A lyrical memoir by one of the major figures of postmodernist architecture; with drawings of architectural projects prepared especially for the book.
This revealing memoir by Aldo Rossi (1937–1997), one of the most visible and controversial figures ever on the international architecture scene, intermingles discussions of Rossi's architectural projects—including the major litera...
A lyrical memoir by one of the major figures of postmodernist architecture; with drawings of architectural projects prepared especially for the book.
This revealing memoir by Aldo Rossi (1937–1997), one of the most visible and controversial figures ever on the international architecture scene, intermingles discussions of Rossi's architectural projects—including the major literary and artistic influences on his work—with his personal history. Drawn from notebooks Rossi kept beginning in 1971, these ruminations and reflections range from his obsession with theater to his concept of architecture as ritual.
Aldo Rossi was an Italian architect and architecture theorist and the author of The Architecture of the City (MIT Press, 1984) and other books. He was awarded the Pritzker Architecture Prize in 1990.
我确定，我首度意识到这种建筑的内外维度（interior-exterior aspect of architecture）是来自于阿罗那的圣卡罗涅雕塑（Statue of San Carlone at Arona）。我描画并且研究了它如此多次，以至于现在要让我将它与我童年的视觉教育联系会很困难。往后我明白，它之所以让我愉悦，是因为建筑与机械、器具的界限在这儿被消解掉了。如同荷马笔下的特洛伊木马，朝圣者进入圣人的身体内，如同他进入一座塔或者是由一位娴熟马车夫驾驶着的马车。当他登上基座外部的台阶，在圣人内部的陡然上升反映了这件作品的结构，以及那巨型金属片之间焊接后的缝隙。最终朝圣者抵达头部的内外界面，从圣人的眼睛往外看，那湖景带来无垠的层次，就像从天国的瞭望口往外凝望一样。 (查看原文)
Truly every architecture is also an architecture of the interior or, better, an architecture from the interior: the blinds that filter the sunlight or the line of the water, together with the color and form of the bodies that live, sleep, and love one another behind the blinds, constitute, from the interior, another facade. These bodies also have their own color and light, a reflected light, so to speak; this light has something of the weariness or physical exhaustion of the summer, a sort of dazzling white among wintry tones. (查看原文)
Merely personal understandings, if not feelings, for the book. Clearly a hint of some very unique affection can be found in Rossi’s description to architecture, city, and maybe anything that functions as human artifacts. I would say what interest me most...
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Lucy. The film itself is sort of nonsense. But the sentence. "Time is the true unit of measurement." It suddenly occurred to me that "being" is really what we recognize and identify our own tracks. Finally I could understand why Rossi would say "each summer...
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劳伦斯·韦努蒂 译者
曳尾.avi
MIT Press2010版
俨然
MIT Press2010版
1 有用 城市笔记人 2011-01-15 11:07:45
嗯，已经给翻译了2/3。见帖子。感伤、文艺的罗西。从这书中，大体可以窥到罗西的类型学是怎么来的，他从但丁那里、司汤达那里获得了什么；他是怎样阅读《非洲印象》的；。。。。。读完了，最好不去看他的建筑，反而就美好了许多。
0 有用 XYZ 2012-05-15 15:02:19
其实这本书绝对是五星的,但硬是撇掉一颗星是因为就算看完了我也没法叙述出它到底说的是什么。从知识走向感知的罗西真难读啊