【转载】维多利欧·葛雷高第Vittorio Gregotti的西扎評述

据美国《建筑师报》15日报道，92岁的意大利建筑师维多利欧·葛雷高第因感染新冠肺炎，当天在米兰市内的圣朱塞佩医院去世。据悉，他被称为“意大利现代建筑之父”，代表作有巴塞罗那奥运主场馆等。


让我非常羞愧的是，我之前对这个建筑师并没有任何印象。在他去世的消息传出来后，我搜索了一些关于他的信息，在豆瓣看到了一名学生翻译了他对西扎的评述。对伟人的最好的缅怀，就是了解他的思想。所以我把豆瓣的文章转载至此。

原文地址：
http://www.douban.com/note/147581456/
http://www.douban.com/note/156094361/


以下为转载：


其實中文版是我翻的－－，以前不管是什麼目的翻譯，交掉之後都沒甚麼下文，心慌慌。借這個機會貼出來求指正一下下。

這是專英課的作業，拿到這樣的作業真要算是個小驚喜

Gregotti老師寫得比較抽象，卻很獨特

Philosophy of Alvaro Siza (1)
阿爾瓦羅西扎的思想

by
 Vittorio Gregotti
Architect, Professor of Architecture, University of Venice, Italy

著者：
Vittorio Gregotti
建築師，義大利威尼斯大學建築學教授

I have always had the impression that Alvaro Siza’s architecture sprang from archaeological foundations known to him alone—signs invisible to anyone who has not studied the site in detail through drawings with steady, focused concentration.
我始终认为，阿尔瓦罗西扎的建筑中有一种独特的人类学基础。这种独特性在于，任何没有对基地进行过那样长期地、专注地观察的人，都是不能体会出他的用意的。

Later on, those signs come together because they convey a feeling of growing out of something necessary, of relating, connecting, establishing and constructing, all the while maintaining the tender uncertainty of hypothesis and discovery.
The construction is slow and intense. It is made of the discrete, if not downright secret, signs of an attempt to start anew, based on establishing some creative and apparently simple and explicit signs of an universal design system.
这些用意转变自一种由需求产生的感觉，也就是各种关系、延续、构成和建造的需求，对始终温和地保留不确定性和假想性的需求。其建筑的建造是缓慢的、激烈的。如果它不是完全不可知的话，组成它的是离散的，在普适的设计语言中，简单而又明确地创造新事物的意念。

Siza’s work is characterized by just that sense of architecture as a means of listening to the real, in that it hides at least as much as it shows. Siza’s architecture makes one see, and it reveals rather than interprets the truth of the context.
西扎的建筑被认为是在通过建筑的方法聆听世界，它呈现得多，就隐藏得更多。西扎的建筑告诉人们，它在揭示文脉而不是解释文脉。

It seems then, that he has very carefully removed parts from the design, which is very clearly and harmoniously drawn, in order to create expectations. All non-essentials have been removed, but even that, in turn, has left its traces, like when pencil strokes are erased and redrawn in a drawing. Sharp corners and sinewy curves are interwoven for an apparently mysterious reason, something that has to do with the very history of the design. Its thoughts, misfortunes and changes are not totally forgotten, but are transformed in the construction of a mental site, of a context just as real as the surrounding physical one.
这说明，他为了能引发期望，很仔细地将设计中非常清晰、非常和谐的部分去掉了。然而即使所有不必要的东西都被去掉后，依然会留下痕迹，就像被擦掉的铅笔笔迹会在纸上留下痕迹一样。在看似神秘的原理和对设计本源的理解中，尖锐的角和有力的曲线相互交织在一起。其中的思想、错误和变化都没有被完全遗忘，而是转换成了一个和现实中的基地有着一样文脉的，精神上的基地。

Alvaro Siza Vieira is clearly considered one of today’s greatest living architects. He is an architect still able to make authentic affirmations with his architecture, still able to surprise a culture as blase as ours by coming on stage from unexpected quarters.
阿尔瓦罗西扎显然是如今健在的最伟大的建筑师之一。他是依然能对自己的建筑做出可靠的断言，并出其不意地，让一个如此沉溺于享乐的民族惊醒的建筑师。

The interest in his architecture shown by younger generations in particular results from the complex mixture of meanings that emanates from his work. His architecture is formed in quiet and seclusion; then there is the slight but ever precise touch of his works, which seem to emerge as clean, precious points among the contemporary urban blight, yet at the same time making one painfully responsible for those problems. In addition to this mixture and the tradition of poverty and the gentle melancholy of Portugal, his native country, there is the affection that his architecture seems to bring to the conditions of the urban periphery.
他从作品中发散出的叠加复合的意义让后辈们尤其感兴趣。他建筑的形式是安静而隔离的；但他的建筑有一种轻微但精确的触觉，在枯萎的当代城市中称为干净且珍贵的一个点，并让人们对这些城市问题生出一种痛彻的责任感。在这种复合之外，他身为葡萄牙人而沿袭着一种贫穷的生活习俗，以及一种温和的忧郁气质，使得他的建筑也给城市外围的环境带去了温情。

On the other hand, the micro surgical confidence of his work, the emergence of the extreme eternity of the elementary acts of building, the sense of natural modification of that which exists, a suspended modification/ does not erase the errors of the existing nor the uncertain course of the project, but solidifies it into a single poetic objective.
Over the years, all of that has made him become more secure in the methods and processes of his craft without eliminating his sense of trepidation, of attempting to have his designs express the margins of an architectural problem, when he checks with his hands and eyes.
另一方面，他工作中一种微弱又精确的自信、他的建筑初步呈现出的极度永恒性、自然地转换周围现有环境的意图、以及对这一转变的延缓都没有清除现有的错误与项目进程中不确定的方向，但却把它们固化成了一个简单的具有诗意的客体。一直以来，这些特点使得他能够稳定地运用自己的技巧和方法去审视和创作，而不会消除自己颤抖的感觉，和企图用自己的设计表达建筑学空白的想法。

The quality of the tensions which he draws up and details is touching (to use a word out of fashion like him) and derives principally, in my opinion, from two themes: attention and uneasiness; the clear certainty which is that the essential is always a little different from the directions chosen, and from possible explanations.
他的图面和细部中充满的张力令人感动（用像他一样不追逐潮流的词语来说），并且在我看来，源自两个方面：关注和不安；始终保持所确定的要点同所选择的方向和可能的解释有一点点偏差。

For Siza, even detail is not an incident or a technological exhibition, but a dimension of the accessibility of architecture, a way of verifying by touch the feel, the uniqueness of a thing made for a particular place with contemporary techniques, to come into contact with the everyday things by handling them. His is a technology of detail created from unexpected distances between the parts which introduce a spatial tension between the smallest and most commonplace elements, for their mutual placement, superimposition and interconnectedness.
对于西扎来说，甚至每个细部都不是小事情或者技术上的表现，而是一种建筑亲和力的体现，一种通过触觉鉴定当代技术生产的、特定场所中的、会每天都通过触摸接触到的物质的质感和特性的方法。这是一种在最小的、最平常的元素的交替、叠印和关联中引入空间的张力，并在不寻常的视角下进行提炼的细部设计方法。


Philosophy of Alvaro Siza (2)
阿爾瓦羅西扎的思想

by
 Vittorio Gregotti
Architect, Professor of Architecture, University of Venice, Italy

著者：
Vittorio Gregotti
建築師，義大利威尼斯大學建築學教授

To speak about Siza’s architecture, however, one must start by admitting that it is indescribable. This is not critical or textual indescribability alone (in fact the latter would certainly be one of the best means for the purpose, perhaps in story-form), but the same inability of photography to communicate the specific sense of his work. This is also because his design includes a unique temporal dimension, resulting not only from the processes required for coming into contact with his structures, but also from his ability to establish a type of autonomous memory of the design, completely present in the final structure, built by the accumulation and purification of successive discoveries which are constituted as data of later structures. Nothing is planned in and of itself, but always in relation to belonging. Above all, for Alvaro Siza, coming from northern Portugal— stony, clear, poor and full of intimacy, where the light of the Atlantic is long and illuminates poverty in an abstract way, reveals all the harshness of surfaces, each change in the road around homes, every scrap, in a grandiose, dry and bittersweet manner.
說到西扎的建築作品，當然首先他們必然是難以描述的。這裡指的不僅僅是評論和文本上的難以描述（事實上後者應該肯定會被認為是目前最好的方法，也許是用從講故事的形式來描述），他作品中的場景也是同樣無法通過照片來表達的。這也是由於他的作品中有一種獨特的暫時的維度，這個維度不僅來源於與他的建構理念相互聯繫的設計過程，同樣也來源於他在空間中建立自主性記憶的能力，這種能力是在對構成下一步建構的資料進行逐步發掘的積累和提鍊的前提下，完整地從最後的結構中體現出來的。其中沒有什麼東西是能在自己這裡咦鞯模�也沒有什麼東西是為自身而存在，一切都是互相歸屬或者互相關聯的。因此，對於來自葡萄牙北邊的西扎來說，那裡是石制的、乾淨的、貧窮的和充滿親和力的，那裡來自大西洋的陽光渴望且抽象地照亮了其貧窮，以一個堂皇的、單調的、苦中帶甜的姿態，揭露了材料表面的斑駁、房屋周圍道路的每一個變化和每一個垃圾。

I believe that Alvaro Siza could be justifiably considered the father of the new architectural minimalism, but a minimalism far from any abstraction or perceptive radicalism, in which the architectural sign is incision and superimposition. A timid, unequivocal, circumscribed assurance seems to characterize the forms of his new minimalism. It is careful concentration, the capacity for detailed observation and characterization. If it appears that the use of elementary structures is most indirect, it is rather a hidden, precise plot from which emerge by cancellation some signs suspended between the memory of the plot’s established order, and a new, stringent logic of external and internal relations which the system renders clearer and more evident, even in their wavering.
我相信西扎無可非議地能被當作建築學上的新極少主義之父，這是與任何抽象和理性視角下的極少主義都沒甚麼關係的領域。他的新極少主義形式的特點似乎是一種膽怯的、不含糊的、結合周邊環境的確信。它是一種仔細地關注，是一邊觀察細節一邊做出特性識別的能力。如果最後基礎結構的大部分只被間接使用，那它就可以說是一個隱藏的、精確的、通過對一些跡象的取捨而觸發出來的點，這些跡象懸在點集建立秩序的記憶中，以及在一個被系統更清晰地、更明顯地、甚至在動搖中提供出來的，新的，嚴謹的內外關係邏輯中。

The first time I visited Portugal, I had met Alvaro Siza the year before in Barcelona, a little more than twenty-five years ago. Then, the next summer we spent a couple of days together in Oporto and went to see his works, many still in progress: Banco do Oporto in Oliveira and the Vila do Conde, his brother’s house, the pool at the ocean and the Quinta da Conceiçao in Matosinhos, already completed in 1965.
我第一次去葡萄牙的時候，就已經於前一年在罷賽羅那見過了西扎了，那是大概二十五年前的事情了。第二年夏天，我們一起在Oporto待了幾天並參觀了他的作品，許多都沒有建成：位於Oliveira的Oporto銀行、Conde別墅、他兄弟的住宅、海濱泳池以及位於Matosinhos的，在1965年大致完工的概念農場。

I remember being particularly struck by the small homes in Caxinas, a village thirty kilometers north of Oporto and home to a few hundred fishermen. For the past several years prior to that, these fishermen were renting part of their own homes to people who came to the ocean for the summer from the country’s interior. Then, that modest gesture toward tourism created the spontaneous appearance of some one-or two-story homes, often illegal. The town asked Siza to formulate a plan to regulate development. He began with a study of the features of the old and new existing facilities. It is essentially a work of the imagination, attempting to create a morphological vision from the few signs that poverty has left in the form of buildings: colors, materials, types, dimensions and rhythms.
Then, on that basis, he set up a linear-development plan of two story homes: a small set facing the sea. These homes were planned and built amid many difficulties arising from the designs. One of them calls for a small square to the north, linking the internal street with the sea; another incorporates a cafe already existing on the ground floor; the rest was regulated through a series of building codes which he thought would be followed almost spontaneously.
我記得自己曾被Caxinas的幾個小住宅深深地震撼過，它們位於Oporto北面30公里處的一個村莊裡，是幾百個漁民的家。之前的幾年裡，這些漁民把自己的家出租給夏天來海邊玩的內陸人。然後，在對旅遊業的這種謙遜的姿態下，自然而然就產生了這些一二層的、經常是違章搭建的住宅。小鎮要求西扎做一個能夠規範這些建造行為的設計。西扎便從調查這裡新舊設施的特點開始著手。這其實是一個需要想像力的工作，需要從貧窮的生活在建築形式上留下的跡象（顏色、材質、類型、尺度、韻律）中，去建立一個形態學的視角。接下來，在這個基礎上，他設計了一個線性的、面向大海的二層住宅區。這些住宅的組織和建造突破了由設計概念帶來的重重困難。其中一個需要有一個朝北的小廣場，來連接鎮裡的道理和大海；另一個保留了底樓的咖啡館；剩下的被安排在一系列的建造規範中，西扎認為，這些規範將會自然而然地得到實現。

The extreme poverty of the project is put to good use with pride, taking advantage of any sign available, stretched between surfaces of colored plaster of the utmost simplicity, in a strong Atlantic light, with elementary gestures: putting up a wall, placing a window, opening an empty space in volume, coloring doors, beginning, ending. In an atmosphere that is hardly primitive or folkloric, the resort village at the tip of Europe on the Atlantic seems to make references to many modern European cultures.
設計將這種極端的貧窮結合自尊心加以利用，它吸收了每個可能的，在最大限度簡化的彩色的石膏面之間伸展着的跡象，在大西洋沿岸強烈的陽光中，保持着本初的姿態：豎一堵牆、開一個窗、挖一個開敞的空間、漆一扇門、做一個入口或一個出口。在這樣一種不好說是原始的還是風俗的氛圍中，這個在歐洲大陸的尖端的臨大西洋的休閒村莊似乎成為了給歐洲的現代文化的一個參照。

The second time we met, resignation seemed a thing of the past. Only five days had gone by after April 28, 1974 (the date of the revolution of the carnations), when, without encountering guards or bailiffs, I entered the office of the new Minister of Public Works, my friend Nuno Portas. Seated in a pompous armchair in that grand office was Alvaro Siza. He started explaining to me the work plan of the SAAL brigades, spontaneous cooperatives of planning and building. The new political opportunity seemed to have transformed his usual patience into great energy. Then, after great hopes came disappointments.
到我們第二次見面時，順從就已經成為過去的話題了。那是1974年4月28日（康nai馨ge‘ming）之後的第五天，我沒有遇見保衛和法警就進入了新建設部部長，我的朋友Nuno Portas的辦公室。這時西扎就坐在那間巨大的辦公室裡面一張華而不實的扶手椅上。他開始向我描述SAAL項目的平面草圖，其中規劃和建築自然地相互協調。現在新的政治機遇卻已經把他一貫的耐性轉變為有力的推動。當然，最後期望越大，失望就越大。

In the meantime, however, Siza became one of the great architects of international fame. The first great acknowledgements came: the invitations to the IBA in Berlin, his win at the Venice competition (later disillusioned, which is common in Italy), his work in Holland, in Portugal at Evora and Lisbon, and in Spain at Barcelona and Malaga, where we worked together. Finally came the award from the European Community in 1986 and then the Pritzker in 1992. We met many times in various places, busily and excitedly discussing trends in architecture. Yet he never gave up his discomfort and pride of being from northern Portugal, born on the edge of Europe.
不過同時，西扎成為了具有國際聲望的最偉大的建築師之一。第一次重要的認可是他被邀請參加柏林建築展，參展的作品是他在威尼斯競賽中（後來知道了，這在義大利比較吃香）獲獎的，在荷蘭、葡萄牙的Evora和里斯本，以及我們一起工作過的西班牙罷賽羅那和Malaga的一些作品。最後他獲得了1986年歐洲學會獎和1992年的普利策獎。我們在很多地方見過面，緊張且興奮地討論建築學的趨勢。不過，他始終沒有失去一個在自歐洲邊境出生的葡萄牙北方人所擁有的那份拘謹和高傲。