整理 | 最高贵的装饰品的艺术，密斯-凡-德-罗建筑中的雕像和柱子（下篇）

The art of the noblest ornaments. The statue and the column in the architecture of Mies van der Rohe

Marko Pogagnik

原载于《Architectura》1，2010，21-54，全文都是通过www.DeepL.com/Translator（免费版）翻译的，仅供学习使用

上篇：

最高贵的装饰品的艺术，密斯-凡-德-罗建筑中的雕像和柱子

It is interesting to compare the different notions about the use of columns and sculptural works in architecture as expressed in the work of Le Corbusier and Mies. In the Oeuvre Complete Le Corbusier presented the project for villa Meyer in Paris ( 1925) as a first completed architectural solution to the free plan problem - Until here bearing walls that start in the basement, support the ground level and all the floors above and end on the roof.比较勒-柯布西耶和密斯的作品中所表达的关于建筑中使用柱子和雕塑作品的不同概念是很有意思的。在《作品集》中，勒-柯布西耶将巴黎的梅耶别墅项目（1925年）作为自由平面问题的第一个完整的建筑解决方案--直到这里的承重墙从地下室开始，支撑着地面和上面所有的楼层，并在屋顶结束。

villa meyer in paris - le corbusier

The plan is enslaved by bearing walls. [...] From deduction to deduction through many noticed that it was possible to gan economically eliminating the bearing was and substituting them with plasters carefully positioned and that go the full height of the building. Ie Corbusier's column has sonny structural character because it substitutes a bearing wall. In the Louse Cook ( 1926 ) as in Villa Savoye( 1928-30 ), the column-poteaux is connected to a bearing horizontal beam and it is clearly part of a structural frame defining a portico supporting the upper volume with redundant and rogemcous assembly of column shapes typically round and made of reinforced concrete the column can be square ( in the library of the villa D'Avray 1928-29 ) or it can be made of two SU metal profiles like in the Weissenhof ( 1927 )In the House La Roche ( 1923 ) underneath the convex volume of the gallery, there are a square pilaster. around column and a partition wall; in the villa in Garches ( 1937 ) at the ground level there are an ovoidal column, a round one and two square pilasters. While Mies emancipate the column from through a reductive process and a parallel enrichment of its material quality, Le Corbusier seems to reach the same result by opposite means via an exuberant of solutions with a basic material quality almost brutalize, like the plate connecting the two "U" shapefiles in the Weissenhof house pilaster ( ill.28 ). A quote from Ver un architecture synthesizes his concept of column: - la lumiere etend son impression au dehors par less cylingdres (Je n'amie pas dire colonne, c'est un mot abîme )

该平面被承重墙所奴役。[......]从推论到推论，许多人注意到，有可能经济地消除承重墙，用精心定位的石膏代替它们，并达到建筑的整个高度。柯布西耶的柱子有很好的结构性，因为它代替了承重墙。在Louse Cook（1926年）和Villa Savoye（1928-30）中，柱子与承重横梁相连，它显然是结构框架的一部分，定义了一个支撑上部体量的门廊，柱子的形状通常是圆形的，由钢筋混凝土制成，柱子可以是方形的（在Villa D'Avray的图书馆，1928-29），也可以像Weissenhof（1927）那样由两个SU金属型材组成。在La Roche别墅（1923年）中，在画廊的凸形体下面，有一个方形壁柱，在柱子周围有一个隔墙；在Garches别墅（1937年）的地面上有一个卵形的柱子，一个圆形的柱子和两个方形壁柱。当密斯通过一个还原过程和对其材料质量的平行丰富来解放柱子时，勒-柯布西耶似乎以相反的方式通过一个基本材料质量近乎粗暴的丰富的解决方案来达到相同的结果，就像连接魏森霍夫房屋壁柱中的两个 "U "形块的板（ill.28）。《走向新建筑（Ver un architecture）》的一句话综合了他对柱子的概念。- La lumiere etend son impression au dehors par less cylingdres (Je n'amie pas dire colonne, c'est un mot abîme )（光线通过较少的柱状物（我不喜欢说柱状物，这是一个令人厌恶的词）将其印象延伸到外面。）

The relationship between sculpture and column in Mies's oeuvre of that period is a leitmotif that we can trace when analyzing the Barcelona pavilion ( ill 29 ), the Tugendhat House ( ill.30), and the Resor House project (ill.31). Observing the famous perspective by Sergius Rucgenbers of the Tugendhat living room, we see that the framing he had adopted for his drawing isolates the column in the foreground. Our notion of structural behavior induces us to perceive the column as part of a structural system and therefore we tend to look for the other elements comprising the overall building system where we expect to find a second column we find instead, in Ruezenberg's drawing, a sculpture-Lehmbruck's torso-while the real column is hidden behind the onyx wall that functions like an iconostasis. The positioning of the same onyx wall behind the second row of columns would have generated totally different spatial relationships because we would have received the column as part of a group of columns, a unit, and not just an isolated element. Finding a statue in place of a column suggests to the observer that the sculpture has architectural and spatial qualities, while the column becomes a plastic entity. In both instances, column and sculpture become the subject of a subtle interplay that aims to create a complex spatial network.

在密斯那一时期的作品中，雕塑和柱子之间的关系是一个主题，我们可以在分析巴塞罗那馆（图29）、图根哈特住宅（图30）和雷索尔住宅项目（图31）时追踪这一主题。观察Sergius Rucgenbers对Tugendhat起居室的著名透视，我们看到他在绘图时采用的框架隔离了前景中的柱子。我们的结构行为概念促使我们将柱子视为结构系统的一部分，因此我们倾向于寻找构成整个建筑系统的其他元素，在那里我们期望找到第二根柱子，但在Ruezenberg的图画中，我们发现了一个雕塑--Lehmbruck的躯干，而真正的柱子则隐藏在玛瑙墙后面，像一个圣像墙。如果把同样的玛瑙墙放在第二排柱子后面，就会产生完全不同的空间关系，因为我们会把柱子作为一组柱子的一部分，一个单元，而不仅仅是一个孤立的元素。在柱子的位置上发现一个雕像，向观察者暗示雕塑具有建筑和空间的特质，而柱子则成为一个可塑的实体。在这两种情况下，柱子和雕塑成为一种微妙的相互作用的主题，旨在创造一个复杂的空间网络。

巴塞罗那馆（图29）

图根哈特住宅（图30）和雷索尔住宅项目（图31）

After analyzing the spatial interaction between sculpture and column one ought to study the physical form of the column. Mies's columns were an absolute novelty in contemporary architecture, and his cross-shaped column was among the first reflective columns in architectural history. Both its cross-shaped section and its reflective surface can be investigated through Mies'ssources, Technically Mies's column consists of a loadbearing core and an external casing. There was a famous precedent in German architecture of the 19th century: August Stüler's columns for the Berlin Neues Museum ( ill.32 ). Mies certainly had direct experience of this building because it was located on the Museum Insel, behindSchinkel's Altes Museum, and it had been published in a posthumous book by the art historian Alfred Gotthold Meyer, Eisenbauten, in 1908 at the time when Behrens was designing the AEG Turbinenfabrik and Mies was his assistant. Meyer's text was the first overall analysis of the iron architecture of the 19th century, the first explicit appraisal of the artistic brilliance of engineers' technical culture, and of architects' understanding of the new techniques and materials. Twenty years later Walter Benjamin celebrated this book as a prolegomena to any future history of architecture with a historic-materialistic approach, a work that anticipated also Siegfried Giedion's book Bauen in Frankreich published in 1928's Meyer's book aimed at broadening the applications of Semper's ideas to the point of including also iron architecture that Semper considered not part of monumental architecture even though iron architecture occupied an important part of his treatise Der Stil it represented for him only a technical craft ( >Tektonik< in Semper's definition ). Mies never openly declared to have studied Semper's books but he nevertheless absorbed his ideas while at Behrens's atelier where beside Schinkel's work-he also learned about the Semrchitect Berlage and the book by Meyer.

在分析了雕塑和柱子之间的空间互动之后，我们应该研究柱子的物理形式。密斯的柱子在当代建筑中是一个绝对的新鲜事物，他的十字形柱子是建筑史上最早的反射柱子之一。从技术上讲，密斯的柱子由一个承重核心和一个外部外壳组成，它的横截面和反射表面都可以通过密斯的资料进行研究。在19世纪的德国建筑中，有一个著名的先例。August Stüler为柏林新博物馆设计的柱子（图32）。密斯当然对这个建筑有直接的经验，因为它位于博物馆岛，在Schinkel的Altes博物馆后面，而且它在艺术史学家Alfred Gotthold Meyer的遗著《Eisenbauten》中发表于1908年，当时Behrens正在设计AEG Turbinenfabrik，密斯是他的助手。迈耶的文章是对19世纪铁制建筑的首次全面分析，是对工程师技术文化的艺术光彩以及建筑师对新技术和材料的理解的首次明确评价。20年后，瓦尔特-本雅明（Walter Benjamin）称赞这本书是未来任何具有历史物质主义方法的建筑史的序言，这本书也预示着Siegfried Giedion于1928年出版的《Bauen in Frankreich》一书。 Meyer的书旨在扩大Semper思想的应用范围，将Semper认为不属于纪念性建筑的铁建筑也纳入其中，尽管铁建筑在其论文Der Stil中占有重要部分，但对他来说只是一种技术工艺（>Tektonik<按照Semper的定义）。密斯从未公开宣称学习过森佩尔的书，但他在贝伦斯的工作室里吸收了森佩尔的思想，在那里，除了辛克尔的作品，他还了解了森佩尔建筑事务所和迈耶的书。

August Stüler为柏林新博物馆设计的柱子（图32）

Meyer assigned Stüler's building exemplary importance: to present the German idea of architectural formTektonik ) as opposed to the French one exemplified by Henri Labrouste's Bibliotheque St.Genevieve. Labrouste's columns-even though they were assembled in parts - were conceptually monolithic with no distinction between the core and the exterior cladding. The static and decorative functions are not presented in such a way as to separate structure from decoration On the contrary Stüler's column was formed by an inner cylindrical core encased in a corrugated circular shape and a cross-like element situated on the top of the capital and acting as the bearing point of the four arches of the building structure. It was indeed an element resulting from the assemblage of independent components with a high degree of autonomy. This peculiar interpretation of the relationship between core and casing offers a wide range of different possibilities from an absolute coherence between external cladding and inner core to complete opacity, with the body entirely led by the clothing Mies had used both alternatives introduced by Stüler's column section, we can interpret as a kind of Ur-säule, a notion very close to Goethe's Ur-Pflanze as defined in his botanical studies.

迈耶赋予施图勒的建筑以示范性的意义：展示德国的建筑形式理念（Tektonik），而不是亨利-拉布罗斯特的圣吉纳维芙图书馆所体现的法国理念。拉布鲁斯特的柱子--尽管它们是以部件形式组装的--在概念上是整体性的，核心和外部包层之间没有区别。Stüler的柱子是由一个内圆柱形的核心包裹在一个波纹状的圆形中，一个类似十字架的元素位于首都的顶部，作为建筑结构的四个拱门的承载点。这确实是一个由具有高度自主性的独立部件组合而成的元素。这种对核心和外壳之间关系的奇特解释提供了广泛的不同可能性，从外部包层和内部核心之间的绝对一致性到完全不透明，主体完全由服装主导，密斯使用了由斯图勒的柱子部分引入的两种选择，我们可以解释为一种Ur-säule，这个概念非常接近歌德在其植物学研究中定义的Ur-Pflanze。

The primary plant ( ur-pflanze ) is an elementary organism that the botanist can extend to many possible vegetal configurations; in a similar fashion, in the arts, it is possible to create new formal solutions through variations. In Mies's library, the most represented author is the nature philosopher Raoul H France whose books Mies had all acquired and which had an important part in his thinking about art and science, biology, and aesthetics and made special reference to Goethe'smorphological theory. Stüler's column can be seen as the original model, the base of all new formal variations like Mies's column and its progressive metamorphosis from the Barcelona Pavilion to the TugendhatHouse and later to the Nationalgalerie in BerlinThe encasing of the Barcelona column consists of four profiles connected by a flat metal piece screwed to the heads of the cross-like inner core. We cannot see a thinner core, but we can recognize both its position and shape because the casing is its exterior representationConversely the column in Brno - a cross-like section with rounded ends- does not allow us to understand the sequence of construction nor its inner core shape. Only by carrying out a site survey, it was possible to trace out the column section; a hole was made in the ceiling next to the column, then modeling paste was inserted and pressed so that it reproduced the inner shape of the casing.

初级植物（ur-pflanze）是一个基本的有机体，植物学家可以扩展到许多可能的植物配置；以类似的方式，在艺术中，可以通过变化创造新的形式解决方案。在密斯的图书馆里，最有代表性的作者是自然哲学家拉乌尔-H-弗兰西，密斯都获得了他的书，这些书在他对艺术和科学、生物学和美学的思考中占有重要地位，并特别提到了歌德的形态学理论。Stüler的柱子可以被看作是最初的模型，是所有新的形式变化的基础，比如密斯的柱子，以及它从巴塞罗那馆到TugendhatHouse以及后来到柏林的Nationalgalerie的逐步蜕变。我们看不到更薄的核心，但我们可以认识到它的位置和形状，因为外壳是它的外部代表。相反，布尔诺的柱子--一个带有圆形末端的十字形截面--不能让我们了解建筑的顺序和它的内部核心形状。只有通过现场勘察，才有可能描画出柱子的截面；在柱子旁边的天花板上开了一个洞，然后插入模型浆糊并压紧，使其再现了外壳的内部形状。

The drawing of the section surveyed is very different from any of the sectional drawings known so far ( ill.33 )Thanks to this graphic reconstruction one can see that the casing is formed by four flat thin plates with two longer lobes screwed to the inner core and two shorter ones interlocking with the others with a bayonet.

所调查的剖面图与迄今为止已知的任何剖面图都有很大不同（图33）。

What is surprising is that the inner core is not at the exact center of the column. On one side there is a distance of Ic millimeters between core and casing. while on the other side the distance is 16 millimeters. The reason for this difference is explained by Museum of Modern Art drawings nr 2.2368 entitled Saulenverkleidung ( column cladding ) ( ill.34). Thanks to this drawing we know that the inner core was not placed exactly vertically, Außer Lot, a construction mistake that forced Mies to reconsider the casino that he originally imagined as similar to the Barcelona one, still visible today in Brno in the dining table. In the same drawing, we see that someone likely Mies himself, changed the column section, rounding off the ends of the cross. In Barcelona, the easing adhered perfectly to the inner core, in Brnoed gown-to hide the inner body.

令人惊讶的是，内芯并不在柱子的确切中心。在一侧，核心和外壳之间的距离为16毫米，而在另一侧，距离为16毫米。现代艺术博物馆题为Saulenverkleidung（柱子覆层）的第2.2368号图纸解释了这种差异的原因（图34）。由于这张图纸，我们知道内芯没有完全垂直放置，Außer Lot，这个建筑错误迫使密斯重新考虑他最初想象的类似于巴塞罗那的赌场，今天在布尔诺的餐桌上仍然可见。在同一张图纸上，我们看到有人很可能是密斯本人，改变了柱子的截面，将十字架的两端变圆。在巴塞罗那，圆角完美地附着在核心部分，而在布尔诺，圆角则是为了隐藏内部结构。

Sergius Rucgenbers recalls that Mies was very critical of Mart Stam's cantilevered chair, which he had been introduced to by the Dutch architect himself, during a conversation in Stuttgart in the first period of the Weissenbof exhibition planning. Mies did not like the perpendicular bends of the chair pipes the chair would have been more beautiful. This was the beginning of Mies's design for the cantilevered chair he presented in 1927 at the Stuttgart Weissenhof, the Freischwingery later labeled MRio. All Mies's chairs share the same formal characteristic, that is, a fluid outline of steel pipes right angle but flow, very much like the Brno column design. The Freischwinger episode suggests that Mies turned a mistake in construction into a design opportunity. Thanks to this error, Mies's column underwent a new metamorphosis and was enriched by new variant.

Sergius Rucgenbers回忆说，密斯对Mart Stam的悬臂椅非常挑剔，在Weissenbof展览规划的第一阶段，他在斯图加特的一次谈话中被荷兰建筑师亲自介绍给了他。密斯不喜欢椅子的垂直弯曲，因为椅子会更漂亮。这是密斯在1927年斯图加特魏森霍夫展览上展示的悬臂椅设计的开始，即后来标注为MRio的Freischwingery。密斯的所有椅子都有相同的形式特征，即钢管直角但流动的轮廓，非常像布尔诺柱的设计。弗赖施温格的插曲表明，密斯把施工中的一个错误变成了一个设计机会。由于这个错误，密斯的柱子经历了一次新的蜕变，并被新的变体所充实。

The affinity between column and chair is deeper than it appears .them at a constructive level in that the columns were built in the same metal shop-joseph Muller in Berlin that manufactured Mies chairs. The column and the chair share the same artistic and constructive attitudes: the elective affinities binding them between architecture and its furnishing. We also remember that the dining room table stands on table column inserted in the floor, forcing us to acknowledge that it is not part of the furnishing but rather an important element of the built architecture, like the walls or windows.

柱子和椅子之间的亲和力比它看起来更深。它们在构造层面上，柱子是在柏林制造密斯椅子的同一家金属店--约瑟夫-穆勒（joseph Muller）建造的。柱子和椅子有着相同的艺术和建设性态度：在建筑和家具之间的选择性亲和力将它们联系在一起。我们还记得，餐桌站在插在地板上的桌柱上，迫使我们承认它不是家具的一部分，而是建筑的一个重要元素，就像墙壁或窗户。

These observations, forcing us to reconsider and explain further the interpretation we have developed so far starting from the formal affinity between column and statue and ending with the constructive parallel between column and chair, A first hypothesis might suggest looking at Mies's column as something between a chair and a statue, morphologically speaking: partly an item of furniture in the sense that is - movables. In fact, Mies conceived it as a free clement available for spatial invention and not just a functional element depending on the building system. The fact that the column is reflective-chrome or nickel plated-relates it even more to the chair ( and to the other furniture and objects with similar finishes ) as well as to sculpture and its contemporary development.

这些观察迫使我们重新考虑并进一步解释我们到目前为止从柱子和雕像之间的形式上的亲和力和以柱子和椅子之间的构造上的平行性所发展出来的解释，第一个假设可能建议把密斯的柱子看成是介于椅子和雕像之间的东西，从形态上讲：部分是家具的意义，即--可移动。事实上，密斯认为它是一个可用于空间发明的自由空间，而不仅仅是一个取决于建筑系统的功能元素。柱子是反光的--镀铬或镀镍--这一事实使它与椅子（以及其他具有类似表面处理的家具和物品）以及雕塑及其当代发展更有关系。

The first reflective mirror surfaces appeared in sculpture and not in architecture. in the work of Brancusi and Archipenko (ill .35). Archipenko's sculpture Medrano, mentioned above, included both opaque, transparent, and reflective materials, while in 1910 just Brancusi had already reproduced in polished bronze his 1909 Sleeping Muse, originally made of marble. Mies's reflective column surfaces do not reflect the external world but rather themselves. due to their cross-like section. Mies's column is a carved > columna quadrangula <and the portion removed allows for the interaction of body and space-as in Gabo's Two Cubes - for the connection between the positive element of the mass and its negative counterpart, the void ( ill 36 ). Gabo and Archipen -ko had developed fundamental work on the theme 3In Brno one finds five different variations of the same column, three with exterior casing and two without. The multilobe casing was opaque on the exterior columns, reflective on those indoors, or adhering to its core as in the table support. When the column does not have a casing the nucleus can be made of angular profiles welded together, puttied, sanded, and carefully painted ( office and kitchen ) or it can show its technical function, as in the cellar columns where the four angle pieces are just riveted. The various metamorphosis of Mies's column, its complex morphology, is especially innovative in the Resor House thus constituting a new beginning in Mies's architectural research In this project he continued to use sculpture but it had become staffage, figures in a backdrop useful only to enliven a mute collage or a presentation drawing . At the end of the Thirties sculpture thus ceased to be an experimental field in his spatial and architectural inventions.

最早的反射镜面出现在雕塑中，而不是建筑中。在布兰库西和阿奇彭科的作品中（图35）。Archipenko的雕塑Medrano，如上所述，包括不透明的、透明的和反射的材料，而在1910年，只是Brancusi已经用抛光的青铜复制了他1909年的沉睡的缪斯，原来是用大理石做的。密斯的反射柱面并不反映外部世界，而是反映他们自己。由于他们的横截面。密斯的柱子是一个雕刻的>columna quadrangula <和去除的部分允许身体和空间的互动--就像在加波的两个立方体--允许质量的积极元素和其消极的对应物，空洞之间的联系（图36）。在布尔诺，人们发现同一根柱子有五种不同的变化，其中三种有外部外壳，两种没有。多叶套管在外部的柱子上是不透明的，在室内的柱子上是反光的，或者像桌子支架那样粘在其核心上。当柱子没有外壳时，其核心部分可以由角形型材焊接而成，经过拼接、打磨，并仔细上漆（办公室和厨房），或者它可以显示其技术功能，如在地下室的柱子中，四个角片只是铆接在一起。密斯的柱子的各种变形，其复杂的形态，在雷索尔之家特别具有创新性，从而构成了密斯建筑研 究的一个新起点。在三十年代末，雕塑不再是他的空间和建筑发明中的一个实验性领域。

In the Resor House design. the column undergoes a deep transformation, now becoming the protagonist of classicizing architecture. The column is articulated with- junkturen--that Mies had renounced up until now thus bases and capitals are designed concavely, as it were, in the negative ( ill . 37 ) they are not moulded projecting plastic elements but rather excavated ones. These column transformations began in the Resor house, where the column again presented entasis. Among the drawings, we must consider that of a series of columns, a contemporary >columnatio< ( ll .38), an attempt to define the five orders of Modern Architectures: in which the columns are named according to the material they are made of and their structural property: steel, concrete, granite, reinforced granite , and the . . type-a reinforced concrete column used in the design for the homonymous building in Cuba.

在Resor House的设计中，柱子经历了深刻的转变，现在成为古典化建筑的主角。柱子被衔接上了密斯一直以来放弃的垃圾桶，因此底座和柱头被设计成凹陷的，就像它的底片一样（图37），它们不是成型的突出的塑料元素，而是被挖掘出来的。在这些图画中，我们必须考虑一系列的柱子，一个当代的>柱子<（ll . 38），试图定义现代建筑的五个顺序：其中柱子被命名为根据他们的材料和他们的结构属性：钢，混凝土，花岗岩，强化花岗岩，和.类型--在古巴的同名建筑的设计中使用的强化混凝土柱。

In the particular solution for the Nationalgalerie columns in Berlin, Mies continued his particular approach towards formal intention intended as a morphological variation of an original source which the architect was focusing on, and that conferred on his language unity .coherence and functional necessity. In Berlin the cross-shaped Barcelona pilaster ( derived from Stüler's column ) was connected to the - beam of the Farnsworth House thus creating a section characterized by four parts welded to the cross ends, a solution that Mies had developed from the foundations of columns of the Barcelona Pavilion ( ills . 39,40). The cross-shaped laster of the Nationalgalerie thus synthesized all of Mies's research into the modern status of the column .starting from the 1920's, which for him had an intimate relationship with statuary. as witnessed by the beautiful collages Mies prepared for the presentation of the project in Berlin. In these collages, the use of statuary accompanying his architectural development reappears in all its expressive potential.

在柏林的Nationalgalerie柱子的特殊解决方案中，密斯继续他对形式意图的特殊方法，旨在作为建筑师关注的原始来源的形态变化，并赋予他的语言统一性、一致性和功能的必要性。在柏林，十字形的巴塞罗那壁柱（来自于施图勒的柱子）被连接到Farnsworth House的横梁上，从而创造了一个由四个部分焊接而成的截面特征，这是密斯从巴塞罗那馆的柱子基础上发展出来的解决方案（图39,40）。因此，国家美术馆的十字形石膏综合了密斯从1920年代开始对柱子的现代地位的所有研究，对他来说，柱子与雕塑有着密切的关系。在这些拼贴画中，伴随着他的建筑发展而使用的雕像以其所有的表现潜力重新出现。