关于博物馆建筑设计改造规划有关 的外文文献翻译成品:体验建筑和环境之间的关系:雅典新卫城博物馆(中英文双语对照)Word文件下载.docx
《关于博物馆建筑设计改造规划有关 的外文文献翻译成品:体验建筑和环境之间的关系:雅典新卫城博物馆(中英文双语对照)Word文件下载.docx》由会员分享,可在线阅读,更多相关《关于博物馆建筑设计改造规划有关 的外文文献翻译成品:体验建筑和环境之间的关系:雅典新卫城博物馆(中英文双语对照)Word文件下载.docx(17页珍藏版)》请在冰点文库上搜索。
外文标题:
Experiencein-betweenarchitectureandcontext:
theNewAcropolisMuseum,Athens
外文作者:
AnnetteSvaneklinkJakobsen
文献出处:
JournalofAESTHETICS&
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。
)
theNew
AcropolisMuseum,Athens
Abstract:
Thisarticleisanintroductiontohowarchitecture’scontextandconditionscanbeunderstoodassignaleticwithreferencetoGillesDeleuze’sconceptofthesignaleticmaterial.Theunderstandingofarchitecture’ssignaleticmaterialaddressestheprocessofbecomingthroughthepotentialsofcontextandtherequeststowardsfunctionandprogramme,aswellasthroughthemethodsforcreatingarchitectureallseenasconditionalcomponentsofaspecificworkofarchitectureand,consequently,aspartofthesignaleticmaterial.AvisittotheNewAcropolisMuseumisanalysedtodiscusshowthepotentialofthein-betweenencountersofarchitecture,contextandtheexperiencingsubjectcanbepartofthesignaleticmaterialandtheprocessofbecoming.Thispotentialisactualised,forinstance,inrelationtothemovementthroughthemuseum.Themuseumarchitectureaffordsexperiencesonpotentiallyseverallevelsspanningfromthemostpragmaticandfunctionaluseofthebuildingasexhibitionspace,restaurant,bookshop,etc.totheawarenessofbeingpartofanarchitecturalintentionalityasamovingbody,acontemplatingviewerandasaperceiverofrelationsbetweenthemuseumbuildinganditshistoricalandgeographicalcontext.Inthearticletheterm‘‘visitor’’isusedtoemphasisethiscomplexityofexperientialpotentialthatismadeaccessiblebythemuseum’sarchitecturaldesign.
Keywords:
signaletic;
museum;
movement;
context;
GillesDeleuze;
BernardTschumi
Architecturecreatesandiscreatedwithin,spatialcontextsthatallowforactionstotakeplace.Inadditiontothis,architecturecreates,andiscreatedwithin,experiential
contexts.Therelationalitybetweenarchitectureandcontextissubsequentlyoneofcorrelates.Ononehanditconcernsarelationalprocessofrespondingtoconditionsandcircumstancesthatarealreadypresent,and,ontheotherhand,itconcernstheprocessofcausingnewconditionsandcircumstancestoemergeandtoberespondedto.Thiscorrelationwherespacesareoutlinedandoutliningandwhereexperiencebecomesinseparablefromthebuildinginvolvesthepresenceofanexperiencingsubjectintermsofaparticipatingandsensinguser.
Inthisview,architectureworksthroughanin-betweenbuilding-creationinvolvingbothcontextanduser,andthroughanimmanentopennesstowardsarelationalexchangebetweentheexperiencinguserandthearchitecture.Relatedtothisarethepresenceandthepotentialmovementsoftheuser’sbody,withoutwhichthewholeexperientialpotentialofarchitecturecouldnotbecomeunfolded.Theseaspectsofarchitecturearepartofthearchitecturaldesignandpartofthearchitects’conditioningoftheexperientialpotential;
howthispotentialisactualisedwilldependontheindividualuser.
Themultiplicitythatbelongstothesefactors,theconditioningcontextofarchitectureandtheconditionsandpotentialsthatarchitecturecreatesforexperience,iswhatthisarticleoutlinesasanarchitecturalsignaleticmaterial.Itregardsarchitectureasaprocessofbecomingthroughthepotentialofcontext,conditionsandcircumstances,suchasrequeststowardsfunctionandprogramme,thespatiallayout,andtheprocessesandmethodsforcreatingarchitecture.Allarecomponentsofaspecificworkofarchitecture’ssignaleticmaterial.
THESIGNALETICMATERIALASPROCESS
GillesDeleuzedefinestheconceptofasignaleticmaterialinrelationtothemovement-imageincinema.Thesignaleticmaterialconsistsoftwoprocessesthatareinterdependent:
differentiationandspecification.Differentiationreferstotheprocessualreconfiguringofthewholethroughitsobjectsandparts,whichmeansthatthewholechangeswiththeobjectsandpartsitcombinesandthroughwhichitpasses.Theobjectsandpartsthatarecombined,however,aredifferentinkindandpossessspecificfunctionsandrolesinordertoconstitutethewholeanddrivethemovement-image’ssensory-motoricprogression.Accordingly,inDeleuze’sworkoncinematheimagesaredifferentinkind:
theperception-image,theaction-imageand,intheintervalbetweenthem,theaffection-image.Theybelongtotheprocessofspecification.Together,thecomponentsofthetwoprocessesconstituteasignaleticmaterialwhichisacondition;
itisapotentialforconditioningbutnotyetconditioningany-thingspecific.Itisavirtualutterable,butnotanactualisedutterance.
Subsequently,themovement-imagenotonlycreatesnarration,moreimportantly,itdoessoonthebasisofitsownprocessofcreatingpotentialforconditionsandutterance.Byunderstandingcinema’snarrationasactualisingthetwointerdependentprocesses,differentiationandspecification,Deleuzepointstowardsacontinuousbecomingof‘‘thesignaleticmaterial.’’
Experiencesandeventsarepartofarchitecture’ssignaleticmaterialastheyarepotentiallyconditionedby,aswellaspotentialconditionsof,architecture.Inarchitecture’sadaptationofeventasconcept,theunpredictabilityofwhathappensandwhatisexperiencedisrelatedtotemporalityandprocessualbecoming.ThesignificanceoftemporalityandprocessisforinstanceapparentintheworksofSwiss-AmericanarchitectBernardTschumi.Theconceptofeventplaysakeyroleintheearlyproject‘‘TheManhattanTranscripts,’’aworkthatconsistsofdrawings,photographs,andtext.4Here,theevent,andamethodologicalapproachtoworkingwiththeunpredictabilityofwhathappens,isaprogrammaticelementandconditionoftheworkthatcombinedwithmovementandspacecreatesanarchitecturalnarrativeinwhichmethodandprocessareessential.Thisworkefficientlypointstoexperienceandeventascentraltoarchitecture,notonlyasaphenomenologicalexperienceafterwardswhenencounteringarchitectureinamoretraditionalsenseasaspecificbuilding,butalsoaspartoftheactualprocessofcreationaconditionandaparameter.Experienceandeventarepartsofaprogrammaticpotentialaswellasformgeneratingfactorsthatintroduceanunderstandingofarchitecturalspaceasbecoming;
asprocessandmethod,andopposedtoamoregeneralconceptionofspaceasathree-dimensionalcontinuumorcontainer.
OneofTschumi’smostrecentworks,theNewAcropolisMuseuminAthens(Figure1),clarifiestherelevanceofregardingtheconditionsofexperienceandeventsaspartofasignaleticmaterialthatworksthroughprocessesofdifferentiationandspecification.6Themuseumarchitectureproposeshowcontextualfactorscanbeunderstoodasaconditioningofarchitecture.
Furthermore,itpresentsanexampleofhowthiscanbedoneinawaythatintegratescontextbeyondtherepresentational.Thearchitecturalapproachforintegratingcontextinthedesignanddesignprocessofanybuildingisalwayscomplexandraisesalotofquestionswithregardtohowitispossibletodesignwithawarenessofthecontextualconditions,andhowtoselectwhichconditionstoemphasizeorignore.InTschumi’swords:
‘‘Contextisnotafact;
itisalwaysamatterofinterpretation.’’7Itisintheprocessofselectionandinterpretationthatarchitecturehasoftenfounditselfasthecreatorofasign(asbuilding)thatrepresentscertaindelimitedcharacteristicsoftheconstraintsthatlieoutsideofthearchitectureitself:
linesanddirectionsthatrepresentsomespecificcontentormeaning.Ormoreliterally,communicatingsignsasintheworksofAmericanarchitectsRobertVenturiandDeniseScottBrownwhohaveadaptedthevernacularofAmericansocietyintermsofcommercialsignsandbill-boardsintheirwork.Theystatethat:
‘‘Theessentialelementofarchitectureforourtimeisnolongerspace,it’snolongerabstractforminindustrialdrag:
theessentialarchitecturalelementisiconography.’’Thisapproachbelongstooneendofthescaletoarchitecturalrepresentationofcontext,wherethesignisradicallypositionedtoarchitectureascommunication.Ontheotherendofthescale,architecturewillhavetodiscusswaysofbeingandbecomingwithcontextualconditionsinamannerthattranscendsthemimeticandrepresentationalsothatthepresenceoftheuserorvisitorisactualizednotasasubjectforreceivingcommunicationbutasasubjectthatperformswitharchitectureonarelationallevel.
TheNewAcropolisMuseuminvolvesthevisitorrelationallyinitsbecoming.Itstrikesthevisitor(i.e.thiswriter)asbeingatraditionalworkofarchitectureinmanyrespects:
ithasaspecificfunction(museum),itisabuilding(constructedofconcrete,marble,steelandglass),anditfulfilsspecificprogrammaticneedsasaplaceforex-hibitingthearchaeologicalfindingsoftheAcropolisslopeandhill.Thephysicalandhistoricalcontextofthisworkofarchitectureandthewaysrelationsbetweenarchitectureandcontextper-formarehoweverquitesignificantasasignaleticprocessthatbuildsonanexperienceofcontinuousdifferentiationandspecificationinaccordancewiththevisitor’smovementthroughthemuseum.Theexperiencedrelationsbetweenmuseumbuildinganditscontextchange;
thevisitor’smovingbodyisclearlythoughtofasapotentiallyintegratedpartofthearchitecture’swholeand,therefore,itselfatooltomakechangesoccur.
Thevisitorfollowsaprescribedroutethatlea