天书一般。。。请懂的人给科普一下。我能理解的是，他用语言学的那一套来构建房子，一座房子按一套既定的语法来设计。这个六号房子的逻辑似乎是跟正方体有关系（具体是什么呢？），里面提到房子要用截面分成四块，然后按照既定的语法，楼梯要怎样怎样，结果根本不实用。然后艾森曼说宜居和舒适之于空间而言就像描绘之于图画一样？我都不知道自己在说什么。。。
While Kosuth or LeWitt applied their linguistic permutations to sculptural objects, by definition without a use if not in aesthetic terms, Eisenman was dealing with the more prosaic reality of actual constructions. We can look, for example, at House VI, perhaps the most famous. The entire construction is inscribed within a cube and articulated by sub-modules, also cubic in form. The dominant formal motif is the manipulation of squares to generate plans and elevations. There is also a play of offsets, advancements and large transversal plans that cut the home into four pieces. There are correspondences between solids and voids, between voids and voids, between solids and solids. The logic is so binding that the stair connecting the two levels of the home corresponds with a symmetry that, inverted, runs along the ceiling, creating an element that is obviously impossible to use and thus completely useless in functional terms. Finally, there is the use of colour to highlight the different planes. The result: the house is fascinating for its abstract play of forms, though it is barely inhabitable and the clients were forced to accept a number of diktats on their way of life imposed by the rigidity of the compositional syntax. As Eisenman stated, in a paradoxical reasoning: habitability and comfort are to space as representation is to a picture. They dissuade the observer from the search for un derlying formal values; they prompt the observer to take imme diate possession of space, to seize its perceptive and symbolic values, but impede the ability to capture the relations between objects in a rational and pondered manner. In other words, the syntax that, in the end, structures the poetic language.
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