克罗德·巴夯:弯曲的直度

  • 来源:建筑创作
  • 关键字:建筑创作,克罗德·巴夯
  • 发布时间:2014-07-18 13:04

  年轻的克罗德·巴夯不会接受任何命令,他一直试图逃脱老师与老板传授的所有僵化的原则。作为建筑师,他耐心地将这些变成了自己的才能、技巧、习惯,但同时加上自己的印记,在赋予它们独特性的同时让它们服从于他自己的标准。

  克罗德·巴夯的工作和作品中有着强大的力量,它用一条线,一面墙,便能够打破平面或建筑的体量。克罗德·巴夯不喜欢稳定、持久的建筑,他喜爱总是处于动态之中的建筑,它们具有无法抗拒的生动。克罗德·巴夯所有的作品都着重于分割、隔离、移动、连接等变化的手法,它们使建筑框架总是避开固定的形状,使建筑因重组、重构而获得能量,使其能够一直处于更新之中。建筑是这样一种造物,它是或不是,它在一种开放的现象性中增长,它像身体一般伸展,它在严谨的水泥外表下拥有着皮肤的温度、身体的魅惑。

  从连接到断裂,从倾斜到弯曲,克罗德·巴夯的道路在不同的时刻均在增加与充实,他的生涯由特征鲜明的不同阶段组成,并转变为多段真实的历史,更非凡的是,他个人历史的不同时期,也划分、标识了美学史与当代建筑设计史的发展阶段。他的学生时代仍属现代主义,受到卜劳克的影响,并作为伊夫·克莱因的学徒,他走过了一条将艺术与空间主义进行合成的道路。他是最有批判性的代表之一,将慷慨充溢的乌托邦式的探索施加给人们,并将这一追求变成绝不让步的激进主义。圣伯纳黛特教堂是他批判力度的顶峰,在这一作品中,使人们接受建筑所表现出的战争犯罪感,成为他拒绝坠入形式表现陷阱的核心内容。巴夯否认建筑仍然是形式或句法的问题,否认它将被历史的局限所困,他将建筑的“身体”置于中心地位,这一“身体”没有尺寸、不成比例、超出人体尺度、处于运动之中,在其自身的更替和经济状况中对时间和空间加以组织。从断裂到弯曲,他的探索一以贯之、毫无瑕疵,井然有序且从未间断,有着蛇形线一般的美好和稳定。

  他知道只有通过靠近、倾听、陪伴才能获得严谨和精确,所以他总是分享,总是接受改变,将自己投影到这个世界的纷繁之中,陪伴别人经历很多实验和剧变。

  沙因,修佛,克莱因,卜劳克,维希留,如此多的个性,如此多的学科领域,如此多的交叉跨越,其中的缝隙和距离只会增强克罗德·巴夯作品的独特性。他利用开发空间,叠加空间使之成为一种形态范式、一种褶皱的空间延展,条纹的、弯曲的、片状的,是一种持续生成形态的几何学,发生着不可思议的形体间的共鸣。

  雕塑的、运动的、拓扑的、空想的,社会的,他的作品最终将我们带到一个没有质量的空间、一个疲乏的空间,它避开了各种限制,以便使建筑仍能成为摆脱困境的一种方法、一种动力、一种陪伴和参与的狂喜。克罗德·巴夯有一种正直,这种正直意味着至少怀有自我重现自我再生的抱负,意味着愿意放弃、放弃那些确信的观念和事物,以便通过一种新的定位,达到自身的重建和强化。年轻的,克罗德·巴夯在那里,向一切研究和试验开放,他的正直,像向导一样坚定地点亮了道路中的盘旋曲折。以稳健的手,他用绘画的方式来加强这弯曲的试验,他用任何其他的方式直觉地感知它,他线条的力量,他强烈的特质,支撑着他的作品和他的生命。

  弗雷德里克·米加罗

  英语原文摘自Editions Le Moniteur 出版社2006 年出版的Claude Parent vu par... 50 témoignagesdu monde entier 一书(ISBN:2281193136)。全书154 页,原文为弗雷德里克·米加罗为全书撰写的前言,选自原书第24 页。

  中文翻译:李天 / 中文校对:阴倩雯 /英文校对:克洛伊·巴夯

  Claude Parent:The Rectitude of Inflection

  A young Claude Parent would not accept any order, he wouldattempt to escape all rigidity, all principles of identification and alltaxonomies sanctioned by the teachings of the masters and bosses.

  An architect; he became one, patiently building up the qualities, theknowledge and the practices required: but not without leaving his markon them, making them unique so as to bend them to his own standards.

  There is violence in the work and production of Claude Parent, that inone line, one wall, takes the liberty to split a plan or break the structure ofvolumetry. Claude Parent does not like what resists, what persists, he wouldalways rouse architecture, always spur it on with a dynamic, a compellingmovement. Claude Parent divides, splits, shifts, articulates and; the body ofhis work hinges on these mutations where the structure always escapes form,where it stands out of a reconfiguration, a redistribution, a rearrangementfrom which it extracts the energy for a permanent renewal. Architecture here isartifacture; it is or it is not; it multiplies into an open phenomenality; it stretcheslike a body; it has, under the rigorous appearance of concrete, the warmth ofskin, the felinity of a body.

  From articulation to fracture, from oblique toinflection, the road of ClaudeParent multiplied and grew richer through different moments, segmented intointense periods, converted into a true history divided into phases, which - and thisis what‘s extraordinary - punctuated the phases of the history of aesthetics and ofthe most contemporary architecture. From a still modern apprenticeship, he will havecrossed the path of the synthesis of the arts and of a spatialism of which he is, in theorb of Bloc and in the fellowship of Yves Klein, one of the most critical representativesto impose the generous overflow of a utopian research which he will transfigure into anuncompromising radicalism. The critical acme that Sainte-Bernadette would impose,makes the acceptance of war guilt the nucleus of a denial of the traps of representation.

  By challenging the idea that architecture could still be a matter of form or syntax, that itcould be trapped in the game of the constraints of history, Parent re-centered it on a bodywithout measure, a disproportionate, out of scale body, the body of movement, that whichorganizes space and time in the measure of its displacement and economy. From fractureto inflection, the coherence of his approach is faultless; it is orderly and continuous; it hasthe beauty and quality of the serpentine line.

  Because he knows there is rigor only in bending, listening, accompanying; he wouldalways share, always accept to change, to project himself into a heterogeneousness ofworlds to accompany the others in as many experiences and upheavals. Schein, Sch?ffer,Klein, Bloc, Virilio, as many personalities, as many domains, as many crossovers whereruptures and distances would only reinforce the uniqueness of the work of Claude Parent.

  He would take advantage of space, he would exploit space, multiplying it into modalities, intopleated expanses, streaked, bent or foliated: a geography, a continuous morphogenesis where improbable geometries resonate. Sculptural, kinetic, topological,utopian, social, his work finally takes us to a space withoutquality, an exhausted space that evades qualifications so thatarchitecture remains an evasion, a dynamic, the jubilation ofaccompaniment, of participation. There is an uprightnessabout Claude Parent, that of those who have a project, at leastthat of reproducing or revitalizing themselves, the uprightnessof those who accept abandonment, of renouncing certitudesso as to rebuild and reinforce themselves through arenewed position. Young, Claude Parent is there, open toall research, all experiments, and his uprightness firmlyhighlighted the convolutions of a route that one can sharelike a guide. Sure handed, he multiplies with his drawingsthis experiment of inflection, he intuitively recognizes itin all others, the strength of his line, the violence of hisimprint holds his work together and his life.

  Frédéric Migayrou

  English original texts are both selected fromClaude Parent vu par ... 50 témoignages du mondeentier ( ISBN: 2281193136, 154 pages, EditionsLe Moniteur, 2006 ). The article was the preface byFrederic Migarou ( P24 ).

  Chinese translator: LiTian /Chinese corrector: Yin Qianwen /English corrector: Chloe Parent

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