译 | 建筑可以是诗吗？- 卡洛斯卡帕bb
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Feb 20, 2023 02:12 AM
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译 | 建筑可以是诗吗？- 卡洛斯卡帕CAN ARCHITECTURE BE POETRY?
CAN ARCHITECTURE BE POETRY?
选自《 Die Andere Stadt / the Other City: Der Friedhof Brion in San Vito d'Altivole / the Brion Cemetery in San Vito D'Altivole 》[1989.10.31出版]
Die Andere Stadt / the Other City
评价人数不足
Carlo Scarpa / 1989 / Wilhelm Ernst & Sohn Verlag fur Architektur und technische Wissenschaften
Revised lecture hold by Carlo Scarpa at the Akademie der bildenden Künste in Vienna. November 16th, 1976
卡洛-斯卡帕在维也纳美术学院举办的讲座修订本。1976年11月16日
草译：亦弛
I feel very touched because the geography of my academic background inclined me naturally while being at school to feel closer to the modern trends from Vienna, especially those with the glorious names you all know. Of course, the artist we knew and loved best, one who was able to publish most in German reviews - Moderne Bauformen, Wasmuth, etc. come to mind - was: Josef Hoffmann.And Josef Hoffmann had a great sense or feeling for decoration which students were also trained at the academies of Fine Arts (one has to recall, as Ruskin said, that art is decoration). This fact includes a very basic orientation for us both:I am a Byzantine at heart, and in Hoffmann, you'll find something of an Oriental too: like a European looking towards the Orient.
我感到非常触动，我的学术研究的地理环境使我自然地倾向于感受校园中感受维也纳的现代趋势，特别是那些你们都知道的荣光的姓名。当然，我们最熟悉和喜爱的艺术家，一个能够在德国评论界发表最多的艺术家，我想到的是《Moderne Bauformen》（《现代建筑形式》[图1]）, Wasmuth等——是约瑟夫-霍夫曼（Josef Hoffmann [奥]，1870-1956）。约瑟夫-霍夫曼对装饰的感觉好，学生们在美术学院也接受过类似的装饰训练（但人们必须记得，正如罗斯金所说，艺术就是装饰）。这个事实包含了我们二人的基本倾向：我内心深处其实是一个拜占庭人，在霍夫曼身上你也会发现同样的踪迹：就像一个欧洲人在注视着东方。
This may be a difficult way to explain the phenomenon, though those who know this architect's expressive forms will have to agree intuitively with what I say. At this point it doesn't hurt to laugh at these professors who like to flaunttheir learning by talking about difficult, obscureor mysteriouslyarcanematters. And, to tell the truth, I am an heir to the cultural tradition which descends from theVictor Emmanuel II Monument in Rome, because I was the best pupil of my professor who had been the best pupil of his professor who happened to be the architect of this monument. So you are luckier than we were because you have had a homogeneous atmosphere of general, international culture, which is, if I'm not mistaken, called "International Style." Unfortunately, during that period Italy suffered from cultural poverty. This was the trouble, let's call it that, because all the figures who taught at schools like this one, académies des beaux-arts, belonged to the eclectic taste of the 19th century.So we had a rather hard time getting away from the academic curriculum we had learned, quite apart from the fact that one should always do one's best (even if we had been completely up-to-date in our field) to achieve a certain personal quality, to achieve the sense of moral authority which an individual in the arts has to acquire at a certain point if he wishes to declare himself an artist in that sense. One always has to cut loose from the womb, as it were.
这个现象可能非常难以阐释，但了解这些建筑师的表达形式的人不得不强烈同意我说的话。在这点上，嘲笑那些标榜他们的学识为费解、朦胧抑或是神秘的奥术的教授并无伤大雅。再者，说实话，我师承于罗马的Victor Emmanuel II Monument [图2] 文化传统，因为我是我教授最好的学生，而他恰是建造这座纪念碑建筑师最好的学生。所以你们比我更加幸运，因为你们有一个同质的普世的，国际的文化，如果我没有弄错的话，也叫“国际风格”。不幸的是，在那个时期，意大利深受文化贫困之害。这是一个困境，让我们这么说，因为在所有在学校教授的内容都像这个，académies des beaux arts（布扎体系），都属于19世纪的折衷主义品味。因此，我们很难摆脱我们所学的学术课程体系，这个体系有别于这样的事实，一个人需要尽其努力（尽管我们是这个领域里最前沿的）习得某种个人品质，去达到某种道德权威，即一个艺术界的个体在某个时间点必须获得的道德权威，如果他希望宣称自己是这个意义上的艺术家。
Well then, I had the good fortune to come across a book entitled "Vers une architecture" everyone knows who the author is - about the time. I finished school. This broadened my mind. In fact, this discovery was a genuine instance of what you call "Sturm und Drang"-my world view completely changed from that point onwards. So far some periods in the life of someone who does not want to be called a masterfor it is highly unlikely that we have any masters at present at all: they are all dead. A master is someone who expresses something new and which others listen to and understand if they can. But we, oh, pardon me, I meant to say, I, I do not consider myself a master; our poor heads are full of modern elements of the men I just now claimed-for all of us, sad to say-are all dead. Not one of the great modern architects is still living. The last one, Louis Kahn, passed away rather unpleasantly. And these are grave losses, because, in my opinion, they cannot be replaced.
大约在我完成学业的时候，我很幸运地遇到一本书，《走向新建筑》，每个人都知道它的作者，它拓展了我的思维。事实上，这个发现是个真实的瞬间，你们称之为“Sturm und Drang”（狂飙突进），我的世界观从此彻底改变。目前来说，生命中的某些时刻，某些人不愿意被称之为大师，因为我们现在根本不可能有任何大师：他们都已经死了。大师是一个表达新事物，另外一些人倾听并尽其所能地理解。但我们，噢，抱歉，我指的是，我，我并不认为自己是一个大师；我们匮乏的头脑中充斥着刚刚我提到的那些人所说的现代要素，很遗憾，他们都死了。没有任何一个优秀的现代建筑师仍然活着。最后一位，路易斯康，相当不幸地去世了，是不可估量的损失，在我看来，他们无可替代。
The question on the small invitation I received was whether architecture could be poetry-I believe this is the correct translation of the German. Yes, of course it can be poetry. Frank Lloyd Wright declared many years ago in a London lecture: "Gentlemen, architecture is poetry." So the answer is yes; architecture is sometimes poetry, therefore poetry is not an everyday thing. It is not enough to say: I will create a poetic work of architecture. Poetry arises from things in themselves if the person who makes it has this nature, or it can derive from various conditions between the goals and the execution of architecture. What I want to say is that sometimes architecture is poetry, it can happen today such as it happened in the old days. I might call the nearby Secession building by Josef Olbrich poetic too, indeed it is full of poetry. Another way of posing the question is to ask: when is an Attic Greek base poetry, and when is another Attic base not poetry? This means that there are huge differences between two of the same object.
我收到的邀请函上的问题是，“建筑可以是诗吗？”——我相信这是德语的正确翻译。是的，它当然可以是诗。弗兰克-劳埃德-赖特多年前在伦敦的一次演讲中宣称。"各位，建筑就是诗"。因此，答案是肯定的；建筑有时就是诗，因此，诗不是一种日常的东西。光是说“我将创造一个诗意的建筑”是不足够的。诗歌产生于事物本身，若是创造它的人有这种天赋，或是它可能源于建筑的目的或建筑操作的多种情境。我想说的是，有时建筑就是诗，它可以发生在今天，就像它发生在过去一样。我可以把附近的约瑟夫-奥尔布里希的分离派建筑也称为诗意，的确它充满了诗意。另一种方式是问：什么时候一个古希腊遗址可以称为是诗，而什么时候另一个古希腊遗址（？）不是诗？这意味着两个相同的对象之间存在着巨大的差异。
You could say that architecture in order to be poetic must have harmony. Harmony is like a face of a beautiful woman in which all the proportions are perfect. One Attic base is poetry, the other not. Architecture is a language very difficult to grasp and to understand. I don't mean you, those of you who are setting out to practice architecture, but in the overall variety of mankind which looks at things painting and sculpture are understood to a large extent, so is perhaps poetry, music very much so, while architecture remains a kind of mysterious language.
你可以说，建筑要有诗意，就必须和谐。和谐就像佳人的脸庞，其中所有的比例都是完美的。一个古希腊遗址，另一个不是。建筑是一种非常难以掌握和理解的语言。我不是说你们，那些正在着手实践建筑的人，但在人类看待事物的总体种类中，绘画和雕塑在很大程度上被理解，也许诗歌，音乐亦是如此，而建筑仍然是一种神秘的语言。
It was mentioned before, I think, that I was in Japan. In Japan one can clearly see the difference between those who are Shintoists and those who are Buddhists. Buddhism is a Chinese tendency, that is the influence of China, while Shinto is the genuine, authentic Japan. Our modern taste and our critical categories both favor Shinto, not Buddhism, to such an extent that Chinese architecture, in fact the entirety of this very glorious architecture, is not to our liking.
我想之前已经提到过，我曾经在日本。在日本，人们可以清楚地看到那些神道教徒和佛教徒之间的区别。佛教是来自中国的趋势，受中国的影响，而神道是真正的、正统的日本文化。我们的现代品味和我们批判的范畴都偏向于神道，而不是佛教，以至于中国的建筑，事实上非常辉煌的此类的全部建筑，都不是我们喜爱的。
If you look at the books, because it isn't always possible to go to Japan, you will see this difference. Now in my opinion-you can't really say that Shinto is more poetic than Buddhism from an architectural point of view-this is a great reversal of values because the value of a work consists in its greatest expression. When something is expressed very well this value can become very high indeed. But I wouldn't want you to think I've come here to give a sermon. I am a very humble and simple man. I've done work, some work. I am a specialist-I say that with a touch of irony because you should never trust a specialist although the modern world loves specialists-but I have become something of an exhibition designer and an architect of museums. I've done my work, it is not very much, not very important as to dimension. It isn't very grand.
如果你看看书，因为并不总是有可能去日本，你会看到这种差异。现在在我看来，你不能说神道教比佛教在建筑上更有诗意——这是价值的巨大颠覆，因为一件作品的价值在于作品包含的最佳表达。当一个东西被很好地表达出来时，它的价值确实可以变得非常高。但我不希望你们认为我是来这里传道的。我是一个非常谦虚和简单的人。我做过一些设计，有一些作品。我是一个“专家”，我这样说有一点讽刺意味，因为你永远不应该相信一个“专家”，尽管现代世界喜欢“专家”，但我已经成为一个展览设计师和博物馆的建筑师。我建成了一些作品，不是非常多，就尺度而言不是非常重要的作品，它不是很宏伟。
I would like to explain the Tomba Brion because it is a rather recent work. It's very odd, or, perhaps strange and it is not easy to get society to commission this sort of thing: I mean to express oneself freely about highly questionable areas which may exclude modern rational thought, because it could be superfluous to this work.
我希望能够解读一下Tomba Brion，因为它是一个相当新的作品。它非常奇怪，或者说，也许很奇怪，要让社区委托这种事情并不容易：我有意自由地表达自己对高度有疑问的领域，这些领域可能有别于现代理性思维，因为它对这项工作可能是多余的。
I consider this work, if you permit me, to be rather good and which will even get better over time. I have tried to put some poetic imagination into it, though not in order to create poetic architecture but to make a certain kind of architecture that could emanate a sense of formal poetry. I mean an expressed form that can become poetry, though, as I said before, you cannot intentionally make poetry. I will attempt to explain this to you through simpler means.
我认为这个作品完成得相当不错，如果你们允许我这么说，并且它会随着时间的推移变得更好。我试图将一些诗意的想象融入其中，虽然不是为了创造诗意的建筑，而是为了使某些建筑能够散发出一种真正的诗意。我的意思是一种表达形式可以成为诗歌，尽管正如我之前所说，你不能有意地制造诗歌。我将试图通过更简单的方式向你解释这一点。
A person died in Italy; his family wanted to honor him because he had worked his way up from the lower class through force of will and hard work. So the family wished to honor him with a tomb. The place of the family tomb lay here. The family decided they wanted more space for it. The landowner wanted to sell even more land, not a little. 100 square meters would have been enough for me. And this is 2 200 square meters. So we decided to build shelters for the family tombs. In short, to protect them from bad weather. The tomb of the couple Brion is the sunniest place. And it offers the most beautiful view. The deceased had asked to be close to earth since he was born in this village-so I decided to build a small arch, which I will call arcosolium. (arcosolium is a Latin term from the time of the early Christians in the catacombs. Important persons or martyrs were buried in them). I used a more costly version. This is what you call arcosolium, it's nothing more than a simple arch from the Catholic tradition. I thought it a good idea for two people who had loved each other to be put in such a way as to be able to greet one another, after death. Soldiers stand erect, movements are human.
在意大利，有一个人去世了；他的家人想纪念他，因为他通过坚持不懈的努力，从下层阶级社会爬了上来。因此，这个家庭希望通过一个坟墓来纪念他的荣光。家庭坟墓的位置就在这里。这家人决定用更大的空间来放置它。地主想出售更多的土地，而不是一点点，100平方米对我来说已经足够了，而这里是2200平方米。所以我们决定为家族坟墓建造一方荫蔽。简而言之，是为了保护它们免受恶劣天气的影响。布里昂夫妇的坟墓是阳光最充足的地方，而且它提供了最美丽的景色。死者要求接近地面，因为他出生在这个村庄，所以我决定建造一个小拱，我将其称为arcosolium [图3] (arcosolium是一个拉丁语术语，来自早期基督教徒的地下墓穴时代，重要人物或殉道者被埋葬在其中）。我使用了一个更昂贵的版本，这就是你所说的arcosolium。它不过是天主教传统中的一个简单拱门。我认为把两个曾经相爱的人以这样的方式放在一起，让他们在死后能够互相问候的想法很好。士兵们站得笔直，移动的是人类。
The arcosolium became an arch, a bridge span, an arch of reinforced concrete and would still have looked like a bridge if I hadn't had it illustrated, I mean decorated. But instead of painting we used mosaics, a Venetian tradition that I interpreted in a different way. This is the path lined with cypresses; small Italian cemeteries have always cypresses. So this path -- architects love pathways, there are many, many pathways in Italy-is called propylaeum, which means gate, entrance. The first impression you get from the cemeter is by looking through these two "eyes". This piece of land was so large it became a lawn-what we call in French gazon-; and to rationalize this expanse of space we thought it useful to add a small temple for funeral services. Still too large. So the wall, I call it sacred ground because you have a beautiful panorama from inside whereas from outside you cannot look inside.
这个Arcosolium变成了一个拱，一个桥跨，一个钢筋混凝土的拱，如果我没有对它进行描绘，我的意思是装饰，它可能看起来像一座桥。但我们没有使用绘画，而是使用了马赛克，这是威尼斯的传统，我以不同的方式进行了诠释。这是一条两边都是柏树的小路；意大利的小墓地总是有柏树。所以这条路建筑师喜欢小路，所以这条路——在意大利有很多很多的小路，被称为propylaeum，意思是门，入口。通过这两只 "眼睛 "看，你对公墓的第一印象就出来了。这块土地是如此之大，以至于成为一片草坪--我们在法语中称之为 gazon；为了合理化这块空间的延伸，我们认为增加一个用于葬礼服务的小庙是有用的。但还是太大，所以这堵墙，我称它为圣地，因为你从里面可以看到美丽的全景，而从外面你无法看到里面。
Coming from the village you pass by the funeral chapel. The chapel belongs to the general public. The land is state property, although the family has the only right to use it. Here you have a private atmosphere, a small pavilion in a basin: "Une pavillon pour la méditation." So this sums up what we did. The place for the dead is a garden. After all the 19th century American cemeteries are like the one in Chicago a large park, large parks unlike the typical Napoleonic graveyards (which are awful!). It is a large park where you can drive in with the car; there are wonderful tombs there, some of them by Sullivan. Almost all cemeteries look like boxes, like these shoeboxes you get at the shoe-maker. There are even cemeteries where the dead are mounted by elevators.
从村子里出来，你会路过礼拜堂。这个礼拜堂属于公共。这片土地是国家财产，尽管这个家庭有唯一的使用权。在这里，你有一种私密的氛围，一个盆地里的小亭子。"Une pavillon pour la méditation"一个用来冥想的亭子。所以这就总结了我们的工作。这个埋葬死者的地方是一个园。毕竟19世纪的美国公墓就像芝加哥的公墓一样，是一个大公园，大公园不像典型的拿破仑式墓地（很糟糕！）。这是一个大公园，你可以开车进去；那里有精美的坟墓，其中一些是沙利文做的。几乎所有的墓地都像盒子，就像你在鞋匠那里得到的这些鞋盒。甚至有的墓地还用电梯把死者装起来。
Luckily, Veneto is not very densely populated and its people live rather quietly. I wanted to show some ways in which you could approach death in a social and civic way; and further what meaning there was in death, in the ephemerality of life-other than these shoe boxes. Modern lesiglation should permit to bury men upright and have them wrapped up like in the ancient's day. That's how you could save space by changing the law. Man should be burried upright. That's all, for we're getting short of space. Instead of ending up with these boxes, they should be used for other things. Virtually everyone in my country, regardless of class, will do anything to have a grave; they are satisfied even with a burial niche called "loculo." This may be a tradition; I think it makes no sense.
幸运的是，威尼托的人口密度不大，人们生活得相当安静。我想展示一些可以以社会和公民方式对待死亡的方法；以及除了这些鞋盒之外，死亡、生命的短暂性还有什么意义。现代社会应该允许将人直立埋葬，像古代那样将他们包裹起来。这就是你如何通过改变法律来节省空间。人应该被直立地埋葬。就这样，因为我们的空间越来越小了。与其在这些盒子中终了，不如用来做其他事情。在我国，几乎所有的人，无论阶级如何，都会为拥有一个坟墓而不惜一切代价；他们甚至对被称为 "loculo "[图4]的墓穴也感到满意。这可能是一种传统，我认为这毫无道理。
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