专业外语电子笔记
有关Wittkowers - “Architectural Principles in the Age of Humanism”的内容梗概
一、建筑与人类主义的关系
- 人类主义是一种反对中世纪神权主义的理念，它把人放在一个建构的世界中心，认为人是独立自主的个体，有自己的思想和信仰。建筑是人类生活的重要组成部分，人类主义理念影响了建筑设计，建筑成为了表现人类多样性和文化传统的载体。
二、理性与美学的平衡
- 文艺复兴时期，人类主义思想强调理性和智慧的重要性，但同时也意识到富有美学感染力的建筑对人类情感的重要性。建筑师们开始注重建筑的形式和比例，建筑通过设计成为了一种卓越的艺术形式。
三、建筑与空间的关系
- 人类主义吸取了古罗马的建筑风格，追求大型和开阔的建筑空间。建筑师们借鉴了古希腊的神殿设计，把高大的柱子和梁带作为支撑结构，以创造高大的空间。建筑中开放的空间使人类活动在其中，成为这个时代艺术创作的主旨。
四、归纳与分类
- 人类主义的思想重视知识的整合和系统化，建筑的设计也受到了相应的影响。在建筑设计中，人类主义要求从设计中归纳出基于智慧和知识的分类体系，以帮助人类更好地理解和利用建筑空间。
五、神权与人类的关系
- 与中世纪的神权主义不同，人类主义认为人类是自由和独特的个体，有自己的思想和信仰。因此，建筑在设计中不再是一个象征神圣权力的表现形式，而是一个展示人类独特性的载体。
小组部分
01.对建筑师的影响
As we’ll see, this is a book that had an extraordinary impact on two distinct groups. The first was the Renaissance architectural historian. This book offered a new approach to the way we understand the architecture of the 15th and the 16th century in Italy. The other group was the modernist architect. It is strange to think that a book on the Renaissance might have an impact on modernist thinking,but this book revolutionized our understanding of geometry,modular pattern, and the ways in which diagrams can be used to explain the work of the architect.
- 正如我们将看到的，这本书对两个不同的群体产生了非凡的影响：
第一是文艺复兴时期的建筑历史学家。
这本书为我们理解意大利15世纪和16世纪的建筑提供了一种新的方法。
另一个是现代主义建筑师。
奇怪的是，一本关于文艺复兴的书可能会对现代主义思想产生影响，但这本书彻底改变了我们对几何学、模块化模式以及用图表解释建筑师作品的方式的理解。
The first is that it was highly invested in an abstract and intellectual approach to the Renaissance. It underscored the rise of theory in the 15th and 16th century, and the ways in which the works of a given architect might offer a coherent kind of investigation into a set of problems surrounding perspective, proportion, geometry, and the advent of ideal form and architecture.This highly abstract approach had repercussions.
- 首先，它高度投入了对文艺复兴的抽象和理智的方法。
它强调了理论在15世纪和16世纪的兴起，以及特定建筑师的作品可以为围绕透视、比例、几何以及理想形式和建筑的出现的一系列问题提供连贯的研究。
这种高度抽象的方法引起了反响
02.维特科夫的假设与范式
What it means, ironically, is that Wittkower was absolutely disinvested from the complexities of history. He was not interested in the cultural context out of which architecture arose.He does not delve into religious history, the monastic orders, particular events that might have marked the Renaissance. Instead, he steps back to analyze architectural form as an autonomous project.
- 具有讽刺意味的是，这意味着维特科夫完全被剥夺了历史的复杂性，他对建筑产生的文化背景不做考虑。他没有深入研究宗教历史、修道院秩序，以及可能标志着文艺复兴的特殊事件，相反，他退后一步，将建筑形式作为一个自主项目进行分析。
At the heart of this approach is the notion of the paradigm. The word paradigm comes from the Greek. It means both pattern and to show side-by-side.The assumption on Wittkower’s part is that Renaissance architects were after such paradigms, that they sought and developed them, and ultimately, through that process, were after the core principles of architectural form.
- 这种方法的核心是范式的概念。范式这个词来自希腊语，它意味着图案和并排显示。维特科夫的假设是，文艺复兴时期的建筑师追求的是这样的范式，他们寻求并发展它们，最终，通过这个过程，追求的是建筑形式的核心原则。
By the same token, what’s also true is that Wittkower’s very own approach became paradigmatic.In other words, it offered a standard means of approaching the historical past, of interpreting the past, and even of generating form itself.
- 同样正确的是，Wittkower自己的方法成为了典范。换句话说，它提供了一种标准的方法来接近历史的过去，解释过去，甚至生成形式本身。
03.维特科夫认为绝对重要的问题
Furthermore, the book is broken up into four chapters that deal with issues that Wittkower took to be absolutely fundamental.
- 此外，这本书分为四章，讨论了维特科夫认为绝对重要的问题。
First, there is the question of symbolism. In other words, how buildings mean.
- 首先，是象征主义的问题。换句话说，建筑物是什么意思。
The second chapter looks at the problem of the appropriation of form.In other words, how did architects look back to the deep past, and in particular, to the pagan classical past, seize that tradition, reinterpret in syntax and reinvent classicism as a system.
- 第二章是形式侵占问题。换言之，建筑师是如何回顾过去的，尤其是异教古典主义的过去——抓住这一传统在语法上重新解释，并将古典主义重新打造为一个系统。
Third, the question of typology and the development of building types.
Are we talking about churches?
Are we talking about villas?
Are we talking about institutional buildings?- 第三章：类型学问题和建筑类型的发展。
我们说的是教堂吗？
我们说的是别墅吗？
我们说的是机构建筑吗？
And lastly, the question of proportion. The geometric ideal. The question of measure.
- 最后，比例问题。几何理想、衡量的问题。
04.维特科夫对建筑深层结构的探索
To read Wittkower is to see a process of mental abstraction at work. In other words, what Wittkower was after wasn’t the discrete cultural meaning of a particular building in a particular context. He’s not after giving us some real and robust sense of the 16th century world view. Instead, he wants to bring together the classical kit of parts that make a building formalize itself, that allow it to transform into the buildings we still have today.
- 读维特考尔的作品，就是看到一个精神抽象的过程在起作用。换句话说，Wittkower所追求的并不是特定环境中特定建筑的离散文化意义。他并没有给我们带来16世纪世界观的真实而有力的感觉。相反，他希望将经典的部件组合在一起，使建筑形式化，使其能够转变为我们今天仍然拥有的建筑。
In other words, Wittkower is looking for a kind of deep structure,we might call it, that organizes architectural form.He’s going after the identification of their component parts.What is a portico?What is a column?This is why ultimately, he relies on diagrams to explain architecture.
- 换句话说，Wittkower正在寻找一种深层结构，我们可以称之为，组织建筑形式。他在寻找他们的组成部分：什么是门廊？什么是专栏？这就是最终他依赖图表来解释架构的原因。
He looks through the complex appearance of a building like this in all its three-dimensionality and distills it into its most basic elements through plan, sometimes elevation.In other words, he develops a syntax, a language, a form.
- 他在所有的三维空间中观察像这样的建筑的复杂外观，并通过平面图（有时是立面图）将其提炼为最基本的元素。换句话说 他发展了一种语法、一种语言、一种形式。
