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这是一篇关于比例问题的一次大辩论的摘译,这篇旧稿(大概在六十年代中)是为当时备课用的,鉴于对现在情境似乎还有参考的价值。死扣古典主义时期比例准则目前的确没有人会这样顽固了,也抵挡不住功能、材料与技术等等因素的冲击,这样转变是有机的。但是却有人要连根拔——不讲比例,班能的“新粗野主义”的解释中就有这个意思。当代的一些建筑也表现出这种倾向。我觉得这是难以理解和不祥的。因为对视觉形象的一些形容词如“大小、高矮、粗细、虚实、(?)正、平直、青蓝……”都只能通过相比才能得到恰当(恰如其分)的感觉(或判断)的。大眼睛、大嘴巴得逞一时,秀目小口也曾被人赞美不已。都得呼应阿尔伯蒂所称“恰当”这一准则。不讲比例是没有道理的,这是一种客观存在的视觉现象。
This is an excerpt from a major debate on the issue of proportionality. This old manuscript (presumably in the mid-1960s) was for the preparation of lessons at that time, given the value of reference to the current situation. The principle of proportionality in the period of deadlocked classicism is currently no one will be so stubborn, but also can not withstand the impact of factors such as function, materials and technology, so the change is organic. However, there are people who want to be rooted--out of proportion. This is what Pan Neng’s interpretation of “new brute-ism” has. Some contemporary buildings also show this tendency. I think this is difficult to understand and ominous. Because some adjectives such as “size, height, thickness, indefiniteness, (?), straightness, cyan, etc.” of the visual image can only be properly (appropriately) perceived (or judged) by comparison. With big eyes and big mouths, the Xiumu small mouth has been praised. All have to echo what Alberti called the “proper” criterion. It is unreasonable to ignore proportions. This is an objective visual phenomenon.