined by its mould, the form-o which it is poured; and this form-work, oftimberorsteelpanels,isconditionedbyitsowngeometryofAs money was ing for La Congiunta, different parts were built at times. In situ concrete has to be constructed incrementally anyway. It is poured in lifts. combination

24、 of form-work and lifts leave he surface of the resultant concrete. lines are apparent in the walls of La Congiunta (6a, and 1215). They give the building the appearance of being layered, like strata in a除了 天窗，金屬板材屋面和輕微的鋼屋蓋結(jié)構(gòu)，Lacongiunta （一旦進(jìn)入灰色LaCongiunta（6a，1215the three sections of building; each

25、 takes its datum fromthe top of its wall n from either the sharedorfloorlevel.Thistoosuggeststhereissomeproportioningdisciplineat hisbuilding,t relates to LaCongiunta（6a，1215the three sections of building; each takes its datum fromthe top of its wall n from either the sharedorfloorlevel.Thistoosugge

26、ststhereissomeproportioningdisciplineat hisbuilding,t relates to the heights of the blocks n to module suggested by the lines in Inside La he outside world is no longer relevant; erior is like a cave only at the entrance, as in a natural cave, is the outside apparent; the only other influence outsid

27、eisthelightfilteringthroughthe系Idealerior of La Congiunta may like a cave system (7) and constructed by human ingenuity; as such, it rectangular. The cave-like quality of erior is reinforced by the monolithic nature of concrete walls, floor and thresholds, as if the have been scoured out of solid ro

28、ck. human ellectual) character of the rectangular is enhanced, given measure, by geometricproportionaltMrklihaseduponWhen looking for the underlying proportions of a build-ing it is notoriously difficult to whether you have found the right ones and it is very easy to persuade t you discovered a prop

29、ortional t is not actually there. In particular the thicknesses walls and other parts of the building confuse matters, so do inaccuracies in construction. It rarelycertain whether measurementsshould betaken from theinsideface ofa wall,the face, or the walls centre line. And there are always some n t

30、he accurateformofabuildingconstructedbydrawingonr (or on a computer) and the constructed in real materials. I apologise to the architect his case I have clear t Mrkli does use inhisdesign.Ishallnotspeculate astowhetherheascribessymbolicsignificanceto theon which hisproportions are based or sees them

31、 primarily as imbuing his ition with visual harmony equivalent to the aural harmony of music. Some of the proportions apparent La Congiunta are indicatedblocks, furthest from the entrance, appears to have proportions, measured externally, of units high by six units wide (10). The side ls add a furth

32、er four ofthese units to the andarefiveunitshigh.Theentranceandandlocksaresixandfourunitshighrespectivelyitionoftheclerestoryappearstobedeterminedthe width of the space is ounits high by six units wide (10). The side ls add a further four ofthese units to the andarefiveunitshigh.Theentranceandandloc

33、ksaresixandfourunitshighrespectivelyitionoftheclerestoryappearstobedeterminedthe width of the space is o nine, with three hs given the clerestory, and two hs and four hs to the right and left aisles respectively. ition of the doorways, with Forthese the width of the eemsofive (8), with the doorway a

34、xis on two-fifthsline.Thesearrangementsttheaxis ofthe doorway isnot (quite)aligned t of the clerestory (6b). And, obviously, neither the central axis of the cells themselves. Only the four lshavecentrallyaligneddoorwaysandroof-lights.AllthedoorwaysarethesamesizehaveaproportionofeightbythreeLa Congiu

35、nta（7的Mrkli空間的人（智力）（拉度 況下我犯了錯(cuò)誤或歪曲他的意圖，我對建筑師道歉。然而，很明顯，MrkliLa Congiunta的一些比例在上圖（8-10）中有所顯示。距處最遠(yuǎn)的最四9（8 而寬度是 個(gè)拜室 在寬度上是 個(gè)，高度是 5；度上分別是 6 和 4 。確定的位置似乎是根（9（8（11（93份和 652/5walls,ceilingsorfloors.Theseconcretecontributetothecreationofpoignantlyempty inForms Practice:GermanSwissArchitecture19802000,p.確定的位置似乎是

36、根（9（8（11（93份和 652/5walls,ceilingsorfloors.Theseconcretecontributetothecreationofpoignantlyempty inForms Practice:GermanSwissArchitecture19802000,p. butshecouldhavebeenwritingofLaCongiunta,whichsheusesasa。偉大的Davidovici，寫關(guān)于GigonGuyer Mrklis architecture in La Congiunta avoids acknowledging the geometr

37、ic central axis of three main cells of the building. This is he itioning of the and the line of doorways. ven refuses to allow the clerestory and doorways to share axis of their own. There is a third he game Mrkli plays xes. This involves itioningoftheverticalheconcrete,ernallyandOntheentranceelevat

38、ion(12)theverticalhe theelevationattheotherendofthebuilding(13)thelineitionedmark the axis of the clerestory. Inside the building the he concrete itioned the two doorways from the entrance othe middle gallery (14) it is to the left. Over the doorway from middle othe tallest gallery (15)it isto the r

39、ight. The vertical hewallat end of the tallest gallery appears not to be on any axis. The result t, as one looks 92.IrinaDavidovici, writing about Gigon/Guyers KirchnerMuseum in Davos, Switzerland Thecave-likecirculationsaredefinedbytrejectconventionaldefinition through the line of doorways, the ver

40、tical he adjacent concrete do not align (16); to the left, then to the right and then to the left again. As there is othemusicoftheBarcelonathrough the line of doorways, the vertical he adjacent concrete do not align (16); to the left, then to the right and then to the left again. As there is othemu

41、sicoftheBarcelonaPavilion(seepage34),sotooThe effect of eral asymmetry of Mrklis designmay be understood by comparing it howthebuilding(18) and with a progressive increase of ceiling height from the entrance inwards (17 and WhenhiswaytheesmorelikeatraditionalChristianIt acquires a staged from entran

42、ce to if one moves one of the side ls to end of the building a sanctuary. Discarding one of the side ls itioning the twoas transeptswould create the familiar,ifelongated,cruciform plan ofaChristianchurch. this arrangement, the sculptures would probably be arranged like the sculptures in a church bot

43、h side walls of the cells and in the transept ls. Maybe one l work would hedistancethroughfourdoorwaysfromhesanctuary,ontheaxisandCongiuntasthreshold,providingafocusandterminustotheroutesimilartothealtarinaMrkli LaCongiunta 這是明確的在不對稱的定位和門路線。 Mrkli 廊進(jìn)入中間畫廊 然后向左振蕩。由于巴塞羅那館的音樂中存在對立面（見第 34 頁在這里也是（拉孔瓊塔中的建

44、筑構(gòu)件 與房間的軸線對齊，這個(gè)觀點(diǎn)可以由天窗和門的非對稱布置得到印證。馬克利甚至 將天窗和門共用一條軸線。在馬克利 玩的關(guān)于軸線的 中，還有第三種元素，那就是內(nèi)外界面上混凝土交接的垂直的背立面上，垂直線標(biāo)示了天窗的軸線。在建筑 ，垂直線處于門中間但并不與門的軸線對齊。連通 的密室與中間密室的門之上，垂直線偏向左。連通中它處獲得一個(gè)階段性的進(jìn)展 如果將一個(gè)禮拜堂放在建筑的最末- 一個(gè)“圣所。放棄其中一個(gè)小禮拜堂，將另外兩個(gè)定位為“教堂型雕塑可能會(huì)被像在教堂里的雕塑被安排放置在房間和教翼部小禮拜堂口可見其軸線和距離，提供了一個(gè)走到教堂里類似祭壇的路線are he building as desig

45、nedit(20)thehierarchyisnotsodefiniteandhierarchical.It它處獲得一個(gè)階段性的進(jìn)展 如果將一個(gè)禮拜堂放在建筑的最末- 一個(gè)“圣所。放棄其中一個(gè)小禮拜堂，將另外兩個(gè)定位為“教堂型雕塑可能會(huì)被像在教堂里的雕塑被安排放置在房間和教翼部小禮拜堂口可見其軸線和距離，提供了一個(gè)走到教堂里類似祭壇的路線are he building as designedit(20)thehierarchyisnotsodefiniteandhierarchical.Itavoidsasingleculminationinhe building as built each

46、of the four side ls has equivalent Also, the asymmetry of the route from the entrance, alignment of the doorways, gives the space a bias to one side, erful because of the route (a pathway) to nd side and space for the exhibits to the left (21). This bias is then, in the final counterbalancedbytheo t

47、heside ls.Ofcourse,asyoulookattheyou deviatefromtheaxisestablished bythe building. eachdoorwayyou are brought to it before over the o the next frame. This is not a t takes to a spiritual goal but naturalworldt takes you o a psychological world divorced from , commentonflatI am t more proportional re

48、lationships could be his n have identified in ysis. The Mrklis mind was working when drawing its plans and elevations, and also to at how gamesmaybeplayedinarchitecture.Asindecidingwhensuchgameschangeplaying an effective part your experience of a o aligned series of doorways is erful. When tar, an o

49、bject ora monarch on athrone an culminate in afocal is o play. But it remains a refinementscontributetotheaesthetictionofabuilding ormerely helparchitects saboutstmightotherwiseseem部，就會(huì)形成一個(gè)熟悉的，如果形平面。19以這種方式進(jìn)行改造，建筑就更像是一個(gè)傳統(tǒng)教堂Mrkli Mrklis use of number-based proportion contrasts with Mies van der Rohes

50、 refusal to do Miessrefusalwasanaspect ofhisrejectionofBeauxArtsarchitecturalprinciples.Mrklisuse of them derives from Mrklis use of number-based proportion contrasts with Mies van der Rohes refusal to do Miessrefusalwasanaspect ofhisrejectionofBeauxArtsarchitecturalprinciples.Mrklisuse of them deri

51、ves from a fin principles of visual and spatial harmony, stretching back to t transcend the geometry of making. rchitects however used flat both avoided the awkward roduced by the gable or hip of a pitched roof. It riguing to muse on why, and whether there are rklisreasoningt （20，層 （21堂”里面。當(dāng)然，當(dāng)你 雕塑，

52、你偏離了建筑物所建立的軸。但是，在每個(gè)門通教堂那樣明確教堂中單一的空間 是馬克利想要極力避免的。四個(gè)“禮 以說明我rkli 心里工作時(shí)繪制平面圖和立面圖，并暗示這樣可以玩得筑在于決定這何時(shí)改變 （策，這仍然是個(gè)爭Mrkli 使用數(shù)量比例與Mies vander是美術(shù)藝術(shù)建筑原則的一個(gè)方面。Mrkli 的使用來源于對視覺和空間和諧 策，這仍然是個(gè)爭Mrkli 使用數(shù)量比例與Mies vander是美術(shù)藝術(shù)建筑原則的一個(gè)方面。Mrkli 的使用來源于對視覺和空間和諧 平屋頂;Mrkli 的推理與Mies （ Mies t freedom in spatial planning required t

53、geometricalpurityoftwohorizontalplanesheFarnsworthwithout the visual disruption of the ition caused by a diagonal. He ve t the flat roof offered an improvement on the Greek temple, reducing it to base entablatureandomittingtheCongiunta he is erested in a free Itsmainbodyofthreecellsisdefinedbytwolon

54、gparallelwallsontowhichitwouldbeeasy,ashis le of the Romanesque church, to construct a pitched roof. Mrklis use of the flat seems to derive more from erest in geometric proportion. Numbers may be d rectangles asformed by horizontalground,twovertical walls anda horizontalroof line and can be comed readily through drawing. When diagonals areroducedsuchproportions e confused.sstarkness, the n severity of rec