建筑文章翻译

From Spacelab to S  从太空实验室到SLUM实验室：精简结构的建筑？ 弗兰克·卡尔滕巴赫 今年的威尼斯建筑Biennate的专题组织负责人是Aaron Betsky，他是荷兰建筑学会（NAI）的前负责人以及Cincinnati 艺术博物馆馆长。本次活动包括56个国家参加的大型展览。在 “建筑物是建筑的坟墓” 的挑衅论断基础上，Betsky选择 “在那里：建筑超越建筑物” 做主题。因为展览的缘故，建筑师从他们日常的职业负担中解脱出来，像艺术家一样发展，他们讨论重新认识建筑的本质，并找到方法来解决未来的挑战。 1​ Urban linkage via a cable railway in Caracas, Urban-Think Tank, Alfredo Brillembourg, Hubert Klumpner  城市通过电缆铁路在加拉加斯联动，城乡智囊团，Alfredo Brillembourg, Hubert Klumpner  2​ foumation [Re] formation: A Nomadic Garden, Barkow Leibinger  基础改革：一个游牧花园，Barkow Leibinger 3​ Lotus, Zaha Hadid Architects  莲花，Zaha Hadid 建筑师 4​ Protoyping the future: three houses for the subconscious, Asymptote Architecture  万用未来：潜意识的三间房子，渐近线建筑 5​ The Changing Room, Couture of Architecture, UNStudio  更衣室，时装建筑，联合国电台 威尼斯兵工厂的展览，位于威尼斯海军昔日的绳制造中心，实际上以一个时间隧道的形式开始。两个投影屏幕凸曲率之间，参观者宛如置身星际世界。伴随着活跃的星球大战主题，熟悉的星空是由不断增长的分形图形叠加，直到最终接管。背景是由同时运行的Fritz Lang 1926年的大都市以及Stanley Kubick 2001年太空漫游中的场景阐释的。因此受过去的幻想和乌托邦影响，游客面临着当前提供的未来主义的MATCH_ word word文档格式规范word作业纸小票打印word模板word简历模板免费word简历 _1714941008173_0：在有变化的抽象对象的变形（图4 ），渐近线设计明星Hani rashid和Lise Anne Couture认为原型设计才是未来的出路：潜意识内的三间房子。他们是质疑我们对房子传统定义的审美对象。外太空的视角也随后加入。在20世纪60年代的互动风格中，游客在一个太空人的头盔下滑落。系统会提示他们掌握控制杆，他们的心跳因此变得可见，太空舱这一想法起源于1969年，它是Coop Hmmelb(l)au对航空气球的重建。这些消息可能是昔日的梦想，现在终于取得了成果。 Like a sleek wild animal, the next installation looms in the visitor’s path. Eventually its spell draws him in close to touch the fine surface of yellow-gold metallic lacquer. Zaha Hadid’s furniture installation Lotus defies convention. It brings to mind luxury cars, or an unfolding lotus blossom (fig. 3). 像一个圆滑的野生动物，在接下来的安装织机在访问者的路径。最终其拼写吸引他密切接触金黄色金属漆的精细 表 关于同志近三年现实表现材料材料类招标技术评分表图表与交易pdf视力表打印pdf用图表说话 pdf 面。扎哈·哈迪德家具安装莲花违抗约定。这使我想起豪华轿车，或展开莲花盛开 Is the future of architecture the architecture the architecture of motion? Ben van Berkel and Caroline Bos take on the phenomenon of flowing space .Colored a neutral white, the loop of their Changing Room winds its way like a one-to-one scale paper model among the historic brick columns. The floor becomes wall becomes ceiling becomes floor again. This three-dimensional motion is intensified in the interior by video projections and by the flow of the visitors streaming through (fig. 5). On a screen Diller Scofidio + Renfro show scenes of a film taken from the vantage point of a Venetian gondola. Only the gondola is not on the Grand Canal at all, but rather in one of the reproduction Venices in the hotels of Las Vegas. The issue of the reproducibility of original locations raises the question of what the authenticity of a place such as Venice really means. The aspect of impermanence and the infinite variety of possibilities are exemplified in the installation by Frank Barkow and Regine Leibinger. Their laser-cut stainless-steel pipes can be interpreted as abstract models of city high-rises, the arrangement of which is spontaneously altered by the viewers. It is a statement in favor of the use of digital technologies, not to generate images, but to escape the narrow confines of standardized construction materials (fig. 2), The Golden Lion for the Best Installation Project went to the digitally produced tables by Greg Lynn. Inspired in recycled plastic toy animals, then mirror-reversed, duplicated and formed a collage of then into a digital 3-D model. The computer cut the figures apart in 3-D and welded them together again as a conglomeration of interconnected plastic animals. The jarring yellow, purple and blue tables represent a playful new approach to recycling and 3-D production. Fabrication is likewise featured in the Swiss pavilion at Giardini, where a robot-built wall winds around the supports like a slaloming skier. It exemplifies the high caliber of the Swiss architectural schools, where this application was developed by Gramazio Kohler. Otherwise, the subject of digital architecture is not nearly as well represented as it was four years ago under Dejan Sudjic’s motto “Metropolises”. Likewise, a continuation of Kurt W. Forster’s “Cityscapes” theme from the last Biennate, in which analytical stock-taking of the situation facing metropolises took centre stage, is only rudimentarily in evidence. Through S.L.U.M.[Sustainable Living Urban Model]LAB, Alfredo Brillembourg and Hubert Klumpner of Urban-Think Tank succeeded in connecting the barrios of Caracas via a metro cable railway without sacrificing living space to new road construction (fig. 1). Peter Ebner and seven Mexican firms made concrete suggestions for the reconsolidation of Mexico City in order to reduce the city’s enormous commuter traffic volume. The Chilean firm Elemental was awarded the Silver Lion for a Promising Young Architect for a low –budget row house designed to grow with the family. The American pavilion is dedicated to the weaker segments of the population. Many of the projects and pavilions, however, either make statements that are hard to interpret, or are not very attractive on an emotion level. In contrast, the light installation 64 kW by Siegrun Appelt in the portico of the heat is keenly felt on one’s body. The choreographed interruption of the illumination of the Brandenburg Gate in Berlin is meant to compensate for this deliberate “waste of energy” and make an appeal for the conservation of resources. Finally, Frank Gehry was awarded a Golden Lion for Lifetime Achievement, and this despite-or perhaps because of-the fact that, in contrast to Aaron Betsky’s motto, he still believes in the power of architecture: “I’m not interested in beautiful drawings or models. What interests me is the building.” He is not alone in this. Well-made though somewhat dry presentations featuring photographs and British pavilions, among others, in which Tony Fretton, Sergison Bates, De Rijke Marsh Morgan, Witherford Watson Mann and Maccreanor Lavington display two residential building projects each. Denise Scott Brown’s speech on “Building Homes in the 21st Century”, but especially the intense late-night cross-table debates of the Darkside Club, moderates by Paul Finch, Jeff Kipnis and Mirko Zandini during the opening days, exposed the rift between the representatives of a classical architecture as illustrated in the Brishi pavilion and the more experimental young generation, which derives its inspiration from dynamic processes rather than the history of construction. The Russian pavilion, where William Alsop,Norman Foster, David Adjaye, SOM, KpF, and Thomas Leeser, among others, have exhibits, is styled as a symbolic chess match between Tussian and foreign architects. With Abundant, the Australians illustrate the astonishing variety of their architectural scene. The fresh yellow coloration that is continued out into the garden and around the exhibition of over 300 models does not become tiring. Retrospectives are dedicated to Josef Lackner in the Austrian pavilion, to Sverre Fehn in the Nordic pavilion, to Carlo Scarpa and Le Corbusier and, on the occasion of his 90th birthday, to Jorn Utzon in the Palazzo Franchetti. And what would Venice be without Andrea Palladio? The 500th anniversary of his birth is celebrated in the Villa Foscari La Malcontenta with Zaha Hadid’s sculpture Aura – a lively gesture acknowledging the coexistence and mutual enrichment of classical architecture (Palladio) and the champions of parametric design (Zaha Hadid and Patrik Schumacher).