空间·时间·建筑

• 佳浩和他的朋友

  2015-08-11
  In the arts, periods are differentiated by the "styles" which became fixed and definite in each stage of development. And the study of the history of styles was the special work of nineteenth-century historians, a work most skillfully carried through. But it may be that the links and associations between periods-- the constituent facts-- are more important to us than self-enclosed entities such as styles.
• 佳浩和他的朋友

  2015-08-03
  To become a constituent element of a volume, the wall had first to be cleansed of all decorative eruptions of the nineteenth century. There had to be a rediscovery of the aesthetic values of the pure surface plane whose expressive power had been lost since Egyptian times.In terms of space conception this rediscovery tore the massive traditional house apart. It was in the early twenties that Doesburg, van Eesteren, Rietveldt and Mies van der Rohe achieved this transformation. The house became dissected into flat rectangular planes.
• 佳浩和他的朋友

  2015-08-03
  the wisdom of Bergsonian saying that the past gnaws incessantly into the future. It all depends on how one approaches the past. One way is to regard it as a useful dictionary from which one can select forms and shapes. The nineteenth century did this, using the past as a means of escape from its own time by masking itself with the shells of bygone periods.
• 佳浩和他的朋友

  2015-08-11
  One feature of the exterior of the Pazzi Chapel requires mention here: the bold manner of displaying the wall as a flat surface. (Its represent small roof is a later addition.) This wall, with its delicate subdivisions, has nothing to support; it is like a screen that masks the end of the barrel vault. The emancipation of the wall that appears here is important for the whole future. The wall taken simply as a surface will soon be the subject of important architectural innovations.
• 佳浩和他的朋友

  2015-08-08
  There is this remarkable circumstance which we can observe today: science which differ widely in their objects are beginning to resemble each other in their methods. A continued and extensive search for exact knowledge is at the bottom of this growing resemblance. It is being recognized in all quarters that the idea which we have taken over from the past are both too complex and too crude.A transition period may affect two observers in very different ways. One may see only the chaos of contradictor traits and mutually destructive principles; the other may see beneath all this confusion those elements which are working together to open the way for new solutions.我们现在能看到这样不寻常的一番景象：研究对象相差巨大的学科之间，它们的方法论逐渐变得类似。这种相似性的基础正是对特定知识所进行的持续而全面的研究。这些学科都开始意识到我们所继承的以往的知识都太繁复且粗糙了。过渡时代能够对两种不同的观察家产生非常不同的...
• 鬼脸蟹

  2018-02-01
  当然，文艺复兴时期的建筑师是以完全不同的方式来使用这些高台与阶梯的。（作者自注：本人深信有关中世纪阶梯的处理（特别是意大利者）问题，迄未有人探讨过。）
• 女宛心兑

  2018-09-17
  历史不是一篇事实的流水账，而是对于生活的动态过程的调查。柯布西耶与存在于各时期富有创造性的艺术品中的“永恒的现在”的关系，较其他的人更为密切。形式并不以其有形的界域为限。形式乃由于发散而使空间成型。现在我们再度明了，形状、表面和平面不仅可以使内部空间成型，其作用一如量体各部分单独存在于空间一样，而其影响所及则远超过其实际度量尺寸的范围。重要的不仅仅是金字塔部分的大小，或是帕提农神殿的完美。使建筑上的最初空间观念得以谱成的是各项量体间的相互影响作用。第一个空间观念----由于量体与量体间之相互作用而使空间占有的地位。这一时期包含埃及、希腊建筑。内部空间是不在注意之列的。第二个空间观念，由罗马时期的中叶开始的。当时，内部空间以及其中的圆屋顶构架问题开始成为建筑的最高目标。内部空间之形成是与内部空间的中间挖空具同一意义的。……第三个空间观念是于本世纪初期视觉革命之时的开始，废除了透视法中的单一视点。这对于人们的建筑观念与都市景观都有根本的影响。历史并不是一成不变的事实的陈列所，而是一种有生命，有过程，经常变化的态度与解释的模式。因此，它是我们自己本质深邃的一部分。留意以往某一时代，并不仅仅是去看看它，去找出一个对所有人都相同的模式而已。回顾会使目标变了面目；每一个时代-任何时期-的每一个观察者都无可避免的会按照他自己的性格，让过去的时代惹起若干变化。所谓与历史有密切的接触，乃是这种状况所带来的自然结果。所谓与历史有密切的接触：换句话说也就是在长久时间的向度中生活。现在一切偶然发生的事情，不过是连续中的最明显部分而已；这就好像是紫外线与红外线之间的一系列光波之转变为我们人眼所能看得见的各种颜色一样。1908年，伟大的数学家明考夫斯基首先把世界想象为空间与时间的配合所形成一不可分的四次元的连续体。他在那一年所发表的“空间与时间”中，开头的一句名言是：从今以后，空间本身和时...
• 佳浩和他的朋友

  2015-08-08
  In both contemporary science and contemporary art it is possible to detect elements of the general pattern which our culture will embody. The situation is a curious one: our culture is like an orchestra where the instruments lie ready tuned but where every musician is cut off from his fellows by a sound-proof wall. It is impossible to foretell the events that will have to come before these barriers are broken down. The only service the historian can perform is to point out this situation, to bring it into consciousness.在当代科学和当代艺术中，嗅探到我们文化中所表现的普同范式的元素是有可能的。这个情况非常微妙：我们的文化就像是一个管弦乐队，所有的乐器已经调好音，但是每一个音乐家之间都被一座隔音墙跟他的同伴所隔断。如果不把这些障碍推倒，我们是无法预知这场音乐会将会是怎样的。所以历史学家唯一的任务就是指出现在的处境，让大家意识到。