讓美國再美麗【英語學(xué)習(xí)】

信達(dá)

Making America Beautiful Again讓美國再美麗We must dispel once and for all the notion that ugly structures naturally equate with cost savings.我們必須徹底消除“丑陋的建筑自然就等于節(jié)省成本”這種觀念。 Paul Ingrassia 保羅·英格拉西亞Feb 02, 2026 2026年2月2日 美國紐約市曼哈頓的帝國大廈 The President’s recent commitments to renovate the White House Rose Garden, begin construction on a spectacular new ballroom, and to propose a magnificent victory arch coinciding with the Nation’s two hundred fiftieth birthday all demonstrate a spirit of cultural revival that had been missing from Washington – and throughout much of the country – for decades. 總統(tǒng)近期承諾翻新白宮玫瑰園、啟動(dòng)一座壯觀的新宴會(huì)廳的建設(shè)，并提議在國家二百五十周年慶典之際建造一座宏偉的凱旋門，這些舉措都展現(xiàn)了一種文化復(fù)興的精神，而這種精神在華盛頓乃至整個(gè)國家已經(jīng)缺失了幾十年。Far too long has building in the United States become an ordeal, bogged down by administrative dross and bureaucratic red tape which has stifled innovation and paralyzed the cultural idiom of these United States. Washington as the epicenter of that gridlock, became in recent decades a symbol for urban decay and cultural decline – its brutalist structures being stark representations of the drastic change in values the Republic has undergone since 1776.長期以來，美國的建設(shè)一直是一種煎熬，被繁文縟節(jié)和官僚主義的泥沼所拖累，扼殺了創(chuàng)新，也使美國的文化表達(dá)方式陷入癱瘓。作為這種僵局的中心，華盛頓在近幾十年里成為了城市衰敗和文化衰落的象征——其粗野主義的建筑風(fēng)格鮮明地體現(xiàn)了自1776年以來共和國價(jià)值觀的劇變。 白宮新宴會(huì)廳效果圖 Once envisioned by the Founding Fathers as a global oasis for innovation and the development of architectural styles, in the postwar era Washington’s venerable history was usurped by a soul-crushing contagion, oriented towards depressing the formerly exultant character of the city and replacing it with something quite unlike the neoclassical cadence that defined its identity for most of its prior history. The Founding Fathers originally conceived Washington as the new Rome – a proper city evocative of and in keeping with the countless references to antiquity (such as the works of Lucretius, Polybius, and Publius) made in the nation’s founding documents and constitutional charter, as exemplified throughout the Federalist Papers.華盛頓曾被開國元?jiǎng)讉冊O(shè)想為全球創(chuàng)新和建筑風(fēng)格發(fā)展的綠洲，但在戰(zhàn)后時(shí)期，其悠久的歷史卻被一種令人窒息的頹靡之風(fēng)所侵蝕，這種頹靡之風(fēng)旨在扼殺這座城市昔日的輝煌，并代之以與此前大部分歷史時(shí)期定義其身份的新古典主義風(fēng)格截然不同的東西。開國元?jiǎng)讉冏畛鯇⑷A盛頓構(gòu)想為新羅馬——一座真正意義上的城市，它既體現(xiàn)了國家建國文獻(xiàn)和憲法中無數(shù)對古代文明（例如盧克萊修、波利比烏斯和普布利烏斯的著作）的引用，又與之相符，正如《聯(lián)邦黨人文集》中所展現(xiàn)的那樣。 The Founders saw in their roles as statesmen an important responsibility (responsibility being the main public virtue emphasized in the Federalist Papers to the public good, or “commonweal,” as it was referred to in those days. Accordingly, many of them – George Washington and Thomas Jefferson leading the way – got intimately involved in the details of their fledgling capital’s early formation. 開國元?jiǎng)讉儗ⅰ罢渭摇钡慕巧暈橐豁?xiàng)重要責(zé)任（在《聯(lián)邦黨人文集》中，“責(zé)任”被視為最重要的公共美德之一），這種責(zé)任是指對公共利益——當(dāng)時(shí)稱為“共同福祉”（commonweal）——的擔(dān)當(dāng)。因此，他們中的許多人——以喬治·華盛頓和托馬斯·杰斐遜為代表——都深入?yún)⑴c了這個(gè)新生首都早期建設(shè)的具體細(xì)節(jié)。While Washington conscripted a Frenchman, Pierre Charles L’Enfant, to bring to life his generation’s vision for the city – both he, Jefferson, and other founders were hands-on in guiding its creation and conducting its cultural tempo. It was important that America’s City captured the best of the Old World. 華盛頓委任法國人皮埃爾·夏爾·朗方（Pierre Charles L’Enfant），將他這一代人對城市的愿景付諸實(shí)現(xiàn)；而華盛頓、杰斐遜以及其他開國者，也都親自參與指導(dǎo)其建設(shè)，并塑造其文化風(fēng)貌。他們認(rèn)為，美國的首都必須體現(xiàn)舊世界最優(yōu)秀的傳統(tǒng)。Its classical features – as embodied in the Greco-Roman aspects of the White House, with its porticos, colonnades, and Olympian fixtures, to say nothing of the Capitol building, with its grand dome, reminiscent of Rome’s Pantheon and countless great domes across Europe – were and are living tribute to the Founders’ grandiose vision to link past and present, Old and New worlds, that would later become the crowning hallmark of its heritage.這種古典特征——體現(xiàn)在白宮的希臘羅馬風(fēng)格上，如門廊、柱廊以及莊嚴(yán)宏偉的裝飾——更不用說國會(huì)大廈那座宏大的圓頂，其風(fēng)格令人聯(lián)想到羅馬萬神殿以及歐洲無數(shù)偉大的穹頂——至今仍是對開國元?jiǎng)缀陚ピ妇暗纳鷦?dòng)致敬：將過去與現(xiàn)在、舊世界與新世界連接在一起，而這種融合后來也成為美國文化遺產(chǎn)最具代表性的標(biāo)志之一。 Sadly, over time much of that original Idealism in vision got lost as the republic matured into a global empire following a gruesome civil war and later two world wars. By 1945, Washington was no longer a backwater republic but a global superpower, its architecture evolved to represent the new sort of regime it had developed into. It would seem to be a universal rule that, as nations expand, their laws become more convoluted. An early republic like America, invigorated by a democratic spirit, over time gives way to becoming administrative albatrosses, mired by endless rules and procedures which serve to asphyxiate, rather than provide intelligent guidance, for city planning.令人遺憾的是，隨著共和國在經(jīng)歷了殘酷的內(nèi)戰(zhàn)和后來的兩次世界大戰(zhàn)后發(fā)展成為全球帝國，最初的理想主義愿景也逐漸消逝。到1945年，華盛頓不再是一個(gè)偏遠(yuǎn)的共和國，而是一個(gè)全球超級(jí)大國，其建筑也隨之演變，以體現(xiàn)其新政體的特征。似乎一條普遍規(guī)律是：隨著國家擴(kuò)張，其法律會(huì)變得更加復(fù)雜繁瑣。像美國這樣早期的共和國，在民主精神的激勵(lì)下，最終淪為行政的沉重負(fù)擔(dān)，被無休止的規(guī)章制度所束縛，這些規(guī)章制度非但沒有為城市規(guī)劃提供明智的指導(dǎo)，反而扼殺了其發(fā)展。 The results of these nefarious trends have been catastrophic: brutalist monstrosities such as the James V. Forrestal Building, which presently houses the Department of Energy, and the Robert C. Weaver Building, today home to the Department of Housing and Urban Development, are erected as soulless expressions of a decadent order. These buildings, which are anathema to beauty and classical style, are justified by their proponents in the name of utility – cost-savings and government efficiency – supposedly the driving motives that excuse their ghastly forms.這些邪惡趨勢的后果不堪設(shè)想：諸如現(xiàn)為能源部所在地的詹姆斯·V·福雷斯特爾大樓和現(xiàn)為住房與城市發(fā)展部所在地的羅伯特·C·韋弗大樓等粗野主義的丑陋建筑，如同頹廢秩序的無靈魂象征般拔地而起。這些建筑與美感和古典風(fēng)格背道而馳，其支持者卻以實(shí)用性——節(jié)約成本和提高政府效率——為之辯護(hù)，聲稱這些才是其丑陋外形的真正原因。 But in practice, as time has so clearly demonstrated, these structures stand as the very antithesis of efficient.但實(shí)踐證明，時(shí)間已經(jīng)清楚地表明，這些結(jié)構(gòu)恰恰與效率背道而馳。In truth they wind up taking up space gratuitously – sometimes over the span of three or four city blocks – as hulking eyesores that crush the soul and tamp out whatever adjacent beauty, still contained in the older styles in the surrounding neighborhood, might remain. It is one thing to make an argument for utility, but it is another thing entirely to assert themselves – as these buildings do – as invasively as they do in an otherwise tranquil setting. Their hulking natures point to an autocratic motive, subliminally if not deliberately, their sheer size an assertion of dominance over a citizenry otherwise repelled by their grotesquery but compelled into obedience, something that only brute force can achieve to establish the authority that a classical structure would do own its own.事實(shí)上，它們最終只是徒增空間——有時(shí)甚至橫跨三四個(gè)街區(qū)——如同龐然大物般遮天蔽日，令人窒息，并抹殺了周邊街區(qū)舊式建筑中僅存的美感。論證其實(shí)用性是一回事，但像這些建筑一樣，在原本寧靜的環(huán)境中如此咄咄逼人地彰顯自身存在，則是另一回事。它們龐大的身軀指向一種專制動(dòng)機(jī)，即便并非有意為之，也至少是潛意識(shí)里的。它們龐大的體量是對市民的一種支配，市民們雖然厭惡它們的丑陋，卻不得不服從。唯有蠻力才能建立起古典建筑所擁有的那種權(quán)威。 The argument for utility also fails in another fundamental respect, as time has repeatedly shown. These structures, maybe best epitomized by Forrestal, remain to this day half-occupied at best, which in the grand scheme cost taxpayers millions (if not tens of millions) of dollars per year just to upkeep. The notion that barebones utility is somehow naturally compatible with government efficiency – and cost savings – is shattered by the reality of hundreds of millions of dollars in maintenance fees and operational costs the American taxpayer must foot each year. And to make matters worse, the taxpayer must foot the bill for something that is downright hideous: these buildings are intended to crush his spirit, and make him believe that what was once conceivable – a beautiful new Rome which surpassed the blueprint of the original – is no longer possible, or never was, and that it is but a fool’s errand to think that such a grand vision could ever be restored in modern times.效用論在另一個(gè)根本方面也站不住腳，時(shí)間已經(jīng)反復(fù)證明了這一點(diǎn)。這些建筑，或許以福雷斯塔爾大廈最為典型，時(shí)至今日充其量也只是半空置，而從長遠(yuǎn)來看，每年僅維護(hù)費(fèi)用就需納稅人花費(fèi)數(shù)百萬（甚至數(shù)千萬美元）。那種認(rèn)為最低限度的效用就能自然而然地與政府效率和成本節(jié)約相容的想法，被美國納稅人每年必須承擔(dān)的數(shù)億美元維護(hù)費(fèi)和運(yùn)營成本的現(xiàn)實(shí)徹底粉碎了。更糟糕的是，納稅人還必須為一些丑陋不堪的東西買單：這些建筑旨在摧毀他們的精神，讓他們相信曾經(jīng)可以設(shè)想的——一個(gè)超越原羅馬藍(lán)圖的美麗新羅馬——如今已不再可能，或者從未可能，認(rèn)為在現(xiàn)代社會(huì)能夠重現(xiàn)如此宏偉的愿景，不過是癡人說夢。 The Robert C. Weaver Building (headquarters of HUD), which is evocative of the soulless, mid-century structures of the former Soviet Union. What message are we signaling to Americans, and to society overall, when the department in charge of housing needs is stationed in a building that is obnoxiously inhospitable and brazenly soulless?羅伯特·C·韋弗大樓（美國住房和城市發(fā)展部總部）讓人聯(lián)想起前蘇聯(lián)那些毫無生氣的中世紀(jì)建筑。當(dāng)負(fù)責(zé)住房需求的部門設(shè)在一棟令人厭惡、冷漠無情、毫無靈魂的建筑里時(shí)，我們究竟在向美國民眾乃至整個(gè)社會(huì)傳遞怎樣的信息？ Donald Trump is first and foremost a builder – but, more than just that, he is a creative visionary. He operates by following vision first, the driving vehicle of his success as a developer, and which now accounts for everything he has been able to accomplish, from the patio to the ballroom, already during his second presidency. He is the furthest thing from a bureaucrat and does not let fear of process kowtow him into submission. In this way, he is a powerful reminder of the spirit of the Founding generation – and the greatness in the many generations which followed – a tenacity and boldness to innovate and create a legacy for posterity, one that would lead to the betterment of society. His mindset is generational, not transient. In times of yore, that was the same mindset of the society at large: civilizations only advance when they can tame the temptation for instantaneous gratification, in pursuit of a larger, nobler project that might unfold over decades.唐納德·特朗普首先是一位建設(shè)者——但不僅如此，他更是一位富有創(chuàng)造力的遠(yuǎn)見卓識(shí)者。他始終堅(jiān)持以愿景為先，這正是他作為開發(fā)商取得成功的驅(qū)動(dòng)力，也是他如今成就斐然的原因，從庭院到宴會(huì)廳，這一切都源于他第二任總統(tǒng)任期內(nèi)所取得的成就。他絕非官僚主義者，也不會(huì)因畏懼繁文縟節(jié)而屈服。從這個(gè)意義上講，他有力地展現(xiàn)了建國一代的精神，以及其后幾代人的偉大成就——一種堅(jiān)持不懈、勇于創(chuàng)新、為后世創(chuàng)造遺產(chǎn)的魄力，這種遺產(chǎn)將引領(lǐng)社會(huì)走向進(jìn)步。他的思維方式具有時(shí)代意義，而非曇花一現(xiàn)。在過去，這同樣也是整個(gè)社會(huì)的思維方式：文明只有克服對即時(shí)滿足的渴望，轉(zhuǎn)而追求更宏大、更崇高的事業(yè)，才能不斷進(jìn)步。 The Forrestal Building (headquarters of Department of Energy), which is also brutalist and soul-crushing, squanders tens of millions of dollars each year in maintenance fees. The building is literally crumbling apart from water damages, unsustainable management, and other costs. Notice, however, that the parks, greenery, and historic structures located across the street are aesthetic marvels – the green space, which begins across the street, can be extended to mesh with the acreage on which the building is currently located. And then once opened, the space may be refashioned into the neoclassical styles referenced above; this can lead to walkable areas that are pleasant to the senses, and over time, restaurants, retail districts, and other businesses might emerge in close proximity that would help revitalize the local economy福雷斯塔爾大樓（能源部總部）同樣是粗野主義風(fēng)格，令人壓抑，每年卻要揮霍數(shù)千萬美元的維護(hù)費(fèi)。由于水患、管理不善和其他費(fèi)用，這座大樓實(shí)際上正在坍塌。然而，值得注意的是，街對面的公園、綠地和歷史建筑卻是美學(xué)上的奇跡——這片從街對面延伸而來的綠地可以與大樓目前所在的土地融為一體。一旦開放，這片空間可以改造成上文提到的新古典主義風(fēng)格；這將打造出令人愉悅的步行區(qū)域，隨著時(shí)間的推移，餐廳、零售區(qū)和其他商業(yè)場所可能會(huì)在附近涌現(xiàn)，從而有助于振興當(dāng)?shù)亟?jīng)濟(jì)。 Of course, the President has also repeatedly shown an uncanny aptitude to compress what might take normal men decades to do into a much shorter timeline. Witness all the diplomatic and peacemaking progress of the last ten months alone, to say nothing of the expeditious schedule upon which construction of the new White House ballroom has taken place. But the rapid pace upon which the President has been able to execute his projects further supports the rule that generational thinking, driven by a guiding vision of what is inherently good and beautiful, can do wonders for any society. Europe’s grand cathedrals were often generational projects that took many centuries, if not in some cases, millennia, to build.當(dāng)然，總統(tǒng)也屢次展現(xiàn)出一種非凡的能力，能將常人需要數(shù)十年才能完成的事情壓縮到更短的時(shí)間內(nèi)。僅過去十個(gè)月的外交和和平進(jìn)程就足以證明這一點(diǎn)，更不用說白宮新宴會(huì)廳的建設(shè)進(jìn)度也十分迅速?？偨y(tǒng)如此高效地推進(jìn)各項(xiàng)計(jì)劃，進(jìn)一步印證了這樣一條規(guī)律：由對美好本質(zhì)的深刻理解所驅(qū)動(dòng)的世代傳承的思維，能夠?yàn)槿魏紊鐣?huì)帶來奇跡。歐洲那些宏偉的大教堂往往是世代相傳的工程，建造過程耗時(shí)數(shù)個(gè)世紀(jì)，有的甚至長達(dá)數(shù)千年。 Modern technology has made it possible where a project that might once have taken centuries previously can now be done in a matter of decades, if not in a few short years (or even months). Observe the time it took to build the Empire State Building and Chrysler Building in New York – a little over a year. For forty years thereafter, until the construction of the World Trade Center, which was completed in the early 1970s, the Empire State Building stood as the tallest building in the world, a monument to American innovation and a pioneering masterpiece in Art-Deco style (and in the twelve years following the tragic 9/11 attacks, it returned as New York City’s tallest structure once again). This demonstrates how the spirit of American innovation coupled with modern technology can work at its best.現(xiàn)代科技使得過去可能需要幾個(gè)世紀(jì)才能完成的項(xiàng)目，如今只需幾十年，甚至短短幾年（或幾個(gè)月）即可完成。以紐約帝國大廈和克萊斯勒大廈的建造為例——僅用了一年多一點(diǎn)的時(shí)間。此后四十年間，直到20世紀(jì)70年代初世界貿(mào)易中心建成，帝國大廈一直是世界最高的建筑，是美國創(chuàng)新精神的象征，也是裝飾藝術(shù)風(fēng)格的先驅(qū)杰作（在9·11恐怖襲擊事件發(fā)生后的十二年里，它再次成為紐約市最高的建筑）。這充分展現(xiàn)了美國創(chuàng)新精神與現(xiàn)代科技相結(jié)合所能達(dá)到的最佳效果。 Unfortunately, as we have seen in the ten intervening decades, what once was a function of technological limitation has been replaced by bureaucratic headwinds. Or at least the illusion that process must invariably hold up progress. The bureaucratic trend is sinister because as one waits for federal agency approval on any new project, it is not as if no new buildings are constructed in the meantime. It is no coincidence that in the eighty years since the end of World War II, which roughly coincided with the advent of the modern administrative state, architectural forms have gone downhill – drastically deviating from their classical origins along the way. Bureaucracy, in short, leads to ugliness. Sometimes it does this under the veneer of “utility,” but it is a misnomer to think that bureaucrats are agnostic to aesthetics. New buildings have been erected over the last eighty years, arguably more than at any time previous in American history. The problem is not with the lack of building, but that the buildings which do go up are abominations – while the proposed projects which derive inspiration from the beauty of the past seem to languish in administrative purgatory forever, never to see the light of day.不幸的是，正如我們在過去十年中所見，曾經(jīng)的技術(shù)限制如今已被官僚主義的阻力所取代?；蛘咧辽伲藗儺a(chǎn)生了一種錯(cuò)覺，認(rèn)為流程必然會(huì)阻礙進(jìn)步。這種官僚主義趨勢令人擔(dān)憂，因?yàn)樵诘却?lián)邦機(jī)構(gòu)批準(zhǔn)任何新項(xiàng)目的同時(shí)，并非沒有新的建筑拔地而起。二戰(zhàn)結(jié)束后的八十年間，建筑形式日漸衰落，與現(xiàn)代行政國家的出現(xiàn)大致吻合，這絕非巧合——建筑形式也隨之發(fā)生了巨大的變化，與它們的古典起源相去甚遠(yuǎn)。簡而言之，官僚主義導(dǎo)致了丑陋。有時(shí)，它披著“實(shí)用性”的外衣，但認(rèn)為官僚們對美學(xué)漠不關(guān)心是錯(cuò)誤的。過去八十年間，新建建筑的數(shù)量可以說超過了美國歷史上的任何時(shí)期。問題不在于缺乏建筑，而在于已經(jīng)建成的建筑丑陋不堪——而那些從過去的美麗中汲取靈感的擬建項(xiàng)目似乎永遠(yuǎn)地在行政審批的煉獄中停滯不前，永遠(yuǎn)不會(huì)面世。 The gardens of Rome should be a model for how luscious green city space can be used economically but also with a view to the highest ideals in urban planning: Washington never achieved the look of the civilization it embodies, now can be the time to reach full maturation in civic aesthetics.羅馬的花園應(yīng)該成為如何經(jīng)濟(jì)有效地利用城市綠地，同時(shí)又能達(dá)到城市規(guī)劃最高理想的典范：華盛頓從未達(dá)到其所代表的文明的面貌，現(xiàn)在是時(shí)候在城市美學(xué)方面達(dá)到完全成熟了。 So, what can be done about it? A few things. First, we must as a society dispel once and for all with the notion that ugly structures naturally equate with cost savings. In most cases, it is the exact opposite: barbaric brutalism lends itself to barbaric prices – prices that are inevitably shouldered by the taxpayer. In the first few years after it was built, the Empire State Building was mocked by New Yorkers as the “empty state building.” At the time, America was in the throes of Depression, and the original building struggled to recruit tenants as a result. Yet, despite all that, at no point was it ever mocked as the “ugly state building.” That stands in sharp contrast with today’s federal monstrosities, which suffer from both emptiness and ugliness.那么，我們該如何應(yīng)對呢？有幾點(diǎn)可以做。首先，作為一個(gè)社會(huì)，我們必須徹底摒棄“丑陋的建筑自然等同于節(jié)省成本”這種觀念。在大多數(shù)情況下，情況恰恰相反：粗野的暴力主義建筑必然導(dǎo)致高昂的造價(jià)——而這些高價(jià)最終必然由納稅人承擔(dān)。帝國大廈建成后的最初幾年，曾被紐約人嘲笑為“ 空蕩蕩的州政府大樓”。當(dāng)時(shí)，美國正處于經(jīng)濟(jì)大蕭條的泥沼中，因此這座建筑很難招到租戶。然而，盡管如此，它卻從未被嘲笑為“ 丑陋的州政府大樓”。這與如今那些既空蕩蕩又丑陋的聯(lián)邦建筑形成了鮮明的對比。 For many of these buildings, particularly the ones that require more money than they are worth to simply maintain year-after-year, it would be better to demolish them altogether. For the ones that remain, consolidation of leases is in order: why have an agency scattered about five semi-empty buildings, rather than condensed into one or two at near-complete occupancy? As for looking ahead, President Trump offers the quintessential model in how to get things done: just do it. By embracing this vision-driven approach, while acknowledging the original intents behind modernist designs, we can restore Washington’s heritage as a beacon of beauty and, yes, a fount of American Greatness.對于許多這類建筑，尤其是那些年復(fù)一年維護(hù)成本遠(yuǎn)超其價(jià)值的建筑而言，拆除重建或許是更好的選擇。而對于那些保留下來的建筑，整合租賃合同勢在必行：與其讓一個(gè)機(jī)構(gòu)分散在五棟半空置的建筑里，何不將其集中到一兩棟幾乎滿租的建筑中呢？展望未來，特朗普總統(tǒng)提供了一個(gè)典型的行動(dòng)指南：行動(dòng)起來！通過采納這種以愿景為導(dǎo)向的方法，同時(shí)尊重現(xiàn)代主義設(shè)計(jì)的初衷，我們可以將華盛頓的遺產(chǎn)恢復(fù)為美麗的燈塔，以及美國偉大的源泉。 Paul Ingrassia is currently serving as the Acting General Counsel for General Services (GSA). 保羅·英格拉西亞目前擔(dān)任美國總務(wù)署（GSA）代理總法律顧問。 Your photo of the Forrestal Building showing the Smithsonian's gardens across the street is illustrative, but it doesn't convey the soul-crushing intimidation the building imposes on people at ground level walking or driving on Independence Ave. It seems to never end. In your DC buildings-of-horror list, I would include the Hart Senate Office Building as well, with its bland minimalist exterior and hulking volume. Its enormous hanging mobile sculpture by Calder in the 90-foot atrium threatens to crash down at any minute and crush the building's occupants. The only word for it is menacing, and if it was intended to intimidate the Senators' constituents, it fulfills that purpose. Sen. Daniel Patrick Moynihan described Hart as "a building whose banality is exceeded only by its expense." And I must add that the Dirksen Senate Office Building, with its resemblance to a 1950s high school on steroids, is equally hideous.你拍的福雷斯塔爾大廈的照片，雖然能看出街對面是史密森尼花園，但并不能完全展現(xiàn)這座建筑給在獨(dú)立大道上行走或駕車的人們帶來的那種令人窒息的壓迫感。這種壓迫感似乎永無止境。在你的華盛頓特區(qū)恐怖建筑名單中，我還要加上哈特參議院辦公大樓，它有著平淡無奇的極簡主義外觀和龐大的體量。位于90英尺中庭的考爾德巨型懸掛式動(dòng)態(tài)雕塑仿佛隨時(shí)都會(huì)墜落，砸死樓里的人們。用“嚇人”來形容它再合適不過了，如果它的目的是為了震懾參議員的選民，那它確實(shí)達(dá)到了目的。參議員丹尼爾·帕特里克·莫伊尼漢曾形容哈特大廈“平庸至極，其造價(jià)之高也毫不遜色”。我還必須補(bǔ)充一點(diǎn)，迪克森參議院辦公大樓也同樣丑陋，它就像一所打了興奮劑的20世紀(jì)50年代高中。 Both the Forrestal and the Weaver buildings are reminiscent of nothing so much as the stunning (intended) architecture of the worst of Soviet and fascist architecture. All perfectly typical. And one of the commentators mentions the soul-crushing deadliness of the Forrestal. Interesting to think, that I heard that the Versailles Palace was actually meant to intimidate the nobility who were "asked" to come visit. What a difference, however, in the architecture! So, buildings can be overwhelming and everything you wish - but the ugliness is a quality only sought after in diabolically perverted cultures focused on hatred of human beings. You can see this quality, too, in many dystopian books and films like "1984" and "Brave New World". (As per the same commentator below, our school buildings in the US have long suffered from the same hatred of humanity. Their glorification of "efficiency", "cost-consciousness", and whatever nasty gods might be worshipped in them.)福雷斯塔爾大樓和韋弗大樓都讓人聯(lián)想起蘇聯(lián)和法西斯時(shí)期最糟糕的建筑，其令人震驚的（刻意營造的）風(fēng)格簡直如出一轍。一切都非常典型。一位評(píng)論者提到福雷斯塔爾大樓令人窒息的壓抑感。有趣的是，我聽說凡爾賽宮的建造初衷是為了震懾那些“應(yīng)邀”前來參觀的貴族。然而，兩者的建筑風(fēng)格卻截然不同！所以，建筑可以令人震撼，可以滿足你的一切愿望——但丑陋這種特質(zhì)，只有在那些充滿仇恨人類的邪惡扭曲的文化中才會(huì)被追求。你也可以在許多反烏托邦小說和電影中看到這種特質(zhì)，比如《1984》和《美麗新世界》。（正如下面同一位評(píng)論者所說，美國的學(xué)校建筑長期以來也深受這種仇恨人類的影響。它們崇尚“效率”、“成本意識(shí)”，以及其中可能崇拜的任何邪惡神靈。） Ugliness is never accidental. Brutalist Washington wasn’t built to inspire citizens—it was built to dominate them. These concrete fortresses telegraph contempt for the public while draining taxpayers through endless “maintenance” of buildings nobody wants to occupy. Trump understands what the bureaucrats never will: beauty is authority. Classical design commands respect without force. It lifts morale, invites commerce, and signals civilizational confidence. The administrative state hates beauty because beauty implies purpose, hierarchy, and permanence. Reclaiming Washington’s aesthetics isn’t cosmetic—it’s counterrevolutionary. Tear down the concrete lies. Build structures worthy of a Republic that intends to endure.丑陋絕非偶然。華盛頓的粗野主義建筑并非為了激勵(lì)民眾而建，而是為了統(tǒng)治他們。這些混凝土堡壘傳遞著對公眾的蔑視，同時(shí)又通過無休止的“維護(hù)”來榨取納稅人的錢財(cái)，而這些建筑根本無人問津。特朗普明白官僚們永遠(yuǎn)無法理解的道理：美即權(quán)威。古典設(shè)計(jì)無需強(qiáng)權(quán)便能贏得尊重。它能提升士氣，促進(jìn)商業(yè)發(fā)展，并彰顯文明的自信。行政國家憎恨美，因?yàn)槊酪馕吨康?、等?jí)和永恒。重塑華盛頓的美學(xué)并非表面功夫，而是反革命之舉。拆除混凝土的謊言，建造配得上一個(gè)旨在永續(xù)存在的共和國的建筑。 It's called Cultural Marxism. Crush the spirit with meaningless statues and ugly buildings, among all of its other crimes against humanity.它被稱為文化馬ks主義。它用毫無意義的雕像和丑陋的建筑來摧殘精神，這只是它反人類罪行的一部分。

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讓美國再美麗【英語學(xué)習(xí)】

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