萨伏伊家族与画家合作完成一本以萨伏伊别墅为题材的新书

**白木碉** · 拓都将军|**白木碉** 发表于 2015-5-6 22:08:54

本文由E拓建筑网www.eeeetop.com的白木碉原创翻译，未经本站与译者书面许可，不得转载。

Bright young things: 'Les Heures Claires de la Villa Savoye'

by Jean-Philippe Delhomme & Jean-Marc Savoye

聪明的年轻人们：“萨伏伊别墅的明亮时光”

Jean-Philippe Delhomme和Jean-Marc Savoye合作出品

8 APR 2015 /BY JONATHAN BELL

2015年4月8日/乔纳森·贝尔著

翻译 @白木碉

'Les Heures Claires' is a phrase meaning the 'bright hours', and was a fitting nickname for one of the icons of twentieth century architecture - a house designed for light, space and efficiency. It's also the title of a new book, an illustrated re-imagining of the commissioning, design, construction and occupation of the Villa Savoye by its original clients, Pierre and Eugénie Savoye. Created by the clients' grandson, Jean-Marc Savoye, in collaboration with the painter and illustrator Jean-Philippe Delhomme, Les Heures Claires blends archive material with personal recollection and new illustrations.

'Les Heures Claires' 意思是“明亮时光”，是对这座20世纪建筑代表作之一的房子的贴切昵称。这座房子以光线、空间和功能之名设计而成。它也是一本新书的名字，这本书里描绘了对萨伏伊别墅的最初房主Pierre and Eugénie Savoye在这座房子的委任、设计、建造以及使用情况的说明和再想象。这本书由房主的孙子Jean-Marc Savoye与画家、插图师Jean-Philippe Delhomme合作完成，混合了个人回忆与新的图例。

The Savoyes endured a troubled relationship with Le Corbusier, not least because of spiralling budgets and technical challenges. They eventually moved into the house in 1931, three years after the initial commission, only to leave again in 1940, after which occupation and desecration almost destroyed the building. It wasn't until 1997 that it stood pristine once again.

萨伏伊家族与柯布西耶长期处于激烈的矛盾之中，不只是由于急剧上升的预算和困难的技术挑战。1931年，在最初的委任过了3年之后，他们终于搬进这座房子，却又于1940年搬了出去，那是因为占领和亵渎几乎毁了这座建筑。直到1997年它才又一次焕然一新地矗立。

Despite its familiarity, there are barely any photographs of the original owners using the house as the architect intended. This is where Delhomme steps in. With his characteristic fluid line and vivid colours, he depicts the trials and tribulations of the client, house and architects.

尽管这座建筑家喻户晓，却几乎没有留下任何当初房主使用这座房子情况的影像资料——出于建筑师的意愿。Delhomme正是着眼于此。用他独特的流动线条和生动色彩，Delhomme为我们描绘了房主、房子和建筑师之间的恩恩怨怨。

Delhomme has an eye for architecture. He works from a beautiful atelier on the iconic rue Campagne-Premiere, a Parisian street known for being the home of a plethora of artists over the years, including Yves Klein, Marcel Duchamp and the poet Rainer Maria Rilke, as well as being a location for Jean-Luc Godard's à Bout De Souffle. In fact the building on No 9, where Delhomme's studio is located, has its own story to tell, having been built as a group of painters' ateliers in the early 1900s by local architect Taberle, using materials from the Paris Expo of 1889. Having moved there 15 years ago, Delhomme has left the studio in its original state as much as possible, respectful to its history and architectural character.

Delhomme具有建筑眼光。他工作的画室位于Campagne-Premiere街，这条巴黎街道以当年容纳了众多艺术家而闻名，这些艺术家包括伊夫·克莱因、马塞尔·杜尚和诗人Rainer Maria Rilke；另外这条街道还是让-吕克·戈达尔的电影《精疲力尽》的取景地。事实上，Delhomme工作室的所在地9号建筑也有故事，这座建筑在20世纪90年代早期作为一批画家的工作室，由当地建筑师Taberle设计，采用了来自1889年巴黎世博会的建筑材料。Delhomme15年前搬到这里，尽可能保持工作室的原样，尊重建筑的历史和性格。

His work on the Villa Savoye was approached with the same sensitiviy. An upcoming exhibition on Le Corbusier at the Centre Georges Pompidou is sure to spark some interest, especially in the more human dimension showcased here.

他的围绕萨伏伊别墅的作品达到了同样的敏感度。蓬皮杜艺术文化中心的一个即将到来的勒·柯布西耶展览向他抛出橄榄枝，尤其是这里的人体模数展示区。

Jean-Philippe Delhomme in his studio.（Jean-Philippe Delhomme在他的工作室）

Photography: Antonio Camera（摄影：Antonio Camera）