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rielitationsofouringenuitythebesthunnd
cannotinventanythingbesidesblockhouses;ouldings;a
rotundahereandatriangulargabletherethestiressiveusoleur
rialcannotpareutilatedand
disinfeainstreets;eertoput
thehereyethouredaresifthesetreeshtheirroughsurfaceandirregular
shapeshadbeentheproduanarchitect;he
aatureevendarestopaintthetreesgreenweareafraid
ofirregularityedtheword
”drab”todescribeouroence
ind;succeededin
produodepaventsand
reer
resortsutilityistheansodeindustrialagehas
aggravatedthesituation;especiallyhtheinventionofreinforcedncretethisisa
syoloftheindustrialage;anditodeindustrial
ostofthencretebuildingshaveforgotten;eventoputonaroof;
because;ehaveevenprofessedtoseeaninspiring
beautyintheneseenanytheirbeautyisthe
beautyofgold:theyarebeautifulbecausetheysuggestthepoillionsthey
expressthespiritoftheindustrialage
yetbecauseolookatthehouseswebuildforourselveseverydayandhave
tospendstofourdaysintheandbecausebadarchitecturecancrathestyle
ofourliving;thereisaveryhundendtokeitbeautifulverysubtlythe
houseschangethefaceofourtoiesaroofisnotjustarooftoshelterus
frounandrain;butsothingthataffee;adoorisnot
justanopeningtogetinside;butshouldbethe”opensesa”thatleadsusintothe
steriesofpeoplesdosticlivesafterall;itkessodifferenceherwe
knoilionpaintedgatehgoldenhobs
onit
theprobleshoakethebricksandrtaraliveandspeakthelanguageof
beautyhoitakeitsaysothingtous;as
europeanedhaspiritandspeakasilentlanguageofthe
greatestbeautyandsublitytousletusseehohebestofchinesearchitecture
triedtosolvethisproble
thatofthe
aintendenonyanycasesithas
suthesprig
ofplulosso梩ranslatedfirstintotheving;livinglinesofcalligraphyand
sendarilyintothelinesandforofarchitectureithassupplentedthisbythe
nstantuseofsyolictivesandithas;throughthepre
………………………………
第103节
valentsuperstitionof
geonentofpantheispelsregardforthe
surroundinglandsent;h
itsbestproductintheprivatehoandgardenitsspiritdoesnot;likethegothic
spires;aspiretoheaven;butbroodsovertheearthandisntentedhitslotwhile
gothiity;chinesetelesandpalacessuggest
thespiritofserenity
unbelievableasitsee;theinfluenceofcalligraphyesineveninchinese
architecturethisinfluenceisseeninthebolduseofskeletonstructures;likepillars
androofs;inthehatredofstraight;deadlines;notablyintheevolutionofthesagging
roof;andinthegeneralsenseoffodproportionandgraceandseverityof
telesandpalaces
theproblefrevealingoilartothe
problef”touch”inpaintingjustasinchinesepaintingtheoutliningstrokes;
insteadofservingrelytoindicatethentourofshapesofthings;acquireabold
freedoftheiroecturethepillarsinersand
beainroofs;insteadofbeinghiddeninsha;arefranklyglorifiedandbee
iortantelentsingivingstrutothebuildingsinchinesebuildingsthe
eouswe
silyliketoseethesestructurallines;asindicatingthebasicpatteofthebuilding;
asicsketchesofoutlineinpaintingeworkisusuallyrevealed
inhousesareleftvisiblebothinsideandoutsidethe
house
thisarisesfroheprincipleof
”fraongthevariousstrokesofacharacter;weusually
etisanenvelopingsquare;his
regardedasgivingsupporttotherest;andthisstrokeustkepowerfullyand
kelonger;reobviousthantheothershavingobtainedsupportinthisin
stroke;theotherstrokesit
eveninthedesignofagroupofbuildings;thereisaprincipleofaxis》asthereisan
axisinstchinesecharacterstheyplanningofpeiping;oldpeking;one
ofthestbeautifulcitiesoftheoaninvisibleaxisof
severallesrunningnorthandsouthfroheouterstfrontgate;rightacrossthe
eerorsthrone;tothealhilltohis
axisisiddle”orckang;andinother
characters;likegheftp
perhapsreiortantthantheprincipleofastraightaxisistheuseofcurves;wavy
lines;orirregularrhythclinestontrastostclearly
seeninthepleorpalaansionis
based;initsessence;uponthebinationotrastofthestraightverticallinesof
thepillarsandthecurvedlinesoftherooftheroofitselfntainsantrastbetween
thestraightlineattheridgeandthesagginglinebelooourtrainingin
calligraphyinainline;ay
behorizontal;verticalorslanting;ustntrastithcurvedorsoftbrokenlines
aroundittheridgeoftheroofisfurtherrebrokenbyonlyafeive
tivesonlybythentrastoftheselinesarethestraightlinesofthepillarsandthe
plesofchinesetelesand
dsthederativepointofehasis
ratherthanthepillarsortheendonotexistinfront梩helatterbeing
proportionatelysllparedhtheroofitself
abc
threeierof
”nchtlruo;”
andfauscauligraphist
theoriginofthefausroofliracedtocalligraphy
thetopoftheting;signifyingthe”roof”notethesagintheddleandthesgivenbychineseroofs
thetopofcharacter”c”signifies”n;”butreselestheupperlinesofaroofnote
alsothesureandtheupthelowerends
notefurthertheprincipleofstructureinvolvedandappliedtochinesearchitecture
notetherigidverticallihepillarin”antrastedhthecurveinthe”roof”
andhotherhorizontalstrokesattachedtoitnotein”b”thecentralverticalcurve;
htheotherstrokesclusteringaroundapointatitstopandstrangelybalancingone
another
theoriginofthesaggingroof;probablythestuniqueandobviouscharacteristif
eiginea
nneadicdaysandyetthereasonforitis
obviousincalligraphynooneentsofchinesecalligraphycan
failtoseetheprincipleofgracefullyshe
greatestdifficultyistobringaboutstrengthofstroke;asitisaltogive
strengthtoaperfectlystraightstrokeontheotherhand;aslightbentoneitherside
diatelyafeelingoftensionitisonlynecessarytopointtothe
gracefulsaginthe”radical”signifyingaroofinchinesecharacterstoseethatthisis
noreiginationoftheauthor
ourloveforrhythrredofstraight;dead
linesbeeobviouseeredthatratedanything
quiteasuglyastheedechinesearchitecthas
perpetratedaestyledlighthouseshapedthingcalledthelakeexhibition
rial;anditstandsthereadstthebeautiesoflakeli