Peter Zumthor & thinking architecture

                
                
A way of looking at things
观察事物的方法
In search of the lost architecture
找寻被遗忘的建筑
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.
我思考建筑时，脑海里总是浮现出种种图像。很多来自我作为建筑师的训练和工作，包含了我多年积累的建筑学的专业知识；还有一些与我的童年有关，那段时光里我体验建筑但不思考它。有时我能几乎还能感觉到手里握着那个门把手，那是一片金属，塑成勺背的形状。
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.
走进姨妈家的花园时，我总要握着那把手。对我来说，直到现在，它仍像进入另一世界的特殊标记，这个世界有着不同的情绪和味道。我记得脚下碎石的声音，记得打过蜡的橡木楼梯闪出的柔光。还能听见沉重的前门在身后关上，当我穿过黑暗的走廊走进厨房，厨房是这房子里唯一被真正点亮的房间。
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，这好像是房子里唯一一个天花板不会消失在暮色里的房间；小块的六边形地砖，深红色的，紧密地拼在地上，几乎看不出拼缝，在我脚下，它们牢固且坚硬；一股油漆的味道从橱柜里散发出来。
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…
这个厨房里的一切都和传统厨房一样，没有任何特别之处。但也许正因为它如此“厨房”，如此自然，在我脑海中留下了不可磨灭的印象。这个房间的气氛与我心中“厨房”的概念紧密联系在一起。现在，我想继续谈门把手，姨妈家花园门把手之后的那些，谈谈室外和室内的地面、被太阳晒软的沥青、秋天被栗子树叶盖住的石板以及所有用如此不同的方式开关的门：一扇饱满而庄严，另一扇关起来会发出单薄廉价的咔哒声，其它的坚硬、不可变通、让人望而生畏……
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.
类似这样的记忆包含了我所知道的最深刻的建筑体验，它们是我作为建筑师在工作中探寻建筑气氛和图像的宝藏。
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.
设计房子时，我常发现自己沉浸于旧日残缺的记忆中，然后，我试着回想记忆中的建筑情境真正的样子，回想它当时对我的含义；试着思考它现在如何帮我通过那些简单事物的存在，来唤醒那生动的气氛，在这种气氛中，所有事物都有自身的位置和形态。尽管我不能找出任何特别的形式，但仍有种对完整和丰富的暗示，让我觉得：这个我曾经见过。单同时，我知道它是全新的、不同的，并且没有前人的建筑可作为直接参照，来揭示盛满记忆的心绪的秘密。
Made of materials
材料构成
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.
对我来说，约瑟夫•博伊于斯（Joseph Beuys） 和贫困艺术（Arte Povera） 的一些成员的作品是有启发性的。我欣赏他们运用材料的精确和感性的方式，看起来像是某些深植于远古的、基本的、人类使用材料的知识，同时去揭示这些材料在一切文化译意之外的真正本质。
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.
我试图在作品里也这样运用材料，相信它们能在一个建筑实体/建筑物的语境里显现出诗意的品质，尽管这只有在建筑师能为其创造一个有意义的情境时才能达到，因为材料本身并没有诗意。
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.
我尝试注入材料里的感觉是超越一切构成规则的，而它们的触感、气味、音色是我们被迫使用的唯一语言。当我成功地在建筑中使既定材料显现出特定含义（这些含义只能在这栋房子、用这种方式被感知）时，感觉就浮现出来。
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.
如果朝着这个目标努力，我们必须不断地问自己：某种特定材料在一个特定的建筑语境中的作用是什么。好的解答能使我们对材料的通常用法以及材料自身固有的感观品质这两方面都有新的了解。
If we succeed in this, materials in architecture can be made to shine and vibrate.
如果我们做到这点，建筑中的材料将会闪亮并打动人。
Work within things
在事物内部工作
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.
有人说巴赫的音乐最让人欣赏的特点之一（给人印象最深的）是其“建筑性”。其构成清晰透明，才能使听众追随这些优美、和谐、有韵律的元素的细节，同时又不失整体感——能理解细节的整体。他的音乐就像是建立在一个清晰的结构上的，假如追随这音乐的每条线索（如果追随这音乐结构独特的线索），我们就有可能领会统领其结构的规则。
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)是以众多局部创造有意义的整体的艺术。房屋是人类有能力建造物质实体/具体事物的见证。我相信建造(the act of construction)是一切建筑工作的真正核心。当具体（实体）材料聚集并建起，至此，我们一直在寻找的建筑，便成为真实世界的一部分。
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.
我认为木匠的技艺、工匠和工程师的能力是值得尊敬的。我欣赏这些造物知识，它们是人类技艺的本源。我试图设计配得上这些知识和技艺的房子。
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.
人们在仔细造出的物体上感受到建造者所投入的大量心思和技巧时，常说：“这其中包含了大量的工作。”我们的工作是作品不可分割的部分——这样的观念把我们带到对于艺术品价值和建筑价值的思考的极限。我们投入制造物的努力和技巧真是其所固有的吗？ 有时，当被建筑打动，就像被音乐、文学或绘画打动一样，我就会被诱惑着这样认为。
For the silence of sleep
为睡眠的安静
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.
我喜欢音乐。莫扎特（Mozart）缓慢的钢琴协奏曲，约翰•克特兰 （John Coltrane）的乐曲，或者某些歌曲中的人声，都打动了我。
The human ability to invent melodies，harmonies, and rhythms amazes me.
人类创造旋律、和声和韵律(节奏)的能力让我惊讶。
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，声音的世界也包含了与旋律、和声、韵律(节奏)相反的东西。有不协调、残破的节奏，声音的片断和群簇，还有纯粹功能性的声音，我们称之为噪音。当代音乐结合了这些因素。
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.
当代建筑或许能和当代音乐一样激进，但有限。尽管一个建筑作品是基于不协调和片断，基于破碎的韵律（节奏），但群聚和结构的破坏或许能够传达信息，一旦明白它所表达的，我们的好奇心就死亡了，剩下的只是房子实效性的问题（疑问）。
  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.
建筑有它自身的领域，与生活有种特殊的物质联系。我主要不是将它当作一个信息或一个符号，而是作为生活的封套和背景来考虑，生活在其内部或周围进行，是一个对地板上步履的节奏，对工作的专心，对睡眠时的安静都很敏感的容器。
Preliminary promises
最初承诺
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.
建筑以其最终建成形态在物质世界（现实世界）有了它的位置。这是它存在的地方，它自我讲述（表明立场）的地方。对至今未建成的建筑作品的描绘试图表达一些东西，尽管这些东西还没有在物质世界（现实世界）里找到它们表意的位置。
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.
建筑绘图试着尽可能准确地表达建筑的氛围，在其预设之处。但是，绘图成果常常用来强调那个实际对象的不在场，之后显现的是对任何一种绘图不充分的意识、对它所承诺的事实的好奇，也许还有——如果这承诺有能打动我们的力量——对它存在的渴望。
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.
如果对建筑绘图的直觉想法和图解能力太强，如果它们缺乏“开放区域”(我们对于绘图事实的想象力和好奇心能洞穿图像的地方)，绘图本身则成为我们所期望的，而我们对其真实的渴望消退了，因为在指向预期真实的再现中，没有任何东西超越它。绘图不再遵守承诺。它只谈及自身。
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.
指向未来的真实的设计图纸在我的工作中是重要的。我继续绘图，直到其能精确表达。那时，我所寻找的主要情绪显现出来，并在无关紧要的东西开始影响其效果之前停止绘制。绘图自身必须呈现其所追求的目标的品质。就像雕塑家为雕塑而画的草图，不仅仅是一个想法（idea）的说明，而是创造工作天生的一部分，随着建造的完成，它才结束。
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.
这种制图使我们能够退后几步，看看，学着去了解什么还没有产生，什么才刚刚开始显现。
Chinks in sealed objects
封闭物体的裂缝
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.
房屋是人工构筑物。它们由许多必须连接在一起的独立部分组成。在很大程度上，最终完成的品质取决于连接处（join）的品质。
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，有一个传统，就是：为了整体形态，将单个部分之间的节点（joints）和连接处（joins）的表达最小化。举例来说，里查德•塞拉（Richard Serra） 的钢雕塑看起来就像更老的石雕和木雕传统中一样同质和完整。许多二十世纪60到70年代的艺术家做的装置和物体都有赖于我们所知道的连接和联合的理论中最简单、最明显的理论。波伊斯（Beuys） 、梅茨（Merz） 和其他一些人，从单个部分发展出整体时，常常在空间、coils folds和layers上使用松散设置（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.
这些物体直接、看起来自明的放置方式很有趣。整体的印象没有被与表达无关的小部分打断。我们对整体的感知并没有被无关紧要的细节打乱。每个联系，每个连接处（join），每个节点（joint）都是为了强调作品的宁静在场（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.
设计房屋时，我试图给它们这种方式的在场（我试图让它们以这种方式存在）。然而，与雕塑不同的是：我必须从功能和技术的要求开始，这表明我必须满足的基本任务。建筑总是面临着这样的挑战：从无数的细节中，从多种功能和形式、材料和尺度中，发展出一个整体。建筑师必须为边缘、节点joint、表面相交处、不同材料交接处，寻找合理的构造做法和形式。这些合理的细节决定了在房子中更大部分的微妙的转变。细节确定了合理的节奏，以及房子精美的层级比例。
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…
在建筑里相应的位置，细部表达了设计的基本想法所要求的：归属或分离，紧张或轻盈，冲突，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.
成功的细部不仅仅是装饰。它们并不分散注意或者取悦于人，而是导向对“它们是整体的内在部分”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.
在每个完成的、独立的创作中，都有一种奇特的力量。就好像我们折服于被充分发展的建筑物的魔力似的。也许，当我们第一次看到某个细节，就被吸引了，例如地板里的两根钉子承拖着被磨破的门阶处的钢。情感涌现，某些东西打动了我们。
Beyond the symbols
超越象征
“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.
“什么都可以，”实干家说。“大街上的东西几乎全都不错，” 建筑师文丘里（Venturi）说。“什么都不再有用，”那些遭受我们时代和年代的敌意的人说。这些说法如果不是代表了矛盾的事实，就是代表了矛盾的看法。我们习惯了与矛盾共同生活，是因为：传统与文化特性都瓦解了。没人看起来真正了解并控制了经济和政治发展的动态。一切都混入其它事物当中，大量的信息创造了一个符号的人工世界。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.
后现代生活可以被描述为一种状态，在这种状态下，我们自己的所有私人传记（事件）看起来都含混、模糊、莫名地不真实。这世界充满了符号和信息，它们代表了一些没有人能完全理解的东西，因为它们也只是其它东西的符号。真实事物一直被隐藏着，甚至没人去看。然而，我深信，真实事物的确存在，然而它们或许濒临灭绝。那儿有土地和水，阳光，风景和植物；还有被人类制造出来的物体，例如机器、工具或者乐器。它们就是它们，不仅仅是为了传达艺术的工具，它们的存在是自明的。
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.
看着那些看似与其自身和平相处的物体或房屋，我们的感觉变得平静而缓和。我们感知到的物体没有给微妙什么信息，它们只是在那里。我们的领悟能力变得安静、公平、不贪心。它们延伸的范围超越了符号和象征，是开放的，空的。就好像我们能够领会一些我们不能集中我们的个人思想于其上的东西。在这里，这个知觉的真空，一段记忆或将浮出水面，就像是从时间深处流淌出来。现在，我们对物体的观察，包含了对整个世界的预感，因为没有什么是不能被理解的。
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种力量，正如爱德华•霍柏（Edward Hopper） 的绘画所说的。我们只是需要用足够长所时间看着它们，以领会这种力量。
Completed landscapes
完整的风景（景观）
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.”
对我来说，某些房子的存在藏有一些秘密。它们看起来只是简单地在那儿，我们并没有特别注意。事实上，我们无法想象其所在地没有它们。这些房子似乎被牢牢地钉在地面上，给人这样的印象：它们不言而喻地是环境的一部分，就像在说：“我与你们所见到的一样，我属于这里。”
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.
我有强烈的欲望来设计这样的房子：随着时间的推移，它们渐渐成为当地形态和历史的一部分。
 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.
每个新的建筑作品都参与了一个特殊的历史状况。新的房子应该能与现有环境进行有意义的对话，这对于介入（intervention）的品质是很必要的。因为，如果介入是为了找到自身的位置，它必须让我们用新的观点去看待现状。我们把一个石块扔进水里。沙子被漩起又回落下来。这个搅动是必要的。石块已经找到了它的位置，可池塘再也不一样了。
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，房屋只有在能以各种方式吸引我们的情感和注意力时，才能被其环境所接受。因为我们的感觉和理解都深植于过去，我们与某栋房子感觉上的联系必须遵循回忆的过程。
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，正如约翰•伯格(John Berger) 所说，我们的记忆不能被喻为线段的终点。各种可能性都导向并汇合于回忆的行为。图像、情绪、形式、词汇、标志或比喻，揭示了方法的可能性。我们必须建立一个发散的方法系统，让我们能看到，建筑作品是同时从不同角度产生的一个焦点：历史的、美学的、功能的、个人的、热情的。
The tension inside the body
内部张力（内部平衡）
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."
在所有建筑师画的图中，我最喜欢的是施工图。施工图详细、客观，是画给施工队看的。施工队将想象中的对象变成实质的形体，它们免除了联想的工作。施工图并不像方案图一样试图使人信服，并给人留下印象。它们像是在说：“这就是它将来的样子。”
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.
施工图就像解剖图。它们展示了隐秘的、建成建筑不愿意透露的内部张力（内部平衡）的一些东西：连接的艺术、隐藏其中的几何学、材料的摩擦力、轴力和支撑力等内力、为人造物所固有的人类劳动。
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.
佩尔•柯克比（Per Kirkeby） 曾为卡塞尔文献展做了一个房子形的砖雕塑。那房子没有入口，其内部不可达。它留下了一个秘密，为这个雕塑的其它品质增加了神秘的气氛。
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.
我认为一栋房子隐藏的结构和构造可以用这种方式来组织：它们赋予建筑一种内在的张力和振动（共鸣）。小提琴就是这样被制造的。它们使我们忆起自然界的活体。
Unexpected truths
意想不到的事实
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.
年轻的时候，我认为诗意就像一种彩色的云，多多少少由隐喻和暗示混合而成。尽管它们或许令人愉快，但是很难与一个可信的场景联系起来。现在，作为一个建筑师，我已经渐渐认识到：年轻时对诗意的定义的对立面也许更接近于事实。
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.
如果一个建筑作品，组成它的形式和内容结合起来创造了强大的基本情绪，并强大到能影响我们，它也许就拥有了一个艺术品的品质。然而，这艺术与有趣的构造或创意毫无关系。它与洞察力和理解力有关。建筑的艺术任务是给这个静止的期望一个形式。房子本身并不诗意。至多，它可能拥有微妙的品质，这些品质在特定的时刻，允许我们了解一些东西，而这些东西是从前不可能通过这种方式了解的。
Desire
愿望（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.
一个建筑作品清晰、合理的推进取决于理性、客观的标准。当我允许主观和未经思考的想法介入客观的设计过程，我承认个人感觉（情绪）在我工作中的意义。
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.
当建筑师谈论他们的房子时，他们所说的与房子自身陈述的往往不一致。这或许与这样的事实有关：他们倾向谈论许多其作品理性的、深思熟虑的方面，而很少讨论产生它的神秘热情。
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!”
设计过程是基于感觉和理智之间持续的相互影响之上的。显现、并要求被赋形的感觉、嗜好、渴望和欲望都必须被推理的批评能力制约，但是，是感觉告诉我们理论考虑是否真的真实。在很大程度上，设计是基于理解以及为次序(要求)建立系统的。可是我相信，我们寻求的建筑的基本实质来自感觉和洞察力。直觉的珍贵瞬间来自耐心的工作。随着内心图像的闪现、图中一根新线条的出现，整个设计改变了，在一转眼的功夫，设计被重新表达了。就像强力药剂突然起效，之前所知道的关于我正创造的事物的一切，被一道明亮的新光线淹没了。我体验着愉悦和激情，某些深埋在我心中的东西肯定地说：“我想盖这个房子！”
Composing in space
在空间中构成
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.
几何学是关于空间中直线、平表面和三维物体的规律（规则），能帮助我们理解如何处理建筑中的空间。
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.
在建筑中，空间构成有两种基本可能性：将内部空间与外部隔离的封闭建筑主体，以及包含着无尽序列（空间）的开敞形体。在一个房间的空旷区域，空间的扩展可以通过类似板或柱自由或整齐地放置被可视化。
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.
我并没有说知道空间究竟是什么。我越是思考它，它就变得越神秘。然而，我确信一件事情：当我们建筑师参与空间，我们参与的并不是每一个在无限中标识一个独特场地的房子，而是在这无限中地面周围非常小的一部分。
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.
抱着这样的想法，我开始画设计的第一套平、剖面。我画了空间图表和简单的体量，试着在空间中把它们精确地形象化。正确认识它们如何从周遭界定、划分一个区域作为内部空间，或者，它们如何在某种开放容器中容纳无限空间的一部分，我认为这非常重要。
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.
给人深刻印象的房子总是传达了其空间品质的强烈情感。它们用一种特殊的方式拥有了被称之为空间（space）的神秘虚空（void），并使之产生共鸣。
Common sense
常识
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.
设计就是发明。当我还在工艺美术学校时，我们总是试图遵循这条原则。对每个问题都寻找新的解决方法，认为成为先锋派非常重要。直到后来，我才认识到：基本上，只有很少的一些建筑问题还没找到有效的解决方法。
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.
回想起来，我接受的设计教育看起来有些偏向（离）历史方向。我们的楷模是新建筑运动（Das Neue Bauen）的先锋和倡导者。我们认为建筑历史是我们普通教育的一部分，对作为设计者的我们来说几乎没有影响。这样，我们常常发明一些已经被发明的东西，并妄图去发明那些无法发明的东西。
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.
设计中这种训练并不是没有教育意义的。然而，后来，作为实践建筑师，我们开始明白，建筑历史这巨大的宝库中包含了大量的知识和经验。我认为，如果能在工作中结合运用这些，我们将有更好的机会做出真正的贡献。然而，建筑不是一个多少逻辑地、直接地从建筑历史指向“新房子”的线性过程。在寻求想象中的建筑的过程中，我常常经历空虚沉闷的时刻。我想不出任何看起来能符合我想象的东西，甚至不能设想（出我要的效果）。在这些时候，我试图摆脱已掌握的建筑理论知识，因为它突然开始将我往回拉。这是有帮助的。我发现我能更自由地呼吸。我从古老的、熟悉的发明家和先锋的情绪里，略得一丝清香。设计又一次变成了发明。
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.
在一个建筑作品形成的过程中，创造性的行为超越了所有历史和技术知识。其焦点在于与我们的时代问题的对话。在其建成之时，建筑通过一种特殊的方式与“现在”绑在一起。通过其功能形式、外观以及与其它建筑和场地的关系，反映了其发明者（设计者）的精神，对我们时代的问题做出了回答。
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.
对于这些问题的回答，我作为一个建筑师，能说的有限。变迁的时代，不允许大的gestures（姿态，手势）。我们可以建立和分享的只有一些留存下来的剩余的共有价值。于是，我请求（期望）一种建筑，它基于我们仍然知道、理解和感受的常识之上。我细心地观察世界的实在形态，在我的房子里，我试图增强那些看起来有价值的，纠正那些令人烦恼的，并重新创造我们认为已经失去的。
Melancholy perceptions
忧郁感
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•斯科拉（Ettore Scola） 的电影《舞厅》（Le bal）讲述了欧洲五十年的历史，没有对话，在同一个地方。它只是由音乐、人群的活动及舞蹈组成。时间流逝，舞者老去，我们始终看着同样的房间，同样的人。
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?
这部电影的焦点在于它的主人公（主要角色）。但是，有着地板和镶板的舞厅、后台的楼梯和侧面狮子的脚印，为电影制造了厚重有力的气氛。或者，正相反？是人赋予了房间独特的情绪？
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.
我这么问是因为我深信：一个好房子必须有能力吸取人类生活的痕迹，并借此变得特别丰富。
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，在这样的背景下，我关心材料上岁月的光泽，关心表面无数细小的划痕，关心褪色而易碎的漆面，关心被使用磨光的边缘。但是，当我闭上双眼，尝试忘记这些自然痕迹和我最初的联想时，留下的是一种不同的印象，一种更深刻的感受——对时光流逝的感悟，对曾经发生在这些场所和房间的生活的知晓，给予他们特殊的氛围。在这些时刻，建筑的美学价值和实用价值，风格和历史的意义，都是次要的。重要的，只是这深深的伤感（忧郁）。建筑暴露于生活。如果它的身体足够敏感，它能呈现这样一种品质：成为过去真实生活的见证人。
Steps left behind
身后的脚印
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.
做设计的时候，我会允许自己被记忆中的图像和情绪引导，它们能关联到我所寻求的建筑。浮现脑海的大多数图像来自我个人的主观经验，而极少伴有建筑说明。设计时，我试图找出这些图像对我的意义，这样我才能学会如何去创造多种形式和氛围。
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.
过了一段时间，我正设计的对象拥有了一些我用作原型的图像的品质。如果我能找到一种有意义的方式来结合和叠加这些品质，这物体将显得有深度且丰富。想要到这种效果，我给予这个设计的品质必须与建成房子的构造与形式结构相融合。形式和构造，外观和功能，都不再分离。它们相互从属，成为一个整体。
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.
看着建成的房子，我们的眼睛被理性思维引导着，趋向迷失，也会寻找细部来坚持着。然而，整体合成并没有因为独立的细部而变得易于理解。每件事指向每件事（一切都互相关联） 。
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.
此时，初始的图像淡出背景。创造整体所必须的原型、词汇和比喻，就像身后的脚印，消失了。新的房子 成为焦点，成就了它自己。它的历史开始了。
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.
我认为，现今的建筑需要反省其自身固有的任务和可能性。建筑并不是那些不属于其本质的东西的媒介或象征。在一个赞美非本质性的社会，建筑可以进行反抗，去除形式和意义的浪费，用它自己的语言去表达。
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.
我认为，建筑的语言不是一个特定风格的问题。每栋房子都是在一个特定的场地，为一个特定的社会，为一个特定的用途而建造的。我的房子试图着尽可能精确且批判地回答从这些简单的事实中显露出来的问题。
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.
两周前，我碰巧在广播上听到一个关于美国诗人威廉•卡洛斯•威廉姆斯（William Carlos Williams） 的节目。节目名为“美之核心”，这个说法引起了我的注意。我喜欢“美有核心”的想法，当我思考建筑时，“美”和“核心”有联系的想法让我觉得熟悉。据说威廉姆斯说过“机器是一种没有多余部分的东西”。我立刻认为我明白了他的意思。我觉得，这是彼得•汉德克（Peter Handke） 暗指的想法，当他说美存在于自然的、长成的东西，它们不带有任何符号或信息，当他接着说他不能发现事物对他自己的意义时他很难过。
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.
我从广播节目听到的威廉•卡洛斯•威廉姆斯的诗是基于这样的确信(信念)：除了事物自身，再也没有想法（ideas），他的艺术目的是将其感官知觉贯注在物质世界上，以便拥有它们。
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.
节目主持人说，在威廉姆斯的作品里，这看起来没有感情地、简洁地发生着，正因如此，他的文字有如此强烈的情感冲击力。
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.
我所听到的要求我：不能期望将情感和建筑搅在一起，我自忖，而是让情感形成、出现。同时，保持接近事物本身，靠近我不得不赋形的事物的基本（本质、基质），并相信：如果建筑被足够精确地为它的场地和功能考虑过，它将逐步形成它自身的力量，不需要任何的美化。美之核心：被浓缩的成分。
But where are architecture's fields of force that constitute its substance, above and beyond all superficiality and arbitrariness?
可是，在所有表相和随意之上，真正构成建筑学实质力量的领域在哪里呢？
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.
伊塔罗•卡尔维诺（ltalo Calvino）在他的《未来千年文学备忘录》（Lezioni americane）中告诉我们：意大利诗人贾科莫•列奥帕第（Giacomo Leopardi） 看见一件艺术品的美，对他而言则是文字之美，在它的（文字的？艺术品的？）模糊、开放和不确定，因为这使得形式向许多不同意义开放。
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.
列奥帕第的评论似乎足够令人信服。打动我们的艺术作品是多面的；它们有许多、也许无数层含义，重叠、交织，随我们观察角度的变化而变化。
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，建筑师如何在他设计的房子中得到这种深度和多样性呢？模糊和开放能被设计吗？这与威廉姆斯的论点所暗示的精确性不是相矛盾吗？
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!”
在列奥帕第的一段文字中，卡尔维诺找到一个令人惊讶的答案。卡尔维诺指出，在列奥帕第自己的文字里，这个不确定性的爱好者对他描写的和提供给我们的预期的事物展示了十分的忠诚，卡尔维诺得出这样的结论：“这就是列奥帕第对我们的要求，他让我们品味模糊与不限定的事物的美！他所要求的是确切地、细致地注意每一个形象的布局、细节的微细限定、物体的选择、光照和空气（气氛），这一切都是为了达到高度的模糊性。”卡尔维诺以看似荒唐的声明作结：“朦胧诗人只能是提倡准确性的诗人。”
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.
在卡尔维诺所说的这个故事里，让我感兴趣的，不是对精确性的提倡和对我们都熟悉的东西的耐心、详细的工作，而是暗示（含义）：如果我们留意观察它们，并给予它们相应的权利（足够的时间），从事物本身放射出来的丰富和多样性。应用于建筑，这对我来说意味着力量和多样性必须从指定的任务，或者，换句话说，从组成它的东西发展而来。
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.
约翰•凯奇 （John Cage）在他的一次演讲中说：他不是一个在脑海里听见音乐然后努力写下来的作曲家。他有另一种工作方式。他作出（设计出）概念和结构，然后请人演奏，看它们听起来如何。
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.
读到这段话，我想起最近在我的工作室，我们如何设计发展一个山里的温泉浴场项目。我们并不是先在脑海中形成对建筑形式的初步设想，然后使之适应任务书；而是尽力回答一些基本问题：给定场地的地理位置、建筑目的、建筑材料——山、石、水——这些就建成建筑来说，一开始并没有视觉的满足。
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场地、目的和材料引起的问题以后，结构和空间显现出来，这令我们惊讶。我所相信的东西（结构和空间），占有了原始力量的潜力，比仅仅控制风格地预设形式触及更深。
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.
专注于类似山、石、水等具体事物的内在法则与房子的联系提供了一个机会：领会并表达一些最初（最基本、最原始）的东西，因为正是那些要素的“非文化”品质，也是深化一个“从真实事物出发并回归到它们”的建筑的机会。预设图像和风格化预想形式的习惯只会阻碍这个目标的实现。
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）说，今天，作为单一整体的建筑已不复存在了，因此，它必须作为一个精确思考的动作，在设计者的脑海里被人工创造。这两位建筑师从这个假设衍生出他们的理论：建筑是一种思想（思维）的形式。我推测，他们是说：一个建筑，可以用一种特殊的方式反映出它被理性地思考过的整体。
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.
我不打算追随这些建筑师“建筑作为思想的一种形式”的理论，只是将假设立于其基础之上，也就是说，在工头的旧有感觉中的一个建筑整体不再存在了。
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.
我个人仍坚信，一个建筑物那种自给自足的物质整体是我工作的基本目标。如果这很难，如果不是自认的或给定的事实。
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，我们如何在建筑中达到这个整体呢？在这个时代，牧师（以前赋予事物意义的人），甚至事实（真相）本身，看起来都要在短暂的符号和图像的无尽变迁中消退。
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•汉德克努力将文字和描述变成其环境的一部分。如果理解得没错，我就不仅面临了众所周知的在人工创造的事物中消除人工和使它们成为平凡和自然的世界的一部分的困难，而且面临了真理存在于事物本身的信念。
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.”
我相信如果艺术处理趋向整体化，他们总是试图给其作品一个类似在自然事物或在自然环境之中的出现（在场）。因此，我觉得我能理解汉德克，在同一个访谈里，他称自己为一个关于场所（places）的作家，要求他的文字“它们不宜有任何添加，而是一个对细节和它们连接形成的事实复合体（factual complex）的认识”。
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!
汉德克用来标明在此被我称为事实复合体的词，即“事态 （Sachverhalt）”，对我来说是有意义的，关于整体的目标和没有掺杂的事物：准确的实际内容必须被带到一起，房子必须被考虑为复合体，它们的细部被恰当地鉴别，并放入一个实际（事实）的相互关系中。一个实际（事实）的关系！
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.
这里浮现的要点是真实事物内容的还原。汉德克也在这个上下文中说到对事物的忠实。他说，他喜欢他的描述被感受为忠实于它们描述的场景，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.
这类陈述帮助我与我思考新近的建筑时经常经历的不满达成协议。我常常遇到一些房子，它们被用许多“成果（努力）”和“发现一种特殊形态”的愿望设计而成，我发现自己被它们分心。房子的建筑师并不在场，但他不断地通过每个细部与我交谈，他继续说着同一件事，我很快失去了兴趣。好建筑可以接待来访者，让他体验，生活其中，但不用一直与他交谈。
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，为什么这个明显但困难的解决方式很少被采用？为什么我们对组成建筑的基本事物（材料、结构、构造、受力、施力、地面和天空）如此缺乏信心？对那些真正被认为是空间的空间（这些空间的围护墙体、组成的材料、凹度、空、光、空气、气味、接受能力（感受性）和共鸣被尊重和谨慎地对待）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.
我个人喜欢从这个想法出发，设计和建造房子：在形成过程最后我能退出，留下房子是它自己，作为一个可以居住的地方，作为世界的一部分，它能很好的处理，而没有我的花言巧语。
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.
对我来说，使我联想到沉着、自信、耐久、风度和正直等品质，同时热情而感性的房子能显露出一种优美的静谧；一个房子正在成为它自己，成为一个房子，而不是扮演任何东西，只是成为。
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.
说这是种原初的效果，黑红，
粉黄，橙白，太过本来面目
无法成为屋里阳光下的其它，
太过本来面目无法被隐喻更改，
太过确实，那些真实的事物
从来都使对他们的想象相形见绌。
This is the beginning of the poem Bouquet of Roses in Sunlight by the American poet of quiet contemplation, Wallace Stevens.
这是美国诗人华莱士•史蒂文斯的诗《阳光下的玫瑰》 的开始。
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.)
华莱士•史蒂文斯，我读了他的诗集的介绍（导言），挑战 长远、耐心地、正确（严密）、发现、理解事物。他的诗不是对消失（lost）的法则和秩序的抗议或抱怨，也不是任何一种惊惶失措的表达，而是寻求协调，协调对他而言可能只是想这首诗那样，（卡尔维诺在这条线索下走得更远一步，他努力定义他的文学作品，他说他只有一个防卫形态的遗失，这个防卫在他周围无处不在：文学的想法。）
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.
史蒂文斯渴望的目标是真实。看起来超现实主义并没有打动他，因为它未发现却发明了。他指出，描绘一个shell弹手风琴是发明而不是发现。所以，这个我在威廉斯和汉德克那里找到，也在爱德华•霍珀（Edward Hopper） 的绘画中感受到的基本想法又一次突然出现：只有在事物的真实（事实）和想象之间，艺术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.
如果将这个说法翻译成建筑语汇，我告诉自己成功建筑的火花只能在它固有的事实和想象之间被点燃。这与我无关，但我一直试图在工作中确认一些事情，这愿望根植我内心深处。
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，最后一次回到这个问题：我在哪里找到事实？当我试图为一个独特的场所和目的设计一个房子，我必须集中想象的力量在此事实之上。
One key to the answer lies, I believe, in the words "place" and "purpose" themselves.
我相信，答案的关键在于“场所”和“目的”这两个词本身。
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."
在一篇题为《筑•居•思》的文章中，马丁•海德格尔写到：“在事物（物质）之间生活是人类存在的基本法则。”我的理解是：我们从不在抽象世界中，而总是在一个事物（物质）的世界，甚至我们思考的时间。海德格尔还说到：“人与场地的关系，通过场地到空间，是基于它们中他的居所。”“人与位置的关联，以及通过位置而达到的人与诸空间的关联，乃基于栖居之中。”
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.
在海德格尔在场所和空间对生活和思想的宽阔理解（wide sense）里，栖居的概念，对于作为建筑师的我来说，包含了一个准确的说明。
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.
不是从事物中分离出来的理论的事实（reality），而是具体的建筑任务涉及到的栖居的行为或状态引起了我的兴趣，并期望将自己的想象力集中于此。这是建筑材料的事实，石头、布料、钢、皮革……——也是结构的事实。我习惯建造这样的房子：我希望它的性质深入于我的想象，带来意义和能感受的知觉，这样，成功的建筑的火花才会被点燃，一个房子可以成为一个人的家。
The reality of architecture is the concrete body in which forms, volumes, and spaces come into being. There are no ideas except in things.
建筑的事实（reality）是具体的body，形态、体积和空间产生于其中。想法只存在于事物之中。
From passion for things to the things themselves
从对事物的热情回归事物本身 (从热情到事物本身)
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.
反思建筑学对我来说很重要，从日常工作往回走几步，看看我正在做什么，为什么在做。我喜欢这么做，而且认为需要这么做。我并不以理论界定的起点出发设计建筑，因为我致力于创造（设计）建筑、建造、创造完美事物的理想，就像儿时我总是制造符合自己想法的东西一样，必须恰到好处，因为那些我并不真正理解的原因。它总是在那儿，这种对为自己做的东西的深刻个人感觉，我从不认为它有什么特殊。它只是在那儿。
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，我意识到作为一个建筑师，我的工作很大程度上是在寻求这种早年的热情、这种执着，并且尝试更好地理解它、精炼它。当我反省我是否对旧有事物增加了新的图像和热情，是否在学习和实践中学到了什么，我认识到，在某些方面我似乎总是已经知道了新发现的直观核心。
Places
场所
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.
我工作并生活在格劳宾登州（Graubünden）一个群山环抱的村庄。有时我会想，是不是这个影响了我的工作。“或许是”的想法并不坏。
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?
如果不是在格劳宾登，我就在我年轻时所在的Jura山北部的丘陵地区生活了25年。那里有令人激动的山和山毛榉森林，还有熟悉可靠的文雅之城巴塞尔（Basel）。这样，我设计的房子看起来会不同吗？
As soon as I begin to think about this question. I realize that my work has been influenced by many places.
一开始思考这个问题，我就意识到我的工作（作品）受到了许多地方的影响。
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.
当我集中注意力在要设计房子的特殊场地（site）或场所（place）时，如果我试图探究它的深度、形式、历史和感官特性，其它的图像开始涌入这个精确的观察过程：我所知道的、曾给我留下印象的场所的图像，有着特殊情绪和品质、作为我内心景象跟随着我的平常或特别的场所的图像；艺术、电影、戏剧或文学中的建筑场景的图像。
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.
有时，它们不请自来，这些场所的图像乍看起来常常不相称或相反，是许多不同起源（原点）的场所的图像。在其它时候，我招集（收集）它们。我需要它们，因为只有当我面临并对比不同场所的本质（要点）时，当我允许（许可）相似的、相关的或者相反的元素（要素）将它们的光芒投射到我所介入的场所（场地）上时，场地当地基本的许多方面的图像才浮现出来，一个揭示关系，表达受力的线（揭露力量的诗句），并创造愉悦的景象。就在此刻，丰饶的、创造性的沃土显现了，通往特殊场所的可能途径的网络出现了，引发了设计的过程和抉择。这样，我让自己沉浸于场地，并试图在想象中栖居于此，同时，从我的其它场所远观它。
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.
当见到一栋与它所在的场地有关、设计得很特别房子，我有时会觉得它充满了一种内部张力，这张力谈到一些关于场地自身的事情。
It seems to be part of the essence of its place, and at the same time it speaks of the world as a whole.
它看起来像是其场所的基本（本质）部分，同时表明这个世界是一个整体。
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.
当一个建筑设计单单从传统吸取养分，只是重复其场地的指令，我认为这缺乏对世界和当代生活真正的关心。如果一个建筑作品只谈及当代的时尚和复杂的视觉，而没有在其场所引起共鸣，这个作品就没有被锚定在它的场地上，我也错过了它所在的土地的特殊引力。
Observations
观察
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 我们站在绘图桌周围，讨论一个我们都非常尊敬的建筑师的方案。我认为这个方案从很多方面都很有意思。我说起它的几个特殊的品质，我接着说，以前有时我放弃自己实际的偏见是源于对这个建筑师的高度尊重，同时也公平地看待这个方案。我已经得出这样的结论：总的来说，我并不真正喜欢它。我们讨论起让我有这种印象的可能原因，并提出一些并没有得出结论的细节。这时，一个比较年轻的成员，一个有才华并总是理性思考的建筑师，说：“因为各种理论和实践的原因，这是一个有意思的房子。问题是：它没有灵魂。”
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.
几周后，我和我妻子坐在室外，边喝咖啡边谈论着有灵魂的房子。我们讨论了我们知道并互相描述过的几个建筑作品。当回忆有着我们寻找并精确识别其特殊品质的特征时，我们开始意识到那些是我们喜欢的房子。然而，我们几乎立刻知道了哪些属于我们感兴趣的特殊种类，我们发现很难为它们的品质找到一个共同的标准。我们对概括的努力看起来剥夺了这些建筑单体的光彩。
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，这个问题持续侵占我的思想，我决定尝试写一些关于我喜欢的建筑境遇的简短描述，基于与我工作有关的个人经历的片段的方法。这样，当我参与生成我最近的作品的要点（实质）时，我才能在我赖以思考的思维结构中游移。
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 这个小小的山地旅馆的主要房间俯瞰着山谷，山谷在这长长的建筑宽阔的一边。旅馆在首层有两个相邻的镶木板的接待室，都可以从走廊方便到达，两间房通过一扇门相连。其中小一点的那个看起来像一个可以用来坐和阅读的舒适场所，大一点的那个有五张精心布置的桌子，很显然是用餐的地方。二层有一些客房，有深深的、有荫的木阳台，在三层有更多的客房，它们都向露台开敞。
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.
当我们第一次到达这个旅馆时，我想，我应该会很享受从楼上的房间看着开敞的天空。可是，呆在二楼的房间，在有树荫的阳台那私密的气氛中读书、写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.
在楼梯间墙角有一个开口，从上层通向入口。一个服务出口。在午后，放置为客人准备的水果馅饼和白盘子。当我们走下楼梯时，新鲜馅饼的香味使我们惊喜，厨房的噪音从对面房间半开的门里传出来。
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.
一两天后，我们熟悉了周围的路。沿旅馆一侧叠放着折叠躺椅，旅馆毗邻着牧场。不远处，在树林边缘的树荫里，我们注意到一个妇人坐在躺椅上看书。我们拿起两个椅子，为自己找了一个地方。白天，我们总是在前面狭窄的走廊上放的木折叠桌喝咖啡。木桌被以通常的间距铰接在前栏板（低墙）上。这是很好的小坐之处，这些小木桌依靠（依附）在走廊的边缘；窗台恰好是一个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.
与其他旅客的交谈常常发生在黄昏其它走廊的桌旁。那些桌子对着正面被放成一排，出挑的上层楼板保护它们免受天气之损。对着走廊的落地长窗在晚餐后被打开；我们都伸展腿，向外看看山谷，然后拿着饮料靠墙坐下，因为白天的太阳，墙体仍然温暖。一次，晚饭之后，我们被邀请坐在入口附近走廊尽端那张大转角桌（corner table）。白天，那个地方似乎总是房子的老顾客（自家人）使用。走廊另一端还能捕捉到早晨的阳光，我从未在那个舒适的地方（niche）坐过。阳光明媚的早晨，总是早已有人坐在那儿看书了。
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.
当我思考“能给我适于场地，适于日常事物，适于我的活动和感受方式的自然空间环境”的房子时，当我召唤（conjure up）“给我居住空间，就像预见并满足了我的需求”的建筑作品的思维景象时，这个山地旅馆总是出现在我的脑海。是一个画家为他和他的客人们设计的。
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 餐馆外表面给我们的第一印象使我们满怀希望：我们已经找到了比沿着旅者之村主路的其它地方更好的。我们没有失望。穿过狭窄的门廊（走廊）（门廊在像木棚一样的正门后，是从里往外建起来的）进来，我们发现自己身在一个巨大的、天花很高、像大厅一样的房间，它的墙和天花板排列着深色、亚光、若隐若现的木头：被规律布置的框架和面板、壁板、檐口、有卷形装饰的托架上搭着的齿状托架。
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.
这间房间的气氛似乎很隐秘，甚至阴沉，直到我们的眼睛习惯了这里的光线。过了一会，这阴暗让步于柔和的情绪。日光通过有节奏地设置的高窗照进来，照亮了房间的某些部分，而其它部分不能受益于面板的反光，孤独地呆在阴影里。
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.
我一进入这间房，眼睛立刻被在长长的外墙中心的一个加建部分所吸引，一个半圆的突出部分大得足够容纳五张桌子，沿着窗边的曲墙。这个地方（niche）层高和其它部分一样高，地面则高一点。勿庸置疑，我想，这是我想坐的地方。其中的两张桌子还是空的。人们坐在那里（无疑都是平常的客人），有一种有特权的神情。
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.
我们犹豫了，最后决定坐在厅里几乎空着的主要部分的一张桌子。可我们又犹豫了，没有坐下来，而是去请求服务。过了一会儿，一个女孩从一扇门里出来（门在有面板的内墙上），把我们引到那个地方（niche）。我们坐下。被我们的到来引起的抱怨很快缓和了。我们拿出第一支香烟，并要了些酒。
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.
临桌有两个女人正愉快地交谈。她们一个说美语，一个说瑞士德语，交谈过程中，没有一个人说另一个的语言。接着那桌有一群人，但声音听起来像一个人在很远说话。我看看四周，逐渐接受（absorbed）了这种状态（情绪）。我坐在一扇窗的阳光下，感到很自在（安逸），（那扇窗现在看起来比已往都高）。我看着厅里被变暗的广阔区域。其他客人忙于他们的谈话和食物，似乎很高兴能坐在那儿；他们举止自然，没有受到其他人在场的干扰，对同来的客人自发的体谅给了他们高贵的风度。Occupied as I was with my own activities,我的视线偶尔落在其他人脸上，我认识到我喜欢他们的亲近的感觉——在这个房间，我们看起来都是最好的状态。
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 我们沿着加利福尼亚海滨的道路前行，最后到达建筑指南上的那个学校：一个不规则伸展的综合体，或说是在太平洋上一块平坦的高地上展开的建筑群（pavilions）。几乎没有树，喀斯特岩石在草皮上延伸，一些住宅就在旁边。一排排高高的、出挑平顶的单层建筑被用沥青小路联系起来，用钢柱支撑的混凝土厚板遮在路上方，小路和看起来是容纳教室的建筑的规则排列被一些房子周期性地打断，我们猜测这些房子有特殊的功能。当时学校正在放假，综合体空无一人。窗被高高地置于墙的高处，很难看到教室的内部。我们偶然看见一扇巨大的金属门，通向一个侧院，这院子看起来属于其中一个教室。门微开着，我们瞥见一个有课桌和黑板的房间。它被有计划地布置了家具（It was plainly furnished）。墙面和地面给了房间一种既专注又文雅的气氛。
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.
免受日晒，遮风避雨，巧妙的采光方式，我想；我明白我绝没有领会这个建筑所有的特殊品质——它的结构直接、朴素（例如，使人联想到预制混凝土建筑），还有它的空间感，还有对瑞士大量学校都存在的教条的精巧的缺乏。
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.
我们的参观是值得的。我又一次决定从简单、实际的东西开始做设计。让这些事物变大、变好、变美，让它们变成特殊形式的起点，就像能理解他的职业的工长一样。
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 十八岁那年，是我作为细木工学徒的最后时段，我第一次做了自己设计的家具。家具工长或甲方决定我们店里大部分家具的形式，但很少有我喜欢的。我甚至不喜欢我们为最好的家具所用的木头：胡桃木。我为我的床和橱柜选择了浅灰色，并制作好，因此它们从所有面看起来都很好，前后都用相同的木头和同样精细的手工。我不顾通常为了花费更少时间的做法，而是去关注没人能看到的背面。最后，我终于可以只需要轻微地修修边缘，而不需要被更正，不需要又轻又快地用砂纸打磨边缘来柔化它们的锐利，不会失去线条的高雅和出色。我几乎触摸不到有三个边缘交汇的角。我使橱柜门最大限度地适合前面的结构（框frame），因此它关上时基本密封了，带着温和的摩擦力和几乎听不见的排气声。
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.
制作这个橱柜让我感觉良好。制造了恰到好处的节点和精确的形态来形成整体，一个符合我内心景象的完善的物体，触使我进入一个高度集中的状态，这个完成件为我的环境注入了新鲜空气。
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：一条长长的、狭窄的玄武岩长方体将一个三层的房子架离地面。长方体所有的面都被挖空，只保留了一条长中梁（肋）和许多横向水平梁（肋）。从横剖面看，想象中的长方体现在看起来像一个几何形的树，或者加了三横的字母T：一个石头物体在老城镇的市郊，颜色很暗，近乎黑色，亚光（表面粗糙），发着微光——同时，也是三层房屋的承重及空间结构——用暗斑水泥铸成，没有接缝，用石材用油漆好，表面感觉像固体石蜡。肋间门大小的开口，石头上简单的孔洞，暴露了材料纯粹的质量（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.
我们极度小心地对待这个石雕，因为甚至是眼下，它也已经几乎是整个房子。我们设计了板材的节点，通过它们房子被浇铸得像一个精美的网络，规则的图案覆盖了所有的表面，我们很小心，以确保那些出现在截面方向的混凝土铸件的节点消失在网格里。薄钢结构从那石头出挑，就像门正中的合页，是为了支持门扇，轻质玻璃和片状金属面板被嵌入楼层水泥板的支架之间，因此肋条之间的空间成为玻璃走廊似的房间。
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.
甲方认为，我们仔细对待材料的方式，我们推进节点的方式，推进从房子的一个元素到另一元素的转变的方式，还有我们想要取消的细部，都太精细了。他们想让我们使用更多的常用成分和构造，不想让我们对与我们合作的工人和技师提如此高的要求：他们想让我们盖得更便宜。
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.
当我想到这房子的品质最终将在它被指定的场地影响五年或五十年，当我考虑到对将要遇到它的人唯一会有价值的是他们看见了什么、最终建成的是什么，我并不认为对甲方的期望进行反抗会很难。
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 我再次造访了之前描述的那个山墙有一个小空间（niche）的大厅，我非常喜欢它。我不再确定那个空间（niche）的地面是否真的比厅里其它地方高。不是的。那个地方和厅的光线差别也不像我记忆中的那么大，我对墙面板无趣的光感到失望。
  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?
现实和记忆的不同并不让我惊讶。我从不曾是一个好的观察者，而且我从没真的想成为那样。我喜欢吸引人的状态（吸引人的情绪）、在空间位置移动，当我能保留一种感觉、一个强烈的印象，稍后我能从中提取细节，就像从一幅画中那样，我感到满意。我这样回首看去，看起来不可能区分建筑和生活，区分空间位置和我体验它们的方式。甚至当我只集中注意力在建筑上，并试图理解我的所见，我对它的感知（理解）与我所体验的产生共鸣，因此影响到我所观察的。相似的体验的回忆也冲进来，这样，相关的建筑情境重叠。那个小空间（niche）和大厅地面的高差原本存在的话就很好。甚至，它也许曾经的确存在，稍后又被移除了？或者，如果它从不存在，也许该被加上，作为对房间的一个改进？
  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.
现在，我落回到我作为建筑师的角色，又一次认识到我是多么享受和我过去的热情和图像一块工作，而它们又是如何帮助我找到我所寻找的东西的。
Key Words：
Passion： 热情，激情
Site：场地
Place：场所，场地
Situation：情境，位置
Essential：要点，实质
Mood：状态，情绪
The body of architecture
建筑躯体（建筑主体）
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 我接受了博物馆馆长的采访。他试图用机智、意外的问题试探我。我如何考虑建筑，对我来说，工作中什么是重要的——这些是他想知道的。录音机开着。我尽了全力。在访谈最后，我意识到对自己的回答并不满意。
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.
当晚晚些时候，我和一个朋友谈起阿基•考利斯马基(Aki Kaurismaiki) 的最新电影。我钦佩导演的移情作用（神会），尊敬他的故事人物。他不约束演员，不利用他们去表达他的概念，而是把他们展示在一盏灯下，这灯使我们感觉到他们的高贵和秘密。考利斯马基的艺术（技巧）给了他的电影一种温暖的感觉，我对我的同事说，然后，我知道了今早在录音时本该说什么。像考利斯马基拍电影一样盖房子——这就是我想做的。
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 我正逗留的旅馆是由一个法国明星建筑师改建的。我不了解他的作品，因为我对时尚的设计不感兴趣。但从我进入旅馆的那一刻，他的建筑所创造的气氛就开始见效了。人工光把大厅照得像一个舞台。大量的、无声的光（Abundant, muted light）。总服务台（Bright accents on the reception desks），不同种类的天然石块被放在墙上的壁龛里。人们顺着优美的楼梯上到环形走廊，走廊突出于一片华丽的金色墙壁。在上面，人可以坐在排成环形的包厢之一，俯视大厅，喝点酒或者吃些点心。这儿只有好座位。克里斯朵夫•亚历山大（Christopher Alexander）应该会感到非常高兴，他在《建筑模式语言》里说到一些空间情境（spatial situations），在那里人们本能地感觉到愉悦。我坐在一个包厢中俯视大厅，作为一个观众（旁观者），感觉自己是设计师的道具的一部分。我喜欢看着下面，观察人们的行为，人们来来往往，进进出出。我觉得我明白了这个建筑为何如此成功。
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说她曾经见过弗兰克•罗伊德•赖特（Frank Lloyd Wright）设计的一个小住宅，令她印象深刻。房间那么小而私密，屋顶那么低。有一个微型藏书室，有特殊的照明设备和许多建筑装饰元素。整个住宅制造了一种强烈的水平感，这是她从未经历过的。那个老太太仍然住在那里。我想，我没有必要去那里看那个住宅。我知道她的意思，而且明白她所描述的“家”的感觉。
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 评审团成员被示以建筑师的房子，以评选一个建筑奖项。我看了一个盖在乡村的小红房子的资料，房子被建筑师和业主由谷仓扩建改造为住所。我认为，这个扩建是成功的。尽管能看见在鞍状屋顶下房子被如何处理，但改造部分被很好地模仿、结合。窗洞设置得很微妙。新、旧均衡而协调。新的部分看起来不像是在说：“我是新的，”而是“我是新整体的一部分”。没什么壮观的或创新的，也没什么突出的。这也许是基于一个稍稍过时的设计原则，一种适于技术的旧有方式。我们同意不给这个改建项目一个设计奖项，因为它的建筑主张太过谦虚。可我至今享受着回想那小小的红房子所带来的乐趣。
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 在一本讲木构建筑的书里，我的注意力被一些照片吸引了，照片里，大面积包裹好的树干浮在宽阔的水面，我也喜欢封面的图片，是一张拼贴画：许多段木头被分层排列得像剖面图一样。大量木建筑的照片却不够引人注目，尽管事实上它们在建筑上是值得表扬的。我已经有很长一段时间没有做木建筑了。
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.
一个年轻的同事问我，在用石头、混凝土、钢和玻璃工作了一些年之后，我如何着手去盖一个木建筑。我立刻想到这样的画面：一块房子大小的实心木料，一个由木材的生物物质制成的密集的体量，水平分层，并被精确地掏空。一栋这样的房子会改变它的外形，会增大、缩小，升高、降低，这不得不成为设计的一个主要部分。我的那个同事告诉我，在他的母语西班牙语里，“木头”、“母亲”和“材料”是相似的：“madera”、“madre”和“materia”。我们开始谈论木、石这些自然材料的感官品质和文化意义，谈论怎样才能在我们的房子里表达这些。
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 纽约中央公园南，在一个二楼的大厅。这是晚上。在我面前的，是被高耸、闪亮、冷酷的城市装裱的巨大的、树木繁茂的矩形公园。我想，大城市基于强烈、清晰、秩序良好的概念。矩形的路网，斜穿的百老汇大街，半岛的海岸线。建筑，被高密度满满地塞在方格网中，隐约在空中，个人主义，自爱（自大），匿名，不计后果，被方格网所束缚。
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 在那宽阔的像停车场似的地方，从前的市政厅看起来稍有缺失（lost）。它是镇上那个部分唯一一栋在二战中躲过一劫的建筑。以前作为大使馆，现在，依照一个能干的建筑师的设计，在原基础上被扩大了三分之一。扩建部分坚固、自信，与旧建筑并排站着：一方面，（旧有的）毛石基础、抹灰外表和栏杆；另一方面，清水混凝土制成的、扁平的、现代的附加体，影射旧有主体建筑，同时，依照设计，保持一个清晰的对话距离。
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庄的古老城堡。在几个世纪中，它已经被改扩建了许多次，逐渐从一群独立的建筑发展为一个封闭、拥有内院的综合体。一个新的建筑整体体现了其发展的每一阶段。历史的不调和没有被建筑地记录。旧的适应新的，或者新的适应旧的，热衷于在它发展的最新阶段体现出完整、综合的外观。只有当一个人分析这些墙的物质，剥去它们的灰泥，检查它们的节点，这些旧建筑才显示出它们复杂的起源。
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 我走进展厅。又一次，我面临（碰上）倾斜的墙面，倾斜的平面，被松散地、玩笑般地连接在一起的表面，板和绳索悬挂着，倾斜着，漂浮着或者拉着，紧张的（拉紧的）或突出的。这个作品放弃了直角，寻找（探求）了一个不正式的平衡。这个建筑制造了一个动态的印象，象征着运动。它的姿态充满了可用的空间，期望被观察（看）、期望制造它们的标记。几乎没有留任何余地（空间）给我。我沿着建筑指出的弯弯曲曲的小路走着。
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.
在下一个厅，我偶遇了巴西籍主人Niemeye的曲线和形体的优雅。我的兴趣又一次被他的摄影作品中巨大的房间和无限室外空间的空旷所俘获。
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告诉我她在五渔村（Cinque Terra） ——一个意大利人主要的度假地——的一个小海滨胜地海滩见到许多纹身的妇女。这些妇女强调其身体的独特性，用纹身来显示她们的身份。在这个看起来像要被生活的人工标志所淹没（充满）的世界，这个哲学家思考虚拟现实的世界，身体作为避难所。
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?
人体作为当代艺术的一个对象。寻求知识的测量和揭示，或者作为一意孤行的崇拜的人体，只有当从镜中或通过他人的眼睛被看见时，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.
这个秋天，我参观了举办法国当代建筑工程展的空间。我看见玻璃制造的闪亮的物体，温和的外形，没有边线。在特殊的点（地方），紧张、优雅的曲线圆滑了物体的几何体量。它们的线条让我想起了罗丹的裸体画，给予物体雕塑的性质。建筑模型。模型。漂亮的身体，表面质地（肌理）和皮肤的庆典，密封的、没有缝（缺点）的，拥抱着身体。
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 一道玻璃门分割了这个老旅馆狭窄走廊的长度。下面是门扇，上面是一块牢固的长方形固定玻璃，没有框，玻璃在转角处被两个金属夹子夹住。很通常的做法，没什么特殊。当然，这也不是建筑师的设计。但我喜欢这个门。
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.
是因为这两块玻璃的比例，夹子的形状和位置，在暗暗的走廊muted的色彩中玻璃的光亮，还是因为上部的玻璃比它下面的门更高，从而强调（加强）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 我被示以一栋复杂建筑的照片。不同的区域、平面和体量，看起来交叠、倾斜、直立，一个包含另一个(相互咬合)。这房子不寻常的外观没有给我关于其功能的清楚暗示，造成了奇怪的荷载和扭曲的印象。不知为何，它看起来像二维的。过了一会儿，我想我正在看一个彩色纸板模型的照片。后来，当得知这位建筑师的名字时，我惊呆了。是我做了一个错误、草率、无知的判断？这位建筑师的名字有着国际光环，他的建筑画非常知名，他那关于当代建筑、同时也解决哲学问题的著作被广泛出版。
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 一栋在曼哈顿的住宅刚刚落成，位置很好。新立面在那条街的房子中很显眼。在照片中，天然石护板被玻璃包围着，看起来像一个背景幕布。在现实中，这立面在环境中更为统一、完整。进入这房子时，我批评的本能消失了。其建造质量引起了我的注意。建筑师接待了我们，把我们带进前厅，并带领我们一间房一间房地参观。房间宽敞，秩序合理。我们渴望看见随后的每一个房间，并且没有失望。日光的品质通过那呆滞的后表面照进来的时候，楼梯上的天光令人愉快。后院（主要的房间都围绕它排列）的存在在每个楼层都能感觉到，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.
建筑师用礼貌友善的言辞谈了业主（最近安顿下来的居民），谈了他们对他的设计的理解，谈了他应他们的要求做出的努力，也谈了他们对一些不切实际的方面的批评，他随后做出了改进。他打开食柜的门，放下巨大的麻布窗帘，窗帘让起居室充满柔光，给我们展示折屏，示范巨大的推拉门在两轴间静静地滑动，关闭时严丝合缝，十分完美。他不时触摸着一些材料的表面，或者用他的手在栏杆上来回磨蹭，一块方玻璃的木边缘的节点（或者用他的手在栏杆上、木节点上、方玻璃的边缘上来回磨蹭）。
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 我正参观的这个城镇有一个有独特魅力的邻居。19世纪和20世纪初的房子，沿着街道和广场布置，由石头和砖建成。没有什么例外。典型城市。公共房产在底下几层临街，上面的住宅和办公退在受保护的立面之后，在知名的外观后隐藏私人领域，不知名的外观则清楚地从公共空间分离出来，公共空间从正面墙脚的边线开始。
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.
我曾被告知许多建筑师在这个住宅区生活和工作。一些天后，我看着附近一个新住宅区时，才记起来。这个小区由一些知名建筑师设计，而我发现自己正思考这城市建筑明确的背面和正面，被恰好地连接的公共空间，被优雅地控制的立面，和对城市主体来说恰如其分的体积。
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 我们花了几年时间推进那个石制温泉浴室的概念、形式和施工图。接着，建造开始了。我站在石匠从附近一个采石场采来的第一批石块中的一块面前，感到惊讶和恼怒。 尽管每件事都完全符合我们的计划，我还没有设想它的硬度和软度，品质是光滑还是粗糙，还有这从方形石块放射出来的发亮的灰绿色的出现。过了一会儿，我觉得我们的项目已经逃离了我们，并开始不受约束，因为它已经发展成一个物质实体，有它自己的法则了。
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 我在古根海姆美术馆参观梅雷•奥本海姆（Meret Oppenheim） 的作品。她使用的技术非常多样。没有连续、一致的风格。然而，我通过她的作品体验到她的思考方式、她看世界和干预世界的方式是一致和完整的。因此，或许在奇怪究竟是什么在风格上连接了著名的“皮毛杯子”和“用煤片组成的蛇”这个问题上并没有要点。梅雷•奥本海姆不也曾说过每一个想法都需要它特有的形式来变得有效吗？
Teaching architecture, learning architecture
教学建筑
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?
年轻人以成为建筑师和确认他们是否学到了（所需要的知识）为目的进入大学。我们首先要教给他们的是什么呢？
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，我们必须说明，那个站在他们面前的人，并不是对他所提出的问题已经有了答案的人（并不是提出自己已知答案的问题的人）。学建筑，是问个人自己问题，通过教师的帮助，找到个人自己的答案，削减（whittling down），找到解决方法。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.
一个好设计的力量存在于我们自己，存在于我们用情感和理性去观察世界的能力。一个好的建筑设计是赏心悦目的；一个好的建筑设计是有智慧的。
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.
在听说“建筑”这个词前，我们都体验过建筑。理解建筑的根源在于我们的建筑体验：我们的房间、住宅、街道、乡村、市镇和景观——我们早期都无意中经历过它们，后来我们将其与稍后体验的乡村、市镇和住宅相比较。理解建筑的根源还存在于我们的童年和青年时光；它们存在于我们的“传记”（个人经历）。学生必须学会有意识地用他们个人传记式的建筑体验来工作。他们被指派的任务（作业）就是被设计来使这个过程运转的。
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?
我们或许想知道我们喜欢这栋房子、这个城市的什么，是什么让我们印象深刻并打动了我们，还有——为什么。这个房间是怎样的，这个广场，它真正看起来如何，空气中是什么味道，我的脚步、我的声音在这里听起来如何，在我脚下的地面、我手中的门把手感觉起来如何，光如何打动立面，墙上的光泽如恶化？有没有狭窄或者宽阔的感觉，是觉得尺度宜人还是空间太大？
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.
轻隔膜一般的木地板、沉重的石块、柔软的织品、抛光的花岗岩、柔韧的皮革、未加工的钢、打磨了的桃木、透明的玻璃、被太阳晒软的沥青……建筑师的材料，我们的材料，这些我们全都知道，却并不了解。为了设计、创造建筑，我们必须学会懂得运用它们。这就是研究；这就是记忆工作。
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.
建筑总是具体的问题。它并不是抽象的，而是具体的。画在纸上的一个平面、一个项目并不是建筑，只不过是多多少少不够充分的建筑表现，就像活页乐谱。音乐需要被演奏。建筑需要被建成。那时，它的身体才能形成。而这个身体是赏心悦目（能激发感观）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.
所有的设计工作都以对建筑及其材料自然、客观的感知为前提开始。用具体的方式体验建筑，意味着去触摸、看、听和闻，去发现并有意识地运用这些品质——这些是我们教育的主题。
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.
这个工作室所有的设计工作都是基于材料的。它总是直接针对具体事物，由真实材料（粘土、石头、铜、钢、毛毡、布料、木头、石膏、砖……）组成的物体和装置。没有纸板模型。实际上，在常规意义上，根本没有“模型”，只是实体，一个有特殊比例的三维物品。
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.
按比例的平面图也始于实体，因此，在专业的建筑中，颠倒“想法——平面——实物”的顺序是基础训练。实物先被建造，然后被按比例画出来。
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.
我们通过影响了我们的周遭事物来获得建筑的图像。我们能在记忆中重新调用并再次检验它们。但这并没有形成新的设计、新的建筑。每个设计都需要新的图像。我们那些“旧的”图像只能帮助我们寻找新的图像。
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.
当设计总是把注意力放在整体上，就在图像中思考。由于它特定的天性，图像总是想象中事实的全部：例如，墙面和地面，天花和材料，房间中光和色的状态。我们也看到了所有从地面到墙面，从墙面到窗户转换的细节，就像正在看一部电影。
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，当我们开始一个设计并试图为期望的对象形成一个图像时，那些图像的视觉因素，往往不仅仅是这么简单的。在设计过程的开始，图像往往是不完整的。因此，我们再三尝试去重新连接并阐明我们的主题，向我们的想象画面中添加遗失的部分。换言之：我们设计。我们内心图像的具体、可感知的性质帮助了我们。它帮助我们不在无趣的抽象理论设想中迷失；不失去建筑的实在属性的线索。它帮助我们不会爱上我们绘图的图面品质，不使之与真实的建筑混淆。
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.
产生内心图像对每个人来说都是一个自然过程。它是思考的一部分。在图像中，在建筑的、空间的、色彩的、感观的图片中，进行联想的、野性的、自由的、有计划的和系统的思考——这是我最喜欢的对设计的定义。
Does Beauty Have a Form?
美有形式吗？
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?
杏树存在，蕨类存在，黑莓也存在。可美呢？美是一件事物或物体能被描述或命名的具体特质，抑或是一种思维状态，一种人类感觉？美是由我们对一个特定的形式、形状或设计的理解（感知）激发而产生的感觉吗？一件激发美感的事物在体验美、感受美的特殊时刻给我们一种感觉，其天性（nature）是什么？美有形式吗？
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 音乐打断了我的写作。彼得•康拉丁（Peter Conradin）正在听查理斯•明格斯（Charles Mingus） 50年代的唱片。一段独特的乐章吸引了我的注意，在平静中，一段极强烈而自由的乐章，几乎彻底扫荡了它缓慢的韵律（节奏）。在那韵律的节拍中，次中音萨克斯管用一种热烈、粗旷而又从容的音调诉说着，我几乎能明白它的一字一句。布克•艾尔文（Booker Erwin） ，他的萨克斯管音质硬而扁（hard and compressed），尖而不脆，浓厚却具有穿透性；明格斯的贝斯干干的拨奏，没有试图disam和征服的、情欲的、油腻的“享受（groove）”。这么听起来，这音乐会给人听起来僵硬（呆板）的印象。但不是的。它非常好。“难以置信的美，”我和我的儿子互相看了一眼，几乎同时说到。我听着。这音乐吸引了我。这是一个空间，多彩而感性（sensual），有深度，有运动。我沉醉其中。一会儿，其它的什么都不存在了。
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 一幅罗斯科（Rothko） 的画，充满活力的色块，完全抽象。对我来说这只是个看的问题，一个纯粹的视觉体验，她说。其它的感官印象，例如气味或者声音、材料或触感都没参与。你进入所看的画中。这个过程与专注和冥想有关系。这就像冥想，而不是空想。你思维敏捷且十分清楚。集中注意在画上令你自由，她说。你达到了理解（感知）的另一水平（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 一段短暂的经历（体验）的强度，在时间中完全暂停的感觉，超越过去和将来——这属于许多（或许，甚至是所有）对美的感觉。某些放射美之光的事物拨动了我的心弦，后来，当它结束，我说：我完全与自我和世界一致，首先，屏住呼吸片刻，然后完全集中精神并沉浸其中，充满惊奇，感受动人之处，也容易兴奋和平静，被打动我的外观（景象）的魔力迷住了。快乐的感觉。快乐。没有发觉被看的孩子熟睡的面容。平静的、不被打扰的美。没有什么间接的。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.
时间的流逝已被中断（时间停滞），经验（经历）被明确进一个图像，它的美看起来显示了深度。这种感觉持续着，我对事物的本质以及它们大部分普遍性质有了一些概念（略知一二）。现在，我怀疑这些超出了任何种类的思想。
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 维琴察的文艺复兴大剧院。座位高差大。木头陈旧，非常舒适。一种强有力的空间感，强烈。一切都恰到好处，她说，如此惊人，如此自然，就像一只手。
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.
接下来，山上的别墅：她步行穿过村子，突然看见一块宝石，让她无法呼吸。这房子闪闪发光。就像是它属于这地形（景观），而这地形（景观）也属于它。
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 自然之美触动了我们，就像伟大的事物超越我们。人从自然中来，又回到自然中去。当我们面临一片还未曾被改造成人的尺度的风景之美，对在无限的自然中的人类生活方式的提示（模糊概念）在我们内心涌现。我们同时感到受庇护、谦逊（卑微）而又自豪。我们在自然中，在这个我们将绝不会理解的不可度量的形式中，那么现在，在经历被提高的一刻，不再需要理解它，因为我们感到我们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.
我向外看着风景；凝视着地平线上的海面，看着大量的海水；我走过田野，走向胶树；看着败花，看着柏树，变得安静下来。
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.
她在西西里岛的海里洗澡，并潜入水下。她的心灵错过了一次震撼。一条巨大的鱼悄无声息地缓缓游过她的身旁。它的动作平静、矫健且文雅。它们有几千年的自明（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.
她喜欢漂亮的鞋子。她称赞其做工、材料，首要的是它们的形状和线条。她喜欢看着鞋子，不是人们穿着它们的时候，而是作为物体：被严格地由使用定义的形状，它们的美胜过实际需求，直到它们回到原处，对她说：“使用我，穿上我。”一个实效物体的美是美的最高形式，她补充到。
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.
只要能回忆，我总是体验着人造物品的美，被人创造的物体，作为形式的一种特殊存在（到场presence），作为一个自明且自信的hereness，（这hereness是物体内在的）。有时，当这样的一个物体在本质上坚持自己，我就见到了美。房子、城市、住宅或者街道，似乎是被有意布置的。它产生了一个场所（place）。它所在的地方有了前和后，左和右，远和近，内和外，有了聚集、精简或修改这景观（landscape）的形式。其结果是一个环境。
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?
物体及其环境：自然和人工造物的协调，与自然的纯粹之美不同——与一个物体的纯粹之美也不同。建筑，是艺术之母吗？
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 她与一群年轻人站在一起，那群人大部分都是建筑师。天下着毛毛雨；空气温暖。男人女人都站在一栋别墅的院子里。撑开的伞和移动（sweeping）、无扣雨衣给他们一种全球性的高雅气氛。这群人周围的日光是温和的。从上方来的光线透过灰色的云层（这云层也可以被解释为一层很厚的雾）照下来。它使微小的雨滴看起来像极小的光点。这场景（landscape）充满着文雅的光辉。
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.
站在那里的人们面容平静。带着从容的、几乎是不经意的冷淡（nonchalance），他们注意到这庄严的庄园、院子、外屋以及开着的熟铁门扇。偶尔有人瞥见山地的村庄。薄雾升起。院子里的鹅卵石，树上的叶片，牧场上闪闪发光的草。漫游的目光探寻着去安德烈亚•帕拉第奥的圆厅别墅的路，它应该就在附近。这场景在她的记忆中变成一个永恒的图像。她已经描写过它。
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 我回忆着对住宅、村庄、城市和景观的体验（经历），现在，我所说的体验给我一个对美的印象。这些情景（情境）在那时对我来说也是美的吗？我想是的，但不太确定。首先出现的是印象，我猜（推想），接着是反思。我知道某些事情是不会被授予美的，直到后来，经过随后的刺激、与朋友的交谈，或是对我那静态的没有审美分类的回忆有意识的探求。我也能回应其他人经历的美。如果我能在脑海中创造一张别人告诉我的美的图像，我就吸收了它作用在他们身上的印象。
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.
美总是在背景中，在被清楚界定的真实中，object-like，或在一种平静的生活方式（习惯），或在独立的场景，展现给我，没有一丝努力或人工痕迹地产生完美。每件事都各行其道；一切均在其位。没有冲突，没有夸大的安排，没有批评，没有谴责，没有不同的目的；没有注释，没有意义（含义）。这体验是无意识的。我看见的就是事物本身。它迷住了我。我看见的画面有混合的效果，对我来说显得极端自然化，同时，对它的自然显得极端人工化。
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 她转过一个小屋角，第一次看见了那栋新房子。她停了下来，感到惊讶，感到震撼。这栋柱承重的房子矗立在那里的方式，其多孔砖、玻璃和fine-ringed木头组合的方式，与更老的邻居形成一个大院子的方式——新的“身体”落座并没有在这个场所的体量和材料的平衡上有几何精确性——给予吸引、气氛、活力和在场的感觉。它看起来就像是，我看见的一切都在一个平衡的悬浮（暂停）状态下。那新房子的“身体”看起来在颤动，她说。
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 他正站在马图亚圣•安德里亚教堂的入口。柱廊充满光和影，单一的阳光照在壁柱上。一个它自己的世界，不再是城市，也不是教堂内部。鸽子高飞在有阴影的区域，那里，雕像和线脚淡出视线。我能听见它们，却看不见。很暗。穿透的光线揭示出空气中细小的灰尘。空气很浓厚（thick），几乎能触摸得到。看起来像是：我正站着的这个柱廊下的事物（更多的是被感觉到而不是被看到）已经相互激活，就像它们在一个统一的状态，他说。
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 我们的感觉是本能的。理性扮演的是次要角色。我想我们直接（立刻）认识到：美是我们文化的产物，并符合我们的教育。我们看见一个形式被限定和浓缩进一个符号、一个形状或一个设计，这打动了我们，它有集大量（也许是所有）东西于一体的品质：自明的、深刻的、神秘的、刺激的、令人兴奋的、悬疑的……
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.
打动我的外观是否真的美，不能完全由形式本身判断，因为属于美感的感觉，其深度同样不是由形式引发的，而是由从它迸向我的火花引发的。
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——即使它产生相对少的外观（外表），而且常常在意想不到的地方。而在其它我们期望它出现的地方，却不出现。
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.
美能被设计和制造吗？保证我们的产品（产物）的美的法则（rules）是什么呢？只了解对位、和声学、色彩理论、黄金比和“形式追随功能”是不够的。方法和策略——所有出色的手段（工具）——都不能取代内容，也不能保证一个美丽整体的魔力。
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 我作为设计师的任务（目标）是很难定义的。它涉及（与……有关）艺术和实现（完成），直觉和技术。但也涉及委托、真实性和对项目深深的兴趣。
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.
为了达到美，我必须独处，必须只做我自己的事情而没有别的，因为认出美且能创造美（幸运的话）的独特物质存在于我内心。另一方面，我想创造的东西——桌子、住宅、桥——必须被允许成为它们自己。我相信（认为）每件做得好的事物都有个固有的适当的确定其形式的秩序。这本质就是我想揭示的，因此，在设计过程中，我紧紧抓住手头的事件（问题）。我相信（认为），在前景的精确性和在真实的感官体验中的真正内容，超越了抽象的观点或想法。
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?
这栋房子想成为什么，一个有用的物体，一个物质实体，其材料坚固地制造并连接、其外形铸进提供生命的形式？我问自己，也问其他人（别人）。他的房子想成为什么，因为它的位置：在城市街巷、在郊区、在被破坏的景观、在一片山毛屦树前的山上（头顶有飞行航线）、在湖水的光下、在森林的树荫下？
l4 "Apricot trees exist, apricot trees exist/ Ferns exist; and blackberries..."
“杏树存在，杏树存在 / 蕨类存在，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.
这篇短文的起始以及后面的诗句，都源自英格尔•克里斯滕森（Inger Christensen） ，她的诗《字母（Alphabet）》就是以这几行开始的；她的诗建立在菲波纳济数列无限增长的韵律上，在浓缩的文字里，她保护了世界并因此释放了闪亮又刺激的语气（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……
但没有人
在这飞扬的夏日，没有人了解秋天存在
回味和追思
也没有，只有这灿烂的
不宁静的超声波存在，
蝙蝠转向阴霾（疑惑）；
土地的倾向再没有如此壮丽，
锌白的夜晚再没有如此白……
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，当我读着这些诗句时，我想，最强烈的时刻是介于呈现与未呈现的时刻（生于其所未生之时，也是其最强烈之时）。当我经历美的时候，我发现有些东西不见了（错过了），一种引人注目的表达，一种神会（移情作用），立刻影响了我。在此之前，我没认识到或是不再知道我错过了，但现在，我被更新的知识说服了：我将总是错过它。渴望。对美的体验让我明白了不在场（absence）。那些我所经历的，打动我的，给了我欢乐和痛苦。痛苦的是经历不在场和纯粹的快乐，对一个美的形式的体验已经被对不在场的感觉点燃了。作家马丁•瓦尔泽（Martin Walser） 说：“一件事物，我们失去的越多，它也许变得越美，为了忍耐不在场（缺乏），我们必须调动起来。”
Key words
Rhythm：节奏，韵律
The Light in the Landscape
景观之光
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.
月光是一种宁静的反射，宽大、平滑且温和。月光远远而来，使得它宁静从容。我想象在月光下事物投射在地面上的影子不易察觉地寻求分离，尽管我不能用肉眼判断。我太小或太接近这个在光源和它所照亮的地球上的事物之间宇宙的角落。
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.
当我开始研究光和影，月亮的光影，太阳的光影，我的起居室中灯产生的光影，我获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.
我总是想写本关于光的书。安杰•史达休克（Andrzej Stasiuk ）在他的书《杜克拉后的世界》（The World behind Dukla） 里说，“我不能想到任何使我更想起永远的事情。”“事件或物体在它们自身的重量下停止、消失或坍塌，当我看着它们、描述它们，”他说，“只是因为它们折射光，因为它们使它成形、给它我们能够理解的形式。”
The light that meets the earth from afar
与地面相遇的远来之光
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、我们的城市、景观中的人工光线，我catch myself始终回到我喜欢的物体：与地面相遇的远来之光、无数的“身体”、结构、材料、液体、表面、色彩以及在光线下发光的外形。从地球外来的光使得天空（空气）看得见，我能看见它。例如，在Upper Engadine的秋天，天空已经像南方，但空气清新。
Seen from a great height
从极高处看
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.
从极高处被看，人们用来夜间照明的人工光有一种抚慰人的效果。我们照亮了我们的房子和街道，照亮了我们的地球，挡住（避开）小块黑暗，创造光之岛，在岛上我们能看见我们自己和已经堆积在我们周围的东西。
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?
在黑暗中感觉、闻、触摸、品尝、做梦——那还不够。我们想看。可人们为了生活需要多少光？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?
有没有精神环境或生存（生活）条件如此敏感以至于微量的光就足以保证良好的生活？或者，甚至走得更远：有没有一些东西我们能只在暗阴的场所中、在夜晚的黑暗中体验？
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.
两个旧金山来的猎人，在一个未开化的山谷呆了一些日夜，描写他们晚上回家，(在山上)向下看着他们那被照亮的村庄——隧道入口、加油站、汽车——还有那熟悉的村庄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.
谷崎润一郎Tanizaki Jun’ichiro ，《阴翳礼赞（In Praise of Shadows）》的作者，曾经决定在石山寺（Ishiyama Temple）看满月，但是当他知道他们要播放《月光奏鸣曲》作为给游客的娱乐节目并安装人工灯来照亮场地后，他改变了主意。
The light of the sun
阳光
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.
无数的光点：天空的星星、树林中的萤火虫、地上夜景的人造灯。发光或反射光的小物体。例如装饰灯上的玻璃珠。
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，太阳的光从太空到达地球表面，大量、强烈而定向。它是一盏灯。
Darkness lives in the earth
黑暗住在土地里
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.告诉我，最近，在一次登山远足中，她发现在黄昏已经来到以后一会儿，沿着阿尔卑斯山路的花朵的色彩仍然通红，就像花储存了光，现在不得不释放出来。
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.
黑暗住在土地里。我在安杰•史达休克的《杜拉克（后的世界）》（Dukla）里读到，“它从地里起来，并回到地里，就像一次强有力的呼吸。”
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.
年纪越大，我对以各种方式和形式让光能自然表现的兴趣就越浓烈。我很吃惊，我从那里学到了，并且，我知道是太阳的光照亮了我预想的房子。阳光下，我拥有空间、材料、纹理、色彩、表面以及外形；我捕获这光，表现它，过滤它，用幕隔开它；在恰当的地方，我使它稀薄，来创造一种光泽。光就像一个代理，我熟悉它。但当我真正开始思考它，我几乎什么也理解不了。
The light in the landscape
景观（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.
《景观（地形）之光》。弗里德里克•迈勒克尔（Friederike Mayröcker） 用这个图像（意象/比喻）来命名一篇文章，这文章对我来说似乎极端“自传化”。当她一层一层地堆积文字素材时，它的许多阴暗和阴影持续爆发，进入光明，在地形的内外描述并创造。
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.
个人景观。渴望、悲恸、宁静、愉悦、孤独、避难所、丑陋、自豪的要求、诱惑的图像和景观。在我的记忆中，它们都有自己的光。
Is it even possible to imagine things without light?
甚至，如果没有光，有可能想象事物吗？
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.
谷崎润一郎（Tanizaki Jun'ichiro）赞美阴影。在日本传统住宅那暗黑的深处，阴影蜷缩在每个角落，漆器上的黄金闪着微光，柔和的光线透过糊在精巧的木滑门上那半透明的纸漫射开来，因此，很难辨别日光的来源，这光如此美妙地捕获和反映了物体。
Jun'ichiro praises shadows. And shadows praise light.
谷崎润一郎赞美阴影。阴影赞美光。
Shadowless modernism
无阴影的现代主义
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.
如果记得不错，我已经见过一些歌颂光和景观（地形）的经典现代主义的房子。例如，Richard Neutra在加利福尼亚的住宅。在这些建筑布局中，阴影并不显得突出，但光亮却是，光、空气以及室外的景色，在这景观中生活的感觉，拥有景观的感觉，和它所有的光影一起，溢入或穿过房间。在这些住宅看日落是最美好的体验。后来，当房子不再被从外部照亮时，它不得不产生自身的光亮，它自身被照亮的气氛。用人类的光。
Los Angeles by night
夜幕中的洛杉矶
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.
从快降落的飞机上看（高度逐渐降低），洛杉矶的夜间照明看起来像是一张不可思议的图像。后来，在这个城市的街上，同样的光，对我来说暗淡而苍白，是一种不自然的亮度，在这光线下，草坪上和房屋前院的灌木看起来就像是用塑料做的。
Between sunset and sunrise
日落日出间
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.
在日落和日出之间，我们用自己制造的可以随意接通的灯来照明。这些灯有着忽隐忽现的亮度和快速投下的阴影，无法与日光相比，它们太弱、太静止。
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，当我没有把我们自己制造的这些灯看作一种消除黑暗的尝试，当我把它们作为夜间照明，作为被强调的夜晚，作为照亮我们雕刻黑暗的空地的朋友，它们就变得美丽，它们就拥有完全作为它们自身的魔力。
Which lights do we want to switch on between sunset and sunrise?
在日落和日出之间，哪些灯是我们想要点亮的？
What do we want to illuminate in our buildings, cities, and landscapes?
在我们的房子、城市和景观中，我们想要照亮什么？
How and for how long?
如何（照亮）？（照）多久？