预制-再制

文章集中探讨了二战以后也就是所谓"战后"时期的建筑设计与建造。涉及的不仅是实践层面的问题,同时也有伦理层面的思考。因为正是这段时期,由于大量房屋毁于战争,要给成千上万的居民提供住房。同一时期,建造材料稀少而紧缺,于是一种新的现实主义应运而生,并且在施工体系上也有所创建:不再是此前乌托邦时期现代建筑的"封闭"体系,而是一种被认为是"开放的"施工方式。这一时期的建筑师们也认同建筑设计应该自我调节以适应有限的资源与手段,当然,他们也使用了一定的技术措施尤其是那些新的技术,但并非不分场合的滥用。项目的急迫性往往要求对工业化制品或者构件进行变更,使得要对"预制"的东西进行"再制"。这一时期,人们允许更大的容差,接受偶发因素,以积极的眼光来看待"不完美";建筑的物质性层面变得非常重要,而再现性则必须后退;使用的材料都是那些唾手可得的,有时是工业化材料(钢),有时是传统材料(砖);另一改变是将那些仅起服务作用的东西暴露在外而不再遮蔽。以"粗野"一词,来表达这种直接的、裸露的、混合的、讲求实际的建造方式。文章研究了埃利森和彼得·史密森、柯布西耶、詹姆士·斯特林、亚历杭德罗·德-拉·索塔、希哥德·勒沃伦兹等建筑师,最后还研究了弗兰克·盖里——虽然他的作品显然不属于这一时期,但可以这一背景为基础来加以解读,就像今天的诸多先锋建筑一样。

Premade-Remade

This essay focuses on architectural design and construction in the period after the Second World War. Practical considerations enter into the story, but also ethical issues, as this was a time for accommodating the thousands of people whose houses had been destroyed by the war. It was also a time when construction materials were very scarce. A new kind of realism developed inthese years, also a new sense of a building ＇systems;＇ not the ＇closed systems＇ of the early, utopian period of modern architecture, but methods that were said to be ＇open.＇ Architects of the time accepted the fact that designs would need to be adjusted to limited means. Techniques were used of course-- particularly new ones--but not comprehensively, not as totalized systems. Often the exigencies of a project would call for the alteration of a material or element that had been produced through industrialized methods, resulting in something pre-made being re- made. Greater tolerances were allowed, accidents were accepted, and ＇imperfections＇ were seen positively. Material facts became very important, and representation was downplayed. The materials that were used were those that were ＇at hand,＇ sometimes industrialized materials （steel）, sometimes traditional materials （brick）. Another change allowed elements that were ＇merely＇ serviceable to remain uncovered. A term that was used to describe this direct, uncovered, hybrid, and pragmatic way of building was ＇brutal.＇ The architects studied include Alison and Peter Smithson, Le Corbusier, James Stifling, Alejandro de la Sota, Sigurd Lewerentz, and lastly Frank Gehry-- whose work is obviously not from this period, but can be understood on the basis of this background, as can be many of the progressive projects of today.