The Cite Radieuse, the Radiant City, 引用辐射的城市，辐射之城，
a building that has become mythical, an emblem 一座已经成为神话的建筑，一个象征
of modern architecture. 现代建筑。
The inhabitants of Marseille have nicknamed it 马赛的居民给它起了个绰号
La Masion du Fada, The Nutter's House. 这是Nutter的房子。
It is the work of one of the most famous architects 这是一位最著名的建筑师的作品
of the 20th century, Le Corbusier. 在20世纪，勒柯伯耶。
A star of contemporary art, Xavier Veilman, 当代艺术的明星，泽维尔。维伊曼，
describes this post war construction as a masterpiece. 把这篇战后建筑描述为一幅杰作。
And, talks about it with a passion rarely bestowed 并且，用一种很少给予的热情来谈论它
on social housing. 在社会住房方面。
It was very imposing when you see it in real life, 当你在现实生活中看到它时，它是非常壮观的，
like a huge ocean liner. 就像一艘巨大的远洋客轮。
It's pretty spectacular. 非常壮观。
The building has an identity so that when you live 这栋建筑有一个身份，所以当你活着的时候
in the Cite Radieuse you live in something unique. 在引用辐射中，你生活在一个独特的地方。
So, that's one thing about it that's epic. 所以，这是一件史诗般的事情。
And, when you go inside it really makes an impact. 当你进去的时候，它真的会产生影响。
When you're on top of it you really feel 当你在上面的时候，你会觉得
you're on the beach, or on the deck of a ship. 你在海滩上，或者在船的甲板上。
On the roof of the Cite Radieuse 在引用辐射的屋顶上
in this environment that the architect wanted 在这个架构师想要的环境中
to be symbiotic with nature, the mountains in the 与自然共生，山在
background, the sea, and the sky. 背景，大海和天空。
Xavier Veilman pays homage to the creator he admired Xavier Veilman向他所推崇的造物主致敬
with his installation. 他的安装。
The idea was not to start from a neutral point, 我们的想法不是从一个中立的观点出发，
like museum hall or a gallery, but to work from somewhere 比如博物馆大厅或画廊，但要从某个地方工作
that already had strong connotations and to use this place 这已经有了很强的内涵并使用了这个地方
as a starting point around which to construct an exhibition. 作为一个起点，在此基础上建造一个展览。
And, I like the idea of this sort of inversion 我喜欢这种倒置的想法
of the architect drawing on the ground of his own 建筑师在他自己的土地上作画
already contructed building. 已经建好了的建筑。
He is also a very ambiguous person, a person 他也是一个非常模糊的人，一个人
with a somewhat austere side. 带着几分严肃的一面。
It's tricky to really understand who this character is, 要真正理解这个角色是很困难的，
with his many dual aspects. 他有许多双重的方面。
For example, painter in the morning, architect 例如，画家在早上，建筑师
in the afternoon. 在下午。
Both dogmatic and human. 既教条又有人性。
In doing what he did he defined himself as Le Corbusier. 在做他所做的事情时，他把自己定义为勒柯比耶。
He invented his own role which was to be Le Corbusier, 他创造了自己的角色那就是勒柯比耶，
you might say. 你可能会说。
Le Corbusier is so representative of 勒柯比耶非常具有代表性
architecture that he can be thought of as synonymous 他可以被认为是同义的
with it. 有了它。
With his large round glasses, his austere clothing, 他的大圆眼镜，朴素的衣服，
and his bowtie his geometric appearance was a skillfully 他的领结他的几何形像很有技巧
fashioned trademark. 时尚商标。
His world famous achievements are true icons, 他的世界著名成就是真正的偶像，
Like the Villa Savoye, the Cite Radieuse, 就像萨沃耶别墅，引用的放射状，
or the Ronchamp chapel. 或者是隆尚教堂。
Le Corbusier has left to the world 勒柯伯耶已经离开了世界
are some of the most extraordinary buildings 是一些最不寻常的建筑
ever constructed in all of time. 在所有的时间里建造的。
Both a builder and an unparalleled theorist 既是建造者又是无与伦比的理论家
his numerous works have had a lasting influence 他的许多作品都有持久的影响力
on generations of architects. 一代又一代的建筑师。
Le Corbusier was also a great idealist who wanted 勒柯比耶也是一个伟大的理想主义者
to change the world with his architectural works. 用他的建筑作品来改变世界。
In all these terms Cite Radieuse, Villa Radieuse 在所有这些术语中都引用了Radieuse，Villa Radieuse
there is this continual idea of making people happy, 有一个让人快乐的持续的想法，
of creating the ideal city, the ideal place. 创造理想的城市，理想的地方。
Le Corbusier is a tale of incredible 勒柯比耶是一个难以置信的故事
ambition, that of a very rational spirit, and a great 雄心，一种非常理性的精神，一种伟大的
uncompromising artist, ready to demonlish entire 不妥协的艺术家，准备把整个人都妖魔化
neighborhoods of Paris for the good of its inhabitants. 巴黎的社区为了居民的利益。
He was also a great seducer who made his mark. 他也是一个很有魅力的人。
Hungry for recognition he maintained an extensive 渴望得到认可，他保持着广泛的
correspondence with his mother in which he tried endlessly 和他母亲的通信，他不停地尝试
to convince her that he was a very great artist. 使她相信他是一位伟大的艺术家。
Marie Jeanneret-Perret was the love 玛丽珍妮特-佩雷特是爱
of Le Corbusier's ife. 勒柯西耶的ife。
He never gives up with trying to get his 他从不放弃试图得到他的
mother's approval. 母亲的同意。
He never can really get things right for her. 他从来都不可能把事情做好。
Le Corbusier, or the story of a life dedicated 勒柯伯耶，或者是关于生命的故事
to modern architecture. 到现代建筑。
It was in 1887 in La Chaux-de-Fonds, a town enclosed 那是1887年，在La Chaux-de-Fonds，一个封闭的小镇
in a Swiss valley that Charles-Édouard Jeanneret was born. 在瑞士的一个山谷里，查尔斯-迪雅德-杰纳雷特诞生了。
He was later to become the great Le Corbusier. 他后来成为了伟大的勒柯比耶。
He was the youngest child of a close-knit petite bourgeoisie 他是一个身材娇小的小资产阶级中最小的孩子。
Protestant family. 新教家庭。
The Jeanneret's had lived in this watch making capitol Jeanneret曾经住在这只手表上
for four centuries. 四个世纪。
As such, from father to son, they were watch engravers. 因此，从父亲到儿子，他们都是看着雕刻师。
They were a family with conservative values, 他们是一个有着保守价值观的家庭，
where it was obligatory to fit the mold. 在那里必须符合模具的要求。
The values of this family are very clear. 这个家庭的价值观是非常清楚的。
Papa always said, 爸爸总是说，
"What you need to do, do it now." “你需要做什么，现在就去做。”
This was also said to be the motto of the mother's family. 这也被认为是母亲家庭的座右铭。
Hard work, no point in complaining although the mother, 努力工作，没有理由抱怨，尽管母亲，
we'll discover, complains as much as she wants, 我们会发现，抱怨她想要的，
but what she complains about usually is her younger son, 但是她经常抱怨的是她的小儿子，
Charles-Édouard. 查尔斯------杜德。
Charles-Édouard was a rather inattentive charles-douard是一个相当不专注的人
student, his school results were mediocre 学生，他的学校成绩平平
and disappointed his parents. 令他的父母失望。
He was a child that didn't particularly flourish, 他是一个没有特别繁荣的孩子，
overshadowed by the perfect image of his brother Albert, 被他的哥哥阿尔伯特的完美形象所掩盖，
a year and a half his elder and his mother's blue eyed boy. 一年半，他的长辈和他母亲的蓝眼睛男孩。
Charles-Édouard has that sense throughout his childhood 在他的整个童年时代，查尔斯-埃尔德都有这种感觉
that their mother was always 他们的母亲总是
more aware of Albert. 更了解阿尔伯特。
Albert was a gifted violinist, whom his 艾伯特是一位很有天赋的小提琴家。
mother Marie was proud of. 玛丽母亲为之自豪。
As a piano teacher she dreamed of a great career 作为一名钢琴教师，她梦想着伟大的事业
as composer for her eldest son who, advanced 作为她的长子，她的长子
beyond his years, was already giving concerts 在他的这些年里，他已经在举办音乐会了
at the age of 11. 在11岁的时候。
In an attempt to distinguish himself in his mother's eyes 试图在他母亲的眼中使自己与众不同
the young Charles-Édouard would have to carve out 年轻的查尔斯-埃尔德-杜德必须要开拓
his own path. 他自己的道路。
But, in the meantime, his parents set him on a well 但是，与此同时，他的父母却把他放在了一个井里。
defined path. 定义路径。
At the age of 13 he was sent to the town's school 13岁时，他被送到镇上的学校
of applied art in 1900. 1900年的应用艺术。
Following in the family tradition he was to become 按照他的家族传统，他将成为
a watch engraver. 手表雕刻师。
Charles-Édouard proved to be somewhat gifted 查尔斯-埃尔德-杜德被证明是有天赋的
at this exercise in precision. 在这个练习中。
This is one of his watches. 这是他的手表。
But, he detested this repetitive craft that required 但是，他讨厌这种重复的工艺
so little creativity. 很少有创造力。
At school the young man would finally discover a subject 在学校里，这个年轻人终于发现了一个主题
that he found much more exciting than watch making: 他发现比看电视更令人兴奋：
drawing. 绘画。
He assiduously followed the classes of Charles L'Eplattenier 他勤奋地学习了查尔斯的课程
who taut his students to observe nature, 他把学生拉紧以观察自然，
to draw inspiration from it to create new shapes. 从中汲取灵感，创造出新的形状。
The young Jeanneret launched himself passionately 年轻的Jeanneret热情地发起了自己的行动
into this exercise. 在这个练习中。
He drew the surrounding pine forest, scrutinizing 他画了周围的松树林，仔细观察
the smallest details of his environment, 他所处环境的最小细节，
like the structure of the branches of the trees 就像树枝的结构一样
or the pine cones. 或者是松果。
Le Corbusier would later write that L'Eplattenier 勒柯布希耶后来写的是l'eplattenier
opened up a new route for him into creativity. 为他开辟了一条通往创造力的新道路。
"I don't know what it was but he inspired “我不知道那是什么，但他启发了我。”
something sacred, something great in me, something abstract 一些神圣的东西，一些伟大的东西，一些抽象的东西
and illusive, a thirst for art." 还有幻觉，对艺术的渴望。”
The teacher was impressed by his young 老师对他的孩子印象深刻。
student's watercolor. 学生的水彩画。
The pine trees were reduced to the very essence 松树被简化成了最本质的东西
of their form. 他们的形式。
In a very conceptual way he transformed the forest 他以一种非常概念性的方式改变了森林
into geometric patterns. 变成几何图形。
L'Eplattenier detected in him a rational mind paired with 他在他身上发现了一个理性的思维
an obvious talent, two of the virtues required 一个明显的天赋，需要的两种美德
to become an architect. 成为一名建筑师。
Following his teacher's invaluable advice Charles-Édouard 跟随他的老师宝贵的建议，charles-douard
Jeanneret at the age of 17 enrolled to study architecture. Jeanneret 17岁时注册学习建筑。
The young student, who at school had never been excited 这个年轻的学生，在学校里从来没有兴奋过
by theoretical classes, would achieve a real tour-de-force. 通过理论课程，将会达到真正的“止尽”。
He persuaded one of his teachers Louis Fallet 他说服了他的一位老师路易斯法利特
to entrust the construction of his own house to him. 把自己房子的建设委托给他。
After a year in design and two years in construction 经过一年的设计和两年的建设
the house was completed in 1907. 这所房子于1907年竣工。
Charles-Édouard was not yet 20 years old, 查尔斯-埃尔德-杜亚德还不到20岁，
this is the result. 这就是结果。
In principle, it looked like an ordinary chalet. 原则上，它看起来像一个普通的小木屋。
It was still far from being a Le Corbusier house, 它还远不是勒柯比西的房子，
but a closer look reveals certain details which 但是仔细观察就会发现一些细节
herald his future style. 预示着他未来的风格。
In particular, the simplicity of the ornamentation 特别地，装饰的简单性
like these very geometric pine trees. 就像这些非常几何的松树。
The apprentice architect had fully taken on board the lesson 这位学徒建筑师已经完全接受了这个教训
about naturalism. 关于自然主义。
But, above all this first project would set 但是，最重要的是，第一个项目将会
Charles-Édouard free. 这是一种免费的游戏。
He had found his calling and a real confidence 他找到了他的使命和真正的自信
in his own talent. 以他自己的才能。
"At the age of 17 I was fortunate to meet “17岁的时候，我很幸运地遇到了这个问题。
"a man free of prejudice who entrusted the construction “一个不受偏见的人委托建设
"of his house to me. “在他的房子里。”
"I realized then a house was built using materials "我意识到房子是用材料建造的
"and workers, and it was the plans for it which determine 和工人们，这是决定的计划
"whether it is a failure or a success. “不管是失败还是成功。”
"I had a real fear of school education and I was convinced “我真的很害怕学校教育，我很确信。”
"of the need to call on my personal judgement." “需要唤起我的个人判断。”
On the strength of this first experience 在第一次体验的力量上
Charles-Édouard considered that he was wasting charles-douard认为他在浪费时间
his time on too academic an education. 他的时间太过学术化了。
He left school without telling his parents, 他没有告诉父母，就离开了学校，
convinced that he would learn better by himself. 相信他自己会学得更好。
He never goes far enough with architectural training 他在建筑训练方面做得不够好
to recieve a diploma. 获得文凭。
He was never a certified architect in his entire life. 在他的一生中，他从来都不是一个合格的建筑师。
Charles-Édouard Jeanneret was a rebel. 查尔斯-埃尔德-杰纳雷特是一个叛逆者。
He broke the mold. 他打破了模子。
In 1907 he would read Nietzsche's novel 1907年，他会读尼采的小说
Thus Spoke Zarathustra, which his teacher, L'Eplattenier, 查拉图斯特拉说，他的老师，l'eplattenier，
had given him. 给了他。
In Zarathustra he greatly identified with the figure 在查拉图斯特拉他非常认同这个人物
of the Creator, who breaks the tablets of law. 创造者，打破了法律的石板。
He would then try to do just that, to break from 然后他会尝试这样做，来打破
L'Eplattenier's training and would end up detesting him, 他的训练最终会让他失去经验，
and calling him a liar. 称他为骗子。
When he was 19 years old he boarded a train 当他19岁时，他登上了一列火车
to go to Italy. 去意大利。
His parents were furious, very disappointed in him. 他的父母非常愤怒，对他非常失望。
He's supposed to keep up his studies. 他应该继续学习。
Indifferent to his parents recriminations 对父母的指责无动于衷
the young man decided that from then on he would 这个年轻人决定从那时起他会
educate himself through travel. 通过旅行来教育自己。
He wanted to discover the greatest achievements 他想要发现最伟大的成就
in the history of architecture, in his search 在建筑史上，在他的探索中
for perfection. 为了完美。
Charles-Édouard naturally started his quest in Italy charles--douard在意大利自然地开始了他的探索
with it's built heritage of inestimable value, 因为它具有不可估量的价值，
its Roman ruins, its marvelous Renaissance constructions. 它的罗马遗迹，它令人惊叹的文艺复兴建筑。
He tirelessly drew all these buildings, taking measurements, 他不知疲倦地画了所有这些建筑，测量，
scrutinizing them, and examining them in every detail. 仔细检查他们，并仔细检查每一个细节。
In particular, the Duomo in Florence which he exalted. 尤其是他所推崇的佛罗伦萨大教堂。
It's almost impossible to convey 这几乎是不可能传达的
the intensity with which young 年轻时的激情
charles-et douard Jeanneret Charles-Édouard Jeanneret
responded to certain buildings. 对某些建筑作出回应。
It was like a religious experience to him. 对他来说，这就像是一种宗教体验。
Charles-Édouard Jeanneret did not limit charles-douard Jeanneret并没有限制
himself to Italy, he also marvelled at the eastern palaces 他自己去了意大利，他也惊叹于东方的宫殿。
of Istanbul. 在伊斯坦布尔。
With an endless thirst for knowledge he would discover 他对知识的渴求永无止境
other forms of habitation, particularly in central Europe. 其他形式的居住，特别是在中欧地区。
But, it was in Greece that he would have the most 但是，在希腊，他会拥有最多的
intensely aesthetic experience, finding what came 强烈的审美体验，找到了
closest to perfection in Athens: the Acropolis. 雅典卫城最接近完美的地方。
For two weeks he goes back and forth to the Acropolis. 两周后，他往返于雅典卫城。
At times it's like the most passionate love affair, 有时这是最激情的爱情，
at times it's like a battle between him and the building, 有时这就像他和大楼之间的战争，
and at other moments he feels crushed by it. 在其他时刻，他感到被它压垮了。
He takes in the building from near. 他从附近进入大楼。
He takes it in from far. 他从很远的地方把它拿走了。
He studies it, but everything penetrates him. 他研究它，但每件事都能穿透他。
This position of observer, this practice of notation 这个观察者的位置，这种表示法的实践
through writing and sketching led him to break away 通过写作和素描使他离开了
from his training and to construct his own world. 从他的训练和建造他自己的世界。
And, this world made of sketches, water colors, 这个世界由草图，水彩组成，
and photos would form a sort of well that he would 照片会形成一种他想要的效果
draw from for the rest of his life. 从他的余生中汲取。
During his numerous travels across Europe 他在欧洲各地旅行时
he put the finishing touches to his training, 他完成了他的训练，
working with renowned architects. 与知名建筑师合作。
In 1909, while working with Perret Brothers in Paris 在1909年，在巴黎与Perret Brothers合作
he discovered a new material, reinforced concrete, 他发现了一种新的材料，钢筋混凝土，
which would later play an essential role. 这将起到至关重要的作用。
In the meantime, in 1912 he returned to his hometown 与此同时，1912年，他回到了家乡。
in Switzerland eager to set up on his own. 在瑞士，他渴望建立自己的事业。
At 25 and without a degree Charles-Édouard opened 在25岁的时候，没有一个学位证书
his architect's practice in this house 他的建筑师在这所房子里的实践
in the center of town. 在市中心。
On his business cards he wrote Jeanneret, 在他的名片上，他写了Jeanneret，
architect construction of villas and homes in the country. 在这个国家建造别墅和住宅的建筑师。
Among the buildings he worked on at that time 在当时他工作的建筑中
one project above all was important for him. 首先，一个项目对他来说很重要。
The house commissioned by his parents: 这所房子是他父母委托的：
La Villa Blanche, the White Villa. 布兰奇别墅，白色别墅。
Charles-Édouard wanted to impress his mother, 查尔斯-埃尔德-杜德想给他母亲留下深刻印象，
so he built her a mini Parthenon. 所以他给她建了一个迷你巴台农神庙。
Like a Greek temple the house sits majestically 就像一座希腊神庙，这座房子威严地矗立在那里
atop a pedestal overlooking the grounds. 在俯瞰地面的基座上。
A visitor comes upon it by climbing up a winding path 一个游客爬上一条蜿蜒的小路来到这里。
inspired by the one he took up to the Parthenon. 他受到了他带到神庙的启发。
A declaration of love for his mother, 他对母亲的爱宣告，
he also totally turned on its head the traditional layout 他也完全改变了传统的布局
of an early 20th century home. 在20世纪早期的家中。
In the Villa Blanche he made the center 在布兰奇的别墅里他做了一个中心
of the house the music room for his mother. 在房子里为他母亲的音乐室。
We could say that Marie Charlotte Amélie Jeanneret-Perret 我们可以说这是玛丽夏洛特阿玛蒂的谎言
was the love of Le Corbusier's life. 是勒柯比耶的爱。
He constantly looked to her with all his successes, 他不断地向她寻求成功，
but also at times when he experienced failure 但有时当他经历失败的时候
and disappointments. 还有失望。
We can clearly see that in the Jeanneret's family saga 我们可以清楚地看到，在Jeanneret的家族传奇中
his brother Albert was meant to be the hero 他的兄弟艾伯特本应成为英雄
in this family, which was more focused on music 在这个家庭中，更专注于音乐
than on visual arts. 而不是视觉艺术。
And, he himself was a mere architect, so he would spend 他自己只是个建筑师，所以他会花钱
his life for nearly 53 years writing to his mother 他的一生近53年来一直在给母亲写信
to tell her he was the good son. 告诉她他是一个好儿子。
To show his mother that from then on 为了让他的母亲从那时起
he deserved her full attention, that he was a great 他值得她的全部关注，他是一个伟大的人
architect, he built her an inordinately grand house. 建筑师，他为她建造了一座非常宏伟的房子。
It's elegant, it has terraces, it has reception rooms 它很优雅，有露台，有接待室
for social events. 参加社交活动。
Its got a kitchen big enough for people who entertain 它有一个足够大的厨房供人们娱乐
and have lots of people coming for dinner. 有很多人来吃晚餐。
They don't give dinner parties, their idea of a meal 他们不提供晚餐聚会，他们的饮食观念
was the four family members together. 四个家庭成员在一起。
They are frugal people. 他们是节俭的人。
They live modestly, and suddenly they're spending 他们过着简朴的生活，突然间他们开始花钱
their life savings on a very grand house. 他们的毕生积蓄都在一栋非常豪华的房子里。
This house became a poisoned chalice. 这房子变成了一个有毒的圣杯。
His parents had to go into debt to pay for such 他的父母不得不为这些钱而负债
a grand project, too much debt. 一个大项目，太多的债务。
The house bankrupts them. 这房子使他们破产。
By 1919 they had to sell the house, and they had 到1919年，他们不得不卖掉房子，他们有
to sell the house at a substantial loss. 以巨大的损失卖掉房子。
He has a tremendous sense of culpability. 他有一种巨大的罪责感。
He knows that his mother and father have been 他知道他的母亲和父亲
hard working people without a franc to spare 努力工作的人没有法郎
and yet he has caused them to lose most of their 然而，他却让他们失去了大部分的
modest fortune. 适度的财富。
Even before his parents experienced 甚至在他的父母经历过
these difficulties Charles-Édouard found that his hometown 这些困难，查尔斯-杜阿尔德发现他的家乡
was too small a stage for him to show his mother 对他来说，这个舞台太小了，不能让他看到他的母亲
the extent of his talent since commissions were rare, 他的天赋在很大程度上是罕见的，
only three houses in five years. 五年内只有三栋房子。
He got by doing small jobs and ended up loathing 他做了一些小的工作，最后却厌恶了
his hometown which restricted his great ambition. 他的家乡限制了他的远大抱负。
"La Chaux-de-Fonds is a blot on the landscape. “La Chaux-de-Fonds是一个在风景上的污点。
"I hate this town, the people too. “我讨厌这个城市，也讨厌人们。”
"I can do nothing but be dragged down here. “我只能被拖到这里来。”
"There is little work, they don't undertake major “没有什么工作，他们不从事专业工作。”
"projects in this town. “这个城市的项目。
"I have nothing, and will have nothing to do this year. “我一无所有，今年也不会有什么事可做。”
"My ambition, my vanity, and my pride are pushing me “我的野心，我的虚荣，我的骄傲都在推我。”
"towards great works." “走向伟大的作品。”
Having just turned 30 Charles-Édouard 刚满30岁的时候
decided that there was only one place for him to be 他决定只有一个地方可以让他
recognized as a great artist: Paris, 被公认为伟大的艺术家：巴黎，
which was the cultural capital of Europe at that time. 当时是欧洲的文化之都。
For a young man for a provincial town like 对于一个像小镇这样的小镇的年轻人来说
La Chaux-de-Fonds, seducing and conquering Paris La Chaux-de-Fonds，引诱并征服巴黎
was a massive undertaking, but that is what Jeanneret 这是一项浩大的工程，但这就是Jeanneret
was going to try to do. 我要试着去做。
Charles-Édouard did not arrive in Paris charles-douard并没有到达巴黎
at the best time, it was 1917 in the middle of the World War 在最好的时候，是1917年的世界大战中期
and the capital was subjected to German bombings, 首都受到了德国的轰炸，
particularly by super heavy mortar Big Bertha. 尤其是超级重的迫击炮大贝莎。
He was fascinated with the experience of going 他对自己的经历很着迷
into the cave seeking shelter, 进入洞穴寻求庇护，
but then he would leave the shelters 但是他会离开收容所
and feel a palpable excitement from explosions 从爆炸中感受到一种明显的兴奋
from fire, from people running. 从火中，从奔跑的人。
It's as if he didn't quite fathom the risk 这就好像他不太了解风险
or the pain of death, he's more excited by all the motion. 或者是死亡的痛苦，他对所有的动作都更兴奋。
Charles-Édouard watched history playing 查尔斯-埃尔德-杜德观看了历史比赛
out before his eyes and wanted to be part of it, 在他的眼前，想要成为其中的一部分，
to leave his mark on the era. 在那个时代留下他的印记。
During the post war period of reconstruction 在战后重建时期
he opened his architect's practice, but it didn't take off. 他打开了建筑师的练习，但没有成功。
He was a nobody from the provinces, newly arrived 他是一个来自各省的人，刚到
from Switzerland. 来自瑞士。
To get closer to the fashionable artistic circles 为了更接近时尚的艺术圈
he spent time in the cabarets of Montmartre, 他在蒙马特的小酒店里待过一段时间，
started to paint, and like all Bohemian artists 开始画画，就像所有的波西艺术家一样
finished his nights in Parisian brothels 在巴黎的妓院里度过了他的夜晚
drawing prostitutes. 吸引妓女。
He was not convinced by his own work, 他不相信自己的工作，
that was not how he was going to make his mark. 这不是他要做的事。
"My efforts are deformed, disappointing. “我的努力是畸形的，令人失望的。
"My women have a bestial, crude, rutting wantoness." “我的女人有兽性的、粗鲁的、发情的女人。”
Unemployed, impoverished, depressed 失业，贫困，抑郁
Charles-Édouard was to have an encounter that 查尔斯-埃尔德-杜阿德将会遇到这样的情况
would change everything. 会改变一切。
Friendship at first site with Amédée Ozenfant, 在第一个地点的友谊，和amedeozenfant，
a trendsetting society painter who opened doors for him. 一位引领潮流的社会画家为他打开了一扇门。
He would introduce him to modern painting. 他会把他介绍给现代绘画。
This is what Charles-Édouard Jeanneret painted 这就是查尔斯-埃纳德-杰纳耶特所画的
in 1919, adopting what was called a purist style. 在1919年，采用了所谓的纯粹主义风格。
Painting was to play an important role in his life 绘画在他的生活中扮演着重要的角色
and strongly influence his architecture. 并强烈影响他的建筑。
But in the meantime, this new friend would, above all, 但与此同时，这位新朋友，最重要的是，
enable Charles-Édouard to enter the very closed circle 让charles-douard进入这个非常封闭的圆圈
of the Parisian artistic avant-garde. 巴黎艺术先锋派。
He discovered an environment beyond the business 他发现了一个超越商业的环境
environment of Swiss immigrants in Paris, with whom 瑞士移民在巴黎的环境，与他们在一起
he spent a lot of time, an environment 他花了很多时间，一个环境
that would stimulate him. 这将刺激他。
Ozenfant would introduce him to patrons, collectors, Ozenfant会把他介绍给赞助人，收藏家，
intellectuals, other painters and so take the role 知识分子，其他画家，所以扮演这个角色
of a sort of agent or impresario in Charles-Édouard's 在查尔斯-杜阿德的一种经纪人或经理
conquest of Paris. 征服巴黎。
Together they created an avant-garde magazine 他们一起创作了一本前卫的杂志
L'esprit Nouveau, which covered all forms of art. 新艺术，涵盖了所有形式的艺术。
This magazine became a reference point within the art 这本杂志成为了艺术的一个参考点
world, and attracted great names such as Aragon, 世界，吸引了像阿拉贡这样的伟大人物，
Picabia, and Fernand Leger. Picabia和Fernand Leger。
The most notable articles were those dedicated 最著名的文章是那些
to architecture. 到建筑。
They were signed by an unknown, Le Corbusier. 他们的签名是一个不知名的勒柯比耶。
Le Corbusier, a curious character. 勒柯伯耶，一个好奇的人物。
Round black shell glasses, severe suit and bow tie, 圆形的黑色贝壳眼镜，严肃的西装和领结，
a dress code that would never change. 一套永远不会改变的着装规范。
Le Corbusier was born, he was the character 勒柯比耶出生了，他就是这个角色
that Charles-Édouard created for himself in 1920, 那是在1920年为自己创作的，
his double. 他的替身。
From them on he spoke of himself in the third person 从他们身上，他在第三个人身上提到了自己
as here in a letter to his mother. 就像在给他母亲的信中一样。
"Le Corbusier is a pseudonym. 勒柯比耶是一个笔名。
"Le Corbusier does architecture alone. “勒柯伯耶更独自做建筑。”
"He is an entity released from the burden of flesh. “他是一个从肉体负担中解脱出来的实体。
"Charles-Édouard Jeanneret is a man of flesh and blood, “查尔斯-埃纳德-杰纳雷特是个有血有肉的人，
"who has experienced all the radiant and desperate “世卫组织经历了所有的光芒和绝望
"adventures of a rather turbulent life." “一个相当动荡的人生的冒险。”
Le Corbusier was extremely aware of his appearance. 勒柯比耶非常清楚自己的外表。
When we look at this photograph of him we're aware 当我们看到他的照片时我们意识到
that he constructed himself, just as he 他建造了自己，就像他
constructed buildings. 建筑。
He also was very deliberate in his choice of eyeglasses 他对眼镜的选择也很慎重
and it's because of his preference for perfectly round ones 这是因为他喜欢完美的圆形
that many architects since him 自他之后的许多建筑师
have been wearing the same: 穿着同样的衣服：
I.M. Pei, Philip Johnson, and so on. 贝贝，菲利普约翰逊，等等。
In 1922, Le Corbusier won the heart 1922年，勒柯更耶赢得了人心
of a young woman, Yvonne Gallis, a model who would 一个年轻女人，伊冯盖利斯，一个模特
give up her career to marry him. 放弃她的事业嫁给他。
Yvonne, a housewife, would remain in the architect's 伊冯，一个家庭主妇，会留在建筑师的
shadow for the rest of her life. 她的余生都在阴影中。
They had no children. 他们没有孩子。
Le Corbusier felt that there was no room for them 勒柯比耶觉得他们没有空间留给他们
with his career. 他的职业生涯。
At this time Le Corbusier was no longer just writing 在这个时候，勒柯比耶已经不再是写作了
for magazines, but wrote 34 architectural works. 对杂志来说，但是写了34件建筑作品。
His self taught path gave him total freedom 他自学的道路给了他完全的自由
vis-a-vie the dominant classical ways of thinking. 与主流的古典思维方式相竞争。
In this way he established himself as one of the great 他以这种方式确立了自己的地位
theoreticians of modern architecture. 现代建筑理论家。
At the start of the 1920s what was so impressive was 在20世纪20年代初，令人印象深刻的是
the breadth of activities of a man who was just 一个人的活动范围很广
in his early 30s. 在他30岁出头的时候。
He was at one and the same time an essayist, an editor, 他同时也是一个散文家，一个编辑，
painter, architect, urbanist, lecturer. 画家，建筑师，都市人，讲师。
So, he was someone who drew on an extraordinary range 所以，他是一个非常了不起的人
of talents and he excelled in all these fields to become 他在所有这些领域都表现出色
a central figure in Parisian life. 巴黎生活的中心人物。
In the 1920s Le Corbusier was encouraged 在20世纪20年代，勒柯比耶被鼓励
by a radical change in society's way of thinking. 社会的思维方式发生了根本性的变化。
He was fascinated by the modernity of liners, planes, cars. 他被飞机、飞机、汽车的现代化所吸引。
He belived in the superiority of new techniques, 他相信新技术的优越性，
the progress being made thanks to machines. 这是由于机器的进步。
In his landmark work, Vers Une Architecture 在他里程碑式的作品中
he demonstrated that it was necessary to adapt 他证明有必要去适应
housing to these profound changes. 为这些深刻的变化提供住房。
So, he invented a revolutionary concept, 所以，他发明了一个革命性的概念，
the machine for living. 这台机器是用来生活的。
This formula would influence several generations 这个公式会影响几代人
of architects. 建筑师。
Le Corbusier used a lot of iconography and photomontage 勒柯伯耶用了大量的图像和照片
to try and convince others that architecture needed 试图让其他人相信建筑需要
to be developed away from the 19th century 从19世纪开始发展
towards a modern architecture. 走向现代建筑。
And, since he has a great sense of publicity before 而且，因为他之前有很好的宣传意识
this time he didn't hesitate to make montages that 这一次，他毫不犹豫地制作了蒙太奇
were almost surrealist, by superimposing a car over 几乎是超现实主义的，通过叠加一辆车
the Parthenon, for example. 例如，神庙。
But, it was motivated by a desire to educate, 但是，这是出于对教育的渴望，
to say, "What is it about Parthenon that seduces 说，“这是什么关于孤雌的诱惑
"and moves us?" “然后移动我们？”
He applied the notion of a standard to the Parthenon. 他把标准的概念应用到神庙。
He said that a standard is an object that has reached 他说标准是一个已经达到的目标
an extraordinary level of refinement, because it has been 这是一个卓越的水平，因为它已经
mass produced and is recognized by everyone 大量生产并得到每个人的认可
and everyone can identify with the symbolism 每个人都能认同这种象征意义
of this object. 在这个物体上。
For Le Corbusier the best example of an object 对于勒柯伯耶来说一个物体的最佳例子
approaching perfection was the Ford T, 接近完美是福特T，
mass produced in millions in the United States. 在美国有数百万人生产。
The same model for all, universal and democratic. 同样的模式，普遍的和民主的。
This principle must now be applied to housing. 这一原则现在必须适用于住房。
Le Corbusier worked to develop standardized functional 勒柯伯耶致力于发展标准化的功能
and reproducible housing, 可再生住房，
like this individual house or the Immeuble Villas, 就像这幢独立的房子，或者是不可能的别墅，
apartments stacked high with their private garden. 公寓里堆满了私人花园。
The problem was that in France at the start of the 问题是在法国开始的时候
20th century architecture was still very academic, 20世纪的建筑仍然很学术，
lacking audacity. 缺乏勇气。
The house mansion style inhertited from the 18th century 从18世纪开始，这栋豪宅的风格就被继承了下来。
largely dominated. 在很大程度上占主导地位。
But, what most shocked the architect was how dirty 但是，最令建筑师震惊的是
the city was. 这个城市是。
Behind the beautiful facades of the bourgeois buildings 在资产阶级建筑美丽的外墙后面
on the grand boulevards, the narrow streets 在宽阔的大道上，狭窄的街道上
didn't let in any light. 一点也不暴露。
The buildings were unsanitary, the inhabitants sometimes 这些建筑不卫生，有时居民
living in deplorably unhygienic conditions. 生活在令人遗憾的不卫生的环境中。
"There has been a total collapse. “已经彻底崩溃了。
"Cities have become inhumane, hostile towards men “城市变得不人道，对男人充满敌意。
"and dangerous for their physical and moral health, “对他们的身体和道德健康是危险的，
"but here we have town planning." “但这里我们有城镇规划。”
Le Corbusier, then a young man in his 30s 勒柯伯耶，一个30多岁的年轻人
proposed a very radical solution, an electroshock 提出了一个非常彻底的解决方案，一个电击疗法
that would really get the ink flowing. 这真的会让墨水流动起来。
He wanted to flatten a part of the center of Paris 他想要夷平巴黎市中心的一部分
to build the Plan Voisin there, 18 sky scrapers 在那里建造一个计划，18个天空的刮刀
each 200 meters tall. 每200米高。
The equivalent of Tour Mountparnasse. 相当于一辆观光车。
An immense grid of buildings that would house more 一个巨大的建筑物网格，可以容纳更多的人
than three million inhabitants. 超过三百万居民。
It would be interspersed with roads 100 to 120 它会穿插在100到120条道路上
meters wide for cars to flow through. 米宽的车可以通过。
The area that he wanted to clear contained the historic 他想要清除的区域包含了历史上的
ward of Le Marais. 勒马雷的沃德。
It stretched from the Place de la République to 它从共和国广场延伸到
Rue de Rivoli, and up to Saint Lazare station. 里维利街，到圣拉扎雷车站。
For Le Corbusier the old town had its day and it had to 对于勒柯伯耶来说旧城有它的一天，它必须
make way for something new. 为新事物让路。
In Le Corbusier's generation every architect agreed 在勒柯伯耶的时代每个建筑师都同意
on the fact that the towns of the past had to be radically 事实上，过去的城镇必须是激进的
transformed, destroyed even. 改变，甚至毁灭。
They were unhealthy towns, labyrinthine cities. 他们是不健康的城镇，迷宫般的城市。
Modern cities had to be completely new. 现代城市必须是全新的。
"Henceforth, the fundamental principle "从今以后，基本原则
"of this architectural and social revolution can be “这个建筑和社会革命可以是
"distilled into the three elements that since the beginning 从一开始就被浓缩为三个要素
"of time have conditioned the life of men: “时间限制了男人的生活：
"sun, space, trees. “太阳，太空，树木。”
"The major reform that will take place in the function "在功能上进行的重大改革"
"of architecture is founded on these three factors." “建筑是建立在这三个因素之上的。”
This was the hygienist era, so the old town 这是一个卫生主义者的时代，所以这个古老的城镇
was considered to be polluted. 被认为是被污染了。
The sun didn't penetrate, the children 太阳没有穿透，孩子们
suffered from rickets. 受佝偻病折磨。
The vision of the old town was wholly negative. 旧城的景象完全是负面的。
The straight line was the way man took, 直线是人类的方式，
and the line in the old fashioned quarters, 在老式的宿舍里，
the zig zag line was the asses way. 齐扎格线是驴的路线。
So, our heritage was destroyed and just the churces left 所以，我们的遗产被毁了，只剩下了教堂
because it was thought they couldn't be destroyed 因为人们认为他们不能被摧毁
and the idea put forward was for a new city 提出的想法是建立一个新的城市
made up of towers. 由塔楼组成的。
In constructing the tall towers he had 他在建造高大的塔楼时
to improve the quality of life of every inhabitant. 提高每个居民的生活质量。
With this vertical architecture he could free up 有了这个垂直的建筑，他就可以自由了
space on the ground and in so doing reversed 在地面上的空间，在这样的情况下
the relationship between the buildings and green spaces. 建筑物和绿地之间的关系。
"Sports fields, a stadium, a swimming pool, “运动场，体育场，游泳池，
"tennis courts, basketball courts, “网球场，篮球场，
"then paths for pedestrians. “然后是行人的路径。”
"Pedestrians have fast tracks that pass under the houses, “行人在房子下面有快速通道，
"pathways for walking. “行走的路径。
"Then, parks planted around the paths, “然后，公园在小径上种下，
"around stadiums, around tennis courts “在体育场周围，在网球场周围
"and football pitches. 还有足球场地。
"And so, the city is covered in greenery. “所以，这座城市被绿色植物所覆盖。
"It is a green city constructed of 12% build up space 这是一个由12%的建筑组成的绿色城市
"and 88% park land." “88%的公园土地。”
He didn't disregard nature, he worshipped nature. 他不顾自然，崇尚自然。
He gave people a modern building, but its so that they 他给了人们一栋现代化的建筑，但这是他们的
can look at the sky, they can contemplate the universe, 可以看看天空，他们可以思考宇宙，
they can think about those values. 他们可以考虑这些价值观。
The practical aspect of the Plan Voisin was, of course, 当然，这个计划的实际意义是，
to free up space on the ground to allow nature to penetrate 释放地面上的空间让大自然能够穿透
the city. 城市。
You can only increase the density in two ways, 你只能以两种方式增加密度，
either by constructing horizontally but very densely, 要么是水平的，但非常密集的，
or by building upwards, but with the compensation 或者通过向上建造，但是得到补偿
of being able to create parks and gardens on the ground. 能够在地面上建造公园和花园。
The idea of contructing towers in Paris and developing 在巴黎建造高楼大厦的想法和发展
the natural elements is where we're at today. 自然元素就是我们今天所处的位置。
Today we're thinking that it would be interesting 今天我们认为这很有趣
to construct towers in Paris and to create green spaces 在巴黎建造高楼大厦，创造绿色空间
on rooftops and as much park land as possible. 在屋顶和尽可能多的公园土地上。
So essentially, maybe there is this sort of return, 所以本质上，也许有这样的回报，
of course, we now no longer think of eradicating 当然，我们现在不再考虑根除
our heritage, starting with a clean slate. 我们的传统，从一张白纸开始。
But, nonetheless, some of these objectives 但是，尽管如此，这些目标中的一些
could be acceptable today. 今天可以接受。
Of course, in 1925 the popular press 当然，在1925年，大众媒体
was outraged and it provoked a national debate. 他被激怒了，引发了一场全国性的辩论。
The Plan Voisin set in place a misunderstanding Voisin的计划设置了一个误解
that was to continue for the long term. 这将是长期的。
One part of the public saw Le Corbusier as someone 有一部分人认为勒柯比耶是一个人
who wanted to concrete over urban landscapes, 他想要在城市景观中具体体现，
another saw him as inspirational in dealing with 另一个人认为他在处理
the challenges of housing. 住房的挑战。
Whichever way it was an incredible publicity coup, 无论如何，这是一场令人难以置信的宣传攻势，
Le Corbusier's career was about to take off. 勒柯比耶的职业生涯即将开始。
He would achieve success, but not with towers. 他会取得成功，但不会成功。
In the 1920s Le Corbusier constructed a dozen individual 在20世纪20年代，勒柯耶更建造了一打个人
villas for friends and rich clients. 为朋友和富有的客户提供别墅。
Like this one in Paris in the 14th Arrondissement, 就像在巴黎第14区的巴黎，
which he constructed for his friend the painter 这是他为他的朋友画的
Amédée Ozenfant, with a huge glass wall in his studio. 他的工作室里有一堵巨大的玻璃墙。
That same year in Boulogne Billancourt 同一年，在布洛恩比兰科特
the Miestchaninoff villa for another painter. 为另一位画家的豪华别墅。
This time the studio is on the ground floor. 这一次，工作室在一楼。
In 1925 he created the La Roche Villa for a rich banker 1925年，他为一位富有的银行家创建了La Roche别墅
who collected modern art, 他收集了现代艺术，
with an immense room to display his paintings. 有一间巨大的房间来展示他的画。
In 1927 he completed the imposing Stein de Monzie Villa. 1927年，他完成了雄伟的斯坦德蒙兹别墅。
It's hard to image that all these houses were constructed 很难想象所有这些房子都是建好的
almost 90 years ago. 大约90年前。
The best known among them has become an icon: 其中最著名的已经成为了一个偶像：
the Savoye Villa. 萨沃耶别墅。
Today, this construction is considered to be one of the five 今天，这个建筑被认为是五种建筑之一
major works in the history of 20th century architecture. 20世纪建筑史上的主要作品。
Ever since it was constructed it has dazzled through 自从它被建造以来，它就被它所迷惑
its purity and harmony. 它的纯洁与和谐。
Its form was inspired by Le Corbusier's purist paintings. 它的形式灵感来自于勒柯布布耶的纯粹主义绘画。
Why is Villa Savoye beautiful? 为什么萨沃耶别墅很漂亮？
Because it uses simple shapes. 因为它使用简单的形状。
Le Corbusier wrote that simple shapes are beautiful 勒柯比耶写道，简单的形状是美丽的
because we can read them easily. 因为我们可以很容易地阅读它们。
The cube, the sphere, the triangle, the pyramid, 立方体，球面，三角形，金字塔，
it has an obviousness about it. 它有一个显而易见的事实。
Stilts, ribbon windows, openings in the walls, 高跷，缎带的窗户，墙上的开口，
open roof terrace, what made it possible for Le Corbusier 开放的屋顶平台，让勒柯更忙的原因
to design a house with such freedom was a material 设计一个拥有如此自由的房子是一种材料
little used at that time, reinforced concrete. 当时很少使用，钢筋混凝土。
Since 1914, Le Corbusier had envisioned using a structure 自1914年以来，勒柯伯耶曾设想过使用一种结构
made from reinforced concrete to allow him total freedom 由钢筋混凝土制成，使他完全自由
in constructing what he wanted, how he wanted. 在构建他想要的东西时，他想要什么。
As it was made of simple posts with superimposed floors, 因为它是由带有叠层的简单柱子组成的，
supporting walls which obstructed the space could be 支撑墙的支撑墙可能是
done away with. 结束了。
Le Corbusier thus set down the principles 勒柯比耶因此制定了原则
of modern architecture. 现代建筑。
Essentially, a construction is erected on the ground. 从本质上讲，一个建筑是在地面上建造的。
Basically, you have posts and then some slabs, 基本上，你有文章，还有一些厚板，
possibly supported by beams, 可能是由光束支撑的，
but they are adjoining elements 但它们是相邻的元素
placed one on top of another. 把一个放在另一个上面。
This is fundamentally different to previous constructions. 这与以前的结构有本质上的不同。
They also have foundations, of course, but you had to build 当然，他们也有基金会，但你必须建立
walls which supported the flooring. 支撑地板的墙壁。
But, we can see that essentially these walls obscure 但是，我们可以看到这些墙都是模糊的
whereas Le Corbusier's walls offer transparency. 而勒柯比耶的墙提供了透明度。
It makes a huge difference. 这有很大的不同。
In Le Corbusier's buildings you can enclose the space 在勒柯伯耶的建筑中你可以把空间封闭起来
wherever you want to, you can add a partition wall 无论你想要什么，你都可以添加一个隔离墙
or a facade here and have a balcony there. 或者是这里的一个门面，在那里有一个阳台。
Whereas here in the previous case the structure itself 而在前面的例子中结构本身
encloses the space and so you have no freedom. 把空间封闭起来，这样你就没有自由了。
Everything that he did and everything they did at the time 他所做的一切以及他们当时所做的一切
was a liberation in architecture. 是建筑的解放。
In the mid 1920s a new type of freeform 在20世纪20年代中期，一种新型的自由形式
architecture was born. 建筑诞生了。
It was known as Functionalism, meaning that it adapted 它被称为功能主义，意思是它适应了
to its inhabitant's way of life. 以其居民的生活方式。
The Villa Savoye was the emblem of this with its system 萨沃耶别墅是这个系统的象征
of stilts the house floats over the ground and allows, 在高跷上，房子漂浮在地上，允许，
for example, the garden to continue underneath the villa 例如，在别墅下面的花园
creating a space where children can play ball. 创造一个孩子可以玩球的空间。
Inside, Le Corbusier could freely organize the space 在里面，勒柯伯耶可以自由地组织这个空间
according to however the owner wanted to use the house. 然而，主人想要用这所房子。
As there were no supporting walls, thanks to the concrete 因为没有支撑墙，多亏了混凝土
pillars, the living room could run alongside 柱子，起居室可以跟在一起
an open air terrace. 一个露天平台。
The architect could make the windows whatever size 建筑师可以把窗户做成任意大小的窗户
and shape he wanted. 他想要的形状。
He could also highlight the ever-present landscape. 他也可以强调始终存在的风景。
For Le Corbusier architecture was something you lived 因为勒柯比耶建筑是你生活的地方
and even, as he said, "something you walked". 甚至，就像他说的，“你走路的东西”。
The theme of architectural promenades that he explored 他探索的建筑长廊的主题
was linked to his experiences of the countryside. 与他在农村的经历有关。
Travelling within a house as you travel along a mountain 当你沿着一座山旅行时，在一所房子里旅行
path, viewing the peaks, looking down towards the valleys, 路径，观察山峰，向下看向山谷，
this three dimensional spatial and kinetic experience. 这是三维空间和动态体验。
In his quest for perfection Le Corbusier 在他追求完美的过程中
also imagined the furniture of his purist villas. 也想象着他的纯别墅的家具。
Together with Charlotte Perriand he would create 和夏洛特佩瑞一起，他会创造
furniture that he named with his initials, L.C. 他以他名字的首字母缩写l.c命名的家具。
for Le Corbusier, followed by a number. 对于勒柯比耶，后面跟着一个数字。
This is the famous chaise lounge, the L.C. four 这是著名的躺椅，L.C.4
that became a design icon, 这成为了一个设计图标，
or the L.C. two arm chair that everyone now calls 或者是现在每个人都叫的L.C.两臂椅
Le Corbusier arm chair. 勒柯伯耶的臂椅。
Designed almost half a century ago this furniture 近半个世纪前设计的这种家具
embodies modernity like little else. 像其他东西一样，体现了现代性。
Timeless, they have since been copied many times. 从那以后，它们被复制了很多次。
With this architectural totality Le Corbusier secured 有了这个建筑整体勒柯伯耶
a place for himself in the history of art. 在艺术史上的一席之地。
In the course of the 1920s Le Corbusier goes from being 在20世纪20年代，勒柯比耶从
an unknown to being one of the best know architects 作为最知名的建筑师之一
in the world. 在这个世界上。
While Le Corbusier was a revered architect 勒柯比耶是一位受人尊敬的建筑师
the world over there was still one person who resisted him, 那里的世界仍然有一个人反对他，
whom he was not yet close to impressing: 他还没有给他留下好印象：
Marie Jeanneret, his mother. 玛丽珍妮特，他的母亲。
Since the death of her husband she lived alone on the edge 自从她丈夫去世后，她独自一人生活在边缘
of Lake Geneva. 日内瓦湖。
Her son built her a house more suited to her new life. 她的儿子为她建造了一个更适合她新生活的房子。
It was more modest than the White Villa that he had 它比他所拥有的白色别墅更简朴
constructed years before, and that had ruined his parents. 几年前，他的父母毁了他的生活。
Le Corbusier applied all his architectural know-how to it. 勒柯伯耶把他所有的建筑知识都用在了上面。
With it's small surface of 64 square meters he rationalized 它的表面面积是64平方米，他合理化了
the space. 空间。
It was a real machine for living, very functional 它是一种真正的生活机器，非常实用
and agreeable. 令人愉快。
With ribbon windows it magnified the beauty 用缎带的窗户放大了美丽
of the view of Lake Geneva. 在日内瓦湖的景色中。
But, Marie Jeanneret, dissatisfied, focused on the small 但是，玛丽珍妮特，不满意，专注于小的
problem she encountered in this house. 她在这所房子里遇到的问题。
She is very upset because the roof leaks. 她很不高兴，因为屋顶漏了。
She writes to him and complains. 她写信给他并抱怨。
It becomes the dominating issue. 它成为了主导问题。
He blames the engineer. 他责怪工程师。
He writes new plans for the engineer. 他为工程师写了新计划。
The roof continues to leak. 屋顶继续漏水。
He writes to his mother and says, 他写信给他的母亲说，
"If you bothered to pay attention to the world around you, “如果你费心去关注周围的世界，
"you would know that I have become one of "你会知道我已经成为了
"the most famous architects in the world. “世界上最著名的建筑师。”
"I have clients here and there and so on." “我在这里和那里都有客户，等等。”
And, she basically writes back and says, "Very good, 然后，她回信说，“很好，
"my roof is still leaking." “我的屋顶还在漏水。”
It's also really symbolic of their relationship. 这也是他们关系的象征。
He never can really get things right for her. 他从来都不可能把事情做好。
Le Corbusier did not see himself as a simple 勒柯比耶并不认为自己是一个简单的人
builder of houses, his ambition went far beyond that. 建造房屋，他的野心远不止于此。
He wanted to construct entire towns, to change lives 他想要建造整个城镇，来改变人们的生活
through architecture. 通过建筑。
From this point on he persued his obsessive goal 从这一点开始，他就实现了他的目标
to build the Radiant City, his ideal city. 建设辐射城，他的理想城市。
The start of which had been the Plan Viosin in Paris. 开始的时候是巴黎的vi球蛋白计划。
If the France of the Third Republic wasn't interested 如果法兰西第三共和国的法国不感兴趣
he would try abroad with bolder emerging powers. 他将在国外尝试更大胆的新兴力量。
Le Corbusier roamed the planet to try to convince others. 勒柯伯耶在这个星球上游荡，试图说服别人。
First, in America where in New York the buildings 首先，在美国纽约的建筑
did not impress him. 没有打动他。
Having just arrived he stated brashly to the press, 刚到的时候，他对媒体说，
"The skyscrapers are not big enough." “摩天大楼不够大。”
Welcoming him like a star the most prestigious 像明星一样欢迎他
universities fought over him for conferences 大学为他的会议而战
on the city of the future, which insighted eager curiosity. 在未来的城市里，这是一种渴望的好奇心。
After the lecture the women are so in love with him 讲座结束后，女人们都爱上了他
and with his power that they flock to the drawings 凭借他的力量，他们涌向绘画
that he's made on big rolls of paper on the wall 他是在墙上的一卷纸上做的
and they tear little pieces of the paper 他们撕掉纸上的小纸片
to keep with them as mementos, 作为纪念物，
like talisman for ever after of the experience 就像护身符一样
of seeing this passionate, gigantic man 看到这个充满激情的巨人
speaking to them about building. 跟他们谈建筑的事。
During his travels Le Corbusier would 在他的旅行中，勒柯伯耶会
seduce one of the greatest celebrities of that time, 诱惑那个时代最伟大的名人之一，
Josephine Baker. 约瑟芬贝克。
They met in 1929 on a trans-Atlantic crossing. 他们于1929年在跨大西洋的十字路口相遇。
She would pose for him in the nude 她会在裸体的时候为他摆好姿势
in his state room on the boat. 在他在船上的房间里。
He would do drawings of her. 他会画她的画。
Josephine Baker said of Le Corbusier, 约瑟芬贝克提到勒柯伯耶，
She recognized in him a man of enormous heart. 她认出他是一个有着巨大心灵的人。
From then on Le Corbusier was a member 从那时起勒柯比耶是一个成员
of the elite, frequenting the world's greats. 在精英阶层中，经常光顾世界上最伟大的人。
His clients were very rich. 他的客户非常富有。
Yet, he did not divert from his course. 然而，他并没有偏离他的路线。
He turned to developing countries, 他转向发展中国家，
particularly Latin America where he hoped to construct 尤其是拉丁美洲他希望在那里建造
a new town. 一个新城镇。
He was convinced that was where there was the greatest 他相信那是最伟大的
need, where he would be able to accomplish his true mission 需要，在那里他将能够完成他真正的使命
guided by a form of humanism. 以一种人文主义的形式。
In Rio de Janeiro, Le Corbusier spent a long time filming 在里约热内卢，勒柯西耶花了很长时间拍摄
the people of the Favelas with his personal camera. 贫民窟的人们带着他的私人相机。
He had a real empathy for the poor and disadvantaged. 他对穷人和弱势群体有真正的同情心。
He wanted to build for them more than for his rich 他想为他们建造更多的东西而不是为了他的富人
art enthusiast clients. 艺术爱好者的客户。
"My duty, my goal is to try and take people "我的责任，我的目标是试着带人去
"out of unhappiness, out of catastrophe to bring them "摆脱不快乐，从灾难中带出来
"into happiness, daily joy, harmony. “进入幸福，每日快乐，和谐。”
"A home should be the backdrop to life, “家应该是生活的背景，
"the machine for happiness." "幸福的机器"
In terms of Le Corbusier's position towards the world 就勒柯耶伯耶对世界的态度而言
and his contemporaries there was a strong messianic 他同时代的人有一个强大的救世主
component. 组件。
He identified greatly with the prophets of different 他与不同的先知们有很大的不同
religions and this prophetic, messianic dimension 宗教和预言，弥赛亚的维度
was strong. 很强大。
He was a bearer of a message that could save humanity. 他是一个能够拯救人类的信息的载体。
To fulfill his almost divine mission the 为了完成他几乎神圣的使命
architect's projects became more and more crazy. 建筑师的项目变得越来越疯狂。
This is what he devised for Algiers in 1931, 这是他在1931年为阿尔及尔设计的，
a building 10 kilometers long that ran along the coastline 沿着海岸线长10公里的建筑
and roof of which was a motorway. 屋顶是一条高速公路。
He named it Project Obus because it had to annihilate 他把它命名为Obus，因为它必须消灭
every receieved idea. 每一个收到的想法。
But, these projects did not get past the drawing board. 但是，这些项目并没有通过绘图板。
Only the second World War offered him new hope. 只有第二次世界大战给了他新的希望。
The modern architects of Le Corbusier's generation 勒柯伯耶的时代的现代建筑师
were impatient for war to break out in the 1930s. 在20世纪30年代，我们迫不及待地想要爆发战争。
They were preparing for it. 他们正在为此做准备。
His generation thought that the destruction of cities 他那一代人认为城市的毁灭
was a positive thing. 是一件积极的事情。
And so, he along with many others actually welcomed 所以，他和其他很多人都很欢迎
the bombs falling on the cities. 炸弹落在城市里。
They thought that the work that democracy would not 他们认为民主所不能做的工作
allow them to do, the destruction of these cities 允许他们这样做，摧毁这些城市
would be carried out by the bombers. 将由轰炸机执行。
In 1945, the bombers had done their work. 1945年，轰炸机完成了他们的工作。
It was time for reconstruction to begin. 现在是重建工作的时候了。
Le Corbusier was not to realize his dream of reconstructing 勒柯比耶没有实现他重建的梦想
an entire town, but in 1946 the Ministry of Public 整个城镇，但在1946年，公共部门
Reconstruction did engage him to work on an ambitious 重建确实让他参与了一个雄心勃勃的计划
social housing program. 社会住房计划。
And, in France we're in the final stages 在法国，我们已经进入了最后阶段
of construction of a housing block on stilts that will give 在高跷上建造房屋的建筑
part of Marseille an unusual look of integral modernism. 马赛的一部分是一种不寻常的整体现代主义风格。
It is the first time that the great architect Le Corbusier 这是伟大的建筑师勒柯比耶第一次
realizes his dream of rational housing in France. 实现了他在法国的理性住房梦想。
Le Corbusier in Marseille, this may be the foundation stone 马赛的勒柯比耶，这可能是基石
for the city of the future. 为了未来的城市。
Le Corbusier was in his 60s when he was 勒柯比耶是60多岁的时候
finally able to build his Radiant City. 终于能够建立起他的光芒四射的城市。
He wanted to make it the distillation of the principles 他想让它成为原则的升华
that had guided his vision of an Utopian city for 这引导了他对一个乌托邦城市的愿景
the last twenty years. 过去的二十年。
His goal was to give happiness through his architecture 他的目标是通过他的建筑来获得幸福
to the thousands of inhabitants of this social housing. 对于这个社会住房的成千上万的居民来说。
Using reinforced concrete he could build on stilts 使用钢筋混凝土他可以在高跷上建造
so that everyone would benefit from an open view 这样每个人都能从开放的视野中获益
and from the light. 从光明中。
His big idea was to bring the town into the building. 他的主要想法是把小镇带进大楼。
And indeed, the inhabitants of the Radiant City 事实上，辐射之城的居民们
benefitted from everything on site that you could find 受益于你能找到的网站上的所有东西
in a city center: shops, a post office, a school, 在城市中心：商店，邮局，学校，
a restaurant, offices, and even to welcome passing friends 餐厅，办公室，甚至欢迎路过的朋友
a hotel. 一家旅馆。
On the huge roof terrace he constructed a vast leisure area. 在巨大的屋顶平台上，他建造了一个巨大的休闲区。
But, what was of prime importance for the architect 但是，对于建筑师来说，最重要的是什么
was the quality of the housing. 是住房的质量。
He wanted to offer the inhabitants what, at that time 他想要给居民提供什么，在那个时候
in the immediate post war period, was still reserved 在战后时期，仍然保留着
for the rich: a comfortable way of living. 对于富人：一种舒适的生活方式。
For Le Corbusier luxury was achieved by fitting the 对于勒柯比耶来说，奢侈品是通过合身的
apartments out in a modern style, but above all 以一种现代风格的公寓，但最重要的是
through the organization of space and light. 通过空间和光的组织。
The apartments were cleverly organized as duplexes. 这些公寓被巧妙地组织成双褶。
Each room had large window letting in lots of light 每个房间都有大窗户，可以让很多光线照射进来。
and breathtaking views. 令人窒息的美景。
He realizes the most magnificent creation, 他意识到最伟大的创造，
a building where people in a low financial bracket, 在一个低经济阶层的人，
this is important to remember, have a chance 这很重要，要记住，有机会
to look in one direction at the sea, and in another 从一个方向看海，在另一个方向
direction at the mountains from every apartment, 从每个公寓向山上的方向前进，
because they're duplex apartments where above 因为他们都是复式公寓
they look one way, below they look the other way 它们看起来是这样的，下面是另一种方式
and they interlock. 它们相互连锁。
The design inside is genius, with places for 里面的设计是天才，有地方
milk to be left, with comfortable kitchens and so on. 剩下的牛奶，还有舒适的厨房等等。
The nursery on the roof is pure joy. 屋顶上的苗圃是纯粹的快乐。
Le Corbusier had made a major statement. 勒柯伯耶已经做了一个重要的声明。
At the start of the 1950s people rushed to discover 在20世纪50年代初，人们匆忙地发现
his Utopian building. 他的乌托邦式建筑。
Even the great Pablo Picasso came to admire his masterpiece. 就连伟大的巴勃罗毕加索也开始欣赏他的杰作。
With the inauguration of the Radiant City Le Corbusier, 随着辐射之城勒柯西耶的就职典礼，
who had already taken on French nationality, 他已经接受了法国国籍，
became a significant figure in France's heritage. 成为法国传统的重要人物。
The immobile ocean liner contains 347 不动的远洋客轮有347艘
apartments, many of which are already occupied. 公寓，其中很多已经被占用了。
They are all equipped with the most modern comforts. 他们都配备了最现代化的舒适设施。
On the terrace its creator, the architect Le Corbusier 在平台上它的创造者，建筑师勒柯伯耶
recieves the Legion of Honor decoration of Commander 感谢指挥官的荣誉勋章
from Mister Claudius-Petit. 从克劳蒂先生的。
The Radiant City is born. 光芒四射的城市诞生了。
Le Corbusier was satisfied. 勒柯比耶很满意。
He wrote to his mother the following day. 第二天，他写信给他的母亲。
"Big day yesterday, it was very beautiful. “昨天的大日子，非常漂亮。”
"The reason: the house is one of the great works 原因：房子是伟大的作品之一
"of architecture of any era and people are living inside “任何时代的建筑，人们都住在里面
"as in a mirage. “就像海市蜃楼一样。”
"The kids have already understood this future life "孩子们已经理解了未来的生活
"devoted to happiness, warmth, and heart." “献身于幸福、温暖和心灵。”
His mother died in 1960 at the age of 99. 他的母亲在1960年去世，享年99岁。
A few years earlier he had paid true homage to her 几年前，他向她表达了真正的敬意
by constructing this chapel at Ronchomp, 通过在隆乔姆建造这个小教堂，
one of his greatest works, one of his most personal. 他最伟大的作品之一，也是他最私人的作品之一。
A remarkable building, groundbreaking in its visual shapes. 这是一座非凡的建筑，它的视觉形状具有开创性。
This concrete construction was like a poem, 这个混凝土建筑就像一首诗，
a poem to his mother. 一首献给他母亲的诗。
He inscribed her name on many of the windows: 他把她的名字刻在许多窗户上：
Marie. 玛丽。
Ronchomp is a church in honor of the virgin, Marie. 罗乔姆是一个为圣母玛利亚而建的教堂。
I cannot help but seeing it 我情不自禁地看到了它
as a reference to his mother, 作为他母亲的参考，
the obsession of his life. 他对生活的痴迷。
It was a sort of anthology of Le Corbusier's career, 这是勒柯比耶的职业生涯的选集，
just as the White Villa had been during the first 就像白色的别墅在第一个
part of his life. 这是他生活的一部分。
Many of Le Corbusier's projects were like that, 勒柯比耶的很多项目都是这样的，
they were autobiographical documents. 他们是自传式的文件。
In 1952, the great architect was at the peak 1952年，伟大的建筑师在鼎盛时期
of his career, yet he was leaning more and more 在他的职业生涯中，他越来越倾向于
towards a frugal lifestyle, even aestheticism. 追求一种节俭的生活方式，甚至是唯美主义。
He went to the shores of the Mediterranean 他去了地中海沿岸
near to Roquebrune to construct a simple cabin 靠近Roquebrune建造一个简单的小屋
where he would spend all his free time. 他会把所有的空闲时间都花在那里。
A small closed world of 16 square meters with just 一个16平方米的小封闭世界
the bare essentials, spartan in its comforts. 最基本的必需品，简朴的生活。
Only his observation of the surrounding nature 只有他对周围环境的观察
seemed to matter. 似乎很重要。
I've noticed the great creators have a fascination 我注意到伟大的创造者有一种魅力
for the universe of the cabin, this little closed world. 对于舱室的宇宙，这个封闭的世界。
It may have something to do with the Diogenes barrel 这可能和狄奥尼基因桶有关
or Plato's cave. 或者柏拉图的洞穴。
In any case, this idea that you can associate genius 在任何情况下，你都可以把天才和天才联系起来
with the idea of the cabin. 有了船舱的概念。
Robert, a young neighbor, a child at the time 罗伯特，一个年轻的邻居，一个孩子
well remembers the very simple old man who spent 还记得那个非常简单的老人
all his summers at his cabin. 他所有的夏天都在他的小屋里。
That's me on Le Corbusier's lap, next to Le Corbusier 这是我在勒柯伯耶的膝盖上，紧挨着勒柯伯耶
Yvonne, his wife and in the background you can see 伊冯，他的妻子，在背景中你可以看到
my father in a vest. 我的父亲穿着背心。
So, that's a little bit of the family scene where 所以，这是家庭场景中的一小部分
Le Corbusier looks very relaxed. 勒柯比耶看起来很放松。
He's in a place of friendship, peace, and tranquility. 他在一个充满友谊、和平与安宁的地方。
Le Corbusier, who had always observed 勒柯伯耶，他总是观察到
nature to inspire his architecture filmed it a lot 大自然启发他的建筑，拍摄了很多
with his small camera. 带着他的小相机。
The elderly architect's lessons on nature and the little 这位上了年纪的建筑师在自然和小方面的经验
secrets he revealed about the nature of his creations 他揭示了他的作品的本质
made a deep impression on Robert. 给罗伯特留下了深刻的印象。
I brought him a petal from the flower of the banana tree 我从香蕉树的花朵上给他带来了一片花瓣
which was on the ground, a large ochre red, brick red petal. 那是在地上，一大块赭红色的红砖红色的花瓣。
Le Corbusier took out his pen knife and opened it up. 勒柯比耶拿出他的笔刀，把它打开了。
The petal was curved like this and he said to me 花瓣像这样弯曲，他对我说
this is the shape of the roof of Romchomp. 这是罗马式的屋顶形状。
All his discussions were along these sorts of lines. 他所有的讨论都是沿着这条线进行的。
On the 27th of August 1965 the elderly man 1965年8月27日，老人
went bathing outside his cabin just as he did every day. 就像他每天做的那样，在他的小屋里洗澡。
He would never return. 他再也不会回来了。
Charles-Édouard Jeanneret, known as Le Corbusier, charles-et douard Jeanneret，被称为勒柯布布耶，
died at the age of 77. 享年77岁。