祖母托 --第一章 观察方法

A way of looking at things观察事物的方法In search of the lost architecture找寻被遗忘的建筑When I think about architecture, images come into my mind. Many of these images are connected with my training and work as an architect. They contain the professional knowledge about architecture that I have gathered over the years. Some of the other images have to do with my childhood. There was a time when I experienced architecture without thinking about it. Sometimes I can almost feel a particular door handle in my hand, a piece of metal shaped like the back of a spoon.我思考建筑时，脑海里总是浮现出种种图像。

很多来自我作为建筑师的训练和工作，包含了我多年积累的建筑学的专业知识；还有一些与我的童年有关，那段时光里我体验建筑但不思考它。

有时我能几乎还能感觉到手里握着那个门把手，那是一片金属，塑成勺背的形状。

I used to take hold of it when I went into my aunt’s garden. That door handle still seems to me like a special sign of entry into a world of different moods and smells. I remember the sound of the gravel under my feet, the soft gleam of the waxed oak staircase, I can hear the heavy front door closing behind me as I walk along the dark corridor and enter the kitchen, the only really brightly lit room in the house.走进姨妈家的花园时，我总要握着那把手。

对我来说，直到现在，它仍像进入另一世界的特殊标记，这个世界有着不同的情绪和味道。

我记得脚下碎石的声音，记得打过蜡的橡木楼梯闪出的柔光。

还能听见沉重的前门在身后关上，当我穿过黑暗的走廊走进厨房，厨房是这房子里唯一被真正点亮的房间。

Looking back, it seems as if this was the only room in the house in which the ceiling did not disappear into twilight; the small hexagonal tiles of the floor, dark red and fitted so tightly together that the cracks between them were almost imperceptible, were hard and unyielding under my feet, and a smell of oil paint issued from the kitchen cupboard.回首望去，这好像是房子里唯一一个天花板不会消失在暮色里的房间；小块的六边形地砖，深红色的，紧密地拼在地上，几乎看不出拼缝，在我脚下，它们牢固且坚硬；一股油漆的味道从橱柜里散发出来。

Everything about this kitchen was typical of a traditional kitchen. There was nothing special about it. But perhaps it was just the fact that it was so very much, so very naturally, a kitchen that has imprinted its memory indelibly on my mind. The atmosphere of this room is insolubly linked with my idea of a kitchen. Now I feel like going on and talking about the door handles which came after the handle on my aunt’s garden gate, about the ground and the floors, about the soft asphalt warmed by the sun, about the flagstones covered with chestnut leaves in the autumn, and about all the doors that closed in such different ways, one replete and dignified, another with a thin, cheap clatter, others hard, implacable and intimidating…这个厨房里的一切都和传统厨房一样，没有任何特别之处。

但也许正因为它如此“厨房”，如此自然，在我脑海中留下了不可磨灭的印象。

这个房间的气氛与我心中“厨房”的概念紧密联系在一起。

现在，我想继续谈门把手，姨妈家花园门把手之后的那些，谈谈室外和室内的地面、被太阳晒软的沥青、秋天被栗子树叶盖住的石板以及所有用如此不同的方式开关的门：一扇饱满而庄严，另一扇关起来会发出单薄廉价的咔哒声，其它的坚硬、不可变通、让人望而生畏……Memories like these contain the deepest architectural experience that I know. They are the reservoirs of the architectural atmospheres and images that I explore in my work as an architect.类似这样的记忆包含了我所知道的最深刻的建筑体验，它们是我作为建筑师在工作中探寻建筑气氛和图像的宝藏。

When I design a building, I frequently find myself sinking into old, half-forgotten memories, and then I try to recollect what the remembered architectural situation was really like, what it had meant to me at the time, and I try to think how it could help me now to revive that vibrant atmosphere pervaded by the simple presence of things, in which everything had its own specific place and form. And although I cannot trace any special forms, there is a hint of fullness and of richness which makes me think: this I have seen before. Yet, at the same time, I know that it is all new and different, and that there is no direct reference to a former work of architecture which might divulge the secret of the memory-laden mood.设计房子时，我常发现自己沉浸于旧日残缺的记忆中，然后，我试着回想记忆中的建筑情境真正的样子，回想它当时对我的含义；试着思考它现在如何帮我通过那些简单事物的存在，来唤醒那生动的气氛，在这种气氛中，所有事物都有自身的位置和形态。

尽管我不能找出任何特别的形式，但仍有种对完整和丰富的暗示，让我觉得：这个我曾经见过。

但同时，我知道它是全新的、不同的，并且没有前人的建筑可作为直接参照，来揭示盛满记忆的心绪的秘密。

Made of materials材料构成To me, there is something revealing about the work of Joseph Beuys and some of the artists of the Arte Povera group. What impresses me is the precise and sensuous way they use materials. It seems anchored in an ancient, elemental knowledge about man’s use of materials, and at the same time to expose the very essence of these materials, which is beyond all culturally conveyed meaning.对我来说，约瑟夫·博伊于斯（Joseph Beuys）①和贫困艺术（Arte Povera）②的一些成员的作品是有①约瑟夫·博伊于斯（Joseph Beuys），1921－1986，德国著名艺术家，以雕塑为其主要创作形式。

②二十世纪60年代，出现在意大利的希尔施霍仑（Hirschhorn）的艺术运动——贫困艺术（Arte Povera），最初由意大利评论家吉马诺·塞朗提出。

1968年，塞朗在波洛拿组织了一次题为“贫困艺术”的展览，次年又推出《贫困艺术》一书。