Louis Kahn: The Room, The Street, & Human Agreement (1971)

by Louis I. Kahn Masadakea 试译

(译者水平有限，望批评指正） I have some thoughts about the spirit of architecture. I have chosen to talk about the room, the street and human agreement. 我有些关于建筑精神的思考，并决定谈论一下房间，街道与人类共识。 The room is the beginning of architecture. It is the place of mind. You in the room with its dimensions, its structure, its light responds to its character, its spiritual aura, recognizing that whatever the human proposes and makes becomes a life. 房间是建筑的起点。它是理性的场所。你所身处的房间，拥有它的维度，结构和反映它特征的光，还有它心灵的氛围。你能从中识别出人的所有要求并使其成为一种生活。 The structure of the room must be evident in the room itself. Structure, I believe is the giver of light. A square room asks for its own light to read the square. It would expect the light either from above or from its four sides as windows or entrances. 房间的结构必须在房间自身中显现。我相信，结构是光的给予者。一个方形房间需要它的光来显示它的形状。它期望来自上方的或来自四周的窗和入口的光。 Sensitive is the Pantheon. The non-directional room dedicated to all religions has its light only form the oculus above, placed to invest the room with inspired ritual without favoritism. The entrance door is its only impurity. So powerful was this realization of appropriate space that even now the room seems to ask for its release to its original freedom. 如万神庙那般敏锐。寄托于毫无偏袒地赋予其启示灵魂的仪式，以来自顶部圆洞射进的唯一的光线，这个无方向性的房间为所有的宗教信仰作出奉献。而它的入口门廊仅仅是个附庸。对这个契合的空间的领悟所带来的影响是如此巨大，甚至现在，房间都似乎在要求获得它的解放，回到它最初的自由中。 Of the elements of a room, the window is the most marvelous. The great American Poet, Wallace Stevens prodded the architect, asking, “What slice of the sun does your building have?” To paraphrase:What slice of the sun enters your room? What range of mood does the light offer from morning to night, from day to day, from season to season and all through the years? 在房间的要素中，窗洞是最令人惊叹的。华莱士•史蒂文斯，一位伟大的美国诗人，曾提醒建筑师，他这样问道：“你的房子拥有怎样的一缕阳光？”换句话说，一缕怎样的阳光洒进你的房间里？从早到晚，一天又一天，这些年来光线为气氛带来了怎样的变化？ Gratifying and unpredictable are the permissions that the architect has given to the chosen opening on which patches of sunlight play on the jamb and sill and that enter, move and disappear. 那深思熟虑的开洞，建筑师给予了它们怎样出乎意料却又令人满意的许诺。在那里，斑驳的阳光嬉戏在窗框和窗台上，它们照进房间，随着时间移动，消失。 Stevens seems to tell us that the sun was not aware of its wonder until it struck the side of a building. 史蒂文斯似乎在告诉我们：太阳从未明白它有多伟大，直到它打到一座房子的一侧。 Enter your room and know how personal it is, how much you feel its life. In a small room with just another person, what you say may never have been said before. It is different when there is more than just another person. Then, in this little room, the singularity of each is so sensitive that the vectors do not resolve. The meeting becomes a performance instead of an event with everyone saying his or her lines, saying what has been said many times before. 走进你的房间并了解了它是多么私密，你又能感受到它有着怎样的活力。和另一个人在一间小房间里停留，你可以说些可能之前从未说过的话。若这里又多了些人，事情又会变得不同。之后，在这个房间里，每个人的独特之处都容易被觉察。会面成为了一场不需要每个人背诵台词的演出。他们只是说些之前多次说过的话。 Still, in a large room, the event is of commonality. Rapport would take the place of thought. This room we are in now is big, without distinction. The walls are far away. Yet I know if I were to address myself to a chosen person, the walls of the room would come together and the room would become intimate. If I were now reading, the concern would be diction. 然而，在一个大房间中，这里所发生的事情就具有了公共性。和睦的交往代替了思虑。现在这个房间已经大到没有明显的特征。所有的墙都离得很远。可是我知道如果我要和我所中意的人交谈，房间的四周围墙会一起营造出亲密融洽的氛围。假如我现在正在阅读，我的注意力将会是辞藻和发音。 If this room were the Baptistery of Florence, its image would have inspired thoughts in the same way as person to person, architect to architect. So sensitive is a room. 如果这个房间是佛罗伦萨的洗礼堂，它的形象会通过同样的途径在人与人，建筑师与建筑师之间引起瞩目。一个房间是多么易被感知啊。 The plan is a society of rooms. The rooms relate to each other to strengthen their own unique nature. The auditorium wants to be a violin. Its envelope is the violin case. The society of rooms is the place where it is good to learn, good to work, good to live. 平面是各个房间所构成的社会。这些房间与我们彼此相联系并巩固着它们各自独特的品质。礼堂希望成为一把小提琴，它的围护就是小提琴的琴箱。房间构成的社会将会是一个有益于学习，工作和生活的场所。 Open before us is the architect’s plan. Next to it is a sheet of music. The architect fleetingly reads their composition as a structure of elements and spaces in their light. 在向我们敞开前它是建筑师的平面图。其次它是一碟音乐。建筑师瞬息间读出他的构图如同沐浴在光线下要素和空间的结构。 The musician reads with the same overallness. The musician’s composition is a structure of inseparable elements and spaces in sound. A great musical composition is of such entity that when played it conveys the feeling that all that was heard was assembled in a cloud over us. Nothing is gone, as though time and sound have become a single image. 音乐家也带着同样的整体性去觉察研究。音乐家作曲如同在音响中不可分离的要素与空间的结构。一篇伟大的乐谱是这样的实体，当弹奏它的时候，它所传递的感情均被聆听，并汇聚成我们空中的云朵。任何事物都未消曾逝，如同时间和声音所形成的独特的形象。 The corridor has no position except as a private passage. In a school, the boy walks across a hall as in his own classroom where he is his own teacher, observing others as others do. The hall asks for equal position with the library. 走廊除了作为私密的步行道外没有任何身份。在学校里，男孩穿过大厅。这里如同他的教室。在这里，他成为他自己的老师，观察着周围的其他人就像其他人做的一样。自此，这个大厅与图书馆享有了同样的身份。 The society of rooms is knit together with the elements of connection which have their own characteristics. 房间构成的社会与彼此联系又各具特色的要素接合在一起。 The stair is the same for the child, the adult and the old. It is thought of as precise in its measures, particularly for the young boy who aspires to do the floors in no time flat, both up and down. It is good also to consider the stair landing as a place to sit near a window with possibly a shelf for a few books. The old man ascending with the young boy can stop here, showing his interest in a certain book and avoid the explanations of infirmity. The landing wants to be a room. 一段楼梯同时服务于儿童，成年人和老年人。它被认为是度量的精确，尤其对于那些喜欢上上下下而厌烦没有时间感的平淡楼层的男孩儿。楼梯休息平台同样可以很好地被当做让人坐在一扇窗旁休憩的场所，旁边或许还有放着几本书的搁架。当一位老年人和一位年轻人攀登至此，他可以停下来翻开一本书向年轻人介绍一下他的个人兴趣爱好，而避免拿身体虚弱作为理由。休息平台希望成为一个房间。 A bay window can be the private room within a room. A closet with a window becomes a room ready to be rearranged. The lightless corridor, never a room, aspires to be the hall overlooking the garden. 凸窗的空间可作为房间中一个私密的小房间。一个紧挨着窗户的壁柜可以成为一个房间，并随时准备被重新整理排列。那个光线阴暗的走廊，永远成为不了房间，而是渴望通往那个大厅并在那里眺望室外的花园。 The library, the work court, the rooms of study, the place of meeting want to group themselves in a composition that evokes architecture. The libraries of all university schools sit well in a court entrance available to all its students as a place of invitation. The entrance courts and their libraries and the gardens and paths knitting there together form an architecture of connection. The book is an offering of the mind. 图书馆，办公场所，教室房间，会议场所想要把他们自身通过一种构图聚集在一起从而唤醒建筑。所有大学校园中的图书馆都很好地坐落在一个能让所有学生抵达的入口庭院旁，作为一个邀请的场所。入口庭院，他们的图书馆，花园还有路径在这里通过一个相互联系的建筑概念接合在一起。书籍是精神的奉献。 The work court of a school of architecture is an inner space encircled by workshops available to construct building experiments. The rooms of study and criticism are of a variety of dimension and spaces in their light, small for the intimate talk and work, and large for the making of fullsize drawings and group work. 建筑学院的工作庭院是个由工作室环绕的内部空间，这里可以用作构造房屋实验。学习和评论的房间在光线中呈现出维度与空间的多样性，狭小的作为私密的谈话和工作用，宽敞的为进行足尺绘图和小组工作服务。 Rooms must suggest their use without name. To an architect, a school of architecture would be the most honored commission. 房间应该匿名地暗示它的用途。对于建筑师而言，负责建立一所建筑学院是最可敬的委托。 The street is a room of agreement. The street is dedicated by each house owners to the city in exchange for common services. 街道是具有共识的房间。街道对城市的奉献通过每户住宅的住户转化为公共服务。 Dead-end streets in cities today still retain this room character. Through-streets, since the advent of the automobile, have entirely lost their room quality. I believe that city planning can start with realization of this loss by directing the driver and to reinstate the street where people live, learn, shop and work as the room out of commonality. 城市中的死巷子仍保留着房间的特征。四通八达的大街自从汽车的来临就完全失去了它们房间的品质。我相信城市规划可以带着对这种缺失的认知通过指挥命令司机和恢复作为人们赖以生活，学习，消费和工作的街道，使这个房间摆脱完全的公共性。 Today, we can begin by planting trees on all existing residential streets, by redefining the order of movement which would give these streets back to more intimate use which would stimulate the feelings of well-being and inspire unique street expression. 当下，我们可以开始通过在现存居住区街道旁植树，通过重新定义交通秩序，使其有助于让街道重新回到一种能够促进安宁幸福的感受产生的舒适宜人的状态。赋予街道独特的表现力。 The street is a community room. 街道是社区房间。 The meeting house is a community room under a roof. It seems as though one came naturally out of the other. 礼拜堂是屋檐遮蔽下的社区房间。它仿佛自然而然地从中产生。 A long street is a succession of rooms given their distinction, room for room, by their meeting of crossing streets. The intersecting street brings from afar its own developed nature which infiltrates any opening it meets. One block in a stream of blocks can be more preferred because of its particular life. One realizes the deadlines of uninterested movement through our streets which erases all delicacy of character and blots out its sensitive nature given to it of human agreement. 一条长长的街道是一系列被给予不同特征的房间，一个房间依附着一个房间，并在街道贯穿处相会。交错的街道来自一种成熟的品质，这种品质包含着相会的可能。一系列街区中，总会有一个街区因其独特的生气而更受人喜爱。一个街区可以认识到贯穿着我们街道的冷漠交通的底线，它们让优雅微妙的特质渐渐失色，使人类共通的敏锐的本性逐渐消逝。 Human agreement is a sense of rapport, of commonness, of all bells ringing in unison - not needing to be understood by example but felt as an undeniable inner demand for a presence. It is an inspiration with the promise of the possible. 人类共识是一种和谐一致的共通的感知，就像合奏中齐响的钟声——它不需要通过范例去理解，只是对自身存在的不可磨灭的内在需求的一种内心感知。它是一种启迪，带着对可能性的允诺。 Dissension does not stem from need but from the mad outburst of frustration, from the hopelessness of the far-awayness of human agreement. Desire, not need, the forerunner of the new need, out of the yet not said and the yet not made seems to be the roots of hope in dissension. 异议不来源于需求，而是源自挫折中狂热的迸发，源自无望的渺茫的人类的共识。欲望是新需求的创造者，而并非需求自身。欲望，不曾说出的不曾做过的，如同在争议中生长的希望的根芽。 How inspiring would be the time when the sense of human agreement is felt as the force which brings new images. Such images reflecting inspirations and put into being by inspired technology. Basing our challenges on present-day programming and existing technologies can only bring new facets of old work. 这个时代是多么鼓舞人心，当人类共识的意识被感知，成为诞生新愿景的力量。这些图景映现出启迪，依靠有创见的科技成为真实的存在。基于当代我们所面临的挑战，现行的程式化的科技能为我们展现旧日工作的新的面向。 The city from a simple settlement became the place of the assembled institutions. The settlement was the first institution. The talents found their places. The carpenter directed building. The thoughtful person became the teacher, the strong one the leader. 定居的城市成为综合性机构的场所。这样的定居形成最早的机构。这里的人拥有施展才能的地方。工匠指挥建筑建设，思想深邃的人成为老师，强者成为领袖。 When one thinks of simple beginnings which inspired our present institutions, it is evident that some drastic changes must be made which will inspire the re-creation of the meaning, city as primarily an assembly of those places vested with the care to uphold the sense of a way of life.每 当人思考那些唤起当下机构的最初的起点时，很明显，精神促使事物含义被重新定义并必然发生一些激烈的改变。城市作为最初的被赋予关怀的综合性场所维持着一种生活方式的感知。 Human agreement has always been and will always be. It does not belong to measurable qualities and is, therefore, eternal. The opportunities which present its nature depend on circumstances and on events from which human nature realized itself. 人类共识从过去存留下来并将会永远存在下去。它不属于任何可被度量的品质，因此，它属于永恒。当人性意识到自身的存在，描述事件和境况的本质便成为可能。 A city is measured by the character of its institutions. The street is one of its first institutions. Today, these institutions are on trial. I believe it is so because they have lost the inspirations of their beginning. The institutions of learning must stem from the undeniable feeling in all of us a desire to learn. I have often thought that this feeling came from the way we were made, that nature records in everything it makes how it was made.This record is also in humanity and it is this within us that urges us to seek its story involving the laws of the universe, the source of all material and means, and the psyche which is the source of all expression. Art. 一座城市由其中机构的特质衡量。街道是最初的机构之一。当今，这些机构正经受着审视。事情正是如此，我坚信是因为这些机构已丧失最初起点的启示。学习机构必然源自我们共同享有的对学习的欲望不可磨灭的感知。我经常思考这种意识源自我们存在的方式，正如自然在它所创造的所有事物中留下的印记，这些印记展现了它们存在的方式。这种印记同样在我们自身之中，在人性之中，促使我们探寻宇宙秩序的由来，材料与工具的来源，还有心灵——表现力的源泉。这就是艺术。 The desire to learn made the first school room. It was of human agreement. The institution became the modus operandi. The agreement has the immediacy of rapport, the inspiring force which recognized its commonality and that it must be part of the human way of life supported by all people. 学习的欲望创造了最初的学习场所。它来源于人类的共识。这种共识拥有着一种直接密切的关系，一种启迪人心的力量。它具备一种共通性并必然成为人类的一部分，一种经所有人维持着的生活方式。 The institution will die when its inspirations are no longer felt and when it operates as a matter of course. Human agreement however, once it presents itself as a realization is indestructible. For the same reason a person is unable to work below their level of comprehension. To explain inspiration, I like to believe that it is the moment of possibility when what to do meets the means of doing it. 假如心灵的启迪不再为人所感知，假如机构的循规蹈矩管理运作成为理所当然，这些机构将会消失。人类共识一旦呈现出自身，这种认知便是不可磨灭的。基于同样的原因，一个人无法从事低于他理解能力的工作。对于解释心灵的启迪，我更愿意相信那是个更多可能性发生的时刻，当做事的目的与方式在此相会。 City planning must begin to be cognizant of the strength and character of our present institutions and be sensitive to the pulse of human relationship which senses the new inspirations which would bring about new and meaningful institutions. Traffic systems, sociological speculations, new materials, new technologies are servants to the pulse of human rapport which promises revelations yet not felt but in the very core of human desires. 城市规划必须开始认识到我们当下的机构的效力与特性，并敏锐地觉察人类关系的动向，其中对新的启迪的感知能够带来新的意义丰富的机构。交通系统，社会投资，新材料，新工艺成为服务人际关系的仆人，在最核心的人类诉求中允诺与真相还未被感知。 New spaces will come only from a new sense of human agreements -- new agreements which will affirm a promise of life and reveal new availabilities and point to human support for their establishment. 新的空间将诞生于对人类共识的新的领悟——新的共识将确认对生命的允诺，揭示新的可行性并表明人们对人类机构的投入。 I realized in India and Pakistan that a great majority of the people are without ambition because there is no way in which they are able to elevate themselves beyond living from hand to mouth, and what is worse, talents have no outlets. To express is the reason for living. The institution of learning, of work, of health, or recreation should be made available to all people. All realms of expression will be opened. Each singularity will express in his way. Availabilities to all can be the source of a tremendous release of the values locked in us of the unmeasurable in living; the art of living. 我了解到在印度和巴基斯坦，绝大多数人没有什么志向。因为这里没有任何途径使他们有机会能够提升自己，摆脱整天勉强糊口的日子。更糟糕的是，即使是有才能的人也很难找到出路。人活着是为了表达。学习的机构，工作的机构，健康机构或者是娱乐行业都应该被所有人有效地应用。所有有益于表达的王国都应该始终敞开。每个独特的人都应该通过自己的方式去表达。给予所有人机会，这可以成为我们个人价值得到释放的源泉，那禁锢在我们身体中形而上的灵魂，那灵动的艺术。 One city can distinguish itself from the other by just the inspirational qualities that exist in sensing natural agreements as the only true source of new realizations. In that sense the spaces where it is good to learn, to work and to live may remain unexpressed if their nature is not redefined. It is not just enough to solve the problem. To imbue the spaces with newfound self-quality is a different question entirely. Solution is a “how” design problem, the realization of “what” precedes it. 将天赋的共识作为创见的真正源泉，存在其中的鼓舞人心的品质能使一座城市将其从其他城市中区分开来。在这个意义上，那些适合学习，适合工作，适合生活的空间，假如它们的本质未被重新定义，这些空间依旧缺乏表达。它还不足以解决问题。将新发掘的自身的品质渗透入空间中完全是另外一个不同的问题。在设计中，解决方法是“如何做”的问题，而对“是什么”的领悟则先于此。 Now a word about inspired technology. The wall did well for humanity. The wall enclosed us for a long time until the man behind it, feeling a new freedom, want to look out. He hammered away to make an opening. The wall cried, “What are you doing to me? I have protected you. I made you feel secure – and now you put a hole through me!” and the man said, “But I see wonderful things, and I want to look out. I appreciated your faithfulness but I feel time has brought change.” 现在简短谈谈激发灵感的工艺。墙对人贡献良多。很长一段时间，墙围绕着我们。直到有个人站在墙的后面，他感受到一种崭新的自由，向往着能向外望望。他在墙上砸了个洞。墙哭诉道：“你怎么能这样对我？我保护了你，让你拥有安全感——而今你却在我身上打洞！”人说：“可是我想看看这个美妙的世界，想往外望。我感谢你的忠诚，但时光总会带来改变。” The wall was sad: the man realized something good. He visualized the opening as gracefully arched, glorifying the wall. The wall was pleased with its arch and the man carefully made a jamb and a sill trimmed with fine stone. The opening became part of the order of the wall. 墙很伤心：这个人领悟到些更好的办法。他设想洞口可以成为优雅精致的拱券，给予墙荣耀。有了拱券和用精美的石材修饰的壁柱和窗台，墙感觉好多了。洞口成为了墙的秩序的一部分。 The world with its many people, each one a singularity, each group of different experiences revealing the nature of the human in varied aspects, is full of the possibility of more richly sensing human agreements from which new architecture will come. The world cannot be expected to come from the exercise of present technology alone to find the realms of new expression. I believe that technology should be inspired. A good plan demands it. 在这个世界里，每个人都是个独特的个体，每个不同经历的群体都揭示出人性的诸多方面。对人类共识的丰富的感知使这个世界充满了可能性。由此，新建筑将会诞生。这个世界并不被期望来源于当下工艺的运用，而只是对新的表现力的王国的探寻。我坚信激动人心的工艺是优秀的方案的必需。 A word about Silence and Light. A building being built is not yet in servitude. It is so anxious to be that no grass can grow under its feet, so high is the spirit of wanting to be. When it is in service and finished, the building wants to say, “Look, I want to tell you about the way I was made.” Nobody listens. Everybody is busy going from room to room. 接下来谈谈静谧与光明。正在建设的房子仍未经受奴役和束缚。脚下没有芳草丛生多少让人感到焦虑。建筑想成为什么的念头是如此的重要。当它建成并运行的时候，这座建筑想说：“看，我想给你讲讲我是怎么建成的。”但没有人听。所有人都急匆匆地从一个房间穿行到另一个房间中。 But when the building is a ruin and free of servitude, the spirit emerges telling of the marvel that a building was made. 但直到这个建筑摆托了束缚成为了一座废墟遗迹，它的精神显露出来，诉说着这座建筑所带来的惊异。 When we think of great buildings of the past that had no precedent, we always refer to the Parthenon. We say that it is a building that grew out of the wall with opening. We can say that in the Parthenon light is the space between the columns - a rhythm of light, no-light, light, no- light which tells the tremendous story of light in architecture that came from the opening in a wall. 每当我们回想过去史无前例的的伟大建筑，我们都会提到帕提农神庙。我们会说这是座带有开洞的生长在墙之外的建筑。我们可以这样说，在帕提农神庙中，光是柱列间的空间——有光，无光，有光，无光，一种来自墙体洞口的韵律在倾诉这座建筑中关于光的动人的故事。 We are simply extending what happened long ago: the beginning may be considered the most marvelous without precedent, yet its making was as sure as life. 我们完全延伸到了很久以前所发生的事情：关于起点的非凡思考是史无前例的，它的造物就如同生命一般。 Light is material life. The mountains, the streams, the atmosphere are spent light. 光是材料的生命。山川，溪流，大气都是耗散的光。 Material, nonconscious, moving to desire; a desire to express, conscious moving from shadow to light, meeting at an aura, a threshold where the will senses the possible. The first feeling was of beauty, the first sense was of harmony, of humanity undefinable, unmeasurable and measurable material, the maker of all things. 材料，潜意识地向着欲望靠拢。表达的欲望，有意识地从阴影向光移动。阴影与光在一种氛围中汇合，一个可能性被精神感知的门槛。最初的感觉是美丽的，最初的感知是和谐的，是人性的不可名状，不可度量和可被度量的材料，万物的造物主。 At the threshold, the crossing of Silence and Light, lies the sanctuary of art, the only language of humanity. It is the treasury of the shadows. Whatever is made of light casts a shadow. Light, the giver of presence, casts its shadow, which belongs to light. What is made belongs to light and to desire. 在这个门槛，静谧与光明相会，位于艺术的神殿，散发着人性光芒的语言。它是阴影的宝库，任何光的造物都会投下阴影。光，存在的给予者，投下了他的阴影，而阴影属于光。所有造物属于光明，也属于欲望。 When the astronauts went through space, the earth presented itself as a marvelous ball, blue and rose, in space. Since I followed it and saw it that way, all knowledge left me as being unimportant. Truly, knowledge is an incomplete book outside of us. You take from it to know something, but knowing cannot be imparted to the next person. Knowing is private. It gives singularity the means for self-expression. 当宇航员穿越太空，呈现在他们眼前的地球是一个不可思议的球状物，蓝色的还有玫瑰色的，停留在宇宙中。自从我跟随着它并以这种方式看待它时，所有离我远去的知识都变得不重要了。知识是一本我身外的未完成的书籍。你阅读它希望明白一些东西。但真知是无法和他人分享的。真知是私密的。它给予每个人的独特性自我表达的方式。 I believe that the greatest work of a person is that part which does not belong to them alone. If he discovers a principle, only his design way of interpreting belongs to him alone. The discovery of oxygen does not belong to the discoverer. 我相信一个人最伟大的作品并不只属于他个人。如果一个人发现了一条原理，只有其构思诠释的方法是属于他个人的。就像氧气的发现并不属于发现者一样。 I invented a story about Mozart. Somebody dropped a dish in his kitchen, and it made a hell of a noise. The servants jumped, and Mozart said, “Ah! Dissonance.” And immediately dissonance belonged to music, and the way Mozart wrote interpreting it belonged to him. 我虚构了一个关于莫扎特的故事。某个人将一条鱼丢在了他的厨房里，发出了可怕的噪声。仆人吓得跳了起来，莫扎特说：“啊，不和谐音！”紧接着，不和谐音属于了音乐，而莫扎特写下来诠释它的方式才真正属于莫扎特自己。 Architects must not accept the commercial divisions of their profession into urban design, city planning and architecture as though they were three different professions. The architect can turn from the smallest house to the greatest complex, or the city. Specialization ruins the essence of the revelation of the form with its inseparable parts realized only as an entity. 建筑师应无法接受这种粗劣的划分，将他的专业划分为城市规划，城区设计和建筑学，就好像它们是三种不同的职业。建筑师应能应对从规模最小的住宅设计到规模庞大的综合性建筑建设，甚至整个城市的规划。专业化湮没了视其为不可分割整体的形式表现的本质。 A word about beauty. Beauty is an all-prevailing sense of harmony, giving rise to wonder; from it, revelation. Poetry. Is it in beauty? Is it in wonder? Is it revelation? 最后谈谈美。美是和谐的普遍感受，使事物变得惊异；从那里，得到启示。诗，难道不是美吗？不是惊异吗？不是启示吗？ It is in the beginning, in first thought, in the first sense of the means of expression. 它们都栖于起点，在最初的思想，对表达的方法最初的感知。 A poet is in thought of beauty and existence. Yet a poem is only an offering, which to the poet is less. 一位诗人沉浸在美与存在的思考中，而一首诗是种布施，它对诗人而言实在嫌少。 A work of architecture is but an offering to the spirit architecture and its poetic beginning. 一个建筑作品是对建筑精神的奉献，它是诗意的开始。