材料與建造過程外文翻譯

1、<p>　　文章出處：John P.Cook P.E Composite Construction Methods ,John Wiley & Sons Inc ,2006</p><p><b>　　材料與建造過程</b></p><p>　　我首先提到的是材料，因為對我而言，材料是最基本的建筑要素。最終，人們在毀壞的建筑廢墟中發(fā)現(xiàn)的只是石頭。所以

2、在我看來，研究建筑學(xué)的材料方面－它們承擔(dān)著建筑學(xué)的物質(zhì)層面－是非常重要和根本的。</p><p>　　我認為認識建筑學(xué)的第一步是去了解什么是混凝土、鋼材、木頭等材料以及如何應(yīng)用他們，還有它們究竟表現(xiàn)了什么。它們最終可以構(gòu)成什么樣的造型，這就是今天我竭力向大家展示的，這將從我最初的作品一直貫穿到最近的作品。</p><p>　　在這個用玩具搭建的小雕塑造型中，旋吊石頭的力貫穿物體的每一個組成

3、部分，通過石材、木材和繩索（纜線）甚至是鋼材所組成的物品傳遞著。這看起來十分簡單，但實際上卻頗有學(xué)問。這里所有的玩具都處于受拉狀態(tài)，線團產(chǎn)生向外的傾覆力，但它本身處于受壓狀態(tài)。連這些物品的色彩也呈現(xiàn)一種簡潔卻精心的格調(diào)。毋庸置疑，這里充分表達和揭示了在空中懸吊石塊的情形。</p><p>　　我在瑞士的阿拉干的沃連高級中學(xué)承擔(dān)了一個項目，是在幾棟現(xiàn)有的建筑之間進行增建的工程。我設(shè)計的項目包括一個入口、一個中心報告

4、廳、圖書館的頂棚和大會議室的屋頂。在設(shè)計過程中，我?guī)状胃鶕?jù)材料的變化修改方案。有些部分運用混凝土和鋼材的組合方案，有些則運用玻璃和鋼材的組合方案，還有些部分運用了混凝土和木材的組合方案。依據(jù)對不同材料進行測試的結(jié)果，運用不同的材料特性解決不同的需求－在這里我要向大家提及另一個非常重要的話題－用光來控制各種不同空間的特性，那對于我來說是件非常有趣的事情。</p><p>　　入口的構(gòu)思是從現(xiàn)存建筑的布局和規(guī)劃中得到

5、的，平面呈梯形，我的方案是切去了其中的一個對角，形成了由一個拱券連接的兩個平面呈錐形頂蓋。每個頂蓋都偏向各自的方向。在它們的交接處有一個截面呈管狀的拱，起到抵抗扭矩和排水天溝的作用。即便如此，管狀物本身還是承受了很大的扭矩。我在這里用它來作為立面上的銜接和屋頂覆蓋物，用以協(xié)調(diào)所有的建筑構(gòu)件以形成建筑風(fēng)格上的統(tǒng)一。</p><p>　　與此同時，每一個建筑構(gòu)件又應(yīng)清晰地表現(xiàn)，尤其是在立面上更為重要，在本方案中表現(xiàn)為

6、樹葉或手掌的形式，一種非常具有形式感的造型本身就是設(shè)計的組成部分。這當(dāng)然是在我對項目有了初步的了解之后而產(chǎn)生的構(gòu)思，這樣做可以賦予建筑物以令人驚嘆的自然形態(tài)。單純對事物的觀察如同建筑材料一樣都激發(fā)著我的創(chuàng)作欲望。</p><p>　　沃連高級中學(xué)的第二個增建項目是一個入口空間。在那里，我設(shè)計了一個木制的圓形屋頂。屋頂?shù)男蜗蠓浅ｕr明，其圓形被輻射狀分割，分割后每一個部分呈V字型，使內(nèi)容空間十分開敞。我用線型的、代表

7、受壓的構(gòu)件取代了折角部分的構(gòu)件。我將圓頂上不同類型的支撐構(gòu)件各自分開，使人們領(lǐng)會到這些構(gòu)件在視覺上共同構(gòu)成了頂棚外圍的一個圓環(huán)。這個承受拉力的環(huán)浮在半空，它是我與地心引力進行對抗的思想的具體體現(xiàn)，使圓環(huán)看起來非常明顯又不含任何結(jié)構(gòu)意義。屋頂真正的支撐－V字型構(gòu)件的轉(zhuǎn)角部分起到了拉結(jié)作用。</p><p>　　光從圓形屋頂?shù)暮蠓竭M入，從它底部反射到三角形的折角部分。位于圓頂后面的部分在光的作用下仿佛消失了，所以使人

8、感到整個屋頂好像飄浮在內(nèi)部空間之上。顯而易見，當(dāng)你看到所有的構(gòu)件組合在一起時，就仿佛與花瓣的形象突然有了些許默契。</p><p>　　在圖書館的設(shè)計中，對光的處理以及協(xié)調(diào)光與空間的關(guān)系變得十分重要。我認為自由墻體分隔和形成一束沿切線方向的光非常必要，就像路易斯·康或許曾經(jīng)做過的那樣。我希望讓位于圓形中心的屋頂向之傾斜的柱了，它同時又是匯集屋頂雨水的通道。屋頂是由幾片薄片組成的殼體結(jié)構(gòu)，其折角設(shè)計得恰到

9、好處，以確保屋下照耀時，就產(chǎn)生了沿著墻體呈切線的光束。</p><p>　　為了吻合圖書館儲藏圖書的功能，我構(gòu)思了一本張開的書的形象。腦海中依然浮現(xiàn)著出現(xiàn)過幾次的“屋頂浮在半空”的構(gòu)思，這是為體現(xiàn)屋頂?shù)妮p盈而進行的處理。創(chuàng)造輕盈感是因為要與材料或靜力學(xué)結(jié)構(gòu)形成對比。在這里，通常表現(xiàn)屋頂感覺較重而承重的中柱卻顯得很輕盈，兩種材料的對照與側(cè)面采光的作用使整個屋頂仿佛飛了起來。殼體的基座不是普通的雙曲面或拋物面，它是一

10、本打開的書的形象。同時，殼體還仿佛是一只展翅欲飛的鳥。這是一種設(shè)計概念的疊合，你還可以從中柱托起的殼體中領(lǐng)略到葉子的形象。</p><p>　　至于大廳或者演講廳的設(shè)計，我想在這里實現(xiàn)的構(gòu)思非常簡單－那就是通過暴露被拋物線拱所支撐的屋頂來體現(xiàn)墻體與屋面在結(jié)構(gòu)上的分離。在殼體的兩側(cè)設(shè)計了天溝和采光的水平天窗，它們將自然光引入室內(nèi)，非常微妙地表現(xiàn)了殼體的結(jié)構(gòu)物征和那些豐富細膩的結(jié)構(gòu)構(gòu)件，使這些將屋頂?shù)暮奢d傳遞給拱的構(gòu)

11、件感覺非常通透。這些斜撐屋頂?shù)钠渌熬蓮?fù)合木材加工而成。這個空間感覺非常親切，其室內(nèi)構(gòu)件的風(fēng)格和光影效果也有助于這種親近感的形成。</p><p>　　佇立在入口處的屋頂覆蓋物，也同樣體現(xiàn)了棕櫚樹一樣的植物形象，它們處理得也許有些雕塑感過于強烈－我試圖在此表現(xiàn)荷載從拋物線拱傳遞到柱子上的過程。許多人將柱子的頂端看成是簡化了的愛奧尼柱頭，實際上并非如此，它更像牛腿的頂端。</p><p>

12、　　柱子是由混凝土預(yù)制而成的，我原本非常喜歡素混凝土－即在施工場地上現(xiàn)澆出的混凝土，但只要你把握它的肌理和造型特點之后，預(yù)制的混凝土也會產(chǎn)生非常強烈的表現(xiàn)力。在我的馬倫西亞母語中稱這種混凝土為“formigó”，它源于單詞“forma”；在西班牙語中，用來表達混凝土的單詞是“hornigón”，以字母“ h”替代了巴倫西亞語“formigó”的字母“f”?！癴ormigó”的本意是賦予材質(zhì)以形狀，

13、它非常恰當(dāng)?shù)乇憩F(xiàn)了混凝土的特征，用預(yù)制混凝土構(gòu)件，還可以使你在選擇材料的形狀、紋理和其他特征上有非常大的自由度。</p><p>　　大廳的柱子是用非常節(jié)省的方式預(yù)制成的混凝土柱子，預(yù)制時將整根柱子分為兩截，分別澆灌成型后再拼接到一起。這種方法還有一個優(yōu)點，那就是澆灌時形成的表面就作為柱子的最終面層；在現(xiàn)場院你看不到任何混凝土施工的工地。</p><p>　　“德國科菲的厄恩斯廷工廠倉庫”

14、同樣是我早期的作品，它是如何將過去的倉庫進行改造并使之具有新的含義的典型實例。我所要做的第一步是選擇材料，它們必須常便宜，所以我決定選擇混凝土和生鋁板，即你到處都可以見到的、感覺粗獷的標(biāo)準(zhǔn)確性材料。你可以買到呈卷簾的或平鋪的鋁板，你可以用多種方式加工它，以使它們非常易于應(yīng)用。</p><p>　　我們來探討如何使這棟建筑得以改造-不僅是在材料上，而且是在理念上對其進行改造。用材的限定在很大程度上形成了制約。在這里

15、我們的構(gòu)思轉(zhuǎn)繞著一個主題-如“拼圖”般的效果，它使得我們可以在某種程度上相對自由。在這里所講的“拼圖”，意味著每一個立面都會因兩種材質(zhì)的拼接而形成不同的圖案。每個立面的處理手法可以有非常大的差距，只須運用材質(zhì)來統(tǒng)一它們。</p><p>　　南立面采用彎曲的鋁板飾面，將它們加工為呈正弦曲線的形狀。由于曲線凸出的部分依靠內(nèi)側(cè)的橫向構(gòu)件連接，因而在立面上形成了雙重的剛度。曲線提出供了一個向上的剛度，而彎曲的鋁板本身還

16、有另一個向上的剛度，所以它們允許我們建造很高尺度的立面。</p><p>　　為了強調(diào)節(jié)器曲面的動感，分別在立面的頂部和底部斜切了一下，使得從前方看去，立面上的正弦曲面更為突出。從下面仰視整個建筑，曲線的形狀清晰而明了。委托商告訴我，因為安全照明的需要，外部需要許多燈光照明，因此我在立面上設(shè)計了燈柱。燈柱的照明強化了材料表面的特征，在設(shè)計方案中使燈柱探出建筑立面之外，從而使建筑墻體上的陰影隨著曲線而產(chǎn)生變化，同時

17、在立面上形成了差異，構(gòu)成非常富于藝術(shù)感染力的畫面。</p><p>　　上面講的是南立面，它的特點在于它的效果將隨著一天中太陽的不同位置而發(fā)生變化。在曲面里你可以看到這里不僅隱藏著陰影，還點綴著太陽所形成的高光。彎曲的鋁板反射陽光時會形成垂直的振蕩。立面變化非常微妙，根據(jù)日光水平或垂直的入射角度，在一天中的每一刻呈現(xiàn)不同的效果。底部的斜切面是仿佛從混凝土的結(jié)構(gòu)中飄浮而出的樣子。</p><p&

18、gt;　　北立面，情形又有所不同，在那里只受天頂光的作用，即一種散射的環(huán)境光。那么如何在這種光照條件下形成匠心獨運的立面效果呢？我在立面上采用了相當(dāng)長的一段水平布置的“s”形鋁板，盡可能地增大它的長度，這意味著10米或30英尺的距離。在整片板材的截面上位于中心角線的部分，能夠形成反射，在兩得板材疊合的上部會產(chǎn)生陰影。然后同樣，底部反光也較弱并被陰影隔斷。這形成了一種在天頂光的作用下非常醒目的水平結(jié)構(gòu)。</p><p&

19、gt;　　東立面，我使用了17米高的彎曲鋁板，我們需要解決的難題是如何將其拼裝成一體，并在頂部或底部用細小的構(gòu)件將其固定。在初生太陽水平的照射之下，東面的場地非常平坦，那里還隱藏著一個外飾金屬面材的升降機。為了將之與其所屬立面區(qū)分，我們借助于比例-像很大的、鋁制的魚一樣的比例，它們在折角至頂部可以折疊。</p><p>　　于是立面又一次被子看成分離的圖案，也就是我曾經(jīng)所說的“拼圖”，它就如同畫卷一般展現(xiàn)在我們面

20、前。但是你怎樣才能將這些不同的畫面，也就是立面連接在一起呢？從一開始，這棟建筑就好像天外來物，我們必須使它富于生機。西立面與東立面幾乎完全一樣，只是日落與日出的差別。這里同樣用大面積的鋁板解決了立面的形式，它們與三扇每日通行運貨的卡車的大門結(jié)合時，貨車開始穿梭，如果你在建筑或其他的尺度上瞭望大門時，建筑仿佛化作了一條巨鯨。當(dāng)車流攢動時，就仿佛約拿的故事或圣Exupery的巨蛇和大象一樣，進行著吞咽的場院面。大家想想，這種設(shè)計上的游戲是多

21、么重要?。?lt;/p><p>　　在講座開始時，我給大家看的雕塑是用玩具做成的。它是我利用家里給孩子們準(zhǔn)備的玩具所作的構(gòu)成練習(xí)-通過鉛筆、掛窗簾線和其他我所能在家中找到的物品來進行的創(chuàng)作。在練習(xí)或構(gòu)思中，最關(guān)鍵的是整體中任何一部分都成為不可或缺的。在一開始有些想法純粹是自發(fā)和簡單的。如何深入下去成為一個非常重要的部題?？墒谴蠹抑肋M行下去是一件很簡單、很自然的事情。不積跬步，無以至千里。對于像鯨魚的那些構(gòu)思，在我看

22、來不過是通過拼圖和肌理賦予建筑以生機的方式。</p><p>　　在倉庫門的模數(shù)設(shè)計上，沿襲了立面的模數(shù)。立面上一片片重復(fù)著同樣的元素；僅僅是在長度上有所改變，這產(chǎn)生了一種非常美妙的構(gòu)思，即可以使立面進行變形的構(gòu)思。變形與變異的概念是形成建筑進化的必要條件-一個令人難以置信的必要條件。那不僅是因為通過變形的概念可以改變原有的機械和物質(zhì)構(gòu)件來適應(yīng)新的建筑形成；而主要是因為我們對建筑的需求與對文化的思考仍處于一個不斷

23、成熟的過程，如今正是將這些新的內(nèi)容融入建筑中的時刻。</p><p>　　你能想像幾乎將一個完整的立面全部進行改造的情形嗎？不局限于這個項目中的一半的立面的變化，而是整個立面都像窗簾一樣從一側(cè)拉到另一側(cè)的效果。在我看來，這在今天是可行的，當(dāng)然它對于新的一代的設(shè)計者和建筑的發(fā)展都是一個挑戰(zhàn)。</p><p>　　蘇黎世德斯塔荷芬火車站，坐落在一處山坡的邊緣。早期，蘇黎世湖間經(jīng)綿延至山腳-形成

24、古冰河沉積形成的石堆。早期的居民在此填湖造田，形成一片平坦的土地并建造了房屋。后來，這里修建了鐵路，兩面三刀道鐵軌將山地分成兩半。分開后兩邊形成了非常不同的發(fā)展趨勢-火車站至今仍然留存，在它的一側(cè)是繁華的都市，而另一側(cè)卻被非常自然的植被子所覆蓋。</p><p>　　我們的項目是火車站的擴建工程。這是一個交通非常繁忙的車站，它在當(dāng)?shù)氐蔫F路運輸中發(fā)揮著非常駐得要的作用。我們的擴建必須考慮鐵路本已將山地分為兩面三刀段

25、，而我們卻不得不順應(yīng)它的趨勢又將沿著山體將其弄得更深一些。最基本的構(gòu)思保留原來的邊界，這樣可以同時保護邊蚧上的植被和景觀。根據(jù)這些原則，我們設(shè)計了一片像墻一樣永久地錨固在山體上的結(jié)構(gòu)。這片墻支撐著上面的住宅，它們與用地的邊蚧非常駐接近。沿墻壁建成造了一些花園和花架，還保留著上部基地原有的風(fēng)貌，使下面候車的乘客在等候火車的閑暇可以有機會到上面溫步。在鐵軌下面，我們設(shè)計了帶拱廊 商店，為的是使用權(quán)通向站臺的道路更為安全和有趣。</p&

26、gt;<p>　　還有許多自然的技術(shù)因素幣約著建造。比如，我們工作的場院地非常駐狹隘窄-最短處只有27米即90英尺寬，而且兩面都有已建建筑。所以由于這種技術(shù)上的原因，我們不得不考慮發(fā)展地下空間，一直挖到地下14米也就是45英尺。同時，我們在建造時還要考慮全天候的鐵路運行的因素。在建造成過程式中鐵路運輸從未間斷，有時每隔2分鐘就有一輛火車通過。在這樣緊張的基地上，尤其是還要兼顧工期與安全的同時進行，改建對于我來說的確是一項挑

27、戰(zhàn)。</p><p>　　我當(dāng)時非常駐緊張，因為這是我最初的兼任建筑結(jié)構(gòu)工程負責(zé)人的幾個項目之一。它雖然是一項大型公建成，但也應(yīng)該具有某和趣味性。所以除了考慮火車站臺票本身的復(fù)雜功能和它與城市文脈的聯(lián)系之外，我頭一次嘗試著運用了人體與解剖學(xué)的概念。我開始關(guān)注人的姿態(tài)，并從自己的手掌又想到了手掌的側(cè)面，我選擇拇指與食指之間的部分使之變?yōu)橹男问?，你可以在整個工程中看到這種形式被重復(fù)地頻繁使用。</p>

28、<p>　　我還應(yīng)告訴大家，這個火車站是立交的而不是線平式的，火車通過一條地下隧道進站，再經(jīng)過隧道貌岸然出站。從剖面上看，隧道貌岸然的兩端向下彎曲，只有中間部分是平坦的，因此我們的車站就采用了微微拱起的拱結(jié)構(gòu)。柱子微微傾斜以保持與拱頂相垂直，你不會發(fā)現(xiàn)它們之間的角度有什么變化，但如果它們垂直于地面，你或許會馬上發(fā)現(xiàn)其傾斜角度的變化，而且它們在各個方向都是傾斜的。地下廊道的柱子也是類似的形式。車站的平面上同樣呈彎曲狀，這幾乎純

29、粹是結(jié)構(gòu)的需求所致。平面與軌道貌岸然的剖面早已確定并由結(jié)構(gòu)工程師設(shè)計好，但曲線卻形成了一個280米長的拱卷，差不多900英尺。由于在中間看不到拱的兩端，所以它看起來比實際長度更長。于是曲線的運用同時在平面與剖面上都促進了設(shè)計構(gòu)思的發(fā)展。大家看，那旋轉(zhuǎn)達形體像圓環(huán)一樣，強調(diào)節(jié)器了鐵路的動勢。旋轉(zhuǎn)的幾何體非常駐便于形成動感的建成筑效果，尤其是通過重復(fù)的建筑元素。</p><p>　　你會非常有趣的發(fā)覺，實際上車站已不

30、復(fù)存在，因為它已經(jīng)消失于后面城市背景中的建筑屋頂之中。</p><p>　　我非常希望講一小段用混凝土進行不同試驗的插曲。我受“瑞士混凝土協(xié)會”的委托，為巴塞爾展覽會設(shè)計了一個亭子。為了完成這個項目，我試圖制造了一種使混凝土運動的機械。我們從前了解的不僅有輕質(zhì)混凝土，還有普通混凝土，甚至所有種類的混凝土，但卻很少有人知道貌岸然運動的混凝土。不知大家是否知道弗雷西內(nèi)工程師？他是試圖用微?；炷料葟埛ㄖ圃祜w機機翼的發(fā)

31、明者，這說明在20世紀20、30年代的人們熱衷于對這種材料進行探索。</p><p>　　在這座亭子的設(shè)計中，我想運用一種完全仿造人體的建筑形式。通過認識人體，我是說分析男人與女人的身體，我對形式的感性方面產(chǎn)生了興致。于是，大家看到產(chǎn)生了像肋骨一樣和類似于環(huán)形的構(gòu)件。在這里應(yīng)用混凝土是人們通常不會想到的一個非常巧妙而又熱衷的解決方案。這不僅涉及動動混凝土的應(yīng)用，還包括如何使它富于感官效果，比如類似肌肉與皮膚。這里

32、的“有機”的想法是在探討一片細部構(gòu)件如何與另一片構(gòu)件搭接的過程中逐漸產(chǎn)生的。細部的形體作用，超出了精致的結(jié)構(gòu)構(gòu)件的范疇；它使我們可以如神話般地再現(xiàn)人的胸膛。</p><p>　　本章節(jié)中我所介紹的最后一個實例，是里昂的“沙特拉斯機場輕軌鐵路車站”。提醒大家注意的是，這棟建筑全部是由非常細心而手藝高超的工匠們用手工制造的混凝土構(gòu)件。大家也應(yīng)留意在現(xiàn)場進行建造的過程中，將不同的構(gòu)件組合在一起時的動人場面。與現(xiàn)場工作人

33、員和睦相處是十分重要的，因為工程的關(guān)鍵在于匠人們的通力協(xié)助。實際上現(xiàn)場經(jīng)常有人會有風(fēng)險－他們當(dāng)然不是建筑師，而是那些工作的可愛的匠人們。</p><p>　　車站由混凝土、鋁材、鋼材和玻璃等構(gòu)成，還有一些花崗石的鋪砌。用于建造它們的混凝土是白色的，由純白的水泥制造，經(jīng)自然攪拌后運至場地處，與淺灰色的沙子混合。這樣就產(chǎn)生了一種外表非常輕盈的混凝土，它的顏色使你感到與現(xiàn)場十分協(xié)調(diào)。屋頂是鋁板制成的，所以會反射陽光。站

34、臺的連廊以素混凝土澆筑而成，中間是大片的玻璃窗。步行道用花崗石和卵石鋪砌，而其他硬地都以混凝土建造。敞開的巨大翼狀屋頂，由鋼材和玻璃共同制造。在這個設(shè)計里運用了非常多的材料，但其應(yīng)用的法則卻是經(jīng)過精心推敲的。比如，鋼材從來都不與地面直接相連－連接處的外表面都包上混凝土材料。起支撐作用的構(gòu)件也從來不是直接架設(shè)在地面上的。</p><p>　　車站的翼形屋頂面向南方。在設(shè)計屋頂?shù)膬A斜角度蝗，我們考慮到太陽高度角的變化

35、規(guī)律，使6月至11月間日光無法直接射入建筑內(nèi)部，而其余時間太陽卻可以溫暖室內(nèi)空間。這使我們在設(shè)計建筑時考慮適應(yīng)季節(jié)變化的要求。</p><p>　　我非常希望能夠根據(jù)人體的某一部分結(jié)構(gòu)創(chuàng)作建筑造型。許多這樣的結(jié)構(gòu)構(gòu)件一起支撐著車站的敞廊。整個敞廊就是由這種元素組合而成的。</p><p>　　此外，整個車站和屋頂?shù)臉?gòu)思最初源自于眼睛的形式。有人曾經(jīng)說過如果拉菲爾失去了臂膀，他或許會成為一名

36、優(yōu)秀的建筑師，因為建筑師的作品是通過眼睛來完成的，這才是觀察與判斷和創(chuàng)造的源泉。視覺由兩部分組成，兩個長在面孔前面的眼睛；創(chuàng)造與聯(lián)系事物的發(fā)現(xiàn)意識。</p><p>　　文章出處：John P.Cook P.E Composite Construction Methods ,John Wiley & Sons Inc ,2006</p><p>　　MATERIALS AND CO

37、NSTRUCTION PROCESS</p><p>　　I choose to speak first about the idea of materials, because it seems to me that, in terms of architecture, materials are fundamental. So the material part of architecture-let’s s

38、ay the physical support and very fundamental. </p><p>　　I thought that a good first step toward understanding architecture was to understand what concrete is, what steel is, what wood is, how to use them, w

39、hat they signify. What are the forms they can achieve? What are the differences between these forms? This is what I want to try to show you, beginning with the most recent works.</p><p>　　In this small figur

40、e done by using pieces of toys, the force of the hanging stone goes through all the pieces an is materialized in stone, wood, cord, and parts of steel. It seems very simple, but there is a lot of complexity there: the di

41、fferent pieces of the toy working in tension; itself working in compression; even the colors that are put together in a simple but deliberate manner. There is no doubt that the simple act of holding a stone in the air ca

42、n be a matter of expression.</p><p>　　The work that I did the Wohlen High School in Aargau, Switzerland, required me to make a series of interventions in some existing buildings. I added an entrance, a centr

43、al hall, a roof for the library, and another roof for the great hall. In this project, I changed materials several times. One part was built in concrete and steel; another part, in steel and glass; another one, in wood a

44、nd concrete. Along with the experimentation with materials—using particular materials for particular solutions—</p><p>　　The idea of the entrance was generated from the existing plan and its geometry. The pl

45、an was a trapezoid, which I cut with a diagonal to create a canopy that consists of two cones attached by an arch. One works in cross section that provides torsional resistance and also holds the gutter. Even though the

46、pipe has torsional stiffness, I used it here for the purpose of cresting a link between the façade and the canopy, so that these elements work together in the same gesture. An ensemble has to be</p><p>

47、　　And of course, independent of the fact of construction, it is clear, looking especially at the elevation, that there is the idea of a leaf, or a palm. A very figurative idea was part of the design. There is certainly b

48、ehind my very first approach—this free approach—to architecture a looking for inspiration in natural forms. The simple observation of things motivates me as much as the material aspects of architecture do. </p>&l

49、t;p>　　The second intervention at Wohlen High School is an entry space. There I made a circular cupola in wood. The shape was very straightforward; a circle was subdivided into radial segments. These segments were made

50、 using a v that I cut, opening the interior. I replaced the portion of the crease that was removed with a linear element that signifies the compression in this element. I separated the different components of the cupola’

51、s support in order to make visible all the different types of support</p><p>　　The light comes in from behind the cupola, at its base and through the creases of its triangular segments. The surfaces behind t

52、he cupola disappear in this light, so that you get the impression that the whole thing is floating in the interior space. It is clear, when you see all those shapes together, that they can be associated with petals.</

53、p><p>　　In a library, the control of the light and the relationship of the light to the space is even more important. I thought it necessary to liberate the walls and to create tangential light, as Louis Kahn m

54、ight do. I decided to make the roof an the center of the space seem to float. Its main support is a column toward which the roof inclines and through which rain water is channeled. The roof is a shell composed of several

55、 shells. The corners are held in place so that the roof will not move laterall</p><p>　　For the genesis of the idea I started thinking about a book an open book. Again, as in several other cases, the idea of

56、 the roof as floating came to mind. This is a theme in which the idea of lightness is embedded, and lightness is often created because of the contraposition of materials or of static systems. If the roof is heavy and the

57、 spindle is light, this contraposition of two materials combined with the light coning from the sides will make the whole roof seem to fly. The basis for the for</p><p>　　With the design of the great hall, o

58、r auditorium, what I wanted to achieve was quite simple. I proposed making the roof emerge by creating a parabolic arch on the interior that supports a raised shell that is independent of the walls. At each side of the s

59、hell is a gutter and a longitudinal window that brings light to the interior, very softly emphasizing the underside of the shell and bringing transparency to the repetitive, oblique elements that are transferring the wei

60、ght of the roof to the a</p><p>　　As in the entrance canopy, there is the idea of a palm tree. Also—and this may be very figurative—I was trying to express the idea of the force of the parabolic arch transfe

61、rring to the column. Many people think the column top is a reminiscence of an Ionic capital, which is not the case. It is more like the head of a ram.</p><p>　　The columns were pre-cast in concrete. I like v

62、ery much brute concrete—concrete done on site—but ore-casting can be very interesting because of the complexity and freedom of forms that you can achieve. In Valencia, in my mother language, we used too say FORMIGO. FORM

63、IGN comes from FORMA. In Spanish, concrete is BORMIGON with “h” replacing the “f” of FORMIGO. FORMIGO means material to which you can give form. This is a good definition of concrete. With pre-cast concrete you are very

64、free to choos</p><p>　　We cast the columns for the great hall in the most economical way. We cut the column in two and cast each half horizontally and then glued them together. This has another advantage in

65、that all the exposed surfaces in the end are finished surfaces; you do not see any of the places in which you have been casting the concrete.</p><p>　　Ernsting’s Warehouse in Coesfeld, Germany, is also an ea

66、rly work. It wan an exercise in how to clad an existing warehouse and give it new signification. The first decision I needed to made was about the materials, which had to be very economical. So we decided to use concrete

67、 and crude aluminum that you can get very easily. You can purchase it corrugated or flat you can get it in many ways—and it is easy to work with.</p><p>　　We investigated how to transform this building, not

68、only materially, but also thematically. The limitation of the material created a significant restriction; the idea of working with a theme—here, the “pintoresque”—allowed us a certain freedom. By “pintoresque” I mean lik

69、e a paining; each façade should appear like a different painting executed in the same two materials. The material creates a unity, and the treatment of the material makes each façade different from the others.&

70、lt;/p><p>　　The south façade was done using corrugated aluminum, made into a sinusoidal curve. This gives the façade a double rigidity, because the convex segments of the curve are held at the inside

71、with transversal connections. This curve gives one level of rigidity and the corrugation of the metal itself provides a second rigidity, permitting us to make quite a tall façade.</p><p>　　In order to e

72、mphasize the movement of the curve, we cut the façade at the top and bottom on an oblique angle, so that looking from the front, in elevation, the section of the sinusoid is even more accentuated. Looking up to the

73、top of the façade, the curve is clear and readable. The client said that for safety reasons he needed a lot of light on the exterior, so we put lamps on the façade so that the shadows of the lamps follow the cu

74、rve. They create drawings on the façade, and this is quite a p</p><p>　　This is the south façade, which means that the movement of the sun during the day makes a very significant change in the fa&#

75、231;ade itself. In the curve you see shadows of the light and also the reflection of the sun. Vertical vibrations are produced by the reflection of the sun in the corrugations of the aluminum. The façade is extremel

76、y sensitive, changing with the hours of the day—with horizontal light, with vertical light. The oblique cut at the base makes the façade seem to float and move over </p><p>　　On the north façade, t

77、he problem was different, because it has just zenith light—a very diffused light, ambient light. So how do you emphasize the plasticity of the façade in zenith light? I proposed using an s profile placed horizontall

78、y on the façade in very long pieces—as long as possible, which means maybe ten meters, or thirty feet, long. In this profile, the center section, on the diagonal, will generate quite a reflection. At the top edge wh

79、ere the two profiles overlap you will get shadow</p><p>　　On the east façade we used corrugated plates seventeen meters high. The problem here was to put them on in one piece and to hold them in place w

80、ith small elements at the bottom and the top. The east side is very flat, confronting the horizontal light of the morning sun. There was an elevator body on this side that needed to be clad. In order to distinguish it fr

81、om the rest of the façade we used scales—like those of a fish—but very big ones, made of aluminum, that fold at the corners and into the</p><p>　　So again, each one of these facades is conceived as a se

82、parate picture. I spoke before of the “pintoresque,” meaning like a painting. But how do you link these different paintings, these facades? From the very beginning, was like a foreign body. The west façade has almos

83、t the same light conditions as the east façade, the sun setting versus the sun rising. It was also done using those very large panels of corrugated aluminum. It incorporates three large gates for the lorries that co

84、me in and go o</p><p>　　The sculpture I showed at the beginning of the lecture was made with toys. It was an exercise for me to take my children’s toys and the things in my house—pencils, the cord that hangs

85、 the curtains, whatever I found—and make the sculpture. The elementality of the exercise, or of the thought, takes absolutely nothing away from the complexity spontaneous and simple, I want to walk. Where am o going? Tha

86、t is the question. But, you know, to walk is just a very natural thing, a very simple thing. A ve</p><p>　　In the warehouse doors, the module is a continuation of the module of the façade. The pieces of

87、 the façade are all very repetitive; only the length of each has changed. In this there is a very beautiful idea. It is the idea that a façade can be transformed. The idea of transformation, of metamorphosis, i

88、s a mother of evolution in architecture—an unbelievable mother! It is not only because we can deploy mechanical and physical elements to create new architectures based on the idea of metamorphosi</p><p>　　Ca

89、n you imagine, for example, a whole façade that gets transformed? Not just half a façade, like in this project, but the whole façade, like a curtain opening from one side to the other. This is, in my opini

90、on, feasible today and certainly a challenge for the new generation and in the evolution of architecture.</p><p>　　The Stadelhofen Railroad Station in Zurich is sited on hillside. In section, you have the la

91、ke of Zurich that used to extend to the base of this hill---a moraine made by glacial deposits. Early settlers walled off part of the lake to create a flat area upon which they started building. Later, the railroad came

92、and made a cut into the hill for two rail lines. The cut separated two areas of very different character---a situation that is still preserved today; on one side it is very urban, and on t</p><p><b>　　

93、.</b></p><p>　　Our exercise was to enlarge the station. It is a station that is heavily trafficked and one that is important within the regional railway scheme. Our intervention considered the fact tha

94、t there was an existing cut from which we had to step back, cutting deeper into the hill. The basic idea was to conserver the original edge of the cut, so as to be able to retain the green condition above it. For this, w

95、e proposed a wall-like structure that is permanently anchored to the hill. The wall supports t</p><p>　　There were many other issues technical in nature that conditioned the construction process. For instanc

96、e, the site on which we worked was very narrow---sometimes only twenty-seven meters, or ninety feet, in width. There were houses on both sides, so for technical reasons we had to go underground as much as fourteen meters

97、, or about forty-five feet Also, we had to build the project with the trains circulating the whole time; the traffic in the station was never interrupted, with a train arriving </p><p>　　I was very nervous b

98、ecause it was one of the first jobs in which I was responsible for the architecture and the engineering. This was a big thing, but I thought that we should also have some fun with the station. So in addition to relating

99、the station to the functioning of the complex and to the urban context, I began for the first time to experiment with ideas of the body and the open hand, which signifies sincerity and openness. From the open hand turned