Louis Kahn——Essential texts 草译（一）

1. Monumentality (1944)

Implicit in Louis Kahn’s first major essay as a sole author is critique of modernism’s poverty of form and variety, which he associated with neglect of the past. He chided his contemporaries for failing to examine, for example, the “magnificent variations” with which medieval builders had adorned cathedrals in their “search for clarity of purpose” based on “love of perfection.” Defining monumentality as “the spiritual quality of architecture” that Kahn knew could not be achieved simply by copying historical forms, he called on young, creative minds to study the new materials and construction processes World War II had generated, so that architecture might return to those “basic principles” that in the past had been the “common characteristics of its greatness.” 在康作为独立作者的第一篇主要论文中隐藏着对充满着形式主义和单调乏味的现代主义的批评，而这种贫乏单调正是对过去历史的忽视而造成的。他指责它的同时代的建筑师并没有仔细审视过去的历史，例如中世纪的建造者基于追求完美而对大教堂进行目的明确的装饰时所产生的令人叹为观止的变化。康知道不能仅仅通过复制历史形式来实现将纪念性定义为“建筑的精神品质”，他号召年轻的有创造力的青年去研究在二次世界大战期间产生的新的建筑材料与技术，以至于建筑可以重构过去那些曾经伟大建筑所拥有的共同特征的基本原则。 As Kahn matured he gradually and without fanfare dissociated himself from the conventional modernist forms of his early design work. Seeds of his fully developed philosophy are apparent in this contribution to Paul Zucker’s New Architecture and City Planning: A Symposium. 在随着康的成熟，他也慢慢挣脱了在早期的设计工作中的所受到的传统现代主义形式的桎梏。而他在帮助他的老师保罗·克瑞完成《新的建筑和城市规划：一个非正式讨论》的过程中也埋下了他日后建筑哲学的种子。

Gold is a beautiful material. It belongs to the sculptor

Monumentality in architecture may be defined as a quality, a spiritual quality inherent in a structure which conveys the feeling of its eternity, that it cannot be added to or changed. We feel that quality in the Parthenon, the recognized architectural symbol of Greek civilization. 建筑中的纪念性可以被定义为一种品质，是一种能传递永恒的感觉的存在于结构中的固有精神品质，它并不会增加和改变。我们觉得这种品质存在于被认为是希腊文明象征的帕提农神庙之中。 Some argue that we are living in an unbalanced state of relativity which cannot be expressed with a single intensity of purpose. It is for that reason, I feel, that many of our confreres do not believe we are psychologically constituted to convey a quality of monumentality to our buildings. 有的人认为我们生活在一种不能以单一强度的目的为表达的不平衡的相对状态之中。我感到正是出于这个原因，许多我们的同伴都不相信我们能够在心理上建立一种纪念性的品质传递给我们的建筑。 But have we yet given full architectural expression to such social monuments as the school, the community or culture center? What stimulus, what movement, what social or political phenomenon shall we yet experience? What event or philosophy shall give rise to a will to commemorate its imprint on our civilization? What effect would such forces have on our architecture? 但是我们是否已经对诸如学校，社区或者文化中心等社会纪念性建筑进行了完整全面的建筑表达呢？我们还要历经什么样的刺激，什么样的运动，什么样的社会的或者政治的情况呢？什么样的事件或者哲学可以令我们产生一种想要纪念它对我们文明的深刻影响的意愿呢。这些力量会对我们的建筑产生什么影响？ Science has given to the architect its explorations into new combinations of materials capable of great resistance to the forces of gravity and wind. 科学已经向建筑师们提供了对材料的新的组合方式，这些新组合方式能大大提高材料抵抗重力和风的影响的能力。 Recent experiments and philosophers of painting, sculpture and architecture have instilled new courage and spirit in the work of their fellow artists. 最近针对绘画，雕塑，和建筑的实验与哲学思考为同时代的艺术家作品注入了新的勇气与精神。 Monumentality is enigmatic. It cannot be intentionally created. Neither the finest material nor the most advanced technology need enter a work of monumental character for the same reason that the finest ink was not required to draw up the Magna Carta. 纪念性是神秘的。我们无法刻意地去创造它。作为具有很强纪念性的作品，它并不需要最好的材料或者最先进的技术手段来促成，就跟《大宪章》不需要一定要用最优质的墨水来书写。 However, our architectural monuments indicate a striving for structural perfection which has contributed in great part to their impressiveness, clarity of form and logical scale. 然而，我们留存下来的建筑遗迹表现了古代建造者对完美结构性的不懈追求，这种追求也带来了令我们印象深刻的观感，清晰的形式组织和具有完美逻辑性的尺度比例。 Stimulated and guided by knowledge we shall go far to develop the forms indigenous to our new materials and methods. It is, therefore, the concern of this paper to touch briefly on the broader horizons which science and skill have revealed to the architect and engineer and sketch the faint outlines of possible structural concepts and expressions they suggest. 在知识的激励与指导下，我们将会竭尽全力来发展源自新的材料与工法所带来的新的形式。因此，本文所在意的重点是通过介绍科学和技术来向建筑师与工程师们揭示更广阔的视野，并勾勒出由它们产生的可能的结构概念与表达形式的模糊轮廓。 No architect can rebuild a cathedral of another epoch embodying the desires, the aspirations, the love and hate of the people whose heritage it became. Therefore the images we have before us of monumental structures of the past cannot live again with the same intensity and meaning. Their faithful duplication is unreconcilable. But we dare not discard the lessons these buildings teach for they have the common characteristics of greatness upon which buildings of our future must, in one sense or another, rely. 任何一个建筑师都无法重建一个能够体现时代欲望，愿望，人民的爱意与恨意的遗产的大教堂。因此，摆在我们眼前的关于过去纪念性建筑的图像也无法以同样的强度与意义再现它。它们的忠实复制是不可能发生的。但是我们不敢丢弃这些古代建筑所教授给我们的东西，因为它们具有共同的伟大的特征，即我们未来的建筑也需要具备和依靠这样的特征所存在。 In Greek architecture engineering concerned itself fundamentally with materials in compression. Each stone or part forming the structural members was made to bear with accuracy on each other to avoid tensile action stone is incapable of enduring. 在希腊的建筑工程中，它们从根本上关心材料的极致运用。每一块石头和构成建筑的组成构件都被做成能彼此精确承担重量的样子，以此来避免破坏具有拉伸作用的石头。 The great cathedral builders regarded the members of the structural skeleton with the same love of perfection and search for clarity of purpose. Out of periods of inexperience and fear when they erected over-massive core-filled veneered walls, grew a courageous theory of a stone over stone vault skeleton producing a downward and outward thrust, which forces were conducted to a column or a wall provided with the added characteristic of the buttress which together took this combination of action. The buttress allowed lighter walls between the thrust points and these curtain walls were logically developed for the use of large glass windows. This structural concept, derived from earlier and cruder theories, gave birth to magnificent variations in the attempts to attain loftier heights and greater spans creating a spiritually emotional environment unsurpassed. The influence of the Roman vault, the dome, the arch, has etched itself in deep furrows across the pages of architectural history. Through Romanesque, Gothic, Renaissance and today, its basic forms and structural ideas have been felt. They will continue to reappear but with added powers made possible by our technology and engineering skill. 伟大的教堂建造者认为每一个构成结构骨架的部分都应要追求完美的呈现和明确的用意。在摆脱缺乏经验与恐惧的时期内，他们建造了巨大的石头填充墙面，然后勇敢地提出了一种理论，即叠加的石块在骨架券上产生了向下的力和侧推力，而这些力传递给周边的飞扶壁和具有抵抗侧推力的混凝土实墙与柱子上，这些结构构件共同抵御了荷载，并形成紧密的连结。这些飞扶壁解放了承重的实墙，使得大型的彩绘玻璃窗能够安装。这种结构概念源于先前较为粗糙的理论，在试图得到更高的高度与更大的跨度的空间来塑造崇高的精神氛围的尝试过程中诞生了这种伟大的变化。罗马的拱，穹顶，拱门已经在建筑历史之中留下了不可磨灭的印记。通过罗马建筑，哥特建筑，文艺复兴建筑以及今天的建筑实践，人们已经感受到了它们的基本形式与结构概念。它们将会重现，而我们的技术和工程手段将会为他们带来更大的力量。 The engineer of the latter part of the nineteenth century developed from basic principles the formulas of the handbook. Demands of enormous building quantity and speed developed the handbook engineer who used its contents, more or less forgetting basic principles. Now we hear about continuity in structures, not a new word but recently an all important word in engineering which promises to relegate the handbook to the archives. 他们十九世纪下半叶的工程师已经根据基本原理发展了类似手册式的公式方法。而随着巨大的建筑建造需求量和快速发展的手册内容，那些僵硬套用手册的工程师们或多或少已经忘记了其基本原理。现在我们听到的是结构的连续性，不是一个新词，而是最近在工程中一个非常重要的词，它们有望将手册转交给档案。 The I-beam is an engineering accomplishment deriving its shape from an analysis of the stresses involved in its use. It is designed so that the greater proportion of the area of cross section is concentrated as far as possible from the center of gravity. The shape adapted itself to ease of rolling and under test it was found that even the fillets, an aid in the rolling process, helped convey the stresses from one section to another in continuity. 工字梁是一项工程上的伟大成就，它的形状是由对其使用过程中所受到的应力分析而得出的。它的横截面的面积比例越大，其重心也就越集中在其几何中心。它的形状适用于减缓其滚动，在测试中发现即使是圆角也同样如此。同时在轧制过程中，也有利于将应力从一个部分连续地传递到另一部分。 Safety factors were adopted to cover possible inconsistencies in the composition of the material of manufacture. Large scale machinery and equipment needed in its fabrication led to standardization. 为了掩饰在制造材料的组成部分上可能存在的不一致的现象，便采用了安全系数这一手段。而在其制造过程中所需的大型机械与设备也导致了其标准化的实现。 The combination of safety factors (ignorance factor as one engineer termed it) and standardization narrowed the practice of engineering to the section of members from handbooks recommending sections much heavier than calculations would require and further limited the field of engineering expression stifling the creation of the more graceful forms which the stress diagrams indicated. For example, the common practice of using an I-beam as a cantilever has no relation to the stress diagram which shows that the required depth of material from the supporting end outward may decrease appreciably. 为安全因素（有工程师称其为“未知系数”）与标准化的结合，其所建议的安全值比计算得出的要高很多，使得工程实践只能仅限于规范之内，并进一步限制了工程领域的创造表达，从而扼杀了更多的由直观应力图推导出的创作内容。例如，在通用实践中使用工字梁作为悬臂的做法与应力图的推导无关，而应力图却能指出从支撑端向外所需的材料截面可以明显减少，从而达到节省材料，减轻自重的目的。 Joint construction in common practice treats every joint as a hinge which makes connections to columns and other members complex and ugly. 在通常的实践中，接头结构将每个接头视为铰接点，使得柱和其他构件的连接变得复杂而丑陋。 To attain greater strength with economy, a finer expression in the structural solution of the principle of concentrating the area of cross section away from the center of gravity is the tubular from since the greater the moment of inertia the greater the strength. 为了在省钱的前提下获得更大的强度，管状结构在结构的解决方法中更为精准的表达是将重心的中心远离截面集中的位置，因为贯心距越大，强度越大。 A bar of a certain area of cross section rolled into a tube of the same area of cross section (consequently of a larger diameter) would possess a strength enormously greater than the bar. 将具有一定的横截面的棍材卷成具有相同横截面的管子，其强度远远大于前者。 The tubular member is not new, but its wide use has been retarded by technological limitations in the construction of joint. Up until very recently welding has been outlawed by the building codes. In some cases, where it was permitted, it was required to make loading tests for every joint. 管状部件不是新的，但是由于接头构造的技术限制，其广泛应用也受到了影响。直到最近，建筑法规都禁止使用焊接。在某些允许的情况下，还要对每个接头进行荷载测试。 Structure designs must discard the present moment coefficients and evolve new calculations based on the effect of continuity in structures. The structural efficiency of rigid connection, in which the sheer value and resisting moment is at least equal to the values of the supporting member, is obtained by the welding of such connections. 管状结构设计必须舍弃当下的墨守成规的数据，并根据在结构中的连续性影响发展新的计算方法。通过焊接来获得刚性连接的结构效率，其中，所述的绝对值和抵抗力矩至少等于支撑构件的值。柱子成为了梁的一部分，承担了通常不计入柱承担的荷载计算的额外职责。 The engineer and architect must then go back to basic principles, must keep abreast with and consult the scientist for new knowledge, redevelop his judgment of the behavior of structures and acquire a new sense of form derived from design rather than piece together parts of convenient fabrication. 然后，工程师与建筑师必须回到基本原理，必须与时俱进并向科学家咨询了解新的知识，重新发展他对结构方式地判断，并从设计中获得新的形式感，而不是随意方便地制造并组装各个构件。 Riveted I-beam plate and angle construction is complex and graceless. Welding has opened the doors to vast accomplishments in pure engineering which allows forms of greater strength and efficiency to be used. The choice of structural forms are limitless even for given problems and therefore the aesthetic philosophy of the individual can be satisfied by his particular composition of plates, angles and tubular forms accomplishing the same answer to the challenge of the forces of gravity and wind. 铆接工字梁板和角钢构造复杂而优雅。焊接为纯工程领域地巨大成就打开了大门，这使得可以使用更大强度和效率的形式。即使对于给定的问题，结构形式的选择也是无限的，因此个人的美学哲学可以通过其特殊的板材，角钢，和钢管形式的组合来满足，同时也对重力与风的影响做出了回答。 The ribs, vaults domes, buttresses come back again only to enclose space in a more generous, far simpler way and in the hands of our present masters of building in a more emotionally stirring way. From stone, the part has become smaller and cannot be seen by the naked eye. It is now the molecular composition of the metal observed and tested by the scientist through spectroscopy or by photoelastic recordings. His finding may go to the architect and engineer in the more elemental form of the formula, but by that means it shall have become an instrumental part of the builder’s palette to be used with out prejudice or fear. That is the modern way. 骨架券，穹顶，飞扶壁的再次回归，只是以一种更加宏伟，更加简单的方式将空间封闭起来，并在我们现在的建筑大师手中以一种更加壮美令人激动的方式来进行呈现。从石材的部分来看，连接部分变得越来越小，已无法用肉眼察觉。现在它是科学家通过光谱学或者光弹性记录来观察和测试金属的分子组成。他的发现可以能会以公式的更基本的形式教给建筑师与工程师们，但这也意味着它已经成为了建造者的武器库里工具性（重要）的部分，会被没有偏见或恐惧地进行使用。那是现代地方法。 Gothic architecture relying on basically simple construction formulas derived from experience and the material available, could only go so far. Beauvais cathedral, its builders trying to reach greater spans and height, collapsed. 哥特式建筑只能依靠从经验和可使用的材料中得出简单基本的施工方案，可能只能走得那么远。Beauvais大教堂的建造者尝试达到更大的跨度和高度，却倒塌了。 The compressive stress of stone is measured in hundreds of pounds. 石头的抗压能力只能以数百磅来进行计算。 While not only the compressive, but also the bending and tensile stress of steel is measured in thousands of pounds. 而钢材的抗压能力，抗弯能力和抗拉能力都是以数千磅来进行计算。 Beauvais cathedral needed the steel we have. It needed the knowledge we have. Beauvais大教堂所需要的钢材我们现在拥有，它所需的建造知识我们也拥有。 Glass would have revealed the sky and become a part of the enclosed space framed by an interplay of exposed tubular ribs, plates and columns of a stainless metal formed true and faired into a continuous flow of lines expressive of their stress patterns. Each member would have been welded to the next to create a continuous structural unity worthy of being exposed because its own aesthetic life. The metal would have now been aged into a friendly material protected from deterioration by its intrinsic composition. 裸露的管状肋条，不锈钢板片和柱子的相互作用下，玻璃可以展示天空并成为构成封闭空间框架的一部分，从而形成真实，顺畅连续的线性模式，并表现出来它们的受力情况。每一个部件都将被焊接到下一个部件上，以此来创建一个连续的值得暴露的结构统一体，因为其自身的美学价值值得这么做。这种金属现在已经老化成一种非常好的材料，其内部的成分能有效地防止其生锈破坏。 This generation is looking forward to its duty and benefit to build for the masses with its problems of housing and health. 这一代人将为广大人们建设住房和解决健康问题作为自己的责任与利益。 It is aware of our outmoded cities. 它意识到了我们已经过时的城市。 It accepts the airship as a vital need. 它承认宇宙飞船并将其作为一种重要的需求。 Factories have adopted horizontal assembly and shifting population has required the transformation of large tracts of virgin territory at least temporarily for complete human living. 工厂采用了横向集会，迁移人口，为了暂时满足人们生活的需求需要至少改造大片处女地。 The building of a complete permanent town was attempted and almost built for the workers at Willow Run. 几乎所有Willow Run的工人都试图建造一个完整的永久性城镇。 The nation has adopted the beginnings of social reform. 国家已经通过了社会改革的初步进程。 War production may become normal production on the same scale accepted as sound economics. 军工生产可能会以相同规模变成民用生产，并带来丰厚的经济效益。 Still untried but pledged stand the noble principles of the Atlantic Charter. 大西洋宪章的崇高原则仍未得到尝试，但仍能得到保证。 In the days we look forward to must then the cathedral, the culture center, the legislative palace, world island-the seat of the congress of nations, the palace of labor and industry, the monuments to commemorate the achievements and aspirations of our time, be built to resemble Chartres, Crystal Palace, Palazzo Strozzi, or the Taj Mahal? 在未来的日子里，我们期待着大教堂，文化中心，立法院，世界岛——国会大厦，劳工中心，那些纪念我们时代成就与远景的纪念碑，建造得像沙特尔，水晶宫，斯特罗兹宫或泰姬陵那般永垂青史？ War engineering achievements in concrete, steel and wood are showing the signs of maturity appropriate to guide the minds entrusted with the conception of buildings of such high purpose. The giant major skeleton of the structure can assert its right to be seen. It need no longer be clothed for eye appeal. Marble and woods feel at ease in its presence. New wall products of transparent, translucent and opaque material with exciting textures and color are suspended or otherwise fastened to the more delicate forms of the minor members. Slabs of paintings articulate the circulation in the vast sheltered space. Sculpture graces its interior. 混凝土，钢铁和木材等材料的使用技术在军事工程里已经逐渐成熟，可以指导受到委托的建筑师进行获得更高建筑成就的项目构思。该结构的巨型主体骨架可以捍卫其可见的地位。它不再需用表面装饰来吸引眼球，大理石和木材在其存在下显得这么轻巧自然。由透明、半透明和不透明材料组成的新型墙体具有令人惊奇的质感和颜色，可以以一种更精致的形式将其悬挂或固定在次要部件上。画板清晰地表明了绘画所带来地广阔空间流转的边界，雕刻也只能装饰其内部的空间。 Outstanding masters of building design indicated the direction an architect may take to unravel and translate into simple terms the complexity of modern requirements. They have restated the meaning of a wall, a post, a beam, a roof and a window and their interrelation in space. They had to be restated when we recall the conglomerations that style-copying tortured these elements into. 杰出的建筑设计大师指出了建筑师可能前进的方向，并将现代主义复杂的需求转化成了简单的术语。他们重新定义了墙，柱，梁，屋顶和窗户的空间定义以及它们在空间之中的相互关系。当我们回顾那些复制的样式将其元素僵化地组成集团时，就必须对它们进行重新论述。 Efforts towards a comprehensive architecture will help to develop these elements and refine their meaning. A wall dividing interior space is not the same wall dividing the outside from the interior. Masonry shall always function as retaining and garden walls. It may be used for exterior walls for its decorative qualities, but the supplemented by interior slabs designed to meet more directly the challenge of the elements. 建立全面的建筑体系的努力将有助于发展这些空间元素并完善其内在含义。分隔内部空间的墙与分隔内部与外部空间的墙是不同的。砌体应始终用作挡土墙和花园墙。由于其装饰性，它可以用于外墙砌筑，但是也能作室内板片被设计成直面空间要素的挑战的补充。 Structural ingenuity may eliminate the interior post, but as long as it must exist its place is reserved and its independence respected in the planning of space. 拥有创造性的结构可以消灭内部空间，但只要它存在，并要保留其空间的位置，并在空间设计中尊重其独立性。 Structural problems center about the roof. The permanence and beauty of its surfaces is a major problem confronting science. The surfacing of the domes, vaults and arches appearing as part of the exterior contours of the building may be an integral part of the structural design. Stainless metal, concrete or structural plastics, structural glass in light panes, or great reinforced glass castings may be the choice for domes and vaults, depending on the requirements, the climate and the desired effect. The surfacing of flat roof should be given equally serious consideration whether it is planned for use or not. 结构问题集中在屋顶上。其表面的耐久性与美观性是科技所要解决的主要问题。穹顶，拱券和拱的重现成为了建筑外部轮廓的一部分，也可能是结构设计的组成部分。根据要求，气候和所需效果，不锈金属，混凝土或结构塑料，轻窗格中的结构玻璃或大型强化玻璃铸件可能是圆顶和穹顶的选择。无论是否计划使用，都要认真考虑平屋顶的表面材料。 The citizens of a metropolitan area of a city and their representatives have formulated a program for a culture center endorsed by the national educational center. The citizens’ committee collaborated with architect and his staff of engineers. Costs were not discussed. Time was not “of the essence”. Its progress was the concern of many. 城市大都会的市民及其代表制定了由国家教育中心认可的文化中心计划。公民委员会与建筑师及其工程师团队合作，没有讨论成本。时间不是“关键”，它的进展是许多人所关注的。 From above we see the noble outlines of the building. Much taller buildings some distance from the site do not impress us with the same feeling of receptiveness. Its site is a prominent elevation in the outlying countryside framed by dark forests defining the interior of broad strokes in land architecture. 从上方我们可以看到建筑的雄伟轮廓。离现场有些距离的高大建筑没有使我们印象深刻，并给我们同样的接受感。它的基地位置位于偏远乡村的一个高地，深色森林定义了地景建筑内部宽广的空间。 On the ground the first reaction comes from the gigantic sculptural forms of the skeleton frame. This backbone of the architect’s central idea successfully challenges the forces which during its design challenged to destroyed it. To solve the more minute complexities of entire organism, its creator had drawn his conclusions and made his decisions from the influences of many people and things around him. 地面上第一个引起反响的就是来自骨架框架的巨大雕塑形式。建筑师的核心思想的主干成功地挑战了在设计过程中想要摧毁它的力量。为了解决整个有机体更为细微的复杂性，其创造者得出了自己的结论，并根据周围许多人和事物的影响做出了决定。 The plan does not begin nor end with the space he has enveloped, but from the adjoining delicate ground sculpture it stretches beyond to the rolling contours and vegetation of the surrounding land and continues farther out to the distant hills. 该计划并非以它所包围的空间开始或结束，而是从毗邻的精致地面雕塑延伸到周围土地起伏的轮廓和遍布的植被，并伸向更远的山丘。 The immediate ground sculpture discipline his mind in shaping it into stronger geometric planes and cubes to satisfy his desire for terraces and pools, step and approaches. The landscape designer countered or accentuated these planes with again geometric and free forms interwoven with the lacy leaf patterns of the deciduous tree. 即兴的地面雕塑训练了他优秀几何平面和立方体的塑形能力，以此来满足他对建筑中露台，水池，踏步和路径的探索欲望。景观设计师通过将重新组织几何形状与花边状的落叶的自由形式来应对和强调这些平面。 The plans reveal that the vast spans shelter smaller areas designed for specific use, which are divided from the whole by panels of glass, insulated slabs, and marble. These partitions are free of the structure and related only to the circulation pattern. The ground plan seems continuous. The great lobby is a part of the amphitheater which dips down to the stage. The light comes from above through an undulating series of prismatic glass domes. 这些平面揭示了为了特定用途而设计的大跨度遮蔽较小区域，整个空间被玻璃板，隔热板和大理石面板分隔开来。这些隔板没有结构作用，仅仅与空间的组织流线有关。宽敞的大厅时下沉舞台的圆形剧场的一部分。光通过一系列起伏的棱柱形玻璃穹顶从上方进入空间。 Ahead, some distance from the entrance, is a great mural of brilliant color. As we approach it the forms clearly defined from a distance seem to divide into forms of their own, each with its own color power, clear and uncluttered. 在前方，离入口不远处由一幅色彩艳丽的壁画。当我们慢慢接近它时，通过一段距离，它的形式也慢慢清晰起来，似乎是可以从自己的本体种分离出这种形式，每个都有自己的色彩力量，清晰而整洁。 To one side is the community museum of sculpture, painting and crafts. It exhibits the work of the younger men and women attending the vocational and art academies. Here they are accepted because their talents can be judged by those who have themselves been instructed in the basic principles underlying the use of a material. The emotional adaptations are left for the exhibitor himself to evaluate by contact, comparison and experience. 一侧是雕塑，绘画和手工艺品的公共博物馆。它展示了受到职业和艺术学院教育的年轻男女的作品。在这里，他们可以被认可，因为他们的才华可以受到那些精通材料运用基本原则的创作者们点评与承认。参展商们自己可以通过接触，比较和体验来评估这些作品的情绪感染力。 Sculpture shows the tendency to define form and construction. Marble and stone is carved as of old. Castings in new alloys and plastics are favorite methods of obtaining permanency. Solids are interwoven with sheets and tubes of metal. The subject matter exhibited has no bounds. With the new materials and tools, chemical tints, and with manufacture at the artist’s disposal, his work becomes alive with ideas. Metal sprays and texture guns, with fine adjustments have also become the instruments of the sculptor, painter and craftsman. One of the younger men had cast within a large, irregular cube of transparent plastic other forms and objects of brilliant color. A sphere, planes at various angles, copper wire in free lines are seen through the plastic. 雕塑表现了确定形式和建造的趋势。大理石和石头被雕刻成过去的样子。在新的合金与塑料中铸件是获得耐久性的最常见方法。固体与金属板和金属管交织在一起。被展出的主题是没有限制的。借助新的材料与工具，化学染色，以及艺术家们各自的制造工艺，他的作品充满了生机与创意。经过精细调整的金属喷枪和纹理喷涂工具也已经成为雕刻家，画家和工匠的工具。 From these experiments in form the architect will eventually learn to choose appropriate embellishments for his structures. So far he has omitted them. His judgment leads him to freestanding forms in space. 通过这些形式的实验，建筑师们最终学会选择适合其结构的装饰方法。迄今为止，他已经省略了他们，他的判断引导他在空间中获得独立形式。 Some of the younger artists are influenced by the works of an older sculptor who has developed a theory of scale in relation to space. He has argued that as the size of the structural work is increased the monolithic character of smaller work does not apply. He chose for large work a small consistent part or module of a definite shape, a cube, a prism, or a sphere which he used to construct block over block, with delicate adjustments to the effect of light and shadow, the overall form. His work seen from great distances retains a texturally vibrant quality produced by these numerous blocks and the action of the sun upon them. 一些较年轻的艺术家受到较老的雕塑家作品影响，而其已经发展出一套与空间有关的尺度理论。他认为随着结构工程规模的增加，较小工程的整体独石性的特征将不再适用。他为了大型的工程选择了确定的形状一致的类似立方体，棱柱体或球体的小型部件或者模块，他用这些来建造对光影效果进行精巧调整的块状部件来构成整体形式。从远处看他的作品，其保留了由这些诸多构件和太阳对它们产生作用而产生的纹理鲜明的品质。 Before we can feel the new spirit which must envelop the days to come we must prepare ourselves to use intelligently the knowledge derived from all sources. Nostalgic yearning for the ways of the past will find but few ineffectual supporters. 在我们能感受到那些能席卷未来的新精神之前，我们必须做好准备来明智地使用从各个地方获得地知识。发现缅怀过去方式的人是很少的无效的支持者。 Steel, the lighter metals, concrete, glass, laminated woods, asbestos, rubber, and plastics, are emerging [as] the prime building materials of today. Riveting is being replaced by welding, reinforced concrete, vibration and controlled mixing, promising to aid in its ultimate refinement. Laminated wood is rapidly replacing lumber and is equally friendly to the eye, and plastics are so vast in their potentialities that already numerous journals and periodicals devoted solely to their many outlets are read with interest and hope. The untested characteristics of these materials are being analyzed, old formulas are being discarded. New alloys of steel, shatter-proof and thermal glass and synthetics of innumerable types, together with the material already mentioned, make up the new palette of the designer. 在钢铁，轻质金属，混凝土，玻璃，层压木材，石棉，橡胶和塑料正在成为当今主要的建筑材料。铆接将被焊接，钢筋混凝土的振荡和受控混合所取代，并有望对最终的改进做出贡献。层压木正在迅速地取代原生木材，对视觉效果拥有同等品质，塑料的潜力是如此巨大，以至于引起了无数读者对那些专门介绍这些材料的杂志与期刊的阅读兴趣。这些材料的未经测试的特性正在被分析中，旧的测算公式已经被抛弃。设计师的新的武器库中增加了新的合金材料，隔热安全玻璃和各种类型的合成材料以及那些已经提到的材料。 To what extent progress in building will be retarded by ownership patterns, dogmas, style consciousness, precedent, untested building materials, arbitrary standards, outmoded laws and regulations, untrained workmen and artless craftsmen, is speculation. But the findings of science and their application have taken large steps recently in the development of war materials which point to upset normally controlled progress and raise our hopes to the optimistic level. 人们猜测，在建筑界，所有权模式，设计教条，风格意识，先例，未经测试的建筑材料，任意的标准，过时的法律法规，未受训练的工人与手工匠等原因将会拖延放缓怎样的长足进展。但是，近来科学在材料的发现及其应用在军工方面迈出了一大步，这也表明了人们无法阻挡科技的进步，也让我们对建筑材料的应用充满了乐观的想法。 Standardization, prefabrication, controlled experiments and tests, and specialization are not monsters to be avoided by the delicate sensitiveness of the artist. They are merely the modern means of controlling vast potentialities of materials for living, by chemistry, physics, engineering, production and assembly, which lead to the necessary knowledge the artist must have to expel fear in their use, broaden his creative instinct, give him new courage and thereby lead him to the adventures of unexplored places. His work will then be part of his age and will afford delight and service for his contemporaries. 标准化，预制，受控实验和测试以及专业化不应该成为艺术家灵感避之不及的怪兽。它们仅仅是通过化学，物理，工程，生产和组装来掌控生物材料的巨大潜力的现代手段，这使得艺术家们必须掌握这些知识来消除他们在使用中的恐惧，延展他的创造性天赋，并基于他新的勇气，从而引导他对未探索领域的冒险之旅。这样，他的成果会成为这个时代的一部分，并将为社会提供乐趣与服务。 I do not wish to imply that monumentality can be attained scientifically or that the work of the architect reaches its greatest service to humanity by his peculiar genius to guide a concept towards a monumentality. I merely defend, because I admire, the architect who possesses the will to grow with the many angles of our development. For such a man finds himself far ahead of his fellow workers. 我并不希望这意味着纪念性能够通过科学来获得，也不意味着建筑师的工作会仅仅通过其独特的天赋来为社会提供最好的作品，并以此来获得永恒的纪念性性。