| 1. | " i wished for peace , " said 12 - year - old yuki naito , whose paper read " peaceful country .
12岁的由希内藤说： "我渴望和平" 。他写下的新年愿望是"和平家园" 。 |
| 2. | An important shrine that formerly belonged to the naito shinjuku family that lived here during the edo era
作为内藤新宿的总保护神，历史上曾占有重要的地位。 |
| 3. | Others used the words " to be courageous . " " i wished for peace , " said 12 - year - old yuki naito , whose paper read " peaceful country .
还有人用了“勇敢”这个词。 12岁的由希内藤说： "我渴望和平" 。他写下的新年愿望是"和平家园" 。 |
| 4. | No matter teru , mizue or the pigeon man sally takeshi naito , each of them has an innoncent mind . they treat each other faithfully and sincerely . it is very different from the social interaction in our society where everyone is egocentric
放鸽人sally内藤刚志喜欢行侠仗义，屡屡帮助阿照步过难关，后来更倾囊相助，活像一个天使，而整电影就好比一个都市童话，带给观众希望的讯息。 |
| 5. | Section one ( chapter 1 ) clarifies the conception of " protoform " in naito ' s works . it also discusses the proposal of the topics , the meaning and the goal of the study , the current situation and manner of today ' s study , and the paper ' s structure as well
第一部分(第一章)阐明了“原生形态”的建筑的含义，并讨论了课题的提出、研究的目的意义、研究的现状及方法、论文的组织结构等。 |
| 6. | By means of study the creative designs of naito ' s , we have well found it of a great practical significance to explore the nationality and the regional that there should be in our architecture design so as to restore the regional feature in architectures
研究他的“原生形态”的建筑创作，将为我国建筑创作道路提供另一种思考建筑的方法，在现今经济条件及生产力发展水平下，对实现民族建筑、地域建筑的复兴具有十分迫切的现实意义。 |
| 7. | Section two ( chapter 2 to 3 ) deals with not only characteristics of naito ' s works but also the important influence forming his conception of ' protoform " which was embodied throughout his architectural activities and also discusses his course of design in this part . chapter 2 selects the works ranging from his early buildings to projects now in progress
第二部分(第二章、第三章) ，首先通过分析他的建筑创作实例来体现他对建筑的“原生形态”的探索，其次论述了内藤广的建筑创作历程以及他建筑思想形成的主要影响因素。 |
| 8. | Throughout this span of time , naito ' s design stance has been constant and characterized by a breadth of vision encompassing dimensions from " 1 / 1 " to " 1 / 2000 " . " 1 / 1 " means the design issues studied in the building at scale : its components and detailing . " 1 / 2000 " means the building ' s environmental context and landscape
日本建筑师内藤广在其建筑创作中，运用他独特的能力，将按人体尺度来考虑的建筑细部各组成要素这种微观的东西(建筑中的“ 1 1 ” )与建筑物场地的景观环境、历史文脉这种宏观的东西(建筑中的“ 1 2000 ” )完美结合。 |
| 9. | Although these works analyzed here represent only a portion of naito ' s architecture vision , they reveal the figure of architecture as timeless and providing continuity within relentless change . chapter 3 expound naito ' s course of design and some main influence factors forming naito ' s conception of " protoform " especially . section three ( chapter 4 to 5 ) , a conclusive part , explains the fact that naito ' s conception of " protoform " in architectural activities exerts an influence on today ' s japanese architecture , and it also summarizes the special contribution making by naito ' s conception of " protoform " in architectural activities
首先，第三章通过分析在他近二十年的建筑创作中，不同时期里的公共建筑和住宅的代表作品，来体现他始终坚持的建筑思想以及对“原生形态”的建筑的不懈探索；随后，第三章将并不为大家所知的五十年代生日本建筑师内藤广的建筑创作历程予以介绍，并论述了内藤广探求“原生形态”的建筑思想的主要影响因素。 |
| 10. | Topography , the foundation of a building ' s landscape ; and materials , the compositional elements of its detailing , are macro and micro . naito ' s buildings emerge uniquely from his ability to unify these apparent polar extremes . in this respect , they challenge us to consider the rightful course for archi tecture in the future
他作品所形成的强烈的场所精神，以及舍去空间形态作为建筑设计的主导地位，代之以时间占据核心的设计思想，表明了他在20世纪后期开始的建筑创作中强调“原生形态”建筑的探索，并通过深入研究建筑设计中各种复杂的组成要素，并使他们达到平衡来最终实现这一探索。 |
