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Now man is standing there: he has shattered the cave. Through a great hole its depths flow out and light streams in. Thus he brings fire to the earth.
He himself is not light but a torch, and he belongs neither to heaven nor to earth. His feet stand widespread on the ground and his head towers up into
the light, from below the dark heaviness of earth flows through him, from above light floods him, and in him the two streams mingle. But despite all his mutiny was meant for the earth through his conquest he sought to give her her own true form. He makes of her fertile soil.
The tradition of genuine centric building was alive in the east when Christian art began. The domes of Mycaenae are a part of it. The Christians took over this tradition, yet they overcame it when they opened
the encircling periphery by means of the apse:
the altar was not placed below the center of the dome but rather removed to the periphery. There it belongs at the sametime to the central space beneath the dome and to the apsidial space at the horizon. The circular space has become the space for the people.
It is intersected by the eyes as they look to the altar and also by the pathway whichleads from doorway to apsis. Thus it is no longer at rest within itself but hasbecome a station on the way now it is only one phase and no longer the center.
非常有意思的论述， 关于祭坛随着中心中心移动到边缘， 这是一种动态显身的过程。
These churches are not genuine
centric structures. To be more correct wewould have to call them obstructed rectangular structures: the centric formwhich they inherited is contradicted by the displaced position of the altar.
The altar is something which stands at the edge and protrudes from the
circular space. The life and the form of the structure do not coincide.
As has already been shown, these buildings are opened simultaneouslyforward and upward and thus they join two movements in dissonant form.As they stand, they are not consummate works. Their tensions intersect oneanother: the upward, thrusting movement emerges from a space which is only
an intermediate one in relation to the pathway from door to altar; and this
path itself ends in a small and unimportant
niche which adjoins
the space
below the dome. If we consider everything very exactly, we find that in these
buildings we must in fact assume two dwelling places of heaven, and this is
impossible. Indeed the technical means of the time were still too limited to
bring the two to unity
Nor does the life of the building merge with its structural form in the basilica, not even when a transept has been added so that the resulting T-form makes the semi-circle easily recognizable. It seems as if it wouldhave been so simple to pull the side aisle around in the form of a horseshoe and thus show the ordering of the people architecturally. Yet this never happened. The development proceeded differently. At first, "side rooms" for the altar service were built at the ends of the two "side aisles," then "side altars" were built there in special apses and finally real choirs. At that time, in the early Middle Ages, the old spatial unity fell apart into three churches three churches which ran parallel to each other and were connected by arcades. The Middle Ages saw in them something like worlds whose single districts had little intercourse with one another, or as one realm in which many princes ruled under Christ the King. But in anycase the basilica of the early period can be called an obstructed centric structure. In its rectangular structure, just as in the circular structure, anunresolved remnant was left over some part of the whole was prevented from being fully carried out. Deep within these forms which were so often simply taken over the secret form of the Christian church lies hidden. This form is contained neither in the closed comprehensiveness of the dome nor in the long ranging of the nave. Bursting the one and closing the other, she stands between them in a state of inwardness and yet of displacedness, of having and of not having, of sheltering and of summoning.