走向新建筑

• S

  2014-10-25
  平面需要最活跃的想象力。它也需要最严格的规矩。拍定平面就是定下一切，这是决定性的一举。平面本身包含着一个已经决定了的基本的韵律：建筑物依它的规定向广度和高度发展，从比较简单到比较复杂而仍不离同一个法则。法则的统一性，这是优秀平面的法则：变化无穷的简单法则。韵律是从简单的或复杂的匀称中导出的平衡状态。或者是从精巧的均衡中导出的。韵律是个方程：相等（对称、重复）（埃及庙宇和印度教庙宇）；均衡（各种对比的运动）（雅典卫城）；抑扬顿挫（从一个初始的造型构思发展）（圣索菲亚）。平面包含着感觉的实质。
• S

  2014-10-25
  庙宇或工厂的表面，在大多数情况下，就是开着门窗洞的墙；这些洞常常破坏形式；必须把它们变成形式的显示者。
• S

  2014-10-25
  建筑是一些装配起来的体块在光线下辉煌、正确和聪明的表演。立方、圆锥、球、圆柱和方锥是光线最善于显示的伟大的基本形式：它们的形象对我们来说是明确的、肯定的，毫不含糊。因此，它们是美的形式，最美的形式。
• S

  2014-10-25
  作为一种有造型激情的东西，建筑在它的领域里，也要从头做起，要使用那些易于打动我们意识的、易于满足我们视觉欲望的因素，并且把它们安排得使它们的形象能以精致或粗犷、动乱或宁静、淡漠或热中来清楚地影响我们。这些形式，粗糙的或者精致的，柔软的或者粗犷的都生理地作用于我们的感官并震荡它们。受到作用之后，我们就易于领会到原始感受之外的东西；体块是一种能充分作用于我们的感官，并使我们能够借以感知和量度的因素。表面是体块的外套，它可以消除或丰富我们对体块的感觉。平面是体块和表面的生成元，是它，不可更改地决定了一切。营造是把房子造起来；建筑却是为了动人。当作品对你合着宇宙的拍子震响的时候，这就是建筑情感，我们顺从、感应和颂赞宇宙的规律。当达到某种协律时，作品就征服了我们。建筑，这就是“协律”，这就是“精神创作”。
• 老白额

  2021-08-04
  卢那察尔斯基1923年12月2日在莫斯科大学做的报告里说，纯净主义者“……向保皇派献媚…但是他们也喜欢无产阶级也拉拢布尔什维克”它既不是资产阶级的现象，也不是无产阶级的现象，“这是现今知识分子中的优秀部分力求现固的社会组织的表现。一门好炮，对无产阶级来说可以是好炮，对资产阶级来说也可以是好炮。同时，一个好的纯净主义者可以成为我们的帮手，也可以成为他们的帮手……纯净主义者没有一定的社会思想体系。左右两极都把他拉往自己这边，对他来说，两极都有吸引力。（陈志华，263页）在我们国家，整整半个多世纪，没有真正接触过现代建筑。70年代末，向世界刚刚打开一条门缝，劈面见到的是“现代建筑死亡了”这样的论断。于是，容易发生一种错觉，似乎现代建筑已经不值得研究了。事实恐怕倒是我们还要从头研究一下现代建筑，是也罢，非也罢！（陈志华，265页） …这并不意味着我认为《走向新建筑》十全十美，完全赞同柯布西耶的话。这本书的体系并不严，结构混乱，美学观点也有可商榷之处，有些论证不免简单化。不过，它是一本极重要的书，一本好书，一本在历史上起过开拓作用的书，一本永远不会磨灭的书。一部虽然有片面性甚至错误，却提出了新思想，很能启发人的书，比一部面面俱到，十全大补，滚光溜滑，却全是陈词滥调，连一句新鲜话都不敢说的书，那是要好得太多了。（陈志华，265页）
• bibo

  2021-07-16
  建筑应该是时代的镜子。现代的建筑关心住宅，为普通而平常的人使用的普通而平常的住宅。它任凭宫殿倒塌。这是时代的标志。为普通人、“所有的人”，研究住宅，这就是恢复人道的基础，人体的尺度，需要的标准、功能的标准、情感的标准。就是这些！这是最重要的，这就是一切。这是个高尚的时代，人们抛弃了豪华壮丽。（陈志华译本，2004，陕西师范大学出版社）
• bibo

  2021-07-16
  In building and construction, mass-production had already been begun; in face of new economic needs, mass-production units have been created both in mass and detail, and definite results have been achieved both in detail and in mass.If this fact be set against the past, then you have revolution, both in the method employed and in the large scale on which it has been carried out.The history of Architecture unfolds itself slowly across the centuries as a modification of structure and ornament, but in the last fifty years steel and concrete have brought new conquests, which are the index of a greater capacity for construction, and of an architecture in which the old codes have been overturned. If we challenge the past, we shall learn that “styles” no longer exist for us, that a style belong...
• bibo

  2021-07-16
  A great epoch has begun.There exists a new spirit.Industry, overwhelming us like a flood which rolls on towards its destined end, has furnished us with new tools adapted to this new epoch, animated by the new spirit.Economic law unavoidably governs our acts and our thoughts.The problem of the house is a problem of the epoch. The equilibrium of society to-day depends upon it. Architecture has for its first duty, in this period of renewal, that of bringing about a revision of values, a revision of the constituent elements of the house.Mass-production is based on analysis and experiment.Industry on the grand scale must occupy itself with building and establish the elements of the house on a mass-production basis.We must create the mass-production spirit.The spirit of constructing mass...
• bibo

  2021-07-16
  Profile and contour are the touchstone of the Architect.Here he reveals himself as artist or mere engineer.Profile and contour are free of all constraint.There is here no longer any question of custom, nor of tradition, nor of construction, nor of adaptation to utilitarian needs.Profile and contour are a pure creation of the mind; they call for the plastic artist.
• bibo

  2021-07-16
  The Plan proceeds from within to without; the exterior is the result of an interior. The elements of architecture are light and shade, walls and space.Arrangement is the gradation of aims, the classification of intentions.Man looks at the creation of architecture with his eyes, which are 5 feet 6 inches from the ground. One can only consider aims which the eye can appreciate and intentions which take into account architectural elements. If there come into play intentions which do not speaks the language of architecture, you arrive at the illusion of plans, you transgress the rules of the Plan through an error in conception, or through a leaning towards empty show.
• bibo

  2021-07-16
  The business of Architecture is to establish emotional relationships by means of raw materials.Architecture goes beyond utilitarian needs.Architecture is a plastic thing.The spirit of order, a unity of intention.The sense of relationships; architecture deals with quantities.Passion can create drama out of inert stone.
• bibo

  2021-07-16
  We must aim at the fixing of standards in order to face the problem of perfection.The Parthenon is a product of selection applied to a standard.Architecture operates in accordance with standards.Standards are a matter of logic, analysis and minute study: they are based on a problem which has been well “stated.”A standard is definitely established by experiment.
• bibo

  2021-07-16
  The airplane is the product of close selection.The lesson of the airplane lies in the logic which governed the statement of the problem and its realization.The problem of the house has not yet been stated.Nevertheless there do exist standards for the dwelling-house.Machinery contains in itself the factor of economy, which makes for selection.The house is a machine for living in.
• bibo

  2021-07-16
  A great epoch has begun.There exists a new spirit.There exists a mass of work conceived in the new spirit; it is to be met with particularly in industrial production.Architecture is stifled by custom.The “styles” are a lie.Style is a unity of principle animating all the work of an epoch, the result of a state of mind which has its own special character.Our own epoch is determining, day by day, its own style.Our eyes, unhappily, are unable yet to discern it.
• bibo

  2021-07-16
  An inevitable element of Architecture.The necessity for order. The regulating line is a guarantee against wilfulness. It brings satisfaction to the understanding.The regulating line is a means to an end; it is not a recipe. Its choice and the modalities of expression given to it are an integral part of architectural creation.
• bibo

  2021-07-16
  The Plan is the generator.Without a plan, you have lack of order, and wilfulness.The Plan holds in itself the essence of sensation.The great problems of to-morrow, dictated by collective necessities, put the question of “plan” in a new form.Modern life demands, and is waiting for, a new kind of plan both for the house and for the city.
• bibo

  2021-07-16
  A mass is enveloped in its surface, a surface which is divided up according to the directing and generating lines of the mass; and this gives the mass its individuality.Architects to-day are afraid of the geometrical constituents of surfaces.The great problems of modern construction must have a geometrical solution.Forced to work in accordance with the strict needs of exactly determined conditions, engineers make use of generating and accusing lines in relation to forms. They create limpid and moving plastic facts.
• bibo

  2021-07-16
  Our eyes are constructed to enable us to see forms in light.Primary forms are beautiful forms because they can be clearly appreciated.Architects to-day no longer achieve these simple forms.Working by calculation, engineers employ geometrical forms, satisfying our eyes by their geometry and our understanding by their mathematics; their work is on the direct line of good art.
• bibo

  2021-07-16
  The Engineer’s Æsthetic and Architecture—two things that march together and follow one from the other—the one at its full height, the other in an unhappy state of retrogression.The Engineer, inspired by the law of Economy and governed by mathematical calculation, puts us in accord with universal law. He achieves harmony.The Architect, by his arrangement of forms, realizes an order which is a pure creation of his spirit; by forms and shapes he affects our senses to an acute degree, and provokes plastic emotions; by the relationships which he creates he wakes in us profound echoes, he gives us the measure of an order which we feel to be in accordance with that of our world, he determines the various movements of our heart and of our understanding; it is then that we experience the sense of...
• 匿

  2013-05-14
  平面从内部发展到外部，外部是内部造成的。建筑艺术的元素是光和影，墙和空间。布局的有序性，这是把目的分级，把意图分级。如果人们用不属于建筑语言的意图来衡量，人们就会得到平面的花活。由于观念的错误或者癖好浮华你就会违反平面的规则。设计一个平面，就是明确和固定某些想法。这就是先要有些想法。这就是把这些想法整理得有秩序，使它们成为可以理解的，可以实现的和可以传播的。所以必须表现出一个明确的意图。一个平面应该浓缩，包含着大量的想法和一个起带动作用的意图。“平面是整体的决定因素；这是一个严肃的抽象，看起来很枯燥的代数学。”轴线是建筑中的秩序维持者。在建筑中，轴线要有一个目标。有序布局是把轴线分等分级，也是目标的分等分级，意图的分级。轴线存在于意图之中，它以精心的手法（走廊、主过道等等），借助视觉幻觉，把一些不足道的东西都显示出来了。这里的轴线不是纯理论的枯燥无味的东西；它把主要的、清楚的、互相区别的物体联系起来。在你画平面图的时候，绝不要忘记，是人的眼睛来看它的真实效果。当我们从营造转变为建筑时，这是因为我们有一个崇高的意图。必须避开虚华。虚华是建筑空洞无物的原因。另外，在建筑景观里，一切景色元素都是根据他们的体积、比重、材料质地等这些很确定又很不相同的感觉的载体而起作用的（木材、大理石、树、草地、蓝色的天际线、远近的海、天）。如一面墙屹立。墙和光，阴或光、愁苦、快活或宁静，等等。必须用这些元素来构图。