建筑学专业英语modern housing prototypes 现代住宅的原型

重新考究是无可厚非的，这本书就基于此观念做了一些介绍。这里提供作为案例

< br>研究的建筑由于它们作为原型的重要而被挑选，它们确定了许多标准和模式去遵

循 。

其他的考虑是多样化和建筑品质，多样化使得大量的国家、 建筑形式和问

题将被陈述。

我的假设是任何低劣的建筑都是没有 理由的，

就像所有的建筑一样，

住宅

— —

套用杰弗里

·

斯科特的话

必须使用方便、建造地优良并且美观。

But why prototypes? One of the essential points of heuristic thought

–

the process of

discovery and invention relating to problem solving

–

is the awareness that, until a problem

is clearly defined, guesses or conjectures must be made to help clarify the problem. During

the period of uncertainty, reference to analogous problems can be used to give a new turn to

one’s thinking. Through the study of solutions to related problems, a fresh conclusion may

be reached.

但是为什么要有原型？一个 基本的具有启发性思考的关键

——

发现和发明的

过程与问题的解决相关

——

就是意识到在一个问题直到 被清晰地定义以前，都必

须运用猜想或推测帮助问题的澄清。在这段不确定的时期，参考 类似的问题能够

给一个人的思考以新的转折。通过对相关问题解决办法的研究，也许可以 得到一

个全新的结论。

Various writers have suggested that it is never possible to state all the dimensions of a

problem, that ―truly quantifiable criteria always leave choices for the designer to make.‖In the

absence of clear design determinants, and to avoid purely intuitive guessing, it has been

argued that analogous reference might give design insight; that perhaps a paradigm of the

problem might be accepted as a provisional solution, or an attack on the problem might be

made by adapting the solution to a previous problem; that during the period when many of the

variable are unknown, a ―typology of forms‖ might be used as a simulati

ve technique to

clarify the problem.

许多作者已经暗示过陈述一个问题的所有维度

（所有方面）

是绝不可能的，

―

精

确 的可定量的尺度总是留给设计师自己决定

‖

。由于缺少明确的设 计决定因素以及为

了避免纯粹直觉的猜想，讨论认为相似参照物需给出设计观点，这样也 许问题的范

例可以当做临时的解决方法，或者作为问题的突破，以调整之前问题的解决方 法；

当处于很多可变因素都未知的时期，原型（

―

象征形式

‖

）可以作为模拟技术使问题

变清晰。

The

notion

of

using

an

analogous

problem

as

a

paradigm

for

gaining

insight

into

a

present

problem

is

not,

of

course,

new.

A

mathematician

typically

looks

for

an

auxillary

theorem

having

the

same

or

a

similar

conclusion.

In

architecture,

invention

often

passes

through

a

phase

of

groping,

where

ideas

about

a

projected

building

form

are

triggered

by

exposure

to

some

existing

building

with

a

similar

program,

functional

specification,

or

site

condition. The analogous building then becomes in some sense a model or a prototype.

用相似的问题作为范例而得到对于当前 问题深刻认识的理念

当然并不新鲜。一位

数学家通常寻求一个有 着相同或类似结论的辅助定理。在建筑中，创造通常是经过

一个摸索的阶段获得，在此过 程中，一些现存的建筑有着相似的制式、功能规格或

基地条件，通过对这些因素的揭示， 引发出预想建筑形式的概念，那么这些类似的

建筑物在某种意义上就成为一种模型或者原 型。

2

The use of prototypes is especially useful in the design of housing because housing lends

itself to systematic typological study. Most building types, such as theaters, schools, factories,

or even office buildings, have to respond to different programs and are rarely consistent and

repetitive. Housing, because it consists of repeating units with a consistent relation to vertical

and horizontal circulation, can more logically be studied in terms of its typological variations.

Although housing would seem to embrace almost unlimited possible variations, in fact there

are

not

many

basic

organizational

possibilities

and

each

housing

type

can

be

categorized

easily.

< br>原型的用处在住宅设计中显得尤其突出，

因为住宅需要系统类型的研究

大多数建

筑类型，像剧场、学校、工厂、甚至办 公楼，都必须响应不同的策划，所以极少连

续和重复。

住宅，由 于包括重复的单元，它们有一致的水平和垂直流线的联系，所以可

以依照类型上的变化来 进行更加逻辑性的研究

。

尽管住宅似乎包含几乎无限种可能的< /p>

变化，但事实上没有那么多基本组织的可能性，而且每一种住宅组织类型都可以被

简单地归类。

While building regulations, construction techniques, and housing needs have

considerable impact on the form that housing may take at any given time in any given culture,

still only a few dwelling unit types are plausible, and these units may be collected together in

only a few rather limited ways that do not change very much from country to country. An

apartment building unit today in Zagreb

–

as an organization of building units

–

is much like

an apartment building in Berlin or Tokyo. Even extreme cultural requirements, such as the

provision for a tatami life-

style in Maekawa’s Harumi slab in Tokyo

(Figure 10

—

1)

, have

resulted in an organization that can easily be compared to a Western model: Park Hill in

Sheffield of the sixties

(Figure 10

—

2)

. For example, is organizationally similar. Both have

larger and smaller units in the typical section.

虽然建筑规程、建造技术和住宅需 求会在任何指定时间和任何指定文化之下

对建筑形式产生相当大的影响，仍然有少量的居 住单元形式是合理的，这些被选

择的单元以很少的相当局限的方式组合在一起，这些方法 在国家与国家之间改变

很小。

现今在萨格勒布的一个公寓大楼单 元

——

像一个建筑单元的组合

——

与柏林

或东京的公寓大楼很像。即使是极端的文化需求，例如在东京 的提供榻榻米生活方

式的

Maekawa's Harumi

公寓，

也成为一个组织能够容易地与西方范例作比较：

例如，

60

年代在谢菲尔德（

Sheffield

）的

Park Hill

（

湖滨公寓< /p>

）（图

10-2

）。他们在组织上

很相似，都在典型的剖面中有大大小小的单元。

Entrance to the larger of the two

–

a two-level unit

–

is at the corridor level, with rooms above:

stairs lead to the smaller unit below. In each, therefore, the corridor occurs at every other level,

and stairs lead up and down from there. Although the position of the stairs, kitchen, and both

are different

–

along parallel walls in Harumi and in a zone parallel to the corridor in Park Hill

–

and the sitings of the buildings are quite different, nevertheless they are organized

fundamentally alike. Even the Arab housing designed in Morocco in the fifties by

ATBAT

(Figure 10

—

3)

, where cultural requirements dictated absolute visual privacy,

outdoor cooking, and a lack of the usual room subdivisions and conventional toilets, resulted

in a building which, although it has a peculiar checkerboard elevation, is more or less a

conventional single- loaded, gallery access apartment building.

通向两个中较大的一个复式单元的入口是 在走廊层面上，

它的上方有房

间：

楼梯 通

3

向下面较小的单元。因此，在 每一栋楼里，走廊出现在每两层，楼梯引导着内部上

与下。尽管楼梯和厨房的位置都不一 样

——

（楼梯）沿着

Harumi

的平行墙和一个平

行于

Park Hill

走廊的区域

——

以及建筑的基址也相当 不同，但他们的组织形式基本

上是相同的。甚至在

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