米歇尔·德卢基(Michele De Lucchi)

Text by Michele De Lucchi

1972年，埃托尔·索特萨斯(Ettore Sottsass)提出了一项宏伟的建筑方案，将整个地球都纳入其中，并被称为“地球作为节日”。这是一个高度乌托邦式的，高度有远见的，高度激进的项目，就像当时的许多其他项目一样，被称为激进建筑时代。在对项目的描述中，他强调了有必要推翻传统规则并继续设想一个更好(不仅是)建筑世界…的基础。。没有什么留给我去设计的，孤独的，而不是像我这样的集体艺术家-一个担心未来的时代的孩子-一个堕落的孩子，因为我没有全神贯注于产生我的命运，政党、军队和诸如此类的威胁都向我指出了这一点。

In 1972, Ettore Sottsass came up with a grand architectural scheme that took in the whole planet and was called “The Planet as Festival”. It was a highly utopian, highly visionary, highly radical project, as were many other projects from that time, known as the age of radical architecture. In the description of the project he highlighted the basis for which it was necessary to overturn conventional rules and go on to imagine a better (not only) architectural world….. there was nothing left for me to design, solitary, not group artist that I am – child of an era worried about the future – a degenerate child for I am not engrossed in the destinies which generated me, which political parties, armies and suchlike threateningly point out to me.

我以为我已经没有建筑可以画了，我的意思是没有建筑可以提出，就像Andrea Branzi恰当地说的那样，“作为社会的榜样”，或者把它放在社会的“一种心理运动活动”的手中。…。因此，我设计这些项目就好像是别人提出的-一个远离城市思维轨迹的人，因为它认为，到目前为止，与城市有关的思想只投射出，无论来自何地，无论它去到哪里，疯狂、病态的人，危险而激进的观念，认为人的生活必须只为工作，必须工作，生产，然后消费。

I thought there was no architecture left for me to draw, I mean there is no architecture left to propose, either as Andrea Branzi aptly says “as a model for society” or to put in the hands of society “as a psycho-motor activity” ……… Therefore I designed these projects as if they had been proposed by someone else – someone far removed from the trajectory of thought concerned with the city, since it considered that thought concerned with the city has up to now, only projected, wherever it comes from and wherever it goes to, the insane, sick, dangerous and aggressive idea that men must live only to work and must work to produce and then consume.

 ©  Andrea Martiradonna

(Andrea Martiradonna)

在我的项目中，我想象着，“工人-生产者”的道德已经发生了一些变化，人们认为，为了生活和工作(如果他们可能愿意)，人们可以为了生活和工作而生活(如果他们愿意的话)，从而通过他们的身体、心理和性别来了解他们正在生活。-…这一切我都很清楚，不是因为我自己发明的，而是因为我在各地都听到过，从年轻人，从诗人，从许多真正工作的人，从受压迫的人，从被孤立的人，从疲倦的印度酋长，从古鲁，儿童，囚犯…。.这种自由只能来源于我们每个人都活着，而我们每一个人也在慢慢地死去。(摘自Casabella，1972年5月365号)。

With my projects I imagined that something has been changed in the moral of the man “worker-producer” and that it is thought that men can live (if they want to) for the sake of living and work (if perchance they want to) to come to know, by means of their bodies, their psyche and their sex, that they are living………I know all this very well – not because I have invented it myself but because I have heard it all over the place, from young people, from poets, from many people who really work, from the oppressed, the alienated, the tired, Indian chiefs, Gurus, children, prisoners….that freedom can only come from the possible knowledge that each of us is living and that very slowly each of us is dying too. (taken from Casabella n° 365 May 1972).

显然，这个项目除了发表在“卡萨贝拉”上没有任何其他的后果，然而，影响了许多代的建筑师和设计师。在这个星球上，作为节日，各种建筑元素出现了，设计得像亲切友好的物体，在星球上，在火山顶部，在峭壁上，在大峡谷的石墙上，漂浮在海洋上，或者在平静的河流上流动。魔方计划似乎有其根源于埃托尔·索特萨斯的隐喻世界，让人想起50年前那些有趣而严肃的乌托邦。

Clearly the project had no consequence other than publication in Casabella that, however, influenced many generations of architects and designers. In the planet as festival, various elements of architecture appear, designed like kind and friendly objects sitting here and there on the planet, on the top of volcanoes, on craggy cliffs amid the rocky walls of the Grand Canyon, floating on the ocean or transported on placid river streams. The Cube project seems to have its roots right in that metaphorical world of Ettore Sottsass and is reminiscent of those amusing yet serious utopias of fifty years ago.

 ©  Andrea Martiradonna

(Andrea Martiradonna)

我们的想法是建造一个小建筑，一个小木屋，一个鸟巢，在高处，在悬崖顶部，在纪念碑上，在公共建筑上，不管在哪里，只要在一个美丽的地方，有着美丽而原始的景色。然后，创建一家餐厅，并在一个迷人的、独特的地方接待客户，并在伊莱克斯厨房烹饪精致的菜肴。这样做的目的是让它开放六个月，然后改变位置，改变城市、国家、大陆，并在其他屋顶上恢复这种餐厅式的物件，以迎接新的惊喜、新的菜单、新的客户。

The idea is to build a small piece of architecture, a cabin, perhaps a nest, on high, at the top of a cliff, on a monument, on a public building, it doesn’t matter where but in a beautiful place and with a beautiful and original view. The idea is then to create a restaurant and welcome clients in an enchanting, unique place with sophisticated dishes cooked in Electrolux kitchens. The idea is to keep it open for six months and then change location, change city, nation, continent and reinstate this restaurant-type object on some other roof for new surprises, new menus, new clients.

 ©  Andrea Martiradonna

(Andrea Martiradonna)

这是那些开放的项目之一：事实上，解决方案往往会解决问题，但不会为想象力、创新和进化留出空间。这个“立方体”实际上不是一个立方体，它有一股巨大的主动力量，并立刻呈现出它的样子：对抗思维和想象的瘫痪。不仅如此，它还克服了官僚机构不断增长所造成的不流动，需要得到政府、议会、安全官员、遗产组织、消防队等的同意。等如果标准对确保更好的建筑确实是必要和有用的，那么，标准也确实已扩展到所有设计选择中，以至于计划越来越多地是对现行条例的解释，而不是一种有意识的创造性行为，在建筑史上具有连续性。

It is one of those projects that open things up: in fact too often solutions resolve but do not leave space for the imagination, for innovation, for evolution. This ‘Cube’ that is not actually a cube, has a great proactive force and immediately presents itself for what it is: defying the paralysis of thinking and the imagination. Not only that, it also defies the immobility produced by the continual growth of bureaucracy in requiring the consent from the government, council, safety officers, heritage organisations, fire brigades etc. etc. If indeed standards are necessary and useful for ensuring better architecture, it is also true that standards have spread into all design choices to the extent that schemes are increasingly often an interpretation of the current regulations rather than a conscious creative act that gives continuity in the history of architecture.