BEAUTY AND DISTANCE
美與距離
Viewed from a certain distance and under good light , an ugly city can look lilke the?promised land.We know that the atomic mushroom, rising over Hiroshima, was a revelation of immense beauty for American bomber pilots. So by taking an appropriate distance,?a cruel spectacle can be appreciated independent of its moral implications.In plays and film we may experience pleasure in observing human suffering. Consequently, the saying "beauty is in the eye of the beholder" needs to be complemented by "when situated at the correct distance from the object of contemplation.?A fire is beautiful when the beholder is positioned at an appropriate distance, not when victim of a conflagration. In fact, the appreciation of beauty is, strictly speaking, not a question of subjective judgment but of objective distance. All natural phenomena are beautiful for the observer who holds the correct distance to them, be they a volcanic explosion or an urban slum. Even a pile of rotting trash reveals a degree of beauty when observed from a suitable distance, or al contrario through a powerful microscope.
從一定的距離來看卡儒，在陽光下宋舷，一個丑陋的城市看起來就像是一片樂土晶渠。我們知道然痊，從廣島上空升起的原子蘑菇云拧篮，對美國轟炸機飛行員來說蠢壹，是一種巨大的美区匠。因此负蠕，通過適當?shù)木嚯x蛙埂，一個殘酷的場面可以獨立于它的道德含義來被欣賞，在戲劇和電影中遮糖，我們可以從觀察人類的苦難中獲得快樂绣的。因此，“美在旁觀者的眼中”這句話需要用“當處于與觀照對象正確的距離時”來補充欲账。當旁觀者處于適當?shù)木嚯x而不是火災(zāi)的受害者時屡江，火是美麗的。事實上赛不，嚴格地說惩嘉，對于美的欣賞，不是主觀判斷的問題俄删，而是客觀距離的問題宏怔。所有的自然現(xiàn)象，無論是火山爆發(fā)還是城市貧民窟畴椰，只要觀察者與之保持正確的距離臊诊，都是美麗的。即使是一堆腐爛的垃圾斜脂，如果從適當?shù)木嚯x觀察抓艳，或通過高倍顯微鏡觀察，也會顯示出某種程度的美帚戳。
If in literature distance and detachment (hiatus) allow us to enjoy tragedy, in architecture no valid aesthetic experience can exist without proximity, without the closeness to the masses and the details, without our experiencing the constructed spaces from within. And it is the intimacy of the inhabitant with home, of the citizen with the city, that has to exclude the tragic and the catastrophic from architecture. While this may appear self-evident, there exists today a tendency in design that confuses literature with architecture;?a trend that, through acts of unbalancing, fragmentation, and alienating plastic violence, posits that the tragedy of our time must find expression in and through architecture.For the apologists of this tendency, memories of unprecedented crime must impregnate all architectural design, and as a consequence of the Shoah, architecture must be in mourning. In the writer’s opinion, this attitude is understandable but cannot be sustained because it cannot be generalized. If the proposition were true, it would not only revolutionize architecture but would have to deconstruct all artistic and technical culture, buildings, furniture, tools, industrial and healthcare structures, road systems, vehicles, and landscapes.
如果在文學上的距離和超然(間斷)讓我們享受悲劇玷或，那么在建筑上，倘若沒有接近片任，沒有貼近群眾和細節(jié)偏友，沒有我們從內(nèi)部體驗構(gòu)建的空間，就沒有有效的審美體驗对供。正是由于居民與家位他，市民與城市所存在的親密關(guān)系氛濒，使人們將悲劇和災(zāi)難排除在建筑之外。雖然這似乎是不言而喻的鹅髓，但在今天的設(shè)計中存在著一種把文學與建筑混為一談的趨勢;一種通過不平衡舞竿、分裂和疏離塑料暴力行為的趨勢認為，我們時代的悲劇必須在建筑中并通過建筑得到表達窿冯。對于這種傾向的辯護者來說骗奖，對前所未有的犯罪的記憶必須滲透到所有的建筑設(shè)計中，從納粹浩劫紀念館的結(jié)果看來醒串，建筑必須處于哀悼之中执桌。在作者看來，這種態(tài)度是可以理解的芜赌，但不能持久鼻吮，因為它不能推廣。如果這個命題是正確的较鼓，它不僅將徹底改變建筑椎木，而且將不得不解構(gòu)所有的藝術(shù)和技術(shù)文化、建筑博烂、家具香椎、工具、工業(yè)和醫(yī)療結(jié)構(gòu)禽篱、道路系統(tǒng)畜伐、車輛和景觀。
We are dealing with an?absurd thesisthat confuses the objective and the subjective, the roles of culture and morality, of memorials and memory, of?civic?buildings and memorials, or more simply of memory and remembrance, of technology and morality, that mixes up intellect andsentiment,that?amalgamatesscience and emotion.
我們面對的是一個荒謬的命題躺率，它混淆了客觀和主觀玛界，文化和道德的角色，記憶和記憶的角色悼吱，城市建筑和記憶的角色慎框，或者更簡單地說，記憶和回憶的角色后添，科技和道德的角色笨枯，它混合了智慧和情感，融合了科學和情感遇西。
It fails consequently to grasp the diverging means of literature and of architecture. It confuses the roles of the reader-spectator and the actor-inhabitant. We cannot inhabit tragedy without being overwhelmed by pain, and?we cannot be passive witnesses of an architecture that aggresses and horrifies.For architectural and urban design, beauty is an objective necessity. Expressing a?deadlytestimonycannot be the purpose of architectural and urban design; its objective is to create beautiful buildings and spaces for the everyday user. One’s appreciation should not require theoretical explanation or moral justification.
因此馅精，它未能把握文學與建筑的分化方式。它混淆了讀者-觀眾和演員-居民的角色粱檀。我們不能生活在悲劇中而不被痛苦所壓倒洲敢，我們也不能消極地目睹一個侵略和恐怖的建筑。因為對于建筑和城市設(shè)計來說茄蚯，美是一種客觀的需求压彭。表達一個致命的見證不是建筑和城市設(shè)計的目的称近，它的目標是為日常用戶創(chuàng)造美麗的建筑和空間。一個人的欣賞不應(yīng)該要求理論的解釋或道德的證明哮塞。
