这句话出自著名的建筑历史学家, professor 和 author has always been inspirational; it defines what it means to be an architect. 要考虑这么多因素和组成部分, 他们是私人的, 心理, 哲学的还是专业的, 与更具体的场地考虑相一致, 环境, 气候与构造, is the milieu within which the architect toils 和 it is there where he finds his most satisfying achievement.

任何建筑项目的设计, 无论是大范围还是小范围, 住宅或商业, 私人或公共, 产生了许多不同的问题. 这些问题从墙壁颜色到建筑物之间的交通流量, 然而，在成功完成设计的过程中，每一个都有自己的角色.

仅仅提供空间安排的方案是不够的. It is the responsibility of the architect to not only create a scheme that reflects the advice 和 consent of those who will inhabit the space, 创造也是他的责任, 用已故建筑师查尔斯·摩尔的话来说, 一种地方感.'

摩尔想要传达一种感觉——一种到来的感觉, 一种成为一个地方的一部分的感觉, 在离开, 一种离开那个地方的感觉. 这种感觉可能发生的时间范围可能是几秒钟的问题, 当一个人进入一个房间, 或者一辈子, 就像一个人来到了一个注定要成为几代人家园的地方.

许多组件结合在一起创造了一种空间感. 建筑师使用的, 而且它们最容易被操纵, 是规模, 比例, 平衡, 统一与风格.

一个项目的规模是指设计与周围环境的兼容性. Proportion works consistently with scale to achieve a composition that the viewer perceives as desirable. Throughout the ages designers 和 artists have tried in various ways to define correct 比例. 希腊人给了我们“黄金分割”,' a mathematically precise ratio of width to height that they found to be pleasing to the senses.

然而, 尤金·拉斯金, 在他的书《韦德注册平台》中, 州, “每一次, 简而言之，它需要自己的比例. 不可能有一个公式，不管多么深奥，适用于一切. Yet the human mind is often too lazy to think each problem out separately; it prefers to use a formula 和, 矛盾的是, will do an enormous amount of work devising such a formula 和 then twice as much work defending it.” Raskin goes on to say; “it becomes necessary, 因此, to consider 比例 not merely as a matter of relative dimensions but as a composite result of function, 建筑材料, 规模和, 在某些情况下, time.”

“记住要注意小事情, 因为小事情造就完美, 完美不是一件小事.——米开朗基罗·博纳罗蒂

The 虽然tful placement of elements within a design can mark the difference between a 平衡d scheme that rewards the occupant with comfort, 愉悦，或许还有反思, versus a scheme that jangles the nerves 和 provides no such sense of serenity or emotion. Spaces 和 artifacts that have been haphazardly assembled without regard for the specific occupants make the user the servant of the space. As structure should amend itself to conform to the unique characteristics of site 和 环境, space should amend itself to best serve the needs of those for whom the space is intended.

Unity as an architectural concept does not mean the slavish repetition of pattern or spacing. 而, 它是指一个结构的不同元素, 周边地区, 和 the program requirements of those who will inhabit it are in harmony 和 are at rest with one another. 同样的道理也适用于建筑环境的风格. 装饰和点缀仅仅是时尚的流行语, 和 the use or over-use of both is generally the hallmark of the lazy designer who substitutes trim for 虽然tful arrangement of space. Style has as much to do with the personal interaction of structure 和 its occupants as it does reference to formal consideration. Style is evidence of choice; it is the manifestation of clear human purpose in places that have been made by 和 for people.

Proper planning of a structure or structures within the confines of a site can be h和led in four ways- to merge, 指挥, 面对, 然后包围.

好的结构很容易就属于这些类别之一. 经常, 虽然, 当一个建筑物建在陆地上时，它会同时做几件事, 一些令人难忘的建筑是多种选址方式的组合.

芒特弗农 例如，它的一侧面对波托马克河. But on the other a pair of curving arcades connects the house to outbuildings in a gesture of surrounding. 房子这一边的比例, 还有拱廊和外面的建筑, 比河边的那个小吗. 由此产生的是乡村绿色效应, 简单的来来往往和这个地方的日常生活在哪里上演. A more formal, ceremonial air is created by the wide porch 和 colonnade on the riverfront.

海上牧场 on the northern California coast also possess good examples using multiple modes of siting: in the gently sloped shed roofs 和 rough-sawn redwood walls is an element of merging with the meadows in which the buildings are placed. 而是原始结构的坚固形状, 点缀着塔楼, 在土地上建立一个非常明确的主张或命令.

可悲的是, too many structures are forced by legal constraint 和 a sense of obligation to conform to an arbitrary suburban ideal. 结果有时提供了最少的可能性的变化，在选址. 也, the elimination of sidewalks 和 porches has removed the human interaction from the neighborhood 和 has left only streets void of all but passing cars.

This is not to say that siting on the ground is the only manner of placement that deserves consideration. 房间的布置, 空间布置, 装饰和器物的使用, 是否所有合理的区域都需要经过深思熟虑的设计.

我们经常被告知，好的品味是别人拥有的, 我们必须为他或她的洞察力和指导付出高昂的代价. 传统并不像品味制造者想让我们相信的那样受限制. 深思熟虑的设计师, 与有意向的客户合作, can bind together the material trappings of life 和 the ethereal world of dreams into a place that is unique.

The placement of objects generally has a profound effect on the way space is perceived 和 used. Anyone who cares enough about the manner 和 style in which they live will have strong likes 和 dislikes about the things with which they surround themselves. The things about which they care the most will occupy places of prominence; the rest will serve to support or enable that primacy. Knowing 和 believing in one's own abilities to pick from among the myriad choices which are available is a large part of the process. At the end, there will be a semblance of a familiar world, added to the community that surrounds it.

这不应被解释为贬低专业知识的重要性. 专业知识决定选择, 经常帮助客户辨别真假, 从平凡中脱颖而出. 当建筑师从一个特定的窗口移动并取悦客户时, 或者通过开口的形状, it is because he has listened to the client 和 has gleaned some sense of the client's soul in the process. The structure is of great importance 和 interest to the client; it is the architect who must recognize 和 utilize that caring 和 interest in order to achieve the synthesis of inner 和 outer 规模和 比例, 内外平衡, 以及内在和外在的统一.

The placement of objects regardless of their origin is the essence of creating a sense of place. 无论是家具和捡到的物品的摆放, 房间的流动和互动, 或者结构与场地的关系, the successful project is the one in which each facet has been weighed 和 considered as a part of a whole. The synthesis of the architect's art 和 the client's desire is what constitutes architecture in the modern world. 这些主要成分, 场所感与空间相结合，产生永恒而实用的美.