Alice Trumbull Mason: America’s Forgotten Modernist
Alice Trumbull Mason (1904–1971) was an American abstract painter.
2020年4月30日 星期四
Alice Trumbull Mason (1904–1971) : America’s Forgotten Modernist
Alice Trumbull Mason: America’s Forgotten Modernist
Alice Trumbull Mason (1904–1971) was an American abstract painter.
2020年4月28日 星期二
Ptolemy Dean 是水彩畫、素描的高手。第5集 西敏寺增建塔樓〔建築師：托勒密迪恩〕 Westminster Abbey extended with "steampunk gothic" tower by Ptolemy Dean Architects
Ptolemy Dean 是水彩畫、素描的高手。
第5集 西敏寺增建塔樓
〔建築師：托勒密迪恩〕
托勒密迪恩相信建築的藝術力量。身為建築師、素描畫家、畫家、建築修復專家、"古建築翻修大作戰"共同主持人，西敏寺專屬首席建築師雷恩與霍克斯穆爾的作品啟發了他。他最新一個建案誕生於火車上，在八點往倫敦橋的車上托，勒密迪恩草繪出...西敏寺睽違兩百五十年的大型增建方案--一座塔樓，供遊客一窺寺內塵封數百年的一個祕地。▼托勒密迪恩
Westminster Abbey extended with "steampunk gothic" tower ...
www.dezeen.com › 2018/06/08 › we...
2018/06/08 - Ptolemy Dean Architects has added a star-shaped tower to London's Westminster Abbey, the most significant addition to be made to the building since 1745.
Ptolemy Dean - Wikipedia
en.wikipedia.org › wiki › Ptolemy_D...
Ptolemy Hugo Dean OBE (born 1968) is a British architect, television presenter and the 19th Surveyor of the Fabric of Westminster Abbey. He specialises in historic preservation, as well as designing new buildings that are in keeping with their ...
Westminster Abbey extended with "steampunk gothic" tower by Ptolemy Dean Architects
Natasha Levy | 8 June 2018 Leave a comment
Ptolemy Dean Architects has added a star-shaped tower to London's Westminster Abbey, the most significant addition to the building since 1745.
Standing at seven stories tall, the £23 million Weston Tower is a modern take on gothic, which has been been described as "sci-fi gothic" by Guardian critic Olly Wainwright, and "steampunk gothic" by broadcaster and critic Tom Dyckhoff.
Designed by Ptolemy Dean Architects, the tower has been built to provide access to the Queen’s Diamond Jubilee Galleries, which open to the public on 11 June, 2018.
Designed by London-based practice MUMA the exhibition space is situated in the abbey's previously rarely-visited triforium – a space that runs around the upper perimeter of the interior and could previously only be reached via a steep, cramped staircase.
"It [the triforium] provides breath-taking views across the abbey, enabling its architecture to be seen without the obstruction of monuments and furnishings and thereby readily understood," explained practice founder Ptolemy Dean.
The Weston Tower, a sci-fi-style wonder by Ptolemy Dean, opens up a hidden gallery above the nave where William and Kate’s wedding certificate is likely to draw crowds
Oliver Wainwright
@ollywainwright
Tue 29 May 2018 17.30 BSTLast modified on Fri 1 Jun 2018 22.00 BST
Energetic collage … window cleaners at work on Ptolemy Dean’s Weston Tower, which provides the first public access to the triforium space above Westminster Abbey’s nave. Photograph: Leon Neal/Getty Images
Nestled into an armpit of Westminster Abbey, hidden behind a flying buttress that leaps up to the chapterhouse, stands what appears to be a gothic space rocket. Sinuous bronze tracery loops its way up the faceted shaft, framing crystalline windows between bands of lead arrowheads, like go-faster stripes shooting towards the heavens.
“We’ve had enormous fun doing this,” says architect Ptolemy Dean, surveyor to the fabric of the abbey since 2012. “It’s not every day you get to add a new tower to Westminster Abbey.”
Dean’s curious Weston Tower is the most significant addition to the building since Nicholas Hawksmoor’s west towers were completed in 1745. It has been deftly inserted in a south-eastern corner, between the 13th-century chapter house and the 16th-century Lady Chapel, to provide the public with access to the triforium for the first time, a hidden timber deck that snakes its way around the rafters, seven storeys above the nave. After five years and a combined project expenditure of £22.9m (privately fundraised), this atmospheric attic has been reborn as the Queen’s Diamond Jubilee Galleries, stuffed with regal and religious treasures dating from across the abbey’s thousand-year history.
Dean, whose first project at the abbey was wittily disguising a waste compactor in the form of a green timber taxi drivers’ shelter, has clearly had a great time developing his tower design. He has raided the back-catalogues of architectural history with promiscuous relish, sampling from the abbey’s many different layers to concoct a ripe confection of his own.
FacebookTwitterPinterest A view from inside the Weston Tower at Westminster Abbey. Photograph: Leon Neal/Getty Images
An intersecting rotated square motif, found in the Henry VII Chapel, provides the basis for the star-shaped plan of the tower, which has been glazed with leaded windows, based on Christopher Wren’s late 17th-century additions to the abbey. The arrow detail of the leading and the elaborate crown rooftop are both inspired by Ely cathedral, while the looping bronze tracery over the windows is a nod to Isambard Kingdom Brunel’s trainshed at Paddington Station.
The result is less pastiche than an energetic collage of bits and bobs. It could have been a gaudy eyeful, but the resulting sci-fi gothic lantern is somehow in keeping with the general riot of competing ornamentation with which the abbey is encrusted. Endlessly extended and remodelled over the centuries, the complex is not the result of a single hand: it is a patchwork of accretions in various versions of gothic. Dean’s Weston stair tower is simply the latest intriguing layer.
FacebookTwitterPinterest A member of staff cleans the cabinet containing the funeral effigy of James I in the Queen’s Diamond Jubilee Galleries in the revamped triforium space. Photograph: David Levene/The Guardian
Advertisement
The history lesson continues inside, where a stepped corner of the abbey’s ancient raft foundation has been revealed, built from 11th-century blocks of stone from Caen in France. The discovery was the architect’s cue to take visitors on a geological journey: he has wrapped his new lift shaft with 16 different kinds of stone sampled from the abbey’s history, laid in alternating bands. There’s pinkish Purbeck marble seething with fossils; white Portland stone left with tooling marks as Hawksmoor used it; hard grey Kentish ragstone; Yorkshire magnesian limestone; and even Reigate stone, of the kind used in the original west front from 1243. “No one has used Reigate in London for hundreds of years,” Dean claims. “We had to reopen a quarry in a corner of the M25.” He sadly refrained from adding a final layer of concrete breeze blocks at the top, in reference to the 1950s lavatory block that used to occupy the site of the tower.
Visitors will spiral around this great mineral totem pole as they climb the new oak stairs, catching views across to the stained glass windows and carved stone details of the abbey, never before seen up close. Once at the top, the triforium galleries themselves open out as an enticing world of ancient oak beams crisscrossing their way around the attic, where exhibits have been beautifully spotlit in mercifully minimalist vitrines by museum design experts Muma (McInnes Usher McKnight Architects), the firm responsible for the V&A’s medieval and Renaissance galleries and Manchester’s Whitworth Art Gallery revamp.
FacebookTwitterPinterest Funeral effigies of Catherine Sheffield, Duchess of Buckingham and Robert Sheffield, Marquess of Normandy in the Queen’s Diamond Jubilee gallery, designed by Muma. Photograph: Leon Neal/Getty Images
Advertisement
Dean’s whimsy is all very well for the Weston Tower, but in the galleries, the cool, restrained hand of Muma allows the 300 precious artefacts to sing. Simple plinths of Purbeck stone appear to hover slightly off the floor, while seamless glass cases rise flush from the bases, containing everything from Wren’s 2.4-metre high model of his (unrealised) tower design, to the eerie funeral effigies of English kings and queens that were once paraded through the streets to the abbey. One jaw-dropping highlight is the elaborate concertina paper model of the interior of the abbey, made for the coronation of Queen Victoria in the 1830s, a kind of “peep show” designed to allow a wider audience to appreciate the spectacle of the ceremony. From the sublime to the prosaic, the artefact likely to draw the biggest crowds is apparently the wedding certificate of William and Kate.
The designers’ greatest triumph is allowing natural light to flood in without the possibility of damaging any of the priceless pieces on show. In partnership with the environmental engineering company Max Fordham they carefully modelled all the sunbeam paths so that no sensitive objects would ever be touched by direct light, ensuring that none of the elaborately carved windows that ring the edge of the triforium would have to be blocked up. It would have been so easy just to make it a black box, but the presence of shafts of sunlight streaming in through the tracery is what makes this such an atmospheric place. It gives you the feeling of exploring a secret realm, formerly only inhabited by gargoyles, pigeons and the ghosts of dead royals – who now feel more present than ever.
• This article was amended on 1 June 2018 to add that the company Max Fordham modelled sunbeam paths.
You may well feel you are no good at it, and you might tear up your effort afterwards. But you will find that even failure is not a waste of time
第5集 西敏寺增建塔樓
〔建築師：托勒密迪恩〕
托勒密迪恩相信建築的藝術力量。身為建築師、素描畫家、畫家、建築修復專家、"古建築翻修大作戰"共同主持人，西敏寺專屬首席建築師雷恩與霍克斯穆爾的作品啟發了他。他最新一個建案誕生於火車上，在八點往倫敦橋的車上托，勒密迪恩草繪出...西敏寺睽違兩百五十年的大型增建方案--一座塔樓，供遊客一窺寺內塵封數百年的一個祕地。▼托勒密迪恩
Westminster Abbey extended with "steampunk gothic" tower ...
www.dezeen.com › 2018/06/08 › we...
2018/06/08 - Ptolemy Dean Architects has added a star-shaped tower to London's Westminster Abbey, the most significant addition to be made to the building since 1745.
Ptolemy Dean - Wikipedia
en.wikipedia.org › wiki › Ptolemy_D...
Ptolemy Hugo Dean OBE (born 1968) is a British architect, television presenter and the 19th Surveyor of the Fabric of Westminster Abbey. He specialises in historic preservation, as well as designing new buildings that are in keeping with their ...
Westminster Abbey extended with "steampunk gothic" tower by Ptolemy Dean Architects
Natasha Levy | 8 June 2018 Leave a comment
Ptolemy Dean Architects has added a star-shaped tower to London's Westminster Abbey, the most significant addition to the building since 1745.
Standing at seven stories tall, the £23 million Weston Tower is a modern take on gothic, which has been been described as "sci-fi gothic" by Guardian critic Olly Wainwright, and "steampunk gothic" by broadcaster and critic Tom Dyckhoff.
Designed by Ptolemy Dean Architects, the tower has been built to provide access to the Queen’s Diamond Jubilee Galleries, which open to the public on 11 June, 2018.
Designed by London-based practice MUMA the exhibition space is situated in the abbey's previously rarely-visited triforium – a space that runs around the upper perimeter of the interior and could previously only be reached via a steep, cramped staircase.
"It [the triforium] provides breath-taking views across the abbey, enabling its architecture to be seen without the obstruction of monuments and furnishings and thereby readily understood," explained practice founder Ptolemy Dean.
The Weston Tower, a sci-fi-style wonder by Ptolemy Dean, opens up a hidden gallery above the nave where William and Kate’s wedding certificate is likely to draw crowds
Oliver Wainwright
@ollywainwright
Tue 29 May 2018 17.30 BSTLast modified on Fri 1 Jun 2018 22.00 BST
Energetic collage … window cleaners at work on Ptolemy Dean’s Weston Tower, which provides the first public access to the triforium space above Westminster Abbey’s nave. Photograph: Leon Neal/Getty ImagesNestled into an armpit of Westminster Abbey, hidden behind a flying buttress that leaps up to the chapterhouse, stands what appears to be a gothic space rocket. Sinuous bronze tracery loops its way up the faceted shaft, framing crystalline windows between bands of lead arrowheads, like go-faster stripes shooting towards the heavens.
“We’ve had enormous fun doing this,” says architect Ptolemy Dean, surveyor to the fabric of the abbey since 2012. “It’s not every day you get to add a new tower to Westminster Abbey.”
Dean’s curious Weston Tower is the most significant addition to the building since Nicholas Hawksmoor’s west towers were completed in 1745. It has been deftly inserted in a south-eastern corner, between the 13th-century chapter house and the 16th-century Lady Chapel, to provide the public with access to the triforium for the first time, a hidden timber deck that snakes its way around the rafters, seven storeys above the nave. After five years and a combined project expenditure of £22.9m (privately fundraised), this atmospheric attic has been reborn as the Queen’s Diamond Jubilee Galleries, stuffed with regal and religious treasures dating from across the abbey’s thousand-year history.
Dean, whose first project at the abbey was wittily disguising a waste compactor in the form of a green timber taxi drivers’ shelter, has clearly had a great time developing his tower design. He has raided the back-catalogues of architectural history with promiscuous relish, sampling from the abbey’s many different layers to concoct a ripe confection of his own.
FacebookTwitterPinterest A view from inside the Weston Tower at Westminster Abbey. Photograph: Leon Neal/Getty Images
An intersecting rotated square motif, found in the Henry VII Chapel, provides the basis for the star-shaped plan of the tower, which has been glazed with leaded windows, based on Christopher Wren’s late 17th-century additions to the abbey. The arrow detail of the leading and the elaborate crown rooftop are both inspired by Ely cathedral, while the looping bronze tracery over the windows is a nod to Isambard Kingdom Brunel’s trainshed at Paddington Station.
The result is less pastiche than an energetic collage of bits and bobs. It could have been a gaudy eyeful, but the resulting sci-fi gothic lantern is somehow in keeping with the general riot of competing ornamentation with which the abbey is encrusted. Endlessly extended and remodelled over the centuries, the complex is not the result of a single hand: it is a patchwork of accretions in various versions of gothic. Dean’s Weston stair tower is simply the latest intriguing layer.
FacebookTwitterPinterest A member of staff cleans the cabinet containing the funeral effigy of James I in the Queen’s Diamond Jubilee Galleries in the revamped triforium space. Photograph: David Levene/The Guardian
Advertisement
The history lesson continues inside, where a stepped corner of the abbey’s ancient raft foundation has been revealed, built from 11th-century blocks of stone from Caen in France. The discovery was the architect’s cue to take visitors on a geological journey: he has wrapped his new lift shaft with 16 different kinds of stone sampled from the abbey’s history, laid in alternating bands. There’s pinkish Purbeck marble seething with fossils; white Portland stone left with tooling marks as Hawksmoor used it; hard grey Kentish ragstone; Yorkshire magnesian limestone; and even Reigate stone, of the kind used in the original west front from 1243. “No one has used Reigate in London for hundreds of years,” Dean claims. “We had to reopen a quarry in a corner of the M25.” He sadly refrained from adding a final layer of concrete breeze blocks at the top, in reference to the 1950s lavatory block that used to occupy the site of the tower.
Visitors will spiral around this great mineral totem pole as they climb the new oak stairs, catching views across to the stained glass windows and carved stone details of the abbey, never before seen up close. Once at the top, the triforium galleries themselves open out as an enticing world of ancient oak beams crisscrossing their way around the attic, where exhibits have been beautifully spotlit in mercifully minimalist vitrines by museum design experts Muma (McInnes Usher McKnight Architects), the firm responsible for the V&A’s medieval and Renaissance galleries and Manchester’s Whitworth Art Gallery revamp.
FacebookTwitterPinterest Funeral effigies of Catherine Sheffield, Duchess of Buckingham and Robert Sheffield, Marquess of Normandy in the Queen’s Diamond Jubilee gallery, designed by Muma. Photograph: Leon Neal/Getty Images
Advertisement
Dean’s whimsy is all very well for the Weston Tower, but in the galleries, the cool, restrained hand of Muma allows the 300 precious artefacts to sing. Simple plinths of Purbeck stone appear to hover slightly off the floor, while seamless glass cases rise flush from the bases, containing everything from Wren’s 2.4-metre high model of his (unrealised) tower design, to the eerie funeral effigies of English kings and queens that were once paraded through the streets to the abbey. One jaw-dropping highlight is the elaborate concertina paper model of the interior of the abbey, made for the coronation of Queen Victoria in the 1830s, a kind of “peep show” designed to allow a wider audience to appreciate the spectacle of the ceremony. From the sublime to the prosaic, the artefact likely to draw the biggest crowds is apparently the wedding certificate of William and Kate.
The designers’ greatest triumph is allowing natural light to flood in without the possibility of damaging any of the priceless pieces on show. In partnership with the environmental engineering company Max Fordham they carefully modelled all the sunbeam paths so that no sensitive objects would ever be touched by direct light, ensuring that none of the elaborately carved windows that ring the edge of the triforium would have to be blocked up. It would have been so easy just to make it a black box, but the presence of shafts of sunlight streaming in through the tracery is what makes this such an atmospheric place. It gives you the feeling of exploring a secret realm, formerly only inhabited by gargoyles, pigeons and the ghosts of dead royals – who now feel more present than ever.
• This article was amended on 1 June 2018 to add that the company Max Fordham modelled sunbeam paths.
Dispute of the Sacrament By Raphael
Raphael
Dispute of the Sacrament
(1509-1510, Vatican Museums)
Raffaello
Disputa del Sacramento
(1509-1510, Musei Vaticani)
Nel 1508 l’appena venticinquenne Raffaello Sanzio, giovane prodigio della pittura rinascimentale, viene scelto da papa Giulio II Della Rovere come pittore ufficiale per un luogo a lui caro, i suoi appartamenti privati. Gli appartamenti diventeranno le “Stanze” più famose del mondo e saranno completate solamente anni dopo la morte del pontefice, il quale non riuscirà mai a goderne. L’affresco fa parte della prima delle stanze che Raffaello dipinge, la celebre Stanza della Segnatura, chiamata così poiché in origine ospitava il tribunale ecclesiastico che portava quel nome. Famoso principalmente per la Scuola di Atene l’ambiente è dedicato ai saperi e il pontefice ne identifica quattro principali: il diritto, la filosofia, la poesia e, naturalmente, la teologia. Ed è proprio a quest’ultima che è dedicato l’affresco in analisi che ha l’ostico compito di trasformare un concetto fatto di idee e parole in vivide immagini, quello della transustanziazione.
La transustanziazione è il mistero del verbo incarnato, il corpo e il sangue di Cristo che diventano pane e vino nella celebrazione eucaristica. Un’ardua sfida riuscire a rendere tutto ciò ben comprensibile a livello iconografico e per questo il papa affianca al pittore urbinate una nutrita équipe di teologi che lo aiuteranno a far esplodere il suo genio.
Raffaello utilizza semplici figure geometriche come veicolo del suo pensiero: cerchi (il fascio di luce della colomba), semicerchi (l’aureola che contiene Gesù) e linee rette. Punto di fuga prospettico del dipinto è il vaso che contiene l’ostia (l’ostensorio), punto di arrivo di una linea verticale immaginaria che unisce Dio padre, il Figlio e lo spirito santo (la colomba) attraverso il quale Gesù può diventare verbo incarnato.
Il primo ordine dei personaggi è armoniosamente ieratico, atmosfere idilliache assimilate dall’opera del suo maestro Perugino, in netto contrasto è invece il mondo terreno del secondo ordine, composto da uomini in movimento che Giorgio Vasari descrive erroneamente come soggetti in “disputa”. Disputa che in realtà si traduce in una manifestazione di comuni intenti, poiché nessuno dei teologi rappresentati sta mettendo in dubbio il mistero della Fede.
Mai prima nella storia dell’arte sacra un concetto così alto e complesso è stato tradotto in maniera così eloquente e universale in immagini.
____________________________________
Raphael
Dispute of the Sacrament
(1509-1510, Vatican Museums)
In 1508, just 25-year-old Raffaello Sanzio, a young prodigy of Renaissance painting, was chosen by Pope Julius II Della Rovere as the official painter for a place dear to him, his private apartments. The apartments will become the most famous "rooms" in the world and will be completed only years after the death of the pontiff, who will never be able to enjoy them. The fresco is part of the first of the rooms that Raphael paints, the famous Stanza della Segnatura, so called because it originally housed the ecclesiastical court that bore that name. Famous mainly for the School of Athens, the environment is dedicated to knowledge and the pontiff identifies four main ones: law, philosophy, poetry and, of course, theology. And it is precisely to the latter that the fresco in analysis is dedicated that has the difficult task of transforming a concept made of ideas and words into vivid images, that of transubstantiation.
Transubstantiation is the mystery of the incarnate verb, the body and blood of Christ which become bread and wine in the Eucharistic celebration. A difficult challenge to be able to make all this clearly understandable on an iconographic level and for this reason the pope supports the painter from Urbino with a large team of theologians who will help him detonate his genius.
Raphael uses simple geometric figures as a vehicle for his thinking: circles (the dove's beam of light), semicircles (the halo that contains Jesus) and straight lines. The vanishing point of the painting is the vase containing the host (monstrance), the arrival point of an imaginary vertical line that unites God the father, the Son and the holy spirit (the dove) through which Jesus can become a verb incarnated.
The first order of the characters is harmoniously hieratic, idyllic atmospheres assimilated by the work of his master Perugino, in contrast is the earthly world of the second order, made up of moving men that Giorgio Vasari erroneously describes as subjects in "dispute". Dispute that actually translates into a manifestation of common intentions, since none of the theologians represented is questioning the mystery of the Faith.
Never before in the history of sacred art has such a high and complex concept been translated so eloquently and universally into images.
拉斐爾薩克拉門托爭議(1509-1510, 梵蒂岡博物館)1508年, 新近1508歲的拉斐爾·桑齊奧, 文藝復興繪畫的年輕天才, 被教皇朱利葉斯二世·德拉·羅維雷選為他親愛的地方, 他的私人公寓的官方畫家. 公寓將成為世界上最著名的"房間", 在教皇去世後僅幾年內完工, 他永遠無法享受. 壁畫是raffaello畫的第一個房間的一部分, 是塞納圖拉著名的房間, 以它最初是使用這個名字的教會法庭命名的名字命名. 主要在雅典學校著名, 環境專注於知識, 教皇確定了四個主要的領域: 法律, 哲學, 詩歌, 當然還有神學. 正是為了後者, 壁畫專注於分析, 其任務是將思想和言詞組成的概念轉變為生動影象, 即轉化.Tran證實是化身動詞的謎, 基督的身體和血在聖餐慶祝中成為麵包和葡萄酒. 使這個在圖形層次上容易理解是一個困難的挑戰, 因此, 教皇支援城市畫家, 一個有營養的神學家團隊, 幫助他爆炸他的天才.拉斐爾使用簡單的幾何數字作為他思想的工具: 圓圈(鴿子的光光束), 半米奇(包含耶穌的光環)和直線. 畫的視角逃脫點是包含ostia (ostensory)的花瓶, 是一個假想垂直線的到達點, 它將上帝的父, 兒子和聖靈(鴿子)結合在一起, 耶穌可以通過這個動詞變成化身動詞.角色的第一階是和諧的, 被他的主人perugino的作品所同化, 相對比的是第二階的地面世界, 由喬治·瓦薩里錯誤地描述為"爭議"的主體的人組成. 爭議實際上導致了共同意圖的表現, 因為所代表的神學家沒有一個質疑信仰的奧秘.在神聖藝術史上, 從來沒有如此高的複雜的概念被如此雄辯和普及性地轉變為影象.____________________________________拉斐爾神聖的爭議(1509-1510, 梵蒂岡博物館)1508年, 只有25歲的raffaello sanzio, 文藝復興繪畫的年輕天才, 被教皇朱利葉斯二世·德拉·羅韋雷選擇為他的私人公寓的官方畫家. 公寓將成為世界上最著名的"房間", 在教皇去世後僅幾年內完工, 他永遠無法享受. 壁畫是raphael畫的第一個房間的一部分, 著名的stanza della segnatura, 因為它最初是使用這個名字的教會法庭. 主要以雅典學校聞名, 環境專注於知識, 教皇確定了四個主要方面: 法律, 哲學, 詩歌, 當然還有神學. 正是為了後者, 分析中的壁畫是專注於將思想和語言組成的概念轉變為生動的影象, 即轉化.Tran證實是化身動詞的神秘, 基督的身體和血, 在聖潔的慶祝中成為麵包和葡萄酒. 很難讓所有這一切在標誌性層面上清楚地理解, 因此教皇支援烏爾比諾的畫家, 支援烏爾比諾的畫家, 他們將幫助他引爆他的天才.拉斐爾使用簡單幾何數字作為他思考的工具: 圓圈(鴿子的光束), 半米克爾斯(包含耶穌的光環)和直線. 繪畫的消失點是裝有宿主(monstrance)的花瓶, 這是一個想象的垂直線的到達點, 它將上帝, 聖子和聖靈(鴿子)結合在一起, 耶穌可以通過它成為動詞化身的動詞.角色的第一階是和諧的, 被他的主人perugino的作品所同化, 相對比的是第二階的地球世界, 由喬治·瓦薩里錯誤地描述為"爭議"的主體的動人組成. 爭議實際上變成了共同意圖的表現, 因為所代表的神學家沒有一個質疑信仰的奧秘.在神聖藝術史上, 從來沒有如此高的複雜的概念被如此雄辯和普遍地轉化為影象.
2020年4月27日 星期一
勒·柯比意 Le poème de l'angle droit, LE CORBUSIER, 1955 柯布西耶：直角之詩
Livres - Le poème de l'angle droit - Fondation Le Corbusier
www.fondationlecorbusier.fr/.../morpheus.aspx?...
Le dos au sol... Mais je me suis mis debout! Puisque tu es droit te voilà propre aux actes. Droit sur le plateau terrestre des choses saisissables tu contractes avec la nature un pacte de solidarité : c'est l'angle droit. Debout devant la mer vertical
Auteur : LE CORBUSIER
A1 MILIEU
Des hommes peuvent tenir
un tel propos
les bêtes aussi
et les plantes peut-être
Et sur cette terre seulement
qui est nôtre
Le soleil maître de nos vies
indifférent loin
Il est le visiteur - un seigneur -
Il entre chez nous.
Se couchant bonsoir dit-il
à ces moisissures (ô arbres)
à ces flaques qui sont partout
(ô mers) et à nos rides
altières (Alpes Andes et nos
Himalayas). Et les lampes
sont allumées.
Ponctuelle machine tournante
depuis l'immémorial il fait
naître à chaque instant des
vingt-quatre heures la gradation
la nuance l'imperceptible
presque leur fournissant
une mesure. Mais il la rompt
à deux fois brutalement le
matin et le soir. Le continu
lui appartient tandis qu'il
nous impose l'alternatif -
la nuit le jour - les deux temps
qui règlent notre destinée :
Un soleil se lève
un soleil se couche
un soleil se lève à nouveau
A2 MILIEU
Le niveau s'est établi où
s'arrête la descente des eaux
à la mer
la mer fille de gouttelettes
et mère de vapeurs. Et
l'horizontale limite la
contenance liquide.
Rais solaires brume triturée
condensation nuées nuages
poids variables l'un s'élève et
l'autre s'enfonce glissant
l'un sur l'autre frottés l'un
contre l'autre poussés
verticalement horizontalement.
La mobilité s'est emparée
de l'amorphe
Et de l'Équateur bouillotte
planétaire les nuées envolées
puis parties groupées
enrégimentées dressées
rencontrées se sont heurtées...
L'orage éclate.
Elles ont crevé l'eau
est tombée elle ruisselle
se rassemble s'écoule
s'étale
A3 MILIEU
L'univers de nos yeux repose
sur un plateau bordé d'horizon
La face tournée vers le ciel
Considérons l'espace inconcevable
jusqu'ici insaisi.
Reposer s'étendre dormir
- mourir
Le dos au sol...
Mais je me suis mis debout!
Puisque tu es droit
te voilà propre aux actes.
Droit sur le plateau terrestre
des choses saisissables tu
contractes avec la nature un
pacte de solidarité : c'est l'angle droit
Debout devant la mer vertical
te voilà sur tes jambes.
A4 MILIEU
Entre bosses et dans fissures
glissant sur les durs et s'enfonçant
dans les mous le rampant le
vermiculant le sinuant le
reptant ont ébauché la
propulsion première. Les vers
et les serpents les vers venus
du potentiel des charognes.
Les ruisseaux les rivières et
les fleuves en font autant.
D'avion on les voit grouiller
en famille dans les deltas et
les estuaires de l'Indus du
Magdalena ou des marges
californiennes. L'idée elle
aussi tâtonne se cherche bute en tous
sens allant aux extrêmes poser
les bornes de la gauche et de la
droite. Elle touche l'une des rives
et puis l'autre. Elle s'y fixe ? Elle
a échoué ! La vérité n'est présente
qu'en quelque lieu du courant
toujours cherchant son lit. Un
obstacle dressé sur une rive
déclenchera le grand cycle un
jour amorcé. Le méandre vivra
son aventure jusqu'à sa
conséquence l'absurde prenant
d'ailleurs son temps des millénaires
s'il le faut. L'inextricable
barrera la route l'insensé ! Mais
la vie exige passage force le barrage
des vicissitudes. Elle tranchera le
méandre percera ses boucles les
soudant là précisément où une
course dévergondée les avait
fait se toucher. Le courant file
droit à nouveau ! Et la savane
et la forêt vierge accumuleront
d'immémoriaux tronçons
croupissants
La loi du méandre est
agissante dans la pensée et
l'entreprise des hommes y fomente
des avatars renaissants
Mais la trajectoire jaillie
de l'esprit est projetée par
les clairvoyants par delà
la confusion
A5 MILIEU
Entre pôles leurre la tension
des fluides s'opèrent les
liquidations de comptes des
contraires se propose un
terme à la haine des
inconciliables mûrit l'union
fruit de l'affrontement
Le courant traverse et résout
a traversé a résolu.
ai pensé que deux mains
et leurs doigts entrecroisés
expriment cette droite et
cette gauche impitoyablement
solidaires et si nécessairement
à concilier.
Seule possibilité de survie
offerte à la vie
B2 ESPRIT
A mettre au bout des doigts
et encore dans la tête un
outil agile capable de grossir
la moisson de l'invention
débarrassant la route d'épines
et faisant le ménage donnera
liberté à votre liberté.
Flammèche dérobée au trépied
qu'alimentent les dieux pour
assurer les jeux du monde...
Mathématique !
Voici le fait : la rencontre fortunée
miraculeuse peut-être d'un
nombre parmi les nombres a
fourni cet outil d'hommes.
L'appréciant le philosophe
a dit : "Rendra le mal difficile
le bien facile..."
Sa valeur est en
ceci: le corps humain
choisi comme support
admissible des nombres...
… Voilà la proportion !
la proportion qui met
de l'ordre dans nos
rapports avec
l'alentour.
Pourquoi pas ?
Peu nous chaut
en cette matière
l'avis de la baleine
de l'aigle des rochers
ou celui de l'abeille.
B3 L'ESPRIT
Débarrassée d'entraves mieux
qu'auparavant la maison des
hommes maîtresse de sa forme
s'installe dans la nature
Entière en soi
faisant son affaire de tout sol
ouverte aux quatre horizons
elle prête sa toiture
à la fréquentation des nuages
ou de l'azur ou des étoiles
Avisée regardez la Chouette
venue d'elle-même ici
se poser
sans qu'on l'ait appelée.
B4 ESPRIT
Comme sont unis par l'exactitude
les nègres de Harlem
ne se touchant pas mais
à des distances en chaque
seconde différentes
De même
dansent la Terre et le Soleil
la danse des quatre saisons
danse de l'année
la danse des jours de
vingt-quatre heures
le sommet et le gouffre des
solstices
la plaine des équinoxes
l'horloge et le calendrier
solaires ont apporté à
l'architecture le "brise-soleil"
installé devant les vitrages des
édifices modernes Une
symphonie architecturale
s'apprête sous ce titre :
"La Maison Fille du soleil"
… Et Vignole - enfin - est foutu !
Merci !
Victoire !
C1 CHAIR
Armé des dispositifs animé
des dispositions pour déceler
saisir défoncer lécher tous
sens éveillés voici la chasse.
Armé jusqu'aux dents
mufle et naseaux œil et
corne poil hérissé
s'en va-t-en guerre
Belzébuth.
Qui est donc en définitive
Belzébuth ?
------------------------------
Les éléments d'une vision se
rassemblent. La clef est une
souche de bois mort et un galet
ramassés tous les deux dans un
chemin creux des Pyrénées. Des
bœufs de labour passaient
tout le jota devant ma fenêtre.
A force d'être dessiné et redessiné
le bœuf - de galet et de racine
devint taureau.
Pour doter de flair sa force
le voici chien éveillé.
Ainsi après huit années
se fixe le souvenir de "Pinceau"
le dénommé tel, mon chien.
Il était devenu méchant
sans le savoir et je dus le
tuer.
C2 CHAIR
La femme toujours quelque part
aux carrefours nous vaut
que l'amour est jeu du destin
des nombres et du hasard
à La croisée aussi accidentelle
qu'inexorable de deux chemins
particuliers subitement marquée
d'une étonnante félicité.
On peut être deux et à deux
et ne pas conjuguer les choses
qu'il serait fondamental de
mettre en présence chacun
hélas bien aveugle ne voyant
pas ce qu'il tient d'ineffable
à bout de bras. Inerte !
Ils sont là innombrables qui
dorment mais d'autres savent
ouvrir l'œil.
Car le gîte profond est
dans la grande caverne du
sommeil cet autre côté de
la vie clans la nuit. Comme
la nuit est vivante riche dans
les entrepôts les collections la
bibliothèque les musées du
sommeil ! Passe la femme.
Oh je dormais excusez-moi !.
Avec l'espoir de saisir
la chance j'ai tendu la main...
L'amour est un mot sans
frontière. C'est aussi c'est encore
une création humaine un essai
une entreprise.
C3 CHAIR
Tendresse !
Coquillage la Mer n'a cessé
de nous en jeter les épaves de
riante harmonie sur les grèves.
Main pétrit main caresse
main glisse. La main et la
coquille aiment.
---------------------------
En ces choses ici entendues
intervient un absolu sublime
accomplissement il est l'accord
des temps la pénétration des
formes la proportion - l'indicible
en fin de compte soustrait
au contrôle
de la
raison
porté hors
des
réalités
diurnes
admis
au cœur
d'une
illumination
Dieu
incarné
dans
l'illusion
la perception
de la vérité
peut-être
bien
-----------------------------
-----------------------------
Mais il
faut
être sur
terre et
présent
pour
assister
à ses propres
noces
être
chez soi
dans le sac de sa peau
faire ses affaires à soi
et dire merci au Créateur
C4 CHAIR
Les hommes se racontent
la femme dans leurs poèmes
et leurs musiques
Ils portent au flanc une
éternelle déchirure de haut
en bas. Ils ne sont que
moitié, n'alimentent la
vie que d'une moitié
Et la seconde part vient
à eux et se soude
Et bien ou mal leur en prend
à tous deux
qui se sont rencontrés !
------------------------------
------------------------------
C5 CHAIR
La galère vogue
les voix chantent à bord
Comme tout devient étrange
et se transpose
se transporte haut
et se réfléchit sur
le plan de l'allégresse
D3 FUSION
Assis sur trop de causes médiates
assis à côté de nos vies
et les autres sont là
et partout sont les: "Non!"
Et toujours plus de contre
que de pour
N'accabler donc pas celui
qui veut prendre sa part des
risques de la vie. Laissez
fusionner les métaux
tolérez. des alchimies qui
d'ailleurs vous laissent hors
de cause
C'est par la porte des
pupilles ouvertes que les regards
croisés ont pu conduire à
l'acte foudroyant de communion :
"L'épanouissement les grands
silences"...
La mer est redescendue
au bas de la marée pour
pouvoir remonter à l'heure.
Un temps neuf s'est ouvert
une étape un délai un relais
Alors ne serons-nous pas
demeurés assis à côté de nos vies.
E2 CARACTÈRES
Un poisson - des traversées
(et des traverses)
Un cheval - des équipées
(et des batailles)
Les amazones prêtes
Partir aller rentrer et
partir encore et
se battre lutter toujours
soldat.
Les amazones sont jeunes
ne vieillissent pas.
E3 CARACTÈRES
Catégorique
angle droit du caractère
de l'esprit du coeur
Je me suis miré dans ce caractère
et m'y suis trouvé
trouvé chez moi
trouvé
Regard horizontal devant,
des flèches
C'est elle qui a raison règne
Elle détient la hauteur
ne le sait pas
Qui l'a Faite ainsi d'où
vient-elle ?
Elle est la droiture enfant au
coeur limpide présente sur terre
près de moi. Actes humbles et
quotidiens sont garants
de sa grandeur.
E4 CARACTÈRES
Je suis un constructeur
de maisons et de palais
je vis au milieu des hommes
en plein dans leur écheveau
embrouillé
Faire une architecture c'est
faire une créature. Être
rempli se remplir s'être
rempli éclater exulter
froid de glace au sein des
complexités devenir un jeune
chien content.
Devenir l'ordre.
Les cathédrales modernes
se construiront sur cet
alignement des poissons
des chevaux des amazones
la constance la droiture la
patience l'attente le désir
et la vigilance.
Apparaitront je le sens
la splendeur du béton brut
et la grandeur qu'il y aura
eu à penser le mariage
des lignes
à peser les formes
A peser...
F3 OFFRE (LA MAIN OUVERTE)
Elle est ouverte puisque
tout est présent disponible
saisissable
Ouverte pour recevoir
Ouverte aussi que pour chacun
y vienne prendre
Les eaux ruissellent
le soleil illumine
les complexités ont tissé
leur trame
les fluides sont partout.
Les outils dans la main
Les caresses de la main
La vie que l'on goûte par
le pétrissement des mains
La vue qui est dans la
palpation.
----------------------------------
Pleine main j'ai reçu
Pleine main je donne.
G3 OUTIL
On a
avec un charbon
tracé l'angle droit
le signe
Il est la réponse et le guide
le fait
une réponse
un choix
Il est simple et nu
mais saisissable
Les savants discuteront
de la relativité de sa rigueur
Mais la conscience
en a fait un signe
Il est la réponse et le guide
le fait
ma réponse
mon choix.
柯布西耶：直角之詩
作者： （法）勒·柯比意
出版社：湖南文藝出版社
出版日期：2019/04/01
語言：簡體中文
內容簡介
這本書是柯比意在1953年左右完成的作品，原本是為1948年他的朋友特里亞德邀請他完成的，為收藏家定製的系列叢書中的一本。作品包括19幅石版畫和相應數量的詩歌。最早出版于1955年，2012年，Hatje Cantz 出版社將其再版。
在這部作品中，柯比意通過詩與畫的結合，闡述了他的建築思想，同時也是他的個性的展露，可以說是這位大師最完整的世界觀的陳述。正如他自己所述：「在其中我闡釋了通常在日常生活的活動之中不易被表露出來的思想的範疇。這些事物不僅構成我建築及繪畫作品的基礎，而且也是我個性的基礎。作品分七個部分，分別為：環境、心靈、肉身、融合、屬性、饋贈、工具。
作者介紹
勒·柯比意（Le Corbusier，1887-1965），20世紀最重要的建築師與城市規劃師，被視作「功能主義之父」和現代建築的先驅，也被稱為「現代建築的旗手」，同時也是畫家、雕塑家、設計師和作家。他1887年出生於瑞士，1930年加入法國國籍，1965年逝世於法國羅克布呂訥灣馬丁角。
目錄
柯布的密碼（導讀）
A1環境
A2環境
A3環境
A4環境
A5環境
B2心靈
B3心靈
B4心靈
C1肉身
C2肉身
C3肉身
C4肉身
C5肉身
D3融合
E2屬性
E3屬性
E4屬性
F3饋贈
（張開的手）
G3工具
原稿
直角的“詩與真”（譯後記）
附錄（法文對照）
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