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2024年7月26日发(作者：)

1 Why Pagodas Don't Fall Down

In a land swept by typhoons and shaken by earthquakes, how have Japan's tallest and seemingly

flimsiest old buildings - 500 or so wooden pagodas - remained standing for centuries? Records show

that only two have collapsed during the past 1400 years. Those that have disappeared were destroyed

by fire as a result of lightning or civil war. The disastrous Hanshin earthquake in 1995 killed 6,400

people, toppled elevated highways, flattened office blocks and devastated the port area of Kobe. Yet

it left the magnificent five-storey pagoda at the Toji temple in nearby Kyoto unscathed, though it

levelled a number of buildings in the neighbourhood.

Japanese scholars have been mystified for ages about why these tall, slender buildings are so stable.

It was only thirty years ago that the building industry felt confident enough to erect office blocks of

steel and reinforced concrete that had more than a dozen floors. With its special shock absorbers to

dampen the effect of sudden sideways movements from an earthquake, the thirty-six-storey

Kasumigaseki building in central Tokyo - Japan's first skyscraper - was considered a masterpiece

of modern engineering when it was built in 1968.

Yet in 826, with only pegs and wedges to keep his wooden structure upright, the master builder

Kobodaishi had no hesitation in sending his majestic Toji pagoda soaring fifty-five metres into the

sky - nearly half as high as the Kasumigaseki skyscraper built some eleven centuries later. Clearly,

Japanese carpenters of the day knew a few tricks about allowing a building to sway and settle itself

rather than fight nature's forces. But what sort of tricks?

The multi-storey pagoda came to Japan from China in the sixth century. As in China, they were first

introduced with Buddhism and were attached to important temples. The Chinese built their pagodas

in brick or stone, with inner staircases, and used them in later centuries mainly as watchtowers.

When the pagoda reached Japan, however, its architecture was freely adapted to local conditions -

they were built less high, typically five rather than nine storeys, made mainly of wood and the

staircase was dispensed with because the Japanese pagoda did not have any practical use but became

more of an art object. Because of the typhoons that batter Japan in the summer, Japanese builders

learned to extend the eaves of buildings further beyond the walls. This prevents rainwater gushing

down the walls. Pagodas in China and Korea have nothing like the overhang that is found on pagodas

in Japan.

为什么宝塔不会倒塌

在这片被台风席卷、地震撼动的土地上，日本最高、看起来最脆弱的老建筑——500多座

木制宝塔——是如何屹立了几个世纪的?记录显示，在过去的1400年里，只有两处坍塌。

那些失踪的人由于闪电或内战而被大火烧毁。1995年灾难性的阪神大地震造成6400人死

亡，高架路倒塌，办公大楼夷为平地，神户港口地区被毁。然而，尽管它夷平了附近的一

些建筑，但却毫发未损。

多年来，日本学者一直对这些细长的建筑为何如此稳定感到困惑。直到30年前，建筑行业

才有足够的信心，用钢铁和钢筋混凝土建造超过12层的办公大楼。位于东京市中心的36

层楼高的霞关大厦(Kasumigaseki)是日本第一座摩天大楼，1968年建成时，人们认为它是

现代工程学的杰作。

然而，在826年，建筑大师Kobodaishi只用木栓和楔子来保持木结构的直立，毫不犹豫地

将他宏伟的东寺宝塔高耸入云，高达55米——几乎是1100年后建成的霞关摩天大楼的一

半高。显然，当时的日本木匠知道一些让建筑摇摆和稳定的技巧，而不是对抗自然的力

量。但是什么样的技巧呢?

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这座多层宝塔于六世纪从中国传入日本。与中国一样，它们最初是随着佛教传入的，并附属

于重要的寺庙。中国人用砖或石头建造宝塔，里面有楼梯，后来几个世纪主要用作瞭望塔。

宝塔到达日本的时候,然而,其架构是自由地适应当地条件,他们建造了那么高,通常5而不是

9层,主要是木材和楼梯是摒弃因为日本宝塔没有任何实际使用但变得更像一个艺术对象。

由于夏季袭击日本的台风，日本建筑商学会了将建筑物的屋檐延伸到墙外更远的地方。这样

可以防止雨水从墙上涌下来。中国和韩国的宝塔没有像日本宝塔那样的悬挑。

The roof of a Japanese temple building can be made to overhang the sides of the structure by fifty

per cent or more of the building's overall width. For the same reason, the builders of Japanese

pagodas seem to have further increased their weight by choosing to cover these extended eaves not

with the porcelain tiles of many Chinese pagodas but with much heavier earthenware tiles.

But this does not totally explain the great resilience of Japanese pagodas. Is the answer that, like a

tall pine tree, the Japanese pagoda - with its massive trunk-like central pillar known as shinbashira

- simply flexes and sways during a typhoon or earthquake? For centuries, many thought so. But the

answer is not so simple because the startling thing is that the Shinbashira actually carries no load at

all. In fact, in some pagoda designs, it does not even rest on the ground, but is suspended from the

top of the pagoda - hanging loosely down through the middle of the building. The weight of the

building is supported entirely by twelve outer and four inner columns.

And what is the role of the shinbashira, the central pillar? The best way to understand the

Shinbashira's role is to watch a video made by Shuzo Ishida, a structural engineer at Kyoto Institute

of Technology. Mr. Ishida, known to his students as 'Professor Pagoda' because of his passion to

understand the pagoda, has built a series of models and tested them on a 'shake- table' in his

laboratory. In short, the Shinbashira was acting like an enormous stationary pendulum. The ancient

craftsmen, apparently without the assistance of very advanced mathematics, seemed to grasp the

principles that were, more than a thousand years later, applied in the construction of Japan's first

skyscraper. What those early craftsmen had found by trial and error was that under pressure a

pagoda's loose stack of floors could be made to slither to and fro independent of one another. Viewed

from the side, the pagoda seemed to be doing a snake dance - with each consecutive floor moving

in the opposite direction to its neighbours above and below. The shinbashira, running up through a

hole in the centre of the building, constrained individual storeys from moving too far because, after

moving a certain distance, they banged into it, transmitting energy away along the column.

Another strange feature of the Japanese pagoda is that, because the building tapers, with each

successive floor plan being smaller than the one below, none of the vertical pillars that carry the

weight of the building is connected to its corresponding pillar above. In other words, a five- storey

pagoda contains not even one pillar that travels right up through the building to carry the structural

loads from the top to the bottom. More surprising is the fact that the individual storeys of a Japanese

pagoda, unlike their counterparts elsewhere, are not actually connected to each other. They are

simply stacked one on top of another like a pile of hats. Interestingly, such a design would not be

permitted under current Japanese building regulations.

日本寺庙建筑的屋顶可以使建筑的侧面超出建筑总宽度的50%或更多。出于同样的原因，

日本宝塔的建造者似乎进一步增加了他们的重量，他们没有选择用许多中国宝塔的瓷砖来

覆盖这些延伸的屋檐，而是用更重的陶瓷瓷砖。

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本文标签： 日本建筑中国建造办公大楼