室內(nèi)設計外文翻譯-新形勢下的設計（節(jié)選自書籍）

1、<p>　　中文7917字，3740單詞，21000英文字符</p><p>　　本 科 外 文 翻 譯</p><p><b>　　室內(nèi)設計史</b></p><p>　　A History of Interior Design </p><p>　　學 部（院）： 建筑與藝術學院 &

2、lt;/p><p>　　專 業(yè)： 環(huán)境藝術設計 </p><p>　　學 生 姓 名： </p><p>　　學 號： </p><p>　　指 導 教 師： </p>

3、<p>　　完 成 日 期： </p><p><b>　　室內(nèi)設計史</b></p><p>　　A History of Interior Design</p><p>　　第二十二章 新形勢下的設計</p><p>　　Chapter Twenty-Two De

4、sign on a New Playing Field</p><p>　　勞倫斯國王出版有限公司</p><p>　　In the twenty-first century, designers are practicing under dramatically altered conditions, shaped by elements that emerged in the wani

5、ng years of the twentieth. These elements, and the ensuing circumstances, have transformed the way humans experience and interact with the built environment. They are redefining the parameters of design, propelling it al

6、ong new and varied paths. For architects and designers, it is a time of unprecedented opportunity and limitless potential when, for the first ti</p><p><b>　　INSIGHTS</b></p><p>　　Gre

7、en Design</p><p>　　The term that emerged toward the end of the last century has become a mantra for design and architectural planning, implementing the ideal of sustainability. It refers to buildings that co

8、nsider environmental issues in everything from choice of materials to applications of technology and energy efficiency, and to products designed with these considerations in mind. Green design challenges the thoughtless

9、use of natural resources, the trend toward planned obsolescence, and the failure to consider</p><p>　　THE KEY ELEMENTS</p><p>　　Sustainability</p><p>　　Sustainability is the term mo

10、st often used to designate efforts to protect the environment by managing resources. More than a buzz word, it has emerged as the dominant issue of the century, driven by greater public concern, increased government legi

11、slation, and the growing environmentalist movement, which is now worldwide. Although the role of humans in contributing to global warming may remain a contentious issue, the need to reduce carbon emissions and seek alter

12、native energy sources are prima</p><p>　　Technology</p><p>　　The world’s fastest-growing industry has given birth to the universal language of computer-speak, with a new vocabulary, new tools, a

13、nd ever-proliferating applications. Its impact on design cannot be overstated. Not only do sophisticated programs enable the design of buildings and interior configurations that would be impossible to render by hand, but

14、 their construction is facilitated by translating computer-generated models into accurate three-dimensional ones via rapid prototyping (also called</p><p>　　Such advances have made possible extraordinary str

15、uctures such as Beijing’s National Stadium (the “Bird’s Nest”; 22.3; 2008), designed by Swiss architects Herzog & de Meuron, a firm that has a reputation for cutting-edge design and innovative use of materials. The i

16、ntricate design of interlocked metal members creates a striking biomorphic exterior and equally arresting interior spaces. Zurich-born Jacques Herzog (b. 1950) and Pierre de Meuron (b. 1950) formed their partnership in 1

17、978, and recei</p><p>　　For the design of interiors, technology has added a new challenge: in addition to planning spaces to accommodate conventional furniture and furnishings, designers must now plan rooms,

18、 in homes as well as in every type of commercial or institutional space, to accommodate the equipment that has become an integral part of modern life. Technology has also brought advances in lighting—the LED (light-emitt

19、ing diode) and its successor OLED (organic light-emitting diode) are not only more efficient and </p><p>　　(22.2) （22.3）</p><p>　　Social Welfare</p><p>　　In a diverse,

20、 multicultural, and longer-living society, designers must confront the needs of particular segments of the population, with the goal of contributing to the improvement of health, welfare, and well-being. Using research d

21、ata that shows how people actually behave in their environments, evidence-based design enables designers to plan their spaces for the most desirable outcomes—in hospitals, schools, even offices.</p><p>　　Mul

22、ti-generational design deals with situations where two or three generations of a family are living in one home, calling for space configurations to provide privacy for each generation as well as areas where they can inte

23、ract. Design for the disabled has evolved into “universal design,” accessible to many ages and abilities. Life-extending medical advances have given rise to a new movement for “aging in place” as an alternative to age-re

24、stricted communities. Finally, since physical fitness has</p><p>　　These and other concerns are creating greater social consciousness and humanitarian efforts among architects and interior designers; one exa

25、mple is the provision of housing for survivors of natural disasters, such as Shigeru Ban’s shipping-container structures (22.4; 2011). Such efforts are encouraged by organizations like Habitat for Humanity, which creates

26、 opportunities for designers to contribute to communities in crisis by building affordable housing—to date, the organization has built more </p><p><b>　　Branding</b></p><p>　　The pro

27、liferation of well-publicized public projects such as museums, cultural centers, and multi-use developments by prominent architects and interior designers has made design a matter of public discourse. A double-edged swor

28、d, this has created the culture of the “starchitect,” a designation coined in the late twentieth century (its original source remains anonymous) to describe one whose name alone brings prestige to any project. Notwithsta

29、nding its drawbacks, this celebrity culture generates</p><p>　　Design has thus assumed the role of essential marketing tool. In the 1940s, Dorothy Draper told prospective clients that good design would make

30、their hotels more profitable, but only in recent years has the idea been generally accepted by savvy corporations, ambitious institutions, and competitive retailers—as high-fashion as Chanel or as mass-market as IKEA—tha

31、t employ designers to create brand identities with distinctive imagery that communicates with the consumer on an emotional level. The me</p><p>　　(22.4) （22.5）</p><p>　　Collaborati

32、on</p><p>　　The romantic image of the designer as a solo artist at the drawing board is out of date—design today is a collaborative effort by a team of specialists. The concept of a new building or interior

33、may be the vision of one individual, but its implementation is the work of many: major projects now employ the services of, at minimum, architect, engineer, construction manager, landscape designer, lighting designer, in

34、terior designer, and graphic designer. In an era of globalism, architects and designe</p><p><b>　　Globalism</b></p><p>　　The explosive growth of countries and cities in the Far East

35、and Middle East and other less developed parts of the world and the ensuing populations of affluent consumers have created opportunities both good and bad for architecture and interior design. The good lies in commission

36、s for innovative buildings and building projects, both government-sponsored and privately funded, from grand museums, opera houses, and cultural centers to universities, hospitals, and massive mixed-use developments. Em&

37、lt;/p><p>　　Adaptive Reuse</p><p>　　The destruction of historic buildings, and the increasing attention given to endangered ones by organizations such as the World Monuments Fund and the National T

38、rust for Historic Preservation, has encouraged the formation of local preservationist groups as well as, in many countries, government support. Not only historic landmarks but abandoned mansions, architecturally interest

39、ing housing in deteriorated neighborhoods or inner-city locations, obsolete factories, and outdated school buildings ha</p><p>　　Adopting the premise that it requires less energy to repurpose a building than

40、 to destroy it and build a new, designers are finding ingenious way to transform aging or obsolete structures into attractive and functional new ones. In addition to being less costly than new construction—and often more

41、 original in design—such projects are environmentally sensitive, conserving energy and natural resources in line with the dictates of sustainability. Old warehouses become markets, factories become luxu</p><p&

42、gt;<b>　　(22.6) </b></p><p>　　Historic Preservation</p><p>　　In historically significant structures, it is usually considered more important to preserve the original features than to

43、 make changes that disturb the façade or the defining elements of the interior. This is either done by meticulously restoring or rebuilding the existing structure, as Hardy Holzman Pfeiffer did with New York’s Centr

44、al Synagogue after a fire seriously damaged the nineteenth-century landmark (22.7; 2001), or by combining the restoration with the addition of a new wing with moder</p><p>　　Having learned to deal with struc

45、tures dating back more than a century, preservationists are facing a new challenge—that of saving mid-twentieth-century buildings, particularly residences, most of which lack the recognition of grand public buildings and

46、 were built with materials that lack the enduring qualities of limestone and marble. Some, like Philip Johnson’s celebrated Glass House in Connecticut (see 19.1 and p. 388) and Charles and Ray Eames’s Santa Monica home (

47、see 20.14), both built in 1</p><p>　　Foster & Partners’ Hearst Tower (2006) in New York is as significant for its preservation-conscious aspects as for its innovative faceted exterior and its ten-story a

48、trium. Rising atop Josef Urban’s 1928 Art Deco building, it was the first such project approved by the Landmarks Commission, and the first sky-scraper to receive LEED Gold rating (and LEED Platinum for the restored urban

49、 structure). It was also the first new skyscraper built in New York after the 9/11 attacks.</p><p>　　(22.7) （22.8）</p><p>　　STYLE DIRECTIONS</p><p>　　

50、The new century ushered in a wave of eclecticism. Unfettered by the boundaries of a dominating design source or a prescribed aesthetic, designers enjoyed the freedom to explore new horizons. These risk-taking exploration

51、s produced results that ranged from exceptional to ill-conceived, in no predominating style but several identifiable directions. </p><p>　　The best of the new architecture is uniquely of its time, though pro

52、phetic works by some of the most celebrated of those mentioned below appeared in the 1990s. These leaders push the boundaries of architectural expression, mostly in high-budget, high-stakes projects sponsored by governme

53、nts or institutions that are often awarded after international competitions. Of those individuals in the vanguard, some are notable for an easily identifiable look, others for an approach marked more by attitude </p&g

54、t;<p>　　(22.9) （22.10）</p><p>　　Mainstream Modernism </p><p>　　Despite the various labels applied to recent design by architectural historians and critics, i

55、t is clear that modernism, in one form or another, has become part of the vernacular in every social class and country, even in cultures resistant to change. It remains the default design aesthetic for major expansion pr

56、ojects, such as Yoshio Taniguchi’s Museum of Modern Art (22.9) or renovations and restorations of public buildings. There will always be a market for antique furnishings and traditional </p><p>　　Biomorphism

57、</p><p>　　Using the tools of technology, designers are exploring alternative forms for undulating structures sculpted of concrete, flexible metals, wood, and even bamboo. The most provocative early landmark

58、of biomorphism was Frank Lloyd Wright’s Guggenheim Museum in New York City (1957; see p. 406); recent manifestations were pioneered by Frank Gehry, whose Guggenheim Museum Bilbao (see p. 438) opened the door to countless

59、 applications of freeform computer-designed architecture by drawing popular attenti</p><p>　　In the Austrian city of Graz, Peter Cook (b. 1936) designed the Kunsthaus (2003), an astonishing glass building wh

60、ose swelling proportions brought an alien presence to the Baroque city. In Toyo Ito’s transparent-façade Mediatheque at Sendai, Japan (2001), biomorphic columns create the look of an interior landscape (22.10). Zaha

61、 Hadid’s BMW Central Building in Leipzig, Germany (2005), unifies factory, showroom, and offices with the bold forms of a glass and metal façade enclosing a system of elev</p><p>　　(22.11)

62、（22.12）</p><p>　　Functional Deconstructivism</p><p>　　Polar opposites of organic forms, the disjunctive, disjointed geometry of buildings with improbable silhouettes, jutting cantilevers, floors

63、 and walls that fail to intersect or intersect at unlikely angles all challenge the concept of how buildings should look. Daniel Libeskind (b. 1947) remains dedicated to a vocabulary of strikingly disruptive forms that a

64、re both thought-provoking and emotionally evocative. Libeskind’s Jewish Museum in Berlin opened in 2001, but drew thousands of visitors on t</p><p>　　Color Craftsmanship</p><p>　　International S

65、tyle modernism rejected color as well as pattern, with the notable exception of Luis Barragán (1902–88), whose modernist homes were characteristically wrapped in intense warm hues (see p. 417). Although short-lived,

66、 post-modernism played with color and pattern for provocative effects, the use of color in building exteriors was rare in the twentieth century. Contemporary architects, however, have returned to color, using it to creat

67、e an image or evoke a mood. The attention-getting </p><p>　　(22.13) （22.14）</p><p>　　High-tech Revisited</p><p>　　A resurgence of interest in th

68、e industrial look was a logical accompaniment to the restoration/preservation movement; many buildings are being gutted or retrofitted for altogether different uses, frequently making decorative use of bare windows, unfi

69、nished floors, exposed pipes and beams, and ladder-like metal staircases. Such projects include offices as well as theaters, restaurants, and even luxury retail stores. International design firm Gensler’s corporate headq

70、uarters in a gutted and transf</p><p><b>　?。?2.15）</b></p><p><b>　　參考文獻：略</b></p><p><b>　　室內(nèi)設計史</b></p><p>　　第二十二章 新形勢下的設計</p>

71、<p>　　二十一世紀，在發(fā)生戲劇性變化的社會大背景下, 設計師試圖重新定義一些二十世紀后期不斷涌現(xiàn)的新元素。在未來的歲月中, 這些要素會或多或少的改變?nèi)藗兣c現(xiàn)有環(huán)境間的體驗行為與互動方式。人們正在重新定義參數(shù)設計,并推動它沿著新且多變的道路前行。對于建筑師和設計師來說,這是一次前所未有的機遇，毋庸置疑其擁有無限的前景。這是有史以來設計師們第一次不被僅僅視為物品的制造者,而被視為肩負社會重大責任，幫助改善世界環(huán)境和居民生活

72、的實踐者。這是一個至關重要并且富于社會意義的角色,設計師選擇用一種多變且超乎尋常的視角去探索。</p><p><b>　　思考</b></p><p><b>　　綠色設計</b></p><p>　　這個名詞出現(xiàn)在上個世紀后期，為貫徹可持續(xù)發(fā)展的理念，綠色設計已經(jīng)成為設計和建筑規(guī)劃方面的熱門詞匯。它指建造建筑物時需要考

73、慮到環(huán)境問題,從選擇材料的應用技術和能源效率，到設計產(chǎn)品時都需要考慮會對環(huán)境造成影響的諸多因素。綠色設計挑戰(zhàn)傳統(tǒng)中輕率地使用自然資源，設計過程中片面的注重規(guī)劃荒廢地帶，而沒有考慮到對環(huán)境的影響的不足。它的目標是人類與自然之間的共生關系。開始于2000年的LEED（能源與環(huán)境設計領導人峰會）項目，授予對環(huán)境負責的建筑物和室內(nèi)設計以銀獎、金獎、白金獎作為認證。而且不斷尋求新的項目并給予獎勵（如圖22.2）。建筑物被加熱，通風和冷卻減少碳排放

74、，建筑師需要改善的是使得自我環(huán)境影響達到最小化，盡量減少在施工階段以及對建筑物存在本身的環(huán)境影響。設計師開始謹慎選址，并包括最大化的利用自然光。減少使用化石燃料，利用替代能源，如太陽能和水力發(fā)電。并選擇可回收或可再生材料，目標是融入中性碳的設計。綠色建筑在國內(nèi)環(huán)境下也正當主流，政府主導的激勵措施可能會鼓勵住宅建設者承建綠色設計的住宅。這方面往往會產(chǎn)生兼具實驗性和創(chuàng)新性的理念。一個典型的例子是在奧地利維也納的一個郊區(qū)，由喬治·德

75、連鐸（出生</p><p><b>　　關鍵要素</b></p><p><b>　　可持續(xù)性</b></p><p>　　術語“可持續(xù)性”通常用于指，為妥善管理資源、保護環(huán)境所做的努力。它不止是一個流行詞匯，已經(jīng)成為本世紀被公眾關注度位列前排的主導問題?？沙掷m(xù)發(fā)展促使政府多次立法，環(huán)保運動逐年增加，這是全世界都在關注的問

76、題。盡管人類是否是造成全球變暖的惡果的主使者，仍然是一個具有爭議的問題。建筑師和設計師的設計過程包括評估每個項目對生態(tài)系統(tǒng)的影響和謀求人類生活的福祉，所以其首要關注的問題應該是節(jié)約能源，即從場地的選擇到材料的選擇等方方面面，盡量減少碳的排放并努力尋求可替代能源?？蛻艨释麑⒆约憾ㄎ粸殛P心社會者,一般都支持這些嘗試。威廉·麥克多諾可謂當代該運動最突出的傳教士，發(fā)表了《漢諾威原則》（2000年），被稱為“地球家園權利法案”，與邁克爾

77、·布勞恩加特共同撰寫《回歸本真:重塑做事方法》（2002年），闡述生命周期分析的必要性。</p><p><b>　　技術性</b></p><p>　　世界發(fā)展最快的工業(yè)孕育了利用計算機發(fā)聲的通用語言，用新的詞匯，新的工具，和不斷增殖的應用程序。其對設計領域的影響不得不被過分夸大。設計師可以通過操作復雜的電腦程序，最終呈現(xiàn)建筑和室內(nèi)的配置結構圖，這種通過軟

78、件進行的渲染是徒手所無法達到的。不僅如此，電腦的指令可以通過快速成像，將生成的模型轉換成精確的三維模型(ALF又稱三維成型技術)。形狀格外高大，彎曲度極度異常，或不依慣例的多轉角結構現(xiàn)如今都能被渲染成型，除此之外，也能通過電腦進行壓力測試。另一種工具，建筑信息模型(BIM)，提供了一個虛擬現(xiàn)實情境的預排,方便設計師和客戶在施工前做出針對項目的調整。 </p><p>　　技術的進步使得創(chuàng)造特殊建筑結構

79、成為可能，如北京的國家體育場(“鳥巢”；如圖22.3；2008年)，由瑞士赫爾佐格和德梅隆建筑事務所設計，該公司以先進的設計和創(chuàng)新的材料聞名。通過復雜的金屬鏈鎖設計，創(chuàng)造了一個引人注目的生物形態(tài)外觀，和同樣引人注目的內(nèi)部空間。1978年，蘇黎世出生的雅克·赫爾佐格(出生于1950年)和皮埃爾·德·梅隆(出生于1950年)形成合作伙伴關系,在2001年獲得普利茲克獎。</p><p>

80、　　技術革新為室內(nèi)設計領域帶來了一個全新的挑戰(zhàn):新設備已經(jīng)成為現(xiàn)代生活的一個重要組成部分。在規(guī)劃空間時,除了容納傳統(tǒng)的家具和陳設，設計師必須為放置在家庭以及各種類型的商業(yè)或機構中的新設備，留出適當?shù)目臻g以供擺放。技術也帶來了先進的照明—發(fā)光二極管 (LED)及其后續(xù)的有機發(fā)光二極管 (OLED)。他們光照更強，對環(huán)境有更積極的影響。而且他們的體積相對較小且靈活，遂產(chǎn)生獨特且多變的效果。</p><p>　　(22

81、.2) （22.3）</p><p><b>　　社會福利性</b></p><p>　　在一個多變的，多元文化且人均壽命更長的社會，為促進國民向健康、幸福的目標改善，設計者必須根據(jù)特定的人群制定相應的設計策略，凸顯人性化理念。通過研究數(shù)據(jù)顯示人們在他們的環(huán)境中真實的行為，基于理論的設計使設計師能夠更加合理地規(guī)劃空間，從而為醫(yī)院、學校、辦公

82、室的設計帶來滿意的結果。</p><p>　　在多代設計的情況下，家庭中的兩代人或三代人住在同一個家里，普遍被要求空間配置能夠為每一代人提供隱私，以及他們可以互動的領域。專門為老年人的設計已經(jīng)演變?yōu)椤巴ㄓ迷O計”，適用于各個年齡層的人。通過就醫(yī)可延長壽命的進步，已經(jīng)掀起了新的運動“就地養(yǎng)老”來替代早年的養(yǎng)老社區(qū)。最后，由于體能被視為象征身體健康必不可少的要素，健身房對于酒店，寫字樓，公寓樓，和許多私人住宅來說，成為

83、了重要組成部分。</p><p>　　這些和其他問題正在建筑師和室內(nèi)設計師之間，創(chuàng)造更大的社會意識和人道主義意識。如爆發(fā)自然災害時，為幸存者提供住所的坂茂海運集裝箱（如圖22.4；2011年）。這些作為都是透過一些組織的援助完成的，如國際仁人家園為設計師創(chuàng)造機會，鼓勵建設經(jīng)濟適用房，來解除社區(qū)危機住房的危機。到目前為止，該組織已在五大洲建有超過五百萬的住宅。</p><p><b&g

84、t;　　品牌推廣性</b></p><p>　　著名建筑師和室內(nèi)設計師的激增，使得設計成為人們普遍討論的公共話題。廣為人知的公共空間項目有博物館、文化中心，以及可多用的發(fā)展性空間。這是一把雙刃劍，出現(xiàn)了“建筑明星”的文化現(xiàn)象，創(chuàng)造了一個在二十世紀后期出現(xiàn)的既定文化（來源是匿名的），提到設計師的名字就會帶來有威望的??項目。盡管有它的缺點，但這種通過媒體報道促成的名人效應，提高了設計師本身的辨識度，也提

85、高了對其設計作品的認知度。結果是對于公共和私人空間的設計有了更大的需求。</p><p>　　設計也由此承擔了重要的營銷工具的角色。早在20世紀40年代，多蘿西·德雷珀向潛在客戶訴說，好的設計會令他們的酒店更有利可圖。但最近幾年該想法才被雄心勃勃的機構，有競爭力的零售商所普遍接受。如香奈兒高檔時裝店和產(chǎn)品暢銷的宜家家具零售超市，雇用懂得打造品牌標識且具有鮮明個性的設計師，使消費者與產(chǎn)品之間，在情感層面上

86、較易融通，傳遞給人們友善、舒適、可靠的理想特性體驗。在許多情況下，它也承諾滿足人們富于娛樂體驗的需求。傳統(tǒng)店面正在面臨，為了吸引消費者而布滿計算機高科技、劇院或主題公園等刺激性環(huán)境體驗店面的挑戰(zhàn)。雷姆·庫哈斯和歐美亞在紐約的普拉達旗艦店（2001年）尋求“重塑零售體驗”，其中半管曲線的層壓木毗鄰大型露天體育場，多層次的主場地密布座位，大多數(shù)商品轉移到地下室售賣（如圖22.5）。庫哈斯的反傳統(tǒng)的做法也產(chǎn)生了品牌效應，如中國北京的

87、中央電視臺總部這種標新立異的建筑。在2012年完工之前，其意向圖片已在多篇刊物中發(fā)表。被形容為塔式“改造成一個循環(huán)體”，該建筑兩翼部分懸掛兩個垂直懸臂的截面，該截面最終與水平延伸的開放式廣場相接合。該建筑坐落在一片有坡度的地面上，內(nèi)部景觀順應地勢，創(chuàng)造性地由</p><p>　　(22.4) （22.5）</p><p><b>　　合作性</b

88、></p><p>　　設計師們在畫板上獨立描繪出浪漫形象在今天是過時的，當今更多的是由一個專家小組進行合作，努力完成階段任務。新的概念建筑或室內(nèi)概念方法可能是一個人的觀點，但其協(xié)助其實施的人卻是眾多的。現(xiàn)在重大設計項目的開展，最精簡的團隊構成為建筑師、工程師、施工經(jīng)理、景觀設計師、照明設計師、室內(nèi)設計師及平面設計師。在全球化的大時代，建筑師和設計師時常充斥著國際化的合作內(nèi)容，但多數(shù)情況下，本國設計師同其他

89、國家的專業(yè)人士一道，削弱了本國的地域特色，最終使當?shù)氐慕ㄖ锍涑庵渌麌业脑亍?lt;/p><p><b>　　全球性</b></p><p>　　經(jīng)濟成爆炸式增長的國家，包括遠東、中東和世界其他欠發(fā)達地區(qū)，帶來了富裕的消費者，為建筑設計和室內(nèi)設計領域帶來了好壞兩方面。好的一面在于革新建筑工程委員會成員中包括政府援助和私人資助，會定期向宏偉的博物館、歌劇院、文化中心、

90、大學、醫(yī)院和大規(guī)模的綜合商業(yè)空間投放大量資金。而且新興國家越來越多地接觸到西方先鋒建筑師所設計的項目，這些項目是本國設計師無法完成的，但對于這些國家來說卻是現(xiàn)階段大規(guī)模發(fā)展的機遇。這些項目為這些國家為解決城市密度、交通和能源節(jié)約等烏托邦式的問題，帶來了前所未有的機遇和挑戰(zhàn)。壞的一面是社會上出現(xiàn)了各種問題，包括設計領域逐漸妥協(xié)于政治壓力，設計者們更加孤芳自賞，或生產(chǎn)時崇尚利益最大化，所成型的產(chǎn)品更注重外觀的美感而忽略其功能性。</p

91、><p><b>　　再利用性</b></p><p>　　遭到破壞的瀕臨銷匿的歷史建筑，受到越來越多組織機構，如世界文化遺產(chǎn)基金會和美國國家歷史保護信托局的關注。在許多國家，政府鼓勵并支持各地形成地方保護主義團體。不僅是歷史古跡，還包括被遺棄的豪宅、環(huán)境惡劣的街區(qū)、貧民區(qū)、過時的工廠、過時的校舍、有趣的房屋等等，都將被免于拆除。鼓勵發(fā)揮創(chuàng)新意識，賦予建筑新的生命或改造其

92、為新的用途。一種嶄新的更多的是全面實際綜合性設計出現(xiàn)了，瞬時這種因尊重歷史而引發(fā)的潮流籠罩社會。</p><p>　　在接納固有設計的前提下，它需要憑借較少的改動來重新利用建筑物，而不是摧毀建筑并建立一個新的建筑體。設計師們正在尋找巧妙的方法，來改造老化或過時的結構，使其轉變成更富有吸引力和功能性的新空間。除了比修建新建筑更低的施工量，節(jié)約能源和自然資源，符合可持續(xù)發(fā)展的這一優(yōu)點。這些對環(huán)境敏感的項目，往往能夠引

93、發(fā)構思巧妙的原創(chuàng)設計。舊倉庫成為市場，工廠變成豪華住宅，中轉中心重新用于娛樂，海運集裝箱（如圖22.4）被重新設計為多用途空間。坂茂（出生于1967年）所涉及的游牧博物館（2005年），是從集裝箱轉化成的一個優(yōu)雅的旅游場所，攝影和音響等展品，可以很容易地運送到其他地方，并安裝在水邊碼頭。在19世紀西班牙巴塞羅那，法國建筑師讓·努維爾（出生于1945年）翻新了莫里茨啤酒館的一間餐廳、文化中心和展覽廳（2011年）。考慮到所屬地點

94、時刻洋溢著熱鬧的氛圍，所以在設計這種美食與文化交融的場地時，建筑師盡量保留了原本建筑拱形的天花板和馬賽克拼花的地板。不同的是，在磚墻上點綴有反光柱和鏡子，以及室內(nèi)以現(xiàn)代化的家具作為擺設（如圖22.6）。</p><p><b>　　(22.6)</b></p><p><b>　　歷史保護性</b></p><p>　　歷

95、史上偉大的建筑之所以被認為重要，是因為保留了原本的功能，而不是因為其后期被翻修的外觀或是少許典型的室內(nèi)陳設，這可通過精心修復或重建現(xiàn)有的結構來實現(xiàn)。19世紀紐約的標志性建筑中央猶太教堂（如圖22.7；2001年），被火災嚴重吞噬后，哈迪·霍爾茲曼·菲佛通過修復建筑功能的方法，增加了一個新式現(xiàn)代化的結合翼。丹尼爾·里伯斯金將位于德國德累斯頓的新古典主義建筑軍事歷史博物館（2011年），設計成視覺上相交的原始楔

96、狀結構，加入現(xiàn)代化的展覽空間，并為德國脫節(jié)的專制歷史提供了一個現(xiàn)代民主化的比喻。</p><p>　　掌握處理結構的方法可以追溯到一個多世紀以前，保護歷史主義者正面臨著新的挑戰(zhàn)，即節(jié)省20世紀中期的建筑，尤其是住宅，其中大部分是缺乏識別性并缺乏石灰石和大理石等材料的宏偉的公共建筑。像菲利普·約翰遜在美國康涅狄格州設計的慶祝玻璃屋（如圖19.1；第388頁），查爾斯和伊拉·埃姆斯共同設計的圣莫尼

97、卡的家（如圖20.14）。這兩座建筑均建于1949年，是從莊園的遺贈中獲得的幫助，但其他人都受到威脅，直到保護組出面說情。在拍賣會上，除了歐文·吉爾設計的道奇故居（1916年； 1970年拆除；第381頁）和保羅·魯?shù)婪蛟诜鹆_里達州薩拉索塔的富有遠見的江景高中（1957年，2009年拆除）已經(jīng)被摧毀外，密斯凡德在羅伊利諾伊州普萊諾的法恩斯沃思樓（1951年）由國家信托基金收購了，許多人迷失在了大興土建的年代。2010

98、年，魯?shù)婪蛟诩~約的地標性建筑物，是由鋼鐵和混凝土構成的三層復式（建于19世紀的聯(lián)排別墅），翻新之后，只是對室內(nèi)一小部分添補了生動抽象的裝飾（如圖22.8）。</p><p>　　福斯特與合作伙伴在紐約修建的赫斯特大廈（2006年），是保護意識層面的巔峰級作品，尤以其創(chuàng)新多面的外表皮和其10層樓高的中庭設計最為顯著。1928年由設計界的新星約瑟夫修復的城市藝術風格建筑，是被地標委員會批準的首批項目，也榮獲世界第一摩

99、天大樓的稱號，并獲得低能電子衍射金級獎（LEED白金授予給為恢復城市結構做出杰出貢獻的人）。這也是繼911恐怖襲擊后，建立在紐約的第一棟新的摩天大樓。</p><p>　　(22.7) （22.8）</p><p><b>　　風格定位</b></p><p>　　新世紀迎來了一波

100、又一波的折衷主義。相互界限越發(fā)模糊的專制設計與美學設計，促成這個時期的設計師們普遍崇尚自由，渴望探索新世界。這些冒險探索產(chǎn)生結果是，范圍從異常特殊到考慮不周，雖然并沒有占據(jù)主導風格，但卻引領推動了一些更具識別性的方向。</p><p>　　雖然得到夸贊的一些最著名的作品都出現(xiàn)在二十世紀九十年代，但這些新建筑在當時特定的時間段內(nèi)卻是獨特的。這些先鋒人士推動建筑表達的界限變得更加清晰，主要表現(xiàn)在面對高預算、高風險的項