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PETER ZUMTHOR THINKING ARCHITECTURE 卒姆托一思考築香港書聯城市文化 JZ$0

Peter Zumthor Thinking Architecture 莲素了网足.2心.E1

A way of looking at things 盆我走進姑媽的小花鼠時，常常被它深深地吸引。直到今觀察事物的方法天，那偶門把手封我而宫是壤我進入一偶不同心境和解登世界的特殊倾志。我依然記得脚下沙膜發出的清脆的聲馨，還 In search of the lost architecture 起得古模的橡木樓梯那清测的城光：我能驰到常我穿過一道找尋被遗忘的策作暗的走痴来到明亮的厨房酵，身后的房円在用合的墨那所最出的厚重登馨.When I think about architecture,images come into my mind.Looking back.it seems as if this was the only room in the Many of these images are connected with my training and work house in which the ceiling did not disappear into twilight:the as an architect.They contain the professional knowledge about small hexagonal tiles of the floor.dark red and fitted so architecture that I have gathered over the years.Some of the tightly together that the cracks between them were almost other images have to do with my childhood.There was a time impereeptible,were hard and unyielding under my feet,and a when I experienced architecture without thinking about it.smell of oil paint issued from the kitchen cupboard.Sometimes I can almost feel a particular door handle in my hand.回想起来，谊似乎是整棟房子裹唯一一間天花板不會在暮色 a piece of metal shaped like the back of a spoon.裹消失的房圆。還有那小小的六邊形的暗红色鑪地瓷碍，它门置地繁在我的野能。它门地合在一起，以當我思考第对，浒多的在我密海中福诞造些至于保袋华路覺术到名門之2牌染窄的能降一盟有厨房整顺上與我作爲一名築饰所接受的鞫辣和工作有网。道其中包含了散發出的那油般的清香，同樣令人難忘。我多年来所積紧的刚于繁的事袭知藏和經驗。其中一些更與 Everything about this kitchen was typical of a traditional 我的童年耀猴密不可分，那酵候，我懂黛是随验婆，而没有 kitchen.There was nothing special about it.But perhaps it 任何對其的思考。有時候我能够感覺到我手中那侧别致的円把 was just the fact that it was so very much.so very naturally.手，金圈置地、形状宛如的弧脊 a kitchen that has imprinted its memory indelibly on my mind.The atmosphere of this room is insolubly linked with my idea I used to take hold of it when I went into my aunt's garden.of a kitchen.Now I feel like going on and talking about the That door handle still seems to me like a special sign of entry door handles which came after the handle on my aunt's into a world of different moods and smells.I remember the garden gate.about the ground and the floors.about 'the soft asphalt warmed by the sun,about the flagstones covered with sound of the gravel under my feet,the soft gleam of the waxed chestnut leaves in the autumn.and about all the doors that A oak staircase,I can hear the heavy front door closing behind me closed in such different ways,one replete and dignified.as I walk along the dark corridor and enter the kitchen.the only another with a thin.cheap clatter.others hard,implacable really brightly lit room in the house.and intimidating..莲网足.2心

那是一测典型的傅统因房，并没有什么特别的地方，但也许就是因耳它如此自然普通，才在我霞海中留下了肆以磨或的印记，那房阳的氧氛我璃海裹有開因房的版念紧密相速。现在，随着我的思绪赠續展明，段想荧淡调于站媽家小花侧的門把手之后我阙及地更多門把手：泥土和地板：日照下遇热馒得柔饮的避青：小路上铺钩的石瑰：上面散落着秋季飘落的胡桃榭檗：道有好多以不司方式删闲的四，有的刚四每饱滿有力，影顺尊毁；有的單薄而略原寒酸，避有的坚硬，晴離，冷漠…Memories like these contain the deepest architectural experience that I know.They are the reservoirs of the architectural atmospheres and images that I explore in my work as an architect.道些記憶包含了我所如院的最深層次的藥髓驗。當我以第饰的身份时築進行探索時，這桶記憶成耳我提取第場所氛 When I design a buitding.I freguemtly tind myscit sinking into old,half-forgotten memories.and then I try to recollect what the remembered architectural situation was really like,what it had meant to me at the time,and I try to think how it could help me now to revive that vibrant atmosphere pervaded by the simple presence of things,in which everything had its own specific place and form.And although I cannot trace any special forms.there is a hint of fullness and of richness which makes me think:this I have seen before.Yet,at the same time,I know that it is all new and different.and that there is no direct reference to a former work of architecture which might divulge the secret of the memory-laden mood.鲨我设計一偶第作品時，我時常發现自己沉浸于那些老善而豫配的记憶裹，试凰想起那配绳裹築塌景究竞是好樣。這樣的方式在鲨時时我意義重大。而今天，我在思考如何通過植桶方式来重氢一桶生功的氟纸，在道闲氛群裹充斥着些簡罩的事物，這些事物都以特有的位置和形式存在。盡管我熊法追尋 2.心.E1

任一具髓的形式，但又有璧足的幾索演我覺得：這侧我似曾相我试圈在我的作品裹也如此用材，相信它們能在第语言爽藏，然而與此同時，我知道這又是金新的、不同的，這與以前的葵作品并不存在某颓直接靴系，而那以往的作品也許會透露出焕复出诗意的品質，盘管道只有在築師瓜其削造一醒有意一絲記憶中的情愫，義的情境睛才能達到，因葛材料本身并没有诗意。Made of materials 材料棉成 The sense that I try to instill into materials is beyond all To me.there is something revealing about the work of Joseph rules of composition.and their tangibility,smell,and Beuys and some of the artists of the Arte Povera group.What acoustic qualities are merely elements of the language that we impresses me is the precise and sensuous way they use materials.It seems anchored in an ancient.elemental knowledge about are obliged to use.Sense emerges when I suceeed in bringing man's use of materials,and at the same time to expose the very out the specific meanings of certain materials in my buildings,essence of these materials,which is beyond all culturally conveyed meaning.meanings that can only be perceived in just this way in this one building.(Arte Povera)的列请與品是孕杀到腻 J 而又感性地用材方式讓我印象深刻，就如网谊古時期人斯對用材我想赋材予情感是所有棉法则之首。我們理必须去理用材的最初理解一般，同時也展现出這些材料在一切文化意義之外的料的烟覺、味覺和音色這袋模僅有的語言要素。當我成功地真箭。使我第裹的材料富含特殊意義，而道意義又只能在這楝房 I try to use materials like this in my work.I believe that they 子，用這種方式被感知時，感覺就浮现出来了，can assume a poetic quality in the context of an architectural objeet,although only if the architects is able to generate a meaning meaningful situation for them,since materials in If we work towards this goal,we must constantly ask themselves are not poetic.ourselves what the use of a particular material could mean in 1的银大博伊于所ep油B四)。21一1化铺著名想断家，以理型n其其誓剂n形式，a specific architectural context.Good answers to these )+量解由直大料神抽家喜焉著室朝程画，1年。重例在瓷青余组通了一次瓜“理国每南“的解 questions can throw new light onto both the way in which the 黄，次年义性出《直国8所多一者，角测8南是组：8南家所这作的材料是青透的试目用的。陆门作重物的韩柱的程醇重保生出可道别的彩全性是销感性，但合了某鞋度箱的额金和结情。装在材料起性害中园设 materials is generally used and its own inherent sensuous 的养直。主里减目位精4 ario Mer.G4 avanni Assetme.Alighiero foetti.Lecisne家br,anai qualities.足.心.E1

果考健妈如果朝着道儒目操努力，我门必須不所地周自已：某一特定材 Construction is the art of making a meaningful whole out of 料在特定策额境下的理用意味着什么，好的解答既能使我罚 many parts.Buildings are witnesses to the human ability to 了解材料的通常做法，也能镶我們熟悉材料固有的感知性，construct concrete things.I believe that the real core of all architectural work lies in the act of construction.At the point If we succeed in this,materials in architecture can be made to in time when concrete materials are assembled and erected.shine and vibrate.the architecture we have been looking for becomes part of the real world.如果我們成功地做到了道贴，染中的材料将合閃閃泉亮并打黝人心。迹是一門用许多梯搭成一座富有意義的完整英物的愁作。房屋見證了人類选混凝土實髓的能力。我相信一切婆工作的真正核心是造。當混凝土適時地被浇灌和造 Work within things 起来的時候，我门一直在孕找的築，便成愿真實世界的一在事物内部工作部分，It is said that one of the most impressive things about the music I feel respect for the art of joining.the ability of craftsmen of Johann Sebastian Bach is tis Zremneetiter onsirurc0n and etigingers.I am impressed by the kmowledge of how to seems clear and sransparent.It ispassibfe to pursuethe details makh九g52 which lie气#h要botp海of human skill..try to design buildings that are worthy of this knowledge and of the melodic.harmonic and rhythmical elements without merit the challenge to this skill.losing the feeling for the composition as a whole the whole that makes sense of the details.The musie seems to be based 我很饮数構造的钙病，遣是一桶工匠和工程师所具有的能 upon a clear structure,and if we trace the individual threads of 力。我欣置那些如何造物的知装，因耳它們是人類技基的本 the musical fabric,it is possible to apprehend the rules that 源，我试圈设計這便一些房子，使它們能够配得上道些知盖，并且經得住這些技術挑吸。govern the structure of the music.People often say."A lot of work went into this"when they 有人脱“第性”是巴棒的音巢裹最裹人欣貸的特征之一。其 sense the care and skill that its maker has lavished on a 樂章结構清晰透明，使得我們有可能去追得那美妙，和谐、有 carefully constructed object.The notion that our work is an 韵律的元素的细前，同诗也能够髓食得到音樂的整體感一一那 integral part of what we accomplish takes us to the very 種能够脸现细節的整體感。他的音樂究如立在一醒清晰的结 limits of our musings about the value of a work of art,a 構上。如果我們顺着一丽架的城尋见，就有可能领悟到 work of architecture.Are the effort and skill we put into 麗驭樂章结構的法！。them really inherent parts of the things we make?Sometimes.莲网足.2心.NE1

when I am moved by a work of architecture in the same way as 但是，聲音的世界也包含了旋律、和聲，韵律相反的束西。I am moved by music.literature or a painting.I am tempted to 有前泰的推愿和殘破，有尊音的支罐和殖障，甚至還有我們 think so.所之爲“噪音”的道種纯功能性的降音。當代音樂就理用到了以上這些元素，常人們從頗具匠心的葵物上上险會到造人所注入的大量心 Contemporary architecture should be just as radical as 思和技巧時。經常會说：“道其中包含了大量的工作。”“我 contemporary musie.But there are limits.Although a work 們的工作是作品不可分制的一部分”一一道候的舰念促使我们 of architecture based on disharmony and fragmentation.on broken rhythms,clustering and structural disruptions may be 9 去买思感術作品和英作品的價值所在。哪些我门在削酒中所 able to convey a message,as soon as we understand its 付情的努力和技巧真的合與作品融马一髓隔？有時，我如同被 statement our curiosity dies,and all that is left is the 音樂。文事或是输那般打動一樣，深深地被一件黛作品所 question of the building's practical usefulness.规动。而我也领向于道镁認马富代葵或許感當和常代音樂一便澈進，但是要有限度。盡 For the silence of sleep 管某解藥作品是以不棉调感、片断感爲基碰，以破醉的前奏、锥揉、解構爲出發贴，成詐這樣能够傅逢某桶信息。但客钠着甜睡的沉静是一且明白它所表達的意息，我們的好奇心就死亡了，剩下的只是房子實用性的间题 I love music.The slow movements of the Mozart piano concertos,John Coltrane's ballads.o the somnd or the voice in Architeeture has it's own realm.It has a special physical relationship with life.do tot think of it primarily as either certain songs all move m主L子杀 a message on a bymbel,but as an envelope and background for life which goes on in and around it.a sensitive container 我喜撒音巢。莫扎特(Mozart)舒缓悠揭的绸琴棉类曲，約 for the rhythm of footsteps on the floor.for the concentration 翰克特蘭(John Coltrane)的樂曲，成者某些歌曲中的吟 of work.for the silence of sleep.唱，都合打動我葵捕有它自己的领域。它與我门的生活有着某桶特殊的物置刚聊，我并不调注于它本想要傅逢的信息成象征，它如同 The human ability to invent melodies,harmonies.and rhythms 封套和背最包图在现們四周，人們的生话在其中不断地池行着。就像是一侧敏感的容器，它容钠着地面上的脚步，容纳 amazes me 着對于工作的投入，容纳着甜睡的沉静。人颜造旋律、和聲以及的律的才能镶我魔喜 Preliminary promises 最初的承诺詈 But the world of sound also embraces the opposite of melody In its final,constructed form.architecture has its place in harmony.and rhythm.There is disharmony and broken rhythm.the conerete world.This is where it exists.This is where it fragments and clusters of sound,and there is also the purely makes its statement.Portrayals of as yet unrealized functional sound that we call noise.Contemporary music works architectural works represent an attempt to give a voice to something which has not yet found its place in the concrete with these elements.world for which it is meant.2.心.E1

築以其最终的成形式，在具髓世界占有一席之地，這就是 Design drawings that refer to a reality which still lies in the 它存在的地方，它自我述的地方，那些仍未成的塞圈纸 future are important in my work.I continue working on my 也在试圈靖述一些東西，一些通没有在具髓世界裹找到它們表 drawings until they reach the delicate point of representation 意位置的束西：when the prevailing mood I seek emerges.and I stop before inessentials start detracting from its impact.The drawing Architectural drawings try to express as accurately as possible the aura of the building in its intended place.But precisely the itself must take on the quality of the sought-for object.It is effort of the portrayal often serves to underline the absence of like a sketch by a sculptor for his sculpture,not merely an the actual object.and what then emerges is an awareness of the illustration of an idea but an innate part of the work of inadequacy of any kind of portrayal.curiosity about the reality creation.which ends with the constructed object.it promises.and perhaps -if the promise has the power to move us -a longing for its presence.然面，只有那些指向未来的真實的没計圆纸在我的工作中才是重要的，我不停地输圆，直到它能精能地表逢真真，直到第给试圖盡可能精確地表速出葵在其所地方的领测，我所泰找的主要的情感髓现出来得止，同時，我婴在無拥紧但是给通常是昌了强测實膝时象的缺失，然后浮现的是對输要的桌西蹈始影馨其效果之前。停止给胡。给自身必须星任何形式的不完整的条覺，时于它所承诺的實隐的好奇一现其所追求的日原的品置。就像避塑家其雕塑的草型，它若谊侧承诺能够佛我风.义或在泛在的运世不催懂是一朝想法的兰明虹是道创造工作天然的一部分，L ?工 If the naturalism and graphic-virtuosity of architectural portrayals are too great,if they lack "open patches"where These sort of drawings enable us to step back,to look.and our imagination and curiosity about the reality of the drawing to learn to understand that which has not yet come into being can penetrate the image,the portrayal itself becomes the object and which has just started to emerge.of our desire,and our longing for its reality wanes because there is little or nothing in the representation that points to the 這種制圆使我們在设计不断前進的逊程中能够后退機步，用 intended reality beyond it.The portrayal no longer holds a 盈展的眼光看一看，摩着去了解什么還没有座生，什么才刚 promise.It refers only to itself.娜阳始照现如果懂懂是在菜给圈的方面有着魔人的天分和图面表递随 Chinks in sealed objects 力，而缺乏一假通徑使纸上築和最终横婆的實髓聊接起來封閉物酸的裂链器無法透遍圆片看到现實中的第模型，那么道圆草圈本身贝是 A 我們欲望的一侧截腋，渴缀其變成现實的欲望會因而消退，因 Buildings are artificial constructions.They consist of single 得這跟圈纸中所有的元素都表明，我骨的第無法在现實中去 parts which must be joined together.To a large degree.the 超越和實现道侧横想。這份第草圈就不再承截着希纽，它只目 quality of the finished object is determined by the quality of 是代表了它自已.the joins.足.心.E1

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