呼吸新生活，获得新含义并提供新功能的地方与曾经体现的那些功能不同。
The scars of a city may seem to some useless and insignificant but for others compose the fragments of an extremely intriguing narrative, endowed with a real magnetizing force. They represent pauses of absolute silence that impose a reflection: they remind us of the passage of time; located between life and death, they inevitably push us to reflect on the precariousness and transience of our existence. They dissociate themselves from the type of narrative of our deterministic society, which would rather offer an answer for everything, emanating the same emotional vibes of painting and poem of Romantic artists.
The atmospheres, slightly muffled by a halo of oblivion, appeal to our imagination and it is not a coincidence that many of us, especially myself, would love to indulge in their empty cavities, invaded by roots and webs, eager to explore their intimate recesses, feeling caressed by a pleasant sense of familiarity with remains that we wish would not disappear forever, but at the same time, not be desecrated by careless and disrespectful hands.
著名的韩裔美国人艺术家米鲁·金（Miru Kim）在她的系列文章中Naked City Spleen’, escapes her fears of isolation and alienation provoked by contemporary cities corrupted by commodification, exploring hidden and derelict urban spots, that transmit to her a sensation of regeneration and unrestraint. Attracted almost obsessively to the underground and the decaying industrial world, she seems to find refuge and protection in the vastness of silent spaces, which for a long time now don’t share the fetishism of production and consumption, that pollutes and suffocates our existence, affecting human and social relationships, not distinguishing between material and spiritual values. Kim, finds in these situations a sense of liberation, she strips down, naked, against the background of ruins, debris and rusted dilapidated structures, raw and bare as her setting, reminding us of the beauty offered by these secluded, neglected realities. According to her, these stages, such as desolate subway stations, tunnels, factories“form the subconscious of the city, where collective memories and dreams reside”,locations that shift from “奇怪到熟悉，从苛刻到镇定，从危险到荒谬”。
米鲁·金（Miru Kim），“赤裸的城市脾脏”。
Digging through the wrinkles of particularly chaotic cities, reaching parts that appear hidden but are always within close proximity, we can discover shadowed universes which we wouldn’t even imagine that leave us breathless, treasures that Miru Kim surely hopes would languish in the general indifference, but I would desire, perhaps, someone with a special sensitivity would rescue, helping their superb presences to still be important meeting and interactivity milestones for the community.
Shape-shifters, etymologically referred to those able to change shape and personality, are to me those architects who capable, approaching abandoned, iconic entities, eloquent testimonials of a cultural heritage, to grasp their powerful vibrations, making them blossom again in the respect of their exciting, distinctive shell. As consummate skilled choreographs, they work on a performing platform level, keeping intact the flavor of the compelling hunting fascination of the artifacts, suggesting new perspectives and encouraging a narrative different from what they used to embody, more in tune with current times.“他们知道建筑及其周围环境密切相互交织，并且#raybet官网知道材料和建筑物的选择是创造持久和有意义的空间的强大工具。”- rcr arquitectes。
米鲁·金（Miru Kim），“赤裸的城市脾脏”。
再生，振奋，恢复活力成为了根治性二分法的一部分，多年来，在两个相反的方面，现有建筑和现有的干预措施已经看到。#raybet官网如今，我们当代城市环境的拥挤的构建场景使建筑师不再从零开始创造，而是重新发明已经变得越来越紧迫的限制。雷竞技下载链接因此，在2016年威尼斯双年展时，这并不奇怪，西班牙馆赢得了金狮策划“未完成”，出于经济原因，一个荒凉，空置的建筑的乐观声音，尚未完成的收藏，随后不断发展，以应对偶然的，新兴的必需品。展出的作品范围从维护干预措施，自适应再使用到策略，以注入重要的淋巴进入城市。’未完成’represents the constant evolution and revisionary insemination of past and new, it’s about an identity that transcends but is also always ready to fit to future requirements, at the service of the society and in accordance with the impermanency that urges our architectural horizon.
对迷人的铜绿从宏伟，被遗忘的地标辐射的欣赏，如今已导致试图不隐藏过流过的时间的伤痕，而是要发明其空间慷慨，替代性的重新格式，这些范式将带来潜力，以使他们的幽灵般地振奋人心存在。更令人信服的是讲故事的人会设想的叙述，更多的协同作用将导致人们与建筑之间的联系。These architects renounce the seductiveness of their own gestures, preferring a silent intervention, that as stitches can ‘suture’ and bridge together parts, guaranteeing two distinct personalities and, at the same time, a kind of functional continuity with the past and a collective memory of a place.
Original Conditions of the Sugar Mill. Image courtesy of Vector Architects.
在中国，由于城市面临的剧烈发展，旧的和废弃的东西经常被新现代和现代所取代。特别是从年轻的工作室开始反应和强烈的抵抗力，推动重新考虑大规模的破坏和城市更新，朝着时代所剩下的痕迹的建筑迈向建筑，从而使变形，消失的角落变得更加振奋。#raybet官网即使这些遗体并不总是被认为是历史遗产的强烈证据，它们也会散发出和传播一个熟悉的亲密性格，并避免在通用，无情的环境中生活的风险。矢量建筑师一直雷竞技下载链接是这些深刻令人信服的断言，即保留“旧灵魂”的重要性。而且，我们可以在从小到大的所有干预措施中发现，绝对连贯性，他们的尊重，温和的感觉。
M伍兹博物馆入口振兴，矢量建筑师。雷竞技下载链接Xia Zhi的照片。
被邀请对新的重点进行翻新，以自2014年自2014年自2014年著名的798艺术区的M Woods Museum的入口进行翻新，而不是更改框架，而不是更改框架，而是选择了一个暗示，参考了工业具有表现力的代码，可以预料并让人感知原始的砖砌。钢丝网笼罩着立面，以孔隙率揭开了巨大的体验，在后面开放，欢迎游客。光线充满了金属的透明度，投射阴影和反射，使入口立面的刚性增强，甚至达到最黑暗的区域。建筑物外部未使用的空间的一部分，并在同一金属冠层下合并，已被统一，对齐和振兴，组织公共休息区，在常规的周日农民市场旁边的儿童游乐场。细心的手势以极大的敏感性考虑了新旧之间的关系，并恢复了文化障碍，从而注入了充满活力的冲动，以对公共城市的参与。
Alila Yangshou Hotel, Guangxi, China. Vector Architects. Photo of Su Shengliang.
另一个非常有趣，令人印象深刻的项目是Alila Yangshou Hotel，这是一家经过改建的1960年代糖厂。该建筑群是几个分散的尸体的簇，建在风景如画的广西山区，封装在圆锥石灰岩喀斯特岩峰之间，面对李河的弯曲，蜿蜒的路线的宽阔弯道。诱人地点的风景奇妙的抒情症唤起了我们传统的中国景观绘画，似乎完全适合宁静，浪漫逃生的新作用，并由自适应的再利用所设想。矢量建筑师与上雷竞技下载链接下文的无声音符和绳索相提并论，以优雅和宽限的方式编织出现代的线程，从而塑造了新的狂想曲。简单而完善了他们的烙印符合现有的，寻求美学共鸣。“田”（Tian）在中文中远远超出了“自然”的简单含义，在为工业遗产及其对老一辈的意义中扮演的真诚，有力的敬意方面扮演着基本，平等的角色。为了尊重局部形态，完整地保留了人与自然之间的原始对话性相互作用，建筑的水平和山脉的垂直性，并且一系列途径被认真组织为洞穴雕刻，观察点，重现那些内部的途径，再现#raybet官网山脉，让客人可以通过视觉流动性徘徊和欣赏，从不同的角度看着令人叹为观止的情况。根据几何图案布局，反映水体，与人行道和单位接壤的合奏，突出了环境的宁静。一个高大的大铁桁架，用于装载糖棒，夹紧一个细长的游泳池，将其挤入河岸。 Layers of old and new accost each other and merge creating a fresh story, highly expressive of memories.
Alila Yangshou Hotel, Guangxi, China. Vector Architects. Photo of Su Shengliang.
保留原始的工业特征，前实体注定要进行新的功能，接待，酒吧，画廊，咖啡馆，主厅，图书馆，并附有新的住宿建筑，并具有紧密共鸣的形式和材料。由空心混凝土块形成的刺穿墙，对厚实，重型砌体的失重和开放，使氛围减轻，将温暖的温暖转移到纯净的，冷酷的工业语言和增强通风的稳健性中。穿孔的水泥铸件提供了精美的细节，以细心的现代重新解释磨坊的材料，并以相同的彩色裸色和细微差别是一种真实，朴实的连续性。
弗吉尼亚·库奇
Credits:
Photographer (Cover): ©Miru Kim,Naked City Spleen -http://mirukim.com/
向量架构师 -雷竞技下载链接http://www.vector雷竞技下载链接architects.com/en/
M Wood Museum Entrance Revitalization, 798 Art Zone, Beijing, China
Photographs: ©Xia Zhi, Courtesy of Vector Architects
中国广西圭林的扬舒岛的Alila Yangshou Hotel
Photographs: ©Su Shengliang and ©Chen Hao, Courtesy of Vector Architects
