试译 | 爆炸中心与时间回溯——海杜克《美杜莎的面具》
以下为尝试翻译稿，请谨慎阅读。如有误导，概不负责。
我们谈论柱-间墙（垛）-墙住宅，所有的图纸都是用铅笔绘制的(平面、立面和轴测)。在德克萨斯住宅系列研究和菱形项目系列之间有一个项目叫做达格·哈马舍尔德纪念馆。它位于联合国广场，离东河不远。它是一座由四面墙围起来的纪念碑。沿着人行步道穿过一大片树林你会到达场地微微隆起的立方体量。从平面进来，上一小段台阶走到对角线（的入口），纪念碑就位于正中央。沿对角线出来，俯看河流。于是立方体开始流转。立方等轴测开始变成菱形。光线“打入”立方体的方式很重要，阴影的方式对于哈马舍尔德项目的对角线特征非常重要。（详见：试译 | 达格·哈马舍尔德纪念堂——海杜克《美杜莎的面具》）
如果你在平面上画正方形的等轴测图，它就变成了菱形，而如果你在平面上画一个菱形，然后做等轴测，它将变成正方形。如果你像第一个等轴测图那样逐层投影，你将得到一张看起来像三维的层叠的图。等距轴测说白了就是去除了一次透视，但它仍旧是一种三维视图。而如果你再对（这个）菱形做等距轴测，它就会变成一系列相互重叠的平面视口，它会带来了一种感觉，一种记忆状态。你会唤起记忆，回溯，你在整理你自己。而这在三维等轴测条件下并不会发生。这就是基本的论点。在菱形中，我们常常讨论边缘的那一层“薄膜”。这个“膜”是一个边界条件，一个线性要素，一个界限。它是非实体的，或者说是记忆的实体。那里有一个宇宙，一个不断膨胀的宇宙。它从一个中心发出；一个“爆炸”中心。由一个“电枢”将能量反射到角落，然后你在外面建立这个条件（边界）。不同之处（特别之处）在于，在绘画中，是”你“坐在那里看着那些墙，沉思。列奥纳多·达·芬奇提出，绘画一定是最好的艺术，因为它是一门沉思的艺术。你坐在那里观看，并建立你的世界，一个非现实的世界，人坐着，静止不动，只是观看，它是关于思想和眼睛的。你是静止的，但画在移动，画卷在展开。这是一个关于绘画和静态的很好的想法。而在建筑中，“你”开始移动，如果你以特定的文艺复兴式视角观看，你可以看到实体，但你是在它的外面观看。当你靠近“薄膜”，你在某个点开始进入。这是一种奇妙的（关于）记忆、观看、移动、静态和非静态的方式。
回溯过去，过去（的方式）是透视的，是体积的。杰伊·费罗斯（Jay Fellows）在《失败的距离》一书中提到了这一点。那是一段美丽的历程；当你回到空间，会进入更深的透视，变得不那么清晰且无法真正把握它，因为它是未知的，它（视角）不是固定的。所以会变得更加深不见底。你越靠近当前，就变得越清晰。在当前的平面上是水平“电枢”，也就是斜边；你可以推测未来。未来可能是翻转的菱形，或圆锥形，或者它可以以一种延伸的方式不断向外移动。
以下为英文原稿：
We talked about the column-pier-wall house, all the drawings were done in pencil (plans-elevations and axonometrics ). There was a project between the series of the Texas House studies and the Diamond projects which was called the Dag Hammarskjold Memorial. It was located on the U. N. Plaza, off the East River. It was a monument and was contained within four walls. There were trees that you went under through footpaths and the site at the cube was slightly raised. In the plan you came in, went up a little stair into the diagonal and there in the center was the monument itself. You exited out upon the diagonal overlooking the river. There was just a cube which began to move. The cube isometric began to move into a diamond. It's important the way light penetrates the cube, the way the shadow is important to the diagonal features of the Hammarskjöld project.
If you make an isometric of the square in plan it becomes a diamond and if you take a diamond in plan and made an isometric of it, it would become a square. If you project floor upon floor as in the first isometric drawing you get an overlapping like that which is actually a three dimensional view. Your isometric/axonometric basically, it's once removed from perspective but it's still a three dimensional view of things. If you take the diamond and you make an isometric of it, it becomes a series of flat screens overlapping each other which then brings on a sense, a memory condition. You're memorizing the calls, the recalls, you're working yourself up, it does not really happen that way in a three-dimensional isometric condition. Fundamentally that's the thesis. In the Diamonds one is always talking about the edge membranes. That membrane is an edge condition, a line condition, a threshold condition. It's non-physical; it's physical by memory. There's a universal; it's an expanding universe. It's emanating from a center; it's an explosive center. There is an armature which is reflecting energy out to the corners and then you build up that condition outside. The differential is that in painting, it's you sitting there looking upon the wall, contemplating. Leonardo Da Vinci comes to the conclusion that painting has to be the finest art, because it's a contemplative art. You're sitting there looking and you build your world, a certain non-physicality, the person is not moving, he's sitting, he's looking, it's the mind and it's the eye. You're static but the painting is moving, the painting is evolving. That's a very beautiful idea about painting and the static condition. The minute you start the physicality of moving, which is architecture, you can look at the object if you're looking in a fixed Renaissance point of view and you're looking outside of it. As you approach the membrane, there is a point where you physically come inside. It's a marvelous way of memory, of seeing, of moving, of static and non-static.
A recession of time, the recession of time into the past is in perspective and it's volumetric. Jay Fellows writes of this in the Failing Distance. It's a beautiful distance; as you go back into space it gets into deeper perspective, it gets less clear and you can never really complete it, because that's the unknown, it isn't fixed. So it gets darker. As you get closer to the present, it's clearer. On the plane of the present is that horizontal armature, which is the hypotenuse；you just speculate on futures. The futures can be an inversion of the diamond, the cone, or it can keep moving out in an extended way.
1. 本篇英文原稿及插图均来自Mask of Medusa，by John Hejduk；
2. armature, 电枢。是在电机实现机械能与电能相互转换过程中，起关键和枢纽作用的部件；
3. 建议本篇内容结合上篇一起阅读：试译 | “菱形系列”导论——海杜克《美杜莎的面具》；
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