1、外 文 标 题 ：Experience in-between architecture and context: the New Acropolis Museum , Athens外文作者：Annette Svaneklink Jakobsen文献出处: Journal of AESTHETICS & CULTURE, Vol. 4, 2018（如觉得年份太老，可改为近 2 年，毕竟很多毕业生都这样做）英文 3682 单词，22939 字符（字符就是印刷符），中文 5765 汉字。（如果字数多了，可自行删减，大多数学校都是要求选取外文的一部分内容进行翻译的。） the NewAcropolis
2、 Museum , AthensAbstract: This article is an introduction to how architectures context and conditions can be understood as signaletic with reference to Gilles Deleuzes concept of the signaletic material. The understanding of architectures signaletic material addresses the process of becoming through
3、 the potentials of context and the requests towards function and programme, as well as through the methods for creating architecture all seen as conditional components of a specific work of architecture and, consequently, as part of the signaletic material. A visit to the New Acropolis Museum is ana
4、lysed to discuss how the potential of the in-between encounters of architecture, context and the experiencing subject can be part of the signaletic material and the process of becoming. T his potential is actualised, for instance, in relation to the movement through the museum. T he museum architect
5、ure affords experiences on potentially several levels spanning from the most pragmatic and functional use of the building as exhibition space, restaurant, book shop, etc. to the awareness of being part of an architectural intentionality as a moving body, a contemplating viewer and as a perceiver of
6、relations between the museum building and its historical and geographical context. In the article the term visitor is used to emphasise this complexity of experiential potential that is made accessible by the museums architectural design.Keywords: signaletic; museum; movement; context; Gilles Deleuz
7、e; Bernard TschumiArchitecture creates and is created within, spatial contexts that allow for actions to take place. In addition to this, architecture creates, and is created within, experientialcontexts. The relationality between architecture and context is subsequently one of correlates. On one ha
8、nd it concerns a relational process of responding to conditions and circumstances that are already present, and, on the other hand, it concerns the process of causing new conditions and circumstances to emerge and to be responded to. T his correlation where spaces are outlined and outlining and wher
9、e experience becomes inseparable from the building involves the presence of an experiencing subject in terms of a participating and sensing user.In this view, architecture works through an in-between building-creation involving both context and user, and through an immanent openness towards a relati
10、onal exchange between the experiencing user and the architecture. Related to this are the presence and the potential movements of the users body, without which the whole experiential potential of architecture could not become unfolded. These aspects of architecture are part of the architectural desi
11、gn and part of the architects conditioning of the experiential potential; how this potential is actualised will depend on the individual user.The multiplicity that belongs to these factors, the conditioning context of architecture and the conditions and potentials that architecture creates for exper
12、ience, is what this article outlines as an architectural signaletic material. It regards architecture as a process of becoming through the potential of context, conditions and circumstances, such as requests towards function and programme, the spatial layout, and the processes and methods for creati
13、ng architecture. All are components of a specific work of architectures signaletic material.THE SIGNALETIC MATERIAL ASPROCE SSGilles Deleuze defines the concept of a signaletic material in relation to the movement-image in cinema. The signaletic material consists of two processes that are interdepen
14、dent: differentiation and specification. Differentiation refers to the processual reconfiguring of the whole through its objects and parts, which means that the whole changes with the objects and parts it combines and through which it passes. T he objects and parts that are combined, however, are di
15、fferent in kind and possess specific functions and roles in order to constitute the whole and drive the movement- images sensory-motoric progression. Accordingly, in Deleuzes work on cinema the images are different in kind: the perception-image, the action-image and, in the interval between them, th
16、e affection-image. T hey belong to the process of specification. Together, the components of the two processes constitute a signaletic material which is a condition; it is a potential for conditioning but not yet conditioning any- thing specific. It is a virtual utterable, but not an actualised utte
17、rance.Subsequently, the movement-image not only creates narration, more importantly, it does so on the basis of its own process of creating potential for conditions and utterance. By understanding cinemas narration as actualising the two interdependent processes, differentiation and specification, D
18、eleuze points towards a continuous becoming of the signaletic material.Experiences and events are part of architectures signaletic material as they are potentially conditioned by, as well as potential conditions of, architecture. In architectures adaptation of event as concept, the unpredictability
19、of what happens and what is experienced is related to temporality and processual becoming. T he significance of temporality and process is for instance apparent in the works of Swiss- American architect Bernard T schumi. T he concept of event plays a key role in the early project T he Manhattan Tran
20、scripts, a work that consists of drawings, photographs, and text.4 Here, the event, and a methodological approach to working with the unpredictability of what happens, is a programmatic element and condition of the work that combined with movement and space creates an architectural narrative in whic
21、h method and process are essential. T his work efficiently points to experience and event as central to architecture, not only as a phenomenological experience afterwards when encountering architecture in a more traditional sense as a specific building, but also as part of the actual process of crea
22、tion a condition and a parameter. Experience and event are parts of a programmatic potential as well as form generating factors that introduce an understanding of architectural space as becoming; as process and method, and opposed to a more general conception of space as a three- dimensional continu
23、um or container.One of T schumis most recent works, the New Acropolis Museum in Athens （Figure 1）, clarifies the relevance of regarding the conditions of experience and events as part of a signaletic material that works through processes of differentiation and specification.6 T he museum architectur
24、e proposes how contextual factors can be understood as a conditioning of architecture.Furthermore, it presents an example of how this can be done in a way that integrates context beyond the representational. T he architectural approach for integrating context in the design and design process of any
25、building is always complex and raises a lot of questions with regard to how it is possible to design with awareness of the contextual conditions, and how to select which conditions to emphasize or ignore. In T schumis words: Context is not a fact; it is always a matter of interpretation.7 It is in t
26、he process of selection and interpretation that architecture has often found itself as the creator of a sign （as building） that represents certain delimited characteristics of the constraints that lie outside of the architecture itself: lines and directions that represent some specific content or me
27、aning. Or more literally, communicating signs as in the works of American architects Robert Venturi and Denise Scott Brown who have adapted the vernacular of American society in terms of commercial signs and bill- boards in their work. T hey state that: T he essential element of architecture for our
28、 time is no longer space, its no longer abstract form in industrial drag: the essential architectural element is iconography. This approach belongs to one end of the scale to architectural representation of context, where the sign is radically positioned to architecture as communication. On the othe
29、r end of the scale, architecture will have to discuss ways of being and becoming with contextual conditions in a manner that transcends the mimetic and representational so that the presence of the user or visitor is actualized not as a subject for receiving communication but as a subject that perfor
30、ms with architecture on a relational level.The New Acropolis Museum involves the visitor relationally in its becoming. It strikes the visitor （i.e. this writer） as being a traditional work of architecture in many respects: it has a specific function （museum）, it is a building （constructed of concret
31、e, marble, steel and glass）, and it fulfils specific programmatic needs as a place for ex- hibiting the archaeological findings of the Acropolis slope and hill. T he physical and historical context of this work of architecture and the ways relations between architecture and context per- form are how
32、ever quite significant as a signaletic process that builds on an experience of continuous differentiation and specification in accordance with the visitors movement through the museum. T he experienced relations between museum building and its context change; the visitors moving body is clearly thought of as a potentially integrated part of the architectures whole and, therefore, itself a tool to make changes occur.T he visitor follows a prescribed route that lea
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