Ricardo Bofill’s La Muralla Roja, a candy-coloured citadel atop the cliffs of Spain’s Costa Blanca. Photography: Salva Lopez. Image courtesy of Ricardo Bofill Taller de Arquitectura and Gestalten

For many people, the Spanish architect Ricardo Bofill is best known for two things; the expansive neoclassic housing estate, Les Espaces d’Abraxas, at the new town of Marne-la-Vallée, east of Paris, and La Fábrica, the monumental former concrete factory in Barcelona that is home to the Bofill family and the Ricardo Bofill Taller de Arquitectura. They represent the two sides of Bofill’s 56-year career, united by a common interest in gravitas and scale, memory and patina, but starkly different in their critical reception and everyday use.

对许多人来说，西班牙建筑师里卡多·博菲尔(Ricardo Bofill)最出名的有两件事：一是位于巴黎以东的新市镇马恩-拉瓦莱(Marne-la-Vallée)的宽敞的新古典住宅Les esspace d‘Abraxas；二是巴塞罗纳(Bofill)家族和里卡多·博菲尔(Ricardo Bofill)更高的阿尔奎图拉(Arqustructura)所在的巴塞罗那前混凝土工厂。它们代表了美国银行56年职业生涯的两面，在庄重、规模、记忆和帕蒂纳方面都有共同的利益，但在关键的接受和日常使用方面却截然不同。

Ricardo Bofill: Visions of Architecture is a typically grandiose presentation of the studio’s greatest hits. ‘Visions’ is the right word, for perhaps more than any other architect of his generation, Bofill believes in the power of composition. As evidenced by the impressive photography throughout, each and every view is a carefully arranged tableau of form and colour; the architect’s vision is total.

里卡多·博菲尔：“建筑的愿景”是工作室最伟大的热门作品的典型展示。“愿景”这个词是正确的，因为也许比他这一代的任何其他建筑师都更相信构图的力量。从整个令人印象深刻的摄影作品中可以看出，每一幅风景都是一张精心布置的表格，由形式和色彩组成，建筑师的视觉是全面的。

La Fábrica, an abandoned concrete factory on the outskirts of Barcelona became a career-defining manifesto for Bofill and a home for his studio and family. Photography: Gregori Civera

在巴塞罗那郊区的一个废弃混凝土工厂LaFourbrica成了一个职业定义宣言，他为他的工作室和家庭提供了一个“填充”和“家”的宣言。摄影：GregoriCivera

The essays that preface the book give some clue as to the lofty ideals floating around the Taller de Arquitectura: ‘Towards a Manifesto of Freedom,’ ‘The Last Dreamers of Modernity,’ ‘Dreams and Manifestos: An Architectural Vision’. And it’s true that the works within offer up a rosy utopia of sharp-edged forms and crisply delineated shadows, of bold Mediterranean colours, verdant balconies and sun-drenched terraces.

这本书的序言部分提供了一些线索，说明高个子阿奎图拉周围的崇高理想：“走向自由宣言”、“现代性的最后梦想者”、“梦想和宣言：建筑愿景”。的确，里面的作品提供了一个玫瑰色的乌托邦-锋利的形状和清晰的阴影，大胆的地中海色彩，翠绿的阳台和阳光普照的露台。

Bofill is a romantic, and his work channels the mystic geometry of Giorgio de Chirico, the bright palette of Luis Barragán and the carefully controlled perspectives of Piranesi. Ultimately, however, the artist at work is Bofill himself.

Bofill是一个浪漫主义者，他的作品引导了GiorgiodeChirico的神秘几何学，LuisBarragán的明亮调色板和Piranesi的精心控制的视角。然而，最终，这位工作中的艺术家是Bofill本人。

The warmth and complexity of the studio’s 1960s-era Barcelona apartments have a credible claim to being the true heirs to the exuberance of the original Modernista buildings. However, there’s something more prescriptive and confining about the work that followed in the 1970s and 80s, especially the over-scaled housing blocks that tend to crush human scale beneath their inflated classical detailing. The use of space is also suspect – masses for him and his family, but tiny apartments for everyone else not fortunate enough to live in the penthouse level or acquire a disused cement factory.

该工作室的温暖和复杂的1960年代巴塞罗那公寓有一个可信的声称是真正的继承者原始现代主义建筑的繁荣。然而，在20世纪70年代和80年代之后的工作中，还有一些更具有规范性和限制性的东西，特别是那些过度规模的住宅，往往会在夸大的古典细节之下粉碎人类的规模。对他和他的家人来说，空间的使用也是令人怀疑的，但对于其他人来说，小公寓却不够幸运，不能住在顶层，也不能买到一座废弃的水泥厂。

Admittedly the studio places much more emphasis on communal space, with courtyards and terraces sprawling over many levels to better serve up those delectable views. It’s an approach that works far better in sunny Barcelona than wind-swept Parisian suburbs.

诚然，工作室更加强调公共空间，庭院和露台在许多层次上展开，以更好地服务于那些令人愉快的景观。在阳光明媚的巴塞罗那，这种方法比风吹草动的巴黎郊区的效果要好得多。

Ruins were inspirational to Bofill in his conception of what La Fábrica would become over time. Photography: Kristina Avdeeva

Bofill认为，随着时间的推移，La Fábrica会变成什么样子，废墟给他带来了启发。摄影：克里斯蒂娜·阿夫代瓦

Bofill will be 80 this year and recent works from the Taller have sailed ever closer to the ubiquitous high-tech that defines almost every modern airport, HQ or stadium. Even in Bofill’s talented hands, glass and steel can’t acquire the gravitas he gives to render, stone and concrete.

美国银行今年将达到80岁，而最近的工作，从高个子已经越来越接近无处不在的高科技，几乎每一个现代机场，总部或体育场。即使在Bofill才华横溢的手中，玻璃和钢铁也无法获得他给出的重力-石头和混凝土。

In particular, the strong vernacular influences – classical, Moorish, and Mediterranean – that permeate Bofill’s best known buildings struggle to find traction in these corporate monoliths. There is flexibility and variety here, to be sure, but ultimately Ricardo Bofill’s talents lie in composition and the creation of memory, two elements that are well portrayed in this handsome volume. §

特别是，强烈的白话影响-古典、摩尔、地中海-渗透博物的最佳已知建筑在这些企业整料中找到牵引力的斗争。这里有一定的灵活性和多样性，但最终里卡多·博格尔的天赋在于构图和记忆的创造，这两个元素在这个帅气的体积中被描绘得很好。?

卡萨·德·韦拉诺(CasadeVerano)：美国银行父母和大家庭的避暑别墅，展示了这位建筑师在国内规模上对城市规划的激进愿景的翻译。摄影：Gregori Civera。由里卡多·博菲尔·高特·德阿奎图拉和盖斯塔滕·卡萨·德韦拉诺提供的形象；这是美国银行的父母和大家庭的避暑别墅，展示了建筑师对国内城市规划的激进愿景的翻译。摄影：Gregori Civera。图片由里卡多·博菲尔·高特·德阿奎图拉和盖斯塔尔滕提供。