世界上十大因不切實(shí)際而無(wú)法建成的建筑奇作(上)

Human history is littered with incredible monuments we stupidly tore down. But plenty didn't even make itthat far. Go digging through dusty old ledgers and architects' scrapbooks, and you'll uncover a wealth of awe-inspiring structures ripped straight out a retro sci-fi film—structures that really never could have worked.

人類(lèi)歷史上充斥著被我們稀里糊涂拆毀的驚人建筑遺跡。但還有很多甚至沒(méi)有成型。翻閱布滿(mǎn)灰塵的舊賬簿和建筑師的手稿本時(shí)，你會(huì)看到大量曾出現(xiàn)在復(fù)古科幻電影里的結(jié)構(gòu)設(shè)計(jì)圖，這些建筑設(shè)計(jì)令人驚嘆，可它們并未成為現(xiàn)實(shí)。

10.The Tokyo Tower Of Babel

10.東京通天塔

Imagine the entire height of Mount Everest, all 8,848 meters (29,029 ft). Now imagine somelunatic had built Dubai's record-breaking Burj Khalifa on top of it. Congratulations: That towerplus the mountain (10 times taller) below it combined still fall a couple of hundred meters shortof the Tokyo Tower of Babel.

想象在你面前的是一座高達(dá)8848米(29, 029英尺)的珠穆朗瑪峰。然后一個(gè)瘋子在峰頂建造了迪拜那座破紀(jì)錄的哈利法塔。恭喜!這大概就是東京通天塔的高度，比哈利法塔和高于塔十倍的珠穆朗瑪峰的高度之和再高幾百米。

The craziest building Japan never built was dreamed up in the dying days of the bubble economy in 1991. Clocking in at a cool 10,000 meters (around 6.2 miles), it would have takenup to 150 years to build, cost $306 trillion and housed 30 million people. It would also been bigger than many countries. When a comparatively tiny 4,000-meter (13,000 ft) tower was proposed around the same time, somebody crunched the numbers for one the same size as Everest. They concluded that a tower that large would need a base of 4,100 square kilometers(1,500 mi2)—an area of ground nearly twice the size of Luxembourg. The base for Tokyo's Babel would have been even larger. Although it was proposed during a Japanese craze for structures bigger than mountains, it's not clear Babel was ever intended to be built. And by the time the architects made the proposal, the economy was well and truly crashed.

這座瘋狂的、從未實(shí)現(xiàn)的日本建筑構(gòu)思在1991年泡沫經(jīng)濟(jì)末期成型。建造一座10,000米的通天塔需要花費(fèi)150年的時(shí)間、306萬(wàn)億美元和3000萬(wàn)的勞動(dòng)力。這座塔的面積甚至比許多國(guó)家還要大。差不多在同一時(shí)期，當(dāng)提出修建一個(gè)相對(duì)小點(diǎn)、大概4000米(13,000英尺)高的塔時(shí)，有人計(jì)算出如珠穆朗瑪峰一般大小的建筑物的相關(guān)數(shù)據(jù)。他們推斷，修建一座面積這么大的的塔需要一個(gè)4,100平方千米(1,500平方英里)的地基，這個(gè)地基的面積差不多是盧森堡的兩倍。那么，東京通天塔的地基將更大。雖然提出通天塔的構(gòu)思時(shí)，日本人正瘋狂地迷戀比山脈還要高大的建筑物，但人們是否真的打算修建這么一座塔就不得而知了。而且，當(dāng)建筑師提出修建通天塔的時(shí)候，日本經(jīng)濟(jì)已經(jīng)全面崩潰。

9.The Fun Palace

9.游樂(lè)宮

By the late 1950s, Joan Littlewood had already ensured her place in the history books. A British theater director, she was known for smashing down boundaries to make plays more accessible. But rewriting the theater rulebook wasn't enough. Littlewood wanted to change the way we saw theaters themselves.

二十世紀(jì)五十年代末，瓊·利特伍德就已確立了她的歷史地位。她是一名英國(guó)戲劇導(dǎo)演，因打破局限使戲劇更通俗易懂而出名。但她不滿(mǎn)足于對(duì)戲劇規(guī)則的創(chuàng)新。利特伍德想進(jìn)一步改變觀眾觀賞戲劇的方式。

In 1960, Littlewood hired architect Cedric Price to design the most radical theater in history.His Fun Palace, as it became known, redefined what architecture could do. Taking inspiration from cybernetics theories, avant garde playwrights, and Monty Python, he drew up plans for a building where nothing stayed in one place. Everything from the seats inside, to the stages, to the lobby, to the cafe and cinema screens could be shunted around and reconfigured at will.Where the stage was one day, you might have the box office the next. Where the changing rooms had been on Monday, you could have the auditorium by Tuesday. No two visits would ever be the same. If that sounds potentially confusing, you're not alone. People hated it.Church groups, local citizens, and London's councils all conspired to stop the Fun Palace going ahead. When permission finally came through in the 1970s, funding mysteriously dried up.Work never even started.

1960年，利特伍德雇請(qǐng)建筑師塞德里克·普萊斯設(shè)計(jì)了一座史上最與眾不同的劇院。他的構(gòu)想后來(lái)被人們稱(chēng)為游樂(lè)宮，改變了人們對(duì)建筑學(xué)的看法。塞德里克從控制理論、前衛(wèi)劇作家還有蒙提·派森巨蟒劇團(tuán)那里汲取靈感，想要設(shè)計(jì)一座所有東西都可變換位置的建筑。建筑里的座椅、舞臺(tái)、大廳、咖啡館、電影屏幕都可以隨意轉(zhuǎn)移重組。今天是舞臺(tái)的地方明天可能會(huì)變成售票區(qū)。某個(gè)地方星期一還是更衣室，很可能星期二就成了觀眾席。每次去都會(huì)發(fā)現(xiàn)劇院有所變化。你絕不是唯一一個(gè)認(rèn)為這玩意兒很混亂的人。很多人都不喜歡這個(gè)設(shè)計(jì)。宗教團(tuán)體、當(dāng)?shù)鼐用褚约皞惗匚瘑T會(huì)協(xié)力阻止游樂(lè)宮的修建。到二十世紀(jì)七十年代，這座建筑終于獲準(zhǔn)施工，資金卻神秘消失了。因此游樂(lè)宮從未動(dòng)工。

8.The Cenotaph For Newton

8.牛頓紀(jì)念碑

Etienne-Louis Boullee was fascinated with Isaac Newton. A neo-classical architect working in 18th-century France, he thought the groundbreaking mathematician deserved an equally groundbreaking monument. So he sat down and drew up designs for the biggest, craziest sphere on Earth.

艾蒂安·路易·布雷對(duì)艾薩克·牛頓十分感興趣。作為一名18世紀(jì)在法國(guó)工作的新古典主義建筑師，布雷認(rèn)為這位富有突破性的數(shù)學(xué)家理應(yīng)得到一個(gè)同樣極富開(kāi)創(chuàng)性的紀(jì)念碑來(lái)紀(jì)念他所取得的成就。于是他坐下來(lái)起草設(shè)計(jì)了地球上最大、最瘋狂的球體。

A 1,500-meter (500 ft) orb encased in a sheer cylindrical base, the cenotaph would have dwarfed the Great Pyramid at Giza. It would also have invoked a sensation of vertigo in anyone foolish enough to visit. After climbing up a gigantic staircase, visitors would crawl through a tiny tunnel into the inside of the orb. There, they would encounter a vast, sight less void stretching on seemingly forever. At the very center of this disconcerting blank would sit a single sarcophagus containing the body of Newton, a speck against the emptiness of the universe. Tiny holes in the skin of the sphere would have let pinpricks of light through in the shape of the constellations. There were even plans to somehow create a fog effect inside the sphere, giving everything a weird, haunted air. For reasons of practicality, the thing sadlynever got built.

這個(gè)球體直徑為1,500米(500英尺)，被一個(gè)陡峭的圓柱形基座包圍，這樣一個(gè)紀(jì)念碑會(huì)讓吉薩大金字塔都相形見(jiàn)絀。這個(gè)紀(jì)念碑會(huì)使任何傻到前來(lái)參觀的人產(chǎn)生眩暈感。爬上一個(gè)巨大的樓梯之后，參觀者們將匍匐穿過(guò)一條極細(xì)的通道進(jìn)入球體內(nèi)部。在那里，他們會(huì)看到一個(gè)巨大的、無(wú)限蔓延的空間。在這個(gè)令人困惑的空間的正中央，是一個(gè)安放著牛頓遺體的石棺，作為對(duì)抗宇宙空虛的一點(diǎn)。球體表面的小孔會(huì)使星光照射進(jìn)來(lái)，呈現(xiàn)出星座的形狀。布雷甚至還計(jì)劃在球體內(nèi)部制造煙霧效果，讓一切沉浸在怪異可怖的氣氛中。但遺憾的是，出于實(shí)際考慮，這個(gè)紀(jì)念碑永遠(yuǎn)不可能付諸實(shí)施。

7.Ivan Leonidov's Lenin Institute

7.伊萬(wàn)·列奧尼多夫的列寧研究所

In 1927, Ivan Leonidov was an architecture student with everything to prove. A radical Russianof the constructivist school, Leonidov wanted to make the biggest splash possible with hisgraduate designs. He wound up aiming far too high. His proposal for the Lenin Institute in Moscow was both breathtakingly ornate and completely unbuildable.

1927年，伊萬(wàn)·列奧尼多夫還是一個(gè)不曾顯露才華的建筑系學(xué)生。作為一名構(gòu)建主義學(xué)校的激進(jìn)的俄國(guó)學(xué)生，列奧尼多夫想讓自己的畢業(yè)作品大放異彩。由于最終目標(biāo)過(guò)高，他對(duì)莫斯科列寧研究所的提議驚人的華美卻又全無(wú)建造的可能。

Designed to function as a combined library and lecture hall, everything about Leonidov's plans screamed "big." The library alone would have held 15 million books, along with five reading rooms each capable of housing 500–1,000 visitors. Such a huge library needed a similarly huge delivery system, so Leonidov stuffed it full of clanking conveyor belts that whisked books skyward dozens of stories at a time. He also included a gigantic sphere for lectures. Capable of seating 4,000, the enormous glass orb could fold open in half and housed its own private tram system running direct to Moscow. To top it all off, Leonidov then included a radio station.Although the design won Leonidov plenty of admirers, architect Moisei Ginzburg perhaps summed it up best when he remarked Leonidov "was not really able to prove that his constructive conundrum was actually necessary" and called it "impossible."

由于意在使研究所兼具圖書(shū)館和講堂的功能，在列奧尼多夫的設(shè)計(jì)中，一切都"大"得驚人。僅圖書(shū)館就能夠收藏一千五百萬(wàn)本圖書(shū)，還有五間閱覽室分別可以容納五百到一千位讀者。這樣一個(gè)巨大的圖書(shū)館需要一個(gè)同樣工程浩大的運(yùn)送系統(tǒng)，于是列奧尼多夫在圖書(shū)館內(nèi)裝滿(mǎn)了叮當(dāng)作響的傳送帶以便能一次把書(shū)運(yùn)到幾十層樓之上。他還計(jì)劃將講堂建造成一個(gè)巨大的球體建筑。這個(gè)巨型玻璃球可以容納四千個(gè)座位，能夠?qū)φ鄞蜷_(kāi)，內(nèi)置獨(dú)有的有軌電車(chē)系統(tǒng)可以直達(dá)莫斯科。更不得了的是，列奧尼多夫還計(jì)劃建造一個(gè)無(wú)線(xiàn)電臺(tái)。盡管這個(gè)設(shè)計(jì)為列奧尼多夫贏得了諸多贊譽(yù)，但建筑師莫伊謝伊·金茲伯格對(duì)列奧尼多夫的評(píng)價(jià)總結(jié)得最為精辟——"(他)不能證明他提出的建筑難題真的有必要"，并稱(chēng)這個(gè)設(shè)計(jì)是"不可能的"。

6.London's Safety-Defying Airports

6.無(wú)視安全的倫敦飛機(jī)場(chǎng)

If you've ever been to London, you'll know inserting an airport into the city center is a madman's dream. Meet that madman: Charles W. Glover. In 1931, Glover produced designs forbringing air travel to central London. He did it by throwing every safety regulation out thenearest window.

如果你去過(guò)倫敦，那你應(yīng)該知道，在倫敦市中心建機(jī)場(chǎng)簡(jiǎn)直是個(gè)瘋狂的想法。讓我們見(jiàn)識(shí)下提出這個(gè)想法的人：查爾斯·W·格洛費(fèi)。1931年，格洛費(fèi)提出在倫敦市中心建機(jī)場(chǎng)的設(shè)想。他的這一設(shè)計(jì)將所有的安全章程拋在了腦后。

Glover proposed a £5 million wheel-shaped runway that would sit on top of thousands of homes. Stretching from Kings Cross to Trafalgar Square, it had private garages for personal airplanes, lifts to bring people up from ground level, and absolutely nothing to stop an incompetent pilot from careening off the end and right into the heart of London's shopping districts. Although the potential for catastrophe was clearly enormous, people still took Glover seriously. A watered-down version of the project was still being considered as late as the 1960s.Glover wasn't the only one to take a cavalier approach to Londoners' safety. A 1930s proposal suggested placing an airport next to Westminster, where a bad crash could easily wipe out the government. Another from the 1950s aimed to place a landing platform forpersonal helicopters directly above Charing Cross Station. As Popular Science blithely noted,this new landing pad would helpfully include "radar aids for landings in London's pea-soup fogs."

格洛費(fèi)計(jì)劃花500萬(wàn)英鎊在上千所房子上空修建輪形跑道。輪形跑道從英皇十字區(qū)延伸到特拉法爾加廣場(chǎng)，為私人飛機(jī)建設(shè)了停機(jī)場(chǎng)，提供電梯方便人們升降，并且絕不會(huì)有任何東西妨礙不夠格的飛行員將飛機(jī)歪歪斜斜地開(kāi)出跑道，然后沖進(jìn)倫敦商業(yè)區(qū)的中心地帶。顯然這項(xiàng)設(shè)計(jì)的潛在風(fēng)險(xiǎn)很大，但人們還是認(rèn)真考慮了格洛費(fèi)的這一設(shè)想。直到20世紀(jì)60年代，人們還在考慮采取一個(gè)更緩和的計(jì)劃。格洛費(fèi)不是唯一一個(gè)對(duì)倫敦居民的安全漫不經(jīng)心的人。20世紀(jì)30年代，有人提議在威斯敏斯特旁建一個(gè)機(jī)場(chǎng)，在那里發(fā)生一次嚴(yán)重的飛機(jī)事故就能輕易摧毀政府。在20世紀(jì)50年代，還有人提出了另一個(gè)建議，要在查林十字車(chē)站的正上方為私人直升飛機(jī)建一個(gè)停機(jī)坪?！犊萍夹聲r(shí)代》指出，這個(gè)新的停機(jī)坪大有用處，"有雷達(dá)輔助設(shè)備，能幫助飛機(jī)在倫敦的濃霧天里著陸"。