建筑设计外文翻译资料

Fig.10.4 Frontispiece of Lequeus Architecture Civile, showing the principle of shadow projection for sun light, above the horizon, and for candle light below.

图10.4 Lequeu的Architecture Civile的卷首插图，显示了太阳光地平线以上和下面烛光的阴影投影原理

Fig.10.5 Reproduction of Marcel Duchamps Large Glass, 1he Bride Stripped Bare by her Bachelors，even.The realm of the bachelors is in the space of descriptive geometry below the horizon,while the realm of the bride is above, in the fourth dimension of shadow projection.

图10.5 Marcel Duchamp的Large Glass, The Bride Stripped Bare by her Bachelors, even复制品。单身汉的领域是在地平线之下的几何画法空间中，而新娘的领域在上面，处于第四维度投影之中。

mystery and purpose appearing on the surface of things and events. There are certainly resonances betwecn the erotic drawings of Lequeu, and latcr ones by surrealist artists, particularly with Duchamps two major works: The Bride Stripped Bare by her Bachelors，Even (the Large Glass，1915-23),and Etant Donnes or Given: 1.The Waterfall，2.The Illuminating Gas (1946-66), with its realistic vision of a naked woman behind a wooden Spanish door, appearing through the peep-hole resting on a bed of twigs with her vagina fully exposed. These two works are reciprocal and reveal the same theme: the disclosure through our participation of significant human space as fundamentally erotic, in two modes: through mechanization，abstraction and geometry in the case of the Large Glass (a process described in writing and through diagrams and architectural drawings by Duchamp himself in the Green Box), and through figuration and atmosphere revealed in the installation seen through the peep-hole on the door. Thus Duchamp offers a paradigmatic challenge for all art and architecture of our time.

出现在事物表面的神秘和目的。在Lequeu的色情画和后来的超现实主义画家之间有着明显的共鸣，特别是杜尚的两个主要作品：The Bride Stripped Bare by her Bachelors，Even（the Large Glass，1915-23），和Etant Donnes 或称为Given: 1.The Waterfall, 2.The Illuminating Gas（1946-66），在这栩栩如生的画面中，一个裸体的女人在树枝做的床上休息，呈现在一个木制西班牙门的窥孔中，她的阴道完全暴露在外。这两部作品是相互关联的，揭示了相同的主题：这种揭示通过我们重要人类空间的参与，比如基本的性欲，以两种模式：通过机械化、抽象化和几何化，在Large Glass的例子中（在the Green Box中，杜尚通过示意图和建筑图纸描写了这一过程），和通过形象和气氛揭示，在装置中透过门上的窥孔。因此，杜尚给我们时代的所有艺术与建筑带来了一个范式的挑战。

Let me now briefly offer a few more details about Lequeus Architecture civile, and his remarkable drawings. As I suggested, a crucial aspect of his projects is contained in his marginal poetic remarks and specifications.He describes with care his drawing instruments (the tools of techmeacute;-pofesis),he explains how to make glue with orange peels,white sugar from Orleans, and sheep-skin flakes, for example,or pigments, some quite toxic like Persian blue which is chemical - and pink from coccinelle (fig.10.2). He describes the operations of washing and wetting

the paper for watercolor as well as the different kinds of lines, all understood metaphorically and through their sensual reality: le trait bien nourrie egalement (dry-masculine),la ligne deliceacute; ou grosse(with wet paper-feminine), and la ligne blanche ou occulte (pure，invisible,possibly alluding to Free-Masonic constructive geometry).He also offers metaphoric specification of materials in the projects or on their sites: for example, the feminine fluid that runs off from buildings to be collected in the gutter, or the fertile and fragrant soil made from the excrement of cattle.

现在让我简要地提供多一些细节，关于Lequeu的Architecture civile，和他著名的图画。正如我建议的，他作品一个关键的方面包含在他边缘诗意化的言论和说明中。他谨慎地描述他的绘图工具（techne-poiesis的工具），例如他解释了如何用橙皮、来自奥尔良的白糖和羊皮片制作胶水，或是颜料，一些有相当的毒性，像波斯蓝是化学制品，粉红色来自于瓢虫（图10.2）。他描述了洗涤和润湿的水彩纸的操作，以及不同种类的线条，都能够被隐喻地理解然后通过他们感受的现实：le trait bien nourrie egalement（干燥阳性），la ligne delice ou grosse（用潮湿的阴性纸），以及la ligne blanche ou occulte（纯粹的，看不见的，可能暗指自由共济会的建筑几何学）。他还提出隐喻的规范在项目或他们的建筑工地上，比如阴性流体，从建筑物中流出，收集在排水沟中，或从牛粪制成的肥沃而芳香的土壤中。

His Architecture Civile is in fact a collection of projects for a poetic city, loosely structured in a pastoral space, presented mostly as elevations and sections, expressing their depth and character through an eloquent frontal view and related writings. Every project draws its expression from a syncretic use of precedents, always grounded in'histories.' He was very knowledgeable and read architectural theories with an eye for mythical origins that could be useful for his architecture.Justifying his projects, he speculates insightfully about the origins of architecture in a sacred grove (lucus), leading to the theatre (chora). Thus architecture is originally a space for public participation, ornamental (cosmicl/cosmetic) by definition.He also believed that theatre and theory have common etymological origins in theacute;o,alluding to the presence of the sacred in all things. justifying polytheism and pantheism.

他的Architecture Civile实际上是一个诗意城市的项目集，松散地建立在田园空间中，主要以立面和剖面形式呈现，通过一个传神的正面视图和相关的文字叙述来表达其深度和特征。每一个项目的表现都是从对先例的综合运用中抽出，总是扎根于“历史”。他学识渊博，以寻找虚无起源的眼光阅读建筑理论，这对他的建筑设计很有帮助。为了证明他的项目，他对一个建筑的起源进行了富有见地的推测，建筑位于一片通向剧院（chora）的神圣树林（lucus）中。因此，建筑最初是公众参与的空间，顾名思义是装饰性的（宇宙的/装饰性的）。他还相信戏剧和理论在theacute;o中有共同的词源，暗指神圣存在于万物之中，为多神教和泛神论辩护。

Let me offer two examples,two projects remarkable for their sensuous atmospheres.An Indian Pavilion of Delights provides a space where you bring your companion into a mysterious environment surrounded by 'large plates of Venetian glass, joined with a compound made of egg white and lime，or warm tear [shaped?] putty... And around you is a pond for domesticated fish, so familiar that the master calls them by the name of their species to feed them out of his hand...”The Temple of Divination and Gate to the Elysian Fields (the gate to Paradise, or to the Beyond), sits in a delightful place among temperate light,moonlight,or blue shade:“While aromatic perfumes produce a sweet vapor to induce dreams composed of honey,resin，foam,tar[...] two sorts of juniper seed, cardamom and calm,all mixed together'”you may choose to boldly cross the humid threshold, making evident the inveterate relationship between Eros and Thanatos.

让我举两个例子，两个因其愉悦氛围而引人注目的项目。Indian Pavilion of Delights提供了一个空间，你带你的同

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