试译 | 在库伯联盟的第一个项目——海杜克《美杜莎的面具》

2020-06-08 23:55 作者:IDsCeLeee 0人读过 | 我要投稿

The first project at Cooper Union (1947) was given in the two-dimensional studio taught by the wonder-full Henrietta Schutz. We were to produce an illustrated book on selected Aesop’s Fables. We worked for one full year on that book. The experience of designing this volume was one of unique importance as a tool for the introduction to architecture. Through a rigorous discipline it trained the eye (visual sensibility) and the hand (tactilesensibility). We learned how to handle a paint brush, and began the exorcising of one’s innate feelings toward color, form and space.

We were given a blank sheet of white paper approximately 10” X 12” and were asked to place a black shape using no right angle in the approximated center of the field. We dipped our camel’s hair brush into a large jar of black tempera, placed and painted the shape of our liking (tempera dries fast). Then Henrietta Schutz would come over, look questioningly at our black shape and would indicate it was not quite right, “perhaps you should take a brush full of white tempera and take … a little bit off the upper right corner of the black shape.” We did so. Then she would return and say, “Ah, yes, that is good. But perhaps now since you’ve done that you may have to add some black to the bottom left corner.” And so it was. We were in training for a very long time working with the black figure on the white ground, adding and subtracting … black and white. We learned about the energies of form and space, about the inner workings of tensions and compressions, and about relationships. We began to understand the workings of the periphery and of the edge and of right angle corners. We felt the densities of black and white, we were able to perfect our handling of the brush, we could cut a black line in two with the brush (that is parallel to the line) … no T squares, no right angles … only the eye, hand, paint, paper and brush. We could peel the thin black shape off the paper with our imaginations. We learned the delight of controlling flat surfaces, and also the sensuosity of curves. We learned about the tactile, the taste of paint and the feel of paper. We learned how to add and abstract color. Consequently the training of an architect began. Story telling came later.

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库伯联盟（Cooper Union）读书期间的第一个项目（1947年）是在由神奇的亨丽埃塔·舒茨（Henrietta Schutz）指导的二维工作室中完成的。我们要做一本关于《伊索寓言选集》的插图书，并付出了整整一年的时间在这部书上。作为建筑学入门的方法，设计这册丛书的这段经历具有无可替代的重要性。通过严格的训练，它锻炼了眼睛（视觉敏感性）和手（触觉敏感性），使我们学会了如何使用画笔，并开始祛除个人对颜色、形式以及空间的先天感觉。

我们得到一张大约10英寸 x 12英寸的白纸，并被要求在近似中心的位置放置一个没有任何直角的黑色形状。我们将“驼毛笔”蘸进一大瓶黑色蛋彩画颜料中，然后开始涂绘自己喜欢的形状（蛋彩颜料干得很快）。然后亨丽埃塔·舒茨会走过来，用带着怀疑的目光看着我们画的黑色形状，并指出它不太对，“或许你应该用一支蘸满白色蛋彩颜料的画笔，把…黑色形状的右上角去掉一点点。” 我们照做了。然后她会回来并说道：“啊，是的，做的不错。但是现在既然你已经那样做了，你可能需要在左下角添加一些黑色。” 果然如此。我们花了好长一段时间训练在白色底板上处理黑色图形，增加、减少，黑色、白色。（从中）我们学习了形式与空间的能量，了解了扩张和收缩的内在运作，并理解了关系。我们开始了解表皮、边界和直角的工作原理。我们感受到了黑色和白色的密度，并可以更加熟练地使用画笔，我们能够用画笔（平行于线）将一条黑色直线一分为二…不用丁字尺也不用直角尺…仅靠眼睛，手，颜料，纸和画笔。我们可以凭自己的想象把那薄薄的黑色形状从纸上一点一点剥离下来。我们获得了控制平面的乐趣，并得到了对曲线的美感。我们学会了触摸，尝到了颜料的味道，也知道了纸张的手感。我们学到了如何添加和抽取颜色。于是，建筑师的训练由此开始，而故事讲述紧随其后。