前言

这是雷姆•库哈斯于1972年的毕业设计（与Madelon Vreisendorp, Elia Zenghelis, 和 Zoe Zenghelis合作）。在西柏林，人民通过墙这一自我囚禁的手段获得自由。柏林墙之“内”，是一座都市监狱。

“逃离，或建筑自愿的囚徒”这一作品包含了十八幅绘图、水彩和拼贴。这些强烈的图像故事反映了库哈斯早年作为记者和编剧的直觉，是当代都市亦真亦幻的畅想。”

——MOMA艺术馆的作品描述

正文共7400中文字3400英文字，阅读完需要10分钟

翻译：盛景超

校对：黄娜伟

文末诗歌原文为法语，由Stefan Weber 翻译成英文

逃离，或建筑自愿的囚徒

Exodus, or the voluntary prisoners of architecture

Rem Koolhaas, Madelon Vreisendorp, Elia Zenghelis, and Zoe Zenghelis (1972)

Prologue

从前，一座城市被一分为二。一半成了好城，另一半成了坏城。

坏城里的人开始蜂拥而入另一半好城，这飞速演变成了一场城市大逃离。

若此景持续不断，那好城的人口就会翻倍，坏城则会成为鬼城。

在尝试了各种阻止这场移民的手段无果后，坏城的当权者迫不得已使出了建筑这一野蛮的工具：他们给好城造了一堵围墙，让自己的子民再也无法逾越。

Once, a city was divided in two parts. One part became the Good Half, the other part the Bad Half.
The inhabitants of the Bad Half began to flock to the good part of the divided city, rapidly swelling into an urban exodus.
If this situation had been allowed to continue forever, the population of the Good Half would have doubled, while the Bad Half would have turned into a ghost town.
After all attempts to interrupt this undesirable migration had failed, the authorities of the bad part made desperate and savage use of architecture: they built a wall around the good part of the city, making it completely inaccessible to their subjects.

围墙是个杰作。

The Wall was a masterpiece.

在这个莫须有的边界上，原本只有几根漫不经心的带钩绳索。这些绳子的心理和符号意义远比其实体的存在要强大得多。

而现在，只能越过高墙对好城远远一瞥，这无疑使人的向往更加煎熬。

被困在暗淡无光的坏城里的人，逐渐痴迷于无谓的逃离计划。于是，在这高墙的错误一侧，绝望成为了主宰。

在人类的历史长河中无独有偶，建筑成了带来绝望的罪恶工具。

Originally no more than some pathetic strings of barbed wire abruptly dropped on the imaginary line of the border, its psychological and symbolic effects were infinitely more powerful than its physical appearance.

The Good Half, now glimpsed only over the forbidding obstacle from an agonizing distance, became even more irresistible.
Those trapped, left behind in the gloomy Bad Half, became obsessed with vain plans for escape. Hopelessness reigned supreme on the wrong side of the Wall.
As so often before in this history of mankind, architecture was the guilty instrument of despair.

建筑。

Architecture

我们其实可以想象，这座恐怖的建筑有一个双胞胎，而其惊人的力量被用于为人类谋福祉。

隔离、孤立、不平等、敌意、毁灭，围墙的这一切负面形容词，都能够反手成为构建新世界的原材料：伦敦，建筑向不理想的现实开战。张狂的建筑不是要阻碍前进的脚步，而是要提供更好的未来的愿景。

那些坚定地爱上这类建筑的居民们，自愿成为它的囚徒，沉浸在建筑的枷锁下，为它所提供的自由狂喜。

与现代建筑出生后的悲惨未来不同，这一建筑既不独裁、又不歇斯底里：它是快乐论的科学，为了设计能容纳所有个体欲望的集体设施。

从外界来看，这一建筑是一系列沉默的纪念碑；而它内部的生活，充斥着对装饰的痴狂和对符号的滥用。

这一建筑将创造自己的后继者，也将奇迹般地治好建筑师们的自虐倾向和自我憎恶。

It is possible to imagine a mirror image of this terrifying architecture, a force as intense and devastating but used instead in the service of positive intentions.

Division, isolation, inequality, aggression, destruction, all the negative aspects of the Wall, could be the ingredients of a new phenomenon: architectural warfare against undesirable conditions, in this case London. This would be an immodest architecture committed not to timid improvements but to the provision of totally desirable alternatives.
The inhabitants of this architecture, those strong enough to love it, would become its Voluntary Prisoners, ecstatic in the freedom of their architectural confines.
Contrary to modern architecture and its desperate afterbirths, this new architecture is neither authoritarian nor hysterical: it is the hedonistic science of designing collective facilities that fully accommodate individual desires.
From the outside this architecture is a sequence of serene monuments; the life inside produces a continuous state of ornamental frenzy and decorative delirium, an overdose of symbols.
This will be an architecture that generates its own successors, miraculously curing architects of their masochism and self-hatred.

自愿的囚徒。

The Voluntary Prisoners

这项研究意在描述，在被认为是人类行为低谷的伦敦，如何一步步建立建筑绿洲。

猛然间，都市欲望的美好条带穿过了伦敦的中心。这个条带就像一条跑道，以供集体纪念碑这样的新建筑落脚。

两座墙围合并保护着这片区域的完整性，防止墙外的污秽如肿瘤般逐渐将它吞噬。

不久，第一批囚徒就乞求着进入。

他们数量骤增，如洪流般无法阻挡。

至此，我们见证了一场伦敦大逃离。旧城的结构实体再也无法承受新建筑所带来的冲击。伦敦将毫无意外地成为一片断壁残垣。

This study describes the steps that will have to be taken to establish an architectural oasis in the behavioral sink of London.

Suddenly, a strip of intense metropolitan desirability runs through the center of London.
This Strip is like a runway, a landing strip for the new architecture of collective monuments.
Two walls enclose and protect this zone to retain its integrity and to prevent any contamination of its surface by the cancerous organism that threatens to engulf it.
Soon, the first inmates beg for admission.
Their number rapidly swells into an unstoppable flow.
We witness the Exodus of London. The physical structure of the old town will not be able to stand the continuing competition of this new architectural presence. London as we know it will become a pack of ruins.

条带

THE STRIP

接下来的图片是这个条带的发展的许多时刻的细节。

十一个方形区域有不同程度的设计；它们并不能完全展示这个条带的方方面面，毕竟读者们可以一边读一遍想象其他必不可少的活动和愉悦。

这个中央条带只不过是更大的建筑飞地综合体中最猛烈的部分；这里展示的仅仅包括高社会强度和集体相关的活动。

其他并不是所有人共享的活动位于狭窄的次级条带中，每一条都与中央条带有独特的交接和联系。这些次级条带切过了旧伦敦最令人绝望的贫民窟，由此直接通向这一建筑飞地，提供了落脚者们梦寐以求的私人栖身之地。它们之辉煌的存在，使这些贫民窟蜕变成了如画般的鬼城与废墟。

中央条带的鸟瞰和地图中，自西向东依次是（每个方形之内）：

1.条带尖端。这里是与旧伦敦矛盾最激烈的地方。这里，建筑的进程肉眼可见。

2.分配地块。这是个人的地块，和备受强调的集体设施相平衡。

3.四象公园：气、火、水、地。

4.纪念广场，大理石铺地；这里用于举行露天庆典。

5.接待区：在这里，条带的神秘生活被介绍给未来的居民。它的屋顶是个观景平台，俯瞰着整个建筑综合体。

6.通向伦敦旧城保护区的扶梯（纳什是这个无情的方案的前兆）。这旧城提醒人们历史的存在，也同时作为新移民和来访者的住宅（新环境的闸门）。

7.澡堂。创造、和实现幻想的机构。

8.艺术广场。

9.囚禁之球

10.生物交易所

11.隐形的攻击性公园

The following pictures represent a close-up of a particular moment in the development of the strip.

Eleven squares are designed in various degrees of detail; together, they do not show all the aspects of the central strip, other equally essential activities and pleasures can. are being, imagined.

The central strip is only the most intense part of the much larger complex of the Architectural enclave; at the stage shown here it only contains some activities of high social intensity and communal relevance.

Those activities which are not shared by all are located in the narrow secondary strips, which each have their particular attachments to and relationship with the central zone. The secondary strips cut through the most depressed slum areas of the old London. They lead to the enclave and provide all the private accommodation the settlers have dreamt for themselves. Their magnificent presence forces these slums to turn into ghost towns and picturesque ruins.

Within the central strip the map and aerial view show, from West to East, (each contained in their own square):

1. The Tip Condition. The point of maximum friction with the old London. Here the Architectural progress of the zone visibly takes place.

2. The Allotments. Individual plots of land to balance the emphasis on the Collective facilities.

3. The Park of the four Elements: Air, Fire, Water and Earth.

4. The Ceremonial square, paved in marble; it is a place for open-air celebration.

5. The reception area: here future inhabitants are introduced to the mysteries of citizenship of the strip. Its roof is a viewing platform sufficiently elevated to give a view over the complete architectural complex.

6. An escalator descends into the area of London which is preserved (Nash a predecessor of the ruthless plan) as a reminder of the past and as useful housing for migrant visitors and new arrivals (an environmental sluice).

7. The Baths. Institute for the creation and implementation of fantasies.

8. The square of the Arls.

9. The square of the Captive Globe.

10. The institute of Biological Transactions.

11. Invisible is the Park of Aggression.

接待区

Reception Area

跨越围墙之后，精疲力竭的难民进入了围墙与接待区之间的大厅。等候厅的守卫对他们悉心关注，周围弥漫着来自建筑的抚慰气息。围墙彼侧的教化程序由此开始：新来者进入了接待区。

落脚之时，所有人都受到热烈的欢迎。接待区的活动需要这些新人接受基础训练，这必须通过淹没先前营养不良的感官来实现。这项训练是在极乐的条件下进行的：奢侈且幸福。

接待区永远人满为患，新人们在这场交易中联系亢奋的精神状态，以随时作出社会政治的创新。这亢奋在建筑中回响，感官被思想淹没。

参与者唯一关注的是这个条带的当下与未来：他们提出建筑的改良、加建和策略。慷慨激昂的小组在特殊的房间里讲述方案，而其他人则在不断地修改模型。最矛盾的提议也会不经任何折衷就相互融合。

After crossing the Wall, exhausted fugitives are received by attentive wardens in a lobby between the Reception Area and the Wall. The consoling atmosphere of this waiting room is an architectural sigh of relief. The first step in the indoctrination program of the other side of the Wall is realized: the newcomers enter the Reception Area.

On arrival a spectacular welcome is given to all. The activities inside the Reception Area require minimal training for new arrivals, which is only accomplished by overwhelming previously undernourished senses. The training is administered under the most hedonistic conditions: luxury and well-being.
The Reception Area is permanentIy crowded by amateurs who through their dealings exercise an inspired state of political inventiveness, which is echoed by the architecture.
The senses are overwhelmed by thought.
The sole concerns of the participants are the present and the future of the Strip: they propose architectural refinements, extensions, strategies. Excited groups elaborate proposals in special rooms, while others continuously modify the model. The most contradictory programs fuse without compromise.

中央区

Central Area

是从建筑内部可达的接待区屋顶部分，在这个高台上可以亲身感受旧城的衰败与新城的金碧辉煌。

一个巨大的扶梯从此处通向留存下来的“旧”伦敦片段。

这些古老的房屋为新来的训练者们提供暂时的栖居之所：这里（中央区）是环境的闸门。

The roof of the Reception Area, accessible from the inside, is a high-altitude plateau from which both the decay of the old town and the physical splendor of the Strip can be experienced.
From here, a gigantic escalator descends into a preserved fragment of the “old” London.
These ancient buildings provide temporary accommodation for recent arrivals during their training period: the area is an environmental sluice.

庆典广场

Ceremonial Square

屋顶的另一侧（西侧）空空如也，唯有干扰塔坐落于此，它使条带中的人们免于暴露在外界的电磁场之下。人们在这个黑色广场中做着身体与思维的操练，这里是概念的奥林匹克。

The other (west) side of the roof is completely empty, except for the tower of the Jamming Station, which will protect the inhabitants of the Strip from electronic exposure to the rest of the world. This black square will accommodate a mixture of physical and mental exercises, a conceptual Olympics.

条带的尖端

Tip of the Strip

这里是与伦敦旧城的建筑战争的前沿阵地。这里，条带无情的前进步伐是日复一日的奇迹；这里，建筑的集体狂怒最为猛烈。在与旧城不断地对抗中，新建筑摧毁了旧建筑，伦敦的狱友和新条带的囚徒冲突不断。一些旧文明的纪念碑目标或功能可疑，但在经历了思想改造之后被纳入了新区域。

这个条带的建筑模型处于不断的修改之中，接受着从接待区输入的战略、计划和指令。条带尖端的兵营里，生活也许是艰苦的，但不断的创造让建造者们乐此不疲。

This is the frontline of the architectural warfare waged on the old London. Here, the merciless progress of the Strip performs a daily miracle; the corrective rage of the architecture is at its most intense. In a continuous confrontation with the old city, existing structures are destroyed by the new architecture, and trivial fights break out between the inmates of the old London and the Voluntary Prisoners of the Strip. Some monuments of the old civilization are incorporated into the zone after a rehabilitation of their questionable purposes and programs.

A model of the Strip, continuously modified through incoming information from the Reception Area, conveys strategies, plans, and instructions. Life in the building barracks at the Tip of the Strip can be hard, but the ongoing creation of this object leaves its builders exhausted with satisfaction.

四象公园

The Park of the Four Elements

四象公园分成四个方形广场，通过四个巨大的台阶消失在大地中。

一者名为“气”。其中数座下沉大厅里是错综复杂的管道，散发着混杂的气体，给人芬芳与幻觉。通过剂量、浓度、甚至是颜色的微妙调整，人们可以操纵挥发性的呼吸云雾，就像玩弄乐器。狂喜、抑郁、宁静、开放，这些情绪在这里无形地发生，或是按顺序与节奏编排，或是即兴变幻。竖向的空气帘幕保证了大厅之外的空气不受污染。

二者名为“漠”。它的大小与前者相同，但大厅沉于地下。其中是人工重建的埃及风景，模拟了让人头晕目眩的情景：金字塔、绿洲、以及一件火器——钢架上喷出无数的火焰，强度、色泽与热量各不相同。

这件火器在夜晚表演，在条带的任何角落都可观看。它是烟火奇观，是夜中明日。旅途最后的线性的洞窟里，机器投影出欲望的理想海市蜃楼。

从沙漠中进入这些管道的人，径直冲向这些天人合一的图像，但没人能感受到真正的联结：他们正在一条机械跑道上，离这些幻象越近，这条跑道向后运动地也就越快。这些沮丧的能量和欲望最终会被引导至升华的行为里。（于是，金字塔中并没有宝库将成为永远的秘密。）

地层更深处，名为“水”，水池的表面永不平静。随着一堵作着规律而有变化的运动的墙，不断产生波动，有时甚至掀起惊天巨浪。这湖是寻欢者的国度，他们早已痴迷于征服这些波涛。日以继夜，这室内海洋成为了条带上各类活动的背景音。

四者名为“地”，在这个坑的最下方。其中的山似曾相识，山峰的高度与条带的表面精准持平。山顶上，一群雕塑家为了在石头上刻谁的头像而争论不休；但在这监狱愈演愈烈的氛围下，没人能拥有持续的强大影响力，让这一争论有个结果。

这个深坑的四壁上似是伤痕累累，讲述着这里的过去；一条曾经废弃的旧地铁线悬于空中。在其他墙壁的深处，充满了洞穴居所或集会所，人们在里面举行原始的神秘仪式。

逐层游览这四个方形广场之后，漫游者乘坐扶梯重新回到表面。

Divided into four square areas, the Park of the Four Elements disappears into the ground in four gigantic steps.
The first square, “Air,” consists of several sunken pavilions overgrown with elaborate networks of ducts that emit various mixtures of gasses to create aromatic and hallucinogenic experiences. Through subtle variations in dosage, density, and perhaps even color, these volatile scented clouds can be modified or sustained like musical instruments.
Moods of exhilaration, depression, serenity, and receptivity can be evoked invisibly in programmed or improvised sequences and rhythms. Vertical air jets provide environmental protection above the pavilions.

Identical in size to the first square but sunken below surface level is “Desert,” an artificial reconstruction of an Egyptian landscape, simulating its dizzying conditions: a pyramid, a small oasis, and the fire organ a steel frame with innumerable outlets for flames of different intensity, color, and heat.
It is played at night to provide a pyrotechnic spectacle visible from all parts of the Strip, a nocturnal sun.
At the end of tour linear caves, mirage machines project images of desirable ideals.
Those in the Desert who enter the tubes run to reach these beatific images. But actual contact can never be established: they run on a belt that moves in the opposite direction at a speed that increases as the distance between mirage and runner shrinks. The frustrated energies and desires will have to be channeled into sublimated activities. (The secret that the pyramid does not contain a treasure chamber will be kept forever.)

Deeper still into the earth is “Water,” a pool whose surface is permanent I y agitated through the regular but variable movement of one of its walls, producing waves of sometimes gigantic proportions. This lake is the domain of some pleasure seekers, who have become completely addicted to the challenge of the waves. Day and night, the sounds of this interior sea serve as the acoustic background to the activities of the Strip.
The fourth square, at the bottom of the pit, “Earth,” is occupied by a vaguely familiar mountain, its summit precisely level with the surface of the Strip. At the top, a group of sculptors debate whose bust to carve into the rock; but in the accelerated atmosphere of this prison, no one is important long enough for them ever to reach a conclusion.
The walls of the cavity repeat the past history of this location like a scar; part of a now deserted Underground line is suspended in this void. Deep in the other walls, cave dwellings and cavernous meeting places are carved out to accommodate certain primordial mysteries.
After spiraling through the tour squares, the wanderer is returned by an escalator to the surface.

澡堂

Baths

私人与集体的幻想在澡堂里创造、循环；新奇的行为在这里发明、测试、引进。这幢房子是一个社会凝聚器。

它致使隐藏的动机、欲望和冲动浮现于表面，经提炼后被认知、挑衅和发展。

地面层用于公共活动和展示，性格和肉体在此不断游行，于是这里成为了展示与观看的辨证循环的舞台。这是观察者的领域，潜在的伴侣勾引着对方，并试图相邀投入更私密的幻想与欲望。

建筑两侧的长墙由数不尽的大小不同的房间（cell）组成，以供个人、夫妻或小群体退休之后居住于此。这些房间的室内设备供人放纵享受、实现幻想或社交创造；房间内欢迎一切形式的互动交流。

公共空间/私密房间的序列产生了创造性的连锁反应。房间里成功的表演者、或自信自己的行为与提议原真有效的人，被分配进澡堂两端的两个竞技场。最终，他们在竞技场里，表演。这些表演的新鲜和隐喻激活了大脑中沉睡的神经，触发了观众的思维爆炸。自愿的囚徒们因这一奇迹场面大脑过载，他们选择走向地面，寻找愿意一起实践新方案的同伴。

The function of the Baths is to create and recycle private and public fantasies, to invent, test, and possibly introduce new forms of behavior. The building is a social condenser.
It brings hidden motivations, desires, and impulses to the surface to be refined for recognition, provocation, and development.
The ground floor is an area of public action and display, a continuous parade of personalities and bodies, a stage for a cyclical dialectic between exhibitionism and spectatorship. It is an area for the observation and possible seduction of partners who will be invited to participate actively in private fantasies and the pursuit of desires.
The two long walls of the building consist of an infinite number of cells of various sizes to which individuals, couples, or groups can retire. These cells are equipped to encourage indulgence and to facilitate the realization of fantasies and social inventions; they invite all forms of interaction and exchange.
The public area/private cells sequence becomes a creative chain reaction. From the cells, successful performers or those confident about the validity and originality of their actions and proposals filter into the two arenas at both ends of the Baths. Finally, in the arena, they perform. The freshness and suggestiveness of these performances activate dormant parts of the brain and trigger a continuous explosion of ideas in the audience. Overcharged by this spectacle, the Voluntary Prisoners descend to the ground floor looking for those willing and able to work out new elaborations.

艺术广场。

Square of the Arts

艺术广场是这个条带的工业区和开放空间，各种物件被创造、进化和展示，人们献身于此以加速前进的步伐。艺术广场内的材质是和谐的交响曲，为使用者提供了舒适的工作环境。在这个表面上散布着一系列建筑，人们去那里满足自己对物件的热爱。

广场上有三个主要建筑。其中一个很旧；它自始至终都是一个博物馆。另外两座则由那些自愿的囚徒建造。其一在表面上突起；是一个构筑物。第二座建筑从广场表面向下挖，其挖出的材料被用来建造第一座建筑，于是成了第一座建筑的室内部分。谁也不能第一眼看出这两座双胞胎建筑其实是一体的，哪怕这并不是秘密。它们一起构成了现存文化传宗接代的工具，过去被通过唯一可行的方式呈现了出来：记忆的空白被旁观者们迸发的感情所充溢，由此记忆被暴露出来。它们是一个学校。第一座建筑强而敦实，无法穿透，使栅栏外等待着的学生倍加期待，而第二座建筑的空洞则激起了焦虑与悬疑。来访者们被一股不可抗拒的力量驱使，由扶梯向下开始自己的旅途。他们穿越一系列充满谜团的展厅，随后探索历史最神秘的角角落落。在最下层的展厅里，他们发现有一个无底的室内：新的展馆仍在施工。一条隧道似是通向旧博物馆，陌生的作品从中涌出，每当一个展馆建成就将其填满。

回到表面之后，这旅途的痕迹被投影在视网膜上，然后传输到大脑特定的区域。

老建筑往往蕴含着被抹掉的过往画面。无知的游客对这里的第一印象总是无尽的空画框、白画布、和空基座，唯有对过往有所了解的人才能解读这些奇观。他们将自己的记忆投射在这些空荡荡的挑衅物上：放映出源源不断的影像，包含过去的画面与变化，以及艺术发展史上不断产出的新作品。于是这个空间充满了回忆、修正与创造。

除了这三栋主要建筑之外，这个广场上可感知的展品仅剩一些小建筑们，它们就像上古棋盘上的小卒，如陨石一般随机散落，意义玄幻，等待着被弈者掿往下一个位置；每一步都是进一步破译。

Devoted to the accelerated creation, evolution, and exhibition of objects, the Square of the Arts is the Strip’s industrial zone and urban open space paved in a synthetic material that offers a high degree of comfort to its users. Dispersed on this surface are the buildings where people go to satisfy their love for objects.
There are three major buildings on the Square. One IS old; It has always been a museum. The other two were built by the Voluntary Prisoners. The first bulges from the surface; it was built with the materials of the second, which was carved out of the Square and is in fact the interior of the first. At first sight it is impossible to understand that these twin buildings are one, and that this is not a secret. Cooperatively forming an instrument for the indoctrination of the existing culture, they display the past in the only possible way: they expose memory by allowing its provocative vacuums to be filled with the explosive emotions of onlookers. They are a school. The density and impenetrability of the first building intensifies the expectation of arriving students who wait outside its gates, while the apparent emptiness of the second provokes anxious suspense. The visitors, driven by an irresistible power, begin a journey down the escalators that link a series of enigmatic galleries into an exploration of the most mysterious corners of history. At the lowest gallery, they discover a bottomless interior; new galleries are under construction, filling, as completed, with unfamiliar works that emerge in a continuous flow from a tunnel that is seemingly connected to the old museum.

Returning to the surface, the traces of this course are retained on the retina and transferred to certain parts of the brain.
The old building contains erased pictures of the past. The uninformed visitor’s first impression is of an almost infinite number of empty frames, blank canvases, and vacant pedestals. Only those with knowledge acquired on the previous course can decipher the spectacle by projecting their memories onto these empty provocations: a continuous film of images, improvements, and accelerated versions of the history of art automatically produce new works, filling the space with recollections, modifications, and inventions.
Apart from these three main buildings, the only tangible exhibits in the Square are small buildings that resemble pawns on the grid of an ancient game. They are dropped like meteorites of unknown metaphysical meaning, waiting to be moved to the next intersection of the game; with each move they are further deciphered.

囚禁之球

THE SQUARE OF THE CAPTIVE GLOBE 

这个方形致力于各种理论、解读、思想建构和提议，对其人工塑性并催速诞生，而后将这些新想法强加于世界上。

这是自我之都，科学、艺术、诗歌与其他特定形式的狂热在此竞相争艳，其竞争环境理想而相同。人们发明形而上学的答案，提出社会组织的变革，摧毁并重建世界的现象真实。

这将是意识形态的温室。这意识形态无法吞噬世界，不会承认任何局限的现象而压制他者。每一个这样的科学或狂热都有自己的地块，其上是一模一样的抛光石材的基础。这些基石是意识形态的实验室，用以暂时悬置不受欢迎的法律和无可争议的事实、创造未曾存在的物质与精神状况、推动并激励前瞻的活动。

从这些敦实的花岗岩体块开始，每一束哲学思想直冲云霄；这些体块不断生长（体量和之内的思想活动的受欢迎度、热情与道德容量成正比），将容纳更多的住宅、数据存储、捏造的证据、等等……

同时，这些塔会成为思想的物质化身和符号，成为潜意识交流的奇迹。

有些基础石块想展现确切而宁静的臂膀，而另一些则选择了更松软的环境，表达其试探性地揣测和致幻又令人质疑的暗示。

这些极端的肢干形成意识形态的展览，在远处恍然若现，在近处能仔细端倪；学生们自发的来观看基石与塔楼的展览，他们仔细地观察、批判和对比之后，将不可抗拒地选择加入并参与其中，详细分享自己的科学、诗歌与疯狂。

这个方形是条带的大学。

这意识形态的天际线，是永恒变换的丰富奇观，它是精神狂热、道德愉悦、智力意淫。

如果有一座楼倒塌，那将代表如下二者之一：失败、放弃和设想的撤退，抑或是视觉尤里卡的惊叹。

证实的理论

不去的狂热

存在的思想

成真的谎言

长眠的美梦

在这些时刻，悬于这个方形中央的囚禁之球将会显形：所有的机构一起组成了世界自身的巨型温室。这些机构在这地球上产卵、将其改变，又不断叠加新的内容。

这些建筑和他们的激情的调查者们吞噬了事实、物件和现象，只为涌泉相报。

囚禁之球不断增重——缓慢增温——它悄然无息地生长。

就算它命途多舛、饱经羞辱，其母体青春长存。

我们带着听诊器，密切关注着意识形态。问题是（我们对答案并不悲观）：谁先破裂？

是这不可能之卵的壳，还是我们自己？

This square is devoted to the artificial conception and accelerated birth of theories, interpretations. mental constructions and proposals, and their infliction on the World.

It is the capital of Ego, where science, art, poetry and certain forms of manias will be allowed to compete under ideal and identical conditions, to invent the answers to metaphysical questions, to propose changes in social organization, to destroy and restore the World of phenomenal reality.

It will be an incubator of ideologies, which will not be permitted to consume the world, to recognize only certain phenomena and suppress others. Each of these sciences and manias has its own plot. On each plot stands an identical base, built from heavy polished stone. These bases, ideological laboratories, are equipped to temporarily suspend unwelcome laws, undeniable truths, to create nonexistent physical and mental conditions, to facilitate and provoke speculative activities.

From these solid blocks of granite, each philosophy expands indefinitely towards heaven; This growth from the blocks (in direct proportion to the popular appeal, excitement and moral volume of the intellectual activities inside) will house additional accommodation, data storage, fabricated evidence, etc. …

At the same time, these towers will be the visualizations, and symbols of these ideas, a spectacle of sublime communication.

Some of the basic blocks will want to present limbs of complete certainty and serenity, others will choose a soft environment of tentative conjectures and hypnotic, but questionable suggestions.

These extremities, these limbs will form an ideological exhibition, visible from afar, and scrutinized from nearby; the visitors to this exhibition will be spontaneous students, a close inspection and critical comparison of the blocks and towers will create the irresistible urge to choose, join and participate, to share and elaborate a science, a poem, a madness.

This square is the university of the Strip.

The changes of this ideological skyline will be rapid and continuous, a rich spectacle of moral fever, ethical joy. or intellectual masturbation.

The collapse of one of these towering structures can mean two things: failure, giving up, a vacating of the premises, or, the exclamation of a visual Eureka.

A Theory that works

A mania that sticks

An idea that is

A lie that has become truth

A dream from which there is no waking up

On these moments the purpose of the Captive Globe, suspended in mid-air in the center of the square, becomes apparent: all these institutes together form an enormous incubator for the World itself. They are breed ng on the globe, changing it, adding something to its contents.

These buildings and their passionate investigators have consumed facts, objects, and phenomena, in order to give more and better in return.

The globe gains weight. - Its temperature rises slowly. - Invisibly it grows.

In spite of the most humiliating setbacks, its ageless pregnancy survives.

We all have our ear on the stethoscope of the ideologies. The question is (and we are not too pessimistic about the answer): who will crack first?

The skin of this impossible egg, or perhaps ourselves? 

生物交易所

Institute of Biological Transactions

生物交易所以生物危机和身心健康为由，绑架了这些自愿的囚徒；它也证明死亡全然无害。

生物交易所的建筑如十字架般分成四翼。第一部分是医院，它是现代医疗的军械库，却致力于医疗过程的降级，并削弱痊愈的欲望。这里没有人造的心跳，没有化学污染，没有虐待狂式的续命。这项新策略减少了平均期望寿命，也因此减少了衰老、体弱、恶心和疲惫。实际上这里的病人都很“健康”。

医院中的楼呈空间序列，每一栋楼针对一项病症，由医疗大道连接在一起——一条缓缓移动的传送带上展示了患病过程，一组护士穿着透明的制服手舞足蹈，医疗设备伪装成图腾，浓烈的香水掩盖住熟悉的病患气息，气氛如庆典和歌剧一般。

医生从传送带上选择自己的患者，邀请他们到自己的单间，测试生命体征，谈笑风生地炫耀自己的（医学）知识。如果他们失败了，患者就被送回传送带，也许另一个医生会再试一下这个患者，但显然这个传送带之后会穿越所有医院的楼、穿过整个十字架，直接进入墓地。

The Institute sustains the Voluntary Prisoners through biological emergencies and physical and mental crises; it also demonstrates the harmless nature of mortality.
It is divided into four parts by a cruciform building. The first part, the hospital, contains the complete arsenal of modern healing, but is devoted to a radical deescalation of the medical process, to the abolition of the compulsive rage to heal. No forced heartbeats here, no chemical invasions, no sadistic extensions of life. This new strategy lowers the average life expectancy and with it, senility, physical decay, nausea, and exhaustion. In fact, patients here will be “healthy.
The hospital is a sequence of pavilions, each devoted to a particular disease. They are connected by a medical boulevard -a slow-moving belt that displays the sick in a continuous procession, with a group of dancing nurses in transparent uniforms, medical equipment disguised as totem poles, and rich perfumes that suppress the familiar stench of healing, in an almost festive atmosphere of operatic melodies.
Doctors select their patients from this belt, invite them to their individual pavilions, test their vitality, and almost playfully administer their (medical) knowledge. If they fail, the patient is returned to the conveyer; perhaps another doctor tries the patient, but it soon becomes apparent that the belt leads beyond the pavilions, through the cruciform building, and straight into the cemetery.

这里是永恒的庆典。亘古不变的气味和舞蹈，与暗黑色灌木丛和地块上无情的建筑形式相比，要有人情味得多。

在这个方形的另一部分，是降生三殿。生死于斯，数据守衡。这两者之间的关系之不庄重、交接之温润，抚慰人心。缩短的寿命使人产生急切的野心；它绝不容忍不尽开发的大脑、人为延长的童年以及浪费的青春。降生三殿也会照顾婴儿，教育儿童，并将他们培养成为能积极参与条带生活的小大人——越快越好。

The mood here is continuously festive. The same smells, the same ethereal dance, are made still more human by the contrast between the ruthlessly form allay out of the plots and the unnaturalness of the dark green shrubbery.

In another part of the square, the Three Palaces of Birth, there is a statistical balance between births and deaths. The physical proximity of these events suggests the consolation of a causal relationship between the two, a gentle relay. The lowering of the average life expectancy creates an ambitious urgency; it does not allow the luxuries of underexploited brains, the artificial prolongation of childishness or wasted adolescence. The Three Palaces of Birth will also care for babies, educating them and turning them into small adults who -at the earliest possible date – can activefy participate in life in the Strip.

第四部分中，精神病患者一如往常地被展出。不是作为病患自身，而是作为精雕细琢的幻象的一部分，这些幻象被尖端设备所维持：无数的拿破仑、南丁格尔、爱因斯坦、耶稣和圣女贞德穿着自定的服饰。

最后，是十字架建筑本身，它分开了上述四个部分，里面藏有从古至今所有囚徒的生命数据和成长过程。官僚主义虽常常因狂热控制、轻视隐私和道德沦丧被批判，但它却赋予了这些囚徒一种新型的永生：强大无比的计算机里连着数据的宝库，眨眼间就能写出逝者的人生传记，以及未截稿的生者传记——既定的事实与无情的推演——被用作规划人生前途的重要工具。

In the fourth part, mental patients will be on display as in former days, not as themselves but as part of a well-produced exhibition of their delusions, sustained by the most advanced technical equipment: an infinite number of Napoleons, Florence Nightingales, Einsteins, Jesus Christs, and Joans of Arc all in their custom-made uniforms.
Finally, the cruciform building, which separates the four compartments, contains the archives- records of all vital facts, developments, and life incidents of past and present Prisoners. Bureaucracy, so often criticized for its passion for control, contempt for privacy, and moral blindness, guarantees the Prisoners a new kind of immortality: this statistical treasure, linked to the most imaginative computers, produces not only instant biographies of the dead in seconds, but also premature biographies of the living -mixtures of facts and ruthless extrapolations -used here as essential instruments for plotting a course and planning the future.

攻击性公园

Park of Aggression

在这个娱乐区里，矗立的原始结构将人们的攻击欲望诱导成为创造性的对抗。展开的本我/世界使千姿百态的意识形态在此绽放。而它们的强制并存，唤起了人们幼时的梦想和玩耍的欲望。这个公园里永远存储着蓄势待发的矛盾和张力，它是个尺度可变的巨型游乐场，而其中的活动只有一个：攻击。

在这里，冲突被重新合法化：文明行为里那种腐蚀性的情感过剩，被舞台上的战斗所消融。对个体而言，这公园又是患者的避难所，他们为了从旧世界感染的残余中康复：伪善与自杀。诊断提供了诸多新的交媾方式。最突出的建筑物是两座塔。一座是无休无止上升的螺旋；另一座是建筑风格熟悉的42个平台。两塔之间的磁场产生了一种能映射使用者心理动机的张力。

公园是免费的，表演络绎不绝；来访者或独行、或成双、或成组。玩家们自信满满，消解了方形高塔带来的巨大不确定性和不安全感。塔中是一列列的房室，来访者退居其中，将压抑已久的憎恨毫无顾忌地发泄在对方身上。

In this recreational area, rudimentary structures were erected to correct and channel aggressive desires into creative confrontations. The unfolding ego/world generates the continuous emergence of conflicting ideologies. Their imposed coexistence invokes childish dreams and the desire to play. The Park is a reservoir of sustained tension waiting to be released, a gigantic playground of flexible dimensions to accommodate the Strip’s only sport: aggression.
Here, conflicts are reenacted: the staged battles dissolve the corrosive hysteria of good manners. On an individual level, the Park is a sanatorium where patients recover from remnants of Old World infections: hypocrisy and genocide. The diagnoses provide richer forms of intercourse. The most prominent edifices are the two towers. One is infinite, a continuous spiral; the other, consisting of 42 platforms, has a familiar architectural style. Magnetic fields between these towers create a tension that mirrors the psychological motivations of their users.
Entry to the Park is free, and performances are continuous; visitors arrive alone, in pairs, or in small groups. The aggressive confidence of the players compensates for the electrifying uncertainty about the safety of the square tower. Inside the tower are shelves containing cells where visitors withdraw to vent suppressed hatred, freely abusing each other.

但这些对抗者个体同时也是观众：这一列列房室也是面朝塔中大平台的观看厅，（这样的空间排布）激起了其他来访者在下面的平台上成组，进行不明所以的身体交易。仅存的羞耻心也被克服，来访者们将各自的能量不遗余力地灌注在这扭曲的社会行为中。在一场烦乱的睡眠里，他们在塔中攀登；他们每上一层楼，看见下面的视角也就越好，于是在这高耸的建筑周围，他们体验了豁然开朗、精神抖擞的感官奇迹。

塔向前倾斜，将这些对抗者无情地推向自省的螺旋和深渊。它的消化蠕动吞噬着多余的心慈手软：这是皮下脂肪的燃烧室。这些人体导弹被离心加速，选择螺旋尖塔外墙的开口逃逸。它们是汇聚了恐怖能量的物件，被抛入了不可抗拒的诱惑的轨道。

整个公园的表面——其上的空气和其下的洞窟——组成了宏大的战场。随着活动持续进入深夜，它逐渐变成了致幻的庆典模样，而墙外废弃世界的精准灭绝与旖旎静滞则成为了幕布。夜间的探险结束后，来访者前往一个斜跨整个条带的巨大竞技场里庆祝集体的凯旋。

But these private antagonists are also spectators: the shelves serve as viewing galleries which overlook the larger platforms of the tower, provoking visitors to join groups involved in unknown physical transactions below. As remnants of shyness are overcome, visitors add their private energies to this incredibly demanding and mutant form of social behavior. In an agitated sleep, they ascend the tower; as they pierce each floor, their view of the activity below improves, and around the architecture of great height they experience an exhilarating new sensation of the unfolding spectacle.

As their tower leans forward, they push their antagonist into an abysmal fall through the relentless spiral of introspection. Its digestive movements consume excessive softness: it is the combustion chamber for the fat underneath the skin. The human missiles, helped by centrifugal acceleration, escape through a chosen opening in the walls of the spiral. They are objects of terrifying energy released into a trajectory of irresistible temptations.
The entire surface of the Park -the air above and the cavities below -becomes a full scale battlefield. As the operations continue into the night they take on the appearance of hallucinatory celebrations against the backdrop of an abandoned world of calculated extermination and polite immobility.
As they return from their nocturnal adventure, the visitors celebrate their collective victories in a gigantic arena that crosses the Park diagonally.

分配地块

The Allotments

为了从猛烈的集体主义需求中挽回些许私密，每个自愿的囚徒都有一小块土地，以供自己修身养性。这些地块上的房屋由最昂贵奢侈的材料建成（大理石、铬、钢）；它们是人们的小型宫殿。在无耻的潜意识里，这些看似简单的建筑暗中实现了自己的野心，致使人们心怀满足与感激。

这些分配的地块受到严密监视，以至于任何内外骚动都可以避免，或至少被迅速镇压。

这里的媒体输入为零。禁止使用纸张，收音机神秘地失灵，整个“新闻”的概念被扭曲，取而代之的是对辛勤耕耘这些地块的耐心奉献；房屋的表面被擦洗、抛光、润色。时间抑止。

这里无事发生，而空气中弥漫着沉重的兴奋的气息。

To recover in privacy from the demands of intense collectivism, each Voluntary Prisoner has a small piece of land for private cultivation. The houses on these Allotments are built from the most lush and expensive materials (marble, chromium, steel); they are small palaces for the people. On a shamelessly subliminal level this simple architecture succeeds in its secret ambition to instill gratitude and contentment.
The Allotments are well supervised so that both external and internal disturbances can be avoided, or at least quickly suppressed.
Media intake in this area is nil. Papers are banned, radios mysteriously out-of-order, the whole concept of “news” ridiculed by the patient devotion with which the plots are plowed; the surfaces are scrubbed, polished, and embellished. Time has been suppressed.
Nothing ever happens here, yet the air is heavy with exhilaration.

The Avowal

誓言（原文法语，由Stefan weber翻译成英文）

跋

Epilogue

虽说第一眼看上去这些信息和提议的隐喻盖过了其实际意义，但这绝不是另一个乌托邦。

这个区域今天就可以被建造（必要的话，可以是片段，也可以在别的场地。这些片段大抵是像石头一般散布的，彼此相隔一定距离，其掷入都市之池的涟漪相互叠加碰撞，也仅因此相连。它们就如真正的社会凝聚器一般）。这需要人们坚信，城市是社会欲望的温室，是所有欲望的物质化集成。如果人们能熟知建筑，他们将决定重修精神与物质的城市社会生活，将其改造成为都市理想的生活图景。

在末世的危机下，集体无意识的、癫狂而宽容的共同努力中，个体欲望的实现似被吞没，这成为了普遍的担忧。这导致了幻想的提议，毕竟现实的匮乏之下，唯有幻觉能继而给人慰藉。

就像美杜莎的木筏上的流放者一般，最后存活的现实主义者紧攥着希望之羽翼，降落在救援船上：城市，终于在野蛮时代之后，浮现于天际。

Although at first sight the metaphorical message of these proposals may seem to dominate practical considerations, this is not another Utopian tale.

The zone can be built today (if necessary, in segments, perhaps with a modified location, perhaps with the segments dropped like stones, apart from each other, and only connected by the overlapping ripples caused by their impact on the urban pond, i.e. like true social condensers). It requires a fundamental belief in cities as the incubators of social desires, the synthetic materializations of all dreams. If people were allowed to become acquainted with Architecture, they would decide to re-appropriate the physical and ideological decay of our Urban Societies and to rehabilitate their premises with the metropolitan ideal and life style. Under the threat of doom, the common concern, that is the fulfilment of all private desires within a subliminally collective and deliriously permissive common effort, produces phantom proposals, in the knowledge that phantom reality is the only possible successor to the present reality shortage.

Like the castaways on the raft of the Medusa, the last surviving realists, hanging on the parachute of hope are dropping on the rescue ship: THE CITY which, at the end of cannibalism, will appear on the horizon.

后记

文章的笔吻是宣言式的。建筑成为了城市社会欲望的容器，而这些欲望发生的场景充满了血腥、暴力、色情，显然意图让读者不适。然而结尾的小诗却无比美丽，人们沉浸在美好的欲望生活中无法自拔，且文末库哈斯竟也毫不质疑这样的乌（异）托邦将会被建造，这与主旨清晰的《美丽新世界》截然不同。毕竟“作者已死“，也许他的本意就是创造一系列不加阐释的“概念片段“，以供读者去解读。

另一方面，屈米说：“这篇文本并不想描述建筑，它即是建筑本身“。这一作品没有图像也许仍能理解，但没有文本则是让人一头雾水。以人们对场景和图纸的感知是整体的、同时的、感官的，而对文本的认知则更为线性、有时间顺序、思维。可以说，本作品为代表的1970年左右的许多文本，可以说将文本既视为设计和分析的手段，也作为表达方式，带入了建筑学的话语体系。

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