1、Philosophy of Alvaro Siza (1) 100474 王琳静byVittorio GregottiArchitect, Professor of Architecture, University of Venice, ItalyI have always had the impression that Alvaro Sizas architecture sprang from archaeological foundations known to him alonesigns invisible to anyone who has not studied the site 2、in detail through drawings with steady, focused concentration.我一直有这样的印象，阿尔瓦罗西扎的建筑源于他自己建立的考古学基础，而这些对于那些没有通过绘画以及长期专注的研究基地细节的人来说，是无法领悟到的。Later on, those signs come together because they convey a feeling of growing out of something necessary, of relating, connecting, establishing and constructing, all t3、he 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 sy4、stem.之后，这些记号因为它们传达了一种从必然中产生，一种关联，连结，建立，建造的感觉而汇集在一起，而且一直保持着一种关于假想和发现的和轻微的的不确定性。其建造是缓慢而有力的。它是由尝试重新创造的，一些离散的记号所构成，这些常识是基于建立普遍的设计中某些创造性的，简单和明晰的记号上的。Sizas work is characterized by just that sense of architectture as a means of listening to the real, in that it hides at least as much as it shows. Sizas ar5、chitecture makes one see, and it reveals rather than interprets the truth of the context.西扎的作品正是有这样的特征，即作为一种聆听真实的途径。在他的作品里他所隐喻的更甚于所揭示的。西扎的建筑让人觉得在真实的文脉方面，他是在展示而不是陈述It seems then, that he has very carefully removed parts from the design, which is very clearly and harmoniously drawn, in order to create6、 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 de7、sign. 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.看起来他从他的设计中非常小心的移除了那部分清晰而调和的部分，而意图创造一种期望。一切不必须的元素都被移除了，但即使这样，她们依然留写了一些痕迹，就像铅笔被擦除後纸上依然会留下痕迹。尖利的锐角和有力的线因为某些神秘的原因交织着，8、这其实都是源于它的设计过程的一种必然。过程中的思想，挫折和变更并没有被完全遗忘，而是在一种精神的场地的建设中被转变，这种场地就像物理的场地环境一样真实。Alvaro Siza Vieira is clearly considered one of todays 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 comi9、ng on stage from unexpected quarters.阿尔瓦罗西扎被世人所推崇为仍然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，依旧能从不可预料处登台而给我们这种已经沉溺的文化带来惊奇。The interest in his architecture shown by younger generations in particular results from the complex mixture of meanings that emanates from his work.年轻建筑师所发掘的关于他建筑中的趣味，源于他设计中散发出的一些意义的复杂的结10、合。 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 mixtur11、e 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.他的建筑在宁静与隔绝中生成，其中带有一些轻微的精准的触动，显示为在当代城市的枯竭状态下一个干净，精确地点，唤起了人们对这些问题的沉痛的责任感；之后，如同在当代都市的荒芜之中出现的那些干净而宝贵的景色一般，他作品中那为数12、不多但从来严格的格调也出现了，尽管这也正是产生那些问题的令人烦恼的原因。除了对这种混合，以及对他的祖国葡萄牙所具有的那种贫穷和淡淡忧伤的的传统之外，他的建筑似乎还对城市周边环境产生了影响。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 mo13、dification 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 attemp14、ting to have his designs express the margins of an architectural problem, when he checks with his hands and eyes.另一方面，他的作品中微小而精准的自信，建筑基础艺术中“永恒”的出现，对现存环境自然转换的感觉，以及对这一转变的延缓都没清除现存的错误和项目中不确定的进程，而是将它凝结于一个单一的有诗意的客体。多年来，。当他用自己的手和眼去检查时，在尝试对使自己的设计表现建筑边缘的问题的过程中，它更能把握工艺方法和流程，尽管他的忧虑依旧。The quality of the tension15、s 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 explanatio16、ns.他设计出的这种紧张的品质像不时尚的他本人一般和动人的细节，在我看来原意两个主题：专注和焦虑，以及一种清晰的必然性，核心总是与最初的方向和可行的解释不同。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 wit17、h 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，细部的设计也不是一种偶然或者对技巧的卖弄，而是建筑本身可亲近的尺度，一种通过触碰来辨认的方手段，一种契合现有技术的，为特定的场所服务的独特性，可以通过控制它门使其与日常事务发生联系。他的细部创造了一种不可预料的建筑各部分之间的距离，这些距离引入了一种存在于由于相互的位置，相互的重叠和连结而造成的最细微常见的元素之间的空间张力4