Contradictory levels of meaning and use in architecture
involve the paradoxical contrast implied by the conjunctive
"yet." They may be more or less ambiguous. Le
Corbusier's Shodhan House ( 11 ) is closed yet open-a cube,
precisely closed by its corners, yet randomly opened on its
surfaces; his Villa Savoye (12) is simple outside yet complex
inside. The Tudor plan of Barrington Court ( 13) is
symmetrical yet asymmetrical; Guarini's Church of the Immaculate
Conception in Turin ( 14) is a duality in plan and
yet a unity; Sir Edwin Lutyens' entrance gallery at Middleton
Park (15, 16) is directional space, yet it terminates at a
blank wall; Vignola's fasade for the pavilion at Bomarzo
(17) contains a portal, yet it is a blank portico; Kahn's
buildings contain crude concrete yet polished grantite; an
urban street is directional as a route yet static as a place. This
series of conjunctive "yets" describes an architecture of
contradiction at varying levels of program and structure.
None of these ordered contradictions represents a search
for beauty, but neither as paradoxes, are they caprice.
Contradictory levels of meaning and use in architectureinvolve the paradoxical contrast implied by the conjunctive"yet." They may be more or less ambiguous. LeCorbusier's Shodhan House ( 11 ) is closed yet open-a cube,precisely closed by its corners, yet randomly opened on itssurfaces; his Villa Savoye (12) is simple outside yet complexinside. The Tudor plan of Barrington Court ( 13) issymmetrical yet asymmetrical; Guarini's Church of the ImmaculateConception in Turin ( 14) is a duality in plan andyet a unity; Sir Edwin Lutyens' entrance gallery at MiddletonPark (15, 16) is directional space, yet it terminates at ablank wall; Vignola's fasade for the pavilion at Bomarzo(17) contains a portal, yet it is a blank portico; Kahn'sbuildings contain crude concrete yet polished grantite; anurban street is directional as a route yet static as a place. Thisseries of conjunctive "yets" describes an architecture ofcontradiction at varying levels of program and structure.None of these ordered contradictions represents a searchfor beauty, but neither as paradoxes, are they caprice.
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