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我在纽约撰写这篇关于罗西的文章,窗外是一个充满活力、幽默感和神话的世界,仿佛罗西的绘画。窗户特写了这座古老的正在运作的城市,其中充满着并列的和偶然的景象。一些大胆的建筑形式突现其间,奇特而有力的形体充满无穷意味:教堂的钟塔、尖顶的摩天楼、加了灯饰的大钟、圆锥状的屋顶水箱、穹顶、人字山墙和大烟囱,还有悬索桥的钢索和透过云雾朦胧地看到的海港灯塔。它们所具有的普遍的和抽象化的形式,正是罗西的设计所坚持的。 这篇文章来自与罗西合作一项设计的过程中,该项设计将成为纽约城市景观的一部分,建在苏荷区已有百年历史的一些钢铁结构建筑之间。和罗西的其他作品一样,这一次也引起了争论。罗西的作品令人难以捉摸,但其影响力是显而易见的。是什么使得罗西的作品如此强劲,它的内在本质是什么,随着时间的流逝,它能继续拥有自己的地位么?
I wrote this article about Rossi in New York. Outside the window is a world full of energy, sense of humor and myth. It seems like Rossi’s paintings. The windows are close-ups to this ancient, working city, full of juxtapositions and accidental scenes. Some bold architectural forms emerge during this period. The strange and powerful form is full of endless meanings: the church bell tower, the steeple’s skyscraper, the illuminated bell, the conical roof tank, the dome, the gable gable and the chimney, and Suspension bridge ropes and seaports seen through the clouds. The universal and abstract forms they have are exactly what Rossi’s design insists on. This article comes from the process of collaborating with Rossi on a design that will become part of New York City’s cityscape and is built between the steel structures of the 100-year-old Soviet Union. As with Rossi’s other works, this time it has also caused controversy. Rossi’s work is elusive, but its influence is obvious. What makes Rosie’s work so strong, what is its inner essence, and over time, can it continue to have its place?