Postmodern architecture: Vanna Venturi House, Philadelphia by Robert Venturi 后现代主义建筑：罗伯特·文丘里设计的费城母亲住宅 12 August 2015（2015年八月12日） 翻译 @白木碉
Pomo summer: when American architect Robert Venturi designed a home for his mother in the late 1950s, he reinterpreted the archetypal suburban house as a contemporary architectural statement. Its influence was so great, it is now credited as the first Postmodern building, and is the next in our summer season on Postmodernism. 夏日讲坛：美国建筑师罗伯特·文丘里于上世纪50年代为他的母亲设计了一座房子，将郊区住宅重新阐释为当代建筑的声明。这座建筑的影响是如此之大，被誉为第一座后现代主义建筑，也是我们夏日讲坛接下来要介绍的对象。
The Vanna Venturi House, referred to by the architect as "my mother's house", took more than six years to design and marked the beginning of his break with the Modernist movement. 万娜·文丘里住宅，被建筑师称为“母亲住宅”，耗费了他超过六年的时间，同时也标志着他与现代主义风格的决裂。
It incorporates many of the devices used by Modernist architects like Mies van der Rohe and Frank Lloyd Wright, from horizontal ribbon windows, to a simplistic rendered facade. But Venturi chose to also include ornament in the design – something his Modernist peers had shunned. 这座建筑包涵了许多现代主义建筑师如密斯凡·德罗、弗兰克·劳埃德·赖特等人的惯用手法：从水平带型窗到极简化的立面。同时文丘里也使用装饰——而这是他的现代主义阵营所不能容忍的。
By reintroducing elements traditionally associated with houses – from a gabled roof to an arch-framed entrance – but stripping them of their original functions, he laid the foundations for the entire Postmodern movement. 通过重新引入与住宅相关的传统元素——从带山墙的屋顶到一个拱形框架的入口——却将它们从原始功能中抽离，他为整个后现代主义时期的到来打好了根基。
Italian architect Aldo Rossi credited the building with having "liberated architecture in America and elsewhere", while fellow American architect Peter Eisenman described it as "the first American building to propose an ideological break with Modern abstraction at the same time that it is rooted in this tradition." 意大利建筑师阿尔瓦·多罗西称赞其为“从美国以及其他任何地域中都解放出来的建筑风格”，而美国建筑师彼得·艾森曼随后也将它描述为“第一座突破了现代主义桎梏同时又在其传统中落地生根的美国建筑。”
The project began shortly after the death of Venturi's father in 1959. His mother Vanna was keen to move out of the family home in favour of a more modestly sized residence, so she asked her son to come up with a design for a plot on Milman Street in the Philadelphia suburb of Chestnut Hill. 1959年文丘里的父亲去世后这个项目便提上日程。他母亲想要离开家庭住宅而搬进更小一点的房子，于是让儿子为她在栗山费城郊区妙曼街上的一块地皮设计一座房子。
The architect was 34 years old, had yet to complete any buildings and was working as a teacher at the University of Pennsylvania – where the following year he was to meet his future wife and business partner, fellow architect Denise Scott Brown. He was also a teaching assistant to the already established architect Louis Kahn. 当年这位34岁的建筑师没有任何建成作品，还在宾夕法尼亚大学任教——在那里他将遇到未来的妻子和商业伙伴：合作建筑师丹尼斯·斯科特·布罗恩。那时他还是早已成名的建筑大师路易斯·康的教学助理。
Vanna's brief was straightforward: she wanted a simple and unpretentious home, with most rooms on one level and no garage, as she no longer used a car. There was no detailed list of requirements and no deadline for completion. 万娜的要求直截了当：她要的是一座简单朴实的房子，房间最好都在一层，不需要车库，因为她从不开车。没有详细的任务列表，也没有时限要求。
"Vanna wanted to help Bob's career," Scott Brown told Dezeen. "He took years making a kind of odyssey by designing his mother's house. The students used to laugh at him: 'Bob Venturi, there he is, designing his mother's house again!'" “万娜想要帮助鲍勃的事业，”布罗恩告诉Dezeen。“为了设计母亲住宅，他经历了多年的艰辛历程。那时学生们总是嘲笑他：‘快看文丘里，又在设计他母亲的住宅了！’”
Many different designs emerged over the course of six years. The early versions were heavily influenced by Kahn, who was also building a house on the same street – the Esherick House of 1961. But by the final design, Venturi and Scott Brown were working together on the project and it took on a much more radical form. 在六年的进程中出现了许多不同的方案。最早的版本深受康的影响，而康在同一条街上也有作品——1961年的埃谢里克住宅。但是从最终方案来看，文丘里和布罗恩合作设计了这座建筑并采用了更加激进的形势。
"If you look at the first five of his designs, you'll see that Bob is the Kahn groupie," she explained. "And suddenly, the sixth one, it changes." “如果你看他前五个方案，你会认为鲍勃只是康的狂热粉丝，”她解释道。“但是从第六个方案开始，情况突然不一样了。”
The house was completed in 1964, over a decade before Postmodernism got into full swing. It is perhaps best known for its facade – a monumental gable with an oversized chimney in its centre and an assortment of mismatched windows. 建筑建成于1964年，跨越了后现代主义理论全面展开之前的十年。建筑最著名的莫属其立面——纪念性山墙和硕大的烟囱位于正中，不对称的窗口分布两侧。
"Some have said my mother's house looks like a child's drawing of a house – representing the fundamental aspects of shelter – gable roof, chimney, door and windows," wrote Venturi in Architectural Record in 1982. "I like to think this is so." “有些人说我的母亲住宅看起来就像儿童的建筑画——描绘了一所房子最基本的样子——山墙屋顶、烟囱、门和窗户，”文丘里在1982年的作品集中写道。“我很乐意这样看它。”
However, these traditional elements were applied in unconventional ways. Firstly, the gable has a vertical opening in its centre, and is located on the long rather than the short side of the building, completely distorting its scale. There is also no matching gable at the back – the element is purely decorative. 然而，这些传统元素却被非常规地运用。首先，山墙的正中有一条竖直开口，且它位于建筑长边而不是短边，完全打破了山墙惯有的尺度感。另外在另一侧也没有与其配对的山墙——这里的山墙完全成了装饰性元素。
A square opening creates a sheltered doorway in the centre of the facade, yet the door itself stands to one side. There is also an arch that serves no purpose. 一个正方形开口在立面中央创造了一片庇护的入口空间，门本身位于其中一侧。那里还有一条没有实际用处的拱。
"If there is one single picture associated with Robert Venturi's work and Postmodern architecture, it is the front of his mother's house," wrote architect and author Frederic Schwartz in 1992. “如果要用一幅简单的图片来联系文丘里的作品和后现代主义建筑，那就是它的母亲住宅的正立面，”建筑师和作家施克瓦兹曾于1992年如此描写到。
Schwartz described the house as "both straightforward and idiosyncratic". "The simplicity of its front elevation masks its intellectual complexity," he wrote. "The dichotomies are the essence of its power and make it one of the most celebrated images of architecture in the second half of [the 20th] century." 施克瓦兹将这座房子描述为“既简单又异质”。“建筑正面外观的简洁性掩盖了其内涵的复杂性，”他写道。“这种两面性正是其张力所在，使它成为20世纪后半个世纪最为著名的建筑。”
According to Scott Brown, the exterior was inspired by Michelangelo's Porta Pia in Rome – another example of a building where the front and back don't relate to one another. 据布罗恩说，建筑外观是受到了米开朗基罗作品罗马庇亚城门的启发——另一个前后不对称的建筑的经典例子。
"If you look carefully at this teeny little house, which is just one room wide, it has all the aspirations of a Michelangelo," she said. “如果你仔细观察这座只有一间宽的小房子，你会发现它拥有米开朗基罗作品的所有特质，”她说。
"You get the Queen Anne front and the Mary Anne behind. Or you could say Michelangelo and suburbia on the front, and Le Corbusier and Alvar Aalto at the back. I love it for that tension." “前面是女王安娜，后面是少女安娜。或者你可以说前面是米开朗基罗和乡村风，后面是勒·柯布西耶和阿尔瓦·阿尔托。我大爱这种张力。”
The building was initially painted taupe grey but was later repainted in pale green to make it analogous to its suburban location. 建筑最初涂成灰褐色，后来重新粉刷为淡绿色来与周围环境相协调。
Inside, five rooms are arranged around a combined hearth and staircase. The living room is at the centre, with the dining space and separate kitchen on one side, the master bedroom and utility room on the other, and an attic bedroom located above. 在建筑内部，五个房间围绕着炉边的楼梯布置。中央是起居室，餐厅和独立的厨房在边上，主卧和多功能用房在另一边，上面是一个阁楼卧室。
This layout offers visible references to the city planning ideologies present in the university's teachings at that time. 这样的布局为当时大学里教授的城市规划思想提供了可视的参考。
"Bob created a street that goes right through the house," said Scott Brown. "It goes straight down to a doorway, and then you go inside and there you get that main street coming in and meeting an important cross street. That's where the main square of this little town-like house happened, at the meeting of two important streets – the one going upstairs and the one going inside." “鲍勃创造了一条穿过房子的街道，”布罗恩说。“它直接通向门口，进去之后就是街道和重要的十字路口，在这块微缩城镇般的房子的弹丸之地上，交汇着两条重要的线路——一条通往楼上，一条进入内部。”
She also suggests that the marble flooring in the dining area allows the space to take on the role of a town square, while the oversized central hearth becomes like a chapel. 她还指出，餐厅的大理石地面赋予这片空间城镇广场的特质，而巨大的中央壁炉则相当于教堂。
"I say that every architect in every building puts a chapel somewhere of heightened emotion, something personally meaningful to them," Scott Brown explained. "Well, Bob has a great love of old Colonial houses with huge fireplaces in the middle – a medieval model that was taken to America and to Africa. And he loved the way the fireplace comes to the middle to keep the house warm and the staircase wraps around behind." “在任何建筑中，建筑师们都应设置一处能够容纳信仰的教堂，为他们提供一处精神空间，”布罗恩解释道。“当然，鲍勃非常喜欢那种中央设有大壁炉的科尼尔老房子——一种应用于美国和非洲的中世纪原型。而且他喜欢壁炉在中心保持着房子的温暖，而楼梯包裹着壁炉的感觉。”
Two years after the completion of the house, Venturi published Complexity and Contradiction in Architecture, a seminal text that provided the intellectual origins for the Postmodern movement. In it, he articulated his aims for a new approach to design. 建筑竣工的两年后，文丘里出版了《建筑的复杂性与矛盾性》，这篇开创性的论文为后现代主义风格提供了理论基础。书中他表明了自己的目标：探寻设计新方法。
"Architects can no longer afford to be intimidated by the puritanically moral language of orthodox Modern architecture," he wrote. "A valid architecture evokes many levels of meaning and combinations of focus: its space and its elements become readable and workable in several ways at once." “建筑师们再也无法囚禁于现代主义教条的桎梏中，”他写道。“一个有力的建筑作品将唤起意义的许多层面和焦点的混合：忽然之间，在各种情形中，建筑的空间和元素都应成为易懂的和可塑的。”
This approach provided the groundings for his architectural practice from then onward. His firm – at that time named Venturi and Rauch, but shortly after changed to Venturi, Rauch and Scott Brown – went on to complete several important examples of Postmodern design, from the 1968 fire station in Indiana to the 1976 extension to the Allen Memorial Art Museum in Ohio. 这个成就为他之后的建筑实践打好了根基。他的公司——那个时候名为文丘里和让克，不久后改名为文丘里，让克和斯科特·布罗恩——相继设计了后现代主义建筑的几个重要代表作：从1968年的印第安纳消防站到1976年的俄亥俄州艾伦美术馆扩建项目。
"Within that house is everything we've ever done since," Scott Brown told Dezeen. "It's an embryo for everything." “我们之后的所有项目都是从这座房子开始的，”布罗恩告诉Dezeen。“它是一切设计的胚胎。”
Richard Pain, a British architect and long-time friend of Venturi and Scott Brown, told Dezeen the house was a game changer: "Built at a time when architecture was obsessed with Modernism – with absence of walls, with planar surfaces, with showing how far one could stretch the limits of structural belief, with abstraction and asymmetry, with anything that made a house not look like a house – suddenly here was a little house that looked like a house!" 英国建筑师理查德·佩恩，也是文丘里和布罗恩的挚友，告诉Dezeen是这座房子改变了游戏规则：“那时候的建筑在现代主义的框架下追求的是减少墙面、立面平坦、突破结构限制以及抽象性与不对称性，总之就是一切使房子看起来不像房子的东西——突然这里出现了一座像样的房子！”
"Bob Venturi understood the notions of hierarchy, of scale, of applied decoration to communicate, and how a building could communicate empathetically," he continued. "Some have denounced the house as two dimensional, but in reality it is anything but." “文丘里理解那些用来交流的概念：等级、尺度、装饰，也懂得建筑怎样产生共鸣，”他补充道。“有些人指责这座建筑两面派，但实际上它哪派也不是。”
"Just compare it to the little house by Louis Kahn about six doors away – of a similar size but approached from a completely Modernist standpoint, where all elements are concerned with light and space, but not necessarily locking into the realities of house and home." “不远处规模相仿的路易斯·康的建筑，则是完全立足于现代主义立场之上，所有元素都围绕光线和空间展开，却不必要地卷入了住宅与家庭真实性的论战。”
Vanna Venturi lived in the house from 1964 to 1973. The architect also resided there for a short time. He and Scott Brown moved into the attic room for the first six months after they were married. 从1964年到1973年，万娜文丘里住在这座房子里。建筑师也在这里住过一小段时间：那是结婚的头半年，他和布罗恩搬到了阁楼上。
After that it was bought by historian Thomas P Hughes and his wife, artist Agatha C Hughes, as a private residence, and later inherited by their daughter. Scott Brown described the family as "wonderful stewards of the house". 之后房子被历史学家托马斯·P·休斯和他的妻子阿加莎·C·休斯作为私人住宅购买下来，后来又被他们的女儿继承。布罗恩曾说过这个家庭是“母亲住宅的最好管家”。
More recently, the house has been put back up for sale. Realtor Melanie Stecura told Dezeen the process won't be "the same as marketing a typical residence" but that she considers the building "a treasure". 最近，房子又被重新出售。房产经纪人米兰妮告诉Dezeen，这过程不会“像卖一般的房子那样”，因为她把这座建筑视为“无价之宝”。
"It is an icon of American architecture and in its original condition," she said. "But Postmodern design is certainly not for everyone and most consumers would not understand the complex design, nor would most people want to live in an icon." “它是美国建筑的一座里程碑，并且始终维持着原始状态，”她说。“然而后现代主义风格并不适用于大众，很多甲方理解不了其复杂性，也不是所有人都愿意住在一座丰碑之中。”
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Vanna Venturi House by Robert Venturi.rar
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