the function of style风格的功能.ppt

1、To change the conventions governing the relationship between the physical elements of built forms and their everyday use, such as the arrangement of workspaces in an office tower, or the location of immigration desks in an airport terminal, or the entrances to apartments in a residential complex, or

2、 the slope of a bowl in a sports arena, they must first be appropriated from existing built forms. 为了改变这种调整建筑形式的物理因素和日常使用需求之间的关系的社会传统，例如一个办公大厦里工作空间的安排，或一个机场里移民部门的位置，或一个商住综合楼里公寓的入口，或一个体育竞技场里木球滑道的斜率，他们必须先从已存在的建筑形式中进行挪用。,Endless forms through appropriation 通过挪用创造无尽的形式,These conventions, once they have

3、been detached from their origins(author, date, location), can be activated in a different way, based on strategic choices made for each new context. 这些传统一旦脱离了他们的起源（创始人，时间，地点），便会基于一种在每个新的环境中所产生的战略性选择，以一种不同的方式被激活。,This process of appropriation erases the idea of borders between people, places and peri

4、ods, and acknowledges that built forms do not have to be either an entirely new creation or a simple repetition. 这种挪用的过程消除了人与人，空间与空间，时间与时间的边界，还有一种认为好看的形式不一定是完全新颖的创造或者简单的重复的认可的想法。 Comparative analysis of contemporary projects in this book reveals common ideas or threads in the way they have been asse

5、mbled. 本书中对当代项目的对比分析揭示了某些共同观念或者说贯穿于他们被组合的过程中。,In the case of office buildings, for example, the following can be found: high-rise office buildings with a central atrium(office-tower-central atrium); high-rise office buildings with a peripheral atrium(office-tower-peripheral atrium); high-rise office

6、 buildings with a central core(office-tower-central core); high-rise office buildings with an asymmetric core(office-tower-asymmetric core); office blocks with a central atrium(office-block-central atrium); office blocks with a peripheral atrium(office-block-peripheral atrium); office blocks with sp

7、lit floors(office-block-split floors); and so on. 例如在办公建筑的例子中，将涉及到以下内容：高层办公建筑的中央庭院（高层办公主庭院）；高层办公建筑的次要庭院（高层办公次庭院）；高层办公建筑的中心核（高层办公楼中心核）；非对称高层办公建筑的核心（高层办公楼非对称核心）；办公街区的中央庭院（办公街区主庭院）；办公街区的次要庭院（办公街区次庭院）；办公街区的隔离层（办公街区隔离层）等。,In each example the project in question appropriates the common thread and makes it

8、 different. 在每一个例子中，正在谈论的项目引出了一条共同的主线并且使之与众不同。 The differences between one project and another highlight the projects singularity: the specific way it disrupts the possibility of conventions or habits forming in the way a built form is used. 项目之间的不同之处突出了项目的特异性：具体的做法打破了一种以模仿已存的建筑形式所形成过程的传统和习惯的可能性。,Ou

9、tlined in the following pages are four sets of projects that develop singular styles from common threads: corrugated floors in office towers, stacked galleries in multistory museums, continuous balconies in residential slabs, and peripheral atriums in office towers. 在接下来的文章中将介绍四组通过相同的思路来阐述奇特风格的项目：商业

10、大楼里的波纹地板，多层博物馆里的堆叠画廊，住宅板上的连续阳台，商业大楼里的外围庭院。,Corrugated office floor 波纹办公室地板,Cesar Pellis design for the Petronas Towers in Kuala Lumpur (p. 159) introduced corrugation to the office floor plates and increased the perimeter length of the floors relative to a conventional rectangular floor plate. 西萨佩里在

11、吉隆坡的双子星塔的设计中，相对于传统的矩形层板，引入了起皱的办公室波纹板，并且增加了地板的周长。,This use of corrugation was not a completely new idea, but rather an appropriation, on a much larger scale, of Mies van der Rohes design for the Friedrichstrasse skyscraper in Berlin (p. 157), where the triangular footprint was corrugated to produce t

12、hree segments diminishing in size towards a central core to introduce natural light to the deep office floors as well as views of the exterior into the core. 这种对于波纹的使用不能算是一个新的想法，而是借鉴了一个更大的项目密斯凡德罗在柏林腓特烈大街上设计的摩天大楼，该大楼的三角形覆盖区域是波纹形的，为了产生三大板块减少朝向中心核的尺寸，从而引入自然光到内部的办公地板同时将外部的景观引入中心区域。,However, whereas Mies

13、s design created three separate wings of offices, which precluded large open-plan workspaces, Pellis circular floor plate creates a continuous band of space around the core, which could be subdivided into individual offices or used to create the kind of open-plan workspaces which are capable of nurt

14、uring interaction among the workers. 然而，鉴于密斯的设计创造了三个分散的翅膀形的办公区，从而杜绝了大型开放式工作区的可能性，佩里的圆形底板创造了一个沿着中心核的连续的环状空间，这样的空间能够被细分为一个个独立的办公室，也能够创造出一种可以在工作者之间引起互动的开放式的工作区域。,In their design for the headquarters of Gazprom in St. Petersburg (p. 161) RMJM adopted the same principle of corrugating the floor plate. 在他

15、们设计的位于圣彼得堡的俄罗斯天然气工业股份公司的总部中，罗麦庄马采用了相同原理的波纹型楼面板。,However, whereas the scale of the corrugation remained the same throughout the skyscraper at Friedrichstrasse, providing tenants with identical floors along the height of the skyscraper and whereas the scale of the corrugation was reduced marginally fr

16、om the base to the top of the Petronas Towers, producing six segments of slightly different-sized floor plates, the shape as well as the scale of the corrugation of the floor plans of the Gazprom tower changes continuously from the base to the top of the tower, resulting not only in floor plates of

17、very different shapes and sizes, which can accommodate different types of work arrangements,but also in a tower form that tapers continuously to optimize the way it performs against wind loads. 然而，鉴于起皱的规模和腓特烈大街上的摩天大楼保持不变，可以沿着大楼的高度给每层的租客提供一样的楼层，鉴于起皱的规模是从双子星塔的底部到顶部渐渐减少的，可以产生六段尺寸略微不同的地板，高兹普罗姆大厦地板的起皱的规模

18、和形状的计划从塔的底部到顶部一直在不停的变化，这不仅导致了地板具有非常多的形状和尺寸，这意味着可以适应各种不同工作的使用需求，而且可以优化塔的形式，这种层层收缩的形式可以更好地抵抗风荷载的影响。,Although both the Petronas Towers and the Gazprom headquarters have corrugated office spaces, they engage the politics of the workplace through a play between the conventions for corrugating a tower dif

19、ferently on plan and in section in tall office buildings and the production of new ones- away from affects of transparency, segmentation, extrusion and uniformity (Friedrichstrasse skyscraper) to affects of opacity, continuity, stepping and variety (Petronas towers) or affects of reflectivity, twist

20、ing, differentiation and vortex (Gazprom headquarters). 虽然双子星塔和俄罗斯天然气工业股份公司总部都有波纹办公空间，他们进行工作场所的政治活动是通过不同于传统的塔的起皱方式的计划和高层办公楼的部分与新建的部分之间的游戏。这种新建的部分可以避免透明度、分割、挤压和一致性的影响（弗里德里希大街摩天大楼），和不透明性、连续性、步进和多样性的影响（双子星塔）或者反射率、扭转、差异化和漩涡的影响（俄罗斯天然气工业股份公司总部）。,Stacked galleries in multi-story museums SANAAs design for t

21、he New Museum of Contemporary Art New York (p.419) stacked five galleries and an administrative level on top of one another, with each level slightly sliding away from the one before it. SANAA建筑事务所为纽约新当代艺术博物馆这个多层博物馆设计的堆叠画廊堆叠了五个画廊和一个位于顶部的行政管理层，每一层都在前一层的基础上轻微的向外移动一定距离。,In doing so, they consciously or unconsciously adopted conventions for relati