【導(dǎo)讀】我首先提到的是材料，因?yàn)閷ξ叶?，材料是最基本的建筑要素。壞的建筑廢墟中發(fā)現(xiàn)的只是石頭。所以在我看來，研究建筑學(xué)的材料方面－它們承擔(dān)著。建筑學(xué)的物質(zhì)層面－是非常重要和根本的。它們最終可以構(gòu)成什么樣的造型，這就是今天我竭。力向大家展示的，這將從我最初的作品一直貫穿到最近的作品。過石材、木材和繩索（纜線）甚至是鋼材所組成的物品傳遞著。這看起來十分簡單，但。實(shí)際上卻頗有學(xué)問。這里所有的玩具都處于受拉狀態(tài)，線團(tuán)產(chǎn)生向外的傾覆力，但它本。身處于受壓狀態(tài)。分表達(dá)和揭示了在空中懸吊石塊的情形。依據(jù)對不同材料進(jìn)行測試的結(jié)果，運(yùn)用不同的材料特性解決不同的需求－在這。中表現(xiàn)為樹葉或手掌的形式，一種非常具有形式感的造型本身就是設(shè)計(jì)的組成部分。拋物線拱所支撐的屋頂來體現(xiàn)墻體與屋面在結(jié)構(gòu)上的分離?！癴ormigó”的字母“f”。南立面采用彎曲的鋁板飾面，將它們加工為呈正弦曲線的形狀。由于曲線凸出的部

　　

【正文】 was one of the first jobs in which I was responsible for the architecture and the engineering. This was a big thing, but I thought that we should also have some fun with the station. So in addition to relating the station to the functioning of the plex and to the urban context, I began for the first time to experiment with ideas of the body and the open hand, which signifies sincerity and openness. From the open hand turned palmsidedown, I chose the area between the thumb and index finger as the shape of the column, which you then see repeated several times throughout the project. I should also explain that the station is geodetic。 it is not flat. The trains e out of a tunnel underground and go back into a tunnel. The two sides of the tunnel are curved downward in section, and only the center of the station is level. So we built the station slightly arched. The columns are inclined to remain perpendicular to the contour of the arch, but you don?t see then as changing inclination one to the other. If they were vertical, you would immediately see it, but they are inclined in all directions. Even the underground gallery is like this. The station is also curved in plan. This was purely an engineering circumstance。 the plan and section 280 meters longapproximately 900 feetseem much longer than it is, because from the center platforms you do not see its ends. So the curves in both plan and section help the concept. You see, the shape, turning around like a torus, emphasizes the dynamics of the train. Having this kind of rotational geometry makes it possible to achieve a dynamic effect in the architecture, especially through the repetition of elements. It is interesting to observe that, in fact, the station is almost a nonstation, because it disappears, hidden behind the roofs in the middle of the city. I would like to make a small parenthesis to explain to you a different experience with concrete. I was charged by the Swiss Association of Concrete Makers to do a pavilion for an exhibit in Basel. For this project, I produced a machine that attempted to put concrete. We know light concrete, we know heavy concrete, but concrete in motion is a rare thing. I don?t know if you know Eugene Freyssi, who was the inventor of the prestressing of microconcrete to make wings for airplanes. This probably was never achieved, but he did all kinds of studies for this. This is to say that in the early twentieth century—in the?20s—and ?30s—people were extremely daring in their ideas and in their hopes for the use of this material. In this pavilion I wanted to achieve forms that were extremely related to the body. I mean the anatomy of the female and male bodies. I was interested in the idea of the sensuality of form. So you will see, maybe, ribs and circular elements that turn. It is a very tactile and soft way to use concrete that one does not usually consider. It is not only about moving the concrete but also about gibing it sensual properties, like the properties of flesh or skin. The 畢業(yè)設(shè)計(jì)（論文） 12 idea of “anicity” is even carried out in the details of how one piece joins to another. The shape of the detail bees more than the result of an elaborate structural geometry。 it permits us to recreate, as in a dream, the idea of the breast, for example. The last project I would like to talk about is the Satolas Airport Railway Station in Lyon. You have to understand that this object was built by extremely careful and very gifted people using their hands to make the concrete. You have to understand the beauty of the construction site as a process, the way things are put together, the importance of getting close to the people working on the site, because they are fundamental. In fact, if someone risks their life it is certainly not the architect。 it is the people on the site who do that. The station is built in concrete, aluminum, steel, and glass, with granite paving. The concrete is white, using only white cement, natural aggregate that is taken from the area, and sand that is light gray. This gives a very light concrete, the color of which reminds you of the site. The roof is aluminum and reflects the sun. The fa231。ade of the train galleries is done using just pure concrete, with glass in between. The esplanade is made of granite cobblestones, and the handrails are all done in concrete. The large, open facades of the wing are in steel and glass. There are many different materials, but there are very precise rules for the way they are used. For example, the steel never touches the ground—it is always bordered by concrete. There is never a direct connection between a supporting element and the ground. The wing of the station is oriented toward the south. We set the angle of the roof by the inclination of the sun on the solstice so that between the middle of June and November the sun does not enter the interior of the space. After November the fa231。ade let light into the whole volume of the interior space. This permits us to have a building with very little need for extra climatization. I was interested in the idea of creating a structure that is based on certain proportions of the human body. Many of these bodies together support the train galleries of the station. The whole gallery is based on this modular. The idea for the shape of the station and its roof was generated from the idea of the eye, and this is very important. Someone once said that if the painter Raphael had not had arms, he would have been a very good architect, because the working instrument of an architect is the eye. It is the faculty for seeing and judging and inventing things. There are two sets of eye。 in front of us and the eyes of the mind that invent and bine things.