建筑小白遇到一段关于彼得.艾森曼六号房子的英文

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.

不知所云的翻译：
科索斯或勒维特把他们的语言排列组合应用到雕塑上时，按照定义不能使用任何审美术语，而艾森曼要处理的是实际建造中的平凡现实。我们可以以也许是最著名的六号住宅为例来看一看。整个建筑是内接在一个方块里，通过同样是立方体的次级模块连接的。主要的形式主题是通过操纵方形来生成房子的平面和立面。还需要运用偏移、推移和大截面把房子分为四块。要在实体与空间、空间与空间以及实体与实体之间建立关联。按照这样的逻辑，连接房子两层的楼梯就必须沿着天花板，符合一种反向的对称，创造出一个显然无法使用因而在功能性方面完全无用的元素。最后还有运用颜色来强调不同平面的问题。结果是，对于形状的抽象运用令房子看起来有趣极了，尽管几乎住不了人，客户最终在生活中不得不接受严格的组合语法强加给他们的一些桎梏。如艾森曼所说，在一个矛盾的推理中，宜居和舒适之于空间来说就好像描绘之于画面一样。他们奉劝观察者不要试图找到潜在的形式价值，而是立刻去占有空间，把握它的认知和符号价值，但不要以理性和深思熟虑的方式去捕捉物体之间的关系。也就是说，最终语法构建的是一种诗意的语言。

艾森曼的作品很难懂，我一直都没读明白。而且他的作品不算多，更难通过作品来了解他的思想。

建筑征途 发表于 2019-5-22 14:52
艾森曼的作品很难懂，我一直都没读明白。而且他的作品不算多，更难通过作品来了解他的思想。

只是有关楼梯的那段能懂吗？