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| Re:★透明性【Transparency】——柯林·罗 [精华] |
9321115
发贴: 12 
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 2003-06-11 09:06 
       We will presume the Palace of League of Nations as having been built and an observer following the axial approach to its auditorium (Fig. 22). Necessarily, he is subjected to the polar attraction of its principal entrance. But the block of trees which intersects his vision introduces a lateral deflection of interest, so that he becomes successively aware, first, of a relation between the flanking of fie, e-building and the foreground parterre, and second, of a relation between the crosswalk the courtyard of the Secretariat. And once within the trees, beneath the low umbrella they provide, a further tension is established: the space, which is inflected toward the auditorium, is defined by, and reads as, a projection of the book stack and library. While finally, with the trees as a volume behind him, the observer at last finds himself standing on a low terrace, confronting the entrance quay but separated from it by a rift of space so complete that it is only by the propulsive power of the walk behind him that he can be enabled to cross it (Fig. 23) With his arc of vision no longer restricted, he is now offered the General Assembly Building in its full extent; but since a newly revealed lack of focus compels his eye to slide along this facade, it is again irretrievably drawn sideways, to the view of the gardens and the lake beyond. And should the observer turn round from this rift between him and his obvious goal, and should be look at the trees which he has just left, the lateral sliding of the space will only become more determined, emphasized by the trees themselves and the cross alley leading into the slotted indenture alongside the book stack. If the observer is a man of moderate sophistication, and if the piercing of a screen or a volume of trees by a road might have come to suggest to him that the intrinsic function of this road is to penetrate similar volumes and screens, then by inference the terrace on which he is standing becomes not a prelude to the auditorium, as its axial relationship suggests, but a projection of the volumes and plans of the office building with which it is aligned. These stratifications, devices by means of which space becomes constructed, substantial, and articulate, are the essence of that phenomenal transparency which has been noticed as characteristic of the Bauhaus, which obviously manifests a completely different conception of space. In the League of Nations project Le Corbusier provides the observer with a series of quite specific locations: in the Bauhaus he is without such points of reference. Although the League of Nations project is extensively glazed, such glazing, except in the auditorium, is scarcely of capital importance. At the Palace of the League of Nations, corners and angles are assertive and definite. At the Bauhaus, Giedion tells us, they are "dematerialised". At the Palace of the League of Nations space is crystalline; but at the Bauhaus it is glazing which gives the building a "crystalline translucence". At the Palace of the League of Nations glass provides a surface as definite and taut as the top of a drum; but at the Bauhaus, glass walls "flow into one another", "blend into each other", "wrap around the building", and in other ways (by acting as the absence of plane) "contribute to that process of loosening up a building which now- dominates the architectural scene".9 But we look in vain for "loosening up" in the Palace of the League of Nations. It shows no evidence of any desire to obliterate sharp distinction. Le Corbusier's planes are like knives for the apportionate slicing of space (Fig. 25). If we could attribute to space the qualities of water, then his building is like a dam by means of which space is contained, embanked, tunneled, sluiced, and finally spilled into the informal gardens alongside the lake. By contrast, the Bauhaus, insulated in a sea of amorphic outline, is like a reef gently washed by a placid tide. The foregoing discussion has sought to clarify the spatial milieu in which phenomenal transparency becomes possible. It is not intended to suggest that phenomenal transparency (for all its cubist descent) is a necessary constituent of modem architecture, nor that its presence might be used like a piece of litmus paper for the test of architectural orthodoxy. It is intended simply to give a characterization of species and also to warn against the confusion of species. a+u77:04 Note 1． Gyorge Kepes: The Language of Vision, Paul Theobald, Chicago 1944,p.77. 2． Moholy-Nagy: Vision in Motion, Paul Theobald, Chicago 1947; pp157,159,188, 194. 3． Moholy-Nagy: op.cit.p210. 4． Moholy-Nagy: op.cit.p350. 5． Alfred Barr: Picasso: Fifty Years of His art, The Museum of Modern Art, New York 1946; p.68. 6． Moholy-Nagy: The New Vision and Abstract of an Artist, Wittenborn and Co., New York 1947; p.75. 7． Gyorgy Kepes: op.cit. 8． Sigfeied Giedion: Space, Time, and Architecture, Cambridge, Mass. 1954; pp.490-491. 9． Sigfried Giedion: op.cit.p.489; and Sigfried Giedion: Walter Gropius, Reinhold, New York 1954; pp.54-55. 全文完 如有错漏，敬请原谅！ |
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