建筑學(xué)外文翻譯 (3)

1、<p>　　LOUISIANA MANIFESTO </p><p>　　Jean Nouvel</p><p>　　World Architecture．May2010 Vol．05．21~23</p><p><b>　　路易斯安那宣言</b></p><p><b>　　讓·努維爾&l

2、t;/b></p><p>　　世界建筑．2010年5月第05期．21~23頁(yè)</p><p>　　摘要：讓·努維爾的“路易斯安那宣言”是他對(duì)于當(dāng)今建筑的思考和想法最為深刻的表達(dá)。這篇文章和他的項(xiàng)目與短片，在2005年6月7日－9月18日，于丹麥的路易斯安那現(xiàn)代藝術(shù)博物館展出。它曾以多種文字出版。其哲學(xué)的基本原則是，一個(gè)建筑是有生命的、唯一的、特殊的，并且要與其周?chē)h(huán)境、場(chǎng)

3、所精神和諧共處。該展覽是讓·努維爾工作室、特約館長(zhǎng)讓?zhuān)芬姿?#183;弗洛門(mén)特和路易斯安那博物館合作舉辦的。（維雷娜·辛德勒）</p><p>　　關(guān)鍵詞:路易斯安那；建筑設(shè)計(jì)；現(xiàn)代藝術(shù)博物館；意識(shí)形態(tài)；場(chǎng)所精神</p><p>　　2005年，建筑更加倍地在消除地方的特征，把它們變得平庸無(wú)奇，蠻橫地對(duì)待它們。它有時(shí)會(huì)取代風(fēng)景，獨(dú)自創(chuàng)造風(fēng)景，這不過(guò)是另一種抹去風(fēng)景的方

4、式。但是，相反，路易斯安那是情感的震撼。體現(xiàn)出一個(gè)很快被遺忘的真理：建筑具有超越的能力。建筑能夠顯露地理、歷史、色彩、植被、視野、光線。它以桀敖不馴、自然不做作的姿態(tài)來(lái)到這世界、并活著。它獨(dú)一無(wú)二。它體現(xiàn)了路易斯安那精神。</p><p>　　它是一個(gè)小世界，一個(gè)氣泡。沒(méi)有任何形象、沒(méi)有任何言論能夠彰顯它的深度。你必須身臨其境才能體驗(yàn)到這一切，才會(huì)相信。建筑是我們世界的延伸，當(dāng)世界不斷在縮小時(shí)。當(dāng)我們用愈來(lái)愈快的

5、速度在全球到處跑；當(dāng)我們聆聽(tīng)和觀看相同的全球網(wǎng)絡(luò)，分享相同的災(zāi)難所引起的震動(dòng)；當(dāng)我們隨著相同的暢銷(xiāo)歌曲的節(jié)奏跳舞，看著相同的球賽；當(dāng)全球充斥著相同的影片，明星是全球人物；當(dāng)一國(guó)總統(tǒng)想要統(tǒng)治世界；當(dāng)我們到克隆商場(chǎng)購(gòu)物，在同樣的幕墻后頭上班……以及，當(dāng)世界變小理當(dāng)產(chǎn)生的好處不被列為全球重點(diǎn)課題時(shí)……好比說(shuō)，為什么教育無(wú)法通過(guò)相同的全球網(wǎng)絡(luò)，更快速、確實(shí)地消除文盲？為什么能夠拯救世界性流行病患者的藥品無(wú)法及時(shí)送達(dá)？在這個(gè)追求高效率和盈利、配有

6、一整套經(jīng)濟(jì)概念的意識(shí)形態(tài)特征愈來(lái)愈明顯的世界，面對(duì)這些新情況，建筑同樣難以幸免。</p><p>　　今天，全球化的影響不斷深化，主流建筑旗幟鮮明地主張要“去脈絡(luò)化”。然而，沒(méi)有人去討論這個(gè)急劇發(fā)展的形勢(shì)所具有的意義：建筑評(píng)論，以建筑學(xué)科的界限為由，滿足于美學(xué)和風(fēng)格上的籠統(tǒng)論述，缺乏對(duì)現(xiàn)實(shí)的分析，并且忽略了重要的歷史課題，亦即全球性建筑和“因地制宜”的建筑、普通性建筑和特殊性建筑之間日益強(qiáng)烈的對(duì)峙和沖突。今天的現(xiàn)

7、代性難道只是直接繼承20世紀(jì)的現(xiàn)代性、而不帶任何批判精神？它難道只是在世界各地散播大量孤立存在的事物？它難道不應(yīng)該去尋找理由、對(duì)應(yīng)、相同、差異，以提出針對(duì)此時(shí)此地的特殊性建筑？路易斯安那作為具象征意義的角斗場(chǎng)，被選來(lái)進(jìn)行這場(chǎng)猶如大衛(wèi)對(duì)抗巨人歌利亞、“因地制宜”建筑的擁護(hù)者對(duì)抗“去脈絡(luò)化”建筑的受益者的新戰(zhàn)斗。毫無(wú)疑問(wèn)，這場(chǎng)對(duì)抗比全球與地方之間的對(duì)抗更為深沉、復(fù)雜。</p><p>　　特殊性與知識(shí)的更新有關(guān)。建筑

8、知識(shí)本質(zhì)上就是多元多樣、與所有文明發(fā)生聯(lián)系的；旅行是建造者的文化素養(yǎng)上一個(gè)重要的組成部分。我們熟知希臘、羅馬或埃及旅行對(duì)建筑師多么重要。路易斯安那則是加州之旅的結(jié)晶：在這里，同樣是透過(guò)對(duì)照和匯整距離遙遠(yuǎn)的不同訊息，構(gòu)思出能夠詮釋一個(gè)獨(dú)特情況的建筑方案。</p><p>　　當(dāng)然，普遍性建筑在20世紀(jì)簡(jiǎn)單化的現(xiàn)代主義意識(shí)形態(tài)所遺留下來(lái)的功能主義這塊糞肥上蓬勃發(fā)展?！堆诺鋺椪隆樊?dāng)初也提倡人文主義精神，然而，狂熱人士、

9、犬儒者和腐敗者進(jìn)行大量教條式地歪曲模仿，留給了我們一個(gè)災(zāi)難性的都市遺產(chǎn)。以生活在這個(gè)世界的快樂(lè)之名，我們必須抗拒建立在區(qū)塊、網(wǎng)絡(luò)、格網(wǎng)基礎(chǔ)上的城市主義。這樣自動(dòng)的腐化墮落，讓世界各地、不論何種氣候形態(tài)的城市失去了身份。它以克隆辦公大樓、克隆住家、克隆商場(chǎng)為食。它渴求別人事先想好的想法、別人事先創(chuàng)造的景觀，以避免自己去思考和觀察。</p><p>　　對(duì)于這些普遍性和建筑上的領(lǐng)土整治規(guī)則，我們必須用建立在對(duì)有生命經(jīng)

10、驗(yàn)的景觀所做的結(jié)構(gòu)性分析的基礎(chǔ)上所產(chǎn)生的其他規(guī)則來(lái)取代它們。沒(méi)錯(cuò)，建筑！因?yàn)榻ㄖ嬖谟诟鱾€(gè)層次，而城市主義則不存在；那不過(guò)是卑屈順?lè)慕ㄖ诤暧^層次上所做的拙劣變裝演出，它的發(fā)展是為了替大量普遍性建筑的到來(lái)鋪路。我們必須建立敏感的、詩(shī)意的規(guī)則：談?wù)撋?、本質(zhì)、個(gè)性、無(wú)拘無(wú)束地創(chuàng)造，結(jié)合雨、風(fēng)、海、山相關(guān)的特殊性的建筑方向。會(huì)談?wù)摃r(shí)空的連續(xù)，會(huì)為傳承下來(lái)的混亂指引轉(zhuǎn)變、修改的方向，會(huì)關(guān)注我們城市的分形結(jié)構(gòu)中每一個(gè)層級(jí)的規(guī)則。這些敏感的規(guī)則

11、不得不去挑戰(zhàn)普遍的意識(shí)形態(tài)；普遍的意識(shí)形態(tài)有不斷擴(kuò)散霸權(quán)主流技術(shù)、以產(chǎn)生依賴(lài)的趨勢(shì)，它傾向?qū)⑺械慕煌ā⒛茉春托l(wèi)生體系變得愈來(lái)愈巨大，制造出一個(gè)龐然大物。</p><p>　　相反地，特殊的意識(shí)形態(tài)渴望自主，渴望使用當(dāng)?shù)睾筒煌瑫r(shí)候所提供的資源，渴望對(duì)非物質(zhì)的側(cè)重。我們?cè)撊绾问褂卯?dāng)?shù)亍⒍皇莿e處的資源？我們?cè)撊绾蝿?chuàng)造具差異性的建筑，而不落入對(duì)刻板印象的夸張模仿？我們?cè)撊绾芜M(jìn)行深化？建筑設(shè)計(jì)并非從無(wú)到有的創(chuàng)造。建筑意

12、味著在現(xiàn)有和已存在的基礎(chǔ)上加以改造、轉(zhuǎn)化。建筑意味著激勵(lì)深藏于場(chǎng)所自身的特質(zhì)，而由此具有自我創(chuàng)造的傾向。它意味著揭示、指引方向。它意味著延續(xù)活的歷史以及它過(guò)往的軌跡。它意味著傾聽(tīng)一個(gè)有生命的地方的呼吸和脈動(dòng)。它意味著詮釋這些律動(dòng)用于創(chuàng)造。建筑必須被視為對(duì)一個(gè)物質(zhì)、原子、生物連續(xù)體的改造。</p><p>　　它是在宏觀與納米物理學(xué)愈來(lái)愈令人頭暈?zāi)垦ＶH，對(duì)我們這個(gè)廣大世界里的某個(gè)片斷的改造。不論轉(zhuǎn)變、場(chǎng)所、建筑的

13、規(guī)模是大是小，我們?cè)撊绾伪磉_(dá)一個(gè)有生命的斷片發(fā)生轉(zhuǎn)變時(shí)的難以預(yù)料？我們是否能夠藉由符號(hào)、映像、種植來(lái)掌握可見(jiàn)的構(gòu)成部分——云、植物、各種大大小小的生命機(jī)體？我們?cè)撊绾蝿?chuàng)造出能夠召喚隱藏的深度、靈魂的振動(dòng)？這必然是一項(xiàng)詩(shī)意的任務(wù)，因?yàn)槲ㄓ性?shī)懂得如何產(chǎn)生“瞬間的形而上學(xué)”：關(guān)于所能掌握的極限，關(guān)于奧秘、脆弱、自然；關(guān)于時(shí)間的作用、因年久而生成的色澤、會(huì)發(fā)生變化；關(guān)于不完美，因?yàn)椴煌昝里@露了我們可以達(dá)到的極限。那些扼殺情感的建筑不是具路易斯安

14、那精神的建筑。而是在全球游走的藝術(shù)家兼建筑師、那些重復(fù)大師的作品，他們對(duì)完美、干枯、恒久不變的細(xì)節(jié)的追求，是情感無(wú)能的真實(shí)告白！</p><p>　　重復(fù)制作“精通熟練的”細(xì)節(jié)，體現(xiàn)了他們對(duì)世界上建筑該有的本質(zhì)感覺(jué)遲鈍。大規(guī)模建造被誤解！繁重和夸大是建筑上裝腔作勢(shì)的途徑！細(xì)節(jié)就跟整體一樣，是發(fā)明、移動(dòng)、豐富世界的機(jī)會(huì)，是重新構(gòu)成、重新組合、誘發(fā)各種質(zhì)地、光線、不大可能的技術(shù)相遇的機(jī)會(huì)。然而，普遍性細(xì)節(jié)和普遍性建筑

15、一樣，屬于預(yù)先制作、不存懷疑、沒(méi)有危險(xiǎn)、離可行的和可感覺(jué)的極限有一大段距離的領(lǐng)域；它以到處存在、到處可販賣(mài)、傳播一致性、扼殺差異、大量繁殖為使命。我們處在一種簡(jiǎn)單化思維的領(lǐng)地——系統(tǒng)的、使人放心的領(lǐng)地。我們距離產(chǎn)生吸引力的絕對(duì)條件——亦即自然不造作——非常遙遠(yuǎn)。能夠在二元性、在對(duì)話當(dāng)中創(chuàng)造獨(dú)特性的建筑，能夠面對(duì)一種情況來(lái)創(chuàng)造獨(dú)特性的建筑，就是具路易斯安那精神的建筑。</p><p>　　這和那些不斷重復(fù)某種形式、

16、風(fēng)格——它被視為“藝術(shù)家的簽名”——的藝術(shù)家兼建筑師的態(tài)度完全相反。它和可以在任何時(shí)候空降到任何地方的建筑完全相反。這個(gè)全球現(xiàn)象是強(qiáng)調(diào)不屬于任何場(chǎng)所、可以被移動(dòng)位置、專(zhuān)為直接進(jìn)入美術(shù)館嚴(yán)密精確的白色格子而設(shè)計(jì)的20世紀(jì)藝術(shù)的延續(xù)。獨(dú)立存在的建筑和可以孤立存在的藝術(shù)作品相反，它注定要發(fā)生干擾，它的出現(xiàn)猶如荒唐可笑的拼貼、突如其來(lái)的噴嚏——不過(guò)可惜的是，建筑領(lǐng)域經(jīng)常缺乏超現(xiàn)實(shí)主義的敏感度……</p><p>　　建筑

17、意味著某些人憑著他們的意志力、渴望和知識(shí)，在某個(gè)時(shí)代對(duì)某個(gè)地方進(jìn)行改造。我們從來(lái)就不是在單獨(dú)地建筑。我們總是在某處建筑——當(dāng)然是為某個(gè)人或某些人，但也總是為所有人。我們必須停止將建筑局限在采借一種風(fēng)格上。我們的時(shí)代需要不斷懷疑、尋找、不認(rèn)為自己已經(jīng)找到答案的建筑師，需要不畏風(fēng)險(xiǎn)、重新發(fā)現(xiàn)實(shí)證主義價(jià)值觀、在建造的同時(shí)發(fā)明建筑、會(huì)讓自己訝異、會(huì)在自己窗戶上發(fā)現(xiàn)霉菌并知道如何解讀的建筑師。讓我們將替虛榮的城市化妝的工作，留給那些自認(rèn)為美容師的

18、建筑師。從今而后，建筑將在不可言喻、含糊模棱和不完美中重新發(fā)現(xiàn)它的光環(huán)！只有當(dāng)建筑師摔了跤并改變時(shí)，他才知道自己已經(jīng)盡了最大的努力：從創(chuàng)造到改造；從斷言到暗示；從建造到嵌入；從建構(gòu)到滲透；從放置到迭置；從清晰到含糊；從增加到偏移；從書(shū)法到抓痕、涂抹……</p><p>　　相對(duì)于“控制、留下永恒的記號(hào)”這些陳舊過(guò)時(shí)的建筑目標(biāo)，我們今天要以尋找在某地生活的樂(lè)趣為目標(biāo)。讓我們記住，建筑同時(shí)也是一種壓迫、制約行為的工具

19、。我們永遠(yuǎn)別讓任何人來(lái)查禁這個(gè)享樂(lè)主義式的追求，尤其是在我們身心獲得全面發(fā)展所不可或缺的熟悉、親密的領(lǐng)域。讓我們表明我們的身份！每個(gè)人內(nèi)心都有一個(gè)潛能的世界。我們要意識(shí)到自己的潛能，它和每個(gè)人的潛能一樣，換言之，大多未被發(fā)掘，而且經(jīng)常具有詩(shī)意，因此，是令人不安的。</p><p>　　不再有緊身衣，不再有現(xiàn)成的生活！不再有將我們數(shù)字化的數(shù)字建筑！不再有克隆城市，全球化的辦公室，現(xiàn)成的家！我們希望能夠繼續(xù)旅行：聆聽(tīng)

20、即興演奏的音樂(lè)；體驗(yàn)承載著許多生活經(jīng)驗(yàn)的景觀；遇見(jiàn)創(chuàng)造他們文化的男男女女；發(fā)現(xiàn)陌生未知的顏色。建筑是變化的容器。建筑是不斷遭到生命和事件滲透、更新的永恒。不可更改、從天而降的建筑，與所在地以及居住其中的人沒(méi)有任何關(guān)聯(lián)。</p><p>　　建筑必須被所在的地方和人所滲透，也要去對(duì)他們產(chǎn)生滲透：要具有強(qiáng)烈感受性，也要引起感動(dòng)；要吸收，也要散發(fā)。讓我們喜愛(ài)那些懂得如何聚焦的建筑：它如同光線一樣閃耀；讓你領(lǐng)略地形、大地

21、的紋理；讓你感受風(fēng)、天空、土壤、水、火、氣味、樹(shù)、草、花、苔蘚……；記得地方風(fēng)土人情、同時(shí)與我們世界的信息終端相聯(lián)；還向我們呈現(xiàn)時(shí)代變遷以及穿越其間的人們。這樣的建筑與它的時(shí)代和諧共處。仍在建造20世紀(jì)建筑范型的落后者染患了“歷時(shí)”癥、拒絕去感受他們的時(shí)代。建筑總是標(biāo)注著日期。我們知道建筑終有一天會(huì)死的、是暫時(shí)存在的；我們知道它是有生命的。因此，我們看著它走出黑暗，并想像有一天它會(huì)回到那兒。</p><p>　　

22、“因地制宜”、特殊的、具路易斯安那精神的建筑，在過(guò)去與未來(lái)、礦物與植物、瞬間與永恒、可見(jiàn)與不可見(jiàn)之間建立著一種聯(lián)系。它們是顯現(xiàn)與消失的所在地。它們不時(shí)暗示著自己緩慢而悲愴的毀滅。這個(gè)時(shí)間意識(shí)與居住其中的新生命所帶來(lái)的驚奇，與黎明、黃昏的偉大節(jié)奏，以及不可避免的懶散和衰敗時(shí)光所顯露的無(wú)關(guān)緊要相重疊。具路易斯安那精神的建筑是夢(mèng)中的建筑，是寂靜無(wú)聲的，既是遺忘之地，也是考古之地。它們成為對(duì)引發(fā)暖昧矛盾情緒的過(guò)去進(jìn)行重新詮釋的借口。</p

23、><p>　　具路易斯安那精神的建筑令我們感動(dòng)，因?yàn)樗鼈儽粔?mèng)想出來(lái)，因?yàn)樗鼈兞钊烁械讲话踩⒕叻纯剐?；它們偶爾令人絕望、遇到災(zāi)難、或遭到扼殺，但從未被遺忘，因?yàn)檎瑛P凰浴火重生般，它們讓我們想到用點(diǎn)線構(gòu)成的永恒……</p><p>　　具路易斯安那精神的建筑在材料和資源上的不確定性、簡(jiǎn)易性、甚至簡(jiǎn)陋性，滋生出這種建筑能夠存在于各種經(jīng)濟(jì)環(huán)境的希望?；谶@個(gè)原因，它可以滲透到任何地方，甚至包括我們

24、的全球政治應(yīng)該感到汗顏的貧民窟……</p><p>　　Jean Nouvel’s LOUISIANA MANIFESTO is the most profound expression of histhoughts and ideas about architecture today.Together with his projects and shortfilm sequences,the text was

25、part of an exhibition at the Louisiana Museum ofModern Art in Denmark that was shown from June 7th through September 18th,2005.It was published in many languages.Fundamental to his philosophy is anarchitecture that is al

26、ive,unique,specific and in harmony with its surroundingsand the spirit of the place.The exhibition w</p><p>　　More than ever before in 2005 architecture is annihilating and violating places,making them banal

27、.Sometimes the landscape is replaced,created in the image of the architectureitself,which is nothing but another way of effacing it.In contrast,however,there is the case of Louisiana,an emotional shock.The living proof o

28、f a forgotten truth:architecture has the power to transcend.Architecture can reveal geographies,histories,colours,vegetations,horizons,and qualities of light.Impertinent and natural,a</p><p>　　As a microcosm

29、,a bubble,no image or statement can plumb its depth.You have to be there to experience and believe it.Architecture is an expansion of our world at a time when that world is gettingsmaller.At a time when we rush across th

30、e world faster and faster,when we listen to and watch the same global networks,share feelings aboutthe same disasters;when we dance to the same hits,watch the same matches;when we are flooded with the same films with the

31、ir global screen stars;when the president of o</p><p>　　The global economy is accentuating the effects of the dominant architecture,the type that claims,‘We dont’ need context.’And yet there is no real debat

32、e about this galloping frenzy:invoking the limitsof the discipline architectural criticism is content with aesthetic and stylisticreflections devoid of any analysis of the real,ignoring the crucial historical clashthat－m

33、ore insistently every day－sets global architecture against an architectureof situations,generic architecture against an architect</p><p>　　Specificity is linked to the actualization of knowledge.Architectura

34、l knowledgeis by nature diverse,given its links with all civilizations.Travel is an essentialelement in the cultivation of any builder.We are familiar with how journeys to Egypt,Greece and Rome are importanttoarchitects.

35、Louisiana is the result of a journey to California:the fruit of the graftingof information gathered from afar onto the interpretation of a uniquelocation.</p><p>　　Generic architecture is certainly thriving

36、on the compost,the Functionalistdroppings of the simplistic modern ideology of the 20th century.The AthensCharter set out to be humanist,but the equally dogmatic caricatures realized bythe submissive or the corrupt have

37、left us with an oppressive urban heritage.In the name of the pleasure of living on this earth we must resist theurbanism of zones,networks and grids.Such developments are the automaticrot that is obliterating the identit

38、y of cities on al</p><p>　　We must replace these generic rules,territorially and architecturally,withother rules based on the structural analysis of the lived landscape.Yes,architecturally!For architecture e

39、xists on all scales and urbanism does notUrbanism is nothing but the mocked-up travesty of a servile architecture on themacro-scale,advancing to prepare the way for the myriad of generic architectures.We must establish s

40、ensitive and poetic rules:approaches that speak of colours,essences,characters and the anomalies of </p><p>　　In contrast,the ideology of the specific aspires to autonomy,using theresources of actual place a

41、nd time and such an ideology also privileges the non-material.How can we use what is here and nowhere else?How can we differentiate without caricaturing?How can we achieve depth?Architectural design on the large scale do

42、es not mean inventing ex nihilo.Architecture means transformation,organizing the mutations of what is alreadythere.Architecture means encouraging the embedding in the landscape of pla</p><p>　　As the modific

43、ation of a fragment situated at the heart of our immenseuniverse amidst the dizzying discoveries made by macro-and nanophysics.Whatever the scale of the transformation of a site or place,how can wecommunicate the unpredi

44、ctability of the mutation of a living fragment?Can we domesticate the visible components－clouds,plant-life and livingorganisms of every size－with signs,reflections and new plantings?How does one create a vibration that e

45、vokes a hidden depth,a soul?This is surely a t</p><p>　　The repetition of the‘controlled’detail is proof of their insensitivity to thepossible nature of an architecture in the world.Mass construction is used

46、 as misconstruction!Weight and emphasis are understood as vectors of architectural pedantry!The detail－like the totality－is an opportunity to invent,dislocate,enrichthe world,recompose,reassemble and provoke confrontatio

47、ns of textures,lightand unlikely techniques.But generic detail,like generic architecture,manifests the prefabricated.Itrepresents</p><p>　　It opposes the attitudes of these artist-architects who follow a rec

48、ipe ofrepeating a kind of formal order passed off as the‘signature of the artist’.Itopposes what can be dropped down on the landscape on any occasion in any place.This global phenomenon perpetuates an artistic tradition

49、of the 20th centuryart that is in essence unsituated,dislocated and designed to take its place amongthe mathematical white boxes of the museums.Unlike these works of art that can function in isolation,autonomousa</p&g

50、t;<p>　　Architecture means the adaptation of the conditions of a place to a given timeby the willpower,desire and knowledge of certain human beings.We never do this alone.We always do it somewhere－certainly for so

51、me person or persons,butalways also for everyone.It is time we stop limiting architecture to the appropriation of a style.Our times need architects who doubt,who seek without thinking they havealready found,who put thems

52、elves at risk,who rediscover the values of empiricism,who invent architectu</p><p>　　Instead of the archaic architectural goal of domination,i.e.,making a permanentmark,today we should prefer to seek the ple

53、asure of living somewhere.Let us remember that architecture can also be an instrument of oppression,atool for conditioning behaviour.Let us never permit anyone to censure this pursuit of pleasure especially in thedomain

54、of the familiar and intimate that is so necessary to our wellbeing.Let us identify ourselves.Everyone bears a potential world within himself or herself.Let us</p><p>　　No more corsets,no more ready-to-wear l

55、ives!No more architecture-by-numbers that turns us into numbers!No more cloned cities,global offices,pre-occupied homes!We want to be able to keep on travelling:to listen to spontaneous music,to live in landscapes as inh

56、abited as a personalityto meet men and women who invent their own culture,to discover unknown colours.Architecture is the vehicle for variations.Architecture is permanence changed by life and events.Unchangeable architec

57、ture is not involved </p><p>　　Architecture has to be impregnated and to impregnate in order:to be impressionable and impress andto absorb and emit.Let us love architecture that knows how to focus,that:shine

58、slikealight;can let you read the topography,the lay of the land;can let you feel the wind,sky,soil,water,fire,flavours,trees,grass,flowers,moss...remembers the usages and customs of the place and at the same timeinterfac

59、es with the information terminals of our world;and,shows us the historical ages and those who have journ</p><p>　　The architectures of situation,of the specific,the Louisianan architecturesweave bonds betwee

60、n the past and the future,the mineral and the vegetal,theinstantaneous and eternity,and the visible and the invisible.They are the loci of emergence and disappearance.They distil the essence of their own slow,poignant ru

61、in.This consciousness of time overlays the surprises of the new lives lived in theplace,the great rhythms of dawn and twilight,the indifference of the inevitablehours of idleness and deca</p><p>　　Louisianan

62、 architectures move us because they have been dreamed into life,insecurity,resistance and sometimes despair;ruined or assassinated,but neverforgotten because like the Phoenix disappearing in the flames only to be rebornt

63、hey make us dream of eternally recurring points of light...</p><p>　　The uncertainty,simplicity and even the modesty of the Louisianan materialsand resources hold out the hope that Louisianan architecture ca