塔楼 Tower

五十年之中,塔已经集聚起了自己的意义:它是意识的催化剂,技术进步的象征,娱乐区域的标志,常规惯例的短路与颠覆,归根结底,它是自在的天地。塔如今标示着均质日常生活模式中的断然决裂,是一种新文化星散的标杆。

In 50 years the Tower has accumulated the meanings of: catalyst of consciousness, symbol of technological progress, marker of pleasure zones, subversive short-circuiter of convention and finally self- contained universe. Towers now indicate acute breaks in the homogeneous pattern of everyday life, marking the scattered outposts of a new culture.

大楼变成了塔,一座搁浅在大陆上的灯塔,貌似向海洋招摇着它的光柱,其实是为了诱使大都会的众生向它靠拢。

Building becomes Tower, landlocked lighthouse, ostensibly flashing its beams out to sea, but in fact luring the metropolitan audience to itself.

超越一定关键体量时,每个结构都将成为一座纪念碑,即使实质上,它所包容的个别活动不足以担当纪念碑式的表达,至少它的尺寸,也足以引起纪念碑式的期待了。

Beyond, a certain critical mass each structure becomes a monument, or at least raises that expectation through its size alone, even if the sum or the nature of the individual activities it accommodates does not deserve a monumental expression.

对于象征主义传统而言,这一纪念碑的门类呈现了一种极端的,道德上有创伤感的决裂:它的物理表现并不再现一种抽象的理想,一种非同凡响的体制,一种社会等级秩序的三维的可识别的表达,或是一个纪念物。它仅仅是它自己,纯然体积而已,它不可避免地只是一个符号——一个空洞的符号,像广告牌等待客户那样等待着意义。

This category of monument presents a radical, morally traumatic break with the conventions of symbolism: its physical manifestation does not represent an abstract ideal, an institution of exceptional importance, a three-dimensional, readable articulation of a social hierarchy, a memorial; it merely is itself and through sheer volume cannot avoid being a symbol—an empty one, available for meaning as a billboard is for advertisement.


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