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场所指的并不是我们平时简单理解的与社会作用的环境或背景。在建筑学领域，“场所”指自然环境与人造环境的结合体，反映了在特定的地点中人们的生活方式，历史文化，以及环境特征等。因此它不是物质上的形体，而是可以理解为一种蕴藏精神、情感与记忆的“容器”。
Place does not refer to the environment or background that we usually simply understand and social function. In the field of architecture, "place" refers to the combination of natural environment and man-made environment, reflecting the lifestyle of people, history and culture, and environmental characteristics in a specific place. Therefore, it is not a physical form, but can be understood as a "container" containing spirit, emotion and memory.
场所精神源于古罗马，表达场所具有自己精神与特性。这个概念起源于古罗马，其中“Genius Loci”指的是守护神或地方精神，被认为是每个地方都有其独特的灵魂或守护神。诺伯尔·舒尔茨等学者将这一概念扩展到建筑和城市规划中，提出了场所精神的理论，强调建筑和环境设计应当反映和强化这种独特的地方感。
The spirit of place originates from ancient Rome, and the expression of place has its own spirit and characteristics. The concept originated in ancient Rome, where "Genius Loci" refers to a patron deity or local spirit, believed to have a unique soul or patron deity for each place. Scholars such as Noble Schulz extended this concept to architecture and urban planning and put forward the theory of place spirit, emphasizing that architectural and environmental design should reflect and strengthen this unique sense of place.
安藤曾经指出，建筑的核心在于其能否让置身其中的人们留下深刻的印象，持久不衰。他追求的建筑设计不仅止于美观，更应该能够触动人的内心，与灵魂进行交流。建筑不仅是人们日常生活和活动的物理环境，它在满足功能性需求的同时，也应 当给使用者带来心理和生理上的愉悦。安藤强调，人类需要那些具有象征意义的事物，即那些能够表现生活意蕴的艺术作品。从另一个角度来看，建筑也可以被视作是具体化了的“生活情景”空间，它传达着精神层面的内容。
Ando once pointed out that the core of architecture is whether it can make a deep impression on the people in it, lasting. The architectural design he pursued should not only be beautiful, but also be able to touch people's hearts and communicate with their souls. Architecture is not only a physical environment for People's Daily life and activities, it should not only meet functional needs, but also bring psychological and physiological pleasure to users. Ando emphasized that human beings need things that have symbolic meaning, that is, works of art that can express the meaning of life. From another point of view, architecture can also be seen as a materialized "life scene" space, which conveys spiritual content.
一、梦幻玻璃
DREAM GLASS
我喜欢坐在屋外的大树下
转过身，就是我所设计的家与艺廊
晚上飘雪时，整个建筑仿佛都漂浮起来了
如果雪花斜斜落下，恍惚间
会觉得自己好像搭乘着电动扶梯，正往上走；
慢慢地，我好像也漂浮在空中……
这种感觉令我印象深刻
它美妙极了，但似乎和建筑没有太大关系。
—菲利普·约翰逊
建筑师菲利普·约翰逊在美国康涅狄格州新迦南的Ponus Ridge路上设计了一座历史悠久的房屋博物馆，被称为玻璃屋。玻璃屋是约翰逊的个人住所，也是他的“签名作品”。这座建筑是由砖、玻璃和钢材构成的，外观古典对称。整个房屋只有一层，采用开放式平面设计，四面都是落地通高的玻璃围合，创造了透明度和反射效果。内部完全向室外展示，没有墙体隔断，通过家具的布置定义了不同的功能区域。这座房屋被视为早期应用工业材料的典范，展示了约翰逊在家居设计方面的创新。
Architect Philip Johnson has designed a historic house museum on Ponus Ridge Road in New Canaan, Connecticut, known as the Glass House. The Glass House is Johnson's personal residence and his "signature work." The building is made of brick, glass and steel with a classically symmetrical appearance. The entire house has only one floor and an open plan design, surrounded by floor-to-ceiling glass on all four sides to create transparency and reflection. The interior is completely open to the outside, without wall partitions, and different functional areas are defined through the arrangement of furniture. The house is regarded as an example of the early application of industrial materials and demonstrates Johnson's innovation in home design.
位于丘陵区域的玻璃屋，其四周被茂密的林木和水潭所包围。这栋建筑在1997年被美国国家认定为历史地标，并广泛被视为现代建筑设计的典范之一。它那和谐的比例以及与周遭环境的完美融合，给观者留下了难忘的视觉冲击。作为将欧洲现代主义建筑风格引入北美的关键人物，菲利普·约翰逊在他的庄园里创造了一系列建筑作品，这些作品展示了他对于建筑艺术的独到理解和创新视角。
A glass house in a hilly area surrounded by lush trees and pools. The building was designated a historic landmark by the United States in 1997 and is widely regarded as one of the best examples of modern architectural design. Its harmonious proportions and perfect integration with its surroundings leave viewers with an unforgettable visual impact. A key figure in the introduction of European Modernist architecture to North America, Philip Johnson has created a series of architectural works on his estate that demonstrate his unique understanding and innovative perspective on the art of architecture.
二、开敞空间
OPEN SPACE
室内的地面装饰采用了红砖，按照人字纹样错落有致地铺设，其表面比周围的地平面高出10英寸。设计者精心布置了矮柜和书架，以此作为分隔元素，将玻璃屋的内部空间巧妙地划分，从而营造出一个开放式的单一房间。这样的设计不仅确保了玻璃屋能够从四个方向获得良好的通风效果，还引入了丰富的自然光线。
Floors are made of red brick, laid in a herringbone pattern that rises 10 inches above the surrounding floor. The designer carefully arranged low cabinets and bookshelves as dividing elements, dividing the interior space of the glass house to create an open plan single room. This design not only ensures that the glass house gets good ventilation from all four directions, but also introduces rich natural light.
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