【導(dǎo)讀】那現(xiàn)代藝術(shù)博物館展出。其哲學的基本原則是，一個建筑是有生。命的、唯一的、特殊的，并且要與其周圍環(huán)境、場所精神和諧共處。該展覽是讓·努維。爾工作室、特約館長讓－路易斯·弗洛門特和路易斯安那博物館合作舉辦的。2021年，建筑更加倍地在消除地方的特征，把它們變得平庸無奇，蠻橫地對待它們。它有時會取代風景，獨自創(chuàng)造風景，這不過是另一種抹去風景的方式。它體現(xiàn)了路易斯安那精神。沒有任何形象、沒有任何言論能夠彰顯它的深度。以及，當世界變小理當產(chǎn)生的好處不被列為全球。今天，全球化的影響不斷深化，主流建筑旗幟鮮明地主張要“去脈絡(luò)化”。路易斯安那作為具象征意義的角斗場，被選。毫無疑問，這場對抗比全球與地方之間的對抗更為深沉、復(fù)雜。路易斯安那則是加州之旅的結(jié)晶：在這里，同樣是透過對照和匯整距離。然而，普遍性細節(jié)和普遍性建筑一樣，屬于預(yù)先制作、不存懷疑、沒有

　　

【正文】 cts who think of themselvesas now on let architecture rediscover its aura in the inexpressible,thecloudy and imperfection of what is invented!The architect is not aware of having e to the end of his work until he slipsand shiftsfrom creation to modification,from assertion to allusion,from buildingup to fillingin,from construction to infiltration,from positioning to superpositioning,from clearness to the nebulousness,from addition to deviation,from calligraphy to etching,to erasure... Instead of the archaic architectural goal of domination,.,making a permanentmark,today we should prefer to seek the pleasure of living us remember that architecture can also be an instrument of oppression,atool for conditioning us never permit anyone to censure this pursuit of pleasure especially in thedomain of the familiar and intimate that is so necessary to our us identify bears a potential world within himself or us be aware of our potential,which is equal to that of any human being－ largely unexplored,often poetic and therefore disquieting. 武漢科技大學本科 畢業(yè) 設(shè)計 外文翻譯 9 No more corsets,no more readytowear lives!No more architecturebynumbers that turns us into numbers!No more cloned cities,global offices,preoccupied homes!We want to be able to keep on travelling:to listen to spontaneous music,to live in landscapes as inhabited as a personalityto meet men and women who invent their own culture,to discover unknown is the vehicle for is permanence changed by life and architecture is not involved with the place and those who livethere. Architecture has to be impregnated and to impregnate in order:to be impressionable and impress andto absorb and us love architecture that knows how to focus,that:shineslikealight。can let you read the topography,the lay of the land。can let you feel the wind,sky,soil,water,fire,flavours,trees,grass,flowers,moss...remembers the usages and customs of the place and at the same timeinterfaces with the information terminals of our world。and,shows us the historical ages and those who have journeyed through an architecture is built up in harmony with its stragglers whoare still constructing the archetypes of the 20th century are diachronically ill, is know it to be mortal and endangered as sure as weknow it is so we watch it emerging from the darkness and imagine that it will returnthere one day. The architectures of situation,of the specific,the Louisianan architecturesweave bonds between the past and the future,the mineral and the vegetal,theinstantaneous and eternity,and the visible and the are the loci of emergence and distil the essence of their own slow,poignant consciousness of time overlays the surprises of the new lives lived in theplace,the great rhythms of dawn and twilight,the indifference of the inevitablehours of idleness and decay...Louisianan architectures are dreamed architectures,full of silences－ notonly places of fetfulness but also of bee the cue for reinterpretations of an ambivalent past. Louisianan architectures move us because they have been dreamed into life,insecurity,resistance and sometimes despair。ruined or assassinated,but neverfotten because like the Phoenix disappearing in the flames only to be rebornthey make us dream of eternally recurring points of light... The uncertainty,simplicity and even the modesty of the Louisianan materialsand resources hold out the hope that Louisianan architecture can continue toexist in any economic condition even filtering through to the shameful shantytownsofourglobalpolitics...