米拉之家<br>Casa Mila<br><br>位置：西班牙 巴塞罗那<br><br>分类：居住建筑<br><br>内容：实景照片<br><br>图片：7张<br><br>米拉之家-1<br><br>总建筑师:安东尼·高迪Antoni Gaudi<br>委托人:Roser Segimon and Pere Milà<br><br>安东尼·高迪设计的米拉之家有着波浪形的外观、超现实主义的雕刻般的屋顶，这让它看起来少了些人工的造作，而多了点自然气息，仿佛是直接从地面向上雕刻而成。这座被世人称为La Pedrera（即“采石场”）的建筑深受当时西班牙的“新艺术运动”（十九世纪末至二十世纪初风行于欧洲的一种美术工艺的样式，以自然之曲线为其特色）——加泰隆现代主义运动的影响，并从中获得灵感。安东尼·高迪应米拉先生（Pere Milà）之邀为Pere Milà和他的太太Roser Segimon设计这座“米拉之家”。这栋建筑于1912年建成，共有九层：地下室、底层、夹楼层、主楼层、四层上层楼面以及一层阁楼。底层用作车库，夹楼层为入口，二楼为主楼层，是米拉夫妇居住的地方，三、四、五、六楼是供出租的住宅。建筑环绕两个室内庭院而建，按设计的样式形成一个8字形的外观。屋顶是蜚声世界的雕塑形阳台。屋顶设有天窗、太平梯、排风扇和烟囱，且每一处功能区的外壳都拥有独立的雕塑特色，成为整栋建筑风格的一部分。“米拉之家”在结构上的特点是建筑构架与各面墙壁相互独立。石造的外墙没有承受建筑本身重量的功能。弯曲的钢梁与建筑构架相接，以承受外墙的重量。这样，高迪在设计时便可挥洒自如，不用受任何结构的约束，最终使他构思中的延绵不断的波浪形外墙成为可能。这一构架同时还撑起了屋顶，使建筑形成了一个有机的几何图形。在建筑上方坐落着一个由270块不同高度的抛物线拱砖组成的脊椎型肋拱，使得大楼看起来起伏不平。建筑的外观在形式上可以分三个部分来解读：延伸至底层一楼的临街外墙，包围主楼面和上层楼面的主墙，以及建有阁楼并支撑着屋顶花园的屋顶建筑。主墙由石灰岩块建成，墙面上的曲线充满张力、凹凸不平，别有一种朴实的自然气息。主墙之上的部分曲曲折折、婀娜多姿，在这里栖息着各种被赋予人性的超现实主义雕塑。正是这些雕塑的存在，赋予了建筑流动的美感。“米拉之家”虽然至今仍是座备受争议的建筑，但它对西班牙加泰隆现代主义运动乃至整个现代主义思潮都做出了巨大的贡献。高迪突破以往建筑中纯粹的直线结构，有意将自然世界中的有机形式用于建筑的形态塑造中，有效地促进了仿生学的应用。高迪在结构与形状的创造方面独具天赋，而“米拉之家”正好印证了这一点。<br><br>译者： 何碧云<br><br><br>With its undulating façade and surrealist sculptural roof， Antoni Gaudi’s Casa Mila appears more organic than artificial， as if it were carved straight from the ground. Known as La Pedrera， the quarry， the building was inspired by the Modernista movement，Spain’s version of Art Nouveau.Constructed in 1912 for Roser Segimon and Pere Milà， the building is divided into nine levels: basement， ground floor， mezzanine， main floor， four upper floors， and attic. The ground floor acted as the garage， the mezzanine for entry， the main floor for the Milas， and the upper floors for rent. The building surrounds two interior courtyards， making for a figure-eight 8 shape in plan. On the roof is the famous sculpture terrace. Practically， it houses skylights， emergency stairs， fans， and chimneys， but each function’s envelope takes on an autonomously sculptural quality which has become a part of the building itself. Structurally， the building is divided between structure and skin. The stone façade has no load-bearing function. Steel beams with the same curvature support the facade’s weight by attaching to the structure. This allowed Gaudi to design the façade without structural constraints， and ultimately enabled his conception of a continuously curved façade. The structure holding up the roof， too， allows for an organic geometry. Composed of 270 parabolic brick arches of varying height， the spine-like rib structure creates a varied topography above it. Formally， the façade can be read in three sections: the street façade， spanning the ground floor; the main façade， including the main and upper floors; and the roof structure， which houses the attic and supports the roof garden. Made of limestone blocks， the curve of the main façade has a weighty and textured quality of the organic. Above it is a curvaceous mass on which surrealist anthropomorphic sculptures perch. Their presence contributes to the almost flowing dynamism of the building’s aesthetic.The Casa Mila， which was ultimately a controversial building， contributed greatly to the Modernista movement and modernism as a whole. It pushed formal boundaries of rectilinearity and， as Gaudi intentionally drew from natural and organic forms for the building’s shape， significantly inspired practices of biomimicry. Gaudi was a genius of structure and form， and the Casa Mila attests to that.