femininity of architecture is surprisingly subdued in chapter four when she presents a number of buildings with direct significance for the nineteenth century’s turn to the theorisation of dressing which, as I hinted earlier, was a response to fashion, but also to the nakedness evident in many vigorous works of engineering – not to mention the Crystal Palace, which deconstructed not only all metaphysics of inside/outside, and the Ruskinian body/soul, but also masculinity and femininity as metaphors to differentiate architecture from a constructed form. The final chapters of Chatterjee’s book, entitled “Ruskin effects,” rely upon diverse texts to demonstrate the relevance of Ruskin for contemporary architecture. In doing so, the author solidifies the problematic of a manuscript that is not aware of the pitfalls of historicism. What the reader takes away from this book is a vision of historiography that tries to cut through the layers of temporality that separate the present from the past, hoping to understand Ruskin as he happened to “exist”.

中文翻译：

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阿尔托、乌松、费恩：现象学建筑的三种范式

在第四章中，建筑的女性气质出人意料地被抑制了，当时她展示了许多对 19 世纪转向着装理论具有直接意义的建筑，正如我之前所暗示的，这是对时尚的回应，但也是对许多人中明显的裸体的回应。充满活力的工程——更不用说水晶宫了，它不仅解构了内部/外部的所有形而上学和罗斯金式的身体/灵魂，还解构了男性气质和女性气质作为区分建筑与构造形式的隐喻。查特吉的书的最后几章题为“拉斯金效应”，依靠不同的文本来展示拉斯金与当代建筑的相关性。这样做，作者巩固了手稿的问题，因为它没有意识到历史主义的陷阱。