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Rollercoaster construction

机译:过山车建设

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摘要

"This is where amateurs have an advantage over pros. A pro knows what he can deliver, and rarely goes beyond it. An amateur has no concept of his limitations and generally goes beyond them." Architecture is not a plastic art, but the engineering of material life. Despite the classifications, architecture is a plastic problem only if you decide that the plastic is your material. But that is just a particular case of architecture. This is what we hope distinguishes our work from other surface-complex architecture. We have grown tired of the associations to Saarinen, Utzon or Gehry, but despite the formal similarities, and our appreciation of their work, those comparisons are purely based on the formal output. Formal concerns are of significance, but this association does not tell the whole story. For example, Gehry works in exactly the opposite direction to us: he produces a spatial effect that is subsequently implemented by means of construction. He is primarily concerned by consistency in the spatial effects. The result may be sometimes similar, but the process of reaching it is radically different.
机译:“这是业余爱好者比职业选手更具优势的地方。职业选手知道他能提供什么,很少超越它。业余选手没有他自己局限性的概念,通常超越了他们。”建筑不是造型艺术,而是物质生活的工程。尽管有分类,但只有确定塑料是您的材料,建筑才是塑料问题。但这只是架构的一个特例。这就是我们希望将我们的工作与其他表面复杂体系结构区分开的地方。我们已经厌倦了与Saarinen,Utzon或Gehry的联系,但是尽管在形式上有相似之处,并且我们赞赏他们的工作,但是这些比较纯粹是基于正式的输出。形式上的关注很重要,但是这种联系并不能说明全部情况。例如,盖里(Gehry)的工作方向与我们完全相反:他产生了空间效果,随后通过构造来实现。他主要担心空间效应的一致性。结果有时可能相似,但达到目标的过程却截然不同。

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