室內(nèi)設(shè)計(jì)外文翻譯---新形勢(shì)下的設(shè)計(jì)（節(jié)選自書(shū)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(shè)計(jì)史</b></p><p>　　A History of Interior Design </p><p>　　學(xué) 部（院）： 建筑與藝術(shù)學(xué)院 &

2、lt;/p><p>　　專 業(yè)： 環(huán)境藝術(shù)設(shè)計(jì) </p><p>　　學(xué) 生 姓 名： </p><p>　　學(xué) 號(hào)： </p><p>　　指 導(dǎo) 教 師： </p>

3、<p>　　完 成 日 期： </p><p><b>　　室內(nèi)設(shè)計(jì)史</b></p><p>　　A History of Interior Design</p><p>　　第二十二章 新形勢(shì)下的設(shè)計(jì)</p><p>　　Chapter Twenty-Two De

4、sign on a New Playing Field</p><p>　　勞倫斯國(guó)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(xiàn)：略</b></p><p><b>　　室內(nèi)設(shè)計(jì)史</b></p><p>　　第二十二章 新形勢(shì)下的設(shè)計(jì)</p>

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

72、的實(shí)踐者。這是一個(gè)至關(guān)重要并且富于社會(huì)意義的角色,設(shè)計(jì)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(shè)計(jì)</b></p><p>　　這個(gè)名詞出現(xiàn)在上個(gè)世紀(jì)后期，為貫徹可持續(xù)發(fā)展的理念，綠色設(shè)計(jì)已經(jīng)成為設(shè)計(jì)和建筑規(guī)劃方面的熱門(mén)詞匯。它指建造建筑物時(shí)需要考

73、慮到環(huán)境問(wèn)題,從選擇材料的應(yīng)用技術(shù)和能源效率，到設(shè)計(jì)產(chǎn)品時(shí)都需要考慮會(huì)對(duì)環(huán)境造成影響的諸多因素。綠色設(shè)計(jì)挑戰(zhàn)傳統(tǒng)中輕率地使用自然資源，設(shè)計(jì)過(guò)程中片面的注重規(guī)劃荒廢地帶，而沒(méi)有考慮到對(duì)環(huán)境的影響的不足。它的目標(biāo)是人類與自然之間的共生關(guān)系。開(kāi)始于2000年的LEED（能源與環(huán)境設(shè)計(jì)領(lǐng)導(dǎo)人峰會(huì)）項(xiàng)目，授予對(duì)環(huán)境負(fù)責(zé)的建筑物和室內(nèi)設(shè)計(jì)以銀獎(jiǎng)、金獎(jiǎng)、白金獎(jiǎng)作為認(rèn)證。而且不斷尋求新的項(xiàng)目并給予獎(jiǎng)勵(lì)（如圖22.2）。建筑物被加熱，通風(fēng)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(dá)到最小化，盡量減少在施工階段以及對(duì)建筑物存在本身的環(huán)境影響。設(shè)計(jì)師開(kāi)始謹(jǐn)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(yáng)能和水力發(fā)電。并選擇可回收或可再生材料，目標(biāo)是融入中性碳的設(shè)計(jì)。綠色建筑在國(guó)內(nèi)環(huán)境下也正當(dāng)主流，政府主導(dǎo)的激勵(lì)措施可能會(huì)鼓勵(lì)住宅建設(shè)者承建綠色設(shè)計(jì)的住宅。這方面往往會(huì)產(chǎn)生兼具實(shí)驗(yàn)性和創(chuàng)新性的理念。一個(gè)典型的例子是在奧地利維也納的一個(gè)郊區(qū)，由喬治·德

75、連鐸（出生</p><p><b>　　關(guān)鍵要素</b></p><p><b>　　可持續(xù)性</b></p><p>　　術(shù)語(yǔ)“可持續(xù)性”通常用于指，為妥善管理資源、保護(hù)環(huán)境所做的努力。它不止是一個(gè)流行詞匯，已經(jīng)成為本世紀(jì)被公眾關(guān)注度位列前排的主導(dǎo)問(wèn)題。可持續(xù)發(fā)展促使政府多次立法，環(huán)保運(yùn)動(dòng)逐年增加，這是全世界都在關(guān)注的問(wèn)

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(gè)具有爭(zhēng)議的問(wèn)題。建筑師和設(shè)計(jì)師的設(shè)計(jì)過(guò)程包括評(píng)估每個(gè)項(xiàng)目對(duì)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(guān)注的問(wèn)題應(yīng)該是節(jié)約能源，即從場(chǎng)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(guān)心社會(huì)者,一般都支持這些嘗試。威廉·麥克多諾可謂當(dāng)代該運(yùn)動(dòng)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(quán)利法案”，與邁克爾

77、·布勞恩加特共同撰寫(xiě)《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(shù)性</b></p><p>　　世界發(fā)展最快的工業(yè)孕育了利用計(jì)算機(jī)發(fā)聲的通用語(yǔ)言，用新的詞匯，新的工具，和不斷增殖的應(yīng)用程序。其對(duì)設(shè)計(jì)領(lǐng)域的影響不得不被過(guò)分夸大。設(shè)計(jì)師可以通過(guò)操作復(fù)雜的電腦程序，最終呈現(xiàn)建筑和室內(nèi)的配置結(jié)構(gòu)圖，這種通過(guò)軟

78、件進(jìn)行的渲染是徒手所無(wú)法達(dá)到的。不僅如此，電腦的指令可以通過(guò)快速成像，將生成的模型轉(zhuǎn)換成精確的三維模型(ALF又稱三維成型技術(shù))。形狀格外高大，彎曲度極度異常，或不依慣例的多轉(zhuǎn)角結(jié)構(gòu)現(xiàn)如今都能被渲染成型，除此之外，也能通過(guò)電腦進(jìn)行壓力測(cè)試。另一種工具，建筑信息模型(BIM)，提供了一個(gè)虛擬現(xiàn)實(shí)情境的預(yù)排,方便設(shè)計(jì)師和客戶在施工前做出針對(duì)項(xiàng)目的調(diào)整。 </p><p>　　技術(shù)的進(jìn)步使得創(chuàng)造特殊建筑結(jié)構(gòu)

79、成為可能，如北京的國(guó)家體育場(chǎng)(“鳥(niǎo)巢”；如圖22.3；2008年)，由瑞士赫爾佐格和德梅隆建筑事務(wù)所設(shè)計(jì)，該公司以先進(jìn)的設(shè)計(jì)和創(chuàng)新的材料聞名。通過(guò)復(fù)雜的金屬鏈鎖設(shè)計(jì)，創(chuàng)造了一個(gè)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(guān)系,在2001年獲得普利茲克獎(jiǎng)。</p><p>

80、　　技術(shù)革新為室內(nèi)設(shè)計(jì)領(lǐng)域帶來(lái)了一個(gè)全新的挑戰(zhàn):新設(shè)備已經(jīng)成為現(xiàn)代生活的一個(gè)重要組成部分。在規(guī)劃空間時(shí),除了容納傳統(tǒng)的家具和陳設(shè)，設(shè)計(jì)師必須為放置在家庭以及各種類型的商業(yè)或機(jī)構(gòu)中的新設(shè)備，留出適當(dāng)?shù)目臻g以供擺放。技術(shù)也帶來(lái)了先進(jìn)的照明—發(fā)光二極管 (LED)及其后續(xù)的有機(jī)發(fā)光二極管 (OLED)。他們光照更強(qiáng)，對(duì)環(huán)境有更積極的影響。而且他們的體積相對(duì)較小且靈活，遂產(chǎn)生獨(dú)特且多變的效果。</p><p>　　(22

81、.2) （22.3）</p><p><b>　　社會(huì)福利性</b></p><p>　　在一個(gè)多變的，多元文化且人均壽命更長(zhǎng)的社會(huì)，為促進(jìn)國(guó)民向健康、幸福的目標(biāo)改善，設(shè)計(jì)者必須根據(jù)特定的人群制定相應(yīng)的設(shè)計(jì)策略，凸顯人性化理念。通過(guò)研究數(shù)據(jù)顯示人們?cè)谒麄兊沫h(huán)境中真實(shí)的行為，基于理論的設(shè)計(jì)使設(shè)計(jì)師能夠更加合理地規(guī)劃空間，從而為醫(yī)院、學(xué)校、辦公

82、室的設(shè)計(jì)帶來(lái)滿意的結(jié)果。</p><p>　　在多代設(shè)計(jì)的情況下，家庭中的兩代人或三代人住在同一個(gè)家里，普遍被要求空間配置能夠?yàn)槊恳淮颂峁╇[私，以及他們可以互動(dòng)的領(lǐng)域。專門(mén)為老年人的設(shè)計(jì)已經(jīng)演變?yōu)椤巴ㄓ迷O(shè)計(jì)”，適用于各個(gè)年齡層的人。通過(guò)就醫(yī)可延長(zhǎng)壽命的進(jìn)步，已經(jīng)掀起了新的運(yùn)動(dòng)“就地養(yǎng)老”來(lái)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(duì)于酒店，寫(xiě)字樓，公寓樓，和許多私人住宅來(lái)說(shuō)，成為

83、了重要組成部分。</p><p>　　這些和其他問(wèn)題正在建筑師和室內(nèi)設(shè)計(jì)師之間，創(chuàng)造更大的社會(huì)意識(shí)和人道主義意識(shí)。如爆發(fā)自然災(zāi)害時(shí)，為幸存者提供住所的坂茂海運(yùn)集裝箱（如圖22.4；2011年）。這些作為都是透過(guò)一些組織的援助完成的，如國(guó)際仁人家園為設(shè)計(jì)師創(chuàng)造機(jī)會(huì)，鼓勵(lì)建設(shè)經(jīng)濟(jì)適用房，來(lái)解除社區(qū)危機(jī)住房的危機(jī)。到目前為止，該組織已在五大洲建有超過(guò)五百萬(wàn)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(shè)計(jì)師的激增，使得設(shè)計(jì)成為人們普遍討論的公共話題。廣為人知的公共空間項(xiàng)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(gè)在二十世紀(jì)后期出現(xiàn)的既定文化（來(lái)源是匿名的），提到設(shè)計(jì)師的名字就會(huì)帶來(lái)有威望的??項(xiàng)目。盡管有它的缺點(diǎn)，但這種通過(guò)媒體報(bào)道促成的名人效應(yīng)，提高了設(shè)計(jì)師本身的辨識(shí)度，也提

85、高了對(duì)其設(shè)計(jì)作品的認(rèn)知度。結(jié)果是對(duì)于公共和私人空間的設(shè)計(jì)有了更大的需求。</p><p>　　設(shè)計(jì)也由此承擔(dān)了重要的營(yíng)銷工具的角色。早在20世紀(jì)40年代，多蘿西·德雷珀向潛在客戶訴說(shuō)，好的設(shè)計(jì)會(huì)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(jī)構(gòu)，有競(jìng)爭(zhēng)力的零售商所普遍接受。如香奈兒高檔時(shí)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(biāo)識(shí)且具有鮮明個(gè)性的設(shè)計(jì)師，使消費(fèi)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(yàn)。在許多情況下，它也承諾滿足人們富于娛樂(lè)體驗(yàn)的需求。傳統(tǒng)店面正在面臨，為了吸引消費(fèi)者而布滿計(jì)算機(jī)高科技、劇院或主題公園等刺激性環(huán)境體驗(yàn)店面的挑戰(zhàn)。雷姆·庫(kù)哈斯和歐美亞在紐約的普拉達(dá)旗艦店（2001年）尋求“重塑零售體驗(yàn)”，其中半管曲線的層壓木毗鄰大型露天體育場(chǎng)，多層次的主場(chǎng)地密布座位，大多數(shù)商品轉(zhuǎn)移到地下室售賣（如圖22.5）。庫(kù)哈斯的反傳統(tǒng)的做法也產(chǎn)生了品牌效應(yīng)，如中國(guó)北京的

87、中央電視臺(tái)總部這種標(biāo)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(gè)循環(huán)體”，該建筑兩翼部分懸掛兩個(gè)垂直懸臂的截面，該截面最終與水平延伸的開(kāi)放式廣場(chǎng)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(yīng)地勢(shì)，創(chuàng)造性地由</p><p>　　(22.4) （22.5）</p><p><b>　　合作性</b

88、></p><p>　　設(shè)計(jì)師們?cè)诋?huà)板上獨(dú)立描繪出浪漫形象在今天是過(guò)時(shí)的，當(dāng)今更多的是由一個(gè)專家小組進(jìn)行合作，努力完成階段任務(wù)。新的概念建筑或室內(nèi)概念方法可能是一個(gè)人的觀點(diǎn)，但其協(xié)助其實(shí)施的人卻是眾多的。現(xiàn)在重大設(shè)計(jì)項(xiàng)目的開(kāi)展，最精簡(jiǎn)的團(tuán)隊(duì)構(gòu)成為建筑師、工程師、施工經(jīng)理、景觀設(shè)計(jì)師、照明設(shè)計(jì)師、室內(nèi)設(shè)計(jì)師及平面設(shè)計(jì)師。在全球化的大時(shí)代，建筑師和設(shè)計(jì)師時(shí)常充斥著國(guó)際化的合作內(nèi)容，但多數(shù)情況下，本國(guó)設(shè)計(jì)師同其他

89、國(guó)家的專業(yè)人士一道，削弱了本國(guó)的地域特色，最終使當(dāng)?shù)氐慕ㄖ锍涑庵渌麌?guó)家的元素。</p><p><b>　　全球性</b></p><p>　　經(jīng)濟(jì)成爆炸式增長(zhǎng)的國(guó)家，包括遠(yuǎn)東、中東和世界其他欠發(fā)達(dá)地區(qū)，帶來(lái)了富裕的消費(fèi)者，為建筑設(shè)計(jì)和室內(nèi)設(shè)計(jì)領(lǐng)域帶來(lái)了好壞兩方面。好的一面在于革新建筑工程委員會(huì)成員中包括政府援助和私人資助，會(huì)定期向宏偉的博物館、歌劇院、文化中心、

90、大學(xué)、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(guó)家越來(lái)越多地接觸到西方先鋒建筑師所設(shè)計(jì)的項(xiàng)目，這些項(xiàng)目是本國(guó)設(shè)計(jì)師無(wú)法完成的，但對(duì)于這些國(guó)家來(lái)說(shuō)卻是現(xiàn)階段大規(guī)模發(fā)展的機(jī)遇。這些項(xiàng)目為這些國(guó)家為解決城市密度、交通和能源節(jié)約等烏托邦式的問(wèn)題，帶來(lái)了前所未有的機(jī)遇和挑戰(zhàn)。壞的一面是社會(huì)上出現(xiàn)了各種問(wèn)題，包括設(shè)計(jì)領(lǐng)域逐漸妥協(xié)于政治壓力，設(shè)計(jì)者們更加孤芳自賞，或生產(chǎn)時(shí)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(lái)越多組織機(jī)構(gòu)，如世界文化遺產(chǎn)基金會(huì)和美國(guó)國(guó)家歷史保護(hù)信托局的關(guān)注。在許多國(guó)家，政府鼓勵(lì)并支持各地形成地方保護(hù)主義團(tuán)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(guò)時(shí)的工廠、過(guò)時(shí)的校舍、有趣的房屋等等，都將被免于拆除。鼓勵(lì)發(fā)揮創(chuàng)新意識(shí)，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(shí)際綜合性設(shè)計(jì)出現(xiàn)了，瞬時(shí)這種因尊重歷史而引發(fā)的潮流籠罩社會(huì)。</p><p>　　在接納固有設(shè)計(jì)的前提下，它需要憑借較少的改動(dòng)來(lái)重新利用建筑物，而不是摧毀建筑并建立一個(gè)新的建筑體。設(shè)計(jì)師們正在尋找巧妙的方法，來(lái)改造老化或過(guò)時(shí)的結(jié)構(gòu)，使其轉(zhuǎn)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(diǎn)。這些對(duì)環(huán)境敏感的項(xiàng)目，往往能夠引

93、發(fā)構(gòu)思巧妙的原創(chuàng)設(shè)計(jì)。舊倉(cāng)庫(kù)成為市場(chǎng)，工廠變成豪華住宅，中轉(zhuǎn)中心重新用于娛樂(lè)，海運(yùn)集裝箱（如圖22.4）被重新設(shè)計(jì)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(zhuǎn)化成的一個(gè)優(yōu)雅的旅游場(chǎng)所，攝影和音響等展品，可以很容易地運(yùn)送到其他地方，并安裝在水邊碼頭。在19世紀(jì)西班牙巴塞羅那，法國(guó)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）?？紤]到所屬地點(diǎn)

94、時(shí)刻洋溢著熱鬧的氛圍，所以在設(shè)計(jì)這種美食與文化交融的場(chǎng)地時(shí)，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(diǎn)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(shè)（如圖22.6）。</p><p><b>　　(22.6)</b></p><p><b>　　歷史保護(hù)性</b></p><p>　　歷

95、史上偉大的建筑之所以被認(rèn)為重要，是因?yàn)楸Ａ袅嗽镜墓δ埽皇且驗(yàn)槠浜笃诒环薜耐庥^或是少許典型的室內(nèi)陳設(shè)，這可通過(guò)精心修復(fù)或重建現(xiàn)有的結(jié)構(gòu)來(lái)實(shí)現(xiàn)。19世紀(jì)紐約的標(biāo)志性建筑中央猶太教堂（如圖22.7；2001年），被火災(zāi)嚴(yán)重吞噬后，哈迪·霍爾茲曼·菲佛通過(guò)修復(fù)建筑功能的方法，增加了一個(gè)新式現(xiàn)代化的結(jié)合翼。丹尼爾·里伯斯金將位于德國(guó)德累斯頓的新古典主義建筑軍事歷史博物館（2011年），設(shè)計(jì)成視覺(jué)上相交的原始楔

96、狀結(jié)構(gòu)，加入現(xiàn)代化的展覽空間，并為德國(guó)脫節(jié)的專制歷史提供了一個(gè)現(xiàn)代民主化的比喻。</p><p>　　掌握處理結(jié)構(gòu)的方法可以追溯到一個(gè)多世紀(jì)以前，保護(hù)歷史主義者正面臨著新的挑戰(zhàn)，即節(jié)省20世紀(jì)中期的建筑，尤其是住宅，其中大部分是缺乏識(shí)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(guó)康涅狄格州設(shè)計(jì)的慶祝玻璃屋（如圖19.1；第388頁(yè)），查爾斯和伊拉·埃姆斯共同設(shè)計(jì)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(zèng)中獲得的幫助，但其他人都受到威脅，直到保護(hù)組出面說(shuō)情。在拍賣會(huì)上，除了歐文·吉爾設(shè)計(jì)的道奇故居（1916年； 1970年拆除；第381頁(yè)）和保羅·魯?shù)婪蛟诜鹆_里達(dá)州薩拉索塔的富有遠(yuǎn)見(jiàn)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(guó)家信托基金收購(gòu)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(biāo)性建筑物，是由鋼鐵和混凝土構(gòu)成的三層復(fù)式（建于19世紀(jì)的聯(lián)排別墅），翻新之后，只是對(duì)室內(nèi)一小部分添補(bǔ)了生動(dòng)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(hù)意識(shí)層面的巔峰級(jí)作品，尤以其創(chuàng)新多面的外表皮和其10層樓高的中庭設(shè)計(jì)最為顯著。1928年由設(shè)計(jì)界的新星約瑟夫修復(fù)的城市藝術(shù)風(fēng)格建筑，是被地標(biāo)委員會(huì)批準(zhǔn)的首批項(xiàng)目，也榮獲世界第一摩

99、天大樓的稱號(hào)，并獲得低能電子衍射金級(jí)獎(jiǎng)（LEED白金授予給為恢復(fù)城市結(jié)構(gòu)做出杰出貢獻(xiàn)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(fēng)格定位</b></p><p>　　新世紀(jì)迎來(lái)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(shè)計(jì)與美學(xué)設(shè)計(jì)，促成這個(gè)時(shí)期的設(shè)計(jì)師們普遍崇尚自由，渴望探索新世界。這些冒險(xiǎn)探索產(chǎn)生結(jié)果是，范圍從異常特殊到考慮不周，雖然并沒(méi)有占據(jù)主導(dǎo)風(fēng)格，但卻引領(lǐng)推動(dòng)了一些更具識(shí)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(jì)九十年代，但這些新建筑在當(dāng)時(shí)特定的時(shí)間段內(nèi)卻是獨(dú)特的。這些先鋒人士推動(dòng)建筑表達(dá)的界限變得更加清晰，主要表現(xiàn)在面對(duì)高預(yù)算、高風(fēng)險(xiǎn)的項(xiàng)