视频库 / NO.057
--:--
点击播放，这里会跟随视频显示当前句的中英字幕。
第 57 期 · 回应 Ⅰ·05「整体能大于部分之和吗？」
A Conversation with Frank Lloyd Wright (1953)
节目发布 2019-09-17章节 · 点击跳转视频
0:01
开场：橡树园自宅与建筑师的起点
3:03
沙利文与摩天楼：直视事物本身
4:44
有机建筑：由内而外的整体性
6:20
流水别墅与塔里埃森：基地决定房子
11:50
柱梁与延展性：钢与玻璃的新结构
13:56
空间、开放平面与摧毁盒子
16:59
一位论教堂与城市去中心化
20:48
约翰逊大楼：工人幸福即划算
22:03
诚实的傲慢：与媒体和同行的对立
26:01
艺术教不会：效法与模仿之辨
本期小问 · 档案清单
4:44
整体能大于部分之和吗？
26:01
怎样才算真正学会？
11:50
技术是中立的吗？
3:03
伟大的事业从哪来？
本期讲者
弗兰克·劳埃德·赖特美国建筑师（1867–1959），有机建筑与草原风格的创立者，代表作有流水别墅、约翰逊制蜡公司总部、古根海姆博物馆、东京帝国饭店；创办塔里埃森学社培养学徒。
休·唐斯美国广播主持人（1921–2020），时任NBC芝加哥台播音员，后长期主持《今日秀》《20/20》，曾以电视出镜时长创吉尼斯纪录。
01开场：橡树园自宅与建筑师的起点
0:01
THE NATIONAL BROADCASTING COMPANY INVITES YOU TO SPEND A HALF HOUR WITH THE EMINENT AMERICAN ARCHITECT, FRANK LLOYD WRIGHT, WHO, IN HIS 83RD YEAR MADE THIS FILM ESPECIALLY FOR NBC. THIS IS ONE OF A SERIES OF FILM CONVERSATIONS WITH DISTINGUISHED FIGURES OF OUR TIME. MR. WRIGHT'S GUEST IS HUGH DOWNS OF NBC CHICAGO. COME IN THEN. HELLO, MR. WRIGHT. NICE TO SEE YOU. WHAT'S THAT YOU'VE GOT IN YOUR HAND? I'VE GOT A BOOK HERE I'M GOING TO ASK YOU A QUESTION ABOUT IN JUST A MOMENT. I THOUGHT IN THE BRIEF SPACE OF A HALF HOUR, WHICH IS THE TIME WE HAVE, WHAT WE'D LIKE TO DO, MR. WRIGHT, IS GET AS CLEAR A PICTURE AS POSSIBLE FOR OUR AUDIENCE THE ESSENCE OF YOUR THINKING ABOUT AMERICAN ARCHITECTURE AND AMERICAN LIFE.
美国国家广播公司（NBC）邀请您与美国杰出建筑师弗兰克·劳埃德·赖特共度半小时，他在83岁高龄时专门为NBC拍摄了这部影片。这是与我们这个时代杰出人物进行的系列影像对话之一。赖特先生的访谈嘉宾是NBC芝加哥台的休·唐斯。那就请进吧。您好，赖特先生。很高兴见到您。您手里拿的是什么？我这儿有本书，等一下我要拿它向您请教一个问题。我想，在短短半小时里——这就是我们全部的时间——我们想做的是，赖特先生，尽可能清晰地向观众呈现您对美国建筑和美国生活的思考精髓。
0:51
IN A HALF HOUR... WELL, AS MUCH AS WE'RE ABLE TO DO IN A HALF HOUR. TO LAUNCH RIGHT INTO IT, WOULD YOU IDENTIFY THIS PICTURE FOR US? AH, THE PICTURE IS A LITTLE HOUSE ON FOREST AVENUE I BUILT WHEN I WAS STILL WITH ADLER & SULLIVAN. I THINK IT WAS BUILT BEFORE 1893. A LITTLE TREE GREW UP, WILLOW TREE, THROUGH THE CURVE BETWEEN THE HOUSE AND THE STUDIO AND THERE WAS A CONTINUAL PROCESSION AROUND THE HOUSE WHERE THE TREE GREW THROUGH THE ROOF. 1893... I THINK MANY OF OUR VIEWERS WOULD AGREE THAT LOOKS LIKE A HOUSE THAT COULD HAVE BEEN BUILT LAST YEAR.
在半小时里……嗯，能在半小时里做多少就做多少吧。那就直接开始，您能给我们说说这张照片吗？啊，这张照片是森林大道上的一栋小房子，是我还在阿德勒与沙利文事务所时建的。我想是1893年之前建的。一棵小树，一棵柳树，从住宅和工作室之间的弧形处长了上来，那里有一条连贯的通道，绕着房子，树就从屋顶穿了出去。1893年……我想我们的很多观众都会同意，那看上去像是去年才建成的房子。
1:30
AND I THINK THAT'S AS GOOD A WAY AS I CAN THINK OF OFFHAND TO GET INTO OUR SUBJECT WHICH WE MIGHT CALL 60 YEARS OF LIVING ARCHITECTURE. WHEN DID YOU FIRST DECIDE TO MAKE ARCHITECTURE YOUR LIFE WORK? WELL, FORTUNATELY I NEVER HAD TO DECIDE. IT WAS DECIDED FOR ME BEFORE I WAS BORN. MY MOTHER WAS A TEACHER AND SHE WANTED AN ARCHITECT FOR A SON, I HAPPENED TO BE THE SON, AND OF COURSE NATURALLY AN ARCHITECT. I WAS CONDITIONED BY HER, THE ROOM INTO WHICH I WAS BORN WAS HUNG WITH THE WOOD ENGRAVINGS OF THE ENGLISH CATHEDRALS MADE BY TIMOTHY COLE.
我觉得，这是我一时间能想到的、最好的切入方式，来谈谈我们今天的主题——不妨称之为“六十年的活的建筑”。您是什么时候第一次决定把建筑作为毕生事业的？嗯，幸运的是，我从来不需要决定。在我出生之前，这就已经替我定好了。我母亲是位教师，她想要一个当建筑师的儿子，我恰好就是那个儿子，那自然就成了建筑师。我是被她塑造的，我出生的那个房间里挂满了蒂莫西·科尔制作的英国大教堂木刻版画。
2:11
DO YOU REMEMBER THOSE? SO I WAS BORN INTO ARCHITECTURE. WHAT WAS YOUR FIRST JOB AS AN ARCHITECT, MR. WRIGHT? WELL, I THINK I WANTED TO BE AN ARCHITECT AND AS NEAR AS I COULD GET TO IT IN MADISON - WE WERE POOR, WE HAD NO MONEY TO SEND ME TO AN ARCHITECTURAL SCHOOL AND MADISON, OUR HOME, HAD AN ENGINEERING SCHOOL AND A VERY KIND DEAN, PROFESSOR CONOVER, GAVE ME A STIPEND TO WORK FOR HIM AND WORK MY WAY THROUGH THE COURSE AT THE UNIVERSITY AND I WORKED MY WAY ALMOST THROUGH IT. IF I'D STAYED THREE MONTHS LONGER I WOULD HAVE BEEN GIVEN A DEGREE AS AN ENGINEER, BUT I WAS ANXIOUS TO BE AN ARCHITECT AND SO I STARTED OUT FOR CHICAGO THREE MONTHS BEFORE I'D HAVE GRADUATED.
您还记得那些吗？所以我是生在建筑里的。赖特先生，您作为建筑师的第一份工作是什么？嗯，我想我是想当建筑师的，而在麦迪逊，我能最靠近它的办法就是——我们很穷，没有钱送我去去建筑学院，而麦迪逊，我们的家乡，有一所工程学院，还有一位非常和善的院长，康诺弗教授，他给了我一笔津贴让我为他工作，让我一边打工一边读完大学的课程，我几乎就读完了。要是我再多待三个月，我就能拿到工程师学位了，但我急着想当建筑师，所以在毕业前三个月我就动身去了芝加哥。
02沙利文与摩天楼：直视事物本身
3:03
AND I SUPPOSE YOU COULD SAY THAT MY WORK FOR CONOVER, PERHAPS, AS AN ENGINEER DESIGNING CLIPS AND LITTLE DETAILS OF IRONWORK WAS MY FIRST ARCHITECTURAL JOB. WOULD YOU SAY THAT ANY OF SULLIVAN'S IDEAS IN ARCHITECTURE INFLUENCED YOU AT THAT TIME? NATURALLY. THEY WERE INFLUENCING NEARLY EVERYBODY IN THE COUNTRY. HOW SO? HE WAS THE REAL RADICAL OF HIS DAY AND HIS THOUGHT GAVE US THE SKYSCRAPER. WHEN BUILDINGS FIRST BEGAN TO BE TALL THEY DIDN'T KNOW HOW TO MAKE THEM TALL. THEY WOULD PUT ONE TWO-STORY OR THREE-STORY BUILDING ON TOP OF ANOTHER UNTIL THEY HAD ENOUGH.
我想你可以说，我为康诺弗做的那些工作——作为工程师设计连接件和铁件的小细节——算是我的第一份建筑工作。你会说当时苏利文在建筑上的某些理念影响了你吗？当然。他影响了这个国家几乎所有人。怎么讲？他是他那个时代真正的激进派，他的思想给了我们摩天大楼。当建筑开始往高处建的时候，人们并不知道该怎么把楼建高。他们会把一栋两层或三层的楼摞在另一栋上面，一直摞到够高为止。
3:51
AND I REMEMBER LIEBER MEISTER WHO'D COME IN - AND DID COME IN AND THROW SOMETHING ON MY TABLE. THE WAINWRIGHT BUILDING IN ST. LOUIS. HE SAID "WRIGHT, THAT THING IS TALL. WHAT'S THE MATTER WITH A TALL BUILDING?" AND THERE IT WAS - TALL. AND AFTER THAT, WHY THE SKYSCRAPER BEGAN TO FLOURISH AND I THINK ALL THE SKYSCRAPERS YOU SEE TODAY WERE THE RESULT OF LOUIS SULLIVAN'S INITIATIVE. AND THAT WAS HIS KIND OF MIND, HIS TYPE OF THOUGHT. YOU SEE, HE SAW THE THING DIRECTLY FOR WHAT IT WAS. MOST PEOPLE WHO ARE AT ALL ACQUAINTED WITH YOUR WORK KNOW THE FACT THAT YOUR WORK IS ORGANIC AND INTIMATELY BOUND UP WITH THE LIVES OF PEOPLE.
我记得利伯·迈斯特（我的恩师）会走进来——他确实走了进来，把一样东西扔在我的桌上。是圣路易斯的温莱特大厦。他说：'赖特，这东西是高的。高楼有什么不对吗？'它就在那儿——高的。从那以后，摩天大楼便开始兴盛起来，我认为你今天看到的所有摩天大楼，都是路易斯·苏利文首创精神的结果。那就是他的那种头脑，他那种类型的思维。你看，他能直接看到事物的本来面目。但凡对你的作品有些了解的人都知道，你的作品是有机的，与人们的生活紧密相连。
03有机建筑：由内而外的整体性
4:44
WHEN DID THIS IDEA FIRST BEGIN TO TAKE SHAPE IN YOUR WORK? WELL, THAT'S PRETTY DIFFICULT TO SAY. OF COURSE IN MY YOUTH NOTHING EXISTED OF THE SORT THAT I WANTED TO SEE HAPPEN. IT DIDN'T EXIST ANYWHERE... IT HAD TO BE MADE. AND IT HAPPENED OUT HERE ON THE WESTERN PRAIRIES OF CHICAGO THE FIRST EXPRESSION IN HUMAN TERMS OF WHAT WE CALL NOW ORGANIC ARCHITECTURE. WHEN YOU USE THE WORD "ORGANIC", IS THAT ANY DIFFERENT FROM MY USE OF THE WORD "MODERN ARCHITECTURE" IN YOUR OPINION? VERY DIFFERENT BECAUSE MODERN ARCHITECTURE IS MERELY SOMETHING BUILT TODAY, BUT ORGANIC ARCHITECTURE IS AN ARCHITECTURE FROM WITHIN, OUTWARD, IN WHICH ENTITY IS THE IDEAL.
这个理念最早是什么时候在你的作品中成形的？嗯，这很难说。当然，在我年轻的时候，我想看到发生的那类东西一样都不存在。它哪儿都不存在……它得被创造出来。而它就发生在芝加哥西边的这些大草原上——我们现在称之为有机建筑的东西，第一次以人的方式表达出来。当你用'有机'这个词时，在你看来它和我用的'现代建筑'这个词有什么不同吗？非常不同，因为现代建筑不过是今天建的东西，而有机建筑是一种由内而外的建筑，其中'整体性'才是理想。
5:35
WE DON'T USE THE WORD "ORGANIC" AS REFERRING TO SOMETHING HANGING IN A BUTCHER SHOP, YOU KNOW. ORGANIC MEANS, IN THE PHILOSOPHIC SENSE, ENTITY. WHERE THE WHOLE IS TO THE PART AS THE PART IS TO THE WHOLE. AND WHERE THE NATURE OF THE MATERIAL IS THE NATURE OF THE PURPOSE. THE NATURE OF THE ENTIRE PERFORMANCE BECOMES A NECESSITY AND OUT OF THAT COMES WHAT SIGNIFICANCE YOU CAN GIVE THE BUILDING AS A CREATIVE ARTIST. WELL, WITH THAT IN MIND, WHAT DO YOU TRY TO PUT INTO A HOUSE WHEN YOU DESIGN ONE? FIRST OF ALL, THE FAMILY IT'S DESIGNED FOR, AS A RULE.
我们用'有机'这个词，可不是指挂在肉铺里的那种东西，你知道的。在哲学意义上，有机意味着一个整体。整体之于局部，正如局部之于整体。材料的本性即是用途的本性。整个营造过程的本性成为一种必然，由此才产生出你作为一个创造性艺术家能赋予这栋建筑的意义。那么，本着这个想法，你设计一栋住宅时想往里面放进什么？首先，通常是它所服务的那个家庭。
04流水别墅与塔里埃森：基地决定房子
6:20
IT'S NOT ALWAYS EASY AND NOT ALWAYS SUCCESSFUL, BUT USUALLY SO. AND WE TRY TO PUT INTO THAT HOUSE A SENSE OF UNITY OF THE ALL TOGETHER THAT MAKES IT PART OF ITS SITE. IF THE THING IS SUCCESSFUL, THE ARCHITECT'S EFFORT, YOU CAN'T IMAGINE THAT HOUSE ANYWHERE THAN RIGHT WHERE IT IS. IT'S A PART OF ITS ENVIRONMENT AND IT GRACES ITS ENVIRONMENT RATHER THAN DISGRACES IT. A STRIKING EXAMPLE OF A HOUSE AND SITE GOING TOGETHER IS OF COURSE BEAR RUN HOUSE. HOW DID YOU RELATE THE SITE TO THE HOUSE? WELL, THERE WAS A ROCK LEDGE BANK BESIDE THE WATERFALL AND THE NATURAL THING SEEMED TO BE TO CANTILEVER THE HOUSE FROM THE ROCK BANK OVER THE FALLS.
这并不总是容易，也并不总是成功，但一般来说是这样。我们试着把一种浑然一体的统一感放进那栋房子里，使它成为其基地的一部分。如果这件事——建筑师的努力——是成功的，你就无法想象那栋房子出现在除了它所在之处以外的任何地方。它是其环境的一部分，它为环境增色，而不是让环境蒙羞。住宅与基地融为一体的一个突出例子，当然就是熊跑溪住宅（流水别墅）。你是怎么把基地和房子联系起来的？嗯，瀑布旁边有一处岩石台地般的坡岸，最自然的做法似乎就是把房子从岩岸上悬挑出去，越过瀑布。
7:14
AND THE BEAR RUN HOUSE CAME INTO POSSESSION OF CONCRETE AND STEEL OF WHICH TO BUILD A HOUSE AND OF COURSE THE GRAMMAR OF THAT HOUSE GEARED UP ON THAT BASIS, AND THEN OF COURSE MR. KAUFMANN'S LOVE FOR A BEAUTIFUL SITE. HE LOVED THE SITE WHERE THE HOUSE WAS BUILT AND HE LIKED TO LISTEN TO THE WATERFALL, SO THAT WAS A PRIME MOTIVE IN THE DESIGN. I THINK YOU CAN HEAR THE WATERFALL WHEN YOU LOOK AT THE DESIGN. AT LEAST IT'S THERE, AND HE LIVES INTIMATELY WITH THE THING HE LOVED. TELL US ABOUT YOUR OWN HOME, MR. WRIGHT, TALIESIN.
而熊跑溪住宅正好有混凝土和钢材可以用来建造，当然那栋房子的语法就是在这个基础上确立的，再加上考夫曼先生对一处美丽基地的热爱。他热爱房子所建的那块地，他喜欢听瀑布的声音，所以那是设计中的一个首要动机。我想当你看这个设计的时候，你能听见那道瀑布。至少它就在那儿，而他与他所爱的事物亲密地生活在一起。赖特先生，请给我们讲讲您自己的家，塔里埃森。
7:55
WELL, TALIESIN, OF COURSE WAS BUILT IN 1911 AND WAS A KIND OF REFUGE AT THE TIME. I WAS GETTING A WORM'S EYE VIEW OF SOCIETY AND NEEDED TO GET INTO THE COUNTRY AND MY MOTHER HAD PREPARED THIS SITE FOR ME AND ASKED ME TO COME TAKE IT AND I DID. AND OF COURSE THE COUNTRYSIDE IS SOUTHERN WISCONSIN - LOW HILLS, PROTRUDING ROCK LEDGES, WOODED SITE AND THE SAME THING APPLIED TO TALIESIN AS APPLIED LATER ON TO BEAR RUN. THE SITE DETERMINED THE FEATURES AND CHARACTER OF THE HOUSE. TALIESIN REALLY IS A STONE HOUSE AND IT IS A HOUSE OF THE NORTH, IT WAS BUILT FOR THE NORTH.
嗯，塔里埃森当然是1911年建的，在当时算是一处避难所。我那时正从最低处仰视这个社会，需要到乡下去，而我母亲已经为我准备好了这块地，并让我来把它接下来，我就来了。当然，那片乡野是威斯康星南部——低矮的丘陵、凸出的岩石台地、林木覆盖的地块，后来适用于熊跑溪的那一套同样适用于塔里埃森。是基地决定了房子的特征与性格。塔里埃森其实是一栋石屋，是一栋属于北方的房子，它是为北方而建的。
8:50
I LOVED THE ICICLES THAT CAME ON THE EAVES AND IN WINTER THE SNOW WOULD SWEEP UP OVER IT AND IT LOOKED LIKE A HILL ITSELF, OR ONE OF THE HILLS. AND IT WAS BUILT TO BELONG TO THE REGION THAT MY GRANDFATHER CAME TO WHEN THE INDIANS WERE STILL THERE ABOUT 125 YEARS AGO. AND THE VALLEY WAS CALLED "THE VALLEY" LOVINGLY AND IT WAS A LOVABLE PLACE. AND THE VALLEY WAS CLEARED BY MY GRANDFATHER AND HIS SONS AND TALIESIN IS AN INSTANCE OF THE THIRD GENERATION GOING BACK TO THE SOIL AND REALLY DEVELOPING IT AND TRYING TO MAKE SOMETHING BEAUTIFUL OF IT.
我喜欢屋檐上垂下的冰柱，冬天雪会漫过它堆积起来，它看上去就像一座山丘本身，或者说就像那些山丘中的一座。它被建造出来，就是为了属于我祖父约125年前来到的那片土地，当时印第安人还在那里。那个山谷被人们亲切地称为'山谷'，那是个惹人喜爱的地方。那个山谷是我祖父和他的儿子们开垦出来的，而塔里埃森是第三代人回到土地上、真正去经营它并试图让它变得美好的一个例子。
9:36
WHERE DID THE NAME "TALIESIN" COME FROM, MR. WRIGHT? MY PEOPLE WERE WELSH, MY MOTHER'S PEOPLE WERE WELSH IMMIGRANTS. MY OWN GRANDFATHER WAS A HATTER AND A PREACHER. AND THEY CULTIVATED ELEMENT IN THE COUNTY AND TALIESIN - THEY ALL HAD WELSH NAMES FOR THEIR PLACES - MY SISTER'S HOME WAS TANYDERI, "UNDER THE OAKS". SO I CHOSE A WELSH NAME FOR MINE AND IT WAS TALIESIN, A DRUID, A MEMBER OF KING ARTHUR'S ROUND TABLE WHO SANG THE GLORIES OF FINE ART. I GUESS ABOUT THE ONLY BRITISHER WHO EVER DID. SO I CHOSE TALIESIN FOR A NAME, IT MEANS "SHINING BROW".
赖特先生，'塔里埃森'这个名字是从哪儿来的？我的家人是威尔士人，我母亲那边是威尔士移民。我自己的祖父是个制帽匠，也是个传道人。他们在那个县里是有教养的一群人，而塔里埃森——他们都给自己的住处起威尔士名字——我姐姐的家叫塔尼德里，意思是'橡树之下'。所以我也给我的地方选了个威尔士名字，就是塔里埃森，一位德鲁伊，亚瑟王圆桌骑士中的一员，他歌颂美的艺术的荣光。我想他大概是唯一一个这么做过的不列颠人。所以我选了塔里埃森作名字，它的意思是'闪亮的额头'。
10:22
AND TALIESIN IS BUILT LIKE A BROW ON THE EDGE OF A HILL, NOT ON TOP OF A HILL BECAUSE I BELIEVE YOU SHOULD NEVER BUILD ON TOP OF ANYTHING DIRECTLY. IF YOU BUILD ON TOP OF A HILL YOU LOSE THE HILL. IF YOU BUILD ONE SIDE OF THE TOP YOU HAVE THE HILL AND THE EMINENCE THAT YOU DESIRE, YOU SEE? WELL, TALIESIN'S LIKE THAT. IN THE CASE OF TALIESIN WEST, I'D LIKE TO ASK YOU ABOUT THE GREAT CONTRAST BETWEEN THAT AND THE OTHER TALIESIN WHEN IT WAS BUILT FOR THE SAME PERSON, SINCE BOTH ARE YOUR HOMES, WHY THAT DIFFERENCE?
塔里埃森就像一道额眉一样建在山丘的边缘上，而不是山顶上，因为我认为你绝不该直接建在任何东西的顶上。如果你建在山顶上，你就失去了这座山。如果你建在靠近顶部的一侧，你就既保有了山丘，又得到了你想要的那种高处的气势，明白吗？塔里埃森就是那样的。说到西塔里埃森，我想问问它和另一座塔里埃森之间的巨大反差——它们是为同一个人建的，两处都是您的家，为什么会有那样的差别？
11:01
WELL, YOU SEE, THE TERRAIN CHANGED ABSOLUTELY. HERE WE CAME TO THE DESERT WHERE THERE'S ASTONISHING AND EXCITING NEW FORMS. IN WISCONSIN EROSION HAS, BY WAY OF AGE, SOFTENED EVERYTHING. OUT THERE EVERYTHING WAS SHARP, SAVAGE, EVERYTHING WAS ARMED IN THE DESERT AND IT WAS AN ENTIRELY NEW EXPERIENCE. AND SO FOLLOWING OUT THE SAME FEELING FOR STRUCTURE, THE SAME IDEA OF BUILDING THAT WE HAD IN THERE, IT HAD TO BE ABSOLUTELY ACCORDING TO THE DESERT. SO TALIESIN WEST IS ACCORDING TO ITS SITE AGAIN, ACCORDING TO ITS ENVIRONMENT AND THE PURPOSE OF COURSE IS SIMILAR, IT HASN'T CHANGED MUCH.
嗯，你看，地形完全变了。在这里我们来到了沙漠，这里有令人惊叹、令人兴奋的新形式。在威斯康星，侵蚀作用随着岁月把一切都磨得柔和了。而在那边，一切都是尖锐的、野性的，沙漠里的一切都带着武装，那是一种全然崭新的体验。所以，沿用同样的结构感受，沿用我们在那边所秉持的同样的建造理念，它必须绝对地顺应沙漠。所以西塔里埃森同样顺应它的基地，顺应它的环境，而目的当然是相似的，这一点没怎么变。
05柱梁与延展性：钢与玻璃的新结构
11:50
WHAT'S THE DIFFERENCE BETWEEN ORGANIC ARCHITECTURE AND CONVENTIONAL ARCHITECTURE? YOU MEAN STRUCTURALLY, I IMAGINE. YES. WELL, YOU SEE THE OLD POST AND BEAM CONSTRUCTION - YOU CAN SAY THIS IS THE POST AND BEAM - POST AND BEAM - IT WAS ALL A KIND OF SUPERIMPOSITION. AND IF YOU WANTED PARTITIONS THEY CUT AND THEY WOULD BUTT - SEE? CUT, BUTT AND SLASH. AND IF YOU WANTED TENSION YOU HAD TO RIVET SOMETHING TO SOMETHING AND MAKE A CONNECTION THAT MIGHT GIVE WAY. WELL, ORGANIC ARCHITECTURE BROUGHT THE PRINCIPLES TOGETHER SO THAT A BUILDING WAS MORE LIKE THIS.
有机建筑和传统建筑之间的区别是什么？我想你指的是结构上的。是的。嗯，你看那种老式的柱梁结构——你可以说这是柱和梁——柱和梁——它整个就是一种层层叠加。如果你想要隔墙，就得切割，然后对接——明白吗？切、接、劈。如果你想要抗拉，就得把什么东西铆在什么东西上，做一个可能会松脱的连接。而有机建筑把这些原理融合到一起，于是一栋建筑更像是这样。
12:32
SEE, YOU COULD PULL ON THE STRUCTURE. IT HAD TENSILE STRENGTH GOING TO STEEL AND GOING TO STEEL YOU COULD HAVE GREAT SPACES, AND THE GREAT SPACES COULD BE PROTECTED WITH GLASS. THE ORIENTALS, OF COURSE, THE GREEKS, NEVER HAD ANY SUCH FACILITY. IF THEY'D HAD STEEL AND GLASS, WE WOULDN'T HAVE TO DO ANY THINKING TODAY. WE'D BE COPYING THEM. BUT NOW SOMETHING HAD TO BE DONE WITH THESE NEW MATERIALS, THESE GREAT NEW RESOURCES, AND THEY ARE TREMENDOUS. AND BECAUSE OF THAT PRINCIPLE OF TENUITY, WE COULD USE THE CANTILEVER AND INTO STRUCTURE CAME THIS ELEMENT OF CONTINUITY.
看，你可以拉拽这个结构。它有了抗拉强度，靠的是钢；有了钢，你就能获得巨大的空间，而这些巨大的空间可以用玻璃来围护。东方人，当然还有希腊人，从来没有过这样的条件。要是他们当时有钢和玻璃，我们今天就不必再动什么脑筋了。我们照抄他们就行了。但如今，必须用这些新材料、这些巨大的新资源做点什么，而它们的潜力是惊人的。正因为有了这种'延展性'原理，我们才能使用悬挑，而'连续性'这个要素也就进入了结构之中。
13:18
YOU SEE, ONE THING MERGING INTO ANOTHER AND ON ANOTHER RATHER THAN THIS CUT, BUTT, AND SLASH. IN OTHER WORDS, THIS SAME ELEMENT OF STRENGTH - THAT'S WHAT BROUGHT THE IMPERIAL HOTEL THROUGH INTACT THROUGH THE EARTHQUAKE. THAT PRINCIPLE OF TENUITY AND OF FLEXIBILITY... THIS, INSTEAD OF RIGIDITY WHICH COULD BE BROKEN. WOULD YOU RECOUNT FOR US SOME OF THE THINGS WHICH ARE FUNDAMENTALLY YOUR OWN INNOVATIONS IN ARCHITECTURE? WELL, IT WOULD BE PRETTY DIFFICULT AND BE A LONG STORY TOO. PERHAPS TOO LONG FOR THIS.
你看，是一个东西融入另一个、再延续到下一个，而不是那种切、接、劈。换句话说，正是这同一种强度要素，让帝国饭店完好无损地挺过了那场地震。是延展性和柔韧性的原理……是这个，而不是那种会被折断的刚性。您能给我们讲讲哪些东西从根本上说是您在建筑上的独创吗？嗯，那会相当难讲，而且会是个很长的故事。对这个节目来说可能太长了。
06空间、开放平面与摧毁盒子
13:56
FIRST OF ALL CAME THIS NEW SENSE OF SPACE AS A REALITY OF THE BUILDING. THEN CAME THE COUNTENANCE OF THAT SPACE WHICH IS MORE OR LESS WHAT I TERMED "STREAMLINED". THAT WORD "STREAMLINED" GOT INTO THE LANGUAGE I THINK ABOUT THAT TIME THROUGH MY EFFORT. AND THEN THERE WAS THE OPEN PLAN. INSTEAD OF A BUILDING BEING A SERIES OF BOXES AND CLOSETS IT BECAME MORE AND MORE OPEN, MORE AND MORE SENSE OF SPACE. THE OUTSIDE CAME IN MORE AND MORE AND THE INSIDE WENT OUT MORE. THAT WENT ALONG UNTIL WE HAD PRACTICALLY A NEW FLOOR PLAN AND IT'S BEEN REFERRED TO ALWAYS AS THE OPEN PLAN.
首先是这种把空间视为建筑之实在的新感受。然后是这个空间的面貌，也就是我大致称之为'流线型'的东西。'流线型'这个词进入语言，我想大约就是在那个时候，是通过我的努力。然后还有开放式平面。建筑不再是一系列盒子和小隔间，而是变得越来越开放，空间感越来越强。外部越来越多地进到里面，内部也越来越多地伸到外面。这样一路发展下去，我们实际上就有了一种新的平面布局，人们一直把它称为开放式平面。
14:42
THAT WAS THE DIRECT RESULT. AND OF COURSE THERE ARE STRUCTURAL IMPLICATIONS WHICH WE HINTED AT A WHILE AGO. HOW THE BUILDING HAD HAD TENUITY INSTEAD OF A BUILDING WITHOUT ANY THAT COULD FALL APART. THESE HOUSES BUILT UPON THIS PLAN ARE GOOD FOR 300 YEARS I SHOULD THINK. SEVERAL CENTURIES. AND IN THAT STRUCTURAL DISPENSATION A GREAT MANY FEATURES AROSE LIKE PERHAPS THE MOST IMPORTANT ONE WAS GRAVITY HEAT, FLOOR HEAT... WHERE THE HEAT IS IN THE FLOOR BENEATH THE SLAB IN A BROKEN STONE BED. AND WITH A THICK DRUGGET ON THE FLOOR YOU HAVE A RESERVOIR OF HEAT BENEATH YOU.
那是直接的结果。当然还有我们刚才提到过的那些结构上的含义。建筑如何有了延展性，而不是那种毫无延展性、会散架的建筑。按这种理念建的这些房子，我想能撑上三百年。好几个世纪。在那种结构体系下，出现了许多特色，其中也许最重要的一项就是重力供暖，也就是地板采暖……热源就埋在地板里，在混凝土板下方的碎石层中。再在地板上铺一层厚厚的粗毛地毯，你脚下就有了一个热的蓄能层。
15:30
SO YOU SIT WARM, YOU CAN OPEN THE WINDOWS AND STILL BE COMFORTABLE AND THE CHILDREN PLAY ON A NICE WARM SURFACE AND IF YOUR FEET ARE WARM AND YOU SIT WARM, YOU'RE WARM. OH, AND I THINK THE CORNER WINDOW IS SOMETHING WE SHOULD MENTION IN CONNECTION WITH INNOVATION, AND YOU CAN JUDGE FROM WHAT HAPPENED BY WAY OF THE CORNER WINDOW WHAT HAS HAPPENED TO MANY OF THE INNOVATIONS. THE CORNER WINDOW WAS INDICATIVE OF AN IDEA CONCEIVED EARLY IN MY WORK THAT THE BOX WAS A FASCIST SYMBOL AND THAT THE ARCHITECTURE OF FREEDOM AND DEMOCRACY NEEDED SOMETHING BESIDES THE BOX.
所以你坐着是暖的，你可以把窗子打开，人依然舒服，孩子们也能在暖洋洋的地面上玩耍。只要脚是暖的，坐着是暖的，你整个人就是暖的。哦，说到创新，我想转角窗也是值得一提的。而从转角窗后来的遭遇，你就能看出许多创新最后都变成了什么样子。转角窗体现的是我早年工作中形成的一个想法：盒子是一种法西斯式的象征，而自由与民主的建筑需要的是盒子以外的东西。
16:16
SO I STARTED OUT TO DESTROY THE BOX AS A BUILDING. THE CORNER WINDOW CAME IN AS ALL THE COMPREHENSION THAT EVER WAS GIVEN TO THAT ACT OF THE DESTRUCTION OF THE BOX. THE LIGHT CAME IN WHERE IT HAD NEVER COME BEFORE, VISION WENT OUT AND YOU HAD SCREENS INSTEAD OF WALLS. HERE THE WALLS VANISHED AS WALLS AND THE BOX VANISHED AS A BOX AND THE CORNER WINDOW WENT AROUND THE WORLD BUT THE IDEA OF THE THING NEVER FOLLOWED IT. AND IT BECAME MERELY A WINDOW INSTEAD OF THE RELEASE OF AN ENTIRE SENSE OF STRUCTURE.
所以我一开始就着手把建筑这个盒子摧毁掉。转角窗的出现，就是人们对“摧毁盒子”这一举动所能理解到的全部。光从从未有光进来的地方照了进来，视线得以向外延伸，你有的不再是墙，而是屏面。在这里，墙作为墙消失了，盒子作为盒子也消失了。转角窗后来传遍了世界，但它背后的理念却始终没有跟上。它最后只沦为一扇窗子，而不是整套结构观念的解放。
07一位论教堂与城市去中心化
16:59
I'VE HEARD INDIRECT LIGHTING ATTRIBUTED TO YOU, IS THAT RIGHT? I DID THE FIRST SO-CALLED INDIRECT LIGHTING VERY EARLY - I GUESS IT WAS ABOUT 50 YEARS AGO. INCORPORATED IT BEHIND SHELVES, CAST IT ON THE CEILING, THEN BURY IT IN THE CEILING IN VARIOUS WAYS, DOING I SUPPOSE NEARLY EVERYTHING THAT'S BEING DONE TODAY. I DON'T KNOW OF ANYTHING NEW. YOU RECENTLY BUILT A NEW CHURCH AND IT'S NOT TYPICAL OF MOST CHURCHES IN OUR EXPERIENCE. COULD YOU TELL US WHY? WELL, THERE YOU SEE THE UNITARIANISM OF MY FOREFATHERS FOUND EXPRESSION IN A BUILDING BY ONE OF THE OFFSPRING.
我听说间接照明也是您的首创，是这样吗？我很早就做了所谓的第一个间接照明——我想大概是五十年前吧。把灯藏在书架后面，让光打在天花板上，再用各种方式把它嵌进天花板里，我想今天人们在做的，那时候差不多都做过了。我看不出有什么真正新的东西。您最近建了一座新教堂，它和我们通常见到的教堂都不太一样。能谈谈原因吗？嗯，你看到的，是我先辈们的一位论派信仰，通过后代之手在一座建筑里得到了表达。
17:44
THE IDEA OF UNITY - THE UNITARIANS BELIEVED IN THE UNITY OF ALL THINGS AND I TRIED TO BUILD A BUILDING HERE THAT EXPRESSED THAT SENSE OF UNITY. THE PLAN, YOU SEE, IS TRIANGLE. THE ROOF IS TRIANGULAR AND ALL OF IT SHOULD GET THIS EXPRESSION OF REVERENCE WITHOUT THE STEEPLE. THE BUILDING ITSELF COVERING ALL IN ALL AND EACH IN ALL SAYS WHAT THE STEEPLE USED TO SAY, BUT SAYS IT WITH GREATER REVERENCE I THINK TO THE FORM OF THE STRUCTURE. AND I DIDN'T LIKE TO BUILD A CHURCH IN THE CITY. I THOUGHT TO TAKE IT INTO THE COUNTRY AND MAKE IT MORE LIKE A COUNTRY CLUB AND ITS ASPECTS SHOULD BE MORE INTERESTING AND INVITING TO THE CONGREGATION SO I PERSUADED THEM TO GO OUT.
“合一”的理念——一位论派相信万物合一，我在这里想造的，就是一座能表达这种合一感的建筑。你看，它的平面是三角形。屋顶也是三角形的，整座建筑应该在没有尖塔的情况下表达出那份虔敬。建筑本身笼罩着全体、也让每一个人都身在其中，它说出了过去尖塔所要说的话，而且我认为，它以对结构形式更大的敬意说出了这些话。另外，我也不愿意把教堂建在城里。我想把它搬到乡下去，让它更像一个乡村俱乐部，让它的方方面面都更有意思、对会众更有吸引力，所以我说服他们搬出城去。
18:40
AND WE WENT OUT BUT WE DIDN'T GO FAR ENOUGH I GUESS BECAUSE BEFORE WE GOT THE CHURCH BUILT THE TOWN CAME OUT AND WE FOUND OURSELVES SUBURBAN INSTEAD OF IN THE COUNTRY. BUT IF YOU'RE GOING TO DECENTRALIZE NOW YOU'VE GOT TO GO FAR AND GO FAST BECAUSE EVERYTHING IS COMING ALONG. YOU CAN SEE DECENTRALIZATION EVERYWHERE NOW. YOU CAN SEE THE FACTORY GOING INTO THE COUNTRY. YOU CAN SEE THE MERCHANDISER IMPATIENT WITH THE TRAFFIC PROBLEM MOVING OUT TO THE COUNTRY. I THINK THE GAS STATION WAS AN AGENT TO DECENTRALIZATION.
我们是搬出去了，可我想还是搬得不够远，因为教堂还没建好，城镇就扩张了过来，我们发现自己身处郊区，而不是乡下了。但如果你现在要搞疏散、分散化，那就得走得又远又快，因为一切都在追上来。如今到处都能看到分散化的迹象。你能看到工厂搬到乡下去。你能看到商家受不了交通问题，也往乡下搬。我认为加油站也是推动分散化的一股力量。
19:19
ALL THESE THINGS ARE GOING ON AROUND YOU WHETHER YOU ACKNOWLEDGE THEM OR NOT. NOW IT HAS TO BE PLANNED FOR. IT'S BETTER TO PLAN FOR IT THAN IT IS TO LET IT TAKE PLACE AS THE CITIES THEMSELVES GREW. NEW YORK, FOR INSTANCE, IS JUST AN OVERGROWN CRAZED VILLAGE IN PLAN. AND SO IT IS WITH ALL OUR GREAT CITIES. AND WHAT IS SUPPOSED TO BE THE GROWTH OF THE CITY IS REALLY GOING TO BE FINALLY THE DEATH OF THE CITY. IF YOU WERE TO PLAN AND BUILD AN ENTIRE CITY, INCLUDING THE ELEMENTS OF SHELTER AND WORK, RECREATION, AND WORSHIP AS WE WERE JUST TALKING ABOUT, WHAT WOULD YOU INTEND TO ACCOMPLISH IN DOING THIS?
这些事情都在你身边发生，不管你承不承认。现在必须为它做规划了。与其像城市当初那样自生自长，不如事先规划好。比如纽约，从规划上看就是一个疯长失控的村子。我们所有的大城市都是如此。而那些被当作城市成长的东西，最终其实会成为城市的死亡。如果让您规划并建造一座完整的城市，包括居住、工作、休闲，还有我们刚才谈到的宗教场所，您想通过这件事达成什么？
20:06
WELL, I THINK PRIMARILY THE USE OF AND SYMPATHY WITH THE SITE, THE NATURE OF THE GROUND, AND THE PURPOSE OF THE CITY OR TOWN OR WHATEVER IT MIGHT BE, AND OF COURSE THE CHARACTER OF THE INHABITANTS WOULD BE A LITTLE CONSIDERATION IN THAT CONNECTION. IN OTHER WORDS IT WOULD BE A NATIVE AND NATURAL PERFORMANCE. ORGANIC ARCHITECTURE IS A NATURAL ARCHITECTURE, A NATURAL ARCHITECTURE. NOW WHAT WOULD A NATURAL ARCHITECTURE BE? IT WOULDN'T BE SOME ECLECTICISM, SOMETHING THAT YOU PICKED UP SOMEWHERE BY WAY OF TASTE AND APPLIED TO THE THING.
嗯，我想首先是对基地的利用和与基地的呼应，土地的性质，以及这座城市或城镇——不管它是什么——的目的，当然，居民的性格在这里也会是一点考虑因素。换句话说，它应该是一件本土的、自然而然的作品。有机建筑就是一种自然的建筑，一种自然的建筑。那么，什么才算自然的建筑呢？它不会是某种折衷主义，不是你凭趣味从别处捡来、再贴到东西上去的玩意儿。
08约翰逊大楼：工人幸福即划算
20:48
YOU'D GO INTO THE NATURE STUDY OF THE CIRCUMSTANCES AND COME OUT WITH THIS THING FROM WITHIN, WOULDN'T YOU? WELL, IT WOULD APPLY TO A TOWN, APPLY TO A CITY, APPLY TO THE PLANNING OF ANYTHING. EVEN TO A FACTORY? ESPECIALLY A FACTORY. WHAT DO YOU CONSIDER ARE THE MOST IMPORTANT FACTORS IN THIS CASE, THE BUILDING OF A FACTORY? WELL, I THINK THE HUMAN VALUES INVOLVED. I THINK THE LIVES OF THE WORKERS. I DON'T SEE WHY IT ISN'T A MORE PROFITABLE THING TO MAKE THOSE LIVES HAPPY. THEY'LL BE MORE PRODUCTIVE.
你会去研究各种条件的本性，然后从内部生长出这个东西来，不是吗？那么这一套用在城镇上也一样，用在城市上也一样，用在任何规划上都一样。连工厂也是吗？尤其是工厂。那么在建造工厂这件事上，您认为最重要的因素是什么？嗯，我想是其中涉及的人的价值。我想是工人们的生活。我不明白，让他们的生活过得幸福，为什么反而不更有利可图。他们会更有生产力。
21:23
AND ENVIRONMENT AS WE FOUND IT TO BE WHEN WE BUILT THE JOHNSON BUILDING, RESULTS IN A GREATLY INCREASED EFFICIENCY ON THEIR PART. IF YOU MAKE THEM PROUD OF THEIR ENVIRONMENT AND HAPPY TO BE WHERE THEY ARE AND GIVE THEM SOME DIGNITY AND PRIDE IN THEIR ENVIRONMENT, IT ALL COMES OUT TO THE GOOD WHERE THE PRODUCT IS CONCERNED. THE JOHNSON PEOPLE HAVE FOUND THAT OUT. THE JOHNSON PEOPLE HAVE A PROFIT SHARING SYSTEM WITH THEIR EMPLOYEES AND WHEN THEY GOT INTO THAT BUILDING ONE OF THE FIRST CONSEQUENCES WAS TEA IN THE AFTERNOON.
像我们建约翰逊大楼时所发现的那样，好的环境会大大提高他们的工作效率。如果你让他们为自己的环境自豪，乐于身处其中，让他们在环境中获得尊严和骄傲，那么就产品而言，结果一定都是好的。约翰逊公司的人已经发现了这一点。约翰逊公司和员工有利润分享制度，他们搬进那栋楼之后，最早的结果之一就是下午茶。
09诚实的傲慢：与媒体和同行的对立
22:03
AND THEY DIDN'T LIKE TO GO HOME. THEY LOVED TO STAY IN THE BUILDING, BE THERE, COME EARLY, ENJOY IT AS CHARMING FEATURES OF A VERY INTERESTING, EXCITING ENVIRONMENT. AND IT IS PROFITABLE, IT DOES, UH, I THINK THE PHRASE IS "PAY OFF", ISN'T IT, IN OUR COUNTRY? AND THE PAY OFF, OF COURSE, IS THE CRITERION BY WHICH EVERYTHING IS DECIDED. BUT EVEN DECIDING IT BY WAY OF THE PAY OFF - A HEALTHFUL ENVIRONMENT IN WHICH THE WORKERS CAN TAKE PRIDE PAYS OFF. OVER THE YEARS, MR. WRIGHT, THE AMERICAN PRESS AND SECTIONS OF YOUR OWN PROFESSION HAVE NOT ALWAYS TREATED YOU KINDLY.
而且他们都不愿意回家。他们喜欢待在楼里，喜欢待在那儿，早早地来，把它当成一个非常有趣、令人振奋的环境中迷人的部分去享受。而且这是有利可图的，用我们国家的说法，我想是叫“划算”，对吧？当然，划不划算，是决定一切的标准。但即便用划不划算来衡量——一个让工人引以为豪的健康环境，确实是划算的。赖特先生，这些年来，美国的媒体以及您本行业中的一些人，对您并不总是友善。
22:55
I JUST WONDER IF YOU HAVE ANY COMMENT ABOUT THIS? WELL, I DON'T SEE ANY REASON WHY THEY SHOULD HAVE TREATED ME KINDLY. I WAS ENTIRELY CONTRARY TO EVERYTHING THEY BELIEVED IN. IF I WAS RIGHT THEY WERE WRONG, WHY SHOULD THEY TREAT ME KINDLY? IT WAS A QUESTION AT ONE TIME I SUPPOSE OF THEIR SURVIVAL OR MINE. AND IN THOSE CIRCUMSTANCES YOU KNOW WHAT HAPPENS, DON'T YOU? SOMETHING HAS TO GIVE. IT'S STILL HAPPENING IN A WAY BUT NOT SO MUCH NOW. BUT IT IS TRUE THAT STILL THE GREATEST APPRECIATION FOR WHAT WE'VE DONE COMES FROM EUROPEAN COUNTRIES AND THE ORIENT RATHER THAN FROM OUR OWN COUNTRY.
我想问问您对此有什么看法？嗯，我看不出他们有什么理由该对我友善。我和他们所信奉的一切完全相悖。如果我是对的，那他们就是错的，他们凭什么要对我友善？我想那一度是个谁能活下来的问题——是他们，还是我。在那种情形下，你也知道会发生什么，对吧？总得有一方让步。某种程度上现在还在发生，只是没那么厉害了。但确实，至今对我们所做的事情最大的赏识，还是来自欧洲国家和东方，而不是我们自己的国家。
23:38
WE'RE VERY SLOW TO TAKE THINGS ON THAT OCCURRED AT HOME. IT'S ALWAYS BEEN THE IDEA OF OUR PEOPLE THAT CULTURE CAME FROM ABROAD... AND IT DID. YOU CAN'T BLAME THEM FOR THINKING SO. THEY DIDN'T WANT TO HEAR THIS DEVELOPING IN THE TALL GRASS OF THE WESTERN PRAIRIES - THAT WAS NOT EXCITING. IN FACT THEY RATHER RESENTED HEARING ABOUT IT IN THAT SENSE. SO WHEN IT HAD GONE ABROAD AND IT HAD BEEN UNDERSTOOD AND APPRECIATED ABROAD AND THE EUROPEANS CAME OVER HERE WITH IT, THEY COULD SELL IT TO THE AMERICAN PEOPLE AND THEY WOULD TAKE IT FROM THEM WHEN THEY DIDN'T LIKE TO TAKE IT FROM ME.
对于本土产生的东西，我们接受起来非常慢。我们的国民一直有个观念，觉得文化是从国外来的……过去也确实如此。你不能怪他们这么想。他们不愿意听说这东西是从西部大草原的深草里长出来的——那可不够刺激。事实上，从那个角度听到它，他们还挺反感的。所以等它传到国外、在国外被理解和欣赏，再由欧洲人带回这里，他们就能把它卖给美国人，美国人从他们手里就肯接受，而从我手里却不愿意接受。
24:19
THROUGH THE SPAN OF YOUR LIFE THERE HAVE BEEN GREAT CHANGES IN THE WORLD... ECONOMICALLY, SOCIALLY, AND IDEOLOGICALLY. THROUGH YEARS OF WAR AND PEACE, THROUGH YEARS THAT SPELLED GREAT HOPES AND GREAT DISASTERS FOR MANKIND. HAVE ANY OF THESE CHANGES INFLUENCED YOUR WORK OR YOUR THINKING? NO. AND IT'S A LITTLE UNFORTUNATE THAT MY WORK COULDN'T HAVE INFLUENCED THOSE CHANGES. PROBABLY IF IT HAD BEEN BETTER UNDERSTOOD I MIGHT HAVE HAD A VERY BENEFICIAL INFLUENCE ON THOSE CHANGES, BUT I CAN'T SAY THAT THOSE CHANGES HAD ANY EFFECT ON MY WORK.
在您一生的岁月里，这个世界发生了巨大的变化……经济上、社会上、意识形态上。经历了战争与和平的年代，经历了对人类而言意味着巨大希望与巨大灾难的年代。这些变化有没有影响过您的工作或您的思想？没有。有点遗憾的是，我的工作没能去影响那些变化。如果它当初能被更好地理解，也许我本可以对那些变化产生非常有益的影响，但我不能说那些变化对我的工作有任何影响。
24:58
MY IDEA WAS PRETTY WELL FIXED, I WAS PRETTY SURE OF MY GROUND AND MY STAR AND I SAW NO OCCASION... YOU SEE, EARLY IN LIFE I HAD TO CHOOSE BETWEEN HONEST ARROGANCE AND HYPOCRITICAL HUMILITY. I CHOSE HONEST ARROGANCE AND HAVE SEEN NO OCCASION TO CHANGE EVEN NOW... WE'RE PURSUING THE SAME CENTER LINE THROUGH ALL CHANGES AND I'M CONFIDENT THAT THE PRINCIPLE OF OUR WORK WHICH IS ITS HEART AND CENTER LINE IS REALLY THE IDEOLOGY OF A DEMOCRACY. AND IF DEMOCRACY IS EVER TO HAVE A FREE ARCHITECTURE, I MEAN IF IT'S EVER TO HAVE FREEDOM, HAVE A CULTURE OF ITS OWN, ARCHITECTURE WILL BE ITS BASIC EFFECT AND CONDITION AND I BELIEVE WE HAVE THE CENTER LINE OF THAT ARCHITECTURE....
我的理念已经相当确定，我对自己的立足点和自己的那颗星很有把握，我看不出有什么理由……你看，我很早就得在诚实的傲慢和虚伪的谦逊之间做出选择。我选择了诚实的傲慢，直到今天也没看到需要改变的理由……经历种种变化，我们始终沿着同一条中心线前行，我相信我们工作的原则——也就是它的核心与中心线——真正体现的是民主的理念。如果民主终有一天要拥有一种自由的建筑，我是说，如果它终有一天要拥有自由、拥有自己的文化，那么建筑将是它的根本作用与根本条件，而我相信我们已经握住了那种建筑的中心线……
10艺术教不会：效法与模仿之辨
26:01
ARCHITECTURE FOR FREEDOM AND FOR DEMOCRACY. AMONG OTHER THINGS, YOU'RE A TEACHER, MR. WRIGHT. IN YOUR YEARS OF EXPERIENCE WHAT CONCLUSIONS HAVE YOU REACHED AS TO THE ROLES AND DUTIES OF THE TEACHER AND THOSE OF THE STUDENT? I'M EXPECTED TO ANSWER THAT NOW, AM I? I'M NO TEACHER. NEVER WANTED TO TEACH AND DON'T BELIEVE IN TEACHING AN ART. SCIENCE, YES, BUSINESS, OF COURSE, BUT AN ART CANNOT BE TAUGHT. YOU CAN ONLY INCULCATE IT, YOU CAN BE AN EXEMPLAR, YOU CAN CREATE AN ATMOSPHERE IN WHICH IT CAN GROW.
一种为自由、为民主而生的建筑。赖特先生，您还有一个身份是老师。以您多年的经验，您对老师和学生各自的角色与职责得出了什么结论？这会儿是要我来回答这个问题，是吧？我不是老师。我从来不想教书，也不相信艺术可以教。科学可以，生意当然可以，但艺术是教不会的。你只能潜移默化地熏陶它，你可以做一个范例，你可以营造一种让它得以生长的氛围。
26:38
BUT I SUPPOSE I BEING AN EXEMPLAR WOULD BE CALLED A TEACHER IN SPITE OF MYSELF. SO GO AHEAD, CALL ME A TEACHER. DO YOU FEEL THAT AMERICAN ARCHITECTURE HAS PROGRESSED GENERALLY OVER THE PAST SEVERAL YEARS? NO, I'M AFRAID IT HAS NOT. I THINK THAT THE EFFECTS HAVE BEEN SOUGHT AND MULTIPLIED AND THE REAL CAUSE AT THE CENTER OF THE THING SEEMS TO HAVE LANGUISHED. IF THEY ONCE MASTERED THE INNER PRINCIPLE, INFINITE VARIETY WOULD BE THE RESULT. NO ONE WOULD HAVE TO COPY ANYBODY ELSE. AND MY GREAT DISAPPOINTMENT IN IT ALL IS INSTEAD OF EMULATION, WHAT I SEE IS A WAVE OF IMITATION.
不过我想，作为一个范例，我大概不由分说地就被叫成老师了。那好吧，就叫我老师吧。您觉得美国建筑在过去这些年里总体上有进步吗？没有，恐怕并没有。我认为人们一味去追求和复制表面效果，而事情核心处真正的成因却似乎荒废了。一旦他们真正掌握了内在的原则，结果就会是无穷的变化。没有人需要去抄袭别人。而这一切中最让我失望的是，我看到的不是效法，而是一波又一波的模仿。
27:29
IN YOUR LONG LIFE OF PRACTICAL AND ARTISTIC ENDEAVOR, WHAT DO YOU CONSIDER IS YOUR MOST SATISFACTORY ACHIEVEMENT? OH, MY DEAR BOY. THE NEXT ONE, OF COURSE. THE NEXT BUILDING I BUILD. GO ON FROM THERE, WHAT BUILDING IS THAT? I DON'T KNOW, I'M NOT SURE, BUT WHATEVER IT IS, THAT WILL BE IT. WHAT WOULD YOU SAY IS THE GREATEST DISAPPOINTMENT IN YOUR CAREER? I THINK I TOUCHED ON IT A MOMENT AGO WHEN I SAID THAT INSTEAD OF EMULATION THAT I'D SEEN CHIEFLY IMITATION OF THE IMITATION BY THE IMITATOR. MIGHT NOT THAT BE THE PRICE THAT YOU PAY FOR BEING AHEAD OF YOUR TIME?
在您漫长的一生中，既有实务也有艺术上的追求，您认为自己最令人满意的成就是什么？哦，我亲爱的孩子。当然是下一座。我建的下一座建筑。接着说，那是一座什么样的建筑？我不知道，我也说不准，但不管它是什么，那就是我最好的作品。您觉得您职业生涯中最大的失望是什么？我想我刚才已经提到过了，我说过我看到的不是效仿，而主要是模仿者对模仿品的再模仿。这会不会就是走在时代前面所要付出的代价？
28:13
WELL, I'VE HAD TO THINK ABOUT IT A GOOD DEAL OF RECENT YEARS, AND LOOKING BACK I SUPPOSE THAT THAT'S THE WAY THE THING ALWAYS HAPPENS. PROBABLY IT HAS ALWAYS BEEN SO. AND IT'S A LITTLE MORE OBVIOUS IN OUR DAY BECAUSE OF COMMERCIALIZED CONDITIONS AND EVERYBODY BEING IN A KIND OF FREE FOR ALL TO PULL OUT WHAT HE CAN AS SOON AS HE CAN AND MAKE THE MOST OF IT. SO I DON'T SUPPOSE IT'S ANY WORSE THAN IT EVER HAS BEEN. AND MAYBE THAT'S THE WAY IT HAS TO COME. MAYBE THAT'S THE WAY GREAT IDEAS EVENTUALLY OBTAIN - BY WAY OF ABUSE.
嗯，近些年我不得不好好想过这个问题，回头看，我想事情大概向来都是这样发生的。也许一直都是如此。在我们这个时代它更明显一些，因为商业化的环境，人人都处在一种一拥而上的状态，能捞到什么就捞什么，能多快捞到就多快捞到，然后把它利用到极致。所以我想，如今也未必比过去更糟。也许事情就得这么来。也许伟大的思想最终就是通过这种方式被接受的——通过被滥用。
28:57
WELL, IT'S AN OLD QUESTION THAT'S NOT TO BE SETTLED HERE NOR IS IT TO BE SETTLED BY ME. FOR THE PAST HALF HOUR WE HAVE BEEN VISITING FRANK LLOYD WRIGHT WITH HIS GUEST, HUGH DOWNS. THIS IS ONE OF A SERIES OF FILMED CONVERSATIONS WITH DISTINGUISHED FIGURES OF OUR TIME.
唉，这是个老问题，不是在这里能解决的，也不是由我来解决的。在过去的半小时里，我们和弗兰克·劳埃德·赖特及其客人休·唐斯一起度过。这是我们这个时代杰出人物系列访谈影片中的一集。
视频总结 · 一句话概括与核心要点
一句话概括
83岁的赖特在1953年NBC访谈中系统阐释"有机建筑"的哲学——建筑必须由内而外、与场地合一、以整体性（entity）为理想——并借此表达对美国城市、工业、民主与建筑界模仿之风的批判。
核心要点
- 有机建筑≠现代建筑：赖特明确区分二者——"现代建筑"只是今天盖的东西，而"有机建筑"是"由内而外"的建筑，理想是"整体性"：部分之于整体如整体之于部分，材料的本性即用途的本性。设计一栋住宅时，首先考虑的是住户家庭本身，其次是让房子与场地融为一体，做到"无法想象它出现在别处"。
- 场地决定建筑的性格：流水别墅（Bear Run）因岩壁紧邻瀑布，顺理成章地从岩壁悬挑于瀑布之上，混凝土与钢材决定了其"语法"，业主考夫曼爱听瀑布声是首要动机；威斯康星的Taliesin是石造的"北方之屋"，冬雪覆盖时如同一座小山；Taliesin West则因沙漠地形"尖锐、野蛮、处处带刺"而形态截然不同——同一原则、不同场地、不同结果。
- "永远不要直接建在山顶上"：Taliesin意为威尔士语"闪亮的眉"，建在山坡边缘而非山顶，因为"建在山顶你就失去了山，建在山顶一侧你既保住了山又获得了高度"。
- 结构革命来自钢与玻璃的"拉力"：传统梁柱是"切、顶、劈"的叠加，节点靠铆接、可能松脱；有机建筑引入张力（tenuity）与连续性，使悬挑和大空间成为可能，并以玻璃围护。他强调若希腊人和东方人有钢和玻璃，"今天我们就不用思考了，只需照抄"。正是这种柔性而非刚性，让帝国饭店在关东大地震中完好无损。
- 自认的创新清单：空间作为建筑的真正实在；"流线型"（streamlined）一词约在那时经他之手进入语言；开放平面（房子从一串盒子和壁橱变得内外贯通）；地板辐射采暖（热源置于楼板下碎石层，"脚暖、坐暖，人就暖"，可开窗仍舒适）；约50年前的间接照明；以及角窗。
- 角窗的命运象征了创新被"阉割"的过程：赖特称"盒子是法西斯的象征"，民主的建筑需要打破盒子。角窗让墙变成屏、盒子消失，但"角窗传遍了世界，其背后的观念却没有跟着走"——它沦为"一扇窗"而非整套结构观念的释放。
- 分散化是不可逆的趋势，必须规划而非放任：他为一位论派教堂设计三角形平面与屋顶，以整体形态取代尖塔表达敬畏，并劝说教会迁往乡间，结果"城镇追了出来"变成郊区。他指出工厂、商家、加油站都在推动去中心化，纽约"在规划上只是一个疯长的村庄"，城市所谓的增长最终将是城市的死亡。
- 人性化环境是有利可图的：以约翰逊制蜡公司大楼为例，员工搬入后自发出现下午茶，"不愿回家、早早来上班"，效率显著提升。他刻意用美国人的标准"pay off"论证：让工人自豪、快乐的环境本身就赚钱。
- 对批评与"荣光在外"的坦然：他说媒体与同行不善待他理所当然——"如果我对，他们就错，这曾是彼此生存之争"。美国人历来认为文化来自海外，不愿接受"西部草原高草中生长出的东西"，直到欧洲人把它带回来再卖给美国人。
- "诚实的傲慢"与对美国建筑的失望：他年轻时在"诚实的傲慢"与"虚伪的谦卑"间选择了前者，至今未改；时代剧变未影响他的工作，遗憾的是他的工作未能影响时代。他认为近年美国建筑没有进步——人们追逐效果，却让核心原则枯萎，"我看到的不是效仿（emulation），而是一波模仿（imitation）"，甚至是"模仿者对模仿的模仿"。
结论与值得注意的细节
- 赖特把有机建筑与民主意识形态直接挂钩：民主若想拥有自己的文化，建筑将是其"基本效果与条件"，而他相信自己掌握了这条"中心线"。
- 他否认自己是教师："艺术无法被教授，科学和商业可以"——只能做榜样、营造让艺术生长的氛围；随后自嘲"那就叫我老师吧"。
- 被问最满意的作品时答"下一个，当然"；被问最大失望时答"模仿"；主持人反问这是否是超前于时代的代价，他承认或许"伟大的思想终归是通过被滥用而得以实现的"，但把这个问题留给了后人。
- 生平细节：母亲是教师，出生前就决定要他当建筑师，房间挂满英国大教堂木刻；因贫困无法读建筑学校，在麦迪逊工程学院靠Conover教授的津贴半工半读，差三个月拿到工程学位便奔赴芝加哥；沙利文（"亲爱的老师"）把Wainwright大楼图纸扔到他桌上说"这东西是高的，高楼有什么问题？"，赖特认为今日所有摩天楼皆源于沙利文这一直视本质的思维。
- 开场展示的橡树园Forest Avenue住宅建于1893年前，一棵柳树穿屋顶而生，主持人感叹它"像去年才盖的"，赖特认为这些住宅可挺立三百年。
核心句型 · 10
1. It was decided for me before …
“FORTUNATELY I NEVER HAD TO DECIDE. IT WAS DECIDED FOR ME BEFORE I WAS BORN.”
被动+for me 表示「由他人替我决定」，先否定「我决定」再给出被动句，形成反差幽默。可仿写：I never chose this path; it was chosen for me.
2. as near as I could get to it
“AS NEAR AS I COULD GET TO IT IN MADISON”
「尽可能接近目标的办法」，表达退而求其次。仿写：That job was as near as I could get to journalism at the time.
3. If I'd …, I would have …, but …
“IF I'D STAYED THREE MONTHS LONGER I WOULD HAVE BEEN GIVEN A DEGREE…, BUT I WAS ANXIOUS TO BE AN ARCHITECT”
与过去事实相反的虚拟语气，后接 but 交代真实选择。讲述人生转折点时非常好用。
4. X is to Y as Y is to X
“WHERE THE WHOLE IS TO THE PART AS THE PART IS TO THE WHOLE”
「A之于B如同B之于A」的类比句式，用于定义关系或原则；学术写作和演讲中定义抽象概念时可用。
5. You can't imagine … anywhere than right where it is
“YOU CAN'T IMAGINE THAT HOUSE ANYWHERE THAN RIGHT WHERE IT IS.”
以「无法想象它在别处」来强调恰到好处。仿写：You can't imagine that line anywhere but at the end of the poem.
6. … rather than …（正反对举）
“IT GRACES ITS ENVIRONMENT RATHER THAN DISGRACES IT.”
用同词根的正反词（grace/disgrace）构成对举，简洁有力。仿写：The design respects the site rather than dominates it.
7. I had to choose between A and B. I chose A and have seen no occasion to change.
“I HAD TO CHOOSE BETWEEN HONEST ARROGANCE AND HYPOCRITICAL HUMILITY. I CHOSE HONEST ARROGANCE…”
两个「形容词+名词」反义组合构成二选一，再斩钉截铁地宣布选择。适合表达立场；注意 see no occasion to = 看不出有必要。
8. Instead of A, what I see is B
“INSTEAD OF EMULATION, WHAT I SEE IS A WAVE OF IMITATION.”
先否定期待的情况，再用强调句 what I see is 引出现实。仿写：Instead of debate, what I see is a wave of slogans.
9. If they once mastered X, Y would be the result.
“IF THEY ONCE MASTERED THE INNER PRINCIPLE, INFINITE VARIETY WOULD BE THE RESULT.”
once 在这里是「一旦」，条件句表达「掌握原则即得自由」。可用于谈学习方法：Once you master the grammar, fluency will follow.
10. Maybe that's the way X eventually obtain(s) — by way of Y.
“MAYBE THAT'S THE WAY GREAT IDEAS EVENTUALLY OBTAIN - BY WAY OF ABUSE.”
用破折号后置方式状语制造停顿与反转；by way of = 通过……途径。适合结尾处给出一个带苦涩意味的结论。
生词精讲 · 108 · 按出现顺序
EMINENT
/ˈemɪnənt/
adj.
0:01
杰出的，卓越的（尤指在某领域享有声望）
DISTINGUISHED
/dɪˈstɪŋɡwɪʃt/
adj.
0:01
卓越的，声名显赫的
LAUNCH RIGHT INTO
phr.
0:51
直接开始（谈论/做某事），不做铺垫
PROCESSION
/prəˈseʃən/
n.
0:51
行列，连贯的通道；此处指绕屋而行的连续走道
OFFHAND
/ˌɔːfˈhænd/
adv.
1:30
一时间，不假思索地
CONDITIONED
/kənˈdɪʃənd/
v.
1:30
（被）塑造、制约；be conditioned by 受……影响而形成习性
WOOD ENGRAVINGS
n.
1:30
木口木刻版画
STIPEND
/ˈstaɪpend/
n.
2:11
津贴，助学金
WORK MY WAY THROUGH
phr.
2:11
靠打工完成（学业）
ANXIOUS TO
phr.
2:11
急切地想（做某事）
IRONWORK
/ˈaɪərnwɜːrk/
n.
3:03
铁件，铁艺构件
RADICAL
/ˈrædɪkəl/
n.
3:03
激进派，革新者
FLOURISH
/ˈflɜːrɪʃ/
v.
3:51
兴盛，繁荣
INITIATIVE
/ɪˈnɪʃətɪv/
n.
3:51
首创精神，开创性举措
ACQUAINTED WITH
phr.
3:51
了解，熟悉
BOUND UP WITH
phr.
3:51
与……紧密相连
TAKE SHAPE
phr.
4:44
成形，具体化
PRAIRIES
/ˈpreriz/
n.
4:44
（北美）大草原
ENTITY
/ˈentəti/
n.
4:44
整体，实体；此处指浑然一体的完整性
PHILOSOPHIC
/ˌfɪləˈsɑːfɪk/
adj.
5:35
哲学的（= philosophical）
AS A RULE
phr.
5:35
通常，一般而言
GRACES
/ɡreɪsɪz/
v.
6:20
为……增色，使生辉（与 disgrace 对举）
ROCK LEDGE
n.
6:20
岩石台地，突出的岩层
CANTILEVER
/ˈkæntɪliːvər/
v. / n.
6:20
悬挑，悬臂（结构术语：一端固定、另一端悬空）
GRAMMAR
/ˈɡræmər/
n.
7:14
（建筑的）语法，即形式与结构的内在逻辑
GEARED UP ON
phr.
7:14
在……基础上建立/运转起来
PRIME MOTIVE
n.
7:14
首要动机
REFUGE
/ˈrefjuːdʒ/
n.
7:55
避难所，庇护处
WORM'S EYE VIEW
phr.
7:55
仰视视角；引申为从社会最底层/受压位置看世界（与 bird's eye view 相对）
PROTRUDING
/proʊˈtruːdɪŋ/
adj.
7:55
凸出的，突出的
ICICLES
/ˈaɪsɪkəlz/
n.
8:50
冰柱
EAVES
/iːvz/
n.
8:50
屋檐
HATTER
/ˈhætər/
n.
9:36
制帽匠
DRUID
/ˈdruːɪd/
n.
9:36
德鲁伊（古凯尔特祭司/智者）
BROW
/braʊ/
n.
9:36
额头；山坡的边缘（brow of a hill）
EMINENCE
/ˈemɪnəns/
n.
10:22
高地；显赫、高耸之势
TERRAIN
/təˈreɪn/
n.
11:01
地形，地势
EROSION
/ɪˈroʊʒən/
n.
11:01
侵蚀（作用）
SAVAGE
/ˈsævɪdʒ/
adj.
11:01
野性的，凶猛的
POST AND BEAM
n.
11:50
柱梁结构（传统承重体系）
SUPERIMPOSITION
/ˌsuːpərɪmpəˈzɪʃən/
n.
11:50
叠加，层层堆放
PARTITIONS
/pɑːrˈtɪʃənz/
n.
11:50
隔墙，隔断
BUTT
/bʌt/
v.
11:50
（构件）端头对接
RIVET
/ˈrɪvɪt/
v.
11:50
铆接
GIVE WAY
phr.
11:50
松脱，坍塌，承受不住
TENSILE STRENGTH
n.
12:32
抗拉强度
TENUITY
/teˈnuːəti/
n.
12:32
纤细，延展性（赖特自创术语，指结构可拉伸、纤薄而连续的特性）
CONTINUITY
/ˌkɑːntɪˈnuːəti/
n.
12:32
连续性
MERGING INTO
phr.
13:18
融入，汇合进
INTACT
/ɪnˈtækt/
adj.
13:18
完好无损的
RIGIDITY
/rɪˈdʒɪdəti/
n.
13:18
刚性，僵硬
RECOUNT
/rɪˈkaʊnt/
v.
13:18
叙述，讲述
COUNTENANCE
/ˈkaʊntənəns/
n.
13:56
面貌，面容（此处喻指空间的外在表情）
STREAMLINED
/ˈstriːmlaɪnd/
adj.
13:56
流线型的；精简的
OPEN PLAN
n.
13:56
开放式平面（少隔墙的室内布局）
DISPENSATION
/ˌdɪspenˈseɪʃən/
n.
14:42
体系，制度，时代安排
SLAB
/slæb/
n.
14:42
混凝土板（楼板/地坪）
DRUGGET
/ˈdrʌɡɪt/
n.
14:42
粗毛地毯（古旧用词）
RESERVOIR
/ˈrezərvwɑːr/
n.
14:42
蓄积库，储备（此处指蓄热层）
INDICATIVE OF
phr.
15:30
表明，体现
CONCEIVED
/kənˈsiːvd/
v.
15:30
构想出，形成（想法）
COMPREHENSION
/ˌkɑːmprɪˈhenʃən/
n.
16:16
理解
VANISHED
/ˈvænɪʃt/
v.
16:16
消失
ATTRIBUTED TO
phr.
16:59
归功于，被认为出自
INCORPORATED
/ɪnˈkɔːrpəreɪtɪd/
v.
16:59
纳入，嵌入
UNITARIANISM
/ˌjuːnɪˈteriənɪzəm/
n.
16:59
一位论派（基督教自由派，否认三位一体）
FOREFATHERS
/ˈfɔːrfɑːðərz/
n.
16:59
祖先，先辈
OFFSPRING
/ˈɔːfsprɪŋ/
n.
16:59
后代，子孙
REVERENCE
/ˈrevərəns/
n.
17:44
虔敬，崇敬
STEEPLE
/ˈstiːpəl/
n.
17:44
（教堂）尖塔
CONGREGATION
/ˌkɑːŋɡrɪˈɡeɪʃən/
n.
17:44
会众，教众
DECENTRALIZE
/diːˈsentrəlaɪz/
v.
18:40
去中心化，分散（人口/功能）
MERCHANDISER
/ˈmɜːrtʃəndaɪzər/
n.
18:40
商家，零售商
AGENT
/ˈeɪdʒənt/
n.
18:40
推动因素，动因
OVERGROWN
/ˌoʊvərˈɡroʊn/
adj.
19:19
疯长的，过度膨胀的
CRAZED
/kreɪzd/
adj.
19:19
疯狂的，失控的
SYMPATHY WITH
phr.
20:06
与……相呼应、协调
INHABITANTS
/ɪnˈhæbɪtənts/
n.
20:06
居民
ECLECTICISM
/ɪˈklektɪsɪzəm/
n.
20:06
折衷主义（从各种风格中拼凑挑选）
PROFITABLE
/ˈprɑːfɪtəbəl/
adj.
20:48
有利可图的
PROFIT SHARING
n.
21:23
利润分享制度
CONSEQUENCES
/ˈkɑːnsəkwensɪz/
n.
21:23
结果，后果
PAY OFF
phr.
22:03
划算，取得回报
CRITERION
/kraɪˈtɪriən/
n.
22:03
标准，准则（复数 criteria）
HEALTHFUL
/ˈhelθfəl/
adj.
22:03
有益健康的
CONTRARY TO
phr.
22:55
与……相悖
SOMETHING HAS TO GIVE
phr.
22:55
总得有一方让步/崩溃（习语）
TAKE THINGS ON
phr.
23:38
接受、采纳（新事物）
RESENTED
/rɪˈzentɪd/
v.
23:38
对……反感、愤恨
SPAN
/spæn/
n.
24:19
跨度；一生的时长
SPELLED
/speld/
v.
24:19
意味着，预示（spell disaster）
BENEFICIAL
/ˌbenɪˈfɪʃəl/
adj.
24:19
有益的
SURE OF MY GROUND
phr.
24:58
对自己的立足点/立场有把握
HYPOCRITICAL
/ˌhɪpəˈkrɪtɪkəl/
adj.
24:58
虚伪的
SAW NO OCCASION
phr.
24:58
看不出有必要（做某事）
IDEOLOGY
/ˌaɪdiˈɑːlədʒi/
n.
24:58
意识形态，思想体系
INCULCATE
/ɪnˈkʌlkeɪt/
v.
26:01
反复灌输，潜移默化地培养
EXEMPLAR
/ɪɡˈzemplɑːr/
n.
26:01
范例，楷模
IN SPITE OF MYSELF
phr.
26:38
不由自主地，尽管自己不情愿
LANGUISHED
/ˈlæŋɡwɪʃt/
v.
26:38
衰败，被荒废，日渐萎靡
EMULATION
/ˌemjuˈleɪʃən/
n.
26:38
效法（以超越为目标的学习，与 imitation 单纯模仿相对）
IMITATION
/ˌɪmɪˈteɪʃən/
n.
26:38
模仿，仿制
ENDEAVOR
/ɪnˈdevər/
n.
27:29
努力，事业
AHEAD OF YOUR TIME
phr.
27:29
走在时代前面
FREE FOR ALL
n.
28:13
混战，一拥而上的争夺
MAKE THE MOST OF
phr.
28:13
充分利用
OBTAIN
/əbˈteɪn/
v.
28:13
（旧/正式）通行，被普遍接受、确立
ABUSE
/əˈbjuːs/
n.
28:13
滥用，误用
理解自测 · 11 题 · 是真懂了，还是以为自己懂
1. 赖特是如何走上建筑道路的？他受过什么正式教育？
赖特说自己「从不需要决定」，母亲在他出生前就希望儿子成为建筑师，并用蒂莫西·科尔的英国大教堂木刻装饰他出生的房间。因为家贫无法上建筑学院，他在家乡麦迪逊的工程学院靠康诺弗教授的津贴半工半读，差三个月就能拿到工程学位，但他急于当建筑师，提前去了芝加哥（第0–4段）。他认为为康诺弗设计铁件小构件是自己的第一份「建筑」工作。
2. 赖特如何描述沙利文对摩天楼的贡献？
他说早期高楼是把两三层的楼「一栋摞一栋」，人们不知道怎样把楼建「高」。沙利文把温莱特大厦的图纸扔在他桌上，说「这东西是高的，高楼有什么不对？」——即直接把「高」作为建筑的本质来表达。赖特认为今天所有摩天楼都源于沙利文的这一首创，并把沙利文的特质概括为「直接看到事物的本来面目」（第4–5段）。
3. 塔里埃森这个名字的来源及其建造位置的原则是什么？
塔里埃森是威尔士传说中的吟游诗人、被纳入亚瑟王圆桌的德鲁伊，意为「闪亮的额头」。赖特家族是威尔士移民，各自住处都取威尔士名（如姐姐家「橡树之下」）。房子像「额眉」一样建在山肩而非山顶，因为「建在山顶就失去了山」，建在近顶一侧既保有山丘又得到高处的气势（第12–13段）。同一原则后来也用于亚利桑那的西塔里埃森。
4. 赖特列举了哪些自己的创新？
他按顺序列出：把空间视为建筑实在的新感受；空间的「流线型」面貌（他自称推动了该词进入英语）；开放式平面，取代盒子和隔间；结构上的「延展性」带来的悬挑与连续性；地板辐射采暖（重力供暖）；转角窗；以及约五十年前的间接照明（第18–22段）。他还宣称当今照明做法「没有什么真正新东西」。
5. 赖特为什么坚持区分「有机建筑」与「现代建筑」？这一区分的核心是什么？
他认为「现代」只是时间标签——「今天建的东西」，而「有机」是原则：由内而外，整体性（entity）是理想，整体与部分互为映照，材料的本性即用途的本性（第6–7段）。这种区分让他与欧洲国际风格划清界限：后者可以是一种可复制的外观样式，而有机建筑是一套从基地、材料、用途推导形式的方法。所以同一原则能生出威斯康星的石屋和亚利桑那的沙漠营地（第14段），形式截然不同却都「有机」。
6. 从结构角度，赖特如何论证有机建筑优于传统柱梁体系？帝国饭店在论证中起什么作用？
传统柱梁是叠加与「切、接、劈」，构件只能受压，需要铆接才能受拉，连接处可能松脱。钢提供抗拉强度，带来大空间和玻璃围护；由「延展性」原理可以悬挑，结构获得「连续性」，一个构件融入另一个（第15–17段）。帝国饭店在1923年关东大地震中完好无损，被他作为柔性优于刚性的实证：刚性会被折断，柔韧则能吸收震动。这是一条从材料属性推到结构原则再到实例验证的论证链。
7. 赖特为何说「盒子是法西斯象征」，转角窗又如何体现了他对创新被误解的失望？
他把封闭的方盒与压制联系起来，认为自由民主的建筑需要盒子之外的东西，于是「着手摧毁盒子」。转角窗取消了承重转角，光从从未有光的地方进来，视线向外延伸，墙变成「屏面」——它是整套结构观念解放的外在标志（第20–21段）。但转角窗传遍世界后，只被当作「一扇窗」抄走，背后的理念没有跟随。这个例子预示了他后面「效法与模仿」的总判断：人们复制效果，却没掌握成因。
8. 约翰逊大楼的例子在赖特论证中承担什么功能？他的说理方式有何特别之处？
主持人问工厂设计最重要的因素，赖特回答是「人的价值、工人的生活」，随即转入商业语言：让工人幸福「更有利可图」，因为他们更有生产力（第27段）。约翰逊大楼建成后员工不愿回家、早来晚走，公司还开始了下午茶，实行利润分享（第28–29段）。他明知「划算」是美国衡量一切的标准，于是用这个标准反证人文环境的价值——「即便按划不划算算，也划算」。这是典型的「以对方的尺子量自己的主张」。
9. 赖特说外部世界的巨变对他的工作「毫无影响」，这与他的建筑观是否自洽？
表面上很傲慢，但和他的原则一致。他认为自己的工作有一条「中心线」——民主的理念，外部变化只是风浪，不改变航向（第32–33段）。他甚至遗憾自己没能反过来影响那些变化。这与「由内而外」的建筑观同构：形式从原则生长，而非从外部潮流拾取；正如他批评折衷主义是「凭趣味从别处捡来贴上去」（第26段）。当然也可以质疑：他的作品明显受钢、玻璃等技术变化影响，他承认的是技术条件，否认的是社会与思潮。
10. 如果有人反驳「艺术当然可以教，建筑学院就在教」，赖特会怎样回应？
他会区分「教」与「熏陶」：科学和生意可以教，因为它们是可传递的知识；艺术只能通过范例和氛围让人「生长」出来（第34段）。他会进一步指出建筑学院教出来的正是「模仿」：追求和复制效果，而核心原则荒废（第35段）。他的理由是，一旦真正掌握内在原则，结果是「无穷的变化」，无人需要抄袭；反之，能被批量传授的只能是外形。塔里埃森学社让学徒劳动、生活、观察而非听课，正是这一信念的实践。
11. 赖特把「伟大思想通过被滥用而获得接受」作为结语，这一判断能否迁移到今天的技术或设计传播？
可以，而且解释力很强。他描述的机制是：先驱提出原则→大众只复制可见效果→效果泛滥而原则失落→但泛滥本身让思想「通行」（第36–37段）。今天的极简设计、开源软件、甚至AI工具的传播都呈现类似轨迹：形式被快速模仿，内核被稀释，但也因此普及。赖特的态度是复杂的——既失望（「模仿者对模仿品的再模仿」），又承认这是「事情必须来临的方式」。迁移时需注意他的前提：商业化环境放大了这一过程，因此今天可能比他的时代更明显。
下载便签
手机：长按图片保存
← 上一期 · NO.056Friedrich Nietzsche's Philosophy - J. P. Stern & Bryan Magee (1987)
下一期 · NO.058 →The Philosophy of Language - John Searle & Bryan Magee (1977)
苏菲拉底
THE SOPHIE LAB · ASK THE BEST MINDS THE BIG QUESTIONS
内容仅供学习 · thesophielab.com