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“Look at those stairs, man,” says a figment of Thomas Heatherwick’s imagination, pointing at the Escher print on the wall of his London flat. It’s 1993 and Thomas is in his final year at the Royal College of Art. His ghostly interlocutor continues: “Escher was like a mad genius. I bet he really believed in gravity wells.”
“看一下那些楼梯，伙计，”托马斯·希瑟威克(Thomas Heatherwick)的想象中的一个虚构人物说，指着他伦敦公寓墙上的埃舍尔(Escher)印花。 那是1993年，托马斯在皇家艺术学院学习的最后一年。 他幽灵般的对话者继续说道：“埃舍尔(Escher)就像一个疯狂的天才。 我敢打赌，他真的相信重力井。”
“Yeah, bro,” says Thomas before taking a massive gurgling rip from his bong. “But, like, what if we got loaded inside an Escher drawing?”
“是的，兄弟。”托马斯从烟枪中b出一口，然后说道。 “但是，例如，如果我们将其加载到 Escher工程图中怎么办？”
“You mean smoke this sweet honey kush inside Relativity? But that’s impossible! You can’t crawl inside an Escher lithograph.”
内部相对论 “你的意思是烟THI 甜蜜蜜库什？ 但这是不可能的！ 您无法在Escher光刻机内爬行。”
“No, but I can build one.”
“不，但我可以建造一个。”
“That would cost a fortune! What kind of idiot would pay millions of dollars to make your pot fantasy a reality?”
“那将花费一笔巨款！ 什么样的白痴要付数百万美元才能使您的幻想变成现实？”
“I don’t know man, but it’s going to happen. I’ll find such an idiot. Hell, I’ll find an entire city full of idiots who’ll pay me 200 million dollars to build a colossal Escher honeypot — no, a honeycomb, yeah, that’s it — a fucking mammoth Escher honeycomb that’s utterly useless for anything except housing my own ego like, er, a vessel — yeah, that’s it, I’ll even call it Vessel — and attracting slack-jawed tourists like, uh, flies to honey so they’ll buy shit they don’t need at an enormous overpriced mall.”
“我不认识男人，但是这将会发生。 我会发现这样的白痴。 地狱，我会发现整个城市满是白痴，他们会付我2亿美元建造一个巨大的Escher蜜罐-不，是的，是的，就是个他妈的猛ma的Escher蜂窝，除了安置我的房子外，它什么都没用自己的自我，例如，一艘船-是的，就是这样，我什至称它为“ 船只” -并吸引下颚松弛的游客，例如，苍蝇飞到蜂蜜中，所以他们会以价格过高的价格购买不需要的狗屎购物中心。”
Thirteen years later, Thomas found his idiots.
十三年后，托马斯发现了他的白痴 。
While rendering the scene above, I was less concerned about being, to quote Alexandria Ocasio-Cortez, “precisely, factually, and semantically correct than about being morally right.” And I am confident I am morally right.
用亚历山大·奥卡西奥·科尔特斯(Alexandria Ocasio-Cortez)的话来说，在渲染上面的场景时，我并不担心“准确，事实和语义上正确，而不是道德上正确”。 而且我有信心在道德上是对的。
Postmodern (or, if one prefers, “hypermodern”) and deconstructive architecture are moral and aesthetic abominations. As were the “modern” forms that preceded them.
后现代的(或，如果喜欢的话，是“超现代的”)和解构主义的建筑在道德和美学上都是可憎的。 就像它们之前的“现代”形式一样。
I teach at one of our nation’s more august public universities, an institution which, for all its merits, was founded during precisely the wrong architectural fad. The campus layout and many of its building were designed by the prolific architect William Pereira, whose brutalist designs often favored béton brut (“raw concrete”) and utilitarian minimalism. His work was downstream of Soviet constructivism and maintained an aspirational, futurist, even utopian spirit — which is to say it was (and is) hideous.
我在全美最严厉的一所公立大学任教，该大学尽管有其优点，却在错误的建筑风潮中成立。 校园布局及其许多建筑是由多产的建筑师威廉·佩雷拉(William Pereira)设计的，他的野蛮主义设计经常偏向于bétonbrut (“原始混凝土”)和功利极简主义。 他的工作在苏联建构主义的下游，并保持了理想主义，未来主义甚至是乌托邦主义的精神-也就是说，这是(而且是)丑陋的。
As with all utopian ambitions, the end result was brute soullessness. The producers’ of Conquest of the Planet of the Apes (1972) even found the university a suitable setting for their dystopian film.
与所有乌托邦野心一样，最终结果是残酷无情。 制片人征服猿人星球 (1972)甚至发现该大学是他们反乌托邦电影的合适背景。
Thankfully, Pereira organized the campus around a central park, and the proliferation of ficus, eucalyptus, and conifers does much to mitigate the bone-blunt ghastliness of the buildings. Had he been a man of sane taste and opted for Collegiate Gothic or Mission Revival instead of ideologically self-indulgent brutalism, the University of California at Irvine would be an aesthetic paradise.
值得庆幸的是，佩雷拉(Pereira)在一个中央公园附近组织了校园，榕树，桉树和针叶树的扩散在很大程度上减轻了建筑物的骨质僵硬的可怕感。 如果他是一个头脑清醒的人，并选择大学哥特式或使命复兴，而不是从意识形态上放纵自己的野蛮主义，那么加州大学尔湾分校将是一个美学天堂。
Beauty matters. One of the worst things about southern California is the ugliness, the flimsiness, the collapsible-cardboard-ness of its buildings. It sends the message that this is not a place of permanence but of disposability. Even the stucco walls of some beach-front mansions look thin enough for birds to fly through. Without beauty and the aspiration to permanence, no place—whether city or small town—can feel like a home. As the late Sir Roger Scruton wrote,
美丽很重要。 加利福尼亚南部最糟糕的事情之一就是其建筑物的丑陋，脆弱，纸板的可折叠性。 它发出的信息是这不是永久的地方，而是可处置的地方。 甚至一些海滨豪宅的粉刷墙壁看起来也很薄，足以让鸟类飞过。 没有美感和对永恒的渴望，无论是城市还是小镇，任何地方都不会像家一样。 正如已故的罗杰·斯克鲁顿爵士所写的那样，
It is, in my view, the commandment to love your neighbor as yourself that is most evidently violated by the uglifying blocks that are being dumped on our cities. It is evident that the planning system must deliver the houses and infrastructure that we need; but it must also deliver what people want to see, namely something that they can take pleasure in, as we take pleasure in our home.
在我看来，这是最爱被你的邻居爱上自己的诫命，这最明显地是被扔在我们城市上的丑陋街区所违反的。 显然，规划系统必须提供我们需要的房屋和基础设施； 但是它还必须传达人们想要看到的东西，即当我们在家中取乐时，他们可以享受的事物。
If someone had told me in 2016 that Donald J. Trump would become a champion of architectural good taste, I’d have laughed them out of town. And yet here we are.
如果有人在2016年告诉我，唐纳德·J·特朗普(Donald J.Trump)将成为建筑品味的拥护者，我会把他们嘲笑出城。 但是我们到了。
The president’s unsigned executive order “Making Federal Buildings Beautiful Again,” drafted by the National Civic Art Society, requires that “the classical architectural style shall be the preferred and default style.” In other words, federal building projects should be in stylistic continuity with the best of our country’s past architecture — exemplified, of course, by the National Mall in Washington, D.C.
国家公民艺术协会起草的总统未签署的行政命令 “使联邦建筑再次美丽”，要求“古典建筑风格应为首选和默认风格”。 换句话说，联邦建筑项目应与我国过去的最佳建筑保持风格上的连续性，当然，华盛顿特区的国家广场就是例证
This is a welcome development, the reasonableness of which, if not the practicability, is apparent to any thinking citizen.
这是一个令人欢迎的发展，对于任何有思想的公民而言，其合理性(即使不是实用性)也是显而易见的。
Naturally, the usual suspects are in an uproar. “MAGA War on Architectural Diversity Weaponizes Greek Columns,” proclaims one New York Times headline. The move “reflects the architectural philosophies of white supremacists online.” “The former [policy] is how a free society does architecture, the latter is literally dictatorship.”
自然而然地，通常的犯罪嫌疑人都感到不安。 《 纽约时报 》的一个标题宣称： “ MAGA建筑多样性战争武器化了希腊专栏”。 此举“在网上反映了白人至上主义者的建筑哲学。” “前者(政策)是自由社会如何进行建筑，后者实际上是独裁统治 。”
Even the American Institute of Architects (AIA) issued a complaint:
甚至美国建筑师协会(AIA)也提出了投诉：
The AIA strongly opposes uniform style mandates for federal architecture. Architecture should be designed for the specific communities that it serves, reflecting our rich nation’s diverse places, thought, culture and climates. Architects are committed to honoring our past as well as reflecting our future progress, protecting the freedom of thought and expression that are essential to democracy.
AIA强烈反对联邦建筑采用统一风格的规定。 建筑应针对其服务的特定社区进行设计，以反映我们这个富裕国家的不同地方，思想，文化和气候。 建筑师致力于纪念我们的过去并反映我们的未来进步，保护对民主至关重要的思想和言论自由。
One architectural critic writing for Forbes argues that the draft order follows a “fascist blueprint”:
一位为《福布斯》撰稿的建筑评论家认为，这份命令草案遵循的是“ 法西斯主义蓝图 ”：
It seeks to unearth and fabricate a narrative that can appeal to the masses, based on a system that allows only the expression of nationally shared desires. To accomplish this impossible task, fascism suppress [sic] an infinite web of multicultural differences into a flattened national narrative, while shuttering individual creativity.
它力求发掘和制造一种可以吸引大众的叙事，其基础是只允许表达民族共有的愿望的制度。 为了完成这个不可能完成的任务，法西斯主义抑制(原文如此)的多元文化差异成一个无限的网络扁平民族叙事，而快门个人的创造力。
Then, in an act of courageous cognitive dissonance, the same writer actually praises the “cold, modernist frigidity” of government buildings for their honesty.
然后，在一次勇敢的认知失调中，同一位作家实际上对政府大楼的“冷酷，现代主义的冷漠”表示赞赏。
Most GSA buildings have, in their form, been openly testament to an increasingly secretive, self-contained, and all-seeing state apparatus. They should not represent anything else but the brutality of government institutions that are no longer simply concerned with collecting taxes, but also the details of our personal lives, by force.
大多数GSA建筑物以其形式公开证明了越来越秘密，自成体系且众所皆知的国家机构。 它们不应该代表任何其他事物，而是政府机构的残酷行为，这些残酷的行为不再仅仅涉及征收税款，还涉及武力强加我们个人生活的细节。
How he squares this with his desire that federal buildings celebrate America’s “infinite web of multicultural differences” and unleash “individual creativity” is anyone’s guess.
任何人都在猜测，他如何将他的愿望与联邦建筑庆祝美国“多元文化差异的无限网络”并释放“个人创造力”相吻合。
But the histrionics haven’t stopped with cries of “Fascism!”
但是，历史学家并没有因“法西斯主义！”的呼声而停止。
Glenda Gilmore, a professor of 20th-century American history at Yale, warns this may be a prelude to genocide:
耶鲁大学20世纪美国历史教授Glenda Gilmore警告说，这可能是种族灭绝的前奏：
Knowledge of the post hoc ergo propter hoc informal fallacy seems not to have penetrated Yale’s rarified air. Even so, the Nazi infatuation with classicism was far from straightforward. They embraced a utilitarian and minimalist bastardization of classical forms. This “stripped neoclassicism” was modern in ways hostile to the neoclassicism embraced by the United States. Hitler himself rejected “stupid imitations of the past” and insisted that the modernist axiom “form should follow function” be observed. As the Oxford Dictionary of Architecture notes, Hitler was strongly influenced by Bauhaus, a quintessentially German aesthetic which many see as the apogee of architectural modernism. Bauhaus — its philosophy and some members of its school — was even used in the design of certain concentration camps. Contra Professor Gilmore, Doric columns do not lead to Dachau.
关于事后人为支持者的非正式非正式谬论的知识似乎还没有渗透到耶鲁的珍贵氛围中。 即便如此，纳粹对古典主义的痴迷远非直截了当。 他们拥护功利主义和古典形式的简约混蛋。 这种“剥离的新古典主义”在现代上对美国所接受的新古典主义怀有敌意。 希特勒本人拒绝了“过去的愚蠢模仿”，并坚持要遵循现代主义公理“形式应该服从功能”。 正如《 牛津建筑辞典》所指出的那样，希特勒受到包豪斯的影响，包豪斯是典型的德国美学，许多人认为这是建筑现代主义的最高点。 包豪斯(Bauhaus)-它的哲学和学校的一些成员-甚至被用于某些集中营的设计。 相反，吉尔莫尔教授，多立克体专栏并未引向达豪。
The most measured and incisive criticism of the proposed order I’ve encountered comes from Amanda Kolson Hurley. In her piece for The Atlantic, Hurley explores the practical difficulties of implementing the policy, such as the dearth of architects who specialize in classical design. She also highlights the trouble with defining what constitutes the “classical” and “traditional.” Any serious proposal will have to grapple with these and related concerns.
对于我所遇到的拟议中的命令，最严厉和尖锐的批评来自Amanda Kolson Hurley。 在《大西洋 》一书中，赫尔利(Hurley)探索了实施该政策的实际困难，例如缺乏专门从事古典设计的建筑师。 她还着重指出了定义“古典”和“传统”构成问题。 任何认真的建议都必须解决这些及相关问题。
At the end of her piece, however, Hurley turns to the issue that has animated so much of this debate: “diversity.”
然而，在她的文章的结尾，赫尔利(Hurley)谈到了引起这场辩论如此之多的话题：“多样性”。
The bigger question is why an ersatz Parthenon should be seen as more American than a Gothic Revival church, or a Southwestern pueblo, or a street of shotgun houses on the Gulf Coast. This directive would flatten and warp the rich architectural heritage of our country. It would also suggest that what’s most valuable in our built environment is what was codified by a white male elite before women could vote and black Americans had full legal rights.
更大的问题是，为什么应该将ersatz Parthenon看做是比哥特复兴教堂，西南普韦布洛或墨西哥湾沿岸shot弹枪的街道更具有美国特色的东西。 该指令将使我国丰富的建筑遗产变平和扭曲。 这也表明，在我们的建筑环境中，最有价值的是白人白人精英在妇女投票和黑人拥有完全合法权利之前进行的整理。
The obvious answer to Hurley’s question is that architecture rooted in a Greco-Roman aesthetic is aspirational in ways directly connected to the virtues of republican governance. While I’d love for the United States to aspire to the spiritual ideals expressed by the cruciform structure of a Gothic church, it would be foolish to enshrine sectarian ideals into law. But the virtues supported by classical tradition are public and universal.
对赫尔利问题的一个明显答案是，植根于希腊罗马美学的建筑在与共和政权的美德直接相关的方式上是令人向往的。 虽然我希望美国渴望实现哥特式教堂的十字形结构所表达的精神理想，但将宗派理想纳入法律却是愚蠢的。 但是古典传统所支持的美德是公开的和普遍的。
Moreover, one can only believe that the proposed executive order establishes “what’s most valuable in our built environment” if one already accepts that the federal government is our chief determiner of values. A classical worldview rejects such an idea out of hand.
此外，如果一个人已经接受了联邦政府是我们价值观的主要决定者，那么只能相信拟议的行政命令确立了“在我们的建筑环境中最有价值的东西”。 古典的世界观不能一概而论。
Traditional architecture is premised on metaphysical realism. As Philip Bess, professor of graduate urban design and theory at the University of Notre Dame, explains, this metaphysics is constituted by three assumptions: “that reality is real, we can know it, and we flourish when we accord with it.” He continues:
传统建筑以形而上的现实主义为前提。 正如圣母大学的城市设计与理论研究生教授Philip Bess所解释的那样 ，这种形而上学由三个假设构成：“现实是真实的，我们可以知道它，而当我们符合它时，我们就会蓬勃发展。” 他继续：
Three cities in the ancient world both contributed to this metaphysical realism and themselves came to symbolize legitimate authority: Athens, Jerusalem (old and New), and Rome. From Athens came two seminal ideas: that the best life is the life of moral and intellectual excellence, and that a good city makes the best life possible for its citizens. From Jerusalem came the idea that a city’s excellence is also measured by the care it exhibits for its weakest members, and for much of Western culture after the triumph of Christianity, the heavenly New Jerusalem represented the transcendent end toward which creation is oriented. Finally, from Rome came the full development of an idea originating in Athens: that a city’s beauty is warranted by and represents its greatness.
古代世界中的三个城市都为这种形而上的现实主义做出了贡献，它们本身也象征着合法的权威：雅典，耶路撒冷(新旧)和罗马。 雅典人提出了两个具有开创性的想法：最好的生活是道德和知识上的卓越生活，而一个好的城市将为其公民带来最好的生活。 来自耶路撒冷的想法是，城市的卓越表现也取决于它对最弱势成员的关心程度，以及基督教胜利后对西方许多西方文化的重视，天堂般的新耶路撒冷代表了创造所面向的超越性目标。 最终，罗马的思想得到了全面发展，这种思想起源于雅典：一个城市的美丽由其美感所代表，并代表着它的伟大。
Hurley’s concern over the aesthetic predilections of a “white male elite” can equally be extended to the modernist, postmodernist, and hypermodernist alternatives to classical and traditional architecture. Their origins are no less white. Indeed, for anyone who gives credence to the category of “whiteness” while also valuing consistency, these alternatives are significantly whiter. Whereas one encounters some version of metaphysical realism everywhere humans have established communities, modernism and hypermodernism are uniquely the products of white cultural decadence.
赫尔利(Hurley)对“白人男性精英”的审美倾向的关注同样可以扩展到古典，传统建筑的现代派，后现代派和超现代派替代品。 它们的起源同样是白色的。 的确，对于相信“白度”类别但又重视一致性的任何人，这些替代方法都明显更白 。 在人类建立社区的任何地方都会遇到某种形而上学的现实主义，而现代主义和超现代主义则是白人文化decade废的独特产物。
“Hypermodernism,” argues Bess,
贝斯认为：“超现代主义”
is essentially modernism shorn of its confident consensus and moral and rationalist agendas. … Put another way, hypermodernism is modernism unmasked. It is subjectivism, relativism, and individualism writ in and at the scale of buildings and cities. Hypermodernism is the architecture of the global economy, taking as premises certain modern material conditions and construction practices, and therefore certain aesthetic possibilities that follow from them.
从本质上讲，它是现代主义的自信共识，道德和理性主义议程的基础。 ……换句话说，超现代主义是隐蔽的现代主义。 它是在建筑物和城市中并在其范围内书写的主观主义，相对主义和个人主义。 超现代主义是全球经济的建筑，以某些现代物质条件和建筑实践为前提，因此随之而来的是某些美学可能性。
Hypermodernism is exactly what its detractors claim it to be: a nihilistic, often narcissistic, therapeutic technique for reconciling atomized individuals to their place within the enervating decadence of the late-capitalist order.
超现代主义恰恰是它的批评者所宣称的：虚无主义，通常是自恋的治疗技术，用于使雾化的个体适应激进的后资本主义秩序中的地位。
The idea, suggested by several critics of the draft executive order, that modern and hypermodern designs are somehow more emancipatory or better suited to “diversity” is — not to put too fine a point on it — horseshit.
一些对行政命令草案的批评者提出的想法是，现代和超现代的设计在某种程度上更具解放性或更适合于“多样性”，这是胡扯。
While it’s amusing to watch progressives leap to the defense of Daniel Patrick Moynihan’s “Guiding Principles for Federal Architecture,” it’s even more amusing to think of Trump as a defender of the True, the Good, and the Beautiful. “Make the Golden Ratio Great Again” hats coming soon to a Bass Pro Shop near you.
看着进步主义者跳起来捍卫丹尼尔·帕特里克·莫伊尼汉(Daniel Patrick Moynihan)的“联邦建筑指导原则”，虽然有趣，但将特朗普视为真，善和美的捍卫者却更加有趣。 即将在您附近的Bass Pro Shop出售“ Make the Golden Ratio Again Again”帽子。
Barack Obama is among the best-read men to have held our highest office, and the design for his yet-to-be-constructed Presidential Library is a hypermodern monstrosity that looks less like a site of intellectual fellowship than it does a giant toenail. Someday, somewhere, a library will also be erected in Trump’s name. That’s a thing that will happen.
巴拉克·奥巴马(Barack Obama)是担任我们最高职位的最受人尊敬的人之一，而他尚未建造的总统图书馆的设计是一种超现代的怪兽，看上去不像是一个具有学术友谊的场所，而是一个巨大的趾甲 。 有一天，在某个地方，还将以特朗普的名义建立图书馆。 那是会发生的事情。
Regardless of whether “Making Federal Buildings Beautiful Again” comes to fruition, it will always be next to impossible for me to imagine a Donald J. Trump Presidential Library actually existing here on Earth-One. But a pyrite-encrusted Nevada whorehouse? Now that I can imagine.
不管“使联邦建筑再次变得美丽”能否实现，我总是很难想象实际上存在于Earth-One上的唐纳德·J·特朗普总统图书馆。 但是内华达州的黄铁矿who妓院？ 现在，我可以想像的。
翻译自: https://arcdigital.media/screaming-into-the-architectural-void-f6a21e3466b3
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