巴黎石造圖書館 建築奇蹟
Altered Game World Assessed by a Pioneer【In Libraries, Miracles of Stone／MICHAEL KIMMELMAN／陳世欽譯】“Henri Labrouste: Structure Brought to Light,” at the Museum of Modern Art in New York, is elegant and astringent, like Labrouste’s work. The name may not be familiar, but don’t let that stop you from seeing the show. It is gorgeous. 
Labrouste died in 1875, at 74, having left behind two of the great buildings of the 19th century, the Biblioth?que Ste.-Genevi?ve and the Biblioth?que Nationale, miracles of stone, iron and glass construction in Paris.
There are wonderful touches , including the drafting tables, fashioned after Labrouste’s furniture designs at Ste.- Genevi?ve, on which drawings are displayed. They’re ideal for studying works on paper.
I’m sorry we don’t see more in the way of buildings aside from the libraries. Labrouste designed private residences in various traditional styles. The implication of their absence — that, forced to earn a living, he took on commissions — would belie his reputation for intransigence. A sober and proud man, he bowed to nobody.
What we get at the Modern is pretty much the Labrouste whom the critic Sigfried Giedion identified the better part of a century ago as a proto-modernist engineer-architect, a pioneer of iron construction. While that resonates Labrouste seems at least as interesting today for the complexity of his thinking. In our era of starchitects he makes an instructive case for his unwillingness to compromise and his unorthodox hybrid aesthetic, which married industry to classicism.
The gravity of Ste.-Genevi?ve’s exterior comes from the minimalism of its design: unbroken ledges run the length of the long facade at the cornice and between the two floors, with simple stone garlands seemingly strung from the lower ledge over iron roundels, or knobs. Unadorned arched windows make the only breaks in the wall along the ground floor, save for the front door.
The facade’s upper story, predicting the architecture of the reading room that it encloses, presents a shallow arcade of arches containing a grid of plaques inscribed with the names of 810 writers. They are listed in rows beneath the large lunette windows, the reading room’s clerestories. Like those among the garlands below, the roundels in the spandrels between the windows are bolts and tie rods for the floor trusses and the vaults of the iron structure inside. Labrouste, in effect, makes the structural skeleton of the building its decorative motif.
Achille Hermant, a young French architect, found the results cold. “The character of a building is not measured only by the use for which it is intended,” he wrote. “Everything that is true is not necessarily beautiful.”
After Ste.-Genevi?ve, Labrouste labored for the last 21 years of his life on the Biblioth?que Nationale, its square reading room a light-bathed hive of nine domes hovering atop a forest of 10-meter-high thin iron columns. Where windows don’t pierce the upper walls, painted landscapes elaborate on the pastoral theme, with the iron vault of the book stacks, also skylighted, visible to readers through a tall glass wall and separated by a monumental archway.
Labrouste dedicated most of his working life, on a government wage, to works of public architecture. He transcended materials to arrive at functional buildings of an ethereal delicacy. Nothing was too small for his attention. After 12 years Ste.- Genevi?ve came in under budget. Labrouste told the minister in charge the news and won permission to switch out the castiron front door for a bronze one. A perfectionist to the last.
【2013-03-26/聯合報】
Labrouste died in 1875, at 74, having left behind two of the great buildings of the 19th century, the Biblioth?que Ste.-Genevi?ve and the Biblioth?que Nationale, miracles of stone, iron and glass construction in Paris.
There are wonderful touches , including the drafting tables, fashioned after Labrouste’s furniture designs at Ste.- Genevi?ve, on which drawings are displayed. They’re ideal for studying works on paper.
I’m sorry we don’t see more in the way of buildings aside from the libraries. Labrouste designed private residences in various traditional styles. The implication of their absence — that, forced to earn a living, he took on commissions — would belie his reputation for intransigence. A sober and proud man, he bowed to nobody.
What we get at the Modern is pretty much the Labrouste whom the critic Sigfried Giedion identified the better part of a century ago as a proto-modernist engineer-architect, a pioneer of iron construction. While that resonates Labrouste seems at least as interesting today for the complexity of his thinking. In our era of starchitects he makes an instructive case for his unwillingness to compromise and his unorthodox hybrid aesthetic, which married industry to classicism.
The gravity of Ste.-Genevi?ve’s exterior comes from the minimalism of its design: unbroken ledges run the length of the long facade at the cornice and between the two floors, with simple stone garlands seemingly strung from the lower ledge over iron roundels, or knobs. Unadorned arched windows make the only breaks in the wall along the ground floor, save for the front door.
The facade’s upper story, predicting the architecture of the reading room that it encloses, presents a shallow arcade of arches containing a grid of plaques inscribed with the names of 810 writers. They are listed in rows beneath the large lunette windows, the reading room’s clerestories. Like those among the garlands below, the roundels in the spandrels between the windows are bolts and tie rods for the floor trusses and the vaults of the iron structure inside. Labrouste, in effect, makes the structural skeleton of the building its decorative motif.
Achille Hermant, a young French architect, found the results cold. “The character of a building is not measured only by the use for which it is intended,” he wrote. “Everything that is true is not necessarily beautiful.”
After Ste.-Genevi?ve, Labrouste labored for the last 21 years of his life on the Biblioth?que Nationale, its square reading room a light-bathed hive of nine domes hovering atop a forest of 10-meter-high thin iron columns. Where windows don’t pierce the upper walls, painted landscapes elaborate on the pastoral theme, with the iron vault of the book stacks, also skylighted, visible to readers through a tall glass wall and separated by a monumental archway.
Labrouste dedicated most of his working life, on a government wage, to works of public architecture. He transcended materials to arrive at functional buildings of an ethereal delicacy. Nothing was too small for his attention. After 12 years Ste.- Genevi?ve came in under budget. Labrouste told the minister in charge the news and won permission to switch out the castiron front door for a bronze one. A perfectionist to the last.
【2013-03-26/聯合報】全文網址: 巴黎石造圖書館 建築奇蹟 - 紐時周報精選 - 線上學習 - udn文教職考 http://mag.udn.com/mag/education/storypage.jsp?f_ART_ID=447563#ixzz2P455FZC3
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“Henri Labrouste: Structure Brought to Light,” at the Museum of Modern Art in New York, is elegant and astringent, like Labrouste’s work. The name may not be familiar, but don’t let that stop you from seeing the show. It is gorgeous.
紐約現代藝術博物館正在舉行「亨利‧拉布魯斯特：揭開結構的面紗」特展，這次展覽既優雅且內斂，一如拉布魯斯特的作品。拉布魯斯特這個名字也許聽來並不耳熟，然而千萬不要因此而錯過了這項展覽。它非常值得一看。
Labrouste died in 1875, at 74, having left behind two of the great buildings of the 19th century, the Biblioth?que Ste.-Genevi?ve and the Biblioth?que Nationale, miracles of stone, iron and glass construction in Paris.
拉布魯斯特卒於1875年，在世74載，為世人留下二棟19世紀的偉大建築物，分別是巴黎的聖日內瓦圖書館，以及同樣在巴黎的國家圖書館。它們是結合石塊、鐵及玻璃的建築奇蹟。
There are wonderful touches , including the drafting tables, fashioned after Labrouste’s furniture designs at Ste.- Genevi?ve, on which drawings are displayed. They’re ideal for studying works on paper.
奇妙的觸感隨處可見，包括仿拉布魯斯特的聖日內瓦圖書館家具設計風格的草圖桌。這些桌子展示一些製圖，非常適合研究紙上作品。
I’m sorry we don’t see more in the way of buildings aside from the libraries. Labrouste designed private residences in various traditional styles. The implication of their absence — that, forced to earn a living, he took on commissions — would belie his reputation for intransigence. A sober and proud man, he bowed to nobody.
除了這兩座圖書館外，我們並沒有欣賞到什麼其他的建築，這一點讓我感到遺憾。拉布魯斯特曾經設計各具不同傳統風格的私人宅邸，展覽中少了這些作品（他迫於生計而接受了這些委託設計案），勢必會掩飾他絕不妥協的令譽。他冷靜而自持，從不向任何人屈服。
What we get at the Modern is pretty much the Labrouste whom the critic Sigfried Giedion identified the better part of a century ago as a proto-modernist engineer-architect, a pioneer of iron construction. While that resonates Labrouste seems at least as interesting today for the complexity of his thinking. In our era of starchitects he makes an instructive case for his unwillingness to compromise and his unorthodox hybrid aesthetic, which married industry to classicism.
我們在現代藝術館看到的拉布魯斯特，很像知名建築評論家吉迪恩在半個多世紀以前說的，是個原始現代主義者、工程師兼建築師，以及鐵結構建築的先驅。這會引起共鳴，而拉布魯斯特思考極為複雜這個特點，也使得他在今日至少同樣耐人尋味。在明星級建築師當道的今天，他不輕易妥協的性格，以及結合工業與古典風格的非傳統綜合美學觀，極具啟發性。
The gravity of Ste.-Genevi?ve’s exterior comes from the minimalism of its design: unbroken ledges run the length of the long facade at the cornice and between the two floors, with simple stone garlands seemingly strung from the lower ledge over iron roundels, or knobs. Unadorned arched windows make the only breaks in the wall along the ground floor, save for the front door.
聖日內瓦圖書館外表的莊嚴源自設計上的極簡風格：連續不間斷的壁架（窗台）沿著整個長立面的飛簷在二層樓之間展開，簡單的石質花冠看似掛在比較低的壁架，下面是鐵製小圓窗或圓形裝飾物。除了正門，無裝飾的拱窗在一樓的牆面構成僅有的缺口。
The facade’s upper story, predicting the architecture of the reading room that it encloses, presents a shallow arcade of arches containing a grid of plaques inscribed with the names of 810 writers. They are listed in rows beneath the large lunette windows, the reading room’s clerestories. Like those among the garlands below, the roundels in the spandrels between the windows are bolts and tie rods for the floor trusses and the vaults of the iron structure inside. Labrouste, in effect, makes the structural skeleton of the building its decorative motif.
立面的上面一層樓預示它所包圍的閱覽室的結構，同時呈現一些拱門共同構成的淺拱廊。它包含一些飾板，上面刻有810位作家的姓名。它們在巨大的半圓窗與閱覽室的高窗下成排列出。就像底下花冠之間的小圓窗，窗與窗之間的上下層窗間牆面小圓窗有如樓層桁架與內部鐵結構拱頂的螺栓桿。事實上，拉布魯斯特使整棟建築的結構骨架成為它的裝飾主題。
Achille Hermant, a young French architect, found the results cold. “The character of a building is not measured only by the use for which it is intended,” he wrote. “Everything that is true is not necessarily beautiful.”
法國的年輕建築師艾爾曼認為，如此呈現的效果極為冰冷。他在一篇評論文章中指出：「一棟建築物的特色不只根據它的用途評斷。一切真實的事物不見得都美麗。」
After Ste.-Genevi?ve, Labrouste labored for the last 21 years of his life on the Biblioth?que Nationale, its square reading room a light-bathed hive of nine domes hovering atop a forest of 10-meter-high thin iron columns. Where windows don’t pierce the upper walls, painted landscapes elaborate on the pastoral theme, with the iron vault of the book stacks, also skylighted, visible to readers through a tall glass wall and separated by a monumental archway.
結束聖日內瓦圖書館的設計工作之後，拉布魯斯特在他生前最後21年的歲月中潛心設計國家圖書館。它的正方形閱覽室有9個浸在光線中的圓頂，底下有許多高度各是10公尺的薄鐵柱。在窗戶並未穿過上層牆壁的部位，風景畫生動呈現田園的主題。閱覽的民眾可以透過一道以一條巨大拱廊區隔的玻璃高牆，清楚看到同樣有天窗的大書架上方鐵製拱形天花板。
Labrouste dedicated most of his working life, on a government wage, to works of public architecture. He transcended materials to arrive at functional buildings of an ethereal delicacy. Nothing was too small for his attention. After 12 years Ste.- Genevi?ve came in under budget. Labrouste told the minister in charge the news and won permission to switch out the castiron front door for a bronze one. A perfectionist to the last.
拉布魯斯特領官方薪俸，把他畢生的多數工作生命投注於設計公共建築物。他超越有形的材料，創造具有飄逸精緻特質的功能性建築物。任何細節都逃不過他銳利的雙眼。聖日內瓦圖書館歷12年完工，預算還有剩餘。拉布魯斯特向主管的部長級官員說明這件事，最後獲准換掉鑄鐵大門，改用銅質大門。他自始至終都是一位完美主義者。
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