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1、12104009 申松杰 12104010 王思农 12104012 许金玉 12104013 尹方旭 12104016 赵丽海 Louis Kahn and Salk Institute Translate the text Louis I. Kahn, born on the Estonian island of Osel(todays Saarema) in 1901, is recognized as a master with light. His work is characterized by buildings that are basically geometric in f
2、orm and to which their clarity imparts a majestic severity. His refined skill in directing llight gives almost all his buildings an agreeable atmosphere and creates many surprising spatial effects Kahn,who arrived in the US in 1905,did not step into the intermational limelight until after the Second
3、 World War. 路易。卡恩,出生在爱沙尼亚Osel岛(今Saarema)在1901年, 被公认为光大师。他的作品的特点是建筑物基本上都是以几何 形式和到其清晰度给人一种雄伟的猛烈性。他的精制技术指导 llight给几乎所有他的建筑一个惬意的氛围,创造了许多令人惊 讶的空间效果Kahn,1905年来到美国,没有进入国际聚光灯下,直 到第二次世界大战之后 He had studied under Paul Cret at the University of Pennsylvania , where he received an academic education in the Beaux
4、-Arts tradition. Graduating in 1924; he did not carry out any projects outside the Pennsylvania area until he built the Yale University Art Gallery between 1951 and 1953. The Yale museum was articulated in two large cubes, which were divided by a cylindrical stairwell and a center service area. This
5、 arrangement reflects Kahns architectonic principle regarding the functional placing of the “Service”spaces and the areas which they serve, a hierarchy underlining the mental clarity that can always be discerned in the substance of his architecture. Functional ground plans simple constructions, and
6、the aesthetically sophisticated deployment of both slits and wall-openings to allow light to enter,are the consistent thread that runs throughout all of his creative work. Yet the works as a whole remains extremely heterogeneous. 他在宾夕法尼亚大学学习Paul Cret，在那里他接受了学历教育的美术传 统。毕业后，1924年;他并没有开展宾夕法尼亚区域外的任何项目，直
7、到他建 立了耶鲁大学美术馆在1951年和1953年之间，美国耶鲁博物馆被挂接在两个 大的立方体，这是由一个圆柱形的楼梯间和一个中心服务区分开。这种安排 体现了Kahn的有关职能配售“服务”的空间和领域，他们服务，一个层次强调 的头脑清晰，可以随时在他的建筑的物质看出端倪建筑学的原理。功能性接 地计划简单的结构，并且两个狭缝和墙壁开孔美观精致的部署，以允许光线 进入，是贯穿他所有的创作作品的一贯主题。然而，作品作为一个整体仍极 为异类 The Margaret Esherick House in Chestnut Hill, Pennsylvania (1959-61) is still in
8、the tradition of Neues Bauen, and pays sensitive homage to the principle of open space with its combination of rough exposed concrete walls and large-paned glass facades But projects such as the Kimbell Art Museum in Fort Worth, Texas(1966-72), with its round-arched roofs,are dominated by folkloric
9、influences. Yet in both of these it is possible to discern a single. Sensitive creative voice. Reacting to the Esherick House, where the transition between inside and outside is defined by the means of ventilation flaps without negating the edge of the space-Robert Venturi, a pupil of Kahns,wrote in
10、 his post-modern best-seller Complexity and Contradiction in Architecture. “it is not a particular style that makes the essence of an interior space, it is what goes round it and border between inner and outer.This agreed whit Louis I Kahns conception according to which a building was primarily a sh
11、elter. He started his teaching at Yale in 1947. And never ceased to stress that every room was defined by its natural lighting as well as construction, a formula with which he was able to unite technological and engineering factors with the sensual effects of a buildings inner life. Margaret Esheric
12、k 家在栗山，宾夕法尼亚（ 1959-61 ）仍处于的Neues BAUEN的传统，并支付敏感 的敬意开放空间的原则，用粗糙的暴露的混凝土墙壁和大格的玻璃幕墙，但其项目组合，例如作为金贝尔 艺术博物馆沃斯堡， 德州（ 1966-72 ） ，其圆拱形屋顶，是由民俗的影响占主导地位。然而，在这两种能够辨别单个。敏感 的创造性的声音。反应到Margaret Esherick 家，其中内部和外部之间的转换是通过通风瓣的手段不否定 空间罗伯特文丘里，卡恩的瞳孔边缘的定义，写在他的后现代畅销书的复杂性和矛盾架构。 “它不是一个 特定的风格，使得内部空间的本质，它是绕着它与内部和外部之间的边界。此同意路易一
13、世卡恩的概念， 根据其建筑主要是一个栖身之所。他开始了他的教学在耶鲁大学在1947年，而且从未停止强调，每一个房 间是由它的自然采光定义以及建筑，一个公式，使他能够团结起来的技术和工程因素与建筑物内生活的声 色效果 Kahns architectonic innovations lie in the use of prefabricated concrete parts,whose dimensions are determined by the radius of action of a builders crane- “ the extension of the human arm.” H
14、is ideas on the direction of light as part of the structure of a room remain exemplary to this day. Since Louis I Kahn did not go by hard-and-fast rules and principles,and every design began “from zero,”he developed a host of typologies in his 50 years of architecture practice. Kahn的建筑学的创新在于采用预制混凝土部
15、件，其尺寸由建筑工 地起重机的作用半径确定了“人类手臂的延伸。”他对光线的方向的想 法，一个房间的结构的一部分继续实施到今天。由于路易一世卡恩并 没有硬和快速的规则和原则去，每一个设计开始了“从零”，他开发了 一系列类型学在他50多年的建筑实践。 A key time in his life was a year-long stay in the American Academy in Pome,which enabled him to undertake trips to Greece. Egypt,and around Italy itself in the years 1950-51.A
16、lthough he was already 50 years of age.studying the buildings of antiquity inspired him anew with the awe at their massive materials and heavy parts,which he had acquired from Cret,his Beaus Arts teacher.culture gained solidity by being rooted in the classics. 在他的生活中的一个关键的时间是一年，长期停留在美国科学院 的梨果，这使他能承担前往希腊。埃及和意大利各地自己在1950- 51年，虽然他已经50岁。研究古代的建筑启发了他重新与敬畏在他 们巨大的物质和重型零件，这是他从Cret已经获得，他的美术艺术 教师文化获得了由某某正在扎根于经典之作。 Using durable materials such as brick,free-stone,and bare concrete,Louis I Kahn c
