试译 | 早期作品——海杜克《美杜莎的面具》

2020-06-10 01:09 作者:IDsCeLeee 0人读过 | 我要投稿

The basic generators of the early work were:

1. The program: Representing certain aspects of the time.

2. The site: The site as severe horizontal datum line (the extended horizontal line); the meeting of the earth and the sky; the idea of earth as flat plane. The site as earth slope and earth incline, as moulded earth and a carved out earth. The earth acting as biomorphic form, as curvature, and as three-dimensional warp.

3. The Plan: The Cathedral, Chapels 1 and 2 as well as the Ski Lodge were all oriented on downward sloping sites. The Foot Bridge project spans two earth inclines. The Chapel and the Cathedral’s horizontal floors terraced down a slope. The Ski Lodge was placed on a hill and its bridge created the drama of the site. Skiers move silently down between buildings, under a bridge and out through a compressed exit to continue their quiet journey.

The Cemetery for the War Dead was located in the bowl of an inactive volcano. The grave site were placed in concentric rings which moved down from the peripheral top edge of the crater to the lowest center. Here, a chapel and earth sculpture were located. The sculpture consisted of a rock hovering within, and surrounded by elongated earth mounds. The Cemetery site explored the idea of mould and curvature.Although the sites of the Zoological Park, County Fair, Church Complex 3 and Biological Research Center were relatively flat, there does occur a carving out (monkey house, lion pits, elephant house). When these structures were placed in flat site surfaces many took on biomorphic shapes and curvatures which acted as argument to the flat horizontal datum plane of the earth.

Most of the projects during the first frame were fundamentally single, self-contained structures placed individually on hills or on flat planes. Rarely did the buildings go beyond one story above the grade floor although within the grade level there might be slight changes of elevation-terracing, etc. There were projects such as the Ski Lodge that were two or three floors high. Few schemes dealt with the idea of repetitive frame or attempted to express the frame: they had a curvilinear volumetric preference (Chapel 2, Cemetery, County Fair, Biological Center, Church Complex 3, Zoological Park). This aspect even carried over into the first two projects at Harvard in the Oil Refinery and Shopping Center. There were plans for the juxtaposition of curves with angular shapes (most marked in the Biological center). The circle plan was in full use with pivotal elements moving to the periphery from the center. Land-scaping (trees) was treated with care, as well as the movement of the circulatory systems. In Church Complex 3 every element was designed from the site plan down to the detail of the steel candle sticks.

There was a conscious attempt to move into the anthropomorphic, particularly in the Snake House (circulation). There was also introduced a profusion of color not based on any intellectual order. The tools used in re-presenting the above projects were usually pencil, color pencil, ink and colored inks.

Looking back I recognize the very first emergence of the “Wall House” plan (not conscious) in the restaurant of the Zoological Park. Even through color was used extensively it seems that this period can be reproduced monochromatically.The Italian Sketches (1953-1954) were a search for the capturing of the spirit of place and were the first senses and probes into what later came to be the 13 Watch-towers of Cannaregio, Venice.

The final project before embarkation of the ten year Texas House study was the program for a large Cathedral. The Cathedral cascaded down from the top of a high hill. It had the early image of a musical instrument.

In many of the early projects one collaborated with a sculptor, painter and other architects. There was a “communitas”; it gave deep respect for the other arts.

Of all of the works in the 1947-1954 period Chapel 2 stands out as pivotal. The work consists of three prime drawings: plan, elevation and perspective. In a way, these three drawings serve as progenitors of the future work. They had within them the seeds of what was to come. The Chapel drawings gave the necessary information, no more, no less. They were done in ink and pencil and were monochromatic. There was the measurable right angle geometry of the wood railings and the sweep of the curvilinear space and form. It felt out relationships. There was the site, a hill overlooking a valley; a singular structure placed on the sloping earth. The Chapel’s walls were free standing, and open to the sky. The walls were made of stone, and denselarge rocks cradled the walls. After entering the chapel a curve brought one past a solid rock altar and then to an exit by a stone stair. The wood protective railings for the terraces were installed from a previous project (the Foot Bridge).

The process of using elements from past works, leaving behind that which was no longer necessary commenced, the idea of bringing forward past elements, taking an incremental approach, one that slowly built on previous foundations in order to continue to imagine other things, persons, places, and architectures.

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早期作品的发生基础是：
1. 项目：代表时代的某些方面。

2. 场地：作为绝对水平基准线（延伸水平线）的场地——天空与大地的交界，地球作为平面的概念。作为斜坡和倾斜地面，以及塑形和雕凿形地面的场地。作为有机形态、曲面以及三维曲面形地面的场地。

3. 方案：大教堂、1和2号小教堂以及滑雪旅馆都位于向下倾斜的场地。人行桥横跨两个斜坡。小教堂和大教堂的水平楼层顺着斜坡阶梯状向下。滑雪旅馆建在一座小山上，它的桥造就了场地的戏剧性。滑雪者在建筑物之间、桥下轻轻地滑下来，经过一个扁平的出口滑出，继续他们安静的旅程。

阵亡将士公墓坐落于一座死火山的火山口上。墓地被放置在从火山口的顶部边缘向下直到中心最低处的的同心圆环中。在这里，坐落着一个小教堂和一个泥土雕塑。这座雕塑由一块悬停其中的岩石组成，周围是细长的土丘。公墓场地探索了塑形和曲线形的概念。

尽管动物园、县市集、教堂建筑群3、以及生物研究中心的场地相对平坦，但确出现了雕刻形体（猴舍、狮坑、象舍）。当这些结构体被放置在平坦的场地表面时，许多呈现出有机形态和曲线形，作为对地球水平基准面的佐证。

第一章节中的大多数项目基本上是单栋的、独立的结构体，单独坐落于山上或平地上。这些建筑很少超过地上一层的，尽管地面层可能会有高程、阶地等轻微变化。也有一些建筑如滑雪旅馆有两到三层高。很少有方案涉及重复框架的概念或试图表达框架：他们有曲线形体的偏好（小教堂2，公墓，县市集，生物中心，教堂建筑群3，动物园）。这方面甚至延续到哈佛大学的前两个项目——炼油厂和购物中心中。有将曲线形与成角几何形并置的方案（最明显的是在生物中心项目）。关键元素从中心向外围移动，使圆形平面得到了充分的利用。对景观（树木）以及循环系统的运作也进行了精心的处理。在教堂建筑群3中，从场地总平到钢烛台细部，每一个元素都经过了设计。

（当时）有一个有意的拟人化尝试，尤其是在“蛇舍”（环状）。此外，在不基于任何理性原则下，还引入了大量的色彩。用于重现上述项目所用的工具多为铅笔、彩色铅笔、墨水以及彩色墨水。

回过头来看，我发现在动物园餐厅的设计中第一次出现了“墙宅”方案（无意识的）。即使颜色被广泛使用，但这一时期（的作品）似乎仍可以用单色重现。

意大利的速写（1953-1954）是对捕捉场所精神的一次探索，也是对后来的威尼斯卡纳雷吉奥（Cannaregio）的13座瞭望塔的第一次感知和探索。

在开始为期十年的德克萨斯住宅研究之前的最后一个项目是一座大教堂项目。大教堂从一座高山顶上层叠而下。它具有一种早期乐器的形象。

在早期的许多项目中，（建筑师）与雕塑家、画家以及其他建筑师合作。具有一种“团体精神”，它给予其他艺术以深深的尊重。
在1947-1954年间的所有作品中，小教堂2显得尤为重要。这个作品由三张基本图纸组成：平面图、立面图和透视图。在某种程度上，这三张图纸是未来作品的先导。它们蕴含了未来的种子。礼拜堂的图纸提供了必要的信息，一点不多，也一点不少。它们是用钢笔和铅笔绘制的，并且是单色的。有标准直角几何形的木栏杆和扫琼曲线形空间和形式。它体现某种关联。基地位于一个可以俯瞰山谷的小山；一个孤零零的结构体坐落于斜坡之上。教堂的墙壁独立支承，上部露天。墙是用石头砌成的，密密麻麻的大石头支撑着墙体。进入教堂后，一段弧（墙）带人经过一个坚固的岩石祭坛，然后到达一个石阶边的出口。阶地的木防护栏杆出自之前的一个项目（步行桥）。